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Wyświetlanie 1-10 z 10
Tytuł:
Niebezpieczne małe prozy (fragmenty)
DANGEROUS SMALL PROSE (EXCERPTS)
Autorzy:
Okoń, Waldemar
Powiązania:
https://bibliotekanauki.pl/articles/487918.pdf
Data publikacji:
2015-11-05
Wydawca:
Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
Tematy:
WORD, FORM, FUNCTION, SOUND, MEANING, INTUITION, SENSE
SŁOWO, FORMA, FUNKCJA, BRZMIENIE, ZNACZENIE, INTUICJA, SENS
Opis:
DANGEROUS SMALL PROSE (EXCERPTS) Words can be beautiful, good, safe, soothing, incidental, true, unspecified, without beginning or end. Sometimes, however, they take the form of predatory and unexpected, dangerous to their speaker or writer, who chose them and intuitively recorded, remembering only their original version and meanings arising from the subtle connections and relationships. In addition to words, there is only darkness, which should light up and from which the poet must return in order not be subjected to unspoken death. Theatre of life and mirrors with their reflections sometimes turn words into blue bullet that strikes suddenly and silently. We have to be carried away like a wave breaking on the crystal shores of our sea. The texts presented in this volume include intuitive ideas born in a short period of time, but their source is located in many years of focus and a poetic meditation. They can not be ultimately read; we can only try to read them as we read or pronounce incantations and ritual records of unknown religion. They reveal, perhaps, their inner meaning – different to each of us, personal – just as different is our imagination. From my collection, I selected the passages which relate to the idea of corresponding arts, which has been accompanying me for many years, both in my research, and in my art.
Źródło:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2015, 20; 316-329
1733-1528
Pojawia się w:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Henryk Sienkiewicz, obrazy i Quo vadis
Henryk Sienkiewicz, Images and Quo Vadis
Autorzy:
Okoń, Waldemar
Powiązania:
https://bibliotekanauki.pl/articles/1956563.pdf
Data publikacji:
1998
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
The paper discusses how the concept of “image” functions in the writing of Henryk Sienkiewicz. The author of Quo vadis, the novel honoured by a Nobel prize, has been depicted as a “worshipper of images”, both concrete images: works of art, views of nature, as well as the form of description typical of that epoch: literary image. Literary images were composed with the “painter-like” usage of language, a method which aimed to create in the reader's imagination some definite visual images. They also served to bring to mind the past and, directly, to organize the literary material. This was owing to their moment-like character: the static episode was shown in one temporal moment, and to their course in time: the sequence of images, a cycle that shows events extended in time. The examples cited here to support the above theses are derived from Sienkiewicz's letters, critical enunciations and literary works. The criterium for their selection was a willingness to point at the manner in which the author of Quo vadis understood antiquity. The writer was well-versed in the artistic output of his contemporary academic painters, and many times exploited the manner in which they perceived the ancient times, especially apparent are the relationships between Sienkiewicz and Lawrence Alma-Tadema, Jean-Léon Gérôme and Henryk Siemiradzki (the latter was his intimate friend). Ancient Greece was for the creator of Diokles a cradle of civilization, while Rome served mainly his historiophilosophical reflections, being a synonym of pagan, materialistic civilization, therefore doomed to perdition. The paper discussed also the genesis of Quo vadis, the manner in which the novel was written and which was close to the romantic “aesthetic of a passage”, for which the concept of image and imagery thinking was essential. A separate part of the paper is devoted to the illustrations to Quo vadis, the illustrations which depict only those scenes of the novel which not only concern its plot but also visually dominate in the text. Particular attention has been devoted to such figures as Piotr Stachiewicz and Jan Styka. The paper closes with a conclusion that both the writing of Sienkiewicz himself and many, directly or indirectly linked with his work, painters and illustrators, manifest how vivid was the idea of correspondence between arts in the 19th century. This idea could be incorporated mainly through paintings, being one of the basic categories that functioned in the epoch, both artistic and cognitive.
Źródło:
Roczniki Humanistyczne; 1998, 46, 4; 5-64
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ikonografia Tadeusza Kościuszki − wybrane zagadnienia
Tadeusz Kościuszkos Iconography Selected Questions
Autorzy:
Okoń, Waldemar
Powiązania:
https://bibliotekanauki.pl/articles/1964040.pdf
Data publikacji:
1995
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
The paper discusses some aspects of forming an image of Tadeusz Kościuszko - the Polish national hero. Starting from the commissioned portraits and with a view to propaganda (e.g. Delanaux's copperplate according to E. Quenedey's drawing of 1793) to the great compositions whose climax was depicting the Commander-in-chief of the Insurrection in the so-called Racławice Panorama by J. Styka and W. Kossak (1894). Kościuszko's portraits form a clear cycle of presentations in line with a national and patriotic trend, so characteristic of the Polish art in the end of the 18th and 19th c. Researchers see in this trend a very important component of the so-called "religion of polonism" (T. Parnicki's term), a romantic reaction to the political captivity of the nation. The artists, following this trend, were gradually diverging from veristic portraits, when painting Kościuszko, toward paintings bearing an allegorical character (the earliest was the so-called The Grave of the Homeland by F. Smuglewicz and M. Stachowicz, portraits made by C. Josi, A. Oleszczyński and others.). Those allegories served to explain, as people thought, history directed by Providence, the expected end was supposed to be freeing Poland from captivity. Tens of oil canvasses, graphics, medals, monument projects etc. with an image of the winner in the battle of Racławice were not only to remind the hero's figure, who opposed with arms against the partitioning powers, but also to co-create the land of the patriotic-national collective imagination. The latter made Kościuszko almost a mythological hero, while historical facts connected with his biography were transformed into an interpretation of history not only of Poland but also Europe, an interpretation close to the philosophy of history.
