Search results - CEJSH

1

L’art et l’artiste dans les Discours de Suède d’Albert Camus

100%

Kaznowski J.

Acta Philologica

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2014

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issue 45

165-172

PL

W pierwszej połowie XX wieku rola artysty, a w szczególności pisarza, uległa radykalnej przemianie. Jean-Paul Sartre jako jeden z pierwszych apelował, by literatura stała się literaturą „zaangażowaną”. Autorzy powinni zabierać głos w sprawach bieżących, gdyż zobowiązuje ich do tego powołanie. Laureat Nagrody Nobla, Albert Camus, w mowie o roli artysty i sztuki wygłoszonej w Sztokholmie i na konferencji w Uppsali w grudniu 1957, przemawiał w podobnym duchu. Twierdził, że artysta powinien zawsze reagować na niesprawiedliwość oraz nieść nadzieję innym. Sztuka nie może być jednak podporządkowana żadnej ideologii, ponieważ wtedy, stając się kłamstwem, zamienia się w narzędzie polityczne i traci rację bytu. Artysta zaś musi być niezależny i tworzyć w imię prawdy, piękna i wolności.

2

Czułość kamienia w teatrze litografii Vladimíra Gažoviča. Rozmowa z artystą

80%

Dyga A., Gažovič V.

Estetyka i Krytyka

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2008

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issue 13-14

203-214

3

Tropy biograficzne. Jak czytać sztukę Aliny Szapocznikow?

80%

Turowicz J.

Res Publica Nowa

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2013

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issue 1

62-67

EN

This text deals with the problematic place of biography in various interpretations of Alina Szapcznikow’s works. The author likewise notes growing interest in this artist, as indicated by the organisation of large exhibitions and research by curators and museums involved (Zachęta and MSN in Warsaw) in such projects. The author also considers different attitudes toward less obvious biographical elements of Szapcznikow, showing a fruitful path for the future interpretation of her work that neither avoids biographical threads nor narrows its focu to a particular interpretation.

4

Spolupráce národopisců a výtvarných pracovníků v bývalém Ústředí lidové umělecké výroby

80%

Šenfeldová H.

Národopisný věstník

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2009

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vol. 26_(68)

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issue 1

72-75

EN

Center for Folk Art Production was established in 1945 as an organization intended to support the folk manufacturers, small craftsmen and small workshops. After the various reorganizations, which had been enforced by the social changes, the Center became an organization that covered this small manufacturing. Besides the production base, the Center for Folk Art Production had still two service sections - a network of its own shops and a development section. Ethnographers and trained artists worked in this department, and cooperated in formulation of the production program for the small manufacturers and workshops. The non-professional manufacturers perfectly mastered the production technique and smoothly manufactured traditional products for people around them. However, as soon as they had to sell their products in a different environment, the manufacturers did not know how to use their skills.he trained artists, who knew the trends in their branch, developed for the small producers new product designs. However, they needed further knowledge for this activity, so the ethnographers prepared for them documentation files of the study materials - photos from the terrain and the museums, motif and shape overviews. They served as an inspiration resource for the artists so they could develop new patterns. Those patterns were to have modern utilization, but in the same time they should have had a certain relationship to the traditions as well as some peculiarity and originality - all this expressed by the shape, technique, color or material. During the almost fifty-year existence of the Center for Folk Art Production elaborate theoretical and methodical procedures for taking up the old traditions were worked out. the practical results of those procedures were appreciated by experts of that time.

5

Vladimír Gažovič: sztumistrz – litograf

80%

Dyga A.

Estetyka i Krytyka

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2008

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issue 13-14

195-202

6

ARTYSTYCZNE GRY ZE ŚMIERCIĄ WE WSPÓŁCZESNEJ SZTUCE

80%

Śnieciński M.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2017

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vol. 24

18-35

EN

The text emphasizes the difference between two artistic approaches. The first one of them is rare and comprises various kinds of artistic games with death undertaken by the artists, whereas the second one depends on playing with the subject of death, where death plays the part of an „embellishment” or some kind of attraction, which should draw the attention of the viewer. The text concentrates on such artistic realizations, in which the first of the mentioned approaches is visible. The selected „games with death” in the works by, among others, K. Kozyra, A. Szapocznikow, R. Opałka and Ch. Boltanski, are analysed. The analyses make use of theoretical works by, among others, H.G. Gadamer, P. Ariès, H. Belting, R. Barthes and G. Steiner.

