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Literatura dziecięca jako forma myślenia: dotyk

100%

Kuczaba-Flisak M.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

2022

vol. 10

304-321

The article aims to expand the field of poetics with haptic experiences during contact with a literary text (concerning children’s literature). The article developed the main concepts in relation to the category of somatopoetics based on embodied cognition. The article draws attention to the material turn in children’s literature research and the departure from treating it as a social construct, assigning the primary role to affects and the imagination. The article’s main thesis claims that children’s literature is a form of thinking through haptic experiences.

Celem artykułu jest poszerzenie pola poetyki o doświadczenia haptyczne podczas kontaktu z tekstem literackim w odniesieniu do literatury dziecięcej. Główne koncepcje zostały wypracowane w odniesieniu do kategorii somatopoetyki bazującej na poznaniu ucieleśnionym. Artykuł zwraca uwagę na zwrot materialny w badaniach nad literaturą dziecięcą oraz na odejście od traktowania jej jako konstruktu społecznego, przyznając w to miejsce prymarną rolę afektom i pracy wyobraźni. Główna teza artykułu opiera się na stwierdzeniu, że literatura dziecięca jest formą myślenia poprzez doznania haptyczne.

Szorstki i chropowaty dotyk – o dramaturgii zmysłów

100%

Błaszczak M.

Przestrzenie Teorii

2021

issue 36

227-253

Today, the concept of dramaturgy refers primarily to the space of theater or, more broadly, to performative arts. But as the concept of drama has passed into the scientific discourse of sociology, anthropology or literary studies, so is it with dramaturgy. The understanding that appears here refers to its meaning as a special tension on the level of sensually experienced and perceived artistic events. The subject of interest here is the dramatic aesthetics of experience in the field of performing and visual arts. The aesthetic categories related to the senses are often of a physical origin and amorphous in nature. The roughness and harshness of the title in their origin are physical categories that can be experienced primarily through the sense of touch. In this intertwining of senses, we are talking about their dramaturgy, because they cannot usually be separated from each other and various works appeal to touch and other senses at the same time. The process of creating a work and its reception is an action, process, meeting, the playwright of which is both the creator / creator and the recipient. The considerations concern changes in the perception of the senses, from the glorification of the sense of sight to the ennoblement of the “lower” senses, the place and function of the classical and interactive museum and haptic art, as well as the polysensory and immersive reception designed in performance and theater.

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1 Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

1 Przestrzenie Teorii

1 Błaszczak M.

1 Kuczaba-Flisak M.

1 2022

1 2021

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Literatura dziecięca jako forma myślenia: dotyk

Szorstki i chropowaty dotyk – o dramaturgii zmysłów