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Filozofia i sztuka według Józefa Kremera

100%
Kamisińska D.
Estetyka i Krytyka
|
2008
|
issue 13-14
233-239
2
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Kremer, Tarnowski, Rydel - związki nie tylko tekstowe

77%
Stachura-Lupa R.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
|
2019
|
vol. 19
66-78
RU
The paper shows connections between Stanisław Tarnowski and Lucjan Rydel and his family. Tarnowski was a disciple of Józef Kremer, while Rydel was a pupil of Tarnowski. Kremer’s views on art, to some extent, shaped Tarnowski’s aesthetic thought, especially when it comes to the perception of beauty and creative act. Kremer accompanied Tarnowski at the beginning of his scientific career. Rydel used to attend Tarnowski’s speeches in his gymnasium period, and then as a student of the Jagiellonian University. He belonged to a narrow group of Young Poland writers, whose work was appreciated by the critic. He included papers about Rydel in Przegląd Polski. [78] Renata Stachura-Lupa In 1899 Tarnowski welcomed a debut volume by Rydel, appreciating his ‘inherent gift, acquired skill, good taste and musical ear, as well as playing with the difficulty of form,’ which contributed to ‘truly brilliant results.’ He praised the author for ‘his honest feelings’, at the same time noticing the dominance of sadness in his poetry, which was supposed to be typical of ‘young’ poetry, reflecting the depressing mood in the nation, caused by ‘the state of the motherland.’ In 1901 in Przegląd Polski he published a dissertation Nowe kierunki dramatu i „Zaczarowane koło” Lucjana Rydla, in which he made an ‘analysis’ of his disciple’s art. What he found particularly valuable was the method of presenting the countryside, which proved he was well-acquainted with its reality. However, it was only the trilogy Zygmunt August that he regarded as a masterpiece and ‘the best historical tragedy we’ve ever had’.
3
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Mathematics and metaphysics: The history of the Polish philosophy of mathematics from the Romantic era

75%
Polak P. J.
Zagadnienia Filozoficzne w Nauce
|
2021
|
issue 71
45-74
EN
The Polish philosophy of mathematics in the 19th century is not a well-researched topic. For this period, only five philosophers are usually mentioned, namely Jan Śniadecki (1756–1830), Józef Maria Hoene-Wroński (1776–1853), Henryk Struve (1840–1912), Samuel Dickstein (1851–1939), and Edward Stamm (1886–1940). This limited and incomplete perspective does not allow us to develop a well-balanced picture of the Polish philosophy of mathematics and gauge its influence on 19th- and 20th-century Polish philosophy in general. To somewhat complete our picture of the history of the Polish philosophy of mathematics in those times, we here present the profiles of some lesser-known Polish Romantic philosophers of the 19th century, namely Karol Libelt, Bronisław Trentowski, and Józef Kremer. We discuss their contributions to the philosophy of mathematics and their metaphysical perspectives, and we also show how their metaphysical ideas have found some continuity in the studies of some Catholic philosophers.
4
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Włochy w perspektywie Dickensa i dziewiętnastowiecznych polskich pisarzy

75%
Dybiec A.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
|
2017
|
vol. 17
79-93
PL
Italy in perspective of Dickens and the 19th century Polish writers Abstract The paper analyzes the way Italy is presented in Dickens’, Kremer’s and Kraszewski’stravelogues and works. They sometimes construct their image of Italy from differentperspectives applying various types of texts and stylistic devices. Special attention was givento similarities and differences between three images of Italy in the 19th century literature.Theoretical aspects of Grand Tour and Dickens’ travel to Italy are shortly discussed. Keywords: Pictures from Italy, Charles Dickens, Józef Ignacy Kraszewski, Józef Kremer,travelogues, pictures of Italy
5
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Diagnozy i prognozy sztuki: Hegel, Witkacy i postmoderniści (między innymi)

63%
Tarnowski J.
Estetyka i Krytyka
|
2013
|
issue 3(30)
145-155
XX
Hegel made three visions of future art. According to the first one, spirit first expresses itself in art, then in religion and finally in philosophy. Thus, the birth of religion means the death of art, and the birth of philosophy means the death of religion. According to the second vision, art is symbolic in the beginning, then it is classical, and in the end, it is romantic, that is Christian. Hence, art never dies. According to the third vision, a brand new epoch is emerging, in which modern art rejects tradition. For modern artists, artistic means are artistic aims. A modern work of art is no longer a vehicle for ideas, its aim is to show the artist’s personality. The future of the new expressionist art is safe. Hegel’s followers were inspired by his first and third visions. So called Real Idealists, shared Hegel’s first vision, but they reinterpreted the original pan-spiritual vision in terms of Christian theism. Józef Kremer, who was Hegel’s pupil, and Henryk Struve, both Polish philosophers and aestheticians, were among them. Eugène Véron adopted the third, expressionist, vision. Witkacy, Polish artist and aesthetician, combined both visions, but interpreted them in a speculative, materialistic and psychological way. In his opinion, art was in its ‘death throes’, because, on the one hand the repertoire of artistic forms had been depleted, and on the other hand human “metaphysical sensuality” had disappeared. His first argument was fundamental of the postmodern self-consciousness of art fifty years later.
6

