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    Wyświetlanie 1-11 z 11
    Tytuł:
    Ruins: Between Past and Present, Between Culture and Nature
    Autorzy:
    Frydryczak, Beata
    Powiązania:
    https://bibliotekanauki.pl/articles/19322609.pdf
    Data publikacji:
    2023-09-30
    Wydawca:
    Uniwersytet Warszawski. Wydział Filozofii
    Tematy:
    ruins
    ruination
    nature
    culture
    Simmel
    hope
    ontological significance
    Opis:
    The main question of the essay is: do ruins need a new definition? Ruins are not only destroyed architecture, but also everything that has been associated with it in the process of life. From the perspective of the question, the concept of ruins should be understood much broader than just architecturally, and they should be assigned not to the past but to the present, or rather between past and present. If we consider ruins from the standpoint which situates them between culture and nature, there opens up another opportunity: here ruins are found on the juncture of nature and culture, becoming a natureculture hybrid. Here, degradation encompasses the cultural sense in the first place and the expectations it involves, but not from the perspective of nature. The order of nature translates into a new “life” of the ruin, which is attributed a new functionality, subordinated to other – non-anthropocentric – goals and values. Concluding, ruins require a new approach and a new definition that does not condemn them to degradation, but sees hope in the revitalizing forces of nature that ensure for them a new status and a different ontological significance.
    Źródło:
    Eidos. A Journal for Philosophy of Culture; 2023, 7, 2; 9-16
    2544-302X
    Pojawia się w:
    Eidos. A Journal for Philosophy of Culture
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Babie lato, czyli zmysłowość wiejskiego krajobrazu
    Indian summer, or the sensuousness of the rural landscape
    Autorzy:
    Frydryczak, Beata
    Powiązania:
    https://bibliotekanauki.pl/articles/2152453.pdf
    Data publikacji:
    2021-12-15
    Wydawca:
    Narodowe Centrum Kultury
    Tematy:
    krajobraz
    wiejska okolica
    spacer
    partycypacja
    doznania
    landscape
    countryside
    a walk
    participation
    experiences
    Opis:
    This essay offers an analysis of the countryside defined and perceived as an inhabited place but also as a landscape where the visual evolves into a multi-sensory experience. The text is divided into three sections corresponding to three dimensions of the landscape. The aesthetic dimension relates to the visual features of the landscape which determine its aesthetic sense. The participatory dimension comprises the cultural sense that encompasses the meanings inscribed in the landscape as well as the social and historical processes that make the taskspace with its patterns of dwelling activities. The third dimension, whose description is based on Józef Chełmoński’s painting Indian Summer, is represented by the embodied landscape defined by the polysensory features and tactility playing the primary role (the landscape can be ‘touched’). These three dimensions show how the relationship between humans and the landscape can change in two differing situations: when humans adopt a distanced attitude of viewers or that of participants who enter the landscape and shape it not only physically and symbolically, but also in the sensory dimension.
    Źródło:
    Kultura Współczesna. Teoria. Interpretacje. Praktyka; 2021, 116, 4; 119-130
    1230-4808
    Pojawia się w:
    Kultura Współczesna. Teoria. Interpretacje. Praktyka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Landscape art – a new definition and new look
    Sztuka krajobrazu. Nowa definicja, nowe spojrzenie
    Autorzy:
    Frydryczak, Beata
    Salwa, Mateusz
    Powiązania:
    https://bibliotekanauki.pl/articles/2041832.pdf
    Data publikacji:
    2021-11-25
    Wydawca:
    Łódzkie Towarzystwo Naukowe
    Tematy:
    art
    art theory
    landscape
    krajobraz
    sztuka
    teoria sztuki
    Opis:
    The aim of this article is to propose a new definition of landscape art. By landscape art we mean all forms of art which refer to any landscape and problematize it, i.e. subject it to artistic analysis, interpretation and intervention, both in a formal and aesthetic, as well as critical sense. Landscape art understood in this way would not be a separate direction or trend in art and would not form a coherent artistic concept. In the article we indicate the current understanding of landscape functioning in the field of art and the reasons why the new definition is useful
    Celem artykułu jest zaproponowanie nowej definicji sztuki krajobrazowej. Przez sztukę krajobrazową rozumiemy wszelkie formy sztuki, które odnoszą się do wszelkich krajobrazów, problematyzując je, czyli poddając je artystycznej analizie, interpretacji i interwencji, zarówno w sensie formalnym i estetycznym, jak i krytycznym. Tak rozumiana sztuka krajobrazowa nie byłaby więc wyodrębnionym kierunkiem czy nurtem w sztuce i nie tworzyłaby zwartej koncepcji artystycznej. W artykule wskazujemy dotychczasowe rozumienie krajobrazu funkcjonujące na gruncie sztuki oraz powody, dla których nowa definicja jest przydatna
