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(Nie)obecność sztuki w kulturze dawnej. Przyczynek krytyczny do koncepcji antropologii obrazu Hansa Beltinga

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Bednarczuk A.

Rocznik Antropologii Historii

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2015

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issue 8, Antropologia i historia

263–283

XX

This paper discusses the theoretical concept of the “anthropology of image” by Hans Belting. Contrary to the traditional art history that had chosen the artistic structure as the research objective, Belting noticed that within the archaic cultures, the meaning had been granted to an image not only through the visual appreciation, but also through action centered on manifestation (“making presence”), and carried on in the process of symbolization. While one can agree with the broad message of Beltings theory, the details amount to regress in anthropologically oriented studies of archaic art.

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Утвердження просвітницької естетики у щоденнику Петра Апостола

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Myshanych Y.

Studia Polsko-Ukraińskie

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2021

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vol. 8

100-114

EN

The diary of Petro Apostol belongs to great samples of documentary prose of the beginning of the 18th century. Th e document indicates an expressive influence of the European ideological and cultural trend of the Enlightenment, which found its reflection in the language, figurative system and problems. Th e author wrote his diary for more than two years - from May 1725 to August 1727. Th ere are several motifs in the diary, against the background and in the interweaving of which the historical era of Ukraine of that time is visible. First of all, it is told about the family of the Apostols and their life in the Myrgorod regiment. Th e system of images created by the author is interesting - here his parents, peasants, Cossacks, serfs, Cossacks foremen, Russian nobles, merchants, princes, tsars, foreigners, friends of the author. Th e author’s attitude to his heroes is characteristic of enlighteners. It is rationalistic, that is, each mentioned person in society performs his function regardless of which class he belongs to. Particular interest in a wide range of problems that the author writes about in his notes - he is interested in family, agriculture, relations between people, legal issues, the problem of serfdom, poverty, personal relations, he talks about books and newspapers, about friends, about his father, about Prince Menshikov and his service, talks about entertainment and leisure, about dances and receptions, talks about clothes and everyday life, about gift s for the family, about his wife, about baptism and the birth of a child. Th e author does these problems esthetic in his notes, puts them into literary practice.

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Śpiewając z aniołami. Podstawy teologii muzyki sakralnej w prawosławiu

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Paprocki H., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.

Pro Musica Sacra

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2015

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vol. 13

EN

The author’s reflections on the theology of sacred music in Orthodoxy commences with the fact that the entire Liturgy is precisely outlined in the book known as the Typikon, which is at the same time a scenario and score of the service. The Typikon introduces order in the elements of prayer and also places an emphasis on beauty. For this reason, concepts such as artistry, artist, art and creativity play such an important role in the thought of the Church Fathers. The essence of this music is fundamentally an unceasing pursuit of the heavenly archetype, in order to attain unity between the divine realm and the human world. Liturgical music is therefore one of the ways of overcoming the fallen state and recovering the unity lost. The theory of church singing originates in Byzantium and influenced the formation of the Byzantine musical form, which delighted Prince Vladimir’s representatives in Constantinople. The beauty of the Greek Liturgy has become one of the criterions of authenticity of faith. The fascination with the beauty of the Liturgy is not an esthetic evaluation, but is a desire to grasp the essence of God through beauty. The Byzantine concept has been heavily influenced by the idea of the divine pattern, which was given to people by God by the angels or saints. This principle applies to all types of art including music. According to tradition, the well-known Byzantine hymnographer, poet and musician St. Roman the Melodist received the gift of arranging kontaktions and chants in a vision. The Mother of God appeared to him in a church and gave him a scroll with the instructions to consume it. After waking up, Roman the Melodist sang “Today the Virgin Gives Birth.” As a result, his creativity is the fruit of a gift received from God. Moreover, comparing church chants with the heavenly (from the 8th century, choir) is expressed in liturgical hymns, which tell of human voices blending with the songs of the Cherubim, thus creating a choir proclaiming the glory of God as “an icon in sound.” Liturgical chant contrasts itself with folklore songs. Church singers represented the angels, and for this reason, the name “choir” makes reference to the concept of the nine choirs of angels. Liturgical chant should sound solemnly, heavenly, and should be dematerialized (complemented by church architecture, giving the effect of poured out sounds rising to the dome of the church and returning as celestial and heavenly chant).

