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    Wyświetlanie 1-5 z 5
    Tytuł:
    „Witkacy rzucił się jak szczerbaty na suchary” Witkiewicz w czasie pierwszej wojny światowej
    “Witkacy darted like a gap-toothed person onto rusk”. Witkiewicz during the First World War
    Autorzy:
    Okołowicz, Stefan
    Powiązania:
    https://bibliotekanauki.pl/articles/1392406.pdf
    Data publikacji:
    2010-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    S. I. Witkiewicz
    Witkacy
    pierwsza wojna światowa
    biografia
    Opis:
    Okołowicz Stefan, „Witkacy rzucił się jak szczerbaty na suchary”. Witkiewicz w czasie pierwszej wojny światowej [“Witkacy darted like a gap-toothed person onto rusk”. Witkiewicz during the First World War]. „Przestrzenie Teorii” 14. Poznań 2010, Adam Mickiewicz University Press, pp. 235-249. ISBN 978-83-232-2210-1. ISSN 1644-6763. This text is a polemic with an article by Maria A. Potocka “Ja” jako materiał twórczy [“I”as a material for creation]. When considering the problem of the presence of Witkacy in the Tsarist army, the author comes to a conclusion that Witkiewicz went there where he did not intend to go, misled by inaccurate information. The choice of the Russian opportunity based on incomplete or untrue information and unsuccessful coincidences – according to the author – should be considered in the categories of Witkacy’s personal tragedy no matter what significance this fact gained later.
    Źródło:
    Przestrzenie Teorii; 2010, 14; 235-249
    2450-5765
    Pojawia się w:
    Przestrzenie Teorii
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Witkacego próba podmiotu – podmiot na próbę
    Witkacy’s Attempt at a Subject – a Subject for a Test
    Autorzy:
    Górska, Irena
    Powiązania:
    https://bibliotekanauki.pl/articles/1392539.pdf
    Data publikacji:
    2010-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    S. I. Witkiewicz
    Witkacy
    podmiot
    podmiotowość
    tożsamość
    teoria
    estetyka
    Opis:
    In the article Witkacego próba podmiotu – podmiot na próbę [Witkacy’s Attempt at a Subject– a Subject for a Test] the subjective identity of S.I. Witkiewicz is characterised by means of the widely understood category of a trial. This latter is interpreted from the view of theatrical aesthetics, but also philosophy, enables to show the biography and oeuvre of the artist from Zakopane as a continuous game between constructing and deconstructing of the subjective identity. The category of subjectivity becomes here a tool of revealing of the mechanisms, making it possible to remove boundaries between art and life, reality and fiction, literature and theory. Whereas in the interpretation proposed this attempt appears as a very literally understood experiencing of oneself, “putting oneself to the test”, but also as an attempt at literature (in the area of theory) and an attempt at theory (in the area of literature). 
    Źródło:
    Przestrzenie Teorii; 2010, 14; 173-194
    2450-5765
    Pojawia się w:
    Przestrzenie Teorii
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Przestrzeń barwna Czystej Formy. Kolor w teorii i praktyce twórczej Stanisława Ignacego Witkiewicza
    The Colourful Space of Pure Form. The Problem of Colour in Theory and Practice in the Work of Stanisław Ignacy Witkiewicz
    Autorzy:
    Żakiewicz, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/1392592.pdf
    Data publikacji:
    2010-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    S. I. Witkiewicz
    Witkacy
    teoria malarstwa
    Czysta Forma
    kolor
    przestrzeń
    Opis:
    Colour was a very important problem in the whole work of Stanisław Ignacy Witkiewicz. Not only a whole chapter of his basic theoretical work Nowe formy w malarstwie (New Forms in Painting, published 1919) was devoted to that but the artist also examined his theory in practice executing many paintings presenting his ideas (e.g. Self-portrait, 1913, Portrait of Feliks Lewiński, 1917, Portrait of Maria Witkiewiczowa, 1918 and many others). A base for that was a harmony of complementary colours: green and red, blue and orange, violet and yellow. Many theorists before Witkacy were interested in that: Wolfgang Goethe, Philip Otto Runge, Wassili Kandinsky. The artist didn’t mention them in his deliberations but a psychologist, Hermann Ebinghaus (Grundzüge der Psychologie, 1897) and other artists only: Paul Gauguin and Pablo Picasso. Witkacy even copied one of Gauguin’s paintings, Te Arii Vahine and described it in his writings as the best example of Pure Form. Witkacy enthusiastically described Picasso’s paintings in his first novel 622 upadki Bunga (622 Downfalls of Bungo, written ca. 1910, first published 1972) and mentioned many times in his theoretical works. The artist appreciated also Georges Seurat’s paintings and his thoughts on colours. Witkacy himself created a detailed system presenting the best colour schemes and described many compositions corresponding to that. In 1938 the artist wrote an article O istocie malarstwa (On the Essence of Painting), which was an opposition to his earlier thoughts. In the end of his life the artist decided that the most important was imagination instead of theoretical rules.
