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Wyszukujesz frazę "sztuka artystyczna" wg kryterium: Wszystkie pola

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    Wyświetlanie 1-3 z 3
    Tytuł:
    Marka artystyczna. Jak rozumiane jest pojęcie marki w świecie sztuki?
    The Artistic Brand: How is the Concept of a Brand Understood in the Art World?
    Autorzy:
    Szymańska-Palaczyk, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/1373208.pdf
    Data publikacji:
    2017-01-30
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    brand
    artistic brand
    contemporary art
    art world
    marka
    marka artystyczna
    sztuka współczesna
    świat sztuki
    Opis:
    This article shows how members of the contemporary art world in Poland understand the concept of the brand: how they define and validate it; what associations it evokes; and what kind of language is used to speak about it. The article summarizes part of the research conducted in 2015 with members of the art world within the framework of the project ‘The Artistic Brand as a Social Phenomenon: The Creation, Differentiation, and Role of Artistic Brands in Contemporary Poland.’ Thoughts on the subject of art brands lead to a description of the state of contemporary art in Poland. The definitions formulated by the respondents are compared to marketing theories, thus making it possible to determine the respondents’ level of knowledge of such theories. In conclusion, definitions of artistic brands are reviewed and supplemented on the basis of the material obtained from the research.
    Źródło:
    Kultura i Społeczeństwo; 2017, 61, 1; 231-251
    2300-195X
    Pojawia się w:
    Kultura i Społeczeństwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Metoda jako gra. Mieczysława Porębskiego metodologia badań nad sztuką
    Method as game. Mieczysław Porębskis methodology of art research
    Autorzy:
    Kasperowicz, Ryszard
    Powiązania:
    https://bibliotekanauki.pl/articles/707045.pdf
    Data publikacji:
    2013
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Porębski
    art history
    art theory
    art criticism
    20th century
    Polska
    historia sztuki
    teoria sztuki
    krytyka artystyczna
    XX wiek
    Polska
    Opis:
    Mieczysław Porebski was one of the most important Polish art historians of the twentieth century. An outstanding interpreter of nineteenth and twentieth-century art, he also practiced art criticism in a creative way, and was an organiser of cultural activities – a sympathetic observer of many developments in modern art. The methodology of art history occupies a special place in his scholarzy accomplishments. In contrast to many researchers, who dealt with history and its methods as a humanistic discipline, Porebski developer his own methodology of art research, which he formed under the strong infl uence of methods borrowed from information theory, semiotics, anthropology and structural sociology. As the author of numerous methodological studies, later collected in a large volume entitled Art and Information, he tried to construct a systematic approach to art, beginning with a semiotic (iconic) understanding of the work, incorporated in the system of semiotic and social communication. One of Porebski’s main objectives was to discover a koncept of art as communication, which would allow for a comprehensive view of the story of art, with room for the particular role of moments of structural breakthrough (the crises – the transgressions), modelled on the basis of the achievements of structural anthropology and modern interpretations of myth and times of festivity, operating at different levels in societies characterised by different attitudes to painting, which can nonetheless be encompassed in repetitive patterns and formulas. In giving the work a three-layered structure, centred on the original idea of “morphisms”, Porebski tried to capture the changing functions of art within the framework of the variants of specifi c stylistic codes and communication systems. At the same time, as a methodologist, Porebski was well aware of the restrictions faced by information and semiotic theories when applied to artistic (more generally, visual) images, which build symbolic systems by expressing something and pointing at themselves. Porebski continued to develop his methodology of art research, on the one hand fascinated by the possibilities of adding the rigours of accuracy to it, as is the case with linguistic and semiotic studies, and on the other shaping his decisions under the strong spell of modernity, both on an ideological as well as artistic level.
    Źródło:
    Rocznik Historii Sztuki; 2013, 38; 41-48
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Miłość do sztuki? O (nie)słabnącym związku między dyspozycją estetyczną a pozycją społeczną
    Love of Art: On the (Un)Diminishing Link Between Aesthetic Disposition and Social Position
    Autorzy:
    Cebula, Michał
    Powiązania:
    https://bibliotekanauki.pl/articles/1373183.pdf
    Data publikacji:
    2017-01-30
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    art
    cultural capital
    aesthetic disposition
    artistic competence
    social structure
    sztuka
    kapitał kulturowy
    dyspozycja estetyczna
    kompetencja artystyczna
    struktura społeczna
    Opis:
    As part of the broader debate on the changing nature of the art sphere, the author raises the question of whether Poles’ degree of participation in art is still strongly connected with social position. He makes use of the categories of esthetic disposition and artistic competence in Pierre Bourdieu’s sense of the terms. He bases his conclusions on quantitative and qualitative data obtained from research into the tastes and cultural participation of Wrocław inhabitants in 2011. He analyses patterns of cultural engagement. While the general attitude toward art and knowledge of artists appears, in accord with the author’s hypothesis, to be connected with occupation, income, and education at the same time the distinctive power of ‘high culture’ has decreased among the young generation in comparison with the older generation. This leads the author to suppose that traditional forms of high culture are playing a lesser role in the creation of social boundaries, although this does not mean the erosion of cultural capital as such but rather the emergence of new forms of culture and new socio-cultural divisions.
    Źródło:
    Kultura i Społeczeństwo; 2017, 61, 1; 43-70
    2300-195X
    Pojawia się w:
    Kultura i Społeczeństwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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