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  1. 42 Estetyka i Krytyka

  2. 2 Creativity. Theories – Research - Applications

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  5. 2 Studia Ekonomiczne

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  1. 4 Sosnowski L.

  2. 3 Bogusz-Bołtuć E.

  3. 3 Makota J.

  4. 2 Chmielowski F.

  5. 2 Dziamski G.

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1
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REVIEWS: Art, values, emotions. Publ. The Foundations for Culture. Warszawa 1992, 210 p. (Piotr Kawiecki)

100%
Dziemidok B.
Miscellanea Anthropologica et Sociologica
|
1993
|
vol. 2(1)
285-285
2
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RECENZJE: Sztuka, wartości, emocje. Wyd. Fundacji dla Kultury. Warszawa 1992, 210 s. (Piotr Kawiecki)

100%
Dziemidok B.
Miscellanea Anthropologica et Sociologica
|
1993
|
vol. 2(1)
285-285
3
Publication available in full text mode
Content available

Purple Hibiscus and theme of moderation as a metaphor in the evolution of contemporary Nigerian fiction

58%
Nwankwọ E, Izuu
International Journal of Pedagogy, Innovation and New Technologies
|
2018
|
vol. 5(2)
112-121
EN
Society and Art have variegated correlative relations in that the artist is, first and foremost, a member of a particular society. As such, his/her creative works are in the main influenced by the events of his/her immediate society or those of the societies that border the artist’s. Consequently, the Nigerian society has undergone different developmental stages, and in each era the fiction of the period reflects the dominant incidences of the period used in the work, no doubt, from the artist’s perception. Thus, throughout the development of the Nigerian society and the accompanying metamorphoses of its fiction, moderation has assumed metaphorical dimensions due to the fact that at every point two divergent views/forces are at “war” (and by decipherable African thought of obtaining peace through compromise) only a middle course can ensure peaceful co-existence. Hence, amidst the gargantuan religious strife in the contemporary Nigerian society Chimamanda Ngozi Adichie seems to have a solution with the suggestion of moderation in her debut narrative, Purple Hibiscus. This paper therefore, uses this novel of Adichie’s as a paradigm for the study of the exalted level to which artists have advanced moderation as a metaphor for the advancement of every society. The myriad vexing religious issues of the Nigerian society Adichie so aptly captures in Purple Hibiscus therefore, receive a treatment that one considers a model which is relevant for any developing society desirous of unity in diversity. null
4
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Człowiek i artysta. Wywiad z Henrykiem Musiałowiczem

58%
Bogusz-Bołtuć E., Musiałowicz H.
Estetyka i Krytyka
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2004
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issue 1(6)
PL
Wywiad
EN
Interview
5
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Filozoficzne treści obrazu. Malarstwo Henryka Musiałowicza

58%
Kuczyńska A.
Estetyka i Krytyka
|
2004
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issue 1(6)
PL
Artykuł stanowi próbę wydobycia treści filozoficznych zawartych implicite w niefiguratywnym malarstwie Henryka Musiałowicza. Jest to malarstwo wolne od treściowej narracji. Tkwiące w nim emocje, rozwiązania formalne, skojarzenia, kolorystyka składają się na proponowaną w tekście tezę o potrzebie utworzenia swoistej hierarchii wartości. W miejsce panującej współcześnie aprobaty dla ich równorzędności (zrównania) Musiałowicz ukazuje malarskimi środkami tęsknotę za transcedencją, za dążeniem “wzwyż”.
6
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Drogi Wacława Taranczewskiego

58%
Taranczewski P.
Estetyka i Krytyka
|
2004
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issue 1(6)
PL
Troska o czystą jakość w sztuce, nieprzekładalną na kategorie ilościowe, oraz dążenie do jej osiągnięcia we własnych dziełach była aksjomatem twórczości Wacława Taranczewskiego, jednego z najwybitniejszych polskich artystów współkształtujących klimat malarstwa drugiej połowy dwudziestego wieku. W drodze do poszukiwanego eidosu sztuki Taranczewski tworzył monotematyczne cykle obrazów, jakby sprawdzając w sposób empirycznie uchwytny estetyczne możliwości malarskiej formy. Trudne do odtworzenia i w estetycznych analizach często pomijane meandry poszukiwań Artysty zostały przedstawione w eseju w sposób głęboki i szczególnie intymny; nic dziwnego, jego autorem jest syn Wacława Taranczewskiego, jednoczący w swej osobie kompetencje filozofa i praktyczną wiedzę czynnego artysty.
7
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Estetyka w perspektywie "zemsty obrazów"

