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Techniques reproductibles et artistiques dans L’Œuvre au Noir de Marguerite Yourcenar : transposition et référence communicative

100%
Abdelouahed H.
Quêtes littéraires
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2015
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issue 5
139-147
FR
Marguerite Yourcenar’s novel The Work in Black provides descriptions of artwork. Fingerprints artistic figurations in his novel become both a text and materiality of Intermediality Ut Pictura poesis. How is formed the symbiosis of the diegesis and Ekhprasis in the novel by Marguerite Yourcenar? Mannerist processes allow the author to play on two different display modes: the text and the image called by the text. How is this transposition within the Work in Black, a novel supposed to represent social circles of the Renaissance by taking the idea to Breughel and simultaneously echo the turpitude where there the contemporary world. Communication between the image and the text does not only nesting but also a representation that is created as a space, an "inner distance" in the words of Georges Poulet, which makes the work a bet abyss in the search for the essence the art work, the philosopher's stone which is the original experience of vision. The curveball opens an "inner space" as Claude Edmonde Magny analysis allowing the novel to open and expand this optical illusion, create connections, secret architectures. We will try to develop these problems merging form of osmosis The work at Black Yourcenar, at the intersection of disciplines and critical approaches that think the work of art in its many meanings and semiotic richness.
2
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Beksiński i źródła wyobraźni

98%
Jarosz A.
Poznańskie Studia Polonistyczne. Seria Literacka
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2016
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issue 28
207-229
EN
This article refers to a “fantastic” period in Zdzisław Beksiński’s painting (1929-2005). The quest for the sources of imagination of this original Polish artist has a broad cultural background. Its horizons are marked by Marcel Brion and Roger Caillois’s research on fantasy as well as G. R. Hocke’s assertion regarding the epoch of mannerism. Taking the above into consideration, it can be stated that imagination has an achronological character and in the case of the herein described painter it was a determinant of his aesthetic style and artistic attitude. His specific creative technique involved breaking with the order of reality, bordering on a dream and using the mannerist-like rhetorical figures. Beksiński’s “fantastic realism” was based on oneiric visions transferred into small drawing sketches. Their range encompassed unconscious elements, dream and nightmare iconography and a-logical narrative structures, which the artist complemented, added nuances and subsequently developed while working on his paintings. Specific motifs, forms and palette of colours and matter encroach on the presence of those primary visions – the authentic “pictures form under eyelids”. However, their anteriority in the act of creation was indisputable. They carried a special meaning for Beksiński by summarising intense sensations derived from reality and dreams, he could, just for a moment, project himself beyond the material world and the reigning of the passing time.
PL
This article refers to a “fantastic” period in Zdzisław Beksiński’s painting (1929-2005). The quest for the sources of imagination of this original Polish artist has a broad cultural background. Its horizons are marked by Marcel Brion and Roger Caillois’s research on fantasy as well as G. R. Hocke’s assertion regarding the epoch of mannerism. Taking the above into consideration, it can be stated that imagination has an achronological character and in the case of the herein described painter it was a determinant of his aesthetic style and artistic attitude. His specific creative technique involved breaking with the order of reality, bordering on a dream and using the mannerist-like rhetorical figures. Beksiński’s “fantastic realism” was based on oneiric visions transferred into small drawing sketches. Their range encompassed unconscious elements, dream and nightmare iconography and a-logical narrative structures, which the artist complemented, added nuances and subsequently developed while working on his paintings. Specific motifs, forms and palette of colours and matter encroach on the presence of those primary visions – the authentic “pictures form under eyelids”. However, their anteriority in the act of creation was indisputable. They carried a special meaning for Beksiński by summarising intense sensations derived from reality and dreams, he could, just for a moment, project himself beyond the material world and the reigning of the passing time.
3
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Inside the crystal ball of tradition

