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BIBLIOGRAFIA 2004 – 2016

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Kucharská V.

ARS

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2017

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vol. 50

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issue 1-2

3 – 109

EN

- History of fine art – historiography, theory, methodology, personalities - Antiquity and pre-Romanesque art of the 6th – 10th century - Romanesque art of the 11th – 13th century - Gothic art of the 13th – 15th century - Renaissance art of the 15th – 16th century - Baroque and Rococo art of the 17th – 18th century - 19th century art - Art from the turn of the 19th century - Art of the first half of the 20th century - Art of the second half of the 20th century - Art in the context of historical events

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Wspólnota świata sztuki

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Popczyk M.

Świat i Słowo

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2011

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vol. Świat i Słowo 2011, nr 1 (16)

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issue Świat i Słowo 2012 nr 2 (17)

173-184

EN

For ages works of art have helped to constitute the shared experience of the world. In traditional societies it was the religious conviction that unified the community; in the contemporary world the metre for both artists and viewers is established by the institution: the Academia, the authority of the museum. In the times of the avant-garde movements the conventions ruling creativity as well as the forms of reception became diversified, and the resulting plurality of stances and viewpoints can be seen through three perspectives. The first one unites those artists and viewers who claim that a work of art is a political tool. Others form a community based on the principle that art itself is fundamentally political, as defined by Jacques Rancière. Finally, as Hans Belting argues, what bonds the community might be its relation to time, space and death.

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IF A HOME THEN ALSO A 'PLAY', A 'SYMBOL' AND A 'FESTIVAL' - INSPIRED BY THE RELEVANCE OF THE BEAUTIFUL BY H. G. GADAMER (Jesli dom to i 'gra' i 'symbol' i 'swieto' - z inspiracji Aktualnoscia piekna H.G. Gadamera)

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Winnicka-Gburek J.

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2010

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vol. 64

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issue 2-3(289-290)

221-225

EN

An attempt at paraphrasing the theory of art expounded by Hans Georg Gadamer for the needs of an analysis of the category of the home. While discussing the book The Topicality of Beauty, in which the philosopher summarised his views about art and creativity, the author of the article wishes to show the connections between experiencing a work of art and a home.

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Bioetyczny i teologicznomoralny wymiar zamrażania ludzkich embrionów

87%

Wróbel J.

Roczniki Teologiczne

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2020

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vol. 67

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issue 3

75-103

EN

The article discusses the issues of cryopreservation of human embryos. The use of this technique is related to assisted procreation. The supernumerary embryos created in order to increase the effectiveness of the in vitro procedure are frozen so that they can be used in subsequent transfer attempts. The author presents the technical dimension of freezing and the risks associated with it. In the last part, the author analyzes the ethical dimension of these techniques. He emphasize that although assisted procreation is immoral itself, it is morally right to strive to correct this evil by the mother, who is ready to accept into her womb the thawed embryos. The adoption of abandoned embryos seems to be a good solution. However, this solution cannot be justified from the ethical point of view. If it is forced by law to defrost or terminate the contract by the clinic that stores the embryos, it is possible to consent to their death. The health condition of the embryos, which makes their development impossible, releases from the obligation to transfer. Moreover, it is immoral to select embryos by eugenics and transfer only those embryos that have the desired phenotypic or sex characteristics.