    Źródło:
    Art Inquiry. Recherches sur les arts; 2021, 23; 113-123
    1641-9278
    Pojawia się w:
    Art Inquiry. Recherches sur les arts
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Is the city a cultural landscape? An attempt to analyze the city from the perspective of landscape aesthetics
    Autorzy:
    Frydryczak, Beata
    Powiązania:
    https://bibliotekanauki.pl/articles/437191.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie. Instytut Filozofii i Socjologii
    Tematy:
    the picturesque; the sublime; nature; the city landscape; experience; engagement; the sur‑
    roundings; landscape park
    Opis:
    This paper sets out to interpret the phrase ‘the city landscape’. Beginning with landscape aesthetics based on two categories — the picturesque and the sublime — the author attempts to demonstrate that a city can be interpreted in terms of a cultural landscape. This necessitates a re‑interpretation of the category of the sublime, whereby, through references to Edmund Burke, Theodor W. Adorno and Arnold Berleant, the sublime assumes the nature of a category which determines the existential situation of a person in the world. Here, the sublime provides people with an impulse to undertake efforts to fashion their surroundings and forge the essence of the living world. As such, the sublime also becomes a category that promotes social activities aimed at improving the quality of life in a city, such as the activities of ‘urban gardeners’.
    Źródło:
    ARGUMENT: Biannual Philosophical Journal; 2015, 5, 2; 359-371
    2083-6635
    2084-1043
    Pojawia się w:
    ARGUMENT: Biannual Philosophical Journal
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    THE CITYSCAPE: FROM GARDEN CITY TO PARK CITY
    Autorzy:
    Frydryczak, Beata
    Powiązania:
    https://bibliotekanauki.pl/articles/630936.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Opis:
    When considering the relationship of the city and nature, I analyse the ways in which nature appears in urbanised space. It may be  tentatively presumed that nature appears in the city in three forms. Being an integral decorative and structural element, nature has its “socialized” aspect, subordinated to the urban structure, and “privatised”, for instance in the home gardens.  The third form is the live, sometimes even wayward nature, which manifests itself in the forgotten wastelands as well as climatic conditions and elements. Those three forms are confronted with the concept of Gernot Böhme who, giving a short historical outline of the process in which nature penetrated and entered the city tissue, points to two mechanisms he denoted as „bringing nature into the city” and „transferring the city into nature”.  Drawing on that proposition, I deliberate how nature exists and manifests itself in the city, especially with respect to the concept of public parks and their rapid development in the 19th century. The “green islands” of city parks, although they seem a space liberated from the city and its processes, are city’s utterly subordinated  surrogate of what is natural in the place of residence. In the context of the nature-city relationship, similar observations can be made with regard to E. Howard’s concept of garden cities, based on social eugenics and lifestyle hygiene, which was concerned with lucid structure and functionality of the city rather than building a harmonious relationship between the human settled in the urban space and nature, which ensured its harmonious development.    The analysis of city parks and the concept of the garden city permits me to move on to another idea suggested by Böhme – the park city.  This is a component of a utopian vision of a new relationship between the city and nature, devised upon the idea of “extended ecological vision of the city” where the city is construed as part of nature. Although Böhme’s suggestion is apparently a compromise, it still does not yield the conditions, in which one would find interpenetration of the city and nature as equal entities. It seems impossible without a limitation or degradation of either sphere.  
    Źródło:
    Studia Europaea Gnesnensia; 2013, 7; 327-342
    2082-5951
    Pojawia się w:
    Studia Europaea Gnesnensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Historyczne formy waloryzacji ruin
    Autorzy:
    Frydryczak, Beata
    Powiązania:
    https://bibliotekanauki.pl/articles/631029.pdf
    Data publikacji:
    2011
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    ruin
    nature
    landscape
    the picturesque
    the sublime
    natural time
    Opis:
    On the historical and cultural plane, ruins are a lasting element of our landscape. The attitude towards ruins evolved, yet eventually, the 18th and 19th century “cult of ru-ins” allowed them to be perceived from the perspective of aesthetics, which, associating ruins with the category of the picturesque and the sublime, rendered a new meaning to them. The principal thesis of the article rests on the assumption that the discovery of ruins was possible due to the recognition of the landscape’s aesthetic dimension, while their essence lies in their permeation into the world of nature, which allows them to live a natural time.