71%
Woźniewska-Działak M.
Studia Norwidiana
|
2020
|
vol. 38 English Version
240-251
EN
The article reviews Agata Seweryn’s book titled Between the Worlds. Studies in the Literature of the Enlightenment and Romanticism, accounting for the composition of the book, examining research problems raised in it in greater detail, and discussing essays included in the publication as supplementing existing interpretations of selected Romantic works. Seweryn is argued to draw attention to those aspects that reveal the richness inherent in the discussed works, which are demonstrated as not having been exhausted yet. These works are analysed in the reviewed book by pursing references to the baroque tradition, or by reflecting on their relationship with normative poetics and rhetoric.
4
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Manierysta w nowoczesności

71%
Rabizo-Birek M.
Tematy i Konteksty
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2015
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issue 5(10)
395-401
EN
In the review main interpretation theses of Andrzej Niewiadomski’s monograph devoted to the writing of the outstanding emigration author from ‘the generation 1910’ Zygmunt Haupt have been presented. These are: the aesthetics of mannerism, critical diagnosis of modernity crowned with an attempt to build a constructive ethical and literary project and a thorough analysis of the key motives of his prose (including aviarium, art of mannerism, theatrum mundi, road-home, a landowner’s manor house, horses, word ‘strange’, ‘quaternary’ structures).The author presents writer’s workshop secrets and places him among the greatest representatives of Polish as well as European modernism.
5
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A World of ‘Purely Artistic Conception’ and a ‘Universal Art of the Spirit’: Max Dvořák and Karel Teige between Phenomenology and Surrealism

57%
Vojvodík J.
Slovo a smysl - Word & Sense
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2015
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vol. 12
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issue 24
25-41
EN
In the early 1940s, Karel Teige, a prominent theorist of the Czech avant-garde, returns to Max Dvořák’s concept of history of art as ‘history of the spirit’. Starting in the late 1930s, Teige pursued a sustained inquiry into the essence of the so-called imaginative (or ‘phantasizing’, in Teige’s own terminology) art, and his findings, which he intended to synthetize in a broadly conceived Phenomenology of Art (left unfinished), led him to the view that the essence of imaginative art consists in the visualization of ‘spiritual forms’ of an inner model. Primarily, it consists in a substantial transformation of one’s relationship to the external world: specifically, an internalization of senseperception and its metamorphosis into spiritual forms of subjective perception and consciousness. josef vojvodík 41 This is where Teige might have been influenced precisely by Dvořák’s abolition of any antithesis between naturalism and idealism, internal and external image, and his quest for a unity of Kunstwissenschaft and artistic practice. Teige was aware that this problem is central and constitutive for the entire era of Modernity and of the avant-garde, just as Dvořák was aware that the history and theory of modern art cannot consist in a mere mechanic continuation of the traditional arthistorical method; rather, it must reflect upon the creative processes of modern art.
CS
Na počátku čtyřicátých let 20. století se teoretik české avantgardy Karel Teige vrací ke koncepci dějin umění Maxe Dvořáka, totiž dějin umění jako „dějin ducha“. Od konce třicátých let 20. století se Teige intenzivně zabýval podstatou tzv. imaginativního (nebo, jeho terminologií, fantazijního) umění a své studium a rozbory, které chtěl syntetizovat v rozsáhle koncipované, ale nedokončené práci Fenomenologie umění, jej vedly k názoru, že podstatu imaginativního umění tvoří vizualizace „duchových forem“ vnitřního modelu. Je to především zásadní proměna vztahu k vnějšímu světu ve smyslu zvnitřnění smyslového vnímání, smyslových vjemů, jejich proměna v duchovní útvary subjektivního vnímání a vědomí. Zde mohlo na Teigeho uvažování silně působit právě Dvořákovo zrušení antiteze mezi naturalismem a idealismem, vnitřním a zevním obrazem, jeho požadavek jednoty vědy o umění a umělecké praxe. Uvědomoval si, že jde o problém, který je zásadním způsobem konstitutivní pro celou epochu moderny a avantgardy, podobně jako si byl Dvořák vědom toho, že dějiny a teorie umění moderny nemohou být mechanickým pokračováním tradiční uměleckohistorické metodiky, nýbrž reflexí tvůrčích procesů modemy samotné.
6
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Giuseppe Arcimboldi – prekursor twórczości filmowej Jana Švankmajera

