Search results

1

Obraz Michaela Kreisingera z Eckersfeldu a jeho proměny

100%

Kadlec T.

Umění (Art)

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2018

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vol. 66

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issue 5

368-387

EN

The portrait of the young Michael Kreisinger of Eckersfeld, determined and dated as the work of painter Jan Kupecký, originated in 1700 in Rome. The image of the young man with wide-open eyes and slightly open mouth, telling us a great deal about Kupecký’s ‘Italian’ visual experience, was altered by radical overpainting at some point during the 18th century. To Kreisinger’s face a hitherto unidentified artist added a new body and new clothing. It was only just before the middle of the 20th century that an x-ray photograph revealed, beneath the additional painting of antique-style armour with a spectacular helmet, a differently posed figure in civilian dress, soon afterwards uncovered definitively through a radical restoration intervention. With the removal of the overpainting the picture was restored to its present form, but the removal of the paint layer nevertheless meant it was deprived of the layer of authentic meaning subsequently lent to the portrait. If art-historical literature so far has paid any attention at all to the question of what this additive meaning might be, it has usually been satisfied with the explanation that the portrait of the ‘effeminately beautiful’ young man was, on the orders of its new owner, transformed into an allegorical depiction of Minerva. None of the elements of the armour corresponds, however, to the iconographic scheme usually attributed to Minerva, and it is not even feminine in type. If we concede that the figure depicted by the overpainting is masculine in gender, then we open, in keeping with the criticism of the prevailing narrative, fixed generally on the problematic term ‘effeminacy’, new possibilities for the interpretation of the overpainting. Findings about the life and personal relations of Michael Kreisinger indicate that the radical transformation of the painting may have taken place on his own instruction. Such a conclusion not only enables a fresh interpretation of the overpainting; it also permits us to reach a satisfactory hypothesis about its possible author, who may have been another important artist of the first half of the 18th century - Václav Vavřinec Reiner.

CS

Portrét mladého Michaela Kreisingera z Eckersfeldu, určená a datovaná práce malíře Jana Kupeckého, vznikl roku 1700 v Římě. Podobizna mladíka se široce rozevřenýma očima a pootevřenými ústy, prozrazující mnohé o Kupeckého „italské“ vizuální zkušenosti, byla někdy v průběhu 18. století proměněna radikální přemalbou. Kreisingerova tvář byla dosud neurčeným malířem doplněna o nové tělo a nový šat. Až před polovinou 20. století odhalil rentgenový snímek pod přimalovanou antikizující zbrojí s výpravnou helmou odlišně stojící, civilně oděnou postavu, brzy poté definitivně odhalenou radikálním restaurátorským zásahem. Sejmutím přemalby byl obraz uveden do dnešní podoby, odstraněním barevné vrstvy nicméně ochuzen o vrstvu autentického významu podobizně dodatečně propůjčeného. Pokud se dosavadní uměleckohistorická literatura vůbec zabývala otázkou, jaký tento aditivní význam mohl být, spokojila se nejčastěji s vysvětlením, že byl portrét „zženštile krásného“ mladého muže zadáním nového majitele proměněn v alegorické znázornění Minervy. Žádný z prvků zbroje ovšem neodpovídá ikonografickému schématu, který se Minervě zpravidla přisuzuje, dokonce ani její typ není ženský. Připustíme-li mužský rod bytosti znázorněné přemalbou, otevíráme zároveň s kritikou převládajícího narativu, fixovaného obecně k problematickému termínu „zženštilosti“, nové možnosti interpretace přemalby. Poznatky o životě a osobních vazbách Michaela Kreisingera totiž nasvědčují tomu, že k radikální proměně obrazu mohlo dojít právě na jeho vlastní pokyn. Takový závěr dovoluje přemalbu nejen nově interpretovat. Umožňuje také přistoupit k uspokojivé hypotéze o možném jejím autorovi, kterým mohl být další významný malíř první poloviny 18. století — Václav Vavřinec Reiner.

2

Bernard Bolzano on the picture, the image and the visual depiction

100%

Hlobil T., Stephens P.