PL

Rozważania na temat teologii muzyki sakralnej w prawosławiu autor zaczyna od przypomnienia faktu, że cała liturgia jest precyzyjnie opisana w księdze zwanej Typikon, która jest zarazem scenariuszem i partyturą nabożeństwa. Typikon wprowadza uporządkowanie w żywioł modlitwy, równocześnie kładąc nacisk na piękno. Dlatego też takie pojęcia, jak artyzm, artysta, sztuka, twórczość, zajmują ważne miejsce w myśli Ojców Kościoła. Istota tej muzyki sprowadza się do nieustannego dążenia do niebiańskiego archetypu celem osiągnięcia jedności świata Boskiego i świata ludzi. Muzyka liturgiczna jest więc jednym ze sposobów przezwyciężenia stanu upadku i przywracania utraconej jedności. Teoria śpiewu cerkiewnego zrodziła się w Bizancjum i oddziałała na ukształtowanie się bizantyjskiego wzorca muzycznego, który tak zachwycił posłów księcia Włodzimierza w Konstantynopolu. Piękno liturgii greckiej stało się jednym z kryteriów prawdziwości wiary. Zachwyt wobec piękna liturgii nie jest estetyczną oceną, ale chęcią osiągnięcia istoty Boga poprzez piękno. Na koncepcję bizantyjską ogromny wpływ wywarła idea wzorca Boskiego, który został przekazany ludziom od Boga przez aniołów lub świętych. Ta zasada odnosiła się do wszystkich rodzajów sztuki, w tym także muzyki. Zgodnie z tradycją znany bizantyjski hymnograf, poeta i muzyk św. Roman Melodos otrzymał w sennej wizji dar układania kontakionów i śpiewania. W świątyni objawiła mu się Bogurodzica, dała zwój i poleciła go spożyć. Po przebudzeniu się Roman Melodos zaśpiewał „Dziewica dziś rodzi”. Dlatego też jego twórczość jest owocem daru otrzymanego od Boga. Z kolei porównanie śpiewu cerkiewnego z niebieskim (od VIII wieku chóru) znalazło swój wyraz w hymnach liturgicznych, które mówią, że ludzkie głosy mieszają się ze śpiewem cherubinów, tworząc chór głoszący chwałę Boga jako „ikona w dźwiękach”. Śpiew liturgiczny przeciwstawia się śpiewowi ludowemu, folklorowi. Śpiewacy cerkiewni przedstawiali aniołów i dlatego sama nazwa „chór” nawiązuje do koncepcji dziewięciu chórów anielskich. Śpiew liturgiczny powinien brzmieć podniośle, niebiańsko, powinien być zdematerializowany (czemu sprzyjała architektura cerkwi, dająca efekt lotu dźwięków zlewających się w kopule i powracających stamtąd jak nieziemski, niebiański śpiew).

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Ordering the World. The Aims of Art in Zbigniew Herbert’s Letters

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Nowak M.

Roczniki Humanistyczne

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2019

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vol. 67

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issue 1: Literatura polska - Selected Papers in English

43-58

EN

The Polish version of the article was published in Roczniki Humanistyczne vol. 57, issue 1 (2009). This article is devoted to Zbigniew Herber’s thoughts concerning esthetics. The author interprets the poet’s letters written to various people (among others, to Halina Misiołkowa, Czesław Miłosz and Jerzy Zawieyski) and looks for his opinions on art and creativity. He treats the letters not as auxiliary materials for the study of poetry, but as the main subject of his research. He perceives the transition from private letters to writing poetry as a consequence of the axiological connections joining both of these types of expression. He pays special attention to Herbert’s care for the consciousness of the aims of art, stemming from historical experience. The poet himself defined them in one of the letters as “ordering the world.”

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Rozmyślania sandomierskie Kaspra Drużbickiego na tle tradycji platońskiej i neoplatońskiej

51%

Krenz J.

Poznańskie Studia Teologiczne

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2011

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issue 25

293-323

EN

The article analyzes Rozmyślania sandomierskie (Sandomierz Meditations) by Kasper Drużbicki, a 17th century Jesuit. The text, which was probably read out during a monastic retreat, borders on homiletics and mystical writing. The author of the present article interprets it through the prism of strongly marked elements of Platonic and Neoplatonic tradition and tries to reconstruct the spiritual, philosophical and linguistic phenomena occurring at the interface of the physical and metaphysical spheres, among others the way symbols function, the shaping of the semantics of words, instability of the category of time, mutual permeation and complementation of the fields of esthetics and anesthetics. There are numerous references to philosophical writings and contemporary contexts within the theory of literature but their purpose is not so much to bring out factographical or historical dependencies or the existence of conscious intertextual references but rather to provide a detailed and multifaceted depiction of the main themes of Drużbicki’s work also in an attempt to elicit on these grounds certain general regularities in the history of human thought and religion.

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Ética y estética de la traducción monástica. Los traductores y lingüistas franciscanos españoles del árabe y el hebreo

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García A. B.

Translationes

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2010

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vol. 2

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issue 1

EN

Translations done by monks, brothers, or other religious orders have particular characteristics and ethical implications that distinguish them among other kinds of translations. During the Middle Ages, Spanish Franciscans played an important role in the contact of languages and cultures with other people, such as Arabs and Jews, but the course of their linguistic and translation activity was influenced by the times and circumstances.

ES

La traducción realizada por monjes, frailes o religiosos tiene unas características propias y una implicación ética que la distinguen de las demás. Los franciscanos españoles han jugado desde la Edad Media un papel relevante en el contacto de lenguas y culturas con otros pueblos y religiones, y en especial con árabes y judíos; pero el sentido de su actividad lingüística y traductora se ha visto influido por los tiempos y las circunstancias.

