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    Wyświetlanie 1-2 z 2
    Tytuł:
    Symbol of the Cross in Popular Culture: an Analysis of the Use and Transformation of the Symbol in Machina Magazine
    Autorzy:
    Kołodziejska, Marta
    Powiązania:
    https://bibliotekanauki.pl/articles/1930037.pdf
    Data publikacji:
    2013-06-25
    Wydawca:
    Polskie Towarzystwo Socjologiczne
    Tematy:
    desacralisation
    desymbolisation
    popular culture
    religion
    symbols
    Opis:
    The article focuses on the use and transformation of religious symbols in popular culture. The Polish pop culture magazine, Machina, was chosen as a case study. Popular culture, based strongly on visual communication, has fluid canons and is of an (auto)ironic nature. Symbols from different domains are transformed within this culture so that they fit its rules of communication. Religious symbols have been used extensively in Machina in a conventional, humorous and deriding manner. According to the results of the analysis, the use of religious symbols in popular culture is inevitably connected to the overlapping of religious communication and pop cultural communication, which creates a particular ambivalence of the meaning of the symbol. One should ask if resulting adaptations of religious symbols by popular culture might be considered to be a process of desacralisation. On the basis of the above-mentioned case study, one cannot give an unequivocal answer. Although pop cultural communication may lead to simplification and the deconstruction of symbols, one cannot claim it is de-symbolised as such. Desymbolisation and desacralisation are ongoing processes, but they are parallel to the process of creation and transformation of symbols as well. The research may be an inspiration for further analysis of the way religious symbols function within the realm of popular culture.
    Źródło:
    Polish Sociological Review; 2013, 182, 2; 209-222
    1231-1413
    2657-4276
    Pojawia się w:
    Polish Sociological Review
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zbigniew Dłubak. Od sensu ukonstytuowanego do konstytucji sensu
    Zbigniew Dłubak. From A Constituted Sense To The Sense Constitution
    Autorzy:
    Brogowski, Leszek
    Powiązania:
    https://bibliotekanauki.pl/articles/424605.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    CONCEPTUAL ART
    CONCEPTUALISM
    ZBIGNIEW DLUBAK
    ABSTRACT PAINTING
    EMPTY SIGN
    SOURCE OF MEANING
    ART IDEA
    CONCEPTUAL PHOTOGRAPHY
    POLISH ART AVANT-GARDE
    ART BEYOND MEANING
    ART BEYOND INFORMATION
    ART BEYOND EXPRESSION
    ART BEYOND ESTHETICS
    ART BEYOND STYLE
    DESYMBOLISATION
    PHENOMENOLOGY OF PAINTING
    SEMIOTICS OF ART
    TAUTOLOGY
    DIFFERANCE
    Opis:
    The article is based upon his translation of a French text published in 1994. The text was part of a catalogue featuring an individual exhibition by Zbigniew Dlubak in Maison des expositions de Genas. There were some minimal changes introduced by the author to the original work entitled “Du sens constitué à la constitution du sens.” The text highlighted the originality of the artist's inspirations: on the one hand — similarly to other conceptualists in 1960-1970 — Dłubak was interested in semiotics and linguistics. However he was more captivated by Jakobson and Mukarowsky than Ayer and Wittgenstein. On the other hand, in a similar way to some 20th century painters, he intuitively discovered the procedures of phenomenology. Dlubak's contribution to conceptual art is based on a 'structural-painterly' approach to art, which is reminiscent of Maurice Merleau-Ponty's philosophy. According to this French philosopher, language signs are 'forms in blanco'. For Dlubak, a work of art is an 'empty sign', which will acquire meaning during a process which Dlubak equaled with the work of art itself. The artist suggested an original—phenomenological—concept of aesthetic experience, which was based on the idea of stepping outside 'the world of meaning' in a search for the source where the sense of art is constituted. The discovery of the process in which the sense of art emerges and understanding its mechanisms, stand in opposition to aesthetic concepts, as these aesthetic concepts find the style as the main goal of art creation and assume that for an artist a specific style represents a specific way of thinking. Breaking away from the stylistic focus and from thinking in the categories of style, is one of the most significant elements of creation according to Dlubak; a style is an ossified and fossilised sense. One of his characteristic strategies, which is aimed at overcoming the category of style, is a parallel and concurrent use of painting and photography. He underlined the overlapping of artistic and cognitive processes and by doing so, Dlubak arrived at an original concept—not very new in the history of aesthetic thought—which sees art as ‘principle to the liveliness of one’s mind’.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 55-62
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-2 z 2

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