Umění (Art)

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2024

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vol. 72

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issue 2

98-109

EN

Even before he wrote his two aesthetic treatises On the Concept of the Beautiful (1843) and On the Classification of the Fine Arts (1849), Bolzano had already concerned himself with the questions of what is a picture (Bild), what is an artistic image as a kind of picture, what is the relationship between the picture and the depicted object (das Abgebildete), and what is representation (Darstellung). His earlier reflections on these questions can be found in his manuscript Philosophical Diaries, in his correspondence with Franz Exner, a professor of philosophy at Prague University, and in his main philosophical work Theory of Science (1837). The variety of motives which led to these considerations caused Bolzano to attribute differing, sometimes almost contradictory, characteristics to the picture. The present study describes Bolzano’s views on these questions and aims to demonstrate that, although Bolzano dealt with the fundamental issues relating to the nature of the picture repeatedly, in different contexts and in a stimulating fashion, he did not do so in the form of an integral theory. The study outlines the reasons for his approach and its causes.

CS

Bolzano se zabýval otázkami, co je obraz (Bild), co je výtvarný obraz, jaký je vztah mezi obrazem a zobrazeným předmětem (das Abgebildete) a co je zobrazení (Darstellung), ještě předtím, než napsal dvě estetická pojednání O pojmu krásna (1843) a O dělení krásných umění (1849). Jeho dřívější úvahy o těchto otázkách lze nalézt v rukopisných Filosofických denících, v korespondenci s profesorem filosofie na pražské univerzitě Franzem Exnerem a v jeho hlavním filosofickém díle Vědosloví (1837). Různorodost motivů, které vedly k těmto úvahám, způsobila, že Bolzano přisuzoval obrazu různé, někdy až protichůdné charakteristiky. Předkládaná studie popisuje Bolzanovy názory na tyto otázky s cílem ukázat, že ačkoli se Bolzano zabýval základními otázkami týkajícími se povahy obrazu opakovaně, v různých souvislostech a podnětným způsobem, nečinil tak v podobě ucelené teorie. Studie nastiňuje důvody a příčiny jeho přístupu.

3

Du côté de l’oeil. La perception visuelle

100%

Skuza B.

Annales Neophilologiarum

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2010

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issue 4

173-183

EN

The aim of this paper is to show how visual aids can be used in the field of teaching. Nowadays culture is often called a visual culture. Indeed, thanks to the technological and scientific development, visual image has became one of the basic elements of the world perception. Furthermore, it is also one of the basic elements that construct the world. As far as human physiology is concerned, 70% of the knowledge about the surrounding world originates from visual perception. The human eye is the most specialized and sensitive receptor, which is used to transfer the stimulus directly to the brain. Moreover, during ontogenesis the ability of visual communication was formed earlier than the ability of verbal communication. A starting point of this paper will be a definition of a visual perception. Furthermore, factors that determine visual perception will be discussed. The last part of the paper will be devoted to the practical application of the knowledge in the foreign language teaching.

PL

Celem artykułu jest przedstawienie wykorzystania obrazu w dziedzinie dydaktyki. Współczesna kultura nosi często miano wizualnej. W istocie, dzięki rozwojowi nauki i techniki, obraz stał się jednym z podstawowych elementów konstrukcji i postrzegania świata. Z punktu widzenia fi zjologii człowiek uzyskuje ok. 70% wiedzy o otaczającym go świecie właśnie za pośrednictwem obrazu. Oko ludzkie jest najwyżej wyspecjalizowanym i najczulszym receptorem, którego rolą jest przekazywanie bodźców bezpośrednio do mózgu. Również w rozwoju osobniczym człowieka umiejętność komunikacji wizualnej wykształciła się wcześniej niż komunikacja werbalna. Punktem wyjścia artykułu jest pojęcie percepcji wizualnej. Następnie omówione zostały determinujące ją czynniki. Ostatnia część artykułu poświęcona jest praktycznemu wykorzystaniu tej wiedzy przez dydaktykę języków obcych.

4

Thomas Bernhard i fotografia. Wokół Wymazywania i nie tylko

100%

Zawojski P.

Przegląd Kulturoznawczy

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2020

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vol. 43

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issue 1

122-132

EN

Thomas Bernhard was not an expert in photography, its history and especially theory. He never dealt with the discursive description of her phenomenon. However, in his last great novel, Extinction(1986), he made several photos a kind of memory trigger and a center for building a story. The article deals with the issue of a special, extremely critical, not to say iconoclastic, assessment of the role of photography as a medium of stupefying people who succumb to its seductive power. The analysis of the fragments of photography appearing in the novel is just a starting point for deeper reflection on the impossibility of erasing photography as a medium of memory, it is a fundamental polemic with the thesis of the novel narrator, which the author identifies with the author himself. Here, Thomas Bernhard’s Extinction is an excuse to reflect on how photography and photographing can be considered a disease of our time, as the Austrian writer anticipated in his novel in the eighties of the last century.