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Fiut I. S.
Estetyka i Krytyka
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2004
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issue 1(6)
PL
Recenzja książki: A.J. Nowak, Świat człowieka. Znak. Wartość. Sztuka, Collegium Columbinum, Kraków 2002, s. 402
EN
Review of a book: A.J. Nowak, Świat człowieka. Znak. Wartość. Sztuka, Collegium Columbinum, Kraków 2002, s. 402
8

РОЗВИТОК ХУДОЖНЬО-ЕСТЕТИЧНОЇ ОСВІТИ УЧНІВ У СУЧАСНІЙ ПОЧАТКОВІЙ ШКОЛІ

58%
Соколик Ж.
Педагогічні науки: теорія, історія, інноваційні технології
|
2014
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issue 9(43)
57-64
EN
The suggested article reviews present state of development of artistic-and-aesthetic education in elementary school pupils within education and bringing-up process in comprehensive school. It comprises the analysis of the aim and main tasks of artistic-and-aesthetic education. The article contains a list of educational programs developed in accordance with the latest State standard of elementary general education and respective textbooks of various text-writers. Artistic-and-aesthetic education of students of elementary school is viewed within the framework of acquiring of the educational subjects like «Fine Art», «Music», and «Art». Art within the system of modern education is viewed as significant component of general school education. Its powerful cognitive and educational resource is related to aesthetic nature due to which the most complex and mysterious processes of man’s spiritual life and inner world become comprehensible.Integrative orientation of the program of artistic-and-aesthetic education of students in secondary schools is aimed at developing a holistic artistic image of the world as an integral part of the total picture of the world. At the same time we shouldn’t absolutize any model of integration of knowledge, because organization of knowledge is not only systematic courses and purposeful pedagogical efforts in general, but the identity of the pupils. It’s the lessons of the artistic-and-aesthetic course at school – music and visual art, literature, artistic culture, choreography, aesthetics – that breed the sense of harmony and value, rhythm and sound, color, plastic forms and imagination. All those are of primary importance for upbringing of highly dignified person. The article brings forward prospects for the development in this direction. Principle concepts and their influence on artistic-and-aesthetic upbringing of young pupils are highlighted. The author concludes that implementation of effective artistic-and-aesthetic activity of pedagogical process encourages comprehensive children development. The need of developing a holistic system of formation of aesthetic culture of the younger generation is emphasized, basis of which should become school, where involving children to art and treasures of human culture is a priority. Teachers should pay due attention to the implementation of this task. Otherwise, without paying attention to it in elementary school age, the desire for learning and understanding aesthetic in future can be destroyed.
9
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Ucieczka w metasztukę

58%
Hanusek J.
Estetyka i Krytyka
|
2004
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issue 1(6)
PL
Pogłębiający się ciągle proces intelektualizacji oraz instytucjonalizacji sztuki współczesnej doprowadził w drugiej połowie dwudziestego wieku do powstania jej nowej mutacji, którą można określić mianem metasztuki. Chociaż ugruntowane w artystycznych faktach, rozróżnienie między obszarem sztuki i metasztuki nie jest łatwe, bowiem przedstawiciele tej drugiej starają się zatrzeć demarkacyjną linię podziału. Autor przedstawia własną propozycję takiego rozróżnienia oraz uzasadniające je kryteria.
10
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W noc religii sztuki

58%
Korpal P. M., Kohlenberger H.
Estetyka i Krytyka
|
2004
|
issue 1(6)
PL
Tłumaczenie
XX
Translation
11
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Chimera wobec Pegaza. Nowe media - nadzieja wielkiej sztuki

58%
Jamroziakowa A.
Estetyka i Krytyka
|
2003
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issue 2(5)
11-24
PL
Jeśli zinterpretować jedną z ważnych realizacji Izabelli Gustowskiej - W podróży, z punktu widzenia istotnej roli, jaką odgrywają w niej elektroniczne media, to okazuje się, że do ukierunkowania interpretacji można użyć mitu Chimery. Odczytanie tego mitu, pozwala w obcowaniu ze sztuką Gustowskiej, dostrzec inny rodzaj złożoności i wewnętrznej motoryki, niżeli te jakościowe wyróżniki, które wiążemy w sztuce z rolą muz i Pegaza. Intrygująca nowa jakość, wniesiona w dzieło, za pośrednictwem nowych mediów, zdaje się łączyć z mentalnym powrotem i wskazaniem starego mitu, patronującego teraz nowym urzeczywistnieniom artystycznym. Współczesna atrakcyjność i aktualność Chimery może być poszukiwana / odnajdywana nie tylko w pracach badaczy mitów, ale sygnalizowana jest też przez autorów, którzy w oryginalnych nawiązaniach do tego mitu - z racji swej profesji - wypowiadają się o sztuce z poznawczo poszerzonych pozycji, innych niż jej zawodowi reprezentanci: estetycy, filozofowie sztuki, krytycy artystyczni.
EN
Myth of Chimeras leads us in a revealing a manner of an interpretation of one of Izabella Gustowska’s important artistic realisation (In travel), in the context of a role played by the media. In relations with Gustowska’s art this myth permits us to perceive other kind of complexity and internal movement, than these qualitative distinguishing features, which we associate in art with a part played by muses and Pegasus. New intriguing quality carried out in her work is due to an agency /mediation of new media, uniting with mental return to an old myth, patronising new artistic executions now. Current desirability and topicality of chimera can be traced not only in the works of the explorers of the myth. It is visible also in works of artists, who in original relation to myth express their own attitude in art so different from that of professional explorers: aestheticians, philosophers of art, art critics.
12
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W stronę kultury inkontrologicznej

