Search results

1

Place attachment, place identity and aesthetic appraisal of urban landscape

100%

Jaśkiewicz M.

Polish Psychological Bulletin

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2015

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vol. 46

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issue 4

573-578

EN

As the aesthetic of the Polish cities became a topic of wider discussions, it is important to detect the potential role of human-place relations. Two studies (N = 185 & N = 196) were conducted to explore the relationship between place attachment, place identity and appraisal of urban landscape. Satisfaction with urban aesthetic was predicted by two dimensions of place attachment (place inherited and place discovered), local identity (on the trend level) and national-conservative identity. Place discovered and European identity were also predictors of visual pollution sensitivity. Place discovered is considered as more active type of attachment that permits both a positive bias concerning the aesthetics of one’s city, and a stronger criticism of the elements that can potentially violate the place’s landscape.

2

Pražské univerzitní přednášky z estetiky Johanna Heinricha Dambecka. (Hledání jejich autentické podoby)

100%

Hlobil T.

Hudební věda (Musicology)

|

2012

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vol. 49

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issue 1-2

123-130

EN

This article examines contemporaneous reports about two versions of lectures in aesthetics, which were given at Prague University by Johann Heinrich Dambeck (1774–1820). They were recorded by the publisher Joseph Adolf Hanslik (1785–1859) in a manuscript summary in 1819 and a two-volume book published in 1822 and 1823. The article presents a comparison of the two sources in order to determine which parts of the commentary originate with Dambeck and which with Hanslik. Considering the large scope and the bibliographical nature of the chief part of the appendices to the book, the author of the article concludes that they originated not with Dambeck, but with Hanslik.

3

LO SPAZIO DELL'ARTE DELLA PAROLA NELLA RIFLESSIONE ESTETICA DI WŁADYSŁAW STRÓŻEWSKI

100%

cl r.

Colloquia Litteraria

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2018

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vol. 24

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issue 1

79-88

EN

The Role of the Art of the Word in Władysław Stróżewski's Aesthetic Reflection The article explains how the philosophical analyses of Cyprian Norwid's, Bolesław Leśmian's, and other poets' writing play a critical role in Władysław Stróżewski's aesthetics. His decision to look at the basic themes in aesthetic (and anthropology) from the perspective of the art of the word let to a novel elaboration of the knowledge of beauty and in an original manner directed it towards further axiological reflection.

4

Major Motives in South African Art in the First Decade of the 21st Century

88%

Pawłowska A.

West Bohemian Historical Review

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2016

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vol. 6

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issue 2

339-354

EN

The aim of this article is to present an overview of changes which have taken place in Visual Arts in South Africa after the abolition of apartheid in 1994. The artistic issues are shown in a broader perspective of grave alterations which ocurred in South African society and culture after the termination of apartheid. One of the most important aspects concerning contemporary South African Art is the problem of dealing with South Africa’s traumatic past (this problem is the dominating theme of an artistic output of such diverse artists as Minnette Vári, William Kentridge, Sue Williamson, Judith Mason and Kendell Geers). Another extraordinary problem faced by South African present-day art is to find paths in order to construct links between South African art and modern and classical art from Europe. In order to analyze these problems, we take under scrutinous consideration such 21st century artists as Johannes Phokela, Wim Botha, Andrew Putter.

5

Some remarks regarding contemporary South African art in the context of political changes and stability of artistic principles

88%

Pawłowska A.

Studies in African Languages and Cultures

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2013

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issue 47

47-66

FR

L'article présente un aperçu général des changements qui sont intervenus dans le domaine des beaux-arts dans la République de l'Afrique du Sud, après l'abolition de l'apartheid en 1994. Plus de détails a été présenté dans l'affabulation concernant l'utilisation par les créateurs modernes des chefs-d'œuvre de l'art européen ancien (par exemple Rubens et Michel-Ange). Les oeuvres naissants à ce cours montrent des rapports clairs à une nouvelle et compliqué réalité de l'Afrique du Sud au cours des dernières décennies. Cette problème entreprend les artistes du XXIe siècle tels que Johannes Phokela, Wim Botha, Andrew Putter.