5

Intermediate Images

88%

Paech J.

Acta Universitatis Sapientiae, Film and Media Studies

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2014

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vol. 9

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issue 1

31-49

EN

Starting from a definition of the word ‘picture’ as a real-world object that shows other objects on its surface as a representation of its image, I propose that the intermediality of pictures of all kinds is only possible through their images, after they have been separated from their material basis or foundation (for example, a painting in its physical reality can never be directly connected with a movie). In all technical reproductions of images, such as printing processes, an image is taken from a negative matrix in order to realize multiple prints of the same representation. The most effective model of this procedure is photography: photographic images can easily be connected with their media forms to produce other, more complex forms, such as magazines, printed books, or films. Intermediate images in the form of matrices - sometimes transparent (e.g. in the light beam of a film projection), sometimes opaque - are required to transform one pictorial media form into another. Finally, for the digital matrix-image, there is no longer any difference between the matrix and the image: the matrix has become its own image, which can be linked to all other media forms.

6

Obrazy człowieka i świata postapokaliptycznego we współczesnej polskiej literaturze fantasy i science fiction na przykładzie Komornika Michała Gołkowskiego oraz Starości aksolotla Jacka Dukaja

88%

Rybacka A.

Prace Literaturoznawcze

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2018

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issue 6

217-226

EN

This paper presents the picture of the post-apocalyptic man and world based on Komornik[Bailiff] by Michał Gołkowski and Starość aksolotla [The Old Axolotl] by Jacek Dukaj – the novelswritten by two of the most popular Polish science fiction and fantasy writers. It shows the causesof the apocalypse in these books and how the post-apocalyptic world is changing. It also describesand analyses the motives behind the protagonists’ approach, what they are missing and how theyaffect the post-apocalyptic world.

7

Iconology, visual culture and media aesthetics

87%

Mitchell W. J. T.

Poznańskie Studia Polonistyczne. Seria Literacka

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2017

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issue 30

341-364

PL

The article contains fragments of three chapters form the book Image Science. Iconology, Visual Culture and Media Aesthetics (Chicago 2015), titled The are no Visual Media , Back to the Drawing Board and Foundational Sites and Occupied Spaces . W. J. T. Mitchell created in his previous works the key concepts which imply an approach to images as true objects of investigation – an “image science”. Author, continuing with his influential line of thoughts, amplifies interdisciplinary studies of visual media. The chapters also delve into such topics as conections between new media and architecture or the occupation of space in contemporary popular uprisings. Image science is a call for a method of studying images that overcomes the “two-culture split” between the natural and human sciences.

EN

The article contains fragments of three chapters form the book Image Science. Iconology, Visual Culture and Media Aesthetics (Chicago 2015), titled The are no Visual Media , Back to the Drawing Board and Foundational Sites and Occupied Spaces . W. J. T. Mitchell created in his previous works the key concepts which imply an approach to images as true objects of investigation – an “image science”. Author, continuing with his influential line of thoughts, amplifies interdisciplinary studies of visual media. The chapters also delve into such topics as conections between new media and architecture or the occupation of space in contemporary popular uprisings. Image science is a call for a method of studying images that overcomes the “two-culture split” between the natural and human sciences.

8

„Книга художника” как интермедиальный дискурс

75%

Bobilewicz G.

Poznańskie Studia Slawistyczne

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2012

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issue 2

EN

The article is devoted to an analysis of various representations of the “Artist’s book” genre in modern Russian and world art. These representationsfunction within the framework of the paradigm of art that refers to issues such as inter- and multimedia, the model of a broadly talented artist, the concept of a multi-material work of art and the interactive act of perception. The analysis of the issues connected with verbal and visual representations of the “Artist’s book” has been based on the superordinate ‘word and picture’ formula and the interpretative indicators determined by generic diversification and the dialogue with other kinds of art: the relationship with painting and sculpture, the book as an object, ready made, mail-art, an artistic project (audiovisual book, photo- and body-art book, book-performance), as well as by the act of reception. In intermedia discourse, the “Artist’s book” functions within the cultural, artistic and aesthetic perspective, between art and communication.

