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    Wyświetlanie 1-8 z 8
    Tytuł:
    Do Polish accountants enjoy their job? Results of a nationwide survey „Accountants’ self-portrait”
    Autorzy:
    Hońko, Stanisław
    Powiązania:
    https://bibliotekanauki.pl/articles/947829.pdf
    Data publikacji:
    2018
    Wydawca:
    Wydawnictwo Uniwersytetu Ekonomicznego we Wrocławiu
    Tematy:
    accountants’ portrait
    accountancy profession
    Opis:
    The aim of the paper is to examine whether their profession is a source of satisfaction for Polish accountants. The study used the results of a nationwide survey by the accountants association in Poland “2017 accountants’ portrait”. As it results from more than 2,500 responses by accountants, over three quarters of respondents assess their own job satisfaction highly. The image of an accountant satisfied with their job does not match the stereotypical perception of this profession. The respondents’ answers indicate that the level of satisfaction is related to the position held and the remuneration received. The perception of accountants as “generators of additional costs” or “business impediments” is also significant, which can lower satisfaction with working in accounting. The paper employs methods of a source analysis and a diagnostic survey. The data collected in the survey was analysed using simple statistical methods and was appropriately presented.
    Źródło:
    Financial Sciences. Nauki o Finansach; 2018, 23, 3; 61-72
    2080-5993
    2449-9811
    Pojawia się w:
    Financial Sciences. Nauki o Finansach
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The (Self)portrait of a Writer: A Hermeneutic Reading of Virginia Woolf’s (Auto)biographical Writings
    Autorzy:
    Hołda, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/1394581.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Virginia Woolf
    autobiography
    hermeneutics
    Paul Ricoeur
    Michel Foucault
    Opis:
    Woolf’s maturing as a writer was deeply influenced by her traumatic experiences in childhood, the (in)capacitating states of mental instability, as well as her proto-feminist convictions. Long before Barthes, she toppled the traditional position of the author, and her literary enshrinement of “the other reality” reached unity with the world rather than individuality. This article ponders Woolf’s creative impulse and investigates her autobiographical writings to show the import of their impact on her fiction, which, as Woolfian scholarship suggests, can be viewed as autobiographical, too. I argue that philosophical hermeneutics sheds light on the self-portrait that emerges from Woolf’s autobiographical writings and offers a rewarding insight into her path of becoming an author. I assert that Paul Ricoeur’s philosophy of subjectivity, and, in particular, his notion of narrative identity provide a route to examine how Woolf discovers her writing voice. In light of his hermeneutics of the self, the dispersed elements of the narrative of life can be seen as a possibility of self-encounter. Woolf’s writings bespeak her gradually evolving self-knowledge and self-understanding, which come from the configuration of those separate “stories” into a meaningful whole. The article also interprets Woolf’s autobiographical writings through the prism of Michel Foucault’s reflection on discourse and subjectivity, indicating that her texts instantiate his assertion of the subject’s constant disappearance.
    Źródło:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre; 2020, 6, 1; 52-66
    2353-6098
    Pojawia się w:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Double Index. The Self-Shadow in American Photography of the Second Half of the 20th Century
    Autorzy:
    Stachura, Julia
    Powiązania:
    https://bibliotekanauki.pl/articles/32347455.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    self-shadow
    self-portrait
    index
    photography
    double
    Opis:
    The article focuses on the notion of the image of self-shadow in American photography in the second half of the twentieth century, understood as a shadow silhouette of the creator captured in a photograph. The two main problems that concern the author’s research are the lack of current, theoretical study on the problem of shadow in the history of photography from the perspective of art history (V. Stoichita, R. Casati, P. Cavanagh, H. Kanaan) and the lack of the definition of the phenomenon of self-shadow and its possible types in self-portraiture. The author’s proposition of a definition of self-shadow is based on selected photographs by four artists whose works touch upon the problem of shadow in the context of relations between the “self” and the “other” (Lee Friedlander), race and subjective invisibility (Shawn W. Walker), mask and the other-self (Andy Warhol), and the intimate recording of identity (Nan Goldin). In her analyses, the author discusses the problem of the hybrid ontology of the shadow, which is both visible and visual. In this understanding, the shadow not only refers to a physical body, present “here and now” but more importantly evokes a sense of presence, even when the artist’s body is absent in the picture. The double index refers to the image leaving its mark both in reality and on light-sensitive paper. The rudimentary, vitalistic relation linking the human body with its shadow is only a starting point for analyses of the complexity of its status and symbolism. The concepts framing Andy Warhol’s Polaroid are twinning, the mask, and the Jungian theory of the shadow archetype. To discuss the self-portrait of Shawn W. Walker, the author applies the literary-philosophical concept of invisibility based on writings from Black existentialists (W.E.B. Du Bois, F. Fanon, R. Ellison). The analyses of Lee Friedlander’s photograph have been based on the psychological distinction between the figures of the “self” and the “other”. The closing concepts that frame Nan Goldin’s self-portrait are the haptic thinking subject (M. Smolińska) and the notion of a diary. The critical apparatus of the study is supplemented by contemporary analyses of the myth of Narcissus, the mythical origins of the self-portrait, and the notion of the index (after R. Krauss, M. Michałowska, M.A. Doane).
