Skocz do pozycji: 1.

Tytuł:

Princeps exegetarum a język hebrajski na podstawie Quaestiones hebraicae in Genesim
Princeps exegetarum and Hebrew language on the basis of Quaestiones hebraicae in Genesim

Autorzy:

Jóźwiak, Magdalena

Powiązania:

https://bibliotekanauki.pl/articles/614265.pdf

Data publikacji:

2016

Wydawca:

Katolicki Uniwersytet Lubelski Jana Pawła II

Tematy:

Św. Hieronim
Quaestiones Hebraicae in Genesim
hebraica veritas
St. Jerome

Opis:

In this article we have tried to show St. Jerome’s knowledge of Hebrew language basing on selected fragments of Quaestiones Hebraicae in Genesim (PL 23, 935A - 1010A). First of all, we tried to show how St. Jerome deals with text during translation of the Bible from Hebrew into Latin. In his work, St. Jerome tries to give the etymology of almost every proper name that appears in a given verse commented by him. St. Jerome’s effort and merit in this field are of course enormous, but sometimes even he put wrong etymology. We have shown how the author of Vulgate explains the most common Hebrew expressions and how he attempts to improve the Septuagint, and we also put forward purely grammatical considerations that the commentator included in Quaestiones Hebraicae. St. Jerome’s knowledge of the sacred language – perfect for those times – is a reason that in case of any doubts he is in favor of the superiority of hebraica veritas over translations of the Bible.

Źródło:

Vox Patrum; 2016, 65; 185-199
0860-9411
2719-3586

Pojawia się w:

Vox Patrum

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 2.

Tytuł:

Accusatorial Principal in a Roman Criminal Procedure Before quaestiones perpetuae

Autorzy:

Zalewski, Bartosz

Powiązania:

https://bibliotekanauki.pl/articles/618577.pdf

Data publikacji:

2016

Wydawca:

Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej

Tematy:

accusatio
accusatorial principle
quaestiones perpetuae
Roman criminal procedure
zasada skargowości
rzymski proces karny

Opis:

The main object of this paper, is to present classical accusatorial procedure on the example of trial before Roman criminal courts, called quaestiones perpetuae. Roman criminal procedure in the period of late Republic, and partially in early Empire, based on the accusatorial principal, which in continental law legal orders, is associated with adversarial justice. This article consists of six parts: introduction, short description of what quaestiones perpertuae were, analysis of the objective and subjective aspects of accusation (accusatio, ius accusationis), procedure of lodging the criminal charge and summary.
Głównym celem artykułu jest przedstawienie klasycznej procedury skargowej na przykładzie postępowania przed rzymskimi sądami karnymi zwanymi quaestiones perpetuae. Rzymskie postępowanie karne w okresie późnej republiki i wczesnego cesarstwa opierało się o zasadę skargowości, która w kontynentalnych porządkach prawnych jest powszechnie kojarzona z procesem kontradyktoryjnym. Opracowanie składa się z sześciu części: wprowadzenia, krótkiego opisu quaestiones perpetuae, analizy zagadnień przedmiotowych i podmiotowych związanych z oskarżeniem (accusatio, ius accustionis), opisu procedury wnoszenia skargi karnej i podsumowania.

Źródło:

Studia Iuridica Lublinensia; 2016, 25, 3
1731-6375

Pojawia się w:

Studia Iuridica Lublinensia

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 3.

Tytuł:

Inanimate Nature. Pondering the Reproductive Daguerretype

Autorzy:

Batchen, Geoffrey

Powiązania:

https://bibliotekanauki.pl/articles/32347707.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Opis:

Little has been published about reproductive daguerreotypes, a genre of photographic still life in which another picture – a drawing, an engraving, a lithograph, a painting, a printed text – is the sole referent. However, as this essay demonstrates, a study of reproductive daguerreotypes is a study of daguerreotypy itself – of its capacities and limitations as a medium, of its major figures and its diversity of commercial applications, of its many possible meanings, functions and related viewing practices. But it is also an opportunity to reflect on the place of such daguerreotypes in the larger story concerning the photographic reproduction of artworks. Reproductive daguerreotypes are distinctive in that they copy an artwork exactly but unfaithfully: they often laterally reverse the image even while rendering it small, monochrome, precious, shiny, evanescent, mobile. Most striking is the way such daguerreotypes partake of the logic of reproducibility without necessarily participating in the processes of mass production normally associated with it: as unique copies, they offer replication without multiplicity. In so doing, they complicate the orthodox account of this process promulgated by Walter Benjamin in the 1930s and repeated so many times since.

Źródło:

Artium Quaestiones; 2022, 33; 9-38
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 4.

Tytuł:

Zwei Versionen der Quaestiones super De generatione et corruptione des Aegidius von Orleans
Two versions of the Quaestiones super De generatione et corruptione by Aegidius of Orleans
Dwie wersje Quaestiones super De generatione et corruptione Idziego z Orleanu

Autorzy:

Kuksewicz, Zdzisław

Powiązania:

https://bibliotekanauki.pl/articles/2106883.pdf

Data publikacji:

1990

Wydawca:

Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL

Opis:

Quaestiones super De generatione et corruptione Idziego z Orleanu istnieją w dwóch wersjach, z których krótsza zawarta jest w rękopisie Paris, Bibl. Nat. lat. 15805, zaś szersza w rękopisie Paris, Bibl. Mazarine 3493. Ponadto wiadomo było, z badań A. Maier i M. Grabmanna, iż dzieło to znajduje się też w trzech rękopisach watykańskich: Vat. lat. 3015, Vat. lat. 1061 oraz Vat. Pal. 1059; nie wiedziano jednak, do jakiej wersji należą te teksty. Zajmując się w dwóch studiach − Die Theorie der Materiae des Aegidius von Orleans (Bochumer Studien zur Philosophie, Bochum 1991 − w druku) oraz Gilles d'Orléans, était-il averroïste? („Revue Philosophique de Louvain” 1990 s. 5-24) tekstem wersji krótszej i nie mając podwówczas dostępu do rękopisów watykańskich, postawiłem sobie trzy pytania dotyczące obu wersji: 1) Do jakiej wersji należą teksty rękopisów watykańskich? 2) Która z wersji jest wcześniejsza, a która późniejsza? 3) Czy można stwierdzić, na podstawie tych dwóch wersji, ewolucje stosunku Idziego z Orleanu wobec awerroizmu? Obecny stan badań, których celem jest edycja krytyczna tego dzieła, pozwala udzielić odpowiedzi na te pytania. Ad 1o: Reprezentantem wersji krótszej jest tekst z rękopisu Paris Bibl. Nat. lat. 15805; rękopis Bibliothèque Mazarine oraz rękopisy watykańskie zawierają wersję szerszą. Ad 2o: Porównanie tekstów 17 analogicznych kwestii obu wersji pozwoliło ustalić ponad wszelką wątpliwość, iż wersja krótsza jest wcześniejsza, zaś szersza − późniejsza. Ad 3o: Na podstawie wyników analizy wersji krótszej zaprezentowanych w drugim z wyżej wymienionych studiów, oraz analizy czterech kwestii wersji szerszej stwierdzić można co następuje: O ile wersja wcześniejsza wykazuje bardzo nieznaczne wpływy awerroizmu na Idziego z Orleanu, to wersja późniejsza świadczy o pogłębieniu się tego wpływu; ale i ta wersja nie może być uznana za tekst awerroistyczny.

Źródło:

Roczniki Filozoficzne; 1990, 37-38, 1; 107-117
0035-7685

Pojawia się w:

Roczniki Filozoficzne

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 5.

Tytuł:

[Tłum.] Tomasz z Akwinu, "Kwodlibet" (Quaestiones quodlibetales, II, q. 2, a. 1)
[Transl.] Thomas Aquinas, "Quodlibetale" (Quaestiones quodlibetales, II, q. 2, a. 1)

Autorzy:

Zembrzuski, Michał

Powiązania:

https://bibliotekanauki.pl/articles/452601.pdf

Data publikacji:

2012

Wydawca:

Naukowe Towarzystwo Tomistyczne

Źródło:

Rocznik Tomistyczny; 2012, 1; 255-258
2300-1976

Pojawia się w:

Rocznik Tomistyczny

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 6.

Tytuł:

Wiara jako akt poznawczy. Analiza Quaestiones Ambrozjastra
The faith – act of cognition. Analysis of Ambrosiaster’s Quaestiones

Autorzy:

Babiarz, Grzegorz

Powiązania:

https://bibliotekanauki.pl/articles/612487.pdf

Data publikacji:

2014

Wydawca:

Katolicki Uniwersytet Lubelski Jana Pawła II

Tematy:

chrzest
poznanie
credere
fides
wiara
baptism
cognition
faith

Opis:

Ambrosiaster uses two forms for the definition of the concept of faith. The first one – in the sense of a noun: fides; the second one – from the perspective of the knowing subject: credere. Abraham’s act of faith, whose object is God, is shown as a cognitive model. The acceptance of God’s authority leads to recognizing in Christ the Son of God. Believers receive in Baptism the gift the Holy Spirit and knowing the will of God. By participating in the fullness of His life, they are given access to the Eucharist. Knowability is one of God’s characteristics. Accepting this fact and submitting oneself to God’s guidance results in knowing the Trinity. Christ’s confidence in the Father is the basic principle of knowing through faith, and this translates into absolute certainty of the truthfulness of the conclusions. It is a duty of believers to explore the truth. The Gospel, interpreted by the authority of the Church, remains the main source of revelation. The intensity of cognition influences the entirety of one’s life, manifests itself in the acceptance of all the truths of the faith and in creating harmony between faith and the virtues of love and hope.