58%
Makota J.
Estetyka i Krytyka
|
2002
|
issue 2(3)
PL
recenzja książki: Zofia Majewska Świat kultury Romana Ingardena Lublin, Wydawnictwo Uniwersytetu M. Curie-Skłodowskiej 2001 s. 158.
EN
review of a book: Zofia Majewska Świat kultury Romana Ingardena Lublin, Uniwersytetu M. Curie-Skłodowskiej Press 2001 s. 158.
13
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O wspólnej przestrzeni poszukiwań artystycznych w "białej" i "czarnej" sztuce Republiki Południowej Afryki

58%
Pawłowska A.
Forum Politologiczne
|
2010
|
vol. 10 - Przestrzeń i granice we współczesnej Afryce
461-479
XX
Starting from April 1994 that is from the very moment of abolishment of apartheid, the experience gathered through the common existence on the territory of the Republic of South Africa of both white and black people, produced a completely new quality which has since then been proudly defined as the Rainbow Nation. New liberal policy of the state brought about changes and a true transformation in the world of art and as a result caused a need among historians and critics of art of revising hitherto majority of existing opinions and beliefs and it created a need to write a completely new history of art outright, which would capture the essence of the indigenously African tradition which was neglected and skipped earlier. The most important "neglected" and newly "discovered" South African art creators were among others: G. Sekoto, G. Pemba, G. Bhengu, and G. Mgudlandlu. Moreover many art creators began seeking such forms of artistic statements which would underline and confirm the existence of the common experience and uniqueness of all South Africans, rather than seeking the various differences arising from skin colour. The stress and interests were shifted to the specific African experience, as well as on Africa - centred consciousness. In the earlier period on this area of South Africa, the official policy of the white ruling minority was aimed at denying altogether the existence of mutual actions and opinions and especially the social status. The starting point of all my reflections and considerations on this topic is to single out several constructive plots which might serve to explain the question of perception of the indigenous art of South Africa by its white population (I concentrate especially on artof the 1940's and on such white artists as: H. J. Pierneef, B. Everard, I. Stern) and the presentation of African problems and topics in the art of the early white settlers (ex. drawers and sketchers from the 19th century such as: S. Daniell, F. I'Ons or T. Baines).
14

Pedagogical Analysis of Catastrophic Visions of Art

51%
Kwiatkowska-Tybulewicz B.
Creativity. Theories – Research - Applications
|
2015
|
vol. 2
|
issue 2
237-248
EN
The theory of aesthetic education treats art as an educational space. It is interesting to look at theories of the end of art from a pedagogical perspective. The article presents a few selected items, symptoms of the collapse of art, which have appeared in theories of a crisis of art. Are they relevant to the theory of aesthetic education? Is education “for” and “through” art justified in the face of the end of art? In this article the author presents catastrophic visions of art from the pedagogical perspective.
15
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Roman helmets with a browband shaped as a vertical fronton

51%
NEGIN A.
Historia i Świat
|
2015
|
issue 4
31-46
EN
Roman propaganda monuments are known best of all and they are still often cited, especially in Hollywood blockbusters. Despite the many doubts expressed by modern researchers, they continue to be sources valuable in many aspects as those monuments, mostly located in the capital, show how military weapons were perceived by the inhabitants of the capital, including the sculptors who were working on these monuments. There are many images of so-called Attic helmets on Roman monuments dated back to the first two centuries AD. As a rule, all of them are richly decorated with embossed floral ornament, have a browband with volutes in the temporal region and equipped with longitudinal crests with gorgeous plumes. The question arises, what are the samples were depicted on the Roman reliefs? How accurately this specimen have been reproduced by artists and sculptors, or, perhaps, we see only a reflection of the Hellenistic artistic tradition? There are helmets with a browband shaped as a vertical fronton with volutes existed. Their later modification is presented by finds from Guisborough, Theilenhofen, Chalon-sur-Saône. The pieces of the Ist century AD – early IInd century AD are Weiler-type helmets with a decorated riveted browband. They are the helmets from Nijmegen, Brza Palanka and from other places. The pieces from Butzbach and Hallaton can be considered as a transitional design between early and later helmet modifications with a vertical fronton. Thus, all of the above finds suggest that Attic helmets with browbands, which are often depicted on Roman propaganda monuments, are not the sculptors’ invention, but helmets really common in the Roman imperial army, imitating the models of the earlier period.
16

