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Wyszukujesz frazę "“Thaw”" wg kryterium: Temat

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    Wyświetlanie 1-6 z 6
    Tytuł:
    Bez Ludwika i panny służącej. Projekty nowoczesnych kuchni jako zwierciadło przemian roli kobiet w poodwilżowej Polsce
    SOCIAL REALISM FROM THE INSIDE. DESIGN, THE ART OF THE INTERIOR AND MODERNIZATION
    Autorzy:
    Szydłowska, Agata
    Powiązania:
    https://bibliotekanauki.pl/articles/2135559.pdf
    Data publikacji:
    2021-12-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    kitchen
    design
    Thaw
    modernism
    home engineering
    Opis:
    The development of a post-Stalinist modern kitchen in Poland was informed by the activities of different individual and institutional actors: experts in ‘professional’ home engineering, architects and designers and modernist taste-makers. The image of the model kitchen is surprisingly coherent: a rational laboratory kitchen, where the housewife’s work is orchestrated according to Taylorism-inspired rules that aim at reducing the burden of domestic chores and introducing modern and hygienic equipmentand attitudes. The discourse, inspired by similar discussions in Europe and United States, mainly by the works of Swedish Research Institute, reflects the prewar ideas of kitchen-laboratories and ‘home engineering’. What’s new and different is the temporal (limited to a short post-Thaw period) enthusiasm for open-plan kitchens presented as spaces where a housewife can seamlessly perform two duties at the same time: housework and care work. This phenomenon mirrors changing attitudes towards women’s roles in society which, in the post-Stalinist period, were marked by ongoing conservatism. Drawing on the concept of a ‘mediation junction’ and the historical production-consumption-mediation paradigm in design, the article traces changing attitudes towards women’s roles in society, reflected both in popular and professional discourses on kitchen design.
    Źródło:
    Artium Quaestiones; 2021, 32; 161-185
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Produkowanie estetyk, produkowanie podmiotu. Początki odwilży i wolność twórcza w sztukach wizualnych na przykładzie wystawy w Arsenale
    Autorzy:
    Dąbrowski, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/909478.pdf
    Data publikacji:
    2019-05-07
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    freedom of art in communist Poland
    censorship
    “thaw”
    “Arsenał” exhibition
    Opis:
    In Polish art history, there are two approaches to the “Arsenał” exhibition of August 1955. One, rooted in the debates around it, presents the “Arsenał” as the beginning of a political “thaw” – an act of emancipation, a demonstration of young artists who rebelled against the socialist realism. The other approach to the show or, rather, to the “thaw” as a whole, rejects an interpretation of artistic processes and choices as autonomous activities. Instead, with reference to the theory of Michel Foucault, the “Arsenał” is considered as a result of a reconfiguration of scattered power relations, stimulated by the changing strategies of the institutional power system. The present paper follows the latter approach. Foucault claims that power relations are combined with three interconnected types of human relations: defining the hierarchy of tasks and division of labor, compelling obedience, and performing “communicative binding,” i.e. purposeful action that affects the actors’ knowledge of the world and of themselves. After 1954, power relations in Poland were strategically changing: the system of labor division and the distribution of art, including all the related benefits, was still centralized, but the ineffective administrative control relaxed, while the production of meaning changed as well – the communist party modified its rhetoric referring to art and the range of artistic choice grew together with the options of communication. Still, the liberalization of the system and abandoning the Moscow version of the socialist realism in cultural policy did not mean any real increase of the freedom of choice. Using state exhibition institutions and the press, which was the main channel of communication between the authorities and the masses, the communist regime continued to control the aesthetic consciousness of the artists. An analysis of both printed and visual messages found in the press of the period, specialist periodicals and daily newspapers alike, has revealed a surprising similarity of the official discourse and the aesthetic choices made by the participants of the “Arsenał” – in particular those choices which were later interpreted as attempts to reject the socialist realism and launch a new beginning. It seems that the young artists were “positively censored,” i.e. the regime succeeded in creating an aesthetic reality which they accepted. What is more, they considered it subversive as an emanation of liberty. The selection of the aesthetic modes favored by the authorities took place in an unconscious way already at the stage of creation, before particular works of art were accepted by the ”Arsenał” jury and before they were actually controlled by the institutions of censorship.
