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    Wyświetlanie 1-5 z 5
    Tytuł:
    „Prochem jesteś...”
    “You are the ash…”
    Autorzy:
    Błaszczak, Monika
    Powiązania:
    https://bibliotekanauki.pl/articles/1392114.pdf
    Data publikacji:
    2012-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    dramat
    estetyka
    popiół
    proch
    Opis:
    Dust, powder, ash – the categories of description of everything associated with passing and evanescence, forgetfulness, finitude, of elimination of time, new, contemporary, but also a reference to a rebirth, purification, reminders. Although dust is the most important, powder dominates. Rebirth is usually only an attempt, ending in failure. Playwrights, poets, writers are trying to put into words the eternal correctness and inalienable truth that says, from dust you are and to dust you shall return. Destruction, decay and old age, destruction and plunge into nothingness is best described as a man as a “miserable dust.” The heroes try to fight the burning of which begins at birth, but the course of this river cannot be reversed
    Źródło:
    Przestrzenie Teorii; 2012, 18; 135-152
    2450-5765
    Pojawia się w:
    Przestrzenie Teorii
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Płynność – od Heraklita do Baumana
    Liquidity – from Heraklit to Bauman
    Autorzy:
    Błaszczak, Monika
    Powiązania:
    https://bibliotekanauki.pl/articles/1039334.pdf
    Data publikacji:
    2019-12-06
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    liquidity
    transdisciplinarity
    aesthetic categories
    performance
    variability
    multiplicity
    amorphism
    Opis:
    The text concerns liquidity understood as an extremely extensive category containing the aspect of changeability and blurring boundaries. It covers an extremely wide spectrum of phenomena. Liquidity is a physical category that refers to the element of water and the senses of touch and taste. It became extremely popular in sociology as an epistemological category thanks to Zygmunt Bauman. This category should be applied much more widely in analyzing phenomena in the field of literature, art, theater, performance, but also going beyond practical analytical use and transferring this concept to the level of theory. The term „liquid” refers to many associations, which in turn allow us to recall different orders and perspectives, at the same time incorporating the current argument into a broader discourse on the moving, fluid nature of the concepts of „wandering” between disciplines. These considerations are also part of the author’s concept of amorphous aesthetic categories, which include liquidity.
    Źródło:
    Przestrzenie Teorii; 2019, 31; 109-134
    2450-5765
    Pojawia się w:
    Przestrzenie Teorii
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Przezroczysta lekkość bytu – od Calvina do Bieńczyka
    The transparent lightness of being – from Calvino to Bieńczyk
    Autorzy:
    Błaszczak, Monika
    Powiązania:
    https://bibliotekanauki.pl/articles/1391510.pdf
    Data publikacji:
    2016-06-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    transparency
    esthetic categories
    lightness
    speed
    accuracy
    multiplicity
    mistiness
    lucidity
    glassiness
    przezroczystość
    kategorie estetyczne
    lekkość
    szybkość
    dokładność
    wielorakość
    mglistość
    świetlistość
    szklistość
    Opis:
    Transparency is one of physical esthetic categories that are used to describe literature and other arts. The main aim of this paper is to show how those esthetic categories are used on three levels: esthetic, performatively dramatic and philosophical in modern literature, theater, film and fine arts. The starting point for those considerations are methods of Italo Calvino (“American lectures”) and Marek Bieńczyk (his collection of essays titled “Transparency”) . Calvino’s category of “transparency” (in his attempt to go beyond anthropocentric cognition with the author’s main question: “Is imagination an instrument of cognition?”) is contrasted with Marek Bieńczyk’s term of “transparency”, who has pointed out the positive aspects of paintings (which are not only giving a feeling of emptiness but also provide certainty of clarity and obviousness). In addition to these categories, lucidity and glassiness are featured and a crystal structure is summoned in the context of mistiness as its opposition.
    Źródło:
    Przestrzenie Teorii; 2016, 25; 170-210
    2450-5765
    Pojawia się w:
    Przestrzenie Teorii
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kolażowa tożsamość medialna
    The collage media identity
    Autorzy:
    Błaszczak, Monika
    Powiązania:
    https://bibliotekanauki.pl/articles/1392849.pdf
    Data publikacji:
    2008-12-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Opis:
    Mirrors and screens have affected the specific of knowing, especially of dramatical characters' selfknowing. The personages are trying to walk through selfknowing, they are searching their identity asking themselves where is their "ego". They want to see their real image in the mirrorreflections. The process of growing the identity up which has taken place in the confrontation with the mirror reflection that calls Lacan's interpretation, who tells about Mirror Phase as an indispensable stage of "me" moulding. But the anagnorisis can't take place anymore. The character in mirror screened space faces the problem of creating his own "ego" not only from the fragment of the reality given to him directly in the dialogue and relations with other characters but also in the face of his mirror's reflection and copies in video projections. Besides selfknowing - inspiration, the problem of selfreflection in its works also appears. The memory is also the sort of mirror where the written pictures sometimes blur. In the contexts of contemporary "screened" dramas, the identity of character reaches the stage which we can call multicomplications. The character is shown as a dynamic dramatical space - the battle between the subject sphere and the object sphere. Breakdown and the lack of cohesion become the leading rule of character's creating, where in the end looks like collage. New dramatical identity has arisen - the collage media identity.
    Źródło:
    Przestrzenie Teorii; 2008, 10; 75-103
    2450-5765
    Pojawia się w:
    Przestrzenie Teorii
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Szorstki i chropowaty dotyk – o dramaturgii zmysłów
    Rough and harsh touch – on the dramaturgy of the the senses
    Autorzy:
    Błaszczak, Monika
    Powiązania:
    https://bibliotekanauki.pl/articles/2036458.pdf
    Data publikacji:
    2021-12-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    rough
    touch
    senses
    haptic
    affect
    dramaturgy
    transcategories
    museum
    performance
    mltisensory
    immersion
    Opis:
    Today, the concept of dramaturgy refers primarily to the space of theater or, more broadly, to performative arts. But as the concept of drama has passed into the scientific discourse of sociology, anthropology or literary studies, so is it with dramaturgy. The understanding that appears here refers to its meaning as a special tension on the level of sensually experienced and perceived artistic events. The subject of interest here is the dramatic aesthetics of experience in the field of performing and visual arts. The aesthetic categories related to the senses are often of a physical origin and amorphous in nature. The roughness and harshness of the title in their origin are physical categories that can be experienced primarily through the sense of touch. In this intertwining of senses, we are talking about their dramaturgy, because they cannot usually be separated from each other and various works appeal to touch and other senses at the same time. The process of creating a work and its reception is an action, process, meeting, the playwright of which is both the creator / creator and the recipient. The considerations concern changes in the perception of the senses, from the glorification of the sense of sight to the ennoblement of the “lower” senses, the place and function of the classical and interactive museum and haptic art, as well as the polysensory and immersive reception designed in performance and theater.
    Źródło:
    Przestrzenie Teorii; 2021, 36; 227-253
    2450-5765
    Pojawia się w:
    Przestrzenie Teorii
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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