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Polystylovost a koláž v české hudbě 2. poloviny 20. století (teorie, publicistika a recepce skladatelské tvorby v letech 1960–2000)

100%
Škarda R.
Hudební věda (Musicology)
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2012
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vol. 49
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issue 1-2
169-200
EN
The topic of this study is the music of Czech composers based mainly on the juxtaposition of styles, stylizations of historical or jazz music, and the use of quotations in the years between 1960 and 2000. It deals with reconstruction of the meanings of the period musical terms polystylism and collage, and it maps out the use of these terms in the reception of this music at the time and in the compositional theory and practice of Czech musical culture during that forty-year period. The main sources for the analysis of terms were reviews, articles, and scholarly studies in music journals along with the contemporary statements of the composers themselves at the time and at the present. In that context, the study follows the leading representatives from among composers and critics, derives the meanings of the terms polystylism and collage, and places them in the context of Czech music of that period. As an example of a specific composition reflected upon in the context of polystylism and collage and exhibiting a number of elements typical of this compositional orientation, the study contains an analysis of the composition Útěk (The Flight) written by Arnošt Parsch in 1973.
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Międzynarodowa Wystawa Kolażu, Galeria Retroavangarda

100%
Kłos A.
Powidoki
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2019
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issue 2: Re-konstruktywizm
202-207
EN
The International Collage Exhibition was open at the Retroavangarda Gallery in Warsaw from April 12th to June 15th, 2019. The exhibition was one of the major shows of contemporary collage art in Europe in recent years. It offered over two hundred original, hand-made works by collage masters from several countries. The exhibition allowed for comparison of various directions the contemporary collage art takes in different countries and how cultural differences may affect its form.
3
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20 000 ZNAKÓW O MOJEJ SZTUCE W ANGLII

100%
Borkowski A. M.
Zeszyty Naukowe PUNO
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2017
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issue 5
251-276
EN
Andrzej Maria Borkowski – an artist, art critic and performer briey describes his artistic experiences in Great Britain from his rst visit there in 1976–1977, when Steven Rumbelow, director of Triple Action eatre invited him to work with his company through later collaboration with Cardiv Laboratory eatre (1980) and the invitation from Geraldine Pilgrim’s Hesitate & Demonstrate eatre shortly before proclamation of martial state in Poland. Aer arriving to London in September 1982 he settled here collaborating and performing with Hesitate & Demonstrate, then with other theatre and dance companies both as performer and set designer until middle of 1990s when he began to work as senior lecturer in School of Art, University of Brighton. In 1985 the 20 000 ZNAKÓW O MOJEJ SZTUCE W ANGLII Andrzej M. Borkowski, „Autoportret” – jedna z fotograi cienia autora na skałach, zamieszczonych wiosną 2011 r. w londyńskim magazynie artystyczno-literackim „Ambit”, nr 204276 was among artists who created „Bigos – Artists of Polish Origin” and in the following ten years he continued to exhibited his installations, grati and experimental work with the group in various galleries in London, Worcester, Abingdon, Bradford and Huddersfield. Since early 1990s he begun to create more collages and then screen prints and monoprints which remains in the centre of his work now
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Technophobia and Technophilia in American Postmodern Criticism

86%
Ładyga-Michalska Z.
Anglica. An International Journal of English Studies
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2015
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issue 24/1
161-175
XX
The paper examines critical terminology used with reference to postmodernist aesthetics, e.g. terms such as technological sublime or self-referentiality, through the prism of its relation to the question of technicity. Following the theoretical approaches proposed by Jacques Rancière in The Politics of Aesthetics (2000) and by Bernard Stiegler in Technics and Time (1994) the paper argues that the postmodern visions of mobile textuality, active authorship, and democratic readership are related to particular modes of understanding technicity and its related notions of action and activity as established and consolidated by the transformative effect of the Technological Revolution of late 19th century and its 20th century aftermath.
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“Fantastic Dance of Images, Shapes, Forms”: Visuality and Fragmentation in Ann Quin’s Passages

