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1

Estetyka współczesnych cmentarzy

100%

Królikowska A.

Opuscula Sociologica

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2012

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issue 1(1)

59-72

PL

Współczesne cmentarze przesycone są estetyką o cechach kultury popularnej. Szczególnie znajduje tu zastosowanie kicz jako „sztuka pocieszająca”. Praktyki organizowania wyglądu i estetyzacji grobu zależą od dostępności materiałów i akcesoriów, zasobności, a także kompetencji kulturowych i estetycznych. Obecnie nagrobki w większości przypadków powstają w rękach rzemieślników i są wytworem masowym. Uzasadnione z punktu widzenia estetyki pytanie: „czy cmentarze są ładne”, z punktu widzenia socjologii musi zostać przekształcone w pytania: dla kogo są ładne, jakie funkcje pełni taka a nie inna estetyka, jakie są jej związki z innymi zjawiskami kultury, z cechami społeczeństwa? Dziś ta specyficzna estetyka sprawia wrażenie zastygłej i kulturowo wyizolowanej, nie tylko ze względu na jej funkcje rytualne, łagodzące i dystansujące wobec grozy śmierci, ale także dlatego, że kultura cmentarzy i kultura późnej nowoczesności mówią różnymi językami.

EN

Contemporary cemeteries are characterized by popular culture aesthetics. Particularly, kitsch is used as ‘comforting art’. Practices of organizing the appearance and aestheticization of a tomb depend on the availability of materials and accessories, affluence level, as well as cultural and aesthetic competence. Nowadays tombstones in most cases are made by craftsmen and are mass-produced. From the point of view of sociology, the question whether cemeteries are pretty, wellfounded on the grounds of aesthetics, should be replaced by the following questions: who are they pretty for?, what functions does a given aesthetics fulfil?, what is the relevance of other cultural phenomena and features of a society to it? Nowadays, this specific aesthetics gives the impression of being petrified and culturally isolated, not only because of its ritual and alleviating functions or the function of repressing death anxiety, but also insomuch as the culture of cemetery and the late modernity culture speak different languages.

2

THESES TO THE FUSS ABOUT PRINCIPLES

100%

Bator A. P.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2016

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vol. 21

112-122

PL

TEZY DO AWANTURY O PRYNCYPIA Treścią tekstu jest przedstawiona w formie tak zwanej prozy poetyckiej wyimaginowana dyskusja na temat kondycji sztuki współczesnej, a ściśle rzecz ujmując, jej dominujących od kilku dekad cech: z jednej strony pomieszanie konwencji, labilność ideowa, wolność artystyczna czy alinearność, zaś z drugiej rezygnacja z funkcji dzieła jako próby zaspokajania sensu na rzecz wywoływania szoku estetycznego i poczucia moralnego zagrożenia.

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Performatywny charakter estetyki

70%

Dziamski G.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2018

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vol. 26

32-50

EN

The performative character of aesthetics Many lecturers of aesthetics feel that the subject of their lectures is not necessarily aesthetics, but history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, the British philoso- phers of taste and German romanticists. Does that mean that aesthetics feeds on its own past, is nurtured by reinterpretations of its classics, defends concepts and categories that inspire no one and do not open new cognitive perspectives? Does it mean that aesthetics is dead today, like Latin or Sanskrit, while its vision of art and beauty is outdated, invalid and totally useless? Aesthetics is a polysemous concept, which has never been sufficient- ly defined. It can determine a way of perceiving and experiencing the world that is specific for a given community, in other words, taste, yet it can also mean certain countries’ or regions’ contribution to aesthetic thought, to the aesthetic self-knowledge of man. Thus its dimension is practical, cultural and philosophical. Today aesthetics faces new challenges that it has to live up to; its ma- jor tasks include the defence of popular art, polishing the concept of aes- thetic experience, aestheticization of everyday life and de-aestheticiza- tion of art, transcultural aesthetics and its approach to national cultures. In the book “Aesthetics: the Big Questions” (1998) Carolyn Korsmeyer reduces the main issues of contemporary aesthetics to six questions. The first question, old but valid, is a question about the definition of art. What is art? Nowadays everything can be art because art has shed all limita- tions, even the limitations of its own definition, and has gained absolute freedom. It has become absolute, as Boris Groys says. It has become absolute, because it has made anti-art a full-fledged part of art, and it has not been possible either to question or negate art since, as even the negation of 50 Grzegorz Dziamski art is art, legitimized by a more than 100 year long tradition, going back to the first ready-made by Marcel Duchamp in 1913. Today making art can be art and not making art can be art, as well, art is art and anti-art is art. The old question: “What is art?” loses its sense, and so does Nel- son Goodman’s question: “When art?”. When does something become art? These questions are substituted by new ones: “What is art for you?”, “What do you expect from art?”. There can be a lot of answers, because defining art has a performative character. Louise Bourgeois has ex- pressed the performative character of defining art in an even better way: “Art is whatever we believe to be art”. And for some reasons, which we do not fully realize ourselves, we want to make others share our belief. The text in an introduction to a new book on contemporary aesthetics by Grzegorz Dziamski.

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Estetyka współczesnych cmentarzy

THESES TO THE FUSS ABOUT PRINCIPLES

Performatywny charakter estetyki