7

Egzorcyzmy na warszawskich scenach. Analiza porównawcza spektakli: „Matka Joanna od Aniołów” – Teatr Narodowy i „Diabły” – Teatr Powszechny w kontekście „Listu do Artystów” Jana Pawła II

70%

Pawlina M.

Studia Ełckie

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2021

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vol. 23

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issue 2

207-221

EN

John Paul II in Letter to Artist paid special attention to inseparable connection between Gospel and art. Author of this paper would like to verify if this message is still up-to-date and possible in contemporary art. For this purpose author made a deeper analysis of Diabły and Matka Joanna od Aniołów theatre plays that were presented in Warsaw theatres.

8

Dominique Fernandez: Psychobiographical Criticism or Psychobiographical Fiction?

70%

Jișa S.

Lublin Studies in Modern Languages and Literature

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2016

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vol. 40

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issue 2

DE

Der Band enthält die Abstracts ausschließlich in englischer Sprache.

EN

Dominique Fernandez is the author of a method of analysis for artists and their works that he calls “psychobiography”. It establishes parallels between the analysis of works and events in the life of an artist, insisting on the identification of a childhood trauma that left an indelible mark on the style of the artist. In this article we show how he applies this method in his biographical novels: La course à l’abîme, Tribunal d’honneur and Dans la main de l’ange. We analyze the way in which biographemes are reconstituted in order to give a coherent vision of the biographee. We emphasize the thin line that separates reality from fiction, or biography from novel.

FR

Le numéro contient uniquement les résumés en anglais.

RU

Том не содержит аннотаций на английском языке.

9

Chopinowskie narracje z „dziecięcego pokoju”. Mistrz w czasopismach i publikacjach dla najmłodszych w XIX wieku – rekonesans

70%

Zajkowska J.

Poznańskie Studia Polonistyczne. Seria Literacka

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2021

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issue 41

151-174

EN

The article discusses the biographical accounts and stories about Frédéric Chopin published in the most representative children’s magazines of the turn of the twentieth century: Wieczory Rodzinne (Family evenings), Przyjaciel Dzieci (Children’s friend) and Moje Pisemko (My little magazine). A kind of complementary role to them is played by the analysis of Janina Sedlaczkówna’s 1891 book Dwaj mistrze: opowiadanie o życiu Artura Grottgera i Fryderyka Chopina (Two maestros: a story about the lives of Artur Grottger and Frédéric Chopin) and Teresa Jadwiga Papi’s stories from 1898 of the same title Dwaj mistrze (Two maestros) about Chopin and Moniuszko. The collected comments and conclusions are presented in relation to twentieth- century biographical texts about Chopin.

10

Genre variety as indicator of creativity in TAT stories of musicians and visual artists

70%

Pánik M., Čermák I.

Československá psychologie (Czechoslovak Psychology)

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2024

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vol. 68

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issue 3

226-240

EN

Objectives. The goal of this qualitative study is to show the latent potential of the Thematic-Apperception Test in the context of creativity research. The secondary objective is to capture possible differences in the area of creativity and personality of various groups of artists. Sample and settings. The target group was various artists. Thirty artists were divided into three groups according to the type of art and educational attainment. The first group consists of musicians with formal musical education, the second one consists of self-taught musicians and the third group is the most diverse, created by various visual artists. All the members of the third group also have formal education in their field. Analysis. The starting point of this qualitative oriented research is 300 stories created on the basis of TAT, which was openly presented to the participants as a creativity test. Their stories were then further explored to capture and identify characteristics that may indicate the author’s creativity. One manifestation was the variety of genres used by the narrator in a single TAT protocol. Genre analysis of the stories revealed differences in their occurrence among the groups. Results. Visual artists more often created abstract narratives, frequently extending far into the realm of bizarreness. It also seems that autodidact musicians tend to create tragedy-oriented stories and lean towards positive genres only rarely. Limitations. The selection of participants did not avoid certain weaknesses. Part of the sample is made up of participants whom we know in person and only during the collection of data we switched to snowball sampling. The entire research group is also made up of Slovak artists, so all the stories were created in the Slovak language. Many language-specific metaphorical expressions and linguistic nuances related to creativity which are unique to each language and thus would be lost in translation.