72%
White H.
Anglica Wratislaviensia
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2018
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issue 56
163 - 176
EN
This paper brings together aspects of visuality and fragmentation in Quin’s work, con­centrating on her 1969 novel, Passages, in order to tease out the effects and implications of Quin’s formal fragmentariness. The visuality manifests itself in Passages through Quin’s borrowing of compositional techniques from the visual arts — layering effects from painting, shaping and cutting techniques from sculpture, the whole method of the textual cut-up. Quin splits her narrative in two sections seemingly narrated by each of the main characters, one female and one male. Applying painterly techniques to the former and sculptural to the latter, Quin’s narrative implicitly explores the habitual feminisation or masculinisation of certain aesthetic categories and modes of epistemological enquiry, as well as the unequal power relations of gender politics within a social context. Quin’s textual fragments do on some level cohere into a whole, but it is one riven with uncertainties, provoked specifically by the elliptical nature of the narrative, and complicated by Quin’s blurring of boundaries of all kinds — between characters, between binary categories, between narrative moments and locations. This resistance to categorisation — both on the level of individual fragments or passages of text, and of Quin’s work more generally — invites readers and critics to question the frameworks in which they are trying to place the parts, to challenge the rigidity of the categories themselves.
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Badania nad seksualnością dziecka

72%
Ratkowska-Pasikowska J.
Edukacja Elementarna w Teorii i Praktyce
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2018
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vol. 13
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issue 4(50)
103-112
PL
Celem artykułu jest próba spojrzenia na dotychczasowe badania poświęcone seksualności dziecka. Skłoniło mnie do tego nadal stereotypowe podejście i przekonania na temat seksualności dziecka, a także stale niedostateczna ilość rzetelnych badań i publikacji w tym zakresie. Obecnie „kwitnie” rynek poradnikowy, pojawia się wiele książek poświęconych właśnie tej tematyce, niestety mają one często postać zideologizowaną i nie zawsze są oparte na badaniach naukowych. Tekst składa się z czterech części. Autorka rozpoczyna rozważania od refleksji nad seksualnością dziecka, przywołując także jej antropologiczne wątki. Następnie prezentuje przykłady inkantacji studenckich w kolażach. Artykuł kończy przegląd najbardziej powszechnych rozwiązań metodologicznych w badaniach nad seksualnością dziecka.
EN
The presented text is an attempt to review existing studies on child sexuality. On the one hand, it is concerned with stereotypical beliefs about it and, on the other, there is still a lack of reliable research and publications. Currently, the guidance market is “flourishing”, where many books devoted to this subject appear, unfortunately it often has an ideological form and is not always based on scientific research. The structure of the text consists of four parts. The author begins her reflections on the child’s sexuality by also invoking anthropological themes. She then presents examples of student’s artistic expressions on the subject in the form of montages. The article closes with an overview of the commonest methodological solutions available in child sexuality literature.
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Miastoobraz. Mobilny wizerunek Wrocławia

