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1

VISUALISATION, LITERATURE, AND EVERYTHING ELSE (Wizualizacja, literatura i cala reszta)

100%
Bolecki W.
Teksty Drugie (Second Texts)
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2009
|
issue 1-2
6-11
EN
'Visualisation' is nowadays one of the most expansive notions in cultural (semiotic) studies, including literary research. By means of introductory remarks to the periodical's present issue, the author discusses the notion's various meanings and applications - from' practical/service-oriented' in the domain of computer graphics, through to psychotherapeutic ones, various varieties of visual arts, anthropology of sensuality and its cultural forms, visual-arts concepts and visual arts' associations with literature, up to theoretical afterthought on the status of literary text.
2

LITERARY EXPERIENCING CULTURAL VISUALISATIONS: AN ANTHROPOLOGY OF (RE)CONSTRUCTION (Doswiadczanie kulturowych wizualizacji. Antropologia (re)konstrukcji)

100%
Lesniakowska M.
Teksty Drugie (Second Texts)
|
2009
|
issue 1-2
11-31
EN
The proposed analysis of the category of modernity within the perspective of post-modern critical history of art aims at showing how the relations with an image change where the issue of image as cultural visualisation of experience - i.e. as the speakable language - has been reversed toward a question of experiencing the image. The field of the observation is analysis of the image of a certain (specific) town as a record of social participation in which memory can be watched, i.e. memory becomes visible as a performative category. This is effectuated by means of an aesthetic experience which leads to generation of memory as a cultural experience and to rehabilitation of the notion of emotion and sentimental involvement in perceiving/experiencing art (as in Gernot Boehm). Analysed is a project by young Polish artist Aleksandra Polisiewicz titled 'Wartopia', a project referring to plans and realisation of a Socialist Warsaw appears as a continuation of the project in question. The idea of tabula rasa which governed the fascist plans has namely been implemented by the other totalitarian regime – i.e. communism and its own visions of a Socialist Warsaw that led to an experiment materialised.
3

THE VISIBLE AND THE INVISIBLE IN THE ART OF WORD (Widzialne i niewidzialne w sztuce slowa)

100%
Balcerzan E.
Teksty Drugie (Second Texts)
|
2009
|
issue 1-2
32-45
EN
The opposition between the motoric and visual method of reading a text releases a tension between the visible and the invisible, which is active in both original projects of literary structures and individual courses of reading. Visualisation, that is, transformation of the invisible into the visible, is opposed by de-visualisation (transformation of the visible into the invisible) and re-visualisation which consists in regaining an image that has been lost beforehand. These processes are graduable, non-obligatory, imprecise, important for the work's aesthetic facet, neutral in interpretation, the latter being oriented, as a rule, toward combinations of meanings. In lexical resources of language, the visualisation experience becomes the source for distinction of a group of 'visualisms' - units being independent of the norms of grammar. This alters the classical Jakobsonian model of act of communication, since a text imbued with 'visualisms' refers the reader simultaneously to the code and the context, rendering it unfeasible to separate the metalinguistic and the cognitive function.
4

HOW NOT TO GET LOST IN THE GARDEN, OR, STANISLAW TREMBECKI'S 'SOFIJÓWKA' (Jak nie zgubic sie w ogrodzie czyli o 'Sofijówce' Stanislawa Trembeckiego)

100%
Bukowiec P.
Teksty Drugie (Second Texts)
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2009
|
issue 1-2
193-207
EN
Proposed is a different-than-traditional reading of the poem 'Sofijówka' by Polish Enlightenment-age poet Stanislaw Trembecki. Unlike in the existing attempts, the horizon for considerations is neither a referentiality of this descriptive poem nor its intertextuality sphere but instead, the subjectivity issue. Its complications - analysed in a style which might be referred to as deconstructionist - lead to certain paradoxes as-yet very rarely observed and described in reference to Polish Enlightenment literature.
5

IMAGE AS THE ACT OF CONSOLATION. SOME REMARKS ON THE METAPHOR OF PASSAGE IN THE CLASSICAL LITERATURE (Obrazowanie jako pocieszenie. Kilka uwag o metaforze przejscia w literaturze klasycznej)