    Źródło:
    Artium Quaestiones; 2022, 33; 279-299
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Selfie at a museum: Defining a paradigm for an analysis of taking (self-portrait) photographs at museum exhibitions
    Autorzy:
    Chlebus-Grudzień, Patrycja
    Powiązania:
    https://bibliotekanauki.pl/articles/627720.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    selfie
    museum
    tourism photography
    Culture of Narcissism
    remix culture
    Opis:
    Due to the development of social media, posting one's photos is becoming increasingly popular; they often take the form of, so called, ‘selfie’. The phenomenon of photographing oneself has also occurred in cultural institutions, including museums. The museums are implementing various strategies of reacting to people taking pictures of themselves with exhibits at the background. The article presents an analysis of these reactions, and, based on that, various ways of defining the functions and role of the contemporary museum. The author also attempts to provide an answer to the following question: is posting photographs by visitors an element of creating their own image (‘the Culture of Narcissism’), or is it rather a form of interaction with heritage, of a dialogue with the presented contents (‘remix culture’)?
    Źródło:
    Turyzm; 2018, 28, 1; 7-13
    0867-5856
    2080-6922
    Pojawia się w:
    Turyzm
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Biblical Inspirations in Nikifor’s Paintings
    Biblijne inspiracje w malarstwie Nikifora
    Autorzy:
    Wałczyk, Krzysztof
    Powiązania:
    https://bibliotekanauki.pl/articles/1038721.pdf
    Data publikacji:
    2019-10-01
    Wydawca:
    Akademia Ignatianum w Krakowie
    Tematy:
    Nikifor
    autoportret
    pejzaż
    antropologia biblijna
    malarstwo
    self-portrait
    landscape
    biblical anthropology
    painting
    Opis:
    Nikifor Krynicki (Epifaniusz Drowniak, 1895-1968) was one of the most popular non-academic Polish painters worldwide. To show the biblical inspiration in his creative output I chose two categories from various thematic aspects: self-portraits and landscapes with a church. There are plenty of Nikifor’s paintings showing him as a teacher, as a celebrating priest, as a bishop, or even as Christ. A popular way to explain this idea of self-portraits is a psychological one: as a form of auto-therapy. This analysis is aims to show a deeper explanation for the biblical anthropology. Nikifor’s self-portraits as a priest celebrating the liturgy are a symbol of creative activity understood as a divine re-creation of the world. Such activity needs divine inspiration. Here are two paintings to recall: Potrójny autoportret (The triple self-portrait) and Autoportret w trzech postaciach (Self-portrait in three persons). The proper way to understand the self-identification with Christ needs a reference to biblical anthropology. To achieve our real-self we need to identify with Christ, whose death and resurrection bring about our whole humanity. The key impression we may have by showing Nikifor’s landscapes with a church is harmony. The painter used plenty of warm colors. Many of the critics are of the opinion that Nikifor created an imaginary, ideal world in his landscapes, the world he wanted to be there and not the real world. The thesis of this article is that Nikifor created not only the ideal world, but he also showed the source of the harmony – the divine order.
    Zasadnicza teza artykułu „biblijne inspiracje Nikifora” sprowadza się do pokazania, że autoportrety są przejawem szczególnej samoświadomości malarza utożsamiającego twórczość artystyczną (malarską) ze sprawowaniem liturgii, inaczej z uobecnianiem religijnego kontekstu rzeczywistości, a konkretnie z uobecnianiem dziejów Chrystusa. Z autoportretami Nikifora wiąże się także intuicja antropologiczna, realizowanie człowieczeństwa poprzez utożsamianie się z Chrystusem. Pejzaże ze świątynią nie są tylko urokliwym przedstawieniem okolic Krynicy i innych miejscowości z południa Polski. Głębsza intuicja malarza dotyczy Bożego źródła ładu i harmonii w pejzażach. Jego pejzaże to wręcz epifanie boskiego porządku. Teologia (także Biblia) używa na określenie takich intuicji pojęcia „objawienie naturalne”.
