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Wyobraźnia i obraz jako czynniki konstytuujące warsztat twórczy przy kreacji wizualnej

100%
Józefowski E.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
|
2014
|
vol. 17
184-300
EN
Józefowski considers interdisciplinary studies of creative workshop as art form. He describes the structure of his original workshop and discusses the role of imagination and image. Józefowski considers workshop as an art form dating back to the premises of the avant-garde (Here the term ‘avant-garde’ is broadly used to denote innovative artistic activity) and contained in the current of its post-avant-garde manifestations. He analyses the demand for personalization of art, which causes the rejection of the rigor of work imposed by the artistic structure that is defined by technique. The essence of art becomes a functional relation between the main participants of aesthetic events—a creative artist, an on-looker, a subject matter, a relation consisting in art-experiencing. Their functions intertwine, creating an aesthetical field (cf. A. Berleant, Prze-myśleć estetykę, Kraków 2007). The concept of workshop refers to the idea of shaping reality through art, espoused in all currents and formations of the avant-garde. The postulate refers to two dimensions of experiencing the reality— external and internal. The shaping of external reality is achieved through the arrangement of the public space, introduction of new order of social space, defined by work/artistic process. The shaping of the inner reality encompasses the influence of the creative situation experienced by an individual on his/her mental makeup: views, emotions, values.
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«Занимательная география»: типология конструирования географических образов в украинском и английском «Романе большой дороги» первой половины XXI в.

51%
Чик Д.
Studia Rossica Gedanensia
|
2016
|
issue 3
307-319
RU
В статье рассматривается типология пространственных отношений между географическими объектами в романах "The Adventures of Hajji Baba of Ispahan in England" Джеймса Морье, "The Posthumous Papers of the Pickwick Club" Чарльза Диккенса, "Жизнь и похождения"Петра Степанова сына Столбикова, помещика в трех наместничествах. Рукопись XVIII века" Григория Квитки-Основьяненко, "Мертвые души" Николая Гоголя. Анализируется влияние национально-этнических факторов на искажение реальных географических или фиктивных топосов. Таким образом, моделирование пространственных отношений между географическими объектами в романах "The Adventures of Hajji Baba of Ispahan in England" Дж. Морье, "The Posthumous Papers of the Pickwick Club" Ч. Диккенса, "Жизнь и похождения…" Квитки-Основьяненко, "Мертвые души" Н. Гоголя корреспондирует с пространственным миром персонажей. «Воображаемые» пространства присутствуют во всех произведениях, несмотря на наличие реальных географических названий (Г. Квитка-Основьяненко, Дж. Морье, Ч. Диккенс) или символических маркеров (Н. Гоголь, Ч. Диккенс). Для полного воспроизведения психоэмоционального состояния персонажей, их национальных и ментальных особенностей английские и украинские авторы часто прибегают к умышленным деформациям географического пространства и наполнения его неприсущим символическим смыслом.
EN
The article deals with the typology of the spatial relationships between geographic objects in the novels "The Adventures of Hajji Baba of Ispahan in England" by J. Morier, "The Posthumous Papers of the Pickwick Club" by Ch. Dickens, "The Life and Adventures..." of Stolbikov... by H. Kvitka-Osnovianenko, "Dead Souls" by N. Gogol. It also analyzes the impact of national and ethnic factors in the deformation of the real geographical or fictitious topoi. The modeling of spatial relationships between geographic features in the novels corresponds to the spatial world of the characters. “Imaginary” space was constructed in all the pieces of fiction, in spite of the existence of real place names (H. Kvitka-Osnovianenko, J. Morier, Ch. Dickens) or symbolic markers (N. Gogol, Ch. Dickens). For a complete reproduction of mental and emotional states of the characters and their national and mental characteristics the English and Ukrainian writers often use the intentional deformations of geographic space, filling its content with extrinsic symbolic meaning.
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