Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 5

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  artistic experience
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Estetyka jako nauka filozoficzna. Uwagi o obecnym stanie dyskusji

100%
Konik R.
Studia Philosophica Wratislaviensia
|
2006
|
vol. 1
|
issue 1
47-56
EN
Among the issues discussed in the debate concerning the theoretical status of aesthetics is, for example, the ambiguity of the concepts fundamental to the discipline. This is especially true in the case of the essence of beauty, ontological status of art, the nature of aesthetic and artistic experience, social and individual impact of art, the rules for verification of aesthetic propositions, etc. A multitude of divergent, often mutually exclusive understanding of these concepts makes very difficult to determine the status of the discipline itself. Aesthetics has also been accused of the lack of terminological precision of its concepts, incoherence of its theoretical assumptions, and bad methodology. Another objection is that aesthetics it is rather a cluster of reflections coming from ontology, epistemology, semiotics, theory of culture, anthropology, sociology, psychology or linguistics, rather than an independent discipline on its own. The fact that art has now entered virtual worlds has further diminished the aestheticians' desire to form normative propositions concerning the art. With the above in view, I sketch a possible definition of subject of aesthetic reflection as an independent philosophical discipline.
2

Reflections on Art

100%
Şerban A.
Human and Social Studies
|
2013
|
vol. 2
|
issue 1
11-21
EN
The following study presents some considerations on different subjects regarding the field of art, from the art of using sounds in theatre and the importance of the Greek tragedy to the subtle differences between opera and theatre. The sound experiment is to be approached knowing that the audience is, in some way, deaf. The renewal of the sounds, even of those coming forth from the remote ages, is part of the author’s lust for a theater that celebrates real contact and real feeling, with a unique expression of force, of intense colors and sharp energies. The main goal is to discover the actor’s or the opera singer’s work with the sounds, with the vibration of the words in his body, thus investigating the “meanings” of the pure sound.
3

Uwagi poszarpane na temat malowanej i pisanej estetyki Józefa Czapskiego - artysty malarza

75%
Taranczewski P.
Kwartalnik Filozoficzny
|
2022
|
vol. 50
|
issue 1-4
353-381
EN
The article is an attempt to read out of Czapski’s notes an outline of his understanding of painting as an art form, the foundations of his aesthetics, and his ideas concerting a painter’s attitude and duties. In his creative work, as well as in the reflections that accompanied it, Czapski paid attention not only to the artist’s technical abilities (composition, interplay of colors, etc), but also saw the important role of emotions, of the artistic experience, which he called ‘shock’. He advised deepening such emotions through concentration, through focused observation of what is given in this experience. This connects with the artist's moral stance, where selflessness, being uncompromising, and artistic honesty are the virtues, and pride and yearning for success are the anti-virtues. In the end, art, according to Czapski, allows us to express human existence, and can even open us up to another, other-worldly dimension: eternity.
4

A school performance: A teaching tool or real art?

63%
Janczukowicz K.
Beyond Philology: An International Journal of Linguistics, Literary Studies and English Language Teaching
|
2018
|
issue 15/1
89-104
EN
The article addresses the question of whether in using a school performance as a tool in ELT it is possible to achieve true artistic effects through it. It analyses the problem from the point of view of focusing on the value of the outcome rather than just the process of implementing theatre in ELT. The issues are discussed according to Bruner’s criteria (1971) of artistic experience and Wenzel’s conditions (2001) for authenticity in speaking in an ELT classroom. Furthermore, the notion of cognitive appeal is put forward as a key feature in achieving a shift in students’ attitude towards performing, which may in turn result in achieving a truly artistic effect.
PL
Artykuł odnosi się do kwestii wykorzystania przedstawienia szkolnego w nauczaniu języka angielskiego i czy dzięki niemu można osiągnąć prawdziwie artystyczny efekt. Omawia ten problem z punktu widzenia skupiania się na wartości efektu końcowego a nie na samym procesie wdrażania teatru jako narzędzia. Kwestie te są omawiane w odniesieniu do kryteriów przeżycia artystycznego Brunera (1971) oraz do warunków autentyczności mówienia w nauczaniu języka angielskiego przedstawionych przez Wenzla (2001). Po-nadto jako kryterium kluczowe przedstawione jest pojęcie apelatora poznawczego. Pojawienie się jego właśnie może skutkować zmianą nastawienia uczniów do wystawianej sztuki, a co za tym idzie dzięki niemu można osiągnąć efekt naprawdę artystyczny.
5
Publication available in full text mode
Content available

Możliwości interpretacji sztuki akcyjne

63%
Morganová P.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
|
2017
|
vol. 23
70-101
EN
Pavlína Morganová Ways of interpreting action-art Based on the publication by three outstanding Czech theorists: Jindřich Chalupecký (1910-1990), Petr Rezek (1948) and František Šmejkal (1937- 1988), Morganova describes three different ways of interpreting action art. She analyzed art pieces from 1966, 1977 and 1981, referring to the early and mature stages of action art in the Czechia. The presented study brings together significant examples of Czech action artist, for example Vladimir Boudnik the precursor, and Milan Knížák, a younger follower. There are also references to the international context (for example the Fluxus movement), philosophy (phenomenology) and psychology (Carl Gustav Jung’s theories). Morganova draws readers’ attention to difficulties in unequivocally explaining and commenting on action art. The final reflections are aimed at resolving the question of whether and to what extent that kind of art belongs to postmodernism.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.