    Źródło:
    Perspektywy Kultury; 2019, 26, 3; 31-46
    2081-1446
    2719-8014
    Pojawia się w:
    Perspektywy Kultury
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Collective self-reliance: A portrait of a Yugoslav development strategy
    Autorzy:
    Pierzyńska, Justyna
    Powiązania:
    https://bibliotekanauki.pl/articles/2035811.pdf
    Data publikacji:
    2012-12-28
    Wydawca:
    Uniwersytet Warszawski. Wydział Geografii i Studiów Regionalnych
    Tematy:
    Collective self-reliance
    collective autocentrism
    Third World region
    Yugoslavia
    Opis:
    Collective self-reliance is an interesting, nowadays forgotten development strategy that was popular between the 1950s and 1970s, particularly among the newly independent states of the “Third World”. It was widely discussed in the 1960s, 1970s and 1980s by Yugoslav researchers, among others. This paper aims to examine Yugoslav ideas on collective self-reliance from a historical perspective on the basis of original works from the time. It presents a brief history of the idea and its resonance in the non-aligned world, contemporary criticism, as well as political, economic and spatial dimensions of the strategy and the means by which it aims to achieve the goal of an economically independent, sovereign “Third World region”. A summary of basic contrasts between two interpretations of collective self-reliance is given to illustrate the specifics of the Yugoslav approach. This developed strategy serves as a theoretical impulse to reintroduce the ideas of south-south cooperation to the development discourse.
    Źródło:
    Miscellanea Geographica. Regional Studies on Development; 2012, 16, 2; 30-35
    0867-6046
    2084-6118
    Pojawia się w:
    Miscellanea Geographica. Regional Studies on Development
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Face Substances. The rhetoric of Kapists’ self-portraits: between self-reflection and confession
    Autorzy:
    Kiepuszewski, Łukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/1788540.pdf
    Data publikacji:
    2021-05-27
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    Polish modern painting
    self-portrait
    theory of self-representation
    matter of painting
    Józef Czapski (1896–1993)
    Zygmunt Waliszewski (1897–1936)
    Piotr Potworowski (1898–1964)
    Artur Nacht-Samborski (1898–1974)
    Jan Cybis (1897–1972)
    Opis:
    Self-portraits are specific kinds of pictures where the subject’s experience is closely combined with the act of painting. Such works constitute a mixture of internal iconic power with external reality, e.g. the artist’s body, his thought, and theory, etc. This applies in particular to self-portraits painted by the members of the Paris Committee since the idiomatic nature of painting was the primary quality on which they based the language and poetics of their art. This paper analyses selected self-portraits by Józef Czapski (1896–1993), Zygmunt Waliszewski (1897–1936), Piotr Potworowski (1898–1964), Artur Nacht-Samborski (1898– 1974), and Jan Cybis (1897–1972). The focus on the strategy of incorporating physiognomy into the matter of painting stems from the fact that on this particular level the intensification of the relationship between the author’s image and his painterly gesture gains the strongest self-reflective potential. This allows for a reading of self-portraits as developing the artist’s reflections about art and himself, included in theoretical writings and intimate journals. Analyses presented in this paper can, therefore, be defined as an attempt to recreate rhetoric of the painterly trace on the basis of choices particular for given work. In this optic, crucial are these aspects of painting that manifest a form of the author’s subjective investment in artistic activity: from emphasising the distance through which the painting presents itself as a code offered to the viewer to decipher (as in Nacht-Samborski’s work) through to declarations to blur the boundary between the artist and the work, which results in an almost organic communion of the body and the matter of painting (Cybis).
    Źródło:
    Ikonotheka; 2020, 30; 51-67
    0860-5769
    Pojawia się w:
    Ikonotheka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “Widow Trumps all other Identities”: The Portrait of a Widow in Joyce Carol Oates’s A Widow’s Story: A Memoir as a Reflection of Selected Linguistic, Psychological, and Cultural Aspects of Widowhood
    Autorzy:
    Małecka, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/2076594.pdf
    Data publikacji:
    2017
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    widow
    identity
    loss
    bereavement
    self
    Opis:
    This article looks at the identity of the widow from linguistic, cultural, psychological, and literary perspectives. The basis of this analysis is Joyce Carol Oates’s grief narrative A Widow’s Story: A Memoir. First, the term “widow” and its connotations are examined and illustrated by appropriate examples from Oates’s memoir and psychological research. Next, I present an overview of the situation of the widow in selected developing countries where the state of widowhood becomes a serious deterrent to forming a new identity after a loss. Finally, I address the definitions of the widow in Joyce Carol Oates’s memoir, A Widow’s Story: A Memoir.
    Źródło:
    Kwartalnik Neofilologiczny; 2017, 2; 231-245
    0023-5911
    Pojawia się w:
    Kwartalnik Neofilologiczny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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