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Leonardo północy. O estetyce Albrechta Dürera

100%
Konik R.
Studia Philosophica Wratislaviensia
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2020
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vol. 15
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issue 1
61 - 69
EN
Albrecht Dürer was German, but it was Italy he loved and followed the example of. Along with Erasmus of Rotterdam, he was one of the first to instil the ideas of Italian humanism in northern Europe, paying attention to the study of ancient culture, and thus fighting for the renewal of art in the spirit of the Renaissance. Dürer believed that using the patterns developed in Florence, the art of imaging would achieve unprecedented narrative power. The uniqueness of the artist from Nuremberg was also that he was able not only to assimilate and synthesise German Gothic art with the achievements of the Florentine school, but also to develop his own vision of the theory of art taking into account the specifics of native art. His research on the theory of movement, the implementation of objects into the structure of the image, the search for the perfect beauty in woodcut and copper engraving can be considered to be unique and pioneering projects in Germany. The influence of Dürer on the sphere of Renaissance iconography is invaluable, but unfortunately it is often omitted in the literature as secondary or even insignificant. The article shows that Dürer’s theoretical influence on the shape of early modern art is noteworthy.
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O badaniu mitu w kontekście zwrotu ikonicznego

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Kwiatkowska E.
Studia Religiologica
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2012
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vol. 45
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issue 4
267–281
EN
This article concerns the issue exploring myth in the context of the iconic turn. Iconic turn, opposed to formulating images as texts, signs or illustrations, treats both images and imagery as categories of cultural phenomena analysis. Attributing theory-cognitive status to images, the article explores the relation between cognition, imagination, image and myth. Considering the differentia specifica of mythical thinking – imagery, we can say that the assumptions of iconic turn are at the very heart of myth knowledge issues, especially the issues of myth and mythopoiesis. They also reach the problems of separating basic mythical images as cultural images, image acts as constituting myths and the relation between the imagery and textuality of myth.
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Obraz mityczny jako obraz kulturowy

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Kwiatkowska E.
Studia Religiologica
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2013
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vol. 46
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issue 3
173–185
EN
The article presents the idea of the active image in culture connected with the approach to image cultures as reservoirs and ways of constructing collective imagination spheres. This view makes it possible to present the issue of mythical image as a particular kind of cultural image. The mythical image in the context of the traditions of Warburg and Benjamin may be recognised thanks to its actions in culture characteristic of mythical expressions. The second part of the article deals with the premises of the iconological use of Walter Benjamin’s reflections in the context of his concept of the myth and dialectical image
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To, co pomiędzy słowem a obrazem – znaki, symbole i metafory wizualne w autorskich książkach Iwony Chmielewskiej

75%
Kotkowska M.
Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica
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2018
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vol. 6
112-135
EN
In this article, Marta Kotkowska appeals to the category of the iconic turn and appoints insignias of picturebooks of Iwona Chmielewska. The researcher also analyses meanings of the artistic expression which author uses in her books. Relying on this characterization, Marta Kotkowska presents how this “in between” words and images works, and how, almost in the real time, it generates and transform meanings. In the description of the almost indiscernible and elusive relation between the word and the image which constitutes picturebook, the semiotic categories, such as the sign, the symbol and the visual metaphor are used. The editorial deliberations concerning the congeniality of analyzing projects are summing the whole article. They emphasize that Chmielewska creates every book even in the smallest detail and with full consciousness and that both format, cover and paper, and words and images, are significant.
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From visual culture to visual communication. The pictorial and iconic turn in contemporary culture.

63%
Chmielecki K.
Art Inquiry. Recherches sur les arts
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2015
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vol. XVII (XXVI)
93-114
EN
The article attempts to approximate the notions of “visual culture”, “visual communication” and “data visualization”, which appeared with the pictorial and the iconic turns. The pictorial turn raised the picture to the rank of a sign system, similarly to language within the poststructuralist reflection. In contrast, thanks to the changes in art history research, Visual Culture Studies came into being, necessitating a definition of the term “visual culture”. Doris Bachmann-Medick characterizes the iconic turn as a late reaction of art history studies to the linguistic turn, which views a painting as a textual and discursive phenomenon. This situation gave rise to Norman Bryson’s semiotics of the image, which employs the notion of “the language of images”, creating the need for a definition of “visual communication”. The expansion of new media poses another challenge to visual culture, which is the need to define “data visualization”. W.J.T. Mitchell announced a new version of the pictorial turn – a turn towards biopictures, or biodigital pictures. These “animated icons” have been given the characteristics of life by the biological-information technology. However, the definition of “data visualization” is shaped by the “digital turn”, which views it as a practice of endowing the raw, mathematical sequences of codes in databases with anthropological and cultural information. Currently, the definition of "data visualization" is also impacted by the theory of databases and software studies by Lev Manovich. Finally, I would like to ask about the risks and benefits of the pictorial and iconic turns.
PL
Artykuł jest próbą przybliżenia pojęć „kultura wizualna” „komunikacja wizualna” i „wizualizacja danych”, które pojawiły się przy okazji zwrotu piktorialnego i ikonicznego. Zwrot piktorialny spowodował, że obraz urasta obecnie do rangi systemu znakowego, podobnie jak język w refleksji poststrukturalistycznej. Natomiast dzięki przemianom historii sztuki pojawiają się studia kultury wizualnej. Razem z ich powstaniem rodzi się również potrzeba zdefiniowania terminu „kultura wizualna”. Doris Bachmann-Medick charakteryzuje zwrot ikoniczny jako opóźnioną reakcję historii sztuki na linguistic turn, która odkrywa malarstwo jako fenomen tekstowy i dyskursywny. W tej sytuacji rodzi się semiotyka obrazu Normana Brysona, która odwołuje się do pojęcia „języka obrazów”. Jest to kolejna potrzeba zdefiniowania terminu „komunikacji wizualnej”. Ekspansja nowych mediów stawia kulturę wizualną przed kolejnym wyzwaniem, którym jest potrzeba zdefiniowania terminu „wizualizacja danych”. Mitchell zapowiada nową wersję zwrotu piktorialnego, który odbywa się w kierunku bioobrazów, albo biocyfrowych obrazów. Tym „ożywionym ikonom” nadano cechy życia za pomocą biologiczno-informacyjnej technologii. Jest to kolejny zwrot piktorialnym, który Mitchell nazywał zwrotem biopiktorialnym. Jednak definicja pojęcia „wizualizacji danych” jest kształtowana przez „zwrot cyfrowy”, który powoduje, że „wizualizacja danych” jest praktyką nadawania surowym, matematycznym ciągom kodów baz danych bezpiecznych antropologicznie i kulturowo kształtów. Obecnie definicje „wizualizacji danych” buduje się również w oparciu o teorię baz danych i software studies Lva Manovicha. Na zakończenie chciałbym postawić pytanie dotyczące zagrożeń i korzyści wynikających z obecności zwrotu piktorialnego i ikonicznego.
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O potrzebie badań nad percepcją wizualną krajobrazu kulturowego wsi