72%
Juchniewicz B.
Architectus
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2017
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issue 2(50)
63-72
PL
W artykule przeanalizowano związki pomiędzy wizerunkiem przestrzeni miejskiej a cechami współczesnej kultury wizualnej oraz strategiami życia społecznego. Ponieważ mobilność jest podstawową cechą współczesnej kultury, to ona wyznacza podjętą perspektywę badawczą. Wrocław jest miastem, które potraktowano jako reprezentatywny przykład do analizy. Opisano mobilność ciał/mieszkańców, rzeczy i obrazów, które są składowymi wizerunku miasta. Nowe formy świadomości wizualnej związane są z powszechnym użyciem aparatu fotograficznego i w konsekwencji multiplikowaniem obrazów. Analiza cech kompozycji prac studentów na temat wizerunku Wrocławia pozwoliła zilustrować i pogłębić analizę charakteru mobilnego obrazu miejskiego. Powstały miastoobrazy jako kolaże miejskie, z których wyłoniła się nieostra, ruchoma sylwetka miasta o zmiennej scenografii. Opisywany w tekście i uwidoczniony w pracach studentów proces oderwania czasu od przestrzeni w strategiach miejskich potwierdził wcześniejsze tezy, na przykład Zygmunta Baumana i jego teorii płynnej nowoczesności. Jednocześnie proliferacja coraz bardziej mobilnych znaków i obrazów w przestrzeni miejskiej otwiera również granice tej przestrzeni, tak jak w definicji dzieła otwartego Umberta Eco. W ten sposób miasto, hybrydyczny krajobraz mobilnych społeczeństw, to wciąż przestrzeń otwarta, niedokończona i podatna na ruch i zmiany. Mobilność jest głównym czynnikiem kształtującym jej wizerunek – kolaż obrazów i wrażeń, śladów życia jego mieszkańców.
EN
The article analyzes the relationship between the image of public space, features of modern visual culture and strategies of social life. Since mobility is the basis of modern culture it designates the undertaken research perspective. Wrocław is a city which has been considered as a leading example for analysis. The mobility of bodies/citizens, objects and pictures, all of which are the components of the city image have been described. New forms of visual awareness are connected with the common usage of camera, resulting in multiplication. The analysis of composition of the features of student artworks about the image of Wrocław has allowed us to deepen and illustrate the analysis of the mobile city character. The citypictures have been created as urban collages, which have emerged in a blurred, mobile city silhouette with variable scenography. Featured in the text and indicated in student artworks, the process of detachment of time from the space in urban strategies has confirmed earlier theses, for example of Zygmunt Bauman’s theory of fluent modernity. At the same time proliferation of increasingly mobile characters and images in the urban space also opens the boundaries of this space, as in the definition of Umberto Eco’s The open work. In this way, the city, the hybrid image of mobile communities is still an open space, unfinished, liable to movement and change. Mobility is the main factor forming its image – a collage of images and impressions, traces of living of the citizens.
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From Report to Mythus. Jiří Kolář’s Plays as Creative Transformation of the Shoah Testimonies

62%
Firlej A.
Poznańskie Studia Slawistyczne
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2017
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issue 12
79-91
PL
Kolář’s plays Chléb náš vezdejší and Mor v Athénách, written at the turn of the fifties and the sixties, are the examples of aestheticization of testimonies and other texts about the Shoah. Kolář’s creative path is in a way pars pro toto of artistic and literary search of many authors reacting to the experience of Shoah and to many texts describing this hecatomb. Doubt in the previous aesthetics and in the polyphonic load of words is one of the most common experiences in the second half of the 20th century – until now. The author activates memory or cultural connotations of receiver and by eliminating a factual layer that could became a psychological safety valve that distracts, focuses a viewer (reader) on the most important and by it the most difficult to bear: to the event itself.
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Krytyczne wydanie Promethidiona

61%
Buś M.
Studia Norwidiana
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2011
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vol. 29
219-229
EN
The article is concerned with the edition of Cyprian Norwid's Promethidion prepared by Stefan Sawicki. The recognized theoretician, historian and interpreter of literature appears here both as the author of a comprehensive monograph of Promethidion and as an experienced editor embracing the central categories of the poet's viewpoint and artistry, and, on the other hand, with a linguistic precision analyzing particular expressions and tropes. His discerning analysis, careful textological edition of the text and comprehensive interpretation of the poem serve each other. The edition, albeit designed for a broad group of readers, meets the requirements of a critical edition, gives a lot of precisely justified amendments, the necessary explanations, and a list of variants of the text. In the sphere of meanings and structures the poem glitters with variety and shows many aspects of the problems. “Concepts-keys” that are central to the poem are the concept of art (“with no limits”) whose definition is in many ways completed by the concepts of beauty, love, work, good and truth, “constantly approached as if from the side of the conscience”. They are made manifest in utterances by many subjects that have differentiated styles and genres, which is done by means of peculiar techniques (amplifications, approximations, speaking by negation assuming the form of a dialogue, the “counterpoint” technique, evoking the value “by negating anti-values”). However, the whole forms a cohesive “Norwidian collage”, and the image of a “superior speaking subject” appearing as an “image of a prophet of the contemporary Church” has a clear author's stamp. Hence, the message of the poem is perceived “as the voice of a poet: a real one, convinced that what he wants to convey to the society is just”
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Korespondaż – pocztówki z Wrocławia. Czytanie miasta