Źródło:

Vox Patrum; 2014, 61; 387-397
0860-9411
2719-3586

Pojawia się w:

Vox Patrum

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 7.

Tytuł:

Quaestiones Oralitatis

Data publikacji:

2018.0

Wydawca:

Uniwersytet Wrocławski

Dostawca treści:

Arianta

/5

Czasopismo

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Skocz do pozycji: 8.

Tytuł:

Turystyka kulturowa w plynnej rzeczywistości. Quaestiones disputatae

Autorzy:

Mikos von Rohrscheidt, Armin

Powiązania:

https://bibliotekanauki.pl/books/2026757.pdf

Data publikacji:

2016-10-10

Wydawca:

KulTour.pl

Opis:

Na tematykę publikacji składają się (w liczbie 32) rozliczne kwestie związane z podejmowaniem i organizacją podróży w czasie wolnym, ukierunkowane na doświadczenie walorów żywej kultury i konfrontację z dziedzictwem kulturowym, a także na metody i kryteria badania tego fenomenu. Zamieszczone w monografii analizy, diagnozy i postulaty odnoszą się zasadniczo do krajowej przestrzeni turystycznej i polskiej rzeczywistości kulturowo-społecznej. Zagadnienia o charakterze globalnym, typowe dla tej sfery ludzkiej aktywności i zachowań jej uczestników, mają za zadanie dostarczyć im szerszy kontekst, a przykłady koncepcji i szczegółowych rozwiązań spoza kraju ilustrują sprawdzone lub chybione rozwiązania omawianych problemów.

Dostawca treści:

Biblioteka Nauki

/5

Książka

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Skocz do pozycji: 9.

Tytuł:

Dziesięć kwestii o stanie lekarskim (Decem quaestiones de medicorum statu). Przekład pracy i komentarz
Ten Issues of Medical Condition (Decem quaestiones de medicorum statu). The Translation Work and Comment

Autorzy:

Rzepiela, Michał

Powiązania:

https://bibliotekanauki.pl/articles/530774.pdf

Data publikacji:

2014

Wydawca:

Polskie Towarzystwo Historii Filozofii i Medycyny

Źródło:

Archiwum Historii i Filozofii Medycyny; 2014, 77; 67-79
0860-1844

Pojawia się w:

Archiwum Historii i Filozofii Medycyny

Dostawca treści:

Biblioteka Nauki

/5

Artykuł

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Skocz do pozycji: 10.

Tytuł:

Transfiguration: Southworth and Hawes, Reproduced Images and Body

Autorzy:

Handy, Ellen

Powiązania:

https://bibliotekanauki.pl/articles/32346900.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

photo-reproduction
Southworth & Hawes
Transfiguration
transmedial

Opis:

The Harrison Horblit Collection at the Harvard University’s Houghton Library contains a remarkable daguerreotype plate by the Boston firm Southworth & Hawes. It reproduces an engraving after Raphael’s Transfiguration. Whereas reproductive printmaking normally seeks to produce multiples of a unique original, daguerreotype reproductions open a space of ambiguity between the categories of original and reproduction since daguerreotypes are unique objects. Much is lost in this translation, but what is gained? If reproduction of paintings normally renders the singular multiple, what happens when a painting is reproduced as a unique image? Why was this daguerreotype created? Southworth & Hawes specialized in portraits of celebrities and considered themselves artists. Why then did they make a daguerreotype of an engraving of a painting? And why this painting?Their image of an image of an image is at once simply duplicative and a meditation on photography itself – an expanded conception of photography that figures it as spiritual and conceptual practice, as is suggested in other conflations of image reproduction and transfiguration within Southworth & Hawes’ oeuvre as well. The logic of the Southworth & Hawes’ Transfiguration becomes less a conundrum when considered in relation to two of their other images, one of the branded hand of abolitionist Jonathan Walker, the other a self-portrait representing Southworth’s torso as a classical sculpture. Translation, transfiguration, body, soul and image are closely imbricated in all three of these daguerreotypes, each produced during the height of New England Transcendentalism. While Raphael’s Transfiguration epitomizes the intersection of the human and a divine being as Scriptural drama, The Branded Hand and Southworth as a Classical Bust allude to the spiritual realm through representation of the soul’s transcendence of the suffering body rather than direct reference to scripture. The Branded Hand detaches subject from the context of the body as a whole; Walker’s wound appears in the image as the silvery trace of the price paid for his abolitionist conviction. The portrait of Southworth separates an individual man’s identity from the more allegorical presence, while presenting suggestions of sorrow as emblems of spiritual elevation. But beyond this, the transmedial daguerreotype of the print of the Raphael announces itself as visual metonymy; the transfiguration of Christ in the painting also conveys the transfigurative power of the photographic medium itself.

Źródło:

Artium Quaestiones; 2022, 33; 39-60
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

Artykuł

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Skocz do pozycji: 11.

Tytuł:

Quaestiones Geographicae

Data publikacji:

2010.0

Wydawca:

Uniwersytet im. Adama Mickiewicza (Poznań)

Dostawca treści:

Arianta

/5

Czasopismo

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Skocz do pozycji: 12.

Tytuł:

From Textile to Plastic: Architecture, Exhibition Design, and Abstraction (1930–1955)

Autorzy:

Ottenhausen, Clemens

Powiązania:

https://bibliotekanauki.pl/articles/2135557.pdf

Data publikacji:

2021-12-15

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

design
exhibitions
architecture
abstraction
textiles
modernism

Opis:

This article investigates the growing proliferation of curtains and wall hangings as key elements in the design of art exhibitions in the years 1930–1955. To demonstrate how textiles were successfully employed as mediators on the threshold between architecture, design objects, and fine arts, I first examine the increasing use of curtains in the interwar period, Fascist Italy, and Nazi Germany to subsequently explore how the role of fabrics in both countries’ rationalist and neoclassicist architecture also played a significant part in exhibition design after the Second World War. I chart how the interest in textiles culminated in 1955, when glossy plastic curtains were integrated into the exhibition architecture at the first documenta in Kassel, Germany, one of the country’s most prestigious recurring art events to this day. During these politically turbulent decades, the exchange between exhibition designers in both countries was bound together by a profound reassessment of the relation between architecture, design, and art. The renewed consciousness of design as an integrated practice played a key role in 1930s architecture, also providing the foundation for the Bauhaus curriculum and the work of artists, designers, and architects (e.g., Wassily Kandinsky, Giuseppe Pagano, Le Corbusier, Carlo Scarpa, Willi Baumeister, Arnold Bode). I demonstrate that during this period textiles were essential for creating continuity between exhibitions and exhibits of vastly differing styles and contexts. The wall hangings, veils, and banners that were used as part of the monumental spaces created for the Fascist regimes in Italy and Germany were ultimately appropriated and turned into means to undermine the neoclassicist and rationalist style in a way that echoed, I argue, society’s neobaroque sensibility in the aftermath of World War II. Though the Federal Republic of Germany’s first two decades were characterized by the general will to educate its citizens in the aesthetics of internationalism, this effort and the concomitant return to the interwar period were accompanied by a strong resurgence in religiosity and desire for emotionally compelling experiences, which signify a partial disavowal of modernism’s most radical stipulations.

Źródło:

Artium Quaestiones; 2021, 32; 89-112
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

Artykuł

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Skocz do pozycji: 13.

Tytuł:

Quaestiones Medii Aevi Novae

Data publikacji:

2013.0

Wydawca:

Fundacja Centrum Badań Historycznych

Dostawca treści:

Arianta

/5

Czasopismo

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Skocz do pozycji: 14.

Tytuł:

Collecting Coins and Medals in 18th-Century Sweden

Autorzy:

Haidenthaller, Ylva

Powiązania:

https://bibliotekanauki.pl/articles/32353046.pdf

Data publikacji:

2023

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

numismatic
collecting
coins
medals
Sweden
18th century

Opis:

During the 18th century, collections of coins and medals were familiar sights. The collectors ranged from scholars to amateurs, men and women and the collectables tempted collectors for various reasons: they signified wealth and knowledge, they rendered historical events or current politics in material form, or they were miniature artworks and financial investments. Also, the visual and material culture that involved collecting coins and medals consisted of cabinets and numismatic publications. But how were numismatic collections amassed, and how were they used? What did it mean to own a coin and medal collection? This article discusses the practices of collecting numismatics in 18th-century Sweden through various case studies concerning private and public collections, such as the Uppsala University coin cabinet or the possessions of politician Carl Didric Ehrenpreus, numismatist Elias Brenner, medal artist Arvid Karlsteen, and merchant-wife Anna Johanna Grill. These cases illuminate the diverse motivations behind collecting, from intellectual curiosity to social status. These case studies include immaterial facets such as witty discussions and international networks and material aspects such as coins, medals, cabinets, letters, and publications. Based on contemporary written sources, this article sheds light on how numismatic objects were bought, sold and circulated, highlighting the market dynamics of collecting. Furthermore, the examples examine how numismatic publications were used next to the objects, contributing to hermeneutic study and the collecting process. The written records provide insight into the scholarly discourse surrounding these collections, offering a glimpse into the intellectual context of the time. Finally, the article will add to the understanding of values and ideas attached to the practices of collecting coins and medals in early modern Europe. It elucidates the role of numismatics as a collecting practice, as well as how it shaped cultural perceptions, underscoring the intricate interplay between material and visual culture, society, and the production of knowledge during this period.

Źródło:

Artium Quaestiones; 2023, 34; 111-137
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 15.