6

Sensing the Present: “Conceptual Art of the Senses”

88%

Bal M., Burke R. E.

Text Matters: A Journal of Literature, Theory and Culture

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2017

|

issue 7

27-54

EN

After Rachel E. Burke briefly introduces the essays presented with a focus on our contemporary relationship to modern subjectivity, Mieke Bal will make the case for the sense of presentness on an affective and sensuous level in Munch’s paintings and Flaubert’s writing by selecting a few topics and cases from the book Emma and Edvard Looking Sideways: Loneliness and the Cinematic, published by the Munch Museum in conjunction with the exhibition Emma & Edvard. It is this foregrounded presentness that not only produces the ongoing thematic relevance of these works, but more importantly, the sense-based conceptualism that declares art and life tightly bound together. If neither artist eliminated figuration in favour of abstraction, they had a good reason for that. Art is not a representation of life, but belongs to it, illuminates it and helps us cope with it by sharpening our senses. As an example, a few paintings will clarify what I mean by the noun-qualifier “cinematic” and how that aesthetic explains the production of loneliness.

7

Sensing the Present: “Conceptual Art of the Senses”

88%

Bal M., Burke R. E.

Text Matters: A Journal of Literature, Theory and Culture

|

2017

|

issue 7

27-54

EN

After Rachel E. Burke briefly introduces the essays presented with a focus on our contemporary relationship to modern subjectivity, Mieke Bal will make the case for the sense of presentness on an affective and sensuous level in Munch’s paintings and Flaubert’s writing by selecting a few topics and cases from the book Emma and Edvard Looking Sideways: Loneliness and the Cinematic, published by the Munch Museum in conjunction with the exhibition Emma & Edvard. It is this foregrounded presentness that not only produces the ongoing thematic relevance of these works, but more importantly, the sense-based conceptualism that declares art and life tightly bound together. If neither artist eliminated figuration in favour of abstraction, they had a good reason for that. Art is not a representation of life, but belongs to it, illuminates it and helps us cope with it by sharpening our senses. As an example, a few paintings will clarify what I mean by the noun-qualifier “cinematic” and how that aesthetic explains the production of loneliness.

8

Existuje „velké“ umění? : Kritika axiologického základu uměleckého kánonu

75%

Zahrádka P.

Filosofický časopis (Philosophical Journal)

|

2015

|

vol. 63

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issue 1

95-112

EN

My paper explores critical objections to the concept of the artistic canon, conceived as a summary of works with an objective aesthetic value that have stood the test of time. To begin with, the objections of feminist and postcolonial criticism are discussed and examined. However, the sociological objection questioning the axiological foundation of the canon, i.e. the possibility of generally applicable aesthetic judgment, has been identified as the most crucial. My paper proceeds to discuss the theory of ideal perception as a solution to the problem of justifying aesthetic judgments. My aim is to prove that from the axiological perspective, the theory of the ideal critic gets entangled in the never-ending regress of a logical circle, or it eventually finds its justification through a particular social practice. This theory is also problematic in its erroneous assumption of the logical independence of the descriptive and evaluating components of aesthetic concepts. The impossibility of separating the evaluating attitude from the conditions of the use of aesthetic concepts indicates the relative applicability of aesthetic value and the artistic canon, depending on the “personal economy” of the evaluating subject.

9

Czy muzyka jest symbolem porządku moralnego? Koncepcje Gisèle Brelet i Pascala Quignarda

75%

Chęćka-Gotkowicz A.

Aspekty Muzyki

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2011

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vol. 1

47-61

EN

The paper examines Gisèle Brelet’s and Pascal Quignard’s concepts concerning the relation between music and morality. The fi rst consideration involves Gisèle Brelet’s assumption that music always helps to instill virtue in the listeners. Brelet claims that we can train ourselves to be better people by listening to absolute (instrumental) music in particular. Contrary to Brelet’s intuition, Pascal Quignard, in his controversial discussion of music in La haine de la musique (Hatred of music), asks how we could be moved by Schubert and at the same time be able to act ferociously? How to explain the coexistence of Holocausts and terror campaigns on one hand, and the aesthetic sensibilities of the persons responsible for such evil on the other? In my paper, I give a sympathetic hearing to both Brelet’s and Quignard’s perspectives. I try to respond to some likely objections to Brelet’s idealism and Quignard’s skepticism.