The Truth of Art in David Jones and Hans-Georg Gadamer

51%
Potter M.
Romanian Journal of English Studies
|
2012
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vol. 9
|
issue 1
321-334
EN
I shall examine the theory of art developed by David Jones, the twentieth-century Anglo-Welsh poet and artist (especially in his essay “Art and Sacrament”), in the light of a comparison with the theory of art propounded by Hans-Georg Gadamer, the twentieth-century German philosopher in the phenomenological tradition (especially his essay “Die Aktualität des Schönen”), not claiming influence, but highlighting striking parallels.
17
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The Category of the Ethico-Aesthetics in the Study of Byzantine Philosophy

51%
Arabatzis G.
Peitho. Examina Antiqua
|
2020
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vol. 11
|
issue 1
171-184
EN
The category of the Ethico-Aesthetics, introduced by Søren Kierkegaard, was applied to the study of Byzantine Philosophy by the Greek philoso­pher and theologian Nikolaos Matsoukas (1934–2006). Matsoukas vehe­mently rejected the identification of Byzantine philosophy with a strict Christian moralism. Rather, he viewed it as an ethos which did not lead the ascetics to display Manichean contempt for the body. It was thus a kind of ‘mild asceticism’. This ethical acceptance of the body turns against Neoplatonic speculation and cultivates the habitus that leads to artistic creativity. Byzantine philosophy is thus situated at the midpoint between nominalism and realism, but standing against the realism of the archetypal ideas. The paper concludes with some considerations on the pragmatics of Byzantine philosophy in a Christian world.
18

Benin Art and Casting Technologies

51%
Nevadomsky J., Půtová B., Soukup V.
West Bohemian Historical Review
|
2014
|
vol. 4
|
issue 1
75-103
EN
The study is dedicated to reflections of Benin art after the 1897 British invasion. The analysis focuses especially on describing what happened with Benin artefacts that were part of the war booty taken by the British expedition that went on to sell them in auctions and exhibitions. The study emphasizes the role of traders and collectors who contributed to the formation of first private and later public museum collections of Benin art. The study also presents casting technologies and hypotheses dealing with the origin of Benin bronzes. The study aims to draw attention to the revitalization of traditional art of iron casting. Towards the end of the paper it is examined what influence the modern Western culture had on traditional iron cast production in the second half of the 20th century.
19

An Artist Without Wings? Regulation of Emotions Through Aesthetic Experiences

51%
Osowiecka M.
Creativity. Theories – Research - Applications
|
2016
|
vol. 3
|
issue 1
94-103
EN
Art can help handle difficult experiences. Art therapy sessions (healing through art) have been recognised for years as a well-known and efficient method of treatment. At the same time, one can observe people’s tendencies – apparently inefficient in terms of their well-being (emotions, mood) – to create or experience art (e.g. watching horror movies, listening to sad songs, expressive writing about one’s ordeals). Many authors have described the way negative emotions are regulated. Their research has not, however, exhausted the subject in relation to art. In this paper I discuss the regulation of emotions through art. I am interested in the process of regulating affective experiences, particularly through expressive writing, and in the impact this way of regulation has on task-oriented functioning, especially cognitive functioning.
20
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‘Sasanian’ silver plate from al-Ṣabāḥ Collection in light of aesthetic features of Sasanian toreutics

51%
SKUPNIEWICZ P.
Historia i Świat
|
2019
|
issue 8
59-78
EN
Recently published silver plate from al-Sabah Collection, of unknown provenance, has been firmly attributed as Sasanian. In fact, technically, it is related to the Sasanian silverwork however aesthetic examination allows to raise the doubts whether it is genuine. The plate must be compared not only with central-Sasanian artworks but all ancient ‘Oriental silver’, including pieces attributed as Hephtalite or Sogdian. The design of the plate does not have any relation with any of the known examples of late antique oriental toreutics. Central scene of heroic combat with powerful beast or beasts has never been surrounded with the ring containing other hunting scenes is unknown as well. The disbalanced decorum is even more clear when we remind that the central scene shows hunting on foot and the marginal ones – mounted. The details of fixed aesthetic elements – position of personages, beasts, weapons do not belong to Sasanian canon. The unique nature of the plate might result from many factors but the combination of unknown provenance and lack of relation to legitimate Sasanian canon require utmost cautiousness towards the object.
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