Tytuł:

Enlarged Details and Close-up Views: Art Reproduction in 1930s Czechoslovakia

Autorzy:

Buddeus, Hana

Powiązania:

https://bibliotekanauki.pl/articles/32347178.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

photography
detail art reproduction
Czechoslovakia
1930s

Opis:

Each photograph captures an artwork within a particular frame of space and time, providing a perspective that is contingent and dependent on the era the photograph was made in (Bergstein 1992). Moreover, every photograph is always embedded in specific material conditions and has its own social life (Edwards–Hart 2004). The aim of this article is to show the particularity of reproductions of artworks in 1930s Czechoslovakia and the motivations and discussions behind the extensive use of detail. I argue that the pronounced interest in close-up views is a result of a series of circumstances specific to the period. There is an important pre-condition in the development in the field of art photography and graphic design that took place in the late 1920s, bringing about an interest in sharp and faithful images and full bleed prints, as well as a recognition of the social impact of the medium. As a result, photographers, artists, art historians, and graphic designers living in Czechoslovakia also began to rethink the use of photography in the art field. This was manifested in period publications such as the well-known Fotografie vidí povrch (Photography Sees the Surface), published in 1935. In terms of art reproductions, it shows the importance of close-up views for providing an insight into individual artistic approaches and into the history of the respective artwork. The same year saw the publication of the 31st volume of the art magazine Volné směry, which enables us to follow several micro-histories that can also be applied more generally to the period discussions. As illustrated by a text by Bohuslav Slánský and the reproduced photographs of medieval panel portraits from Karlštejn Castle attributed to Master Theodoric, one of the purposes behind the commissions of enlarged photographic details of artworks were planned restorations. Moreover, examples from the photographic campaigns led by the company of Jan Štenc, the State Photo-Measurement Institute, or the project by Karel Šourek, Alexandr Paul, and František Illek (Documenta Bohemia Artis Phototypica) show that detail is generally used for showing the structure and texture of the work, for zooming in on otherwise distant works, or for the purpose of comparison. According to Volné směry editor-in-chief Emil Filla and his manifesto article “Práce oka”, the new method of working with reproductions and the frequent use of photographic detail precipitated a change in the observational habits of the audience. This intention was materialised through his long-term collaboration with the photographer Josef Sudek, who helped him show the artworks in a new light. It is evident that by the mid-1930s, the synergic work of individuals from different fields brought the use of detail in art-related publications to an unprecedented level.

Źródło:

Artium Quaestiones; 2022, 33; 61-86
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

Artykuł

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Skocz do pozycji: 16.

Tytuł:

Local to National: Victorian Industrialist Art Collectors’ Geographies

Autorzy:

Codell, Julie

Powiązania:

https://bibliotekanauki.pl/articles/32353942.pdf

Data publikacji:

2023

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

F.G. Stephens
ekphrasis
serialization
Victorian collectors
nationalism
the Athenaeum

Opis:

After 1850, the middle and working classes sought cultural education, which John Ruskin, among others, identified as a signifier of civilization and national greatness. Working Men’s Colleges, three 1870 university Slade Professorships in art history, proliferating art publications, and emerging regional museums offered opportunities to become conversant with visual art were then equated with social mobility and Englishness. Amid this cultural nationalism, critic F. G. Stephens’s 100+ Athenaeum series, “The Private Collections of England” (1873–1887), transformed collectors into national heroes. Scholars have noted the rising profile of collectors in 19th-century Europe and the US, in which Stephens’s series participated. Stephens detailed these collections’ expanded geography in England’s industrial north, turning local art collecting into a national, unifying force, a transformation made possible by his periodical serialization itself. These collectors, industrialists, merchants and bankers exemplified a new middle-class social, cultural and political authority. Most of them intended to bequeath their collections philanthropically to museums, thus shaping public tastes and the canon. They were personally and socially networked with artists and with each other, often working in complementary industries. Stephens interspersed his detailed descriptions of artworks with exhibition histories across translocal and transnational spaces, using the power of the press to weave a network between collectors and the public and a shared cultural history that endorsed collectors’ new public identity. However, Stephens also raised tensions about the geography of collecting, emphasizing collectors’ local places while presenting them as shaping a national space in their homogeneous taste and support of the same living artists and even the same pictorial subjects. In this way, Stephens straddled and flattened differences between national and regional market forces when, ironically, England’s art market was be coming increasingly international. This geographical layering is explored here in the context of the rise of provincial art institutions, the period’s notion of national schools and in anticipating the features of the current geohistory of art. I will explore two devices associated with the periodical press: ekphrasis and serialization, both of which Stephens deploys. Stephens wrote long ekphrases on works in these collection and omitted illustrations, noting in several comments that the Athenaeum’s middle-class readers were already familiar with artists’ works. This presumption and his use of 19th-century serialization, used by novelists whose chapters appeared across multiple issues of periodicals, combing to create a powerful force binding readers to his elevation of collectors’ social, national and cultural roles.

Źródło:

Artium Quaestiones; 2023, 34; 197-220
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 17.

Tytuł:

[Tłum.] Tomasz z Akwinu, "Kwestie dyskutowane o złu" (Quaestiones disputatae de malo), q. 16, a. 1
[Transl.] Thomas Aquinas, "On evil" (Quaestiones disputate de malo q. 16, a. 1)

Autorzy:

Górka, Kinga
Kaliszewska, Julia
Ryglewicz, Eliza
Waśniewska, Martyna
Zembrzuski, Michał

Powiązania:

https://bibliotekanauki.pl/articles/452728.pdf

Data publikacji:

2012

Wydawca:

Naukowe Towarzystwo Tomistyczne

Źródło:

Rocznik Tomistyczny; 2012, 1; 229-248
2300-1976

Pojawia się w:

Rocznik Tomistyczny

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 18.

Tytuł:

Artium Quaestiones

Data publikacji:

1979.0

Wydawca:

Uniwersytet im. Adama Mickiewicza (Poznań)

Dostawca treści:

Arianta

/5

Czasopismo

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Skocz do pozycji: 19.

Tytuł:

Artium Quaestiones

Data publikacji:

2015.0

Wydawca:

Uniwersytet im. Adama Mickiewicza (Poznań)

Dostawca treści:

Arianta

/5

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Skocz do pozycji: 20.

Tytuł:

Konstruowanie atlasu. Surrealizm - fotografia - reprodukcja
Constructing the Atlas. Surrealism – Photography – Reproduction

Autorzy:

Szerszeń, Tomasz

Powiązania:

https://bibliotekanauki.pl/articles/32346648.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Photography
atlas
avant-garde magazines
surrealism
decolonization
heterotopies

Opis:

“The history of art is [...] the history of what is photographable,” wrote André Malraux. Surrealism and related interwar visual phenomena add an interesting context to this observation. If we look at surrealism through the prism of the numerous magazines that accompanied it, we can see the special role of photographic reproduction. It seems that it plays a slightly different role there than in other practices of the interwar avant-garde: it tends to be a visual form of thinking, establishing photography as a crucial medium. The case of the journal “Documents” (1929–1930), existing on the fringe of surrealism and anthropology, seems particularly interesting. It can be seen as a kind of atlas of visual forms, in which the problem of reproductions of artworks and artefacts from different cultures was constantly problematised. The cannibalisation of various types of iconography was related not only to discussions on cultural visual appropriation, or the criticism of various conventions of seeing and making images, but also to a broader project whose aim was the decolonisation of seeing. It assumed a re-examination of European (art) history – in a radical, non-hierarchical and non-encyclopaedic way. The aim of the editors of the journal was to move away from the metaphysical and ocularcentric paradigm in favour of a more horizontal and relational (and in effect anthropological) positioning of a work of art. The question of reproduction is problematised in “Documents” in terms of a discussion on the aura of works and objects from other cultures: displaced and uprooted from their cultural context. The subversive photographic practices of the surrealists related to the status of copies and reproductions are also contextualised here, as are two monumental projects based on reproduction: Aby Warburg’s Mnemosyne Atlas (1924–1929) and Malraux’s Museum of the Imagination (1947–1951), or a “photographic album of universal culture”, but which were created in the face of similar problems to “Documents” (the visual form of knowledge; the “universal” in the face of colonialism; the relationship between artwork and reproduction). All three projects were a kind of response to the globalisation of images and the crisis of cultural memory. Here the use of the atlas form and photographic reproduction becomes an attempt to establish a new epistemic paradigm.

Źródło:

Artium Quaestiones; 2022, 33; 163-181
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 21.

Tytuł:

Pytanie o status chrystianologii św. Pawła – quaestiones selectae
The Question about State of St. Paul’s Christianology – Quaestiones Selectae

Autorzy:

Kubanowski, Andrzej T.

