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1

L’art et l’artiste dans les Discours de Suède d’Albert Camus

100%

Kaznowski J.

Acta Philologica

|

2014

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issue 45

165-172

PL

W pierwszej połowie XX wieku rola artysty, a w szczególności pisarza, uległa radykalnej przemianie. Jean-Paul Sartre jako jeden z pierwszych apelował, by literatura stała się literaturą „zaangażowaną”. Autorzy powinni zabierać głos w sprawach bieżących, gdyż zobowiązuje ich do tego powołanie. Laureat Nagrody Nobla, Albert Camus, w mowie o roli artysty i sztuki wygłoszonej w Sztokholmie i na konferencji w Uppsali w grudniu 1957, przemawiał w podobnym duchu. Twierdził, że artysta powinien zawsze reagować na niesprawiedliwość oraz nieść nadzieję innym. Sztuka nie może być jednak podporządkowana żadnej ideologii, ponieważ wtedy, stając się kłamstwem, zamienia się w narzędzie polityczne i traci rację bytu. Artysta zaś musi być niezależny i tworzyć w imię prawdy, piękna i wolności.

2

Tropy biograficzne. Jak czytać sztukę Aliny Szapocznikow?

80%

Turowicz J.

Res Publica Nowa

|

2013

|

issue 1

62-67

EN

This text deals with the problematic place of biography in various interpretations of Alina Szapcznikow’s works. The author likewise notes growing interest in this artist, as indicated by the organisation of large exhibitions and research by curators and museums involved (Zachęta and MSN in Warsaw) in such projects. The author also considers different attitudes toward less obvious biographical elements of Szapcznikow, showing a fruitful path for the future interpretation of her work that neither avoids biographical threads nor narrows its focu to a particular interpretation.

3

Spolupráce národopisců a výtvarných pracovníků v bývalém Ústředí lidové umělecké výroby

80%

Šenfeldová H.

Národopisný věstník

|

2009

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vol. 26_(68)

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issue 1

72-75

EN

Center for Folk Art Production was established in 1945 as an organization intended to support the folk manufacturers, small craftsmen and small workshops. After the various reorganizations, which had been enforced by the social changes, the Center became an organization that covered this small manufacturing. Besides the production base, the Center for Folk Art Production had still two service sections - a network of its own shops and a development section. Ethnographers and trained artists worked in this department, and cooperated in formulation of the production program for the small manufacturers and workshops. The non-professional manufacturers perfectly mastered the production technique and smoothly manufactured traditional products for people around them. However, as soon as they had to sell their products in a different environment, the manufacturers did not know how to use their skills.he trained artists, who knew the trends in their branch, developed for the small producers new product designs. However, they needed further knowledge for this activity, so the ethnographers prepared for them documentation files of the study materials - photos from the terrain and the museums, motif and shape overviews. They served as an inspiration resource for the artists so they could develop new patterns. Those patterns were to have modern utilization, but in the same time they should have had a certain relationship to the traditions as well as some peculiarity and originality - all this expressed by the shape, technique, color or material. During the almost fifty-year existence of the Center for Folk Art Production elaborate theoretical and methodical procedures for taking up the old traditions were worked out. the practical results of those procedures were appreciated by experts of that time.

4

Vladimír Gažovič: sztumistrz – litograf

80%

Dyga A.

Estetyka i Krytyka

|

2008

|

issue 13-14

195-202

5

ARTYSTYCZNE GRY ZE ŚMIERCIĄ WE WSPÓŁCZESNEJ SZTUCE

80%

Śnieciński M.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

|

2017

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vol. 24

18-35

EN

The text emphasizes the difference between two artistic approaches. The first one of them is rare and comprises various kinds of artistic games with death undertaken by the artists, whereas the second one depends on playing with the subject of death, where death plays the part of an „embellishment” or some kind of attraction, which should draw the attention of the viewer. The text concentrates on such artistic realizations, in which the first of the mentioned approaches is visible. The selected „games with death” in the works by, among others, K. Kozyra, A. Szapocznikow, R. Opałka and Ch. Boltanski, are analysed. The analyses make use of theoretical works by, among others, H.G. Gadamer, P. Ariès, H. Belting, R. Barthes and G. Steiner.