11

The Artist and the Poetic Provocations in the 1980 Bulgarian Live-Action Film Illusion

70%

Panova M.

Świat i Słowo

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2021

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vol. 36(1)

229-248

EN

This text highlights the aesthetic explorations of Bulgarian cinematographers from the 1980s, specifically those aimed at people of art. The article offers, first, a brief overview of films that examine the symbolic potential of the artist, which defines the consideration of an established and meaningful tendency in the development of Bulgarian cinema. The article focuses then on the live-action film Illusion (1980, directed by Lyudmil Staykov and written by Konstantin Pavlov) and examines the figure of the artist in the piece. The presented interpretation supports the view of the film as a morally valuable expression of modern art.

12

O cygańskiej duszy, czyli artyści w opowiadaniach Aleksandra Kuprina

70%

Bielniak N.

Rusycystyczne Studia Literaturoznawcze

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2015

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vol. 25

51-63

EN

Prevalent at the turn of the 19th and 20th centuries, the theme of the artist and art found its reflection in stories by Aleksandr Kuprin. The present article narrows down our examination of the theme solely to painters, sculptors, and representatives of the world of music, as their example allows one to observe a certain division in the artistic community. When portraying painters and sculptors, the prosaist mainly focuses on the psychology of his characters, and their motivation; he depicts the characters’ struggles with the reality around them, as well as their alienation and asceticism. However, while delineating the profiles of musicians and singers, the writer also takes notice of their appearance, which constitutes one of the aspects of self-creation in response to the then expectations, as well as of their spoilt, vain, and hedonistic lifestyle.

13

Zarządzanie „pamięcią niechcianą” o artyście. Studium przypadku „poety wyklętego” Rafała Wojaczka

70%

Kędziora M.

Zarządzanie w Kulturze

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2015

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vol. 16

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issue 4

PL

Management of the “unwanted memory”of an artist. A case study of the “accursed poet,”Rafał WojaczekThis article presents the memory management of the poet from the perspective of the category of “unwanted memory”-a new and potentially promising research field. The “unwanted memory,”which followed the development of intensive studies of individual, collective and historical memory initiated at the beginning of the 20th century, is a concept needed in public and scientific discourse. The analysis of examples of hard, painful events in the history of independent Poland (1stand 2ndWorld War, brutal attacks against Jews, Lemko and Boyko; Communist occupation after WW II) proved the deep need for the “unwanted memory,”which would allow for substantive classification and interpretation of historical events. The article focuses on discussing the category of “unwanted memory”on a particular example -the poet RafałWojaczek (1945-1971), who is considered among the controversial “accursed poets”in Polish literature of the 20thcentury. The memory of this eccentric character is ambiguous among the many categories of recipients (or “carriers of memory”) -family, friends, acquaintances and readers, which shows the difficulty of a clear reception of the artist. An important point of consideration of this paper are the reflections of the “unwanted memory”in the context of management as a process that can be implemented by individuals (e.g. by family, friends, historians, writers), associations, foundations and public institutions. In the case of Wojaczek, the main guardian of the memory is the Mikołowski Institute, located in the poet’s hometown, which takes large-scale actions to protect the tangible and intangible heritage of the artist and promote his work nationwide.

14

Польские художники в Казахстане: с любовью к степи

70%

Shaygozova Z., Sultanova M.

Przegląd Wschodnioeuropejski

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2021

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vol. 1

369-380

EN

The article analyzes the cultural and creative heritage of artists of Polish descent who found themselves in Kazakhstan for various reasons in the period from the middle of the 19th to the end of the 20th centuries. In addition to their unconditional artistic value, the results of their creative efforts are of great scientific importance for modern Kazakhstan as unique ethnographic sources and documentary evidence of the daily graft and life of the Kazakh steppe. Domestic historical science already has a certain reserve dedicated to various sociopolitical, cultural and economic aspects of Kazakh-Polish relations, where the deportation of Poles and the formation of Kazakhstan’s Polonia are of particular importance. However, the creative heritage of Polish artists in Kazakhstan fell into the field of vision of scientists extremely occasionally. While its cultural and art historical context is able to shed light on many facets of the history, ethnography and culture of the Kazakh people. During the research, retrospective, comparative-historical and formal-stylistic campaigns were used. The result of the research is a retrospective analysis of the works of some of the most prominent Polish artists, due to various factors, for whom the Great Steppe has become not only a home, but also a source of inspiration and strength.