Powiązania:

https://bibliotekanauki.pl/articles/558466.pdf

Data publikacji:

2016

Wydawca:

Gdańskie Seminarium Duchowne

Tematy:

antropologia teologiczna
bycie chrześcijaninem
chrystianologia
Paweł Apostoł
teologia moralna
Christian being
christianology
moral theology
Paul the Apostle
theological anthropology

Opis:

Niniejszy artykuł prezentuje cztery koncepcje rozumienia terminu „chrystianologia”. Jest on próbą odpowiedzi na pytanie, co to właściwie jest. Pierwsza z opisywanych koncepcji, autorstwa Emmanuela L. Rehfelda rozważa „chrystianologię” jako jeden z głównych nurtów występujących w antropologicznej releksji prowadzonej na kartach pism Pawłowych. Kolejna koncepcja sformułowana przez o. Romana S. Zdziarstka „chrystianologią” nazywa naukę o chrześcijaninie pozostającym w ontycznej relacji z Trójcą Przenajświętszą. Celem owej nowej dyscypliny teologicznej jest poszukiwanie podstaw tożsamości chrześcijańskiej. Trzecia koncepcja, ks. prof. Mirosława Mroza w „chrystianologii” dostrzega teologię moralną, która jest ukierunkowana na proces stawania się „Chrystusowym”. Ks. Mróz sugeruje również, iż ta perspektywa jest właściwa myśli teologicznomoralnej Tomasza z Akwinu. Autorem ostatniej koncepcji jest o. Wacław Hryniewicz. Rozpatruje on „chrystianologię” jako specyiczne podejście w releksji teologicznej, poszukującej paschalnego wymiaru w egzystencji i duchowości chrześcijańskiej. Według niego „paschalna chrystianologia” może zostać wykorzystana w rozwiązywaniu współczesnych problemów egzystencjalnych. Artykuł zakończony jest kilkoma wnioskami, które mogą posłużyć jako przyczynek do dalszej releksji.
The paper presents four conceptions of understanding the term – “christianology”. It try to answer, what does it really mean. The first author – Emmanuel L. Rehfeld considers “christianology” as a mainstream of anthropological contents in the St. Paul’s teaching. The second author describes “christianology” as a theological study of Christian, which is in the ontic relation to Holy Trinity. In his christianological conception Zdziarstek uses the complex theological method, which the aim is finding the foundations of Christians identity (esse christianum). The next author – M. Mróz considers “christianology” as a moral theology. This conception is directed to the Christian being as a process of conformitas Christi. Also fr. Mróz suggests to use the christianological methods for examination on Thomas Aquinas’s moral thought. The last author – W. Hryniewicz deems “christianology” as an approach of theological reflection, which searches the Passover’s dimension in the sources of Christian existence and Christian spirituality. “The Paschal christianology” can be solution for the existential problems of contemporary people. The conclusions’ section contains a few issues for the further considerations.

Źródło:

Studia Gdańskie; 2016, 38; 65-74
0137-4338

Pojawia się w:

Studia Gdańskie

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 22.

Tytuł:

Decem quaestiones de medicorum statu. Uwagi co do stanu lekarskiego w XIV i XV wieku
Decem quaestiones de medicorum statu. Comments on Physicians as a Social Class in the 14th and 15th Centuries

Autorzy:

PEITZ, RUDOLF
KEIL, GUNDOLF
Gajda, Zdzisław

Powiązania:

https://bibliotekanauki.pl/articles/530727.pdf

Data publikacji:

2014

Wydawca:

Polskie Towarzystwo Historii Filozofii i Medycyny

Źródło:

Archiwum Historii i Filozofii Medycyny; 2014, 77; 28-35
0860-1844

Pojawia się w:

Archiwum Historii i Filozofii Medycyny

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 23.

Tytuł:

Canons and Networks. 19th-Century Danish Art in Paris

Autorzy:

Łukasiewicz, Martyna
Mednick, Thor

Powiązania:

https://bibliotekanauki.pl/articles/32352819.pdf

Data publikacji:

2023

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

collections
custodia
Danish art
works-on-paper
van Hasselt
Fischer

Opis:

Collections of Danish Golden-Age art are quite rare outside of Scandinavia, especially when it comes to those developed in accordance with a well-thought-out strategy established through the international cooperation of scholars. An important exception is the large group of Danish drawings, oil sketches, and artists’ correspondence found in the Fondation Custodia – Collection Frits Lugt in Paris, gathered by art historian and longtime museum director Carlos van Hasselt (1929–2009). As director, van Hasselt provided an interesting model of collecting, as his pursuit was not motivated by a particular investment strategy. His collection may, in a sense, be viewed as the material result of a network, one which he established and which brought together Danish researchers and museologists, as well as international art dealers. The aim of this article is therefore to investigate how a network may inform and help determine a particular collection practice, to trace how van Hasselt became an agent of the Danish art establishment, and to provide a critical overview of this collection, which became a satellite representation of the canon of 19th-century Danish art in Paris. Analysis of Carlos van Hasselt’s archive will provide critical reflections on the ways in which the collection was built and developed, and how it may serve as an example of the international dissemination of canons.

Źródło:

Artium Quaestiones; 2023, 34; 139-159
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

Artykuł

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Skocz do pozycji: 24.

Tytuł:

Ks. Ireneusz Pawlak, De musica sacra in Polonia. Quaestiones selectae, red. Ks. Stanisław Garnczarski, t. I-III
Rev. Ireneusz Pawlak, De musica sacra in Polonia. Quaestiones selectae [The Sacred Music in Poland. Selected Questions], ed. Rev. Stanisław Garnczarski, t. I-III

Autorzy:

Wiśniewski, Piotr

Powiązania:

https://bibliotekanauki.pl/articles/2037962.pdf

Data publikacji:

2016

Wydawca:

Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL

Źródło:

Roczniki Teologiczne; 2016, 63, 13; 245-251
2353-7272

Pojawia się w:

Roczniki Teologiczne

Dostawca treści:

Biblioteka Nauki

/5

Artykuł

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Skocz do pozycji: 25.

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

/5

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Skocz do pozycji: 26.

Tytuł:

Rewolucja i reakcja
Revolution and Reaction

Autorzy:

Haskell, Francis
Mencfel, Michał

Powiązania:

https://bibliotekanauki.pl/articles/32354551.pdf

Data publikacji:

2023

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

artistic taste
art market
history of collections
British art collections
French art collections
Napoleonic Wars

Opis:

The article is a Polish translation of a chapter from a book titled Rediscoveries in Art. Some Aspects of Taste, Fashion and Collecting in England and France. The Wrightsman Lectures delivered under the auspices of the New York University Institute of Fine Arts (Cornell University Press: Ithaca, New York 1980; first edition: Phaidon Press Limited 1976) by Francis Haskell (1928–2000), a renowned art historian, the author of classic studies on artistic patronage, the history of taste, and collecting. The subject of the essay is changes in tastes, particularly the increased interest in Italian and Northern European painting at the turn of 18th and 19th centuries and the consequences of this phenomenon for the British and French collections of painting created at that time (as well as the diverse political and social turbulences that occurred in the wake of the French Revolution and the Napoleonic wars).

Źródło:

Artium Quaestiones; 2023, 34; 253-292
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

Artykuł

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Skocz do pozycji: 27.

Tytuł:

Sprawozdanie z konferencji towarzyszącej 20. rocznicy powstania czasopisma „Quaestiones Medii Aevi Novae”, Poznań, 13 IX 2016 r.
Report of the conference organised to celebrate the 20th anniversary of the founding of the magazine Quaestiones Medii Aevi Novae, Poznań, 13 September 2016

Autorzy:

Wojtczak, Jakub

Powiązania:

https://bibliotekanauki.pl/articles/2164771.pdf

Data publikacji:

2017-09-30

Wydawca:

Wydawnictwo Adam Marszałek

Źródło:

Historia Slavorum Occidentis; 2017, 3 (14); 119-120
2084-1213

Pojawia się w:

Historia Slavorum Occidentis

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 28.

Tytuł:

Recenzja: Piotr Roszak, Jörgen Vijgen, Reading Sacred Scripture with Thomas Aquinas. Hermeneutical Tools, Theological Quaestiones And New Perspectives, Brepols 2015, pp. 608
Review: Piotr Roszak, Jörgen Vijgen, Reading Sacred Scripture with Thomas Aquinas. Hermeneutical Tools, Theological Quaestiones And New Perspectives, Brepols 2015, pp. 608

Autorzy:

Zembrzuski, Michał

Powiązania:

https://bibliotekanauki.pl/articles/452547.pdf

Data publikacji:

2017

Wydawca:

Naukowe Towarzystwo Tomistyczne

Źródło:

Rocznik Tomistyczny; 2017, 6; 315-320
2300-1976

Pojawia się w:

Rocznik Tomistyczny

Dostawca treści:

Biblioteka Nauki

/5

Artykuł

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Skocz do pozycji: 29.

Tytuł:

Historia sztuki w polu metodologii. Aktualne problemy i wyzwania
Art History in the Field of Methodology. Current Problems and Challenges

Autorzy:

Czekalski, Stanisław

Powiązania:

https://bibliotekanauki.pl/articles/32352273.pdf

Data publikacji:

2023

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

art history
scientific knowledge
methodology
theory
philosophy of science
structuralism

Opis:

At the end of the 20th century, the theory of art history shifted from the area of methodology understood as a normative field of the philosophy of science to the area of the social practice of constructing knowledge. The term “art historical methodology” itself became trivialized when its meaning was detached from the horizon of epistemology and became extremely inclusive, encompassing all methods practised in the discipline, with a method being considered to be the use of any theory as a tool of interpretation. As a consequence, the basic problem of scientific methodology, which is the critical assessment of explanatory and interpretive theories due to the value of their justification, is not addressed in the self-reflection of contemporary art history. The retreat from the rigors of methodology was related to the reception of structuralism, initiated by Ernst Gombrich in the book Art and Illusion. Popper’s model of situational logic as a method of historical explanation of works of art was transformed into a structuralist model, referring to constant rules of pictorial representation, symbolization and communication. Michael Fried and Norman Bryson formulated their own theories of invariant rules defining the necessary initial conditions for the formation and reception of pictures, so that individual works could be interpreted in terms of these rules and, as a result, confirm the general theory, which created a vicious circle. Structuralist theories did not function as hypotheses requiring critical testing, but as interpretive codes that served to read each work of art within their own conceptual system. The next step in the process of the reception of structuralism was the development of theories defining general rules that would govern the discursive practice of art history, and the detection of which at the basis of this practice would discredit or invalidate its epistemological dimension. Hayden White’s narrativism was the theory that historical discourse is subject to narrative conventions, not to the laws of logic and the rigors of methodology that serve to limit the pool of alternative explanations or interpretations. This theory was intended to justify the pluralism of equal versions of history as a politically correct idea, appropriate for a “democratic” model of knowledge. Theorists developing White’s theses in the field of art history claimed that the discursive practice of this discipline was not governed by methodological rules but by political motivations (Keith Moxey) or aesthetic principles of artwriting (David Carrier). After the phase of open denial of the dependence of the art history discourse on methodology, the theory of the discipline turned into an analysis of techniques for building this discourse, which no longer included methodological issues, as in James Elkins’ book Our Beautiful, Dry, and Distant Texts. A critical review of theories separating art history from methodology leads to the conclusion that they are untenable. It is impossible to maintain the scientific status of our discipline without respecting the principles of methodology founded in the contemporary philosophy of science.