PL

Artykuł jest poświęcony problematyce kriokonserwacji ludzkich embrionów. Stosowanie tej techniki pozostaje w ścisłym związku z prokreacją wspomaganą. Stwarzane celem zwiększenia skuteczności procedury in vitro nadliczbowe embriony zostają zamrożone, aby następnie można było je wykorzystać w kolejnych próbach transferu. Autor przedstawia techniczny wymiar zamrażania i ryzyko z nim związane. W ostatniej części Autor analizuje wymiar etyczny tych technik. Podkreśla, że chociaż sama prokreacja wspomagana jest niemoralna, to jednak moralnie słuszne jest dążenie do naprawienia tego zła przez matkę, która jest gotowa przyjąć do swojego łona stopniowo rozmrażane embriony. Dobrym rozwiązaniem wydaje się być adopcja porzuconych embrionów. Takiego rozwiązania nie da się jednak usprawiedliwić z punktu widzenia etycznego. Jeżeli rozmrożenie zostaje wymuszone przez prawo lub wymówienie umowy przez klinikę przechowywującą te embriony, możliwa jest zgoda na ich obumarcie. Z obowiązku transferu zwalnia również stan zdrowotny embrionów uniemożliwiający ich rozwój. Ponadto niemoralna jest selekcja eugeniczna embrionów oraz transfer wyłącznie tych embrionów, które mają pożądane cechy fenotypowe czy płeć.

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AESTHETIC IDEA AS AN ESSENCE OF AESTHETIC

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Kirwan J.

ESPES

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2018

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vol. 7

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issue 1

24 – 29

EN

This paper suggests that Kant’s concept of the ‘aesthetic idea’ is a useful starting point for understanding the nature of aesthetic experience once we reject the formalist interpretation that Kant gives to the relationship between those ideas and that experience.

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PERIFÉRIA KULTÚRY, PERIFÉRIA UMENIA: DUBUFFET DNES

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Kvokačka A.

ESPES

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2015

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vol. 4

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issue 1

21 – 25

EN

Globalization trends of culture, the idea of multiculturalism, bringing and acceptance of foreign elements into the culture, open coquetry of the "West" with culture and arts of the "East", eclecticism, but also paradoxical what happened to be the fate of modern art after postmodern deconstruction of the meaning (including also the sense of Art) and the reduction of his function to ability to serve in variable updating roles towards individual and society, is 46 years after the release of books Asphyxiating Culture repeatedly bringing me to read and review it. The topic, therefore, is to examine the validity of Dubuffet appeal, its insertion into the broader context of the forms of "dehumanization" of art, but also review of the reference just in the context of relations culture - art. New search respectively the determination of periphery in arts and culture should besides unfinished theme energizing academic debate of last years, if not decades, thus defining theme of Art (it defines itself not only its centre, but also its periphery). It can and it should briefly look at the issue of the institutionalization of art; the relationship of artistic production and its cultural context, which is not transferable; "foucaultian" power of discourse established by culture; extremely interesting affinity of art and advertising; aestheticism of culture; enforcement of discontinuity issues and pluralism as in the thought (philosophy, and culture in general) also within the artistic creation, namely for topics that Dubuffet advises and argumentations plays. Nearly half a century after his call and its final words -"therefore, our artistic production, which is not subjected to a thorough critique of culture and effectively not reveals the futility and absurdity, is not refuge for us" - we need to talk about our accountability.

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THE ART OF FAITH AND FOR FAITH (Sztuka z wiary i dla wiary)

80%

Krolikowski J.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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2011

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vol. 4

128-143

EN

History teaches that the Church needs art and that art has its staunchest ally in the Church. Their mutual relationship is based on a basic tenet of faith, which holds that the eternal word of God became flesh, thus giving the highest form of religious approval to the realm of the visible. This is the belief which informs the current 'rediscovery' of painting in religion; in this context, we must ask ourselves how painting could be re-introduced into the Christian experience. With that issue in mind, the present article argues the need for a new synthesis of word and image, a change in the perspective on art, which would take account of man's participation in the mystery of creation, and the inclusion of art in the spiritual experience of individual Christians, especially in prayer and the community of the faithful. The article also points to possible dangers, especially the risk that the value of church art will be reduced to the mere status of a cultural asset.

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Zrození moderního umělce a kritika v Čechách: umění, věda a objevení času

80%

Andel J.