10

Интенциональный анализ идеологии

75%

Blyukher F. N., Gourko S. L.

Przegląd Wschodnioeuropejski

|

2014

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vol. V/1

163-177

EN

The hypothesis is proposed that a variety of discursive manifestations of ideology can be described by means of a fourfold schema in which each of distinct implications of ideologi¬cal discourse falls within one of four categories that can be phenomenologically marked as “scientific”, “ethic”, “aesthetic” and “religious”, correspondingly. We argue that due to the difference in temporal orientation of those four forms they are systematically combined in pairs where “ethic” and “aesthetic” forms explain a “meaningful present”, while “religious” and “scientific” are responsible for a “possible future”. As a result, there can be only four possible types of functionally complete ideologies. To test our hypothesis, we have checked several obviously ideologically charged texts for the prevalence of definite “ideological di¬scursive forms”, and found out that, in most cases, the pair representing the expected ideolo¬gy of the author prevails in our schema.

11

Teoria splątana

75%

Krajewska A.

Przestrzenie Teorii

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2020

|

issue 34

7-15

EN

Referring to her earlier articles, Anna Krajewska develops her own concept of “entangled theory”. Adopting the principles of operation of elementary particles in quantum physics, referred to as the “entanglement state”, she proposes to see literary studies through anti-binary, performative concepts, which include, above all, anamorphosis. She ties theory in with the process of experiencing art. She proposes to “entangle” seeing in art (the viewer in front of the painting) with the role of seeing in theory (the viewer as practising dramaturgy). In this approach, the theory appears as the theory of entanglement. In this concept, disciplines become dramaturgies.

12

ОСНОВНІ ОРІЄНТИРИ ЕСТЕТИЧНОЇ КОМПЕТЕНТНОСТІ У ПРОФЕСІЙНІЙ ПІДГОТОВЦІ МАЙБУТНІХ УЧИТЕЛІВ ПОЧАТКОВОЇ ОСВІТИ

63%

Людмила Ф.

Педагогічні науки: теорія, історія, інноваційні технології

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2017

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issue 2(66)

163-174

EN

In this article, we pay attention to the professional training of the future primary school teacher, based on an actual competence model, associated with determination of the decisive, system meaning of the personality’s motivation vector in the strong relation to the process of the motivation skills formation, which was developed by J. Raven, by forming an aesthetic competence of the modern teacher. One of the most effective ways of the future teacher’s professional training for work in primary school is realization of the aesthetic landmarks, connected with formation of an aesthetic teacher’s competence. Particular aesthetic aspects of the teacher’s work in the primary school will make some sense when we are talking about intellectual values, psychological culture, beauty of the nature, an aesthetic of the processes of the teacher’s professional activity. We try to solve these assignments with the help of integrated (nature study, career education, Ukrainian, literature, reading, music and art) and individual art work lessons, decorative arts and crafts and development, which is realized in the modern school. In connection with this, the professional teacher must be an aesthetically oriented and an aesthetically competent. Transformation of the knowledge, skills and abilities in the competence promotes personal and professional development of the future teachers, who are able to react fast on social and educational changes. The most important competence of the teacher is his/her own professional competence, which involves experience, knowledge, skills and psychological availability. Also, we reveal “competence” definition and the question of the professional training for primary school teacher, such as: realizing of aesthetics by the person, understanding of the aesthetic society, where the person lives, discovery of the possibilities of the aesthetics person’s activity, human beauty, beauty of the world, beauty of the nature, beauty of the process. We must admit that the competence approach is the main in a definition of the main landmarks of an aesthetic competence in professional training of the future primary school teacher. The author proposes beautiful, comprehensible and understandable technique, which is called “quilling”.

13

Wierzenia z perspektywy estetyki japońskiej. Mushishi Yuki Urushibary

63%

Dmitruk N.