Źródło:

Artium Quaestiones; 2023, 34; 293-336
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 30.

Tytuł:

Feminism in the Time of Transformation. Piotr Piotrowski, Zofia Kulik and the Development of Feminist Art History in Poland

Autorzy:

Jakubowska, Agata

Powiązania:

https://bibliotekanauki.pl/articles/32348839.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Piotr Piotrowski
Zofia Kulik
feminism
post-communism
feminist art history
women’s art

Opis:

This article is an analysis of one area of Piotr Piotrowski’s (1952–2015) activity in the 1990s – his writings on the art of Zofia Kulik and, more specifically, on its feminist dimension. I argue that although Piotrowski was never interested in women’s art in particular, not only did he practise feminist criticism during this period, but he was also a catalyst for the development of a specific form of feminist reflection that was then new in Polish art history. It focused on power relations and did not accept distancing oneself from social and political problems. I analyse it from the perspective of contemporary revisions of the development of feminist discourse after 1989 in Eastern Europe, which critically examines its embeddedness in Western ideas.

Źródło:

Artium Quaestiones; 2022, 33; 261-278
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 31.

Tytuł:

Migracja aury lub jak badać oryginał poprzez jego faksymile
The Migration of the Aura, or How to Explore through its Facsimiles

Autorzy:

Latour, Bruno
Lowe, Adam
Lipiński, Filip

Powiązania:

https://bibliotekanauki.pl/articles/32349258.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

reproduction
original
work of art
digital photography
aura
facsimile

Opis:

The text offers enlightening reflections on issues concerning reproductions of works of art, the status of an original and a copy, the problem of conservation, and the role of digital photography. Latour and Lowe raise the contentious issue of how good and bad reproductions can affect the original, participate in what they call “the migration of the aura”. This is primarily a case study of a production, presentation, reception and the meaning of a facsimile of a Veronese work, Nozze di Cana at its original location, San Giorgio in Venice. The second part of the text (the appendix) is a meticulous, technical description of the stages of production of the picture by Lowe.

Źródło:

Artium Quaestiones; 2022, 33; 239-260
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 32.

Tytuł:

Zagadnienie pośmiertnej identyczności ciała Chrystusa i pośmiertnego nazywania części Jego ciała w "Quaestiones quodlibetales" św. Tomasza z Akwinu
The Issue of the Posthumous Identity Christs Body and Posthumous naming of parts of His Body in "Quaestiones quodlibetales" St. Thomas Aquinas

Autorzy:

Majcherek, Kamil

Powiązania:

https://bibliotekanauki.pl/articles/452642.pdf

Data publikacji:

2015

Wydawca:

Naukowe Towarzystwo Tomistyczne

Tematy:

Tomasz z Akwinu
hylemorfizm
śmierć
ludzkie ciało
Chrystus
Thomas Aquinas
hylemorphism
death
human body
Christ

Opis:

The aim of this paper is to present and discuss the content of two parts of two different quaestiones quodlibetales of Thomas Aquinas. What they have in common is that they both treat the status of Christ (and in particular: of his body) after his death. Although they concern explicitely only the status of Christ, they can also be referred to the status of every human being post mortem. This article shows how Aquinas applies theses derived from his general metaphysical system to defend few statements that he considers necessary to adopt if one wishes to remain within the borders of christian orthodoxy. These statements are: that the death of Christ was a real one; that his divinity was not separated from him during his death; from this second statement a third one is derived: if this is the case, then the body of Christ during his death was the same one as his body before his death. By the way of some extrapolation, we can see what importance these theses and the way of justifying them bear on the more general question of a posthmous condition of human beings, especially their bodies.

Źródło:

Rocznik Tomistyczny; 2015, 4; 267-277
2300-1976

Pojawia się w:

Rocznik Tomistyczny

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 33.

Tytuł:

Between Art Historical Representation and Didactic Functionality: The Cast Collection of the Royal Academy of Fine Arts of Antwerp

Autorzy:

Müller, Ulrike
Verreyke, Hélène
D’haeyere, Tine

Powiązania:

https://bibliotekanauki.pl/articles/32353377.pdf

Data publikacji:

2023

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

plaster casts
academic heritage
academy museums
art education
reproduction
drawing after antique models

Opis:

During the long nineteenth century, the Royal Academy of Fine Arts of Antwerp – just like many other art schools in this period – assembled a collection of some 500 plaster casts after ancient and modern sculptures, which played an essential role in the education of young art students. The creation of such collections went in parallel with the blossoming of cast museums all over Europe, as well as the emergence of a large-scale exchange network set up to facilitate the international dissemination of plaster casts. However, in contrast to cast museums, which brought together masterpieces of classical Western sculpture in order to contribute to the aesthetic edification of the public, the cast collections of art academies had a more pragmatic and didactic function. This article focuses on cast collections at art academies, and how the formation and functioning of such collections related to broader educational concepts and practices at these schools. Taking the collection of plaster casts at the Royal Academy of Fine Arts of Antwerp as a case study, we will trace the various actors, methods and strategies employed to create the collection, uncover how the collection related to the artistic idea(l)s expressed in the educational programme of that institution, and discuss how and where it was located and displayed. Based on the rich archives of the academy, it examines a broad range of different sources, including purchase lists, inventories and correspondence concerning the formation of the collection, as well as floor plans, photographs and original drawings attesting to the location and use of the casts. It traces the provenance of the objects, analyzes the profiles of the individuals and institutions involved in creating the collection, and identifies to what extent and how creative repurposing played a role in the collection’s functioning. The article argues how cast collections formed by art academies – in addition to representing the art historical canon of a given place or period – are an important reflection of the didactic practices, aesthetic priorities and, above all, the creative encounters that distinguish these institutions from the purposes of the public (cast) museum.

Źródło:

Artium Quaestiones; 2023, 34; 221-252
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 34.

Tytuł:

Od „bibliotek fotograficznych” do "fototek". O epistemologicznym potencjale historyczno-artystycznych kolekcji fotografii
From 'Photo Libraries' to "Photo Archives". On the Epistemological Potential of Art-Historical Photo Collection

Autorzy:

Caraffa, Constanza
Lipiński, Filip

Powiązania:

https://bibliotekanauki.pl/articles/32348483.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

photo archive
photograph
reproduction of a work of art
Photothek
materiality of photography

Opis:

This text is a translation from English into Polish of a fundamental text for research into reproductions of works of art, written by Constanza Caraffa, the leading theorist of the field. It is an introductory chapter of her important volume Photo Archives and the Photographic Memory of Art History (2011), in which she elucidates the meaning of a photo-archive as a site of research into photographs of works of art as individual, material objects. Using examples and her work experience in the Photothek at the Kunsthistorische Institut in Florence, she presents the complexity and abundance of information that photographic reproductions of works of art can carry, over and above the traditional understanding of a photograph as a document transparent onto the object it represents.

Źródło:

Artium Quaestiones; 2022, 33; 183-238
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 35.

Tytuł:

Księgozbiór specjalistyczny Henryka Grohmana (1862–1939) a jego kolekcja grafiki nowoczesnej
Henryk Grohman’s (1862–1939) Specialist Library and His Collection of Modern Prints

Autorzy:

Dragońska, Urszula

Powiązania:

https://bibliotekanauki.pl/articles/32351988.pdf

Data publikacji:

2023

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Henryk Grohman
Print Room of the University of Warsaw Library
modern prints
art collecting
historical libraries art market

Opis:

This article is the first study of the library belonging to the Łódź industrialist and art collector Henryk Grohman (1862–1939). It attempts to answer the question of the degree to which analysing these volumes, which are now housed in the collections of the University of Warsaw Library and the National Museum in Warsaw, can prove helpful in the study of art collections. The methodology for researching historical book collections was used to reconstruct and describe the library. These inquiries resulted in more than 165 titles being determined, which originally belonging to Grohman and covered oriental and European arts and crafts, as well as graphic and drawing arts (about 60). These included monographs, albums, and critical catalogues, exhibition and antiquarian nature, published mainly in Western Europe before 1914. The collector’s specialized book collection, built up on an ongoing basis, overlapped with his artistic interests and had the character of a utilitarian library. From the point of view of the study of graphic collections of the late 19th and early 20th centuries, the reference libraries of their creators seem to be of particular importance. In times when taste no longer sufficed to create a valuable collection, and quality and rarity became the main criteria for selecting graphic works, specialized literature on the subject was of help. Created by art historians, collection curators, art market experts, and also private collectors, it introduced the nuanced world of graphic arts. It provided a tool to help identify a print, determine its state, edition and quality, and thus determine the value of a given work. The preserved publications from Grohman’s library were therefore regarded as sources of specialized knowledge that the collector could not acquire either during his education or in his native environment. Three publications have been analysed in detail in the context of Grohman’s graphic arts collection: the series Le peintre-graveur illustré by Loys Delteil (1906–1926), the two-volume catalogue of Jean-Louis Forain’s lithographs and etchings by Marcel Guérin (1910, 1912), and the album devoted to the engravings of Fank Bangwyn prepared by Frank Newbolt (1908). These are publications reflecting the thriving activity of the circle of print enthusiasts of the late 19th and early 20th centuries, which had a significant impact on the dissemination of knowledge about this field of art. The series of relationships revealed between the collection of prints and drawings and the reference library significantly expanded the knowledge on its creator and how the collection was formed. It made it possible to appreciate the collector’s expertise and artistic taste, to observe how his awareness grew, influencing decisions on subsequent purchases, and also to detail the provenance of certain works. Thanks to the research field being expanded to include Grohman’s library, the findings on his graphic collection have become more complete and reliable.