57%
Zmudziński B.
Estetyka i Krytyka
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2016
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issue 1(40)
105-126
EN
Artistic output of Jan Švankmajer, the Czech surrealist and author of object animations, was from its very beginning closely related to the painting and collecting activities of Giuseppe Arcimboldo – one of the most intriguing personalities of the 16th century Habsburg court, and the Emperor Rudolf II of the Prague’s Hradčany court in particular. The author of the article is primarily interested in the conceptual dimension of the painting works by the forerunner of Mannerism known for his concept of the object-subject (and micro-macrocosmic) harmony expressed in the idea of the universal dialogue. According to the Czech surrealist reinterpreting the achievements of his predecessor, such perception of the dialogue supersedes both contemporary aggressive conflict resulting in degradation of humanity and the destruction of the rudimentary dimension of the relation between a human being and the surrounding world.
7
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Work of the Parisian Wotton’s Binder «C» from 1564 in the Collection of the Gdańsk Library of Polish Academy of Sciences

57%
Wagner A.
|
2016
|
vol. 9
|
issue 1(16)
101-119
EN
The present authors have conducted an analysis of one of the relics of modern Western European bookbinding found in the collections of the Gdańsk Library of Polish Academy of Sciences: the so far unidentified binding of Wotton’s Binder «C», acting in Paris between the 1540s and at least the year 1564. The work has a characteristic orientalised decoration, which fits in with the trends of the French bookbinding ornamentation from 2. half of XVIth C. Its composition was based on centre moorish-ribbon medallions, corner quarter-medallions and adornments of the à semé type. A book clothed in this cover was first located in the collections of a certain Ioannes and later in the collections of a bibliophile from Gdańsk, Daniel Czirenberg (Zierenberg).
PL
W artykule dokonano analizy jednego z zabytków nowożytnego introligatorstwa zachodnioeuropejskiego w zbiorach Biblioteki Gdańskiej PAN: dotąd nie zidentyfikowanej oprawy Introligatora Wottona «C» działającego w Paryżu między latami 40. XVI w. a przynajmniej 1564 r. Dzieło to ma charakterystyczną dekorację orientalizującą, która wpisuje się w tendencje francuskiego zdobnictwa introligatorskiego 2. połowy XVI w. Jej kompozycję oparto na centralnym medalionie maureskowo-wstęgowym, narożnikowych ćwierć-medalionach, oraz zdobieniach à semé. Książka w tej oprawie znajdowała się pierwotnie w zbiorach bliżej nieznanego Ioannesa, a następnie bibliofila gdańskiego, Daniela Czirenberga (Zierenberga).
8
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W szklanej kuli tradycji

43%
Woźniewska-Działak M.
Studia Norwidiana
|
2020
|
vol. 38
252-264
EN
The article is a review of Agata Seweryn’s book Between the Worlds. Studies in the Literature of the Enlightenment and Romanticism. The review’s author presents the composition of the book and examines the research problems raised in it in greater detail. She comments on the studies included in the publication as interesting suggestions for interpretive supplements of selected romantic poems and works. She draws attention to those aspects that reveal the richness inherent in the works, and not yet described enough. They are introduced by references to the Baroque tradition or reflection on normative poetics and rhetorics.
PL
Artykuł jest recenzją książki Agaty Seweryn Pomiędzy światami. Studia z literatury oświecenia i romantyzmu. Autorka omawia kompozycję książki oraz szczegółowiej przygląda się problemom badawczym w niej poruszonym. Zamieszczone w publikacji studia komentuje jako interesujące propozycje uzupełnień interpretacyjnych wybranych wierszy i dzieł romantycznych. Zwraca uwagę na te aspekty, które odsłaniają tkwiące w utworach a nie wystarczająco dotąd opisane bogactwo. Wprowadzają je odniesienia do tradycji barokowej i refleksja nad poetyką normatywną i retoryką.
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