Literatura i Kultura Popularna

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2017

|

vol. 23

93-107

EN

The Japanese culture is often portrayed as unique, in particular when compared to broadly-understood Western culture. It is important to notice, however, that the main trait of the Japanese culture is its openness towards outside influences and the ability to modify them to fit better with the Japanese system of values. The same could be applied to the Japanese aesthetics, which concernsm various aspects of life, not only the ones that would be described as art in Western culture. The contemporary Japanese culture (and the aesthetics along with it) is occasionally a combination of tradition and modern ideas; the works of popular culture, which includes comics and animation, may hold the most interesting cases in that regard. This article describes the issues of the Japanese aesthetics in Mushishi, a comic book by Yuki Urushibara. The author, while inspired by the classical works of Japanese literature and legendary tales, presents her own stories, in which the primary aesthetic value is the harmony between human and nature, sometimes represented by the supernatural beings known as mushi.

14

ВИХОВНИЙ ВПЛИВ МУЗИЧНОГО МИСТЕЦТВА НА ФОРМУВАННЯ ОСОБИСТОСТІ ДИТИНИ

63%

Картава Ю.

Педагогічні науки: теорія, історія, інноваційні технології

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2015

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issue 3(47)

276-283

EN

This article presents a theoretical analysis of the problem of educational influence of musical art in the formation of the child’s personality of the preschool age. The author notes that the development of a preschooler, his formation as a person - a cardinal problem for preschool education. Musical art has an inexhaustible potential impact on the internal world of the child, it is a kind of means of communication, promotes self-knowledge and self-expression of a personality, the formation of his world, as repeatedly told the writers, composers, teachers, psychologists, art historians, scientists in various spheres. In the direction of humanistic education through the art of music it is transformed into personal human values that are essential in human life. Aesthetic education of preschool children by means of music is aimed at developing the ability to perceive, feel and understand beauty, notice the good and bad, act independently, joining thus to different types of artistic activity. The author stresses that I. Gazina in her study has noted that the Ukrainian folk music and song that are easy to comprehend, highly emotive and full of meaning, reflecting the traditional Ukrainian national culture, undoubtedly the best educational factors impact on preschool children. Music for them is natural ambience that evokes creativity, develops artistic and aesthetic abilities of the individual, specifically affect the underlying processes of the internal world of the child, the formation of patriotic feelings and the formation of interest in the Ukrainian national values which, in turn, is a sure foundation for further formation of the citizen-patriot with wide national consciousness and identity. National culture is the basis of formation of a fully developed personality and its implementation. Musical activity creates the necessary conditions for the moral education of the individual, the formation of his moral qualities, education foundations of general culture. National education by means of music aimed at the formation of patriotic feelings and interest in Ukrainian national values, in turn, is a reliable foundation for the further formation of a citizen-patriot. Thus, the art of music has a great educational potential, the use of which contributes to the formation of the child’s personality of the preschool age.

15

Definicja piękna w XII wieku a architektoniczna ekspozycja ołtarza w epoce gotyckiej

63%

Bogdan M.

Polonia Sacra

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2013

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vol. 17

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issue 2

EN

This article, while taking into account the mystical reality of a relic, defines gothic initiated by the abbot Surger with the construction of the first gothic basilica in Saint-Denis near Paris in the XII century, as a reality required to know the difference between individual invisible beauty and corporeal visible beauty. When the differentiation of these types of beauty shows itself, not only thanks to the unknown in Romanism mystical structure of architecture in a gothic temple, but also through the construction of the gothic altar and hiding it in a choir enclosed by a lectorium in accordance to the zone of aisles, there is a necessity for a scientific definition of beauty connected with the then contemporary stylistic changes.This is why this article presents the main schools of aesthetic thought from the XII century, which include: the aesthetic school of Hugon of St. Victor in Paris, Cistercian school with their representative St. Bernard from Clairvaux and the aesthetic school in Chartres. With the definition of artistic types of beauty, a lot of attention is applied to the separation and coexistence of spiritual and corporeal beauty. This decides about moral beauty and the beauty of clear existence, without which there is no right knowing of the ascetic Cistercian architecture and the reality of the gothic curtain altar. Finally it is emphasized, that the importance of twelfth century aesthetics is everlasting and had introduced order to gothic architectural space, which is still found in it now, as it had been in the time of abbot Surger of Saint-Denis.