58%
Juchniewicz B.
Architectus
|
2019
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issue 3(59)
91-104
PL
Artykuł poświęcony jest wizerunkowi Wrocławia na kolażach zdjęć i dzieł sztuki malarskiej. Punktem wyjścia rozważań jest twórczość czeskiego twórcy J. Kolářa, a szczególnie ta część dzieł, która dotyczy architektury Paryża. Artysta stworzył bogaty zbiór działań kompozycyjnych, różnych sposobów podziału i potem zestawiania obrazów. Taki kolaż stanowi ciekawą jakość plastyczną i wnosi nowe treści w opowiadanie o obrazie architektury miasta. Podobny cel został postawiony przed studentami Wydziału Architektury Politechniki Wrocławskiej na zajęciach: przestrzenie fotografii i architektury. Studenci wykorzystywali w kolażach zdjęcia Wrocławia oraz reprodukcje dzieł sztuki malarskiej. Powstało wiele interesujących prac, które ułożyły się w narrację o Wrocławiu, jego charakterystycznych obiektach i ich znaczeniu we współczesnym obrazie miasta. Zastosowana technika – z pogranicza malarstwa i fotografii – ujawniła wiele odcieni i sposobu istnienia obrazu w przestrzeni miasta. Połączyła obraz rzeczywisty i mentalny, wyimaginowany, który wnoszą dzieła sztuki. Pokazała też, jak przekraczanie granic sztuk otwiera nowe przestrzenie dla znaczeń.
EN
The article covers the image of Wrocław in collages of photos and painterly artworks. The starting point of the considerations is the work of a Czech creator, J. Kolář, and most notably those creations that cover the architecture of Paris. The artist has created a rich collection of compositional activities, different ways of splitting and then collating paintings. Such collage is then an interesting quality of visual arts and brings in new content to the narration of the image of the architecture of the city. A similar target was given to the students of the Faculty of Architecture of the Wrocław University of Science and Technology who attend the “spaces of photography and architecture” subject. In their collages the students used photos of Wrocław and reproductions of painterly artworks. Many interesting works were made, that fitted the narration of Wrocław, its distinctive buildings and their importance in the modern image of the city. The used technique – on the borderline between painting and photography – revealed many shades and ways of the existence of the picture in the space of the city. It connected, the real, mental, and imaginary one contributed by the artworks. It also presented how crossing the borders of arts opens new room for meaning.
11
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„Robię przestrzeń”. Codzienna praktyka twórcza Hanny Rechowicz

51%
Janoszuk-Giergiel U.
Konteksty - Polska Sztuka Ludowa
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2023
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vol. 343
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issue 4
238-249
EN
The text focuses on analysing and interpreting Hanna Rechowicz’s daily creative praxis – making space – by using a partially structured anthropological interview and visual ethnography, as well as theories selected according to the Mieke Bal method of cultural analysis. By deriving analysis and description categories from experiencing participation in the artist’s creative process the author deals successively with stages in Rechowicz’s creative praxis: touch, giving, seeking place, and departure. While analysing this praxis as a whole the author concludes that it is feminine, an experiment, fun, and rebellion, and essentially consists of operating with relations.
PL
Tekst skupia się na analizie i interpretacji codziennej praktyki twórczej – robienia przestrzeni – Hanny Rechowicz, przy użyciu wywiadu antropologicznego częściowo ustrukturyzowanego i etnografii wizualnej, a także teorii dobieranych na zasadzie metody analizy kulturowej wg Mieke Bal. Wywodząc kategorie opisu i analizy od doświadczenia uczestnictwa w procesie twórczyni, zajmuję się kolejno etapami praktyki twórczej Rechowicz: tknieniem, dawaniem, szukaniem miejsca i odchodzeniem. Przy analizie całokształtu praktyki dochodzę do wniosków, że jest on kobiecy, eksperymentem, zabawą, buntem i w swej istocie polega na operowaniu relacjami.
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