RU

The article is devoted to an analysis of various representations of the “Artist’s book” genre in modern Russian and world art. These representationsfunction within the framework of the paradigm of art that refers to issues such as inter- and multimedia, the model of a broadly talented artist, the concept of a multi-material work of art and the interactive act of perception. The analysis of the issues connected with verbal and visual representations of the “Artist’s book” has been based on the superordinate ‘word and picture’ formula and the interpretative indicators determined by generic diversification and the dialogue with other kinds of art: the relationship with painting and sculpture, the book as an object, ready made, mail-art, an artistic project (audiovisual book, photo- and body-art book, book performance), as well as by the act of reception. In intermedia discourse, the “Artist’s book” functions within the cultural, artistic and aesthetic perspective, between art and communication.

9

Zmiany wizerunkowe mężczyzny w przestrzeni lingwakulturowej

75%

Garncarek P.

Język a Kultura

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2016

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vol. 26

25-36

EN

Linguistic sensitivity to the reality around us, particularly the one in the social dimension, is an intriguing research area. In the wake of the ever faster rushing world, the language tries to catch up in different ways, not always in its own way. It borrows, calques, phonetically assimilates the foreign lexicon; moreover, it creates neologisms, fabricates and inserts new, “author’s” words, expressions and phrases. The linguocultural space, implied as a special area, where the language is intertwined with the described culture of a society — ethnic, national or linguistic, should look forward to the change of its own denomination. Calling phenomena linguocultural indicates the succession from language to reality. It is rather “demanding” linguistically. If indeed we adopt the sequence of events, the space in question is essentially linguocultural. The language must catch up and name new situations, phenomena, artifacts rather than create the reality which is made up of them. The relationship is analysed in the article and illustrated by examples thematically related to the image changes of a man.

10

Musée imaginaire: Fontanes Gemäldegalerie

75%

Fischer H.

Studia Germanica Posnaniensia

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2016

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issue 37

109-120

EN

This paper tends to explore ,Fontane's picture gallery' referring to its genesis, characteristic and effect. In doing so the art critic Fontane is improving a distinctive image as an expert especially of English art und of the at that time in Germany leading Dusseldorf School of Painting (Düsseldorfer Malerschule). Furthermore it will be set out how the writer Fontane is acting in his work with pictures and pictorial perception. Eventually there is a suggestion for recovering ,Fontane's picture gallery' to make it possible for the contemporary audience to read Fontane's works in a wider and subtly differentiated manner.

11

Zu Typen und Funktionen von Bildern in der Regenbogenpresse

75%

Kałasznik M.

Linguistische Treffen in Wrocław

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2019

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issue 15

133–143

DE

Bildern kommt eine beträchtliche Rolle sowohl in der Alltagskommunikation als auch in medialen Texten zu. In diesem Beitrag stehen ausgewählte Typen von Bildern und ihre Relationen mit dem Text im Vordergrund, wobei das Korpus der Untersuchung Pressetexte aus deutschen Titeln der Regenbogenpresse bildet. Dabei wird davon ausgegangen, dass Bilder als eine Kommunikationsform in gewisser Hinsicht eindeutiger und auch bequemer sind sowie sich durch eine größere informativ-persuasive und visuelle Kraft als Wörter und Texte kennzeichnen. In der Studie wird die Regenbogenpresse auf die Präsenz und Verwendung von Bildern hin untersucht.

EN

An extraordinary role is assigned to images not only in everyday communication, but also in media texts. The focus of this article is on selected types of images and their relationships with texts. The corpus of the study is comprised of press texts from selected glossy magazines. The starting point is an argument that images as forms of communication are in a certain sense more unambiguous and more convenient in some situations and have greater information-persuasive and visual potential than texts. Starting from this assumption, the article attempts to analyze glossy magazines in regard of presence and usage of images.

12

The visual principle and the correlation between teaching of the Catholic religion and art education in Polish school

71%

Chałupniak R.

