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Czy to jeszcze sztuka? Dylematy współczesnej estetyki

100%
Góra S.
Ogrody Nauk i Sztuk
|
2014
|
issue 4
519-523
PL
Niniejszy artykuł pokazuje kilka z najważniejszych w wieku XX i XXI problemów z jakimi musi się zmierzyć estetyka. Czy wciąż może ona być „partnerem” dla sztuki współczesnej? Czy potrafi ją zrozumieć, opisać i wyjaśnić odbiorcy? A może już nie na tym polega jej rola? Artykuł przybliża początek problemów estetyki związanych z brakiem porozumienia ze sztuką, na przykładzie rozważań polskiej krytyk sztuki i dyrektor licznych muzeów sztuki współczesnej Anny Marii Potockiej. Oprócz teoretycznych rozważań niniejsza praca próbuje również zobrazować dylematy współczesnej sztuki na przykładzie konkretnych działań artystycznych w Muzeum Sztuki Współczesnej w Krakowie.
EN
This article shows some of the most important problems in the twentieth and twenty-first centuries of issues facing aesthetics. Can you still be a partner for contemporary art? Are you able to understand, describe and bring the audience? Or maybe it's not its role? My article introduces the beginning of the problems of aesthetics and art, for example considerations of the Polish art critic and director of many contemporary art museums Anna Maria Potocka. In addition to theoretical considerations, this paper also attempts to portray it as an example of specific artistic activities at the Museum of Contemporary Art in Krakow.
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Zmierzch w literaturze i malarstwie austriackim na przełomie XIX i XX wieku

100%
Hurnik E.
Świat i Słowo
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2013
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vol. 11
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issue 2(21)
187-200
EN
The literature and arts in Austria at the turn of the 19th century developed in the atmosphere of decadence. The Austrian-Hungarian monarchy was falling into a decline and paradoxically, at the same time, the art experienced a tremendous boost. Secession was the main style in architecture and painting as well as impressionism, symbolism and decadence in literature. All the fields of arts reflected the feelings of transition, decline, premonition of death. They gained their deepest expression in the poetry of Georg Trakl, in which the end of a certain historical and cultural formation combined itself with the feeling of self-destruction, one’s own annihilation.
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Zmierzch alpinizmu?

100%
Stępień T.
Świat i Słowo
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2013
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vol. 11
|
issue 2(21)
225-234
EN
The essay presents the changes in Polish and world alpinism / Himalaya mountaineering perceived as a particular cultural practice. Commercialization of high-mountain mountaineering (symbolized by crowds of rich amateurs climbing the Mount Everest) and pursuing personal success at any price (the case of Polish Broad Pick winter expedition) lead to tragedies and erosion of ideology and ethos of this once elite sport. In spite of this high (and the highest) mountains remain an object of interest for professional alpinists and ever growing group of high-mountain tourists.
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„Zmierzch zaimków dzierżawczych” – lampa naftowa i gazowa a doświadczenie nowoczesności

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Gielata I.
Świat i Słowo
|
2013
|
vol. 11
|
issue 2(21)
235-248
EN
The essay presents the “flame dreamers” fascinated by kerosene lamps and gas lighting: Bachelard, Benjamin and, last but not least, Bohumil Hrabal, whose novels Taka piękna żałoba (Such a beautiful mourning) and Postrzyżyny (Cutting it short) describe childhood fascination with the beauty of those lamps. However, due to the twentieth century modernization, those lamps were replaced by electric light. Thus one can say that Benjamin and Hrabal lived in the times of decline of kerosene lamps and gas lighting, the lamps which added colours to their childhood world. The author links the disappearing of kerosene and gas lamps with the typically modern process of “colonizing the night” (A. Giddens). In this respect gas lighting and electric light become an element of the same process of the constant modernization. However, the writers of the emerging modernity clearly differentiate between the two types of lighting. They never sing praises of the “beauty” of electric bulb, yet quite often they admire the charm of gas and kerosene lamps which are bound to vanish. Thus they celebrate the loss as such, without realising what else is lost with their decline. This experience finds its fullest expression through language, in particular in the disappearance of the possessive pronouns (G. Bachelard). Electric bulbs are not wrapped in such words as my, mine, our, as kerosene or gas lamps used to be, and, as a consequence, modern man loses a friendly relationship with the surrounding objects.
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Zmierzch bezpieczeństwa oświeceniowych paradygmatów i jutrzenka stereotypu popkultury: gotycyzm i preromantyzm