    Źródło:
    Przestrzenie Teorii; 2010, 14; 123-13
    2450-5765
    Pojawia się w:
    Przestrzenie Teorii
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Udręki edukacji (Metafizyka dwugłowego cielęcia Witkacego)
    Torments of Education “Metaphysics of a Two-Headed Calf” by S.I. Witkiewicz
    Autorzy:
    Wąchocka, Ewa
    Powiązania:
    https://bibliotekanauki.pl/articles/1392556.pdf
    Data publikacji:
    2010-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    S. I. Witkiewicz
    Witkacy
    tożsamość
    autokreacja
    lacanowska psychoanaliza
    konstrukcjonizm Foucault'a
    Opis:
    Identity crisis, one of the crucial problems tackled by Witkacy in his dramas, is linked first of all with the tradition of modernism by critics. The author of the article suggests a change in the viewpoint, and basing on the analysis of Metaphysics of a Two-Headed Calf presents that problem in the perspective of contemporary discourse concerning identity. The problems that Witkacy’s characters had with their own existence are in consonance not only with today’s quite common conviction that individuals can experiment with their own feeling of identity relatively freely, but also with the concepts of individual ego, that function within social sciences. The tools developed by social sciences allow to have a different perception on the relation between the process oriented/process-driven nature of identity (self-creation of the ‘I’, game, mystification) and the conviction that its borders are delineated by the cultural pressure and social discipline. In Metaphysics of particular importance are the relations with parents, with the family – representing society – as well as constructions of double-gangers (Doppelgänger) that reveal the subject as the Other, or deprive the subject of its ‘individual-ness’ undermine her/his individual (subjective) status. The diagnoses of Witkacy are quite close to the contemporary ways of conceptualization of the ‘I’, which – as Lacanian psychoanalysis, Foucault’s constructionism – negating the subjective power to cause, do not confine themselves to unmasking the pressure of institutionalized forms of life, and reveal their activity even at micro-level.
    Źródło:
    Przestrzenie Teorii; 2010, 14; 159-171
    2450-5765
    Pojawia się w:
    Przestrzenie Teorii
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Muzyka jako Sztuka Czysta. Stanisław Ignacy Witkiewicz i Konstanty Regamey
    Music as Pure Art. Stanisław Ignacy Witkiewicz and Konstanty Regamey
    Autorzy:
    Sokół, Lech
    Powiązania:
    https://bibliotekanauki.pl/articles/1392631.pdf
    Data publikacji:
    2010-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    S. I. Witkiewicz
    Witkacy
    K. Regamey
    estetyka
    teoria
    muzyka
    Czysta Forma
    Opis:
    In Witkacy’s aesthetics, the problem of the essence, function and status of music in the system of pure arts has never been finally resolved. Many important questions remained unanswered. In spite of numerous announcements, Witkacy never developed a theory of music. To an extent, this work was unexpectedly carried out by Konstanty Regamey (Constantin Regamey, 1907–1982), Polish-Swiss composer, critic, theorist of music, linguist and India specialist, who for some time was a friend of Witkacy and admitted to being associated with the latter’s aesthetics. In 1933 Regamey published a study Treść i forma w muzyce [Content and Form in Music] which on a number of points follows closely not only Witkacy’s ideas but even his stylistics. In my opinion, yet another essay by Regamey should be taken into consideration in sketching relations between his and Witkacy’s theories of music; it is Próba analizy ewolucji w sztuce [An Attempt at Analysis of Evolution in Art]. The inclusion of these and other issues relating to music in a more detailed discussion of Witkacy’s aesthetics allows us both to understand this aesthetics better, and to dispel some of the hastily made and still unanswered criticisms.
    Źródło:
    Przestrzenie Teorii; 2010, 14; 33-84
    2450-5765
    Pojawia się w:
    Przestrzenie Teorii
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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