16

Zarys semiotyki i estetyki romskich katow swietych

63%

Gancarz N.

Studia Romologica

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2016

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vol. 9

99-112

EN

Looking at the character, significance and the esthetics of the “sacred corner” – a phenomenon of the Polish folk culture, longest present particularly in the Eastern and North-Eastern Poland, the author analyses contemporary decorations made in the Roma houses of the Carpathian Mountains as well as those of the Roma middleclass of various groups. The article aims at opening a discussion about the sources of the „Gypsy style” and invites the question of whether the Roma esthetics is a combination of elements borrowed from the poor strata of the majority group and frozen in the material culture of the Roma, while the majority ceased to employ these elements or rather a new space where new, specifically Roma things are being created.

17

Szczeciński ośrodek telewizyjny w latach 60. XX wieku. Estetyka i polityka

63%

Iwasiów S.

Przegląd Zachodniopomorski

|

2020

|

issue 1

61-75

EN

The purpose of this article is to demonstrate the connections between aesthetic and politics as exemplified by the Szczecin Television Centre in the 1960s. Szczecin, since the establishment of the regional centre of the Polish Television (TVP), has been associated primarily with the marine and shipbuilding industry, the port, the profession of seaman, water sports, spending free time at the riverside, by the lake or at the seashore. These characteristic features of Szczecin were repeatedly emphasized by the aesthetic dimension of the films and television materials of that time period – e.g. their inherent element was the sound of a ship’s siren – which had clearly persuasive, propaganda character. The Szczecin television was created by the artists – radiomen, actors, authors, whose work was situated at the junction of two spaces: aesthetic and politic.

PL

Celem artykułu jest wskazanie związków estetyki i polityki na przykładzie funkcjonowania szczecińskiej telewizji w latach sześćdziesiątych. Szczecin, od początku istnienia regionalnego ośrodka TVP, kojarzy się przede wszystkim z przemysłem morskim i stoczniowym, portem, zawodem marynarza, sportami wodnymi, spędzaniem wolnego czasu nad rzeką, jeziorem czy brzegiem morza. Te cechy charakterystyczne Szczecina niejednokrotnie podkreślano estetycznym wymiarem filmów i materiałów telewizyjnych z tamtego okresu – na przykład ich nieodłącznym elementem jest dźwięk okrętowej syreny – które miały wyraźnie perswazyjny, propagandowy charakter. Szczecińską telewizję tworzyli przy tym artyści – radiowcy, aktorzy, pisarze – których praca stanowiła styk dwóch przestrzeni: estetycznej i politycznej.

18

Die Schönheit reden. Überlegungen nach Anton Raphael Mengs und Johann Joachim Winckelmann

54%

Brudzyńska-Němec G.

Convivium. Germanistisches Jahrbuch Polen

|

2013

143-165

PL

Problem, jak ująć w słowa sferę sztuki, był w refleksjach estetycznych wieku osiemnastego jednym z centralnych i bardzo żywo dyskutowanych tematów. Indywidualny charakter oglądu dzieł sztuki, bazujący na doznaniach uczuciowych i jednocześnie przenikliwy intelektualnie, budzi poczucie zmysłowej bliskości w kontakcie ze sztuką, niedoświadczane do tej pory w podobnym stopniu. Doznania te stają się wyzwaniem nie tylko dla nowatorskich prób opisu obrazu, lecz również wpływają na literaturę teoretyczną, która w wieloraki sposób przekracza dotychczasowe dyskursywne kategorie. Poniższy szkic omawia elementy zmian języka literatury teoretycznej poświęconej sztuce na przykładzie wczesnych pism Johanna Joachima Winckelmanna i Antona Raphaela Mengsa. Na szczególną uwagę w tekstach tych zasługują związki między retoryką i oglądem dzieł sztuki.

EN

The 18th century saw a shift in the meaning of art. The communicability of art experience was a central and lively discussed problem in the aesthetic reflections of the 18th century. The individual, emotional and yet astute viewing of art produced a sensual proximity to the artwork hardly noticed so far. This experience was a challenge not only for the description of pictures, but also for the theoretical literature on art. This essay deals with the changes of style in theoretical literature on art on the example of the early writings of Johann Joachim Winckelmann and Anton Raphael Mengs. Particularly, the close connection between rhetoric and the description of art will be shown.