Źródło:

Artium Quaestiones; 2023, 34; 47-79
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 36.

Tytuł:

Vom Kult zur Marke. Das Nietzsche-Archiv in Weimar und sein Netzwerk
Between Cult and Brand. The Collection of the Nietzsche Archive in Weimar

Autorzy:

Fünderich, Maren-Sophie

Powiązania:

https://bibliotekanauki.pl/articles/32354213.pdf

Data publikacji:

2023

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Cultural modernism
arts and craft
economic branding
Henry van de Velde
Elisabeth Förster-Nietzsche
Harry Graf Kessler

Opis:

The Nietzsche Archive in Weimar, which was reorganised by Elisabeth Förster-Nietzsche (1846–1935) after the death of her brother Friedrich Nietzsche (1844–1900), is regarded as an example of an outstanding collection that stands for the dawn of modernity around 1900. The circumstances of how Nietzsche’s sister managed and expanded the archive in Weimar clearly show the structure and development of a network. The archive is located on the ground floor of “Villa Silberblick”, a representative Wilhelminian villa on the outskirts of the city, which Förster-Nietzsche had moved into in 1897, and where she cared for her brother and where she remained after his death. This collection in the Nietzsche Archive includes furniture and interiors that Förster-Nietzsche had commissioned from the up-and-coming Belgian architect Henry van de Velde (1863–1957). She wanted to create a place for the Nietzsche cult, which she pursued with all her might, and to have her brother’s works translated into interior design. She was helped in this by patron Harry Graf Kessler (1868–1937), who was looking for a reference project in Weimar for Van de Velde, the new artistic advisor to the young Grand Duke of Saxe-Weimar, and recommended him to Förster-Nietzsche. With Van de Velde’s establishment, the Nietzsche Archive became not only a focal point of Nietzsche worship at the beginning of the 20th century, but also the centre of the “New Weimar”, a cultural-political project for which Kessler and Förster-Nietzsche were able to gain the support

Źródło:

Artium Quaestiones; 2023, 34; 161-195
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 37.

Tytuł:

Początki naukowych badań nad bursztynem w Gdańsku i kolekcja Jacoba Theodora Kleina (1685–1759)
The Beginnings of Scientific Research into Amber and the Collection of Jacob Theodor Klein (1685–1759)

Autorzy:

Sobecka, Anna

Powiązania:

https://bibliotekanauki.pl/articles/32351475.pdf

Data publikacji:

2023

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Jacob Theodor Klein
Kleinianum Museum
Augustus II the Strong
amber
collection
paper museum

Opis:

The article deals with the collection of Jacob Theodor Klein and the beginnings of scientific interest in amber in early modern Gdańsk. The text is intended to show the importance of this forgotten collection and the ongoing research into succinite (Baltic amber). The objects from Klein’s collection themselves have been dispersed, and have not survived to the present day, but Klein’s written inventory, which in 1740 ended up in the collection in Bayreuth to later reach Erlangen, allows the collection to be analyzed thoroughly. It is the numerous drawings of amber exhibits that are of particular importance. Thanks to the activities of Klein and his contemporaries, including Johann Philipp Breyn, and the drawings made at their request by their daughters, it is possible to trace the flow of objects between collections and reconstruct the meaning of the ‘paper museums’ they created. The text points to the key role of illustration as an element of information exchange in the respublica litteraria of the time and collaboration of scholars. The role of Gdańsk collections as the basis for the great collections being created at the time in St Petersburg and Dresden is also highlighted.

Źródło:

Artium Quaestiones; 2023, 34; 13-46
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 38.

Tytuł:

The Prince, the Noblemen and the Painter: Collections of Works of Art in Copenhagen Between 1800 and 1848

Autorzy:

Christensen, Charlotte

Powiązania:

https://bibliotekanauki.pl/articles/32353623.pdf

Data publikacji:

2023

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Copenhagen
collections in the first half of the 19th century
Kunstkammer
ing Christian VIII
Dutch paintings in Denmark
artists’ art collections
Christian Albrecht Jensen

Opis:

The history of collecting in Denmark and Norway in the 19th century is intimately connected with the history of the painters and sculptors active during that period. Only in Copenhagen were the Royal and private collections accessible to the artists, for whom copying paintings by Old Masters formed an important part of their curriculum. Major collectors of the Age were Prince Christian Frederik (later King Christian VIII of Denmark), who mainly acquired paintings and sculptures by contemporary artists, and the portrait painter Christian Albrecht Jensen, whose preference was to buy and sell the works of Old Masters. In Copenhagen, the collections of the Counts Moltke, which mainly consisted of works by Dutch painters, was open to the public, while the Royal Collection (today a part of Statens Museum for Kunst) could only be visited from 1827 onwards. None of the three collections dealt with in the present article have survived until today, while the works of art and the antiques belonging to the sculptor Bertel Thorvaldsen are at present housed in the museum bearing his name.

Źródło:

Artium Quaestiones; 2023, 34; 81-109
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 39.

Tytuł:

Opieka skoncentrowana na pacjencie w świetle współczesnych ujęć metodologicznych i wybranych pism hippokratejskich oraz Quaestiones medicinales Rufusa z Efezu – zarys problematyki
Patient-Centered Care in the Light of Contemporary Methodological Approaches, Selected Hippocratic Writings, and Ruphus’ from Ephesus Quaestiones Medicinales: An Outline of the Issue

Autorzy:

Wieżel, Iwonа

Powiązania:

https://bibliotekanauki.pl/articles/1787921.pdf

Data publikacji:

2021-04-05

Wydawca:

Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL

Tematy:

medycyna antyczna
opieka skoncentrowana na pacjencie
Hippokrates
Rufus z Efezu
ancient medicine
patient-centered care
Hippocrates
Ruphus from Ephesus

Opis:

Pisma hippokratejskie dowodzą, że starożytna medycyna w wysokim stopniu skupiała swoje wysiłki diagnostyczne i terapeutyczne na pacjencie. Rufus z Efezu, autor z II wieku po Chrystusie, pokazuje jednak, że w medycynie nie mniej ważne jak uważne słuchanie pacjenta jest też branie pod uwagę warunków zewnętrznych i wewnętrznych jego egzystencji. Uczynienie chorego wyjątkowym partnerem w dążeniu do poprawy jakości jego zdrowia poprawia także jakość jego życia. Co więcej, we współczesnej humanistyce medycznej mocno podkreśla się fakt, że uwzględnienie biopsychospołecznych aspektów opieki nad pacjentem wzmacnia zasadę, że w każdym wypadku to właśnie człowiek powinien znajdować się w centrum opieki leczniczej, a jego życie oraz zdrowie stanowi nadrzędny cel każdej interwencji medycznej.
The Hippocratic writings show that ancient medicine focused its diagnostic and therapeutic efforts on the patient to a high degree. However, Rufus of Ephesus, an author from the 2nd century A.D., shows that listening carefully to the patient is no less important in medicine than taking into account his existence’s external and internal conditions. Making the patient a unique partner in the pursuit of improving the quality of their health also enhances their quality of life. Moreover, modern medical humanities strongly emphasize the fact that taking into account the biopsychosocial aspects of patient care strengthens the principle that in any case, it is the person who should be in the center of therapeutic care. His life and health constitute the overriding goal of any medical intervention.

Źródło:

Roczniki Humanistyczne; 2021, 69, 3; 125-137
0035-7707

Pojawia się w:

Roczniki Humanistyczne

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 40.