100%
Borowicz S.
Teksty Drugie (Second Texts)
|
2009
|
issue 1-2
77-93
EN
The article deals with the problem of the Greek consciousness' limited ability to image certain abstract notions: abysm/chasm, death and the Underworld in the Classical period. The first part of the analysis, based on Greek classical literature sources, concerns the general problem of categorization and conceptualization of the idea of the Underworld which human consciousness was trying to seize by means of a metaphor 'to die is to pass'. The author argues that the ability of the human mind (gnome) to understand abstract notions metaphorically limits the idea of the Underworld simultaneously; it is a reversed reflection of the senses experienced during reality, which creates the anti-world of human visions of passage into a different space. Only the notion of chasm does not have its mirror image; however, it is still perceived as a part of the Greek kosmos (order). Being conceived as a physically existing space, it is frequently figured as a whale's barrel. The second part contains a detailed structural analysis of an old, drunken woman's figure being devoured by a whale which was introduced in Phrynichos' lost comedy. The example is to illustrate the mechanism in displaying abstract notions connected with the sphere of death which the Greek mind could only properly understand as the act of mimesis. Such a construction of the Underworld and chasm which was just an extension of the existing reality denoted the human desire to get rid of fear of emptiness. The image of the 'inexpressible' was, as a result, a mode of self-consolation.
6

THE RELATIONSHIP OF WORD AND PICTURE IN DOLEZAL´S TRAGEDY (Vztah slova a obrazu v Dolezalovej Tragoedii)

88%
Brtanova E.
Slovenská literatúra (Slovak Literature)
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2010
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vol. 57
|
issue 3
201-210
EN
In the 18th century the authors created platform for a reader to interact in the sphere of visual conceptions. A good example of it is an epic composition Pametna celemu svetu Tragoedia by Augustin Dolezal (The Tragedy, Remembered by the Entire World 1791). Dolezal's literary and linguistically work has also visual dimension. In the chapters dedicated to everyday life (inhabitants and the concept of the earthly world) there is an evident inspiration from Comenius, from his concept of a visible world (Orbis pictus). Dolezal reflected contemporary architectonic art (description of Eden is like a French park) and also portrait fine arts (portrait of a landlord from Liptov). There are also evidences of using the emblematic poetics (so called 'nuda emblemata'). The signal of visualisation appears in description of the world of craftsmen through distinctive poetic adjectives, which are not a sign of classicistic norm, but of new aesthetic paradigm.
7

THE AESTHETICS OF CAPRICE: IN THE CIRCLE OF VISUALISATION (Estetyka kaprysu. W kregu wizualizacji)

88%
Popiel M.
Teksty Drugie (Second Texts)
|
2009
|
issue 1-2
94-104
EN
Caprice or capriccio is analysed as an aesthetic category, in a perspective of non-linear continuity of cultural phenomena (the concepts of Warburg, Panofsky and Didi-Huberman are evoked). Indicated are directions of caprice visualisation among which figurative and landscape representations are dominant. The history of caprice as a painting genre illustrates the intriguing complexity of aesthetic awareness extending to extremely differing representations, stylistic modes and meanings. Iconic as well as literary narrations of caprice - while accompanying the modern 'aesthetic of lightness' from the Renaissance to surrealists, from Vasari to Simmel - highlight the movement of metamorphosis, the will to transgress, the frenzy of freedom and the magic of coincidence.
8
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MODERNÁ DOKUMENTÁCIA ARCHEOLOGICKÝCH SITUÁCIÍ A NÁLEZOV V ARCHEOLOGICKOM ÚSTAVE SAV

63%
Ruttkay M.
Študijné zvesti
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2015
|
issue 58
5 - 58
EN
The paper presents work procedures developed within the project Centre for the Research into the Oldest History of the Middle Danube River Basin. One of the activities is a search for and testing of new methods and technologies in the areas of documentation and presentation – photography, 2D and 3D photogrammetry, 3D scanning, visualisation, modelling 3D printing. We introduced the search for archaeological sites using various kinds of historical maps, ort-photomaps, satellite images and GoogleEarth-Pro, and provided details of the procedures applied during various kinds of photogrammetric documentation (from the ground, from pilotless models, from aeroplane, or a combination). There is a short description of experience with the use of individual instruments, from scanners for archaeological finds to the LIDAR. A special attention is given to the visualisation and digital modelling of movable and immovable archaeological finds. In the final part experience with a 3D printing of archaeological features is described. The obtained data are archived in the ISAU – a newly created Information System of the Institute of Archaeology. Practical experience confirms that there is no ideal method of 3D documentation suitable for all kinds of features. The outcomes are intensively used in the research process as well as during the documentation and renewal of archaeological cultural heritage, and, last but not least, for scientific popularisation aims in exhibitions and other events.
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