    Źródło:
    Studia Europaea Gnesnensia; 2011, 3; 175-194
    2082-5951
    Pojawia się w:
    Studia Europaea Gnesnensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Krajobraz. Próba ujęcia w perspektywie interdyscyplinarnej
    Autorzy:
    Frydryczak, Beata
    Powiązania:
    https://bibliotekanauki.pl/articles/631350.pdf
    Data publikacji:
    2011
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Aesthetics
    humanist geography
    aesthetic landscape
    cultural landscape
    view
    panoram
    perspective
    map
    environment
    Opis:
    The main purpose of the article is to try and locate the meeting points, but also the substantial discrepancies developed in the course of history, the aesthetics which devises its own notion of landscape and the empirical sciences, humanist geography in particular, which resorts to a broader understanding, incorporating it into the notion of environment. By drawing upon the Renaissance idea of landscape, I point to three factors: landscape painting along with the perspective, theatre and the development of cartography, which significantly contributed to the evolution of an aesthetic notion of landscape. The environmental aesthetics may however play a conciliatory role between the traditional, aesthetic presentation and the standpoint of humanist geography, if one takes into account the assumptions of the latter in terms of shaping the renewed cultural notion of landscape.
    Źródło:
    Studia Europaea Gnesnensia; 2011, 4; 207-223
    2082-5951
    Pojawia się w:
    Studia Europaea Gnesnensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Między naturą a kulturą
    Autorzy:
    Frydryczak, Beata
    Powiązania:
    https://bibliotekanauki.pl/articles/631407.pdf
    Data publikacji:
    2011
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Opis:
    Wprowadzenie
    Źródło:
    Studia Europaea Gnesnensia; 2011, 4; 203-205
    2082-5951
    Pojawia się w:
    Studia Europaea Gnesnensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wszyscy jesteśmy cyborgami
    Autorzy:
    Frydryczak, Beata
    Powiązania:
    https://bibliotekanauki.pl/articles/630826.pdf
    Data publikacji:
    2010
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Opis:
    REC. KSIĄŻKI Grażyna Gajewska, Arcy-nie-ludzkie. Przez science fiction do antropologii cyborgów, Wydawnictwo Naukowe UAM, Poznań 2010, ss. 317)
    Źródło:
    Studia Europaea Gnesnensia; 2010, 1-2; 417-421
    2082-5951
    Pojawia się w:
    Studia Europaea Gnesnensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Theodor W. Adorno: pojęcie pięknej natury
    Theodor W. Adornos Notion of the Beautiful Nature
    Autorzy:
    Frydryczak, Beata
    Powiązania:
    https://bibliotekanauki.pl/articles/941230.pdf
    Data publikacji:
    2005
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Opis:
    Theodor W. Adorno aesthetics is considered as the last and the most important theory, which is formulated from a perspective of the aesthetics of art. It established an understanding of the contemporary art and its mechanisms. In spite of its wide reception, the interpretations of Adorno's conception often overlook his notion of beautiful nature. The notion is the main subject of my article. I want to show that it is not only vividly present in "Ästhetische Theorie", but also takes an important part in Adorno's aesthetic theory and in his understanding of art and of aesthetic experience. Such an attitude allows me to interpret Adorno's theory from a perspective of the "extended aesthetics", which consider the aesthetics of nature as an important part of the field. Since Hegel, who rejected the concept of nature from the field of aesthetic, Adorno is the first aesthetician who re-entries the model of aesthetics understood as domain of both nature and art. Adorno admitted the notion of beautiful nature an important place in his aesthetics. For him, the acknowledgement of the beauty of nature is a condition of art and aesthetics experience. At the same time, the natural beauty is a medium of some utopian values. The involuntary perception characteristic of beautiful nature and a kind of memento "imprinted" in it are some archaic rudiments that do not correspond with the rationality of cultural industry.
    Źródło:
    Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica; 2005, 17; 139-151
    0208-6107
    2353-9631
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-11 z 11

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