DE

Die Mitteilbarkeit von Kunsterfahrung bildet ein zentrales und lebhaft diskutiertes Problem in den ästhetischen Reflexionen des 18. Jahrhunderts. Die individuelle, gefühlsbetonte und zugleich scharfsinnige Kunstbetrachtung erzeugt eine bisher kaum in solchem Grade wahrgenommene sinnliche Nähe zum Kunstobjekt. Diese Erfahrung wird zur Herausforderung nicht nur für die Bildbeschreibung, sondern auch für die theoretische Kunstliteratur, die in vielerlei Hinsicht aus ihrer diskursiven Enge ausbricht. Der Beitrag beschäftigt sich mit den sprachlichen Veränderungen in den theoretischen Erörterungen am Beispiel von frühen Schriften von Johann Joachim Winckelmann und Anton Raphael Mengs. Die enge Verbindung zwischen der Redekunst und der Kunstbeschreibung kommt dabei besonders zum Vorschein.

19

Estetyzacja rzeczywistości – skutek dobrobytu czy upadek wartości? Analiza i krytyka poglądów Wolfganga Welsch’a względem procesu estetyzacji

51%

Kociołek K.

Analiza i Egzystencja. Czasopismo Filozoficzne

|

2020

|

vol. 52

37-54

EN

The article is a polemic with Wolfgang Welsch's criticism of the aestheticization process presented in his article entitled ‘Aestheticization Processes. Phenomena, Distinctions and Prospects’. Its purpose is to show that arguments suggesting a negative assessment of this phenomenon are unfounded and the aestheticization should be rather treated as a sign of human civilization welfare which revealing favourable perspectives than as a problem threatens a degeneration or the fall of values. In the first part of the text, I present the definition of aestheticization and some examples of it. Next, I analyse the potentially negative consequences of this process and fears about its further development pointed out by Welsch. I argue that the aestheticization is a positive phenomenon because people may care of aesthetic values only after satisfying more basic needs. The real consequence of this process is a better understanding of the reality, as the aestheticization emphasizes its immanent susceptibility to modelling which simultaneously enhance a possibilities of influencing on it by the human will. Therefore, instead of a danger for humanity, aestheticization may become a breakthrough in the development of our civilization.

PL

Artykuł stanowi polemikę z krytyką procesu estetyzacji przeprowadzoną przez Wolfgang’a Welsch’a w artykule pt. "Procesy estetyzacji – zjawiska, rozróżnienia, perspektywy". Jego celem jest udowodnienie, że argumenty sugerujące negatywną ocenę tego zjawiska są nieuzasadnione, a estetyzacja powinna być traktowana raczej jako odsłaniający wyjątkowo korzystne perspektywy rezultat powszechnego dobrobytu, aniżeli problem grożący degeneracją czy upadkiem wartości. W pierwszej części tekstu przedstawiona zostaje definicja omawianego procesu oraz kilka przykładów jego zachodzenia. Następnie przeprowadzona zostaje analiza wyróżnionych przez Welsch’a negatywnych skutków jego funkcjonowania oraz obaw przed jego postępującym rozwojem. Argumentacja oparta na piramidzie potrzeb Maslowa uwidacznia, iż troska o wartości estetyczne jest możliwa dopiero w sytuacji zaspokojenia potrzeb niższych, przez co świadczy o wysokim poziomie dobrobytu, a nie załamaniu wartości, na który wskazuje Welsch. Faktyczną konsekwencją omawianego procesu okazuje się lepsze rozumienie struktury rzeczywistości, możliwe do uzyskania dzięki procesowi estetyzacji, który uzmysławia niemalże nieograniczoną podatność świata na jego przekształcanie i modelowanie, jednocześnie zwiększając możliwości oddziaływania na niego poprzez ludzką wolę. W tym świetle estetyzacja nie stanowi przepowiadanego przez wielu zagrożenia, ale raczej szansę zrobienia przełomowego kroku na drodze rozwoju ludzkości.