Cyprian Norwid and Italian art – a different approach

63%
Płaszczewska O.
Studia Norwidiana
|
2017
|
vol. 35 English Version
59-77
EN
The main purpose of the essay is to show the central aspects of Norwid’s approach to Italian art. Firstly, the poet’s opinions on the educational role of Italian art and its influence on the aesthetic sensibility of Poles are discussed. Secondly, the attention is paid to Norwid’s texts in which Italian myth receives a negative meaning and the Italianate fashion is presented from an ironic point of view, becoming also a source of linguistic humour. Moreover, the poet’s derision of italianity (considered a necessary feature of an artefact) is analysed. Last but not least, Norwid’s representations of typically Italian milieux are discussed in the context of contemporary travelogues and diaries in order to show how stereotypical may be observations made by the poet who is often considered the most original among the Polish 19th-century authors. In conclusion, Norwid’s interest in Italian art seems a consequence of an international trend.
7

Norwid wobec sztuki włoskiej – inaczej

62%
Płaszczewska O.
Studia Norwidiana
|
2017
|
vol. 35
55-72
PL
Artykuł porusza kilka wątków Norwidowskiego stosunku do włoskiej sztuki. Zwraca uwagę na Norwidowskie przekonanie o roli, jaką poznawanie dziedzictwa artystycznego Italii może mieć dla edukacji estetycznej Polaków. Dotyczy także krytycznej reakcji Norwida wobec dominującej wśród współczesnych maniery odbioru sztuki włoskiej, przy jedno-czesnym przyswojeniu ogólnoeuropejskich wzorców narracyjnych, co stawia pod znakiem zapytania wystudiowaną „osobność” poety i ukazuje go jako świadomego, lecz niewolnego od powszechnej w XIX wieku italofilii twórcę.
EN
The main purpose of the essay is to show the central aspects of Norwid’s approach to Italian art. Firstly, the poet’s opinions on the educational role of Italian art and its influence on the aesthetic sensibility of Poles are discussed. Secondly, the attention is paid to Norwid’s texts in which Italian myth receives a negative meaning and the Italianate fashion is presented from an ironic point of view, becoming also a source of linguistic humour. Moreover, the poet’s derision of italianity (considered a necessary feature of an artefact) is analysed. Last but not least, Norwid’s representations of typically Italian milieux are discussed in the context of contemporary travelogues and diaries in order to show how stereotypical may be observations made by the poet who is often considered the most original among the Polish 19th-century authors. In conclusion, Norwid’s interest in Italian art seems a consequence of an international trend.
8
Publication available in full text mode
Content available

Cyprian Norwid and Italian art – a different approach

62%
Płaszczewska O.
Studia Norwidiana
|
2017
|
vol. 35 English Version
59-77
PL
Artykuł porusza kilka wątków Norwidowskiego stosunku do włoskiej sztuki. Zwraca uwagę na Norwidowskie przekonanie o roli, jaką poznawanie dziedzictwa artystycznego Italii może mieć dla edukacji estetycznej Polaków. Dotyczy także krytycznej reakcji Norwida wobec dominującej wśród współczesnych maniery odbioru sztuki włoskiej, przy jedno-czesnym przyswojeniu ogólnoeuropejskich wzorców narracyjnych, co stawia pod znakiem zapytania wystudiowaną „osobność” poety i ukazuje go jako świadomego, lecz niewolnego od powszechnej w XIX wieku italofilii twórcę.
EN
The main purpose of the essay is to show the central aspects of Norwid’s approach to Italian art. Firstly, the poet’s opinions on the educational role of Italian art and its influence on the aesthetic sensibility of Poles are discussed. Secondly, the attention is paid to Norwid’s texts in which Italian myth receives a negative meaning and the Italianate fashion is presented from an ironic point of view, becoming also a source of linguistic humour. Moreover, the poet’s derision of italianity (considered a necessary feature of an artefact) is analysed. Last but not least, Norwid’s representations of typically Italian milieux are discussed in the context of contemporary travelogues and diaries in order to show how stereotypical may be observations made by the poet who is often considered the most original among the Polish 19th-century authors. In conclusion, Norwid’s interest in Italian art seems a consequence of an international trend.
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