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Krytyka myślenia artystycznego

100%
Łukaszewicz J.
Estetyka i Krytyka
|
2013
|
issue 1(28)
261-271
EN
This article is an attempt at systematizing the views on artistic thinking and on the two modes of narrative technique: “image of history” and “history of images.” The adopted concept of criticism aims to extract and highlight what is most relevant at the start of the creative phenomenon of the film making process. It seems that the adopted method, consisting in simplified proofs derived from thought and from philosophical reasoning, may help to truly ground and systematize the concepts connected with film making also as intellectual structures, based on the idea of returning to the true nature of humanism. This approach seems quite risky, yet, however challenging for the author it may be, it also seems crucial from the point of view of organizing the knowledge of those studying the film arts.
2
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Artistic Thinking as the Phenomenon of Human’s Existence and Culture: Post-non-classical Discourse

100%
Polishchuk О.
Estetyka i Krytyka
|
2014
|
issue 3(34)
91-100
EN
The modern scientific status of the term “artistic thinking” and the concept of this phenomenon are analyzed. The structure and basic components of the phenomenon are identified. Its determinants of existence, cognitive and creative potential are defined. The article is devoted to the question of such kinds of artistic thinking as symbol-artistic thinking, project-artistic thinking and expressive-artistic thinking. Also, the analysis of its nature and its original features are conducted. It is concluded that the key ideas of this research are the concept of artistic thinking as another logical informative-cognitive human strategy which has determined aesthetic sources and has been the large cognitive- -creative potential.
3
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Of the Transavant-Garde in Ukrainian and Polish Artistic Traditions

86%
Soliarska-Komarchuk I.
Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe
|
2023
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issue 8(1)
57-62
EN
The article analyzes the artistic processes that emerged in the world in the second half of the twentieth century, after the Second World War. One of the most striking phenomena of that period was the transavant-garde, and the reasons for its emergence in many European countries and the United States are determined - Arte Cifra or la transavanguardia in Italy, Figuration Libre in France, New Image Painting in the United States, Neue Wilde in Germany, Nowa Expression in Poland. This diversity of transavant-garde manifestations in the context of national artistic systems is explained by the peculiarities of ethnomentalities that were formed on the basis of certain archetypes and universals. An important feature of the world transavant-garde is the artists’ appeal to expressionism. There is a rethinking and renewed interpretation of expressionism, which actually gave it the name «neo-expressionism». Considering the reasons why artists from different countries turned to expressionism, it is concluded that it was the analysis of inner experiences and the desire to express them as vividly as possible that caused such a «global» commitment. Closely related to this is the process of creating individual mythologies, which, through certain images (the use of linearism, dissonant color juxtapositions, deviations from the true image, the use of different techniques and materials in one art object), encouraged the viewer to experience certain affects. At the same time, the Ukrainian and Polish artistic systems of the time, as well as social and political life, were closely controlled by the Soviet system. The situation was especially difficult in Ukraine, where alternative views on art could be paid for with imprisonment or even life. However, in both Poland and Ukraine, there were artists who were engaged in aesthetic resistance and belonged to opposition movements such as counterculture and non-conformism. It is under these conditions that neo-expressionism gets its unique forms of development in both Polish and Ukrainian art. The New Expression movement has been developing in Poland since the early 1980s. Artists, turning away from official cultural institutions, spontaneously created alternative structures. The Polish New Expression, which officially declared itself and kept in touch with foreign colleagues, was a legitimate part of the global movement, and martial law did not allow Polish artists to enter the international scene. Using the creative methods of neoexpressionism, the artists fought for political freedom with inspiration. The artists, ridiculing the absurd world around them with the help of grotesque, used simplified composition and strong contrasting colors. Aesthetic resistance in Ukraine was deeply underground. Nonconformist artists could not organize exhibitions or communicate with their foreign colleagues. Therefore, the names of Ukrainian artists were not known to the world, as well as to most of their fellow citizens. Tight control by the authorities influenced the maximum reflection of opposition artists and determined the symbolic and metaphorical language of their works. After all, expressionism was despised and not supported within Soviet art.
4
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The Category of Artistic Thinking and the Conception of Roman Ingarden’s Aesthetic Situation

86%
Chorzępa P., Czakon D.
Estetyka i Krytyka
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2014
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issue 3(34)
9-22
EN
The aim of this paper is to examine the validity and utility of the category of artistic thinking through applying it to the description of an aesthetic situation as given by Roman Ingarden. The authors are referring to the common understanding of the concept as well as Ingarden’s works, such as: Wykład XI and Przeżycie estetyczne. In this paper they discuss the components of an aesthetic situation, at the same time attempting to characterise the category of artistic thinking.
5
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Феномен синестезии в европейском музыкальном искусстве эпохи романтизма

72%
Zaytseva M.
Path of Science
|
2016
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vol. 2
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issue 11(16)
3.1-3.13
RU
В статье выявлены синестезийные основы художественно-эстетического сознания философов, поэтов, композиторов романтической эпохи. На основе анализа эпистолярного и критического наследия композиторов-романтиков определены особенности проявления синестезии в их творческом мышлении. Обосновано значение визуальных, осязательных, вкусовых, кинестетических ощущений в процессах смыслопорождения и образотворчества.
EN
The article reveals synesthesiс foundations of artistic and aesthetic consciousness of philosophers, poets, composers of the Romantic era. Based on the analysis of the epistolary and critical heritage of Romantic composers, the particularities of synaesthesia manifestation in their creative thinking have been identified. The importance of visual, tactile, gustatory, kinesthetic perception in the process of meaning and image creation has been proved.
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