6

Czułość kamienia w teatrze litografii Vladimíra Gažoviča. Rozmowa z artystą

80%

Dyga A., Gažovič V.

Estetyka i Krytyka

|

2008

|

issue 13-14

203-214

7

Chopinowskie narracje z „dziecięcego pokoju”. Mistrz w czasopismach i publikacjach dla najmłodszych w XIX wieku – rekonesans

70%

Zajkowska J.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2021

|

issue 41

151-174

EN

The article discusses the biographical accounts and stories about Frédéric Chopin published in the most representative children’s magazines of the turn of the twentieth century: Wieczory Rodzinne (Family evenings), Przyjaciel Dzieci (Children’s friend) and Moje Pisemko (My little magazine). A kind of complementary role to them is played by the analysis of Janina Sedlaczkówna’s 1891 book Dwaj mistrze: opowiadanie o życiu Artura Grottgera i Fryderyka Chopina (Two maestros: a story about the lives of Artur Grottger and Frédéric Chopin) and Teresa Jadwiga Papi’s stories from 1898 of the same title Dwaj mistrze (Two maestros) about Chopin and Moniuszko. The collected comments and conclusions are presented in relation to twentieth- century biographical texts about Chopin.

8

Egzorcyzmy na warszawskich scenach. Analiza porównawcza spektakli: „Matka Joanna od Aniołów” – Teatr Narodowy i „Diabły” – Teatr Powszechny w kontekście „Listu do Artystów” Jana Pawła II

70%

Pawlina M.

Studia Ełckie

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2021

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vol. 23

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issue 2

207-221

EN

John Paul II in Letter to Artist paid special attention to inseparable connection between Gospel and art. Author of this paper would like to verify if this message is still up-to-date and possible in contemporary art. For this purpose author made a deeper analysis of Diabły and Matka Joanna od Aniołów theatre plays that were presented in Warsaw theatres.

9

Dominique Fernandez: Psychobiographical Criticism or Psychobiographical Fiction?

70%

Jișa S.

Lublin Studies in Modern Languages and Literature

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2016

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vol. 40

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issue 2

DE

Der Band enthält die Abstracts ausschließlich in englischer Sprache.

EN

Dominique Fernandez is the author of a method of analysis for artists and their works that he calls “psychobiography”. It establishes parallels between the analysis of works and events in the life of an artist, insisting on the identification of a childhood trauma that left an indelible mark on the style of the artist. In this article we show how he applies this method in his biographical novels: La course à l’abîme, Tribunal d’honneur and Dans la main de l’ange. We analyze the way in which biographemes are reconstituted in order to give a coherent vision of the biographee. We emphasize the thin line that separates reality from fiction, or biography from novel.

FR

Le numéro contient uniquement les résumés en anglais.

RU

Том не содержит аннотаций на английском языке.

10

Польские художники в Казахстане: с любовью к степи

70%

Shaygozova Z., Sultanova M.

Przegląd Wschodnioeuropejski

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2021

|

vol. 1

369-380

EN

The article analyzes the cultural and creative heritage of artists of Polish descent who found themselves in Kazakhstan for various reasons in the period from the middle of the 19th to the end of the 20th centuries. In addition to their unconditional artistic value, the results of their creative efforts are of great scientific importance for modern Kazakhstan as unique ethnographic sources and documentary evidence of the daily graft and life of the Kazakh steppe. Domestic historical science already has a certain reserve dedicated to various sociopolitical, cultural and economic aspects of Kazakh-Polish relations, where the deportation of Poles and the formation of Kazakhstan’s Polonia are of particular importance. However, the creative heritage of Polish artists in Kazakhstan fell into the field of vision of scientists extremely occasionally. While its cultural and art historical context is able to shed light on many facets of the history, ethnography and culture of the Kazakh people. During the research, retrospective, comparative-historical and formal-stylistic campaigns were used. The result of the research is a retrospective analysis of the works of some of the most prominent Polish artists, due to various factors, for whom the Great Steppe has become not only a home, but also a source of inspiration and strength.