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Hypotypose littéraire et incrustation bédéique : essai de stylistique comparée

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Bessières V.

Acta Universitatis Lodziensis. Folia Litteraria Romanica

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2016

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issue 11

237-248

ES

En cuanto cuadro dinámico, la figura literaria de la hipotiposis parece concertarse con la propia definición del cómic, sucesión de imágenes generadora de movimiento. Sin embargo, si la hipotiposis es siempre simultáneamente descriptiva y narrativa, no ocurre lo mismo con el cómic, conjunto de descripciones que, por su sucesión, generan narración. De hecho, lo que mejor corresponde a la figura literaria es más bien un dispositivo particular del noveno arte: la incrustación, es decir la inscripción de una o varias viñetas dentro de otra. Automáticamente, la viñeta-marco se convierte en el trasfondo, el decorado de un relato desarrollado en primer plano por las viñetas incrustadas. Este procedimiento de incrustación no es clásico. Lo encontramos en los pioneros, o ente modernos y contemporáneos, que se sirven de él, a ejemplo de la hipotiposis, con fines épicos, o para dar mayor vida a una reconstrucción histórica, o bien para confrontar memoria colectiva y memoria individual, o bien incluso para que proliferen en un mismo tiempo varios espacios y en un mismo espacio tiempos diversos.

EN

As a dynamic picture, the literary figure of hypotyposis seems consistent with the very definition of comics, series of drawings producing motion. However, if hypotyposis is always simultaneously descriptive and narrative, comics are on the contrary sets of descriptions which sequencing produces narration. In fact, a particular device of the ninth art matches more with the literary figure: the insert, that is the inlay of one or more panels within another. Automatically, the inserting panel becomes the background, the setting of a story developed in the foreground by the inserted panels. This device is not classical. It is to be found among the pioneers or the modern and contemporary authors, who use it, like hypotyposis, for epic purposes, or to give more life to a historical re-enactment, to confront collective with individual memory, or also to make several spaces flourish in the same time and several times flourish in the same place.

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„Tańczenie o obrazie” - o tworzeniu i znaczeniu filmowego obrazu w Moulin Rouge! Baza Luhrmanna

45%

Zbańska M.

Roczniki Humanistyczne

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2013

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vol. 61

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issue 4: Historia Sztuki

253-267

EN

This article tries to present the concept of creating, characteristics and meaning of a movie image elements in the Baz Luhrmann’s postmodern musical Moulin Rouge!. The film belongs to the trilogy known as so-called „Red Curtain Cinema” – a term created by Australian director himself. This term defines the stylistics of a movie image and the way the film story is being told, reaching straight to visual methods and esthetical tradition of a stage show. Beside the Moulin Rouge!, which was filmed as the last part of this stylistic triad, Baz Luhrmann incorporates to the „Red Curtain Cinema” also his first two films: Stricly Ballroom and Romeo + Juliet. The article brings up such problems as the provenience of „theatricalized cinematic form”, the method of filming, used types and characteristics of stylistic and visual means of filmic and theatrical language, discussion over meaning of colours, types of light, scenography, shots and scenes with reference to the plot of Moulin Rouge!. The article is based upon the text of Author’s MA thesis about Moulin Rouge! movie.

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Esej sinologiczny o Norwidzie

38%

Komorowska A.

Studia Norwidiana

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2011

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vol. 29

269-282

EN

The review is an attempt at defining the genre of Krzysztof Andrzej Jeżewski's book Cyprian Norwid a myśl i poetyka Kraju Środka (Cyprian Norwid versus the thought and poetics of China). By referring to the disproportions between Norwidian and oriental contexts, as well as to numerous loose reflections, apparently reminding scientific conclusions, the text goes towards the ultimate suggestion to understand the work as an essay – in its first part, and as a collection of interpretative impressions – in the second one. Special attention is paid to those issues that in Norwid's work probably come from other sources (e.g. patristic), and are shown as ones taken from, or at least compatible with the spirit of Orient.

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(Nie)obecność sztuki w kulturze dawnej. Przyczynek krytyczny do koncepcji antropologii obrazu Hansa Beltinga

Утвердження просвітницької естетики у щоденнику Петра Апостола

Śpiewając z aniołami. Podstawy teologii muzyki sakralnej w prawosławiu

Ordering the World. The Aims of Art in Zbigniew Herbert’s Letters

Rozmyślania sandomierskie Kaspra Drużbickiego na tle tradycji platońskiej i neoplatońskiej

Ética y estética de la traducción monástica. Los traductores y lingüistas franciscanos españoles del árabe y el hebreo

Hypotypose littéraire et incrustation bédéique : essai de stylistique comparée

„Tańczenie o obrazie” - o tworzeniu i znaczeniu filmowego obrazu w Moulin Rouge! Baza Luhrmanna

Esej sinologiczny o Norwidzie