The Person and the Challenges. The Journal of Theology, Education, Canon Law and Social Studies Inspired by Pope John Paul II

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2015

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vol. 5

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issue 2

PL

Contemporary culture – as already noted – is becoming more and more visual. Contemporary catechesis, referring to its rich, centuries-long experience, should also use different types of images. The first part of this article presents the visual principle as one of basic educating principles, and the second part presents the correlation between the teaching of Catholic religion, and art education in Polish schools. One specific example of using religious painting are in textbooks.Masterpieces of painting, created during centuries and expressing particular desires of their creators, still remain an important inspiration, among others, to the religious search. Faith, though strongly anchored in words, needs representations, specific references, which allow receiving, understanding, and experiencing it. Paintings give this possibility, and even – taking into consideration the contemporary civilization – impose the necessity to use them, in order to effectively reach the contemporary receiver.Using images in education is not only the achievement of specific objectives in catechesis, but also gives an opportunity to creatively engage students and shape their aesthetic sensibility. Working with the image creates the possibility of discovering the beauty, to see it in reality and “keeping the heart”, that is the enrichment of the beauty of one’s humanity.

13

Przestępstwo kradzieży tożsamości po zmianach wprowadzonych ustawą z 31 marca 2020 r. nowelizującej przepisy w sprawie COVID-19

66%

Budyn-Kulik M.

Studia Prawnicze

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2020

|

issue 2(222)

23-38

EN

The Act of March 31, 2020 changed, inter alia, the content of the provision of Art. 190 a § 2 of the Polish Criminal Code. In the original wording of this provision, conduct consisting of impersonating another person using his/her image or other personal data in order to inflict material or personal harm on her/ him was criminalized. Image is not an easy concept to define. It is assumed to include the appearance of a person and other externally perceptible features that allow for their identification. The concept of personal data has been defined in the Regulation of the European Parliament and of the Council (EU) as any information relating to an identifiable natural person. Currently, the legislator has introduced an additional element - 'other data by means of which it is publicly identified'. The legitimacy of introducing this characteristic and the way it was shaped raise doubts; in particular, the terms 'in public' and 'is identified'. Both the concept of image and personal data fall under the term 'other data'.

PL

Ustawa z dnia 31 marca 2020 r. o zmianie ustawy o szczególnych rozwiązaniach związanych z zapobieganiem, przeciwdziałaniem i zwalczaniem COVID-19, innych chorób zakaźnych oraz wywoływanych nimi sytuacji kryzysowych zmieniła m.in. treść przepisu art. 190 a § 2 k.k. W pierwotnym brzmieniu tego przepisu kryminalizowane było zachowanie polegające na podszywanie się pod inną osobę z wykorzystaniem jej wizerunku lub innych danych osobowych w celu wyrządzenia jej szkody majątkowej lub osobistej. Wizerunek jest pojęciem niełatwym do zdefiniowania. Przyjmuje się, że obejmuje obraz człowieka oraz inne cechy postrzegalne zewnętrznie pozwalające na jego identyfikację. Pojęcie danych osobowych zostało zdefiniowane w rozporządzeniu Parlamentu Europejskiego i Rady (UE) jako wszelkie informacje o możliwej do zidentyfikowania osobie fizycznej. Obecnie ustawodawca wprowadził dodatkowe znamię – „inne dane, za pomocą których jest ona publicznie identyfikowana”. Zasadność wprowadzenia tego znamienia oraz sposób jego ukształtowania budzi wątpliwości; w szczególności określenia „publicznie” oraz „jest identyfikowana”. Zarówno pojęcie wizerunku, jak i danych osobowych, mieszczą się w znamieniu „innych danych”.

14

Ekfraza homerycka w perspektywie kulturowego wymiaru percepcji wzrokowej

63%

Rydlewski M.

Rocznik Antropologii Historii

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2014

|

issue 1(6), Semiotyka historii

275–321

XX

Starting point of the article is a one of the chapter of the book Anthropology of picture cognition wrote by Maciej Kociuba, where the author discus Homeric ekphrasis in the cognition dimension understanding in the philosophical context. An article has a polemic character. Author of the article, using thesis created by Eric Havelock and Andrzej P. Kowalski presents, that Homeric way of thinking was more magical than philosophical, because his culture was a culture before philosophy as a way of thinking and culture without writing.