    Źródło:
    Artium Quaestiones; 2018, 29; 381-408
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Od rewizji do apostazji i między publicystycznością a literackością. O wierszach polskiej „odwilży”
    From revision to apostasy, and between public discourse and literary discourse. On the poems of the Polish thaw
    Autorzy:
    Stankowska, Agata
    Powiązania:
    https://bibliotekanauki.pl/articles/1041914.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Polish poetry in the 20th century
    thaw
    October watershed
    censorship
    Opis:
    The text is a book review of an Wiersze polskiej „odwilży” (1953-1957)  (Kielce 2010). This is the first monograph of this subject, and it has a great documentary value. The author based his well-researched study on detailed archival queries in contemporary press, magazines, and leaflets. The author compared the found texts with their authors’ published poetry books, traced the relations between content, censorship interventions in reprints, and subsequent authorial modifications, which were often aimed at universalization of a poem initially written as an urgent public statement. The author meticulously reconstructed the communicational problems of thaw poems and collections.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2016, 29; 247-259
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Malarstwo materii w Polsce. Na marginesach odwilżowej "nowoczesności"
    Autorzy:
    Jankowska-Andrzejewska, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/909451.pdf
    Data publikacji:
    2018-09-08
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    modernity
    painting of the matter
    Thaw in Poland
    surface of a painting
    Opis:
    The painting of the matter was an important component of Polish art of the “thaw” period and the 1960s. So far Polish art historians have usually interpreted works made of non-traditional substances by Polish artists as examples of inspiration by Western art and a tendency to abandon the painting as such. Scholars and critics stressed the relief qualities of art objects and their impact on the spectator through the surface texture and the properties of the material used, often incorporated into a picture directly from reality and provoking specific associations. Such an approach did justice only to some such works, e.g., those painted with paints mixed with nonpainterly substances, with the mud effects of the palette, characteristic of French art (Aleksander Kobzdej, Jan Lebenstein), or abandoning traditional materials to challenge the painting as such (Jan Ziemski, Włodzimierz Borowski, Jerzy Rosołowicz). Thus far the reflection on the painting of the matter seems inadequate to the works in which paint was eliminated in favor of other materials and substances combined with painterly activities. Those unspecific substances and materials were often distributed on flat surfaces and composed in terms of basic division of the pictorial field, its main axes, relations to the edges, etc. Such “paintings made of matter” are interesting examples of the “thaw” art, which have not been interpreted as paintings, escaping chronological and other criteria of art history. Ambiguously called the “painting of the matter,” they occupied the margins of the critical discourse. The inadequacy of the terms adopted to describe them resulted in ignoring many works, while others have been included in the history of Polish art only in some aspects.  So far no one has addressed the basic question of different artistic responses to the problem of searching for the limits of the painting, and related attempts to enhance the painterly idiom which was at the same time disrupted in a number of ways. The author analyzes works selected from the set of about three hundred items found in thirteen Polish museums. Regardless of the individual differences, the paintings by Jadwiga Maziarska, Bronisław Kierzkowski, Adam Marczyński, Teresa Rudowicz, and Krystyn Zieliński exemplify the combination of non-traditional substances and surface composition. Paradoxically, the decision to abandon paint did not make those artists deny the superior role of the surface, which resulted in the creation of works oscillating among painting, relief, and sculpture, close to collages or assemblages, yet quite specific. Their works either exploited the conditions offered by the framed flat surface or brought into play new, autonomous surfaces.
    Źródło:
    Artium Quaestiones; 2016, 27; 197-247
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Ближайшая станция европейской культуры…”: полонофилия 60-х годов
    Autorzy:
    Vorontsova, Kristina
    Powiązania:
    https://bibliotekanauki.pl/articles/1023462.pdf
    Data publikacji:
    2019-09-05
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Soviet poetry
    Polska
    the Khrushchev Thaw
    the Sixties
    Polish text of Russian literature
    Andrzej Wajda
    Zbigniew Cybulski
    Opis:
    The article attempts to trace the sources of “polonophilia” in the Soviet culture of the sixties and to consider the strategies of the representation of the Polish text in Russian literature after the Khrushchev Thaw on the material of Stanislav Kunyaev, Boris Dubrovin and Emil Janvarev’s poetry. The special influence on the formation of the geo-cultural image of the Polish People’s Republic in this period is discussed in the context of Polish cinema (in particular Andrzej Wajda’s film Ashes and Diamonds).