Teorie vědy (Theory of Science)

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2008

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vol. 17/30

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issue 2

133-147

EN

In his article, the author traces the changes that took place in both art and science in the Czech Lands in the course of the 19th century. In the works and commentaries of such painters as Karel Purkyne or Sobeslav Pinkas, he finds early signals of the emergence of modern art. Even the scientific findings of Karel Purkyne's father, J. E. Purkyne, a renowned natural scientist of his era, divulge links to modern art-forms, such as cinematography. The exchange between art and science is apparent, for example, in the geological inspiration for Adolf Kosarek's paintings. What is particular about such works and scientific endeavors is their disruption of the static imagery and emphasis on the flow of time. The rise of urbanism and, consequently, of individualism, brought the passing and linear conception of time to the fore. Andel claims that this 'discovery of time' was a crucial element in constituting both the modern artist and critic.

9

WHAT MAKES THINGS BANAL

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Makky L.

ESPES

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2020

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vol. 9

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issue 2

94 – 104

EN

In this paper, I investigate the origins of banality and the reasons why some phenomena appear banal to us. I discuss the issue by analysing three interrelated areas of aesthetic investigation: artworks, everyday objects, and banal things. By identifying the source of banality, my goal is to understand what makes banal things different from other kinds of things. I consider the following questions: 1) when, why, and how does an object become banal?; 2) what happens when something becomes banal?; 3) are banal things aesthetically appealing? Drawing on Wolfgang Welsch’s notion of anesthetization and Walter Benjamin’s account of aura, I argue that banality consists in the absence of both an ontological and an axiological character in objects, which makes them appear trivial or insignificant to us. I conclude by showing that although art, everydayness, and banality represent different aesthetic dimensions, objects constantly move from one of these dimensions to the other.

10

A nostro domestico – o anonymitě jezuitských umělců v písemných pramenech

80%

Oulíková P.

Folia historica Bohemica

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2011

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vol. 26

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issue 2

417-435

EN

The article comments on documents written by the Jesuits and their testifying value for the history of fine art, particularly in understanding artistic and handicraft activities of the Society of Jesus. This order excelled in an exceptionally large number of artists such as builders, painters, sculptors, wood-carvers or organ makers.

11

G. SANTAYANA – ESTETIK, FILOZOF, LITERÁT – INŠPIRUJE SÚČASNOSŤ

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Bandurová L.

ESPES

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2012

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vol. 1

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issue 1

31 – 37

EN

The author considers aesthetic thinking of George Santayana to be closely interconnected and knotted with his philosophical attitudes and at the same time with his art production (novel, poetry). The author suggests that his production (philosophical, aesthetic, literary, social, and political works), in spite of diversity of his ideas, can be characterized by continuity. She proves by evidence that Santayana’s thinking has not changed during his production despite the fact that he has used different approaches or terminology or style, medium. She points at the development of his thinking, shifts of opinions and ideas, which he has had on beauty, art, and life. She points out that his own ontological philosophical system has been developed gradually from his youthful aesthetic ideas. The author considers Santayana’s aesthetic thinking, especially his concept of “aesthetic experience” to be inspiring source for contemporary aesthetic and philosophical theories.

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Przyczynek do identyfikacji portretu niejakiej Kalinowskiej ze zbiorów Winnickiego Obwodowego Muzeum Sztuk Pięknych

80%

Nestorowycz O.

Krakowskie Pismo Kresowe

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2009

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vol. 1

147-149

EN

The topic of this paper is the female portrait from 18th century belonging to collection of the Regional Art Museum in Vinnitsa (Ukraine). The author of the portrait is unknown. The researcher of this theme proves that Anna Lubomirska-Rzwuska is represented on this portrait. Princess Anna Lubomirska-Rzewuska (1717-1763) was a member of Polish nobility. Her parents are Jozef Rzewuski and Teresa Mniszek. She was Stanislaw Lubomirski’s sister. She married Waclaw Rzewuski in 1732.

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FILOZOFIA AKO VÝSKUM VYUŽÍVAJÚCI UMENIE. FILOZOFIA NA SCÉNE

80%

Böhler A.