11

Genre variety as indicator of creativity in TAT stories of musicians and visual artists

70%

Pánik M., Čermák I.

Československá psychologie (Czechoslovak Psychology)

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2024

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vol. 68

|

issue 3

226-240

EN

Objectives. The goal of this qualitative study is to show the latent potential of the Thematic-Apperception Test in the context of creativity research. The secondary objective is to capture possible differences in the area of creativity and personality of various groups of artists. Sample and settings. The target group was various artists. Thirty artists were divided into three groups according to the type of art and educational attainment. The first group consists of musicians with formal musical education, the second one consists of self-taught musicians and the third group is the most diverse, created by various visual artists. All the members of the third group also have formal education in their field. Analysis. The starting point of this qualitative oriented research is 300 stories created on the basis of TAT, which was openly presented to the participants as a creativity test. Their stories were then further explored to capture and identify characteristics that may indicate the author’s creativity. One manifestation was the variety of genres used by the narrator in a single TAT protocol. Genre analysis of the stories revealed differences in their occurrence among the groups. Results. Visual artists more often created abstract narratives, frequently extending far into the realm of bizarreness. It also seems that autodidact musicians tend to create tragedy-oriented stories and lean towards positive genres only rarely. Limitations. The selection of participants did not avoid certain weaknesses. Part of the sample is made up of participants whom we know in person and only during the collection of data we switched to snowball sampling. The entire research group is also made up of Slovak artists, so all the stories were created in the Slovak language. Many language-specific metaphorical expressions and linguistic nuances related to creativity which are unique to each language and thus would be lost in translation.

12

The Artist and the Poetic Provocations in the 1980 Bulgarian Live-Action Film Illusion

70%

Panova M.

Świat i Słowo

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2021

|

vol. 36(1)

229-248

EN

This text highlights the aesthetic explorations of Bulgarian cinematographers from the 1980s, specifically those aimed at people of art. The article offers, first, a brief overview of films that examine the symbolic potential of the artist, which defines the consideration of an established and meaningful tendency in the development of Bulgarian cinema. The article focuses then on the live-action film Illusion (1980, directed by Lyudmil Staykov and written by Konstantin Pavlov) and examines the figure of the artist in the piece. The presented interpretation supports the view of the film as a morally valuable expression of modern art.

13

„Zaprawdę powiadam ci, poetą się jest…”. Wojaczek Lecha Majewskiego z 1999 roku

70%

Grodź I.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2018

|

issue 34

209-220

EN

The theme of the text is the connection between the inspiration of the artists,for example poets, and their emotional states. The purpose of the text is to indicate the role of emotions in creative work. The subject of the analysis is the film Wojaczek made by Lech Majewski from 1999, about the young Polish poet – Rafał Wojaczek (1945-1971).

PL

The theme of the text is the connection between the inspiration of the artists, for example poets, and their emotional states. The purpose of the text is to indicate the role of emotions in creative work. The subject of the analysis is the film Wojaczek made by Lech Majewski from 1999, about the young Polish poet – Rafał Wojaczek (1945-1971).

14

Sztuka (a)społeczna

61%

Chmielewska-Szlajfer H.

Res Publica Nowa

|

2014

|

issue 3

74-76

EN

Kazimierz-Kelles Krauz, a late-19th century Polish sociologist, used Marxism as the basis for his concept of radically democratic art, according to which anyone who creates for the sake of pleasure and emotion is an artist. His idea of art is not for or against the elites, or for its own sake, but “without ideals,” it is art inspired by society in order to transcend it. As such, this art is socially useless and potentially subversive, yet as a sphere of freedom it helps maintain social order. Kelles-Krauz’s reflections remain particularly relevant today, as we observe art being used to both emphasize and undermine clashing social values.

15

Kondycja współczesnego artysty wobec wartości awangardowych

61%

Paśniewska J.

