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PL
The cause to write an article was a question how to examine emotions which are of spatial nature. While the colloquial language copes with “spatiality” of feelings – it knows emotions and calls them (mood, atmosphere, climate, colour) – sociology has not developed a category enabling a systematic analysis of this phenomenon so far. In the theory of arts, the situation is different. The leading subject of the text is reflection on possibility of combining the theory of art and sociology of emotions. The proposed link is to be the concept of image treated as “sensitizing concept” (Herbert Blumer). In the article, I refer to the concepts having their roots in philosophy, social psychology and sociology of emotions which touch upon the issue of spatiality of emotions and compare them to the concepts related to the theory of image.
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Determinanty dzieła sztuki jako continuum obrazów

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EN
A work of art exists through images. The determinants of a work of art seen as an image are the following: vision; the carrier of the image, the object produced and/or the chosen artefact; the surroundings of the carrier, in which it is placed; the functional context of the work the “subject” of the image, i.e., what is seen, the thing portrayed in the image; the world of the “subject” of the image; the onlooker, the viewer of the image; the “ideatic” context of the image, and of its subject in particular (“the world of ideas”). Essentially, the category of “image” determines the character of a work of art. Yet on a more basic and original level, it determines the very way the human world exists, and human beings themselves. Thus art becomes significant for human beings.
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