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Jak możliwy jest kulturowy status twórcy?

100%
Kotowa B.
Zagadnienia Naukoznawstwa
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2011
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vol. 47
|
issue 4(190)
709-715
EN
I will reflect on the subject of the “mechanism” (diverse circumstances) of achievement of cultural status of creator as it is in science and fine arts.
2

FOCUSING ON RECOGNIZED CREATORS: DYNAMIC CONCEPTION OF CREATIVITY AND CREATOR

80%
Kusa D.
Studia Psychologica
|
2004
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vol. 46
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issue 4
297-304
EN
The study presents proposals and questions of research of creativity in recognized creators - visual artists and copywriters. A focus of the research is framed by a dynamic model of creativity suggested by M. Csikszentmihaly and H. Gardner. In the model, a creative individual forms one component of social-cultural net - knowledge of the domain and evaluative criteria of professional communities. Emphasis is laid on the importance of investigating the processes through which creative ideas/acts are becoming creative.
3

Lektura jako źródło cierpień. Autotematyzm i bohaterowie żywcem zaczytani we Frankensteinie Mary Shelley

61%
Skibińska M.
Prace Literackie
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2011
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vol. 51
643-83
EN
The article is an attempt to develop and introduce into Polish literary studies a reflection on Frankenstein, sometimes interpreted — by foreign scholars — as a novel about writing and reading. Referring to, among others, the symbolism of the hybrid creature from Giuseppe Arcimboldi’s painting, the notion of intertextuality, feminist criticism (Kazimiera Szczuka, Urszula Śmietana) and remarks from Michele Turner’s If it be a monster birth: Reading and literary property in Mary Shelley’s “Frankenstein”, the author examines the topic on three basic levels. The first concerns the primary relation between the writer and the text, with regard to which Frankenstein emerges as a partial reflection of Mary Shelley’s reading biography, also as a kind of “somatext,” i.e. a literary testimony to reading one’s own corporeality — a work in the “cracks” of which, as Kazimiera Szczuka puts it, “hides [...] a tale of an inextricable link of persecution between the woman and her work born of flesh and writing, in madness and anguish.” In this part of her analysis, the author refers to a modern travesty of the story of writing Frankenstein — Federico Andahazi’s novel The Merciful Women. This is a point of departure for examining the subject of “writing and reading” on another level of interpreting Shelley’s work. The story of the “birth” of the Monster and its subsequent fate, not controlled by the Creator anymore, can be read, according to the author, as a reflection of the universal relation between the author, the text and the (collective) addressee, as a unique allegory of the act of creating a text and its reception in society as a result of which — due to reasons beyond the writer’s control — the text is sometimes turned into a “monstrosity,” with dangerous qualities being ascribed to it. The author also sees in the creation of the Monster-text of the novel a clear allusion to a toxic aspect of the Romantic reading culture. Thus the 19th-century figure of the reading Monster become a model example of the anti-reader, combining attributes of both Romantic readers of The Sorrows of Young Werther and of the child, i.e. the figure which — in comparison with books — was best able to evoke a vision of danger resulting from a premature, unskilled contact of an inexperienced user with the world of literary fiction. In the case of all three narrators of the novel, the role of reading, strongly emphasised by Shelley, is a point of departure for reflections on the last level of interpreting Frankenstein, focusing on a broadly defined problem of education and upbringing. For it seems that by presenting the very similar first reading experiences of Robert Walton, Victor Frankenstein or the Monster, Shelly points to the main reasons why reading might become a source of anguish for the reader.
4

Wiecznie w drodze. Dziennik namalowany

61%
Kramm A.
Sensus Historiae. Studia interdyscyplinarne
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2011
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issue 2(3)
167-181
EN
This excerpt comes from the paper Lapili. Stepping beyond the threshold of artistic innovation in the dialog between tradition and novelty. It’s a kind of study that takes on different forms, just like a picture, sculpture or any other form in fine arts is a space for artistic expression of its creator. This space contains ambiguous references to culture and history. It’s become a rule that journey is used as a metaphor for human life and traveling is about being on the move, learning, seeing, getting closer. And it’s not numerous destinations but curiosity that drives us to the end of our journey while the source of this powerful curiosity lies in motivation. It should be noted that the instinct of curiosity, of searching for novelty, and the fascination with the unknown make for the lifestyle that implies a certain worldview or philosophy. It implies that the world we live in and that we experience is worth something. I have opened myself up to the idea of remaining forever on the road, of journeying, learning about the world, getting to know myself better, growing up and changing who I am, while the knowledge and experience of the world gained through traveling have changed the way I view the world. This is the title I’ve given to the first part, which is a painted diary. It’s an attempt to describe that which has already been organized in my memory. An artist travels unlike a tourist. Travelling is for him a journey in search of an inspiration and intellectual stimulation. Travelling can be seen as a way of learning. Knowledge stems from observation, which is studying, and being on the move becomes a method of scientific moving about in the world, the world in which observation is a paradigm of learning, for which it is necessary to ‘be there’. My journey has one aim — to discover and see a new, to make new associations and memorize: ‘[…] hope that something amazing will happen there… otherwise we only shelve our ambitions because we know very well what we’d like to discover and be enchanted by’. Travelling, searching for new places, learning about the world in the process and taming new territories facilitate creative perception and give inspiration; however our memory remains enclosed in our private and subjective experience of the world. From the perspective of journey, learning is a structure of my paintings.
5
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MÝTUS “TVORCU” A JEHO “TVORBY” PODĽA LUCIANA BLAGU A MIRCEU ELIADEHO

61%
Páleníková J.
World Literature Studies
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2012
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vol. 4 (21)
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issue 2
28 – 40
EN
The study deals with the myth of a “creator” and his “creation” in two dramatic texts by two Romanian authors: Lucian Blaga´s Master Manole and Mircea Eliade ś Endless Pillar. Both authors found inspiration in the folk ballad Master Manole which deals with the myth of the human creation and the necessity of self-sacrifice. The dramas Master Manole and Endless Pillar, each of them in its own way, introduce the creator controlled by his own work desiring to detach itself from him. Thus it becomes for them the destructive power, as well as the way which can lead them to permanence and sacredness. Mircea Eliade studied myths also from the scientific point of view. That is why the introductory part has been devoted to the general issues of myths and their role in the spiritual life of Romanian people. The second part of the study concentrates on the specific features and symbolic character of each individual text and it is an attempt to define their common, unifying elements other than the common topic.
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