Estetyka i Krytyka

|

2015

|

issue 3(38)

149-162

EN

The book of Grzegorz Sztabiński is a revision of twentieth century artistic avant-garde, in which the author examines crucial ideas of this formation, such as: community, freedom and authority. In perspective of these mentioned problem threads and also taking into account the matter of artist’s status, he attempts to indicate possible identity of this phenomenon, then to designate a split separating it from contemporary times, to finally describe a shift in an actual artistic situation in relation to avant-garde past. Sztabiński distinctly stresses the artist’s condition thread and presents the actual artistic situation by showing irremovable affiliations with avant-garde that proves it is still present and lasts as an archetype, which every present artist inevitably faces up to on many different ways. In the process of pursuing the community, freedom and authority ideas, a strong intention to capture their new functionality for contemporary artists unfolds.

16

Н. Гумилев в диалоге с И. Анненским (пьесы „Актеон”, „Отравленная туника”)

61%

Шелогурова Г., Русский учебный центр МС – Международное сотрудничество М.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2014

|

vol. 07

EN

In the paper the following issues are discussed: 1. Gumilev’s and Annensky’s dramas in the context of ‘poetic theatre’; 2. Common features of “Acteon” and “Famira-kifared”; 3. Points of disagreement between the playwrights (“Acteon” and “The Poisonned Tunic” against the background of Famira); 4. The figure of the artist as the protagonist of the dramas under consideration.

17

Étienne Gilson: L’idée de la beauté et sa conception de l’art

61%

Jaroszyński P.

Studia Gilsoniana

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2021

|

vol. 10

|

issue 3

731-747

EN

Two books of Étienne Gilson are especially important in the area of aesthetics: Painting and Reality and The Arts of the Beautiful. In my essay I discuss Gilson’s idea of beauty and his idea of art. To some degree, É. Gilson follows traditional Thomistic point of view, i.e., he claims that the beautiful is that which pleases when seen, or that which consists of integrity, proportion and clarity. He gives, however, a new interpretation of clarity which, for him, means not only physical lucidity, but also a metaphysical radiation and spiritualization of what is material. As for art, É. Gilson is of an opinion that it enjoys a strong metaphysical status, since the existence of the work of art comes from the artist himself. Finally, I explain why É. Gilson’s views are open to further discussion, both metaphysical and theological.

18

Spotkanie z profesorem Januszem Krupińskim – (Auto)portrety. Mieczysław Górowski

61%

Krupiński J., Czakon D., Tendera P.

Estetyka i Krytyka

|

2012

|

issue 2(25)

295-312

19

Le vagabond et ses avatars chez Apollinaire

57%

Costaş O. I.

Quêtes littéraires

|

2014

|

issue 4

67-75

EN

Passionate about mundane details and singular beings, Apollinaire deploys throughout his stories and novels quite a collection of mysterious and paradoxical characters. A central place in his collection is occupied by the wanderer which illustrates the propensity of the writer towards the occult and the picturesque, towards the anecdotal and the extraordinary. As a being always on the run he is sometimes associated with a bohemian spectator, jouisseur of the street and sometimes a marginal presence bordering on antisocial. Versatile character, the apollinarian wanderer does not refer to a specific social type. Wanderer, bohemian, chiffonnier, antique dealer, he has a rather metaphorical position that allows him to expose multiple identities at once. His multivalent nature makes it difficult for a true literary taxonomy. Always seeking innovation and surprise, Apollinaire was able to refine the ambivalence of the wanderer and often relates it to the image of the artist. Marginal and mystifying, the apollinarian wanderer is yet lacking any pejorative sense because its uniqueness is only a sign of originality. With its attractive heterogeneity, the apollinarian prose creates a vast and fine repertoire with a wanderer who is constantly redefining the concept of wandering. With its multiple facets, it actually becomes a living metaphor of a work that is looking through a hybrid and plural writing, mixing genres and composite images. Exploring the prose of Apollinaire, however, we can detect multiple lines of coherence that ultimately reveal a rich array of the wanderer. Despite the nature of the chameleonic apollinarian wanderer, our challenge is to analyze his literary metamorphoses and thus arrive at a definition that surprises in its many urban disguises.