15

Fotografia cyfrowa jako źródło poznania

63%

Makowski M.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

|

2016

|

issue 8(2) "Cyfrowa humanistyka"

37-48

PL

W opracowaniu dokonano przeglądu pól aplikacji fotografii cyfrowej pod kątem skutków indywidualnych oraz społecznych. Zwrócono uwagę na specyfikę współczesnych autoportretów określanych jako selfies, na to, jakie funkcje psychologiczne pełni ich wykonywanie i rozpowszechnianie. Przedstawiono również bardziej funkcjonalne wykorzystanie zdobyczy fotografii cyfrowej dla „tradycyjnych” pól jej wykorzystania: terapeutycznego i autoterapeutycznego, takich jak fotoanaliza, „czytanie obrazów” czy fototerapia. Podniesiono też wątek wszechobecności nowoczesnej fotografii w różnorodnych dziedzinach nauki i poznania. Następnie przedstawiono fotografię w kontekście jej podstawowego nośnika, jakim jest Internet, oraz specyfiki Computer Mediated Communication (CMC). Sposób w jaki dziś fotografie są publikowane czy modyfikowane, ma szereg konsekwencji, które mogą być zaskakujące i niepokojące dla tych, którzy je częstokroć beztrosko upubliczniają. Na koniec zwrócono uwagę na zagrożenia dla prywatności związane z wykonywaniem komuś zdjęć oraz manipulatywne posługiwanie się obrazem.

EN

A study reviews digital photography’s fields of application in terms of its individual and social consequences. The Author drew attention to the nature of contemporary selfportraits known as selfies, discussing their psychological functions, reasons for taking them and publishing on-line (uploading). It also presents a more functional use of the achievements of digital photography for “traditional” fields of exploitation, the therapeutic and self- therapeutic uses such as photoanalysis, “reading pictures” or phototherapy. There was also a mention about the ubiquity of modern photography in various fields of science and cognition. Further in the article, a photograph is viewed in the context of its basic media – Internet and the specifics of Computer Mediated Communication (CMC). The way currently photos are published and modified results in a number of consequences which may be surprising as well as disturbing for those who often carelessly publicize them. At the end the attention was drawn to the privacy risks associated with taking pictures of people, as well as manipulative use of the image.

16

[rec.] Witold Kawecki. Zobaczyć wiarę. Studium obrazu postrzeganego jako komunikacja wiary z perspektywy teologii kultury i teologii mediów. Homo Dei: Kraków 2013 ss.322

63%

Chmielewski M.

Biuletyn Edukacji Medialnej

|

2014

|

issue 1

141-145

EN

Fr. Witold Kawecki’s monograph entitled To see faith. Image perceived as a communication of faith. A study from the perspective of the theology of culture and the theology of the media represents this current of contemporary ecclesiastic theological thought according to which faith is not only inspired through listening to the Word of God (fides ex auditu), but also through the visual experience (fides ex visu). The author points out a variety of images that constitute a fundamental phenomenon of contemporary culture and a means of ommunicating faith to contemporary human being through theological sciences. The monograph consists of four chapters: 1. Image as a fundamental cultural phenomenon, 2. To see the invisible. Communicating faith through image, 3. Television image in transmission of the content of faith. The case of the broadcasts of the Polish public television TVP. Editors of Catholic Programmes, 4. The new evangelization in the field of visual culture. W. Kawecki’s monograph is a source of many accurate analyses and conclusions that reach beyond his research in the field of culture and visual theology. The book can also be inspirational for deeper theological investigations and lectures on e.g. media education, theology of communication, theology of evangelization, catechetical education or anthropology of the media.

17

Obraz św. Mikołaja Cudotwórcy z Opola Podedwórza

63%

Wierna R.

Vox Patrum

|

2003

|

vol. 44

375-380

ES

Contenido pacto concluido, en 1596, la union entre la Iglesia Oriental et Occidental inflfa tambien el arte de ambos Iglesias, que estaban en las fronteras de Polonia. El cuadro de san Nicolas de Opole Podedwórze est el ejemplo de la pintura donde esta la influencia del arte Oriental et Occidental. El cuadro presenta al tema conocido en los modelos de la iconografia, que presentó en la convención del arte barocco.

18

Tιμιώτερα Books, Talking Objects, Honour and Shame in the Phaedrus

63%

Caserta C.