15

Образ циганки Папуші в художньому світі Ліни Костенко

70%

Gladyr Y.

Heteroglossia. Studia Kulturoznawczo-Filologiczne

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2015

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issue 5

43-53

EN

The article presents a comparative analyze of the first gipsy poet in Lina Kostenko’s interpretation and real woman, which appears from the lines of her own poems, interviews and the facts of biography. The author emphasizes on a great importance of the connection between artist and his nation, claiming the opinion, that named feature along with others, such as talent, love to the nature and own vocation, are remarkable in the portrait of a real artist, idealistic image of which Lina Kostenko tries to create.

16

„Zaprawdę powiadam ci, poetą się jest…”. Wojaczek Lecha Majewskiego z 1999 roku

70%

Grodź I.

Poznańskie Studia Polonistyczne. Seria Literacka

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2018

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issue 34

209-220

EN

The theme of the text is the connection between the inspiration of the artists,for example poets, and their emotional states. The purpose of the text is to indicate the role of emotions in creative work. The subject of the analysis is the film Wojaczek made by Lech Majewski from 1999, about the young Polish poet – Rafał Wojaczek (1945-1971).

PL

The theme of the text is the connection between the inspiration of the artists, for example poets, and their emotional states. The purpose of the text is to indicate the role of emotions in creative work. The subject of the analysis is the film Wojaczek made by Lech Majewski from 1999, about the young Polish poet – Rafał Wojaczek (1945-1971).

17

Étienne Gilson: L’idée de la beauté et sa conception de l’art

61%

Jaroszyński P.

Studia Gilsoniana

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2021

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vol. 10

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issue 3

731-747

EN

Two books of Étienne Gilson are especially important in the area of aesthetics: Painting and Reality and The Arts of the Beautiful. In my essay I discuss Gilson’s idea of beauty and his idea of art. To some degree, É. Gilson follows traditional Thomistic point of view, i.e., he claims that the beautiful is that which pleases when seen, or that which consists of integrity, proportion and clarity. He gives, however, a new interpretation of clarity which, for him, means not only physical lucidity, but also a metaphysical radiation and spiritualization of what is material. As for art, É. Gilson is of an opinion that it enjoys a strong metaphysical status, since the existence of the work of art comes from the artist himself. Finally, I explain why É. Gilson’s views are open to further discussion, both metaphysical and theological.

18

Spotkanie z profesorem Januszem Krupińskim – (Auto)portrety. Mieczysław Górowski

61%

Krupiński J., Czakon D., Tendera P.

Estetyka i Krytyka

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2012

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issue 2(25)

295-312

19

Kondycja współczesnego artysty wobec wartości awangardowych

61%

Paśniewska J.

Estetyka i Krytyka

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2015

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issue 3(38)

149-162

EN

The book of Grzegorz Sztabiński is a revision of twentieth century artistic avant-garde, in which the author examines crucial ideas of this formation, such as: community, freedom and authority. In perspective of these mentioned problem threads and also taking into account the matter of artist’s status, he attempts to indicate possible identity of this phenomenon, then to designate a split separating it from contemporary times, to finally describe a shift in an actual artistic situation in relation to avant-garde past. Sztabiński distinctly stresses the artist’s condition thread and presents the actual artistic situation by showing irremovable affiliations with avant-garde that proves it is still present and lasts as an archetype, which every present artist inevitably faces up to on many different ways. In the process of pursuing the community, freedom and authority ideas, a strong intention to capture their new functionality for contemporary artists unfolds.

20

Sztuka (a)społeczna

61%

Chmielewska-Szlajfer H.

Res Publica Nowa

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2014

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issue 3

74-76

EN

Kazimierz-Kelles Krauz, a late-19th century Polish sociologist, used Marxism as the basis for his concept of radically democratic art, according to which anyone who creates for the sake of pleasure and emotion is an artist. His idea of art is not for or against the elites, or for its own sake, but “without ideals,” it is art inspired by society in order to transcend it. As such, this art is socially useless and potentially subversive, yet as a sphere of freedom it helps maintain social order. Kelles-Krauz’s reflections remain particularly relevant today, as we observe art being used to both emphasize and undermine clashing social values.

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