100%
Nawrocki R.
Świat i Słowo
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2013
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vol. 11
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issue 2(21)
83-94
EN
The article aims to depict the phenomenon of cultural changes at the turn of the 18th and 19th century. Gothicism characterized by that time is widely considered as a herald of Romanticism. However, the article approaches Gothicism as a decadent form of Classicism. The reason behind the appearance of Gothicism was in fact Enlightenment paradigms having become inefficient, and more precisely – as discussed in the article: - the end of seeking security in nature, - the end of trust in human mind, - the change of the position of women in society, - the change in perception of literature. The conclusion of the article links the first appearances of Gothicism with the later development of pop culture.
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Zmierzch chrześcijaństwa, chrześcijaństwo zmierzchu

100%
Łysień L.
Świat i Słowo
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2013
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vol. 11
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issue 2(21)
53-66
EN
Using a semantically capacious category of decline with reference to the history of Christianity, we clearly see that decline, fall, exhausting of some historical formations of Christianity do not necessarily indicate the gradual disappearance of a evangelical kerygma. On the contrary, it is a chance for a fuller development and bringing forth the hidden novelty of Christ’s message. Thus Nietzsche’s thought (and similar ideas) can be perceived as a refreshing wave which inspires us to reveal and deepen our understanding of the Gospel’s potential.
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Prze(d)świt, zmierzch, „Noc Świata”

80%
Bahneva K.
Świat i Słowo
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2013
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vol. 11
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issue 2(21)
161-178
EN
The article is devoted to the animalization of man in the drama Hunting Cockroaches by Janusz Głowacki. The undertaken problem is generalized against the background of the discussion concerning the role of the border between day and night and the replaceable notions of day and night in the play. The raised issue is elaborated on the basis of works of world literature (Homer’s Odyssey, Dante Alighieri’s Divine Comedy, Franz Kafka’s Metamorphosis) and the philosophical thought of Martin Heidegger and Jacques Derrida, respectively.
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Rzeczy ostatnie w Ostatnim rozdaniu Wiesława Myśliwskiego

80%
Węgrzyniak A.
Świat i Słowo
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2013
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vol. 11
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issue 2(21)
129-146
EN
Taking into consideration ambiguous title of Wiesław Myśliwski’s novel Ostatnie rozdanie (The last deal), the author traces the poker-like existential plot. Asking questions about who plays? – who with? – what for? – the author analyses various aspects of the text. She notices that narrator’s dialogues with himself, with ‘I’ emerging form memories (always construed), are characterized by constant balancing between different conceptions of subject and fate. In his “treatise on instability” the narrator, commenting past events, diagnoses culture and the condition of a “contingent” human being. In narrator’s games one can hear the writer’s “last word” (a testament) – the narrator entraps the reader in the last “game” with oneself, inviting to meditation on ‘”last” and “ultimate” things. In his parabolic narrative, in which the narrator has some features of Everyman, the most important thing is an attempt to manage / understand one’s own / human fate.
9
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Zmierzch i odradzanie się wartości humanistycznych (O świecie poetyckim Hansa Magnusa Enzensbergera)

80%
Krasoń K. J.
Świat i Słowo
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2013
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vol. 11
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issue 2(21)
201-212
EN
Hans Magnus Enzensberger uses fabulous and fairy-tale motifs in his poetry, as well as refers to myth, legend or topos, in order to show present conflicts. Sometimes he brings a child character into his works, at times adopts a puerile view of the world, mocks at human stupidity, expresses his critical approach to imperfect adult world, but at the same time manifests his negative attitude to global imperialism and social and political relationships prevailing in Germany. He sees in them the end of such values as human dignity, courage to express own thoughts or respect for another human being. Aware of civilisation threats, he fights in his poetry for human subjectivity by referring to the world of childish imagination, fairy tale and myth, in particular to the myth of childhood an parents, which he recalls in order to express his critical approach to declining society being based on money-worship and authoritarian power, which contributes to the objectification of human beings. In this study, using concrete examples, Enzensberger has been presented as a committed poet who tries – like Zbigniew Herbert – to support reality change and improvement in artistically valuable manner.
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Zmierzch literackiej sztuki przedstawiania

80%
Czubała H.
Świat i Słowo
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2013
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vol. 11
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issue 2(21)
35-52
EN
The decline of the art of the representation in the conception proposed in the article means first of all the change of the function and position of the mimesis in relation to aesthetic experience. If previously aesthetic experience was subordinated to representation, at present the representation has been subordinated to aesthetic experience. The decline of the of the art of representation suggests that the source of the literature perceived first of all as the form of the cognitive consciousness runs short. A rediscovery of art of revealing and participation – inseparable, however, from the art of the literary representation and mimetic mapping of the reality – today takes over the dominant part of the Polish literature of the high level, giving new functions to the representation.
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