51%
Wieruszewska M.
Studia z Geografii Politycznej i Historycznej
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2018
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vol. 7
11-24
EN
The article presents the argumentation for the issue of the rural cultural landscape in visual perception. The Author conducts her reflection in the light of three turns, namely: cultural, iconic and the spatial one. She stressed that the degraded rural environment as well as demolished cultural landscape is the proof of erroneous theoretical and methodological assumption of research. She points the wrong patterns of spatial planning as consequences of the lack of humanistic view in disciplines dealing with space. The critical reflection against the lack of such values as: love of home and localities, tradition, respect for space in historical and geographical aspects is the main axis of the author’s narration. The more humanistic approach is badly needed to implement the requirement of geography with “human face”. According to Author, who has shared the Roger Scruton’s opinion, the protection of the rural cultural landscape requires the strong appreciation the conservative values of culture, rather than “progressive” ones. At the end of the text she argue the tendency – observed among some young researchers – to diminish the role of sight in human experience because of his affiliation to the West. She tried to challenge the “culture of rejection” (of sight) as the important factor of human – sensitive and intellectual – experience helping against the demolition and annihilation of polish villages.
PL
W artykule omówiono wybrane kwestie związane z badaniami wizualnej percepcji krajobrazu kulturowego wsi. Autorka dokonała analizy w świetle trzech zwrotów, a mianowicie: kulturowego, ikonicznego i przestrzennego. Podkreśliła, że zdegradowane środowisko wiejskie oraz zniszczony krajobraz kulturowy są dowodem błędnych założeń teoretycznych i metodologicznych. Wskazała, że niewłaściwe wzorce planowania przestrzennego są konsekwencją braku humanistycznego spojrzenia w badaniach struktur przestrzennych. Główną osią narracji autorki stał się problem niedoboru takich wartości, jak: przywiązanie do miejsca, tradycja, szacunek dla przestrzeni w jej historycznych i geograficznych aspektach. Z refleksji tej wynika bezpośrednio, że humanistyczne podejście jest bardzo potrzebne do wdrożenia geografii z „ludzką twarzą”. Według autorki, która podziela zdanie Rogera Scrutona, ochrona wiejskiego krajobrazu kulturowego wymaga docenienia tradycyjnych wartości kulturowych. W artykule wskazano także na obserwowaną wśród młodych badaczy tendencję do umniejszania roli percepcji wizualnej. Autorka kwestionuje „kulturę detronizacji” wzroku, który jako element doświadczania przestrzeni przez człowieka w istotny sposób pomaga w walce przeciwko degradacji krajobrazu polskiej wsi.
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Pinocchio in Emojitaliano. Przekład eksperymentalny w kulturze zwrotu wizualnego i performatywnego

51%
Majdzik K.
Przekłady Literatur Słowiańskich
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2018
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vol. 9
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issue 1
125-146
IT
SOMMARIO | Nel presente articolo si parla della traduzione sperimentale di Pinoc¬chio (La storia di un burattino) di Carlo Collodi, classico di letteratura per l’infanzia, dall’i- taliano verso il codice (linguaggio) artificiale delle emoji (disponibile prima in Internet, su Twitter, e nel 2017 pubblicata in forma cartacea). Il problema di questa particolare traduzione viene presentato in un contesto piu ampio delle traduzioni tramite emoji e di altre forme di traduzione sperimentale. il testo, originariamente destinato ad uso on line, dimostro gli attuali cambiamenti culturali e puo essere inteso come riflesso di una svolta visuale — come risulta dal titolo — e performativa nelle scienze umanistiche.
EN
The article discusses the experimental translation of the classic of chil- dren’s literature — the Pinocchio (La storia di un burattino) by Carlo Collodi — from Italian into the artificially created language of the emoji signs. The translation was initially created on the Internet (Twitter platform), and then published in print in 2017. The issue of the translation was presented in the context of other translations of literature into emoji sings and experimental translation in general. This originally new-media translation illustrates the cultural transformations of modernity and can be understood as the expression of iconic (visual) and performative turn in humanities..
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