20

„SAKRAMENTALNY” CHARAKTER ESTETYKI IKONY JAKO PRZYKŁAD TEOLOGII OTWARTEJ

51%

Strumiłowski J.

Forum Teologiczne

|

2017

|

vol. 18

105-122

PL

Współcześnie w literaturze teologicznej często mówi się o „sakramentalności” ikony. Określenie to nie świadczy o traktowaniu sztuki ikonicznej na równi z siedmioma kanonicznymi sakramentami, ale sugeruje, że ten szczególny rodzaj sztuki posiada właściwość uobecniania w swojej przestrzeni rzeczywistości Boskiej. Sposób partycypacji pierwiastka nadprzyrodzonego nie ma jednak tak radykalnego, jak np. w Eucharystii lub innych sakramentach, charakteru substancjalnego. Domeną sztuki ikonicznej, jak każdej innej, jest forma, zatem należy spodziewać się, że w aspekcie formalnym (estetycznym) znajdują się elementy świadczące o jej sakramentalności. Ponadto w ikonie sfera formalna mocno jest zestrojona z samą treścią wskazaną przez ikonę, zatem również teologia, jaką przywołuje ikona, poprzez sakramentalny charakter formy, powinna odznaczać się pewnego rodzaju otwartością na transcendencję.

EN

Nowadays, the theological literature says more and more often about the “sacramentality” of icon. Obviously, this term does not intend to make equal the iconic art and the seven canonical sacraments, but suggests that this specific kind of art can somehow, in its domain, make present or participate in the God’s reality. However, the way of participation of the supernatural element has not so radical substantial character, as it is in the case of the Eucharist or of the other sacraments. The form constitutes the realm of the iconic art (as of the other arts). That is why one should assume that the elements of the “sacramentality” of this art may be found in its formal (aesthetic) aspect. Moreover, the icon’s formal aspect is very strongly harmonized with its very content, therefore the theology represented by icon should similarly be characterized by some openness to transcendence.

Refine search results

Place attachment, place identity and aesthetic appraisal of urban landscape

Pražské univerzitní přednášky z estetiky Johanna Heinricha Dambecka. (Hledání jejich autentické podoby)

LO SPAZIO DELL'ARTE DELLA PAROLA NELLA RIFLESSIONE ESTETICA DI WŁADYSŁAW STRÓŻEWSKI

Major Motives in South African Art in the First Decade of the 21st Century

Some remarks regarding contemporary South African art in the context of political changes and stability of artistic principles

Sensing the Present: “Conceptual Art of the Senses”

Sensing the Present: “Conceptual Art of the Senses”

Existuje „velké“ umění? : Kritika axiologického základu uměleckého kánonu

Czy muzyka jest symbolem porządku moralnego? Koncepcje Gisèle Brelet i Pascala Quignarda

Интенциональный анализ идеологии

Teoria splątana

ОСНОВНІ ОРІЄНТИРИ ЕСТЕТИЧНОЇ КОМПЕТЕНТНОСТІ У ПРОФЕСІЙНІЙ ПІДГОТОВЦІ МАЙБУТНІХ УЧИТЕЛІВ ПОЧАТКОВОЇ ОСВІТИ

Wierzenia z perspektywy estetyki japońskiej. Mushishi Yuki Urushibary

ВИХОВНИЙ ВПЛИВ МУЗИЧНОГО МИСТЕЦТВА НА ФОРМУВАННЯ ОСОБИСТОСТІ ДИТИНИ

Definicja piękna w XII wieku a architektoniczna ekspozycja ołtarza w epoce gotyckiej

Zarys semiotyki i estetyki romskich katow swietych

Szczeciński ośrodek telewizyjny w latach 60. XX wieku. Estetyka i polityka

Die Schönheit reden. Überlegungen nach Anton Raphael Mengs und Johann Joachim Winckelmann

Estetyzacja rzeczywistości – skutek dobrobytu czy upadek wartości? Analiza i krytyka poglądów Wolfganga Welsch’a względem procesu estetyzacji

„SAKRAMENTALNY” CHARAKTER ESTETYKI IKONY JAKO PRZYKŁAD TEOLOGII OTWARTEJ