    Źródło:
    Studia Rossica Posnaniensia; 2019, 44, 2; 5-14
    0081-6884
    Pojawia się w:
    Studia Rossica Posnaniensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Toward a New Concept of Progressive Art: Art History in the Service of Modernisation in the Late Socialist Period. An Estonian Case
    Autorzy:
    Kodres, Krista
    Powiązania:
    https://bibliotekanauki.pl/articles/909522.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Socialist art history and historiography
    Soviet studies
    Thaw era and modernisation
    centre (Moscow) and periphery (Estonian SSR) relations
    art and ideology
    progressiveness in art
    Opis:
    The paper deals with renewal of socialist art history in the Post-Stalinist period in Soviet Union. The modernisation of art history is discussed based on the example of the Estonian Soviet Socialist Republic (Estonian SSR), where art historians were forced to accept the Soviets’ centrally constructed Marxist-Leninist aesthetic and approach to art and art history. In the art context, the idea of progressiveness began to be reconsidered. In previous discourse, progress was linked with the “realist” artistic method that sprang from a progressive social order. Now, however, art historians found new arguments for accepting different cultures of form, both historical and contemporary, and often these arguments were “discovered” in Marxism itself. As a result, from the middle of 1950’s Soviet art historians fell into two camps in interpreting Realism: the dogmatic and revisionist, and the latter was embraced in Estonia. In 1967, a work was published by the accomplished artist Ott Kangilaski and his nephew, the art historian Jaak Kangilaski: the Kunsti kukeaabits – Basic Art Primer – subtitled “Fundamental Knowledge of Art and Art History.” In its 200 pages, Jaak Kangilaski’s Primer laid out the art history of the world. Kangilaski also chimed in, publishing an article in 1965 entitled “Disputes in Marxist Aesthetics” in the leading Estonian SSR literary journal Looming (Creation). In this paper the Art Primer is under scrutiny and the deviations and shifts in Kangilaski’s approach from the existing socialist art history canon are introduced. For Kangilaski the defining element of art was not the economic base but the “Zeitgeist,” the spirit of the era, which, as he wrote, “does not mean anything mysterious or supernatural but is simply the sum of the social views that objectively existed and exist in each phase of the development of humankind.” Thus, he openly united the “hostile classes” of the social formations and laid a foundation for the rise of common art characteristics, denoted by the term “style.” As is evidenced by various passages in the text, art transforms pursuant to the “will-to-art” (Kunstwollen) characteristic of the entire human society. Thus, under conditions of a fragile discursive pluralism in Soviet Union, quite symbolic concepts and values from formalist Western art history were “smuggled in”: concepts and values that the professional reader certainly recognised, although no names of “bourgeois” authors were mentioned. Kangilaski relied on assistance in interpretation from two grand masters of the Vienna school of art history: Alois Riegl’s term Kunstwollen and the Zeitgeist concept from Max Dvořák (Zeitgeist, Geistesgeschichte). In particular, the declaration of art’s linear, teleological “self-development” can be considered to be inspiration from the two. But Kangilaski’s reading list obviously also included Principles of Art History by Heinrich Wölfflin, who was declared an exemplary formalist art historian in earlier official Soviet historiography. Thaw-era discursive cocktail in art historiography sometimes led Kangilaski to logical contradictions. In spite of it, the Primer was an attempt to modernise the Stalinist approach to art history. In the Primer, the litmus test of the engagement with change was the new narrative of 20th century art history and the illustrative material that depicted “formalist bourgeois” artworks; 150 of the 279 plates are reproductions of Modernist avant-garde works from the early 20th century on. Put into the wider context, one can claim that art history writing in the Estonian SSR was deeply engaged with the ambivalent aims of Late Socialist Soviet politics, politics that was feared and despised but that, beginning in the late 1950s, nevertheless had shown the desire to move on and change.
    Źródło:
    Artium Quaestiones; 2019, 30; 211-223
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-6 z 6

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