Peitho. Examina Antiqua

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2015

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vol. 6

|

issue 1

113-146

EN

In the Phaedrus, the expression τὰ γεγραμμένα φαῦλα ἀποδεῖξαι, „to demonstrate the inadequacy of its own written” could mean „to make a palinody.” The requirements to define someone as a philosopher that Socrates provides (Phdr. 278) describe in theoretical and normative form what the dialogue has already represented in its dramatic form. Plato has targeted the speech of Lysias and the first speech of Socrates as belonging to a literary genre that is still in statu nascendi: a sophistic conference in which the writing is supposed to be read aloud and there is established a particularl emotional relationship between the reader and listener with the subordination of the latter to the former. For Socrates this relationship should be different and the speeches as well as books should have a completely different intent, content and form: philosopher must offer to the one whom he loves a chaste and virtuous conduct: such conduct, in its imitation of the divine, is precisely what distinguishes him from other scholars: τιμιώτερα. The philosophical relationship must involve a different kind of reading: a silent one that can neutralize the deleterious and seductive effects of the voice. This does not imply, however, that all books are the same. Philosophical writing is not a palindrome on a statue, like a picture. Its qualifying element is the linear and irreversibile sequence. Time flows between one segment and the next. Thus, thoughts presented in writing move in space, whereas characters that have thoughts in them also move over time, changing and modifying themselves. That is precisely how philosophical writing, such as the platonic dialogue, can reproduce logos.

19

Literackie i filmowe obrazy śmierci Jana Husa

63%

Pešina J.

Slavica Wratislaviensia

|

2019

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vol. 168

229-241

EN

The image of Jan Hus’s death in literary and film works The article shows, on selected examples from Czech literature and film, different images of the Czech reformer’s death. The fundamental texts of this article are the testimonies of two witnesses of that event: a member of Hus’s escort, Peter from Mladoňovice, and a burgher from Konstantz, Ulrich Rychental. Confesional dependent visions, that both of them were creating, initiated two traditions in the perception of Jan Hus: as a martyr and as a heretic. The vision of Mladoňovic dominated thinking about Hus in Czech society until the beginning of the recatholization. During the 19th century it was also supported by historism typical for the National Revival epoch (F. Palacký, Dějiny národa českého), persisted in journalism, literature, art and, after some modifications, operated until the middle of the 20th century (O. Vávra, Jan Hus). Later literary and film productions (E. Kantůrková, J. Svoboda, Jan Hus) take into account Rychental’s testimony, so the one-sided picture of the death of the Bethlehem preacher gained a new dimension.

CS

Literární a filmové obrazy smrti Jana Husa Článek na vybraných příkladech z české literatury a filmu ukazuje dva různé obrazy smrti českého reformátora. Základními texty jsou zprávy dvou očitých svědků události: člena Husova doprovodu Petra z Mladoňovic a kostnického měšťana Ulricha Richentala. Konfesijně podmíněné obrazy, které oba atoři kreují, stojí na počátku dvou rodících se tradic v pojímání Husa: jako mučedníka a jako kacíře. V českém prostředí dominoval až do počátku rekatolizace Mladoňovicův obraz, který byl v 19. století převzat obrozeneckým dějepisectvím (F. Palacký, Dějiny národa českého) a následně publicistikou, literaturou a výtvarným uměním a v různých modifikacích přetrval zhruba do poloviny 20. století (O. Vávra, Jan Hus). Pozdější literární a filmová produkce (E. Kantůrková, J. Svoboda, Jan Hus) zohledňuje také Richentalovo svědectví, čímž do té doby jednostranný obraz smrti betlémského kazatele získal novou dimenzi.

20

Makro- und Mikrotypographie im Titelkopf der „Oberschlesischen Nachrichten“ und ihrer Folgezeitungen

63%

Pelka D.

Germanica Wratislaviensia

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2015

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vol. 140

195 - 210

EN

The description of the headlines of some selected issues of Oberschlesische Nachrichten, and its successor newspapers, as the only present newspaper of the German minority in Poland, is the starting point and the basis for answering the question, which features of the micro- and macrotypography exert an influence (and what kind) on the reception of the signs which are to be found in them. The analysis shows that not only the significance of the speech signs plays an important part as far as the delivery of specified information is concerned. It also emphasizes that their visual form, their distribution on the space available, or their combination with non-speech signs is vital. They all have a different affective effect on the reader and cause different reception of the prevailing headline.

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Makro- und Mikrotypographie im Titelkopf der „Oberschlesischen Nachrichten“ und ihrer Folgezeitungen