Filozofia (Philosophy)

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2013

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vol. 68

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issue 5

426 – 440

EN

Since ancient Greek philosophers like Gorgias, Plato or Aristotle called the art of poetry a (magic) form of fiction that contradicts scientific forms of knowledge, a historical abyss has been introduced between the arts and the sciences, which still haunts us today. It was Nietzsche who first questioned the legitimacy of this distinction by calling the sciences a special form of art. My article will claim that Nietzsche was the philosopher who first assumed that science and philosophy are art-based-research practices. Philosophy is not representing a given truth but has to create it by staging it both, on a conceptual AND a fleshly level. Philosophy on Stage such becomes a post-socratic attempt to perform philosophy as the creation of a certain mode of living rather than a dialectic form of communication for the exchange of scientific arguments.

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LOST IN TRANSLATION. THE ICONOGRAPHIC TRADITION AND VISUAL TRANSFORMATION OF AN ANTIQUE FABLE

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Konečný L.

ARS

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2011

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vol. 44

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issue 2

215-221

EN

The article concentrates on how the motif of the antique fable “Heracles and the Ox-Driver” transformed in a series of artefacts by Giovanni Castrucci, Lodovico Pozzoserrato and Pirro Ligorio from the 16th and 17th centuries. It demonstrates how at times the courses and interpretations of iconographic themes can be complex and difficult to trace, and how easily one can be swayed to conclude that a case is so simple and straightforward that there is in fact nothing to resolve.

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PROKREACJA TECHNICYZOWANA - WYZWANIA ETYCZNE

80%

Wróbel J.

Roczniki Teologii Moralnej

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2009

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vol. 1(56)

203-211

EN

Technicalized procreation in its various forms is not an idea that was developed only at the end of the 20th century. The first attempts at artificial insemination (in vivo) were made even several centuries earlier. In 1884 the first ethical work devoted to these attempts was published. When in the 20th century the techniques became commonly used, several publica¬tions appeared, including documents issued by the Magisterium of the Church, that were devoted to this subject exclusively. Recently published results of medical studies on the effects produced on the health by different methods of assisted reproductive technology (ART) make one look at the methods even more critically. It has turned out that cryobiosis (freezing em¬bryos) causes the death of 85 to 90% of the embryos. It is also often the cause of defective development of the embryos. Using the methods of ART considerably enhances the risk of the occurrence of serious deceases, including genetic ones, in the "test-tube babies". In order not to allow the birth of children with inborn defects the number of abortions has increased. The use of ART techniques also carries serious threats for the health of the women who undergo such treatment. Most often the threats are connected with the hormone stimulation of their organisms in order to induce hyperovulation, and with the damaging of the inner organs, both when taking oocytes and during the transfer of embryos to the uterus. Medicine also has noted several cases of the death of women during carrying out the procedure of ART.

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HERECKÝ ZJAV MONIKA POTOKÁROVÁ

80%

Mišovic K.

Slovenské divadlo (Slovak Theatre)

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2020

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vol. 68

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issue 4

354 – 383

EN

During her short professional career, Monika Potokárová (1992 – 2019) became a protagonist of the young generation of actors at the Drama Company of the Slovak National Theatre. She has rendered over forty diverse roles in the productions directed by acclaimed Slovak and international directors. She was a genuine protagonist of tragic heroines of classical repertoires, and her versatile talent enabled her to create characters defying psychological and realistic canons of Slovak drama acting. The study highlights the most significant roles of the young actress and it endeavours to define her pliability, flexibility, and the uniqueness of her artistic personality.

17

'WHO WANTS TO PAINT THE WORLD IN COLOUR'? PAINTING IN THE WORLD BY CZESLAW MILOSZ

80%

Mrugalski M.