Tytuł:

Ogół czy konkret przedmiotem ludzkiego poznania? Rozważania na podstawie q. 2 a. 6. "Quaestiones disputatae De veritate – De scientia Dei"
Is the Generality or the Concrete Thing the Object of Human Knowledge? Reflections based on Article 6 of the Question 2 of "Quaestiones disputatae De Veritate – De scientia Dei"

Autorzy:

Sulenta, Paulina

Powiązania:

https://bibliotekanauki.pl/articles/452701.pdf

Data publikacji:

2013

Wydawca:

Naukowe Towarzystwo Tomistyczne

Tematy:

ogół
konkret
intelekt
ludzkie poznanie
Tomasz z Akwinu
generality
concrete thing
intellect
human knowledge
Thomas Aquinas

Opis:

Presented article is an attempt to answer the question: what, according to St. Thomas Aquinas, is the object of human knowledge – the generality or the concrete thing? In the introduction the author remarks that the purpose of her reflections is not to make an ultimate subjective rational justification for the possibility or impossibility of knowing what is individual, but her reflections form a reconstruction of St. Thomas Aquinas’ position contained in article 6 in the second question of Quaestiones disputatae De veritate – De scientia Dei. It is mainly a question here of showing in Aquinas’ analyses a factor that would allow us to resolve whether the human intellect is capable of knowing what is individual. In the first part of the article, the author presents a fundamental difficulty that led St. Thomas to study the problem. The difficulty arose from the Aristotelian theory of the faculties and of abstraction. The theory allowed him to explain how the passage occurs from the sensory apprehension of the concrete thing to the intellect’s reading of the concrete thing’s general, necessary, and constant content, but the theory did not explain how one can recognize the concrete thing as such in which the general nature is realized. Next, the author concentrates on an analysis of the corpus of article 6 of the second question of Quaestiones disputatae De veritate – De scientia Dei. St. Thomas says there that the impressed intellectual-cognitive form (species intelligibilis impressa) that determines the intellect to know a thing does not contain individualizing material conditions, and thereby the intellect through itself (per se) knowls only generalities, but does not know concrete things. Thomas notes, however, that per accidens the human intellect can know what is individual. Therefore also in the third part of the article the author considers how, according to Aquinas, the concrete thing can be apprehended by the intellect. St. Thomas in this passage looks to the operation of conversio ad phantasmata in which the intellect indirectly knows the concrete content of a thing as the reason for a general concept. However, the author remarks that this is not the only possibility that man has for knowing what is individual. This is because Thomas in his analyses emphasizes that ultimately it is not the intellect but the entire man who is the subject of knowledge. For the operation of a turn to mental images to be possible, it is necessary that a faculty should exist that makes it possible to recognize earlier the concrete thing as that in which the general nature is realized. According to Aquinas, this faculty is the particular reason (ratio particularis, vis cogitativa).

Źródło:

Rocznik Tomistyczny; 2013, 2; 113-135
2300-1976

Pojawia się w:

Rocznik Tomistyczny

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 41.

Tytuł:

Edgar Wind i oblicza sztuki nowoczesnej. Na marginesie książki Bena Thomasa
Edgar Wind and the Faces of Modern Art. In the Margins of Ben Thomas Book

Autorzy:

Kasperowicz, Ryszard

Powiązania:

https://bibliotekanauki.pl/articles/32346311.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Edgar Wind
romantic revolution
aesthetic tautology
aesthetic illusio
artistic values
cult of pure form
history of art history
art criticism

Opis:

The issue of the relationship between art history, its analytical procedures and critical judgements, and the attitude of art historians to modern art has long been a problem discussed when we refer, for example, to scholars such as Riegl, Wölfflin, and, for obvious reasons, Justi or Sedlmayr. Although many art historians reacted very negatively to their own contemporary artistic phenomena, of which Justi’s aversion to Impressionism was perhaps the most notable example, the issue is by no means clear-cut. It is important to note here that even critical remarks made against distinct phenomena in modern art need not be tantamount to a condemnation of “modernity”. Edgar Wind, an outstanding methodologist of science and an excellent art historian of the 18th century and the Renaissance, seems to be a particularly interesting example here. Criticising various manifestations of the cult of “pure form”, and associating them with the influence of Romantic “autonomy” of art creation and certain concepts from the sphere of art history as a discipline, Wind was at the same time a very insightful observer of contemporary art, valuing selected artists highly. This issue was presented in detail by Ben Thomas in his recently published book on Wind’s attitude to contemporary art, drawing on Wind’s previously unpublished and unknown materials. The present text is an attempt at a broader, problematising discussion of this issue on the basis of reading Ben Thomas’s book, the publication of which should be regarded as an important event in the field of research into the history of art, history of art history, and the influence exerted by art history as a practice and as a discipline on the problem of esteeming modern art.

Źródło:

Artium Quaestiones; 2022, 33; 301-317
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 42.

Tytuł:

Tomasz z Akwinu, Quaestiones quodlibetales II, q. 1, a. 1 et III, q. 2, a. 2 (Problem pośmiertnej identyczności ciała Chrystusa i pośmiertnego nazywania części Jego ciała)

Autorzy:

Majcherek, Kamil

Powiązania:

https://bibliotekanauki.pl/articles/452617.pdf

Data publikacji:

2015

Wydawca:

Naukowe Towarzystwo Tomistyczne

Źródło:

Rocznik Tomistyczny; 2015, 4; 279-286
2300-1976

Pojawia się w:

Rocznik Tomistyczny

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 43.

Tytuł:

Chronologia, struktura i analiza kwestii Jan Dunsa Szkota o jednostkowieniu z Quaestiones super libros Metaphysicorum Aristotelis VII, qu. 13
The Chronology, Structure and Analysis of John Duns Scotus’s Question On Individuation from the Quaestiones super libros Metaphysicorum Aristotelis VII, qu. 13

Autorzy:

Salamon, Witold G.

Powiązania:

https://bibliotekanauki.pl/articles/2013151.pdf

Data publikacji:

2008

Wydawca:

Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL

Tematy:

Duns Szkot
problem jednostkowienia
zasada jednostkowienia
teorie jednostkowienia
Komisja Szkotystyczna
Duns Scotus
the problem of individuation
the principle of individuation
theories of individuation
the Scotistic Commission

Opis:

The paper is devoted to the question of the principle of individuation in Bl. John Duns Scotus. This question is found in his commentary to Aristotle’s Metaphysics, namely the Quaestiones super libros Metaphysicorum Aristotelis VII, qu. 13. The first part of the paper discusses problems connected with the chronology and structure of the text, whereas the second one is presented as Scotus’s teaching on individuation. S. Dumont and T. Noone argue today on the traditional thesis about the origin of this question and the remaining philosophical writings from the juvenile stage of Scotus’s philosophical work. They claim that some questions from the In Metaph., including also qu. 13 from the book, were written later or in the same time as the commentaries to Peter Lombard’s Sentences. The authors support their views by indicating the following: 1) the text the In Metaph. is better organised, 2) the vocabulary used with reference to the principle of individuation, especially the term haecceitas, is employed twice in the text In Metaph., 3) the quotations from the later works of Scotus and the works of authors who wrote somewhat later than that date of the In Metaph. hitherto presumed, 4) some stylistic terms indicate that the author of the text was a mature person. The traditional thesis is defended by I. Modrić on behalf of the Scotistic Commission. Having made a detailed analysis, Modrić rejected all the arguments from the introduction to the critical edition of the In Metaph. The author of this paper agrees with Modrić’s view. Therefore as long as we do not have a thesis to the contrary we shall hold the traditional opinion about the earlier origin of the In Metaph. in comparison to Peter Lombard’s commentaries on the Sentences. Scotus opens his lecture on individuation with a discussion of various standpoints on this issue. He divides them into positive and negative theories of individuation. This ordering ensures a clear exposition of various views without unnecessary repetitions and vagueness. Eventually, Doctor Subtilis rejects all hitherto views and provides his own solution. The principle of individuation is for him an individuating entity, the ultimate reality of the individual being. In combination with common nature it determines the most individual of possible characterisation of the individuum. This positive individuating entity is called an individual form (forma individualis) in the In Metaph., a degree of entity (gradus entis) and haecceitas. The latter became a technical term to define the Scotist principle of individuation.

Źródło:

Roczniki Filozoficzne; 2008, 56, 2; 255-271
0035-7685

Pojawia się w:

Roczniki Filozoficzne

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 44.

Tytuł:

[Ed.] Paulus de Worczyn, "Quaestiones in libros „Ethicae nicomacheae” Aristotelis" (BJ 741, f. 52v-54r)

Autorzy:

Płotka, Magda
Brodzik, Paulina
Poręcki, Michał
Szczęśniak, Hanna
Tustanowska, Anna
Serafińska, Jurata Bogna

Powiązania:

https://bibliotekanauki.pl/articles/452377.pdf

Data publikacji:

2012

Wydawca:

Naukowe Towarzystwo Tomistyczne

Źródło:

Rocznik Tomistyczny; 2012, 1; 207-215
2300-1976

Pojawia się w:

Rocznik Tomistyczny

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 45.

Tytuł:

Spuścizna niemiecka, kierunek polski. Zbiór reprodukcji Seminarium Historii Sztuki na Uniwersytecie Poznańskim (1919–1939)
A German Legacy, a Polish Direction. The Collection of Reproductions from the Art History Seminar at the University of Poznań (1919–1939)

Autorzy:

Kłudkiewicz, Kamila

Powiązania:

https://bibliotekanauki.pl/articles/32348111.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

collections of reproductions
photo archives at the universities
the Seminar of Art History at the University of Poznan

Opis:

In 1919, the authorities of the newly established University of Poznan took over the buildings and movable property of the German Royal Academy, which had functioned in Poznan between 1903 and 1918. The Seminar of Art History, which was organised at the time, acquired, among other things, a collection of 4,000 slides and 4,000 reproductions which had been used in teaching art history at the German university. Thanks to the first Polish professor of art history, Szczęsny Dettloff, the collection began to grow. Dettloff, one of the fathers of academic art history in Poland, understood perfectly the need to expand the university’s research workshop: the library and the reproduction collection. He built a Polish photo library at the University of Poznan on the basis of the existing German reproduction collection and a set of diapositives acquired in 1919 from the Museum of Wielkopolska (the collection after the German Kaiser Friedrich Museum). The article describes the reproduction collection in the inter-war period, indicates its state of preservation and analyses the role of the local collection in the academic teaching of art history (in the context of the programme of studies, but also of trips for students).

Źródło:

Artium Quaestiones; 2022, 33; 135-161
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 46.