Źródło:
Roczniki Humanistyczne; 1995, 43, 4; 77-101
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Czapski – wprowadzenie
Czapski – an introduction
Autorzy:
Okoń, Waldemar
Powiązania:
https://bibliotekanauki.pl/articles/560114.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
Józef Czapski
Opis:
In “Introduction” I am indicating the relations between Józef Czapski’s art and the world of ideas and values of Polish Romanticism, and foremost with writings by Cyprian Kamil Norwid who, just like Czapski himself, all his life created “an artist’s diary” of words and images, which was a record of his thoughts and impressions brought by the time he happened to live in. Czapski appears to be an adherent of the idea that art is a medium for reaching the “total reality” which is a form of incorporating primal visions, idealistic in their very matter, by using the rules of painting (already understood in the 20th-century manner) – as incorporation of a mystery present, according to the artist, in the surrounding us nature – that apply autonomously comprehended, purely visual means of painterly expression.
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2013, 2(28); 4-7
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wołyń i obrazy.
Volyn and images
Autorzy:
Okoń, Waldemar
Powiązania:
https://bibliotekanauki.pl/articles/560254.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
Jan Henryk Müntz
Opis:
In the article are discussed many views of Volyn – the land situated in the former borderland of Polish Commonwealth (so called Kresy, at present Ukraine) with its historical capital city in Lutsk. The first of these views were executed in 1781 by Jan Henryk Müntz, the following ones by such artists as Kazimierz Wojniakowski, Zygmunt Vogel or later by Napoleon Orda. A particular place in creating Volyn’s iconography takes one of the best renown Polish artists of the 19th century, a writer and a draughtsman Józef Ignacy Kraszewski. He lived there for many years and he often used to describe and draw monuments of this land, creating fictional and artistic Volyn landscapes, settled in the postulated by Kraszewski ‘cordial history’. Its main task was to evoke emotions, not only ‘picturesque’, but also patriotic and national emotions regarding political captivity in those times. Volyn seen from this perspective is the land filled with both bloody and heroic occurrences from the history of the former Polish Commonwealth, a colourful place, propitious for home version of genre art (images of ‘types’ of the local people, their customs and rites) and landscape painting – Polish version of realistic-impressionistic painting (Józef Chełmoński, Stanisław Masłowski, Leon Wyczółkowski and their many followers). History of ‘Volyn in images’, at least for Polish culture, ended with the Soviet army encroaching this area in September 1939, and the very Kresy became then an element of Polish national mythology, which derived literary and historical inspirations from the images of Volyn and the rest of Kresy alike until now.
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2009, 4(14); 48-71
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Ipse ipsum”, czyli Norwid i autoportrety
„Ipse Ipsum” or Norwid and Self-portraits
Autorzy:
Okoń, Waldemar
Powiązania:
https://bibliotekanauki.pl/articles/2117046.pdf
Data publikacji:
2007
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Źródło:
Studia Norwidiana; 2007, 24-25; 274-278
0860-0562
Pojawia się w:
Studia Norwidiana
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O krakowskim pomniku Adama Mickiewicza raz jeszcze.
Autorzy:
Okoń, Waldemar
Powiązania:
https://bibliotekanauki.pl/articles/560102.pdf
Data publikacji:
2006-01-01
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
Adam Mickiewicz
Kraków
Piotr Szubert
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2006, 1(1); 18-31
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
"Ipse ipsum" czyli Norwid i autoportrety. Edyta Chlebowska -"Ipse ipsum. O autoportretach Cypriana Norwida"
Autorzy:
Okoń, Waldemar
Powiązania:
https://bibliotekanauki.pl/articles/560190.pdf
Data publikacji:
2006
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
Cyprian Norwid
Edyta Chlebowska
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2006, 1(1); 101-103
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sztuka u Słowian szczególnie w Polsce i Litwie przedchrześcijańskiej Józefa Ignacego Kraszewskiego, czyli o archeologii romantycznej.
Autorzy:
Okoń, Waldemar
Powiązania:
https://bibliotekanauki.pl/articles/560244.pdf
Data publikacji:
2007
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
XIX wiek w Polsce
Romantyzm w Polsce
Józef Ignacy Kraszewski
Józef Łepkowski
Słowianie
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2007, 1(3); 12-26
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-10 z 10

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