Przegląd Humanistyczny

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2005

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vol. 49

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issue 1(388)

27-45

EN

Martin Heidegger is commonly considered related to Czeslaw Milosz. The author draws conclusions from this assumption. Reading 'The World' referring to Heidegger's 'Source of a Piece of Art', he exposes an ironic tension between the poems on faith, hope and love on the one hand and the poems on pieces of art on the other. They both are contradictory. Lyrical reflections deny the philosopher's thought, while 'ekfrases' come close to Heidegger's 'Source..' - a major 20th-century work studying truth-art relations. Yet, what brings Milosz's poetry close to Heidegger's philosophy is the conflict within the poem.

18

ART AND EVERYDAY LIFE IN THE CITY. FROM MODERN METROPOLIS TO CREATIVE CITY

80%

Ratiu D. E.

ESPES

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2021

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vol. 10

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issue 2

183 – 204

EN

This paper addresses the relations between art and everyday life in the city from the vantage points of urban aesthetics and sociology, where the “city” refers as well to a normative world. The aim is to show how art/artistic life contributed to the normative change and new urban lifestyles. First, I focus on Baudelaire’s theory of beauty and life in modern metropolis or the city as “poetic object” and dandyism as an art of the self, seen as a crucial normative change: the emergence of new norms of excellence and art of living, such as creativity and self-fashioning. Second, I discuss a recent yet related normative change, described by Boltanski and Chiapello as a passage to the “project-oriented city”, seen as a new way of working and living that fuses cultures of creativity and uncertainty. Third, I tackle the “creative city” hailed by Florida, where the creative lifestyle of “creative people” is the new mainstream setting the norms for society: individuality, diversity and openness, but also impermanent relationships and loose ties. I will argue that extending the hyper-mobile and flexible creative lifestyle from the extraordinary figure of the artist to ordinary people, as everyday urban life, triggers both benefits and risks.

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ESSAY ON THE CONCEPT OF ART AND REALITY

80%

Gyenge Z.

ESPES

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2021

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vol. 10

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issue 1

32 – 41

EN

Art shows something of reality as a whole, a reality that exists above or below the directly perceptible world. There is a first reality, or empirical reality, which can be mapped and captured through sense perception and is characterized by immediacy; and then there is a second or imagined reality that unfolds beyond direct empirical and experiential observation. While the animal intellect is attracted to the surface, to mere appearances, the human intellect is drawn to what lies beyond the surface. The ability to imagine is a condition of human intellect, being characterized, in Schopenhauer’s terms, by a power of “seeing in things not what nature has actually formed but what she endeavoured to form, yet did not bring about” (Schopenhauer, 1969, pp. 186-187). For Schopenhauer, this capacity can be fully engaged not by the “ordinary man, that manufactured article of nature” (ibid., p. 187), but by the man of genius. In contrast, John Ruskin holds that the power of art consists precisely in allowing us to regain what can be called the innocence of the eye, in other words, a kind of childlike perception which remains blind to the meaning of perceived things. (Ruskin, 2006, p. 42) This paper seeks a possible answer to the question of how art ties us to reality.

20

VZŤAH MEDZI ESTETICKOU A RELIGIÓZNOU FUNKCIOU ĽUDSKÉHO DUCHA V TEOLÓGII PAULA TILLICHA

80%

Ábel F.

Filozofia (Philosophy)

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2006

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vol. 61

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issue 6

464-473

EN

In his phenomenal system of the theological and philosophical thought Paul Tillich deals also with the question of the relationship between the aesthetic and religious aspects of a human spirit, which receive the concrete forms in art, particularly in arts. This relationship has an existential meaning. It means that we can talk about the theology of art, especially having in mind the visual, graphic, musical and literal depictions and, last but not least, the architecture. Every work of art represents a substantial form of expressing the profound train of thoughts, the feelings and visions of the artist. These have the same meaning and importance as the religious life of the people. They all are the reflections of the same concepts, i. e. there is a very close mutual relationship between the theology, religion and art, which always has to be taken into account when we are concerned with the fundamental aspects of being: with its meaning, purpose and the goal.

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BIBLIOGRAFIA 2004 – 2016

Wspólnota świata sztuki