Tytuł:

Rzeźbione światłem miast dłutem. Krakowskie retabulum ołtarza Zaśnięcia Najświętszej Marii Panny w obiektywie Stanisława Kolowcy
Carved by Light of Cities with a Chisel. Kraków Retable of the Dormition of the Blessed Virgin Mary Altar through Stanisław Kolowca s Lens

Autorzy:

Kobylińska, Weronika

Powiązania:

https://bibliotekanauki.pl/articles/32350218.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Stanislaw Kolowca
Wit Stwosz
St Mary’s Altar
close-ups
detail
expressive lightin
reproduction as a double

Opis:

On two occasions (around 1932–1933 and after the war, between 1946 and 1950), Stanisław Kolowca (1904–1968) undertook the task of creating the photographic documentation of the reredos of the altar of the Dormition of the Blessed Virgin Mary in Kraków (Poland). The stature of Wit Stwosz’s work – widely recognized as one of the key late Gothic masterpieces in Europe – could be the only factor legitimizing the status of Kolowca’s photographs. Nevertheless, the photographs seem to deserve a thorough analysis for other reasons as well. It should be underlined that in his project Kolowca did not focus only on the most obvious shots illustrating the altarpiece. In addition to long shots and full shots showing the characteristic iconographic motifs and portrait-type close-ups, reflecting the mastery of key figures (such as Virgin Mary or John the Baptist), the photographer also created completely unexpected compositions that go beyond the codified frames of documentary photography. Consequently, his works fundamentally problematize the concept of photographic reproduction of an art piece.

Źródło:

Artium Quaestiones; 2022, 33; 87-106
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 47.

Tytuł:

Zadanie fotografa. Problematyka reprodukcji dzieła sztuki na przykładzie dwóch książek fotograficznych Eustachego Kossakowskiego August Zamoyski oraz Lumières de Chartres
The Photographers Task. The Problems of Reproducing a Work of Art - The Example of Two Photography Books by Eustachy Kossakowski: August Zamoyski and Lumières de Chartres

Autorzy:

Mazur, Adam

Powiązania:

https://bibliotekanauki.pl/articles/32349732.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Eustachy Kossakowski
August Zamoyski
Chartres Cathedral
Polish photography
photography book
photobook

Opis:

Using the example of two books by Eustachy Kossakowski (1925–2001) – August Zamoyski (1974) and Lumières de Chartres (1989) – the text addresses the issue of reproducing works of art in the form of a photo album (photobook). The work of the photographer who makes reproductions of works of art is compared to the task of the translator, a reference to Walter Benjamin’s essay. The text is divided into two parts corresponding to albums. A detailed analysis allows us to see the differences between the books, as well as the change in Kossakowski’s approach to reproduced works of art. The first album consists of black-and-white photographs depicting in an original way the works of the prominent Polish sculptor August Zamoyski. Kossakowski recontextualizes individual objects photographed in the artist’s French studio. In the second book, the photographer publishes color photographs of the titular “lights of Chartres.” Taken inside the early Gothic cathedral, the photos move away from the documentation of the object, and the weight shifts to a near-abstract record of the artist’s emotions. Published alongside Anne Prache’s scholarly study, engravings and documentation of the edifice, Kossakovsky’s photographs constitute an original monograph of Chartres Cathedral. In the author’s view, Kossakowski’s photobooks go beyond the framework of a typical album of reproductions offering the mass public a substitute for contact with art. The photographer creates autonomous objects by translating the reproduced work of art into an object that fosters an aesthetic experience and becomes art itself. Kossakowski’s approach is juxtaposed with Mieke Bal’s reading of Benjamin’s text. While the album dedicated to Zamoyski seems to be based on unconventional documentation, in which the procedure of recontextualizing objects plays a dominant role, the Chartres monograph approaches the “ecstatic aesthetic” proposed by Bal. Lumières de Chartres provides a different perspective on the reproduction album, which, in addition to basic information and illustrative reproductions, is a carrier of emotions, a record of experiences and a medium of art. An analysis of the author’s publications, which include reproductions of August Zamoyski’s sculptures and documentation of Chartres Cathedral, emphasizes their autonomous and artistic character. Kossakowski observes and interprets Zamoyski’s work by looking at it from a distance. But in Chartres, we observe how he lets himself be captivated by the cathedral. The transformation of the cathedral into sensual light completely absorbs its subject - the metamorphosis of Zamoyski’s sculptures does not. Photography is not art, nor is it reproduction. It is only in the process of interpreting an object by looking at it with a camera to the eye that the artistry of translating a work of art into the format of a photograph and, further, a photo album is revealed. The photobook as a work of art is the true task of the photographer.

Źródło:

Artium Quaestiones; 2022, 33; 107-134
0239-202X

Pojawia się w:

Artium Quaestiones

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 48.

Tytuł:

Wanda Bajor. Benedicti Hesse Quaestiones disputatae super tres libros „De anima” Aristotelis (Libri II et III). Edycja krytyczna i analiza historyczno- filozoficzna. Lublin: Wydawnicwo KUL 2011. ISBN: 978-83-7702-187-3

Autorzy:

Kowalewska, Małgorzata

Powiązania:

https://bibliotekanauki.pl/articles/1807389.pdf

Data publikacji:

2020-01-02

Wydawca:

Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL

Źródło:

Roczniki Kulturoznawcze; 2013, 4, 1; 149-155
2082-8578

Pojawia się w:

Roczniki Kulturoznawcze

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 49.

Tytuł:

Reakcja Tertuliana na współczesną obyczajowość – kwestia stroju chrześcijańskich kobiet
Quaestiones de moribus ad habitum mulierum Christianarum ornatumque earum pertinentes apud Tertullianum obviae

Autorzy:

Wójtowicz, Adriana

Powiązania:

https://bibliotekanauki.pl/articles/1953979.pdf

Data publikacji:

2004

Wydawca:

Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL

Tematy:

wczesne chrześcijaństwo
Tertulian
obyczajowość
kobieta
strój
odzienie
early Christianity
Tertullian
customs and morals
woman
dress
clothing

Opis:

Commentatione mea imprimis id egi, ut explicerem, quid Quintus Septimius Florens Tertullianus scriptis suis de feminis opinatus esset. Maximam operam dedi, ut praecepta ad mores pertinentia mulieribus a Tertulliano data diligenter studerem et describerem. In animo mihi fuit etiam exponere ea, quae auctor ipse de moribus a feminis postulabat. Operibus suis Tertullianus Carthaginiensibus dedit praecepta multa de modo vivendi Christianorum eorumque moribus probis. Opuscula nonnulla praecipue mulieribus Christianis in Africa septentrionali viventibus dedicavit, quae De cultu feminarum libri duo, Ad uxorem libri duo, De exhortatione castitatis et De virginibus velandis inscripta commentatione mea exquisita sunt. Tertullianus igitur scriptis suis responsum paganorum confessorumque suorum opinionibus de feminis Christianis dedit. Auctori illi imprimis in animo fuit, ut faceret explicaretque modum vivendi mulieribus Christianis solis proprium moresque earum cum paganarum consuetudinibus compararet. In commentationis eius cetera parte consilium mihi erat exprimendi, quid Tertullianus de feminarum Christianarum moribus ipsis modoque vivendi earum censuisset. Officia omnia, quae Tertullianus de habitu probo a mulieribus Christianis postularet, etiam sunt demonstrata. Legimus in Tertulliani opere, quod De cultum feminarum inscribitur, habitum muliebrem duplicem speciem circumferre: cultum et ornatum. Cultum dixit Tertullianus omnia, quae ad mundum muliebris pertinerent, id est: cura cutis, capillorum et earum corporis partium, quae viserentur. Ornatum autem omnia ex auro argentoque ornamenta, gemmas varias ac vestes ornatas purpureasque putavit. Cura corporis a Tertulliano feminis permissa est, nisi ambitionis crimen in ea commitaretur, ornamenta tamen ab eo sine exceptione sunt vetita. Mulieres Christianae officiorum suorum in cultu oblitae formam sibi a Deo naturaliter datam saepe diabolo rerum istarum praeceptore suadente corrigere solitae sunt. Tertullianus igitur ornamenta omnia a diabolo esse intellexit, quem etiam interpolatorem nature artificemque adversarium (scil. Deo) vocaret. Tertullianus autem putavit Deo, quod non Ipse finxisset, placere non posse. Mulieribus ille mandavit, ne ornamentis pretiosis vestibusque purpureis uterentur. Ornamentum maximum omni feminae Christianae castitas sola humilitasque esse debebat. Nam alteriis viris praeter maritum suum placere Christianae mulieri non est necesse. Ornandum igitur ei non est. Satis placuit marito suo (atque Deo) mulier Christiana, cum erat ipsa pudica, ut ait Tertullianus, modesta moribusque proba.

Źródło:

Roczniki Humanistyczne; 2004, 52, 3; 131-149
0035-7707

Pojawia się w:

Roczniki Humanistyczne

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 50.

Tytuł:

Analiza problematyki filozoficznej zawartej w Kwodlibecie Tomasza z Akwinu: „Czy anioł jest substancjalnie złożony z istoty i istnienia?”
Analysis of the philosophical issues contained in Thomas Aquinas Quaestiones quodlibetales. Is the angel is substantially composed of essence and existence?

Autorzy:

Zembrzuski, Michał

Powiązania:

https://bibliotekanauki.pl/articles/452661.pdf

Data publikacji:

2012

Wydawca:

Naukowe Towarzystwo Tomistyczne

Źródło:

Rocznik Tomistyczny; 2012, 1; 249-254
2300-1976

Pojawia się w:

Rocznik Tomistyczny

Dostawca treści:

Biblioteka Nauki

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