20

An Artist, a Glass Painter, a Craftsman, and a Debate about their Role in the Design and Execution of Stained Glass

51%

Bałus W.

Biuletyn Historii Sztuki

|

2023

|

vol. 85

|

issue 2

109-118

PL

Artysta, malarz na szkle, rzemieślnik i debata o ich roli w projektowaniu i wykonywaniu witraży. W dyskusji toczącej się w Niemczech w 1912 r. uznano, że zasadniczym miejscem powstawania witraży jest warsztat. To właśnie w różnego rodzaju warsztatach tworzone były proste dekoracyjne przeszklenia. Projekty witraży były albo dziełem artystów zatrudnionych w warsztatach, co pozwalało im podpisywać prace własnym imieniem i nazwiskiem, albo efektem wysiłku grupowego, w którym nie wyróżniano któregokolwiek z autorów kartonu, co z kolei prowadziło do traktowania projektu jako dzieła wspólnego, przeznaczonego do wielokrotnego powielania. Dopiero w tym środowisku pojawiały się „podmioty sprawcze” – agenci, będący albo „kompilatorami” prostych witrażowych wzorów i cudzych modeli, albo „projektantami najemni”, albo artystami związani z warsztatem lub też artystami niezależnymi, często uznanymi. Autorstwo witraży było zawsze uwikłane w sui generis dyskurs organizowany, wybierany, kontrolowany i przekazywany poprzez określone procedury wynikające z charakteru „pracy warsztatowej”.

EN

According to a discussion which took place in Germany in 1912, the fundamental environment for stained-glass making were workshops. It was within various workshops that simple ornamental glazing was put together. Designs were either produced by artists employed at workshops, which allowed them to sign their work with their names, or the effort was done collectively, with no singling out of the individual designers of the cartoons; in this case, the latter were treated as common property intended for multiple use. Thus, it was only in this environment that the agents emerged as “compilers” of simple glazing patterns and someone else’s models, as “salaried designers”, as artists associated with the workshop, or else as independent artists, often acclaimed ones. The authorship of the stained glass windows has always been entangled in a sui generis discourse involving the organisation, selection, control and redistribution by a certain number of procedures resulting from the nature of “workshop work”.

Refine search results

L’art et l’artiste dans les Discours de Suède d’Albert Camus

Tropy biograficzne. Jak czytać sztukę Aliny Szapocznikow?

Spolupráce národopisců a výtvarných pracovníků v bývalém Ústředí lidové umělecké výroby

Vladimír Gažovič: sztumistrz – litograf

ARTYSTYCZNE GRY ZE ŚMIERCIĄ WE WSPÓŁCZESNEJ SZTUCE

Czułość kamienia w teatrze litografii Vladimíra Gažoviča. Rozmowa z artystą

Chopinowskie narracje z „dziecięcego pokoju”. Mistrz w czasopismach i publikacjach dla najmłodszych w XIX wieku – rekonesans

Egzorcyzmy na warszawskich scenach. Analiza porównawcza spektakli: „Matka Joanna od Aniołów” – Teatr Narodowy i „Diabły” – Teatr Powszechny w kontekście „Listu do Artystów” Jana Pawła II

Dominique Fernandez: Psychobiographical Criticism or Psychobiographical Fiction?

Польские художники в Казахстане: с любовью к степи

Genre variety as indicator of creativity in TAT stories of musicians and visual artists

The Artist and the Poetic Provocations in the 1980 Bulgarian Live-Action Film Illusion

„Zaprawdę powiadam ci, poetą się jest…”. Wojaczek Lecha Majewskiego z 1999 roku

Sztuka (a)społeczna

Kondycja współczesnego artysty wobec wartości awangardowych

Н. Гумилев в диалоге с И. Анненским (пьесы „Актеон”, „Отравленная туника”)

Étienne Gilson: L’idée de la beauté et sa conception de l’art