Search results

1

Taevavotmed ja kristusekaed – taimed lounapoolse Kesk-Euroopa reformatsioonieelses kunstis

100%

Sillasoo Y.

Mäetagused

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2013

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vol. 55

53-74

EN

One of the characteristics of the 15th–16th-century pre-Reformation sacral art in southern central Europe, as well as in the Netherlands and Italy, is the multitude of natural plant depictions. Depending on the artists and subjects of paintings, plant depictions could, similarly to animal depictions, fulfil the roles of attributes, allegorical and metaphorical devices and/or to represent various landscapes. The appearance and properties of plants, their habitats and usage are the fundamental features of plant symbolism. Plant names in late medieval and early modern period herbals is another important clue for understanding the meaning of vegetation shown in the context of landscapes. Natural plants in pre-Reformation art, as interpreted here, represent the syncretism of Christian and folk belief in mundane and spiritual life. The richness of popular elements in Christian art and their interpretation, however, was a reason for the discontinuation of the same pictorial tradition and its replacement by another, suppressed into institutional frames and more controlled by the authorities.

2

Józefa Chełmońskiego „Droga” ku abstrakcji

88%

Sosnowska J.

Biuletyn Historii Sztuki

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2014

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vol. 76

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issue 4

655-666

EN

Upon his return to Warsaw from Paris, Józef Chełmoński submitted for the 1888 exhibition of the Society for the Encouragement of Fine Arts (TZSP) five paintings that substantially differed from his earlier painterly manner. The TZSP committee, however, rejected them all, except for the most conventional one. Chełmoński displayed the rejected works with some other pieces at Aleksander Krywult’s Salon. The four canvases not admitted by the Society were landscapes, two of which had no staffage, a feature rarely encountered in Polish painting. Even many years later, critics referred to them as ‘almost abstract’ works. In the years to follow, Chełmoński painted landscapes, but also genre scenes. It can be clearly seen that the artist was interested in the painting’s flatness, hence his decision to avoid any narration, since the 3-D quality of the presentation is achieved by relating it to story-telling. It was still too soon for flatness of the presentation in Chełmoński’s oeuvre, however the search he undertook in the latter half of the 1880s heading in this very direction makes the artist rank among Modernists.

3

Goethovy italské krajiny

75%

Hrbata Z.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2017

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vol. 55

67-82

EN

The article focuses on The Italian Journey (Italienische Reise) of Johann Wolfgang von Goethe, and its artistic accents or significations, focusing particularly on the comparison of the main traits and intentions of the poet’s drawings that he created in Italy, in an effort to screen observing faculties, with, on the other hand, his parallel literary landscapes. Such comparison permits to consider the transformation of descriptions into a verbal aestheticization of sight or the seen.

4

„Listy na liściach”. Medialność roślin w projekcie Grün | Zielony Karoliny Grzywnowicz

63%

Wandzel A.

Przegląd Humanistyczny

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2018

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vol. 62(1 (460))

63-74

PL

In the article, I discuss the role of plants in Karolina Grzywnowicz’s Grün | Zielony [Green] project and point to their media nature as well as their inseparable connection with the local cultural history and bottom-up practices of memory of the residents of Breslau/ Wrocław. I look at the cultural biography of Wrocław plants from the perspective of cultural and environmental anthropology and analyse the various ways in which they co-create and sustain – due to their material belonging to a specific space and cyclic, heterotemporal rhythms of growing and dying back – the transcultural identity of the city, entering into the relationship both with the everyday experiences of the residents of Wrocław and with the historically changing, social relations of power. In this context, I also discuss the concept of “personal natural monuments” introduced by the artist and I reflect on its accuracy.

5

Obrazy roślinności Królestwa Polskiego redagowane przez Zygmunta Wóycickiego

63%

Kapała K.

Kwartalnik Historii Nauki i Techniki

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2019

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vol. 64

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issue 2

149–166

EN

The paper presents the history of a little-known publication series Obrazy roślinności Królestwa Polskiego (Images of the Vegetation in the Kingdom of Poland), later retitled Krajobrazy roślinne Polski (The Vegetation Landscapes of Poland), which was created by a group of distinguished Polish botanists and was edited by Zygmunt Wóycicki. The work was published at the time when Poland was partitioned between Russia, Prussia and Austria, during World War I, and in the interwar period. A total of 21 fascicles were released that described and illustrated thirteen regions of the country, which differed in terms of floristics, geography, climate and pedology.

6

Provençal Landscapes in Aldous Huxley’s Fiction and Non-Fiction

45%

Moroz G.

Forum Filologiczne Ateneum

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2019

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vol. 7

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issue 1

357-367

PL

Artykuł przedstawia analizę różnych metod przedstawienia (reprezentacji) krajobrazów Prowansji w twórczości Aldousa Huxleya, zarówno w powieściach, takich jak Niewidomy w Gazie czy Czas musi stanąć, jak i w esejach, takich jak „Muzyka nocą”, czy „Drzewo oliwne”. Do analizy zostały użyte narzędzia badawcze opracowane przez naukowców związanych z tak zwanym ‘zwrotem przestrzennym’ (‘spatial turn’), a w szczególności koncepcji ‘krajobrazów polisensorycznych’ (‘polysensory landscapes’), podczas gdy reprezentacje krajobrazów Prowansji są rozpatrywane w kontekście biografii Huxley oraz sytuacji politycznej we Francji, oraz na świecie w latach trzydziestych dwudziestego wieku.

EN

The paper focuses on the analysis of different ways in which Aldous Huxley chose to represent Provençal landscapes in his novels, such as Eyeless in Gaza or Time Must Have a Stop, as well as in his essays, such as “Music at Night” or “The Olive Tree”. The analytical tools which have been developed by scholars of the so called ‘spatial turn’ have been used (particularly the notion of ‘polysensory landscapes’), while Huxley’s representations of Provence are considered in the context of Aldous Huxley’s biography and the political situation in France in particular and in the world in general in the 1930s.

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1 Biuletyn Historii Sztuki

1 Forum Filologiczne Ateneum

1 Kwartalnik Historii Nauki i Techniki

1 Mäetagused

1 Przegląd Humanistyczny

1 Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

1 Hrbata Z.

1 Kapała K.

1 Moroz G.

1 Sillasoo Y.

1 Sosnowska J.

1 Wandzel A.

2 2019

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1 2017