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    Tytuł:
    Najbardziej Efemeryczna ze Sztuk. Wczesne Realizacje z Użyciem Wideo w Lubelskich Galeriach Labirynt i BWA w Latach 1976–1984
    The Most Ephemeral Of The Arts. Early Video Works At Labirynt Gallery And Bureau Of Artistic Exhibitions In Lublin, 1976–1984
    Autorzy:
    Załuski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/2170560.pdf
    Data publikacji:
    2022
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    Art and Documentation
    Sztuka Efemeryczna
    Wideo Art
    Galeria Labirynt
    Galeria BWA
    Lublin
    Opis:
    Previous studies on the emergence and development of video art in Poland have been generally focused on analysis of leading artists' creative concepts and poetics of their works. Such a perspective does not address a wider context of artistic culture – a configuration of material, institutional and social conditions od production, distribution and reception of these practices. This has resulted in a simplified, abstracted image of the beginnings of video art in Poland. A broaden and more historical analysis entails, therefore, re-inscribing its subject into a set of local and translocal conditions: material and technical modes of creating and presenting video works, their various forms, a topography of their production and distribution places, their circulation channels, a network of video art contacts, cooperation and exchange, and finally, the location of Poland as one of socialist countries of East Central Europe on the map of artistic and economic centres and peripheries. The task of analysing the video in such an expanded field of artistic culture also needs a broadened concept of “the work made with the use of the video.” The term refers not only to practices usually deemed to be the video art ‘proper,’ such as videotapes, videoinstallations or videoperformances, but also comprises all conceptual and documental forms of existence, distribution and presentation of video works: textual descriptions, schematic diagrams (which sometimes remain the only material form of a work), exhibition boards with photodocumentation, brochures or catalogues etc. The article offers an analysis of a series of exhibitions and projections of video works which took place at the Labirynt Gallery and Bureau of Artistic Exhibitions (BWA) in Lublin between 1976 and 1984. My approach combines in-depth archival research with the methodology of exhibition history, infrastructure and conditions of artistic production studies, and critical reception history. While doing this research ‘groundwork,’ I attempt to establish who actually participated in the discussed artistic events, describe the works which were showcased there and reflect on how they were or could have been interpreted. I take into account translocal and transnational networks of contacts of both institutions, their contributory programme, co-created by numerous artists and curators, as well as the whole of an expanded field of artistic culture: changing conditions of production, distribution and presentation of works made with the use of the video.
    Źródło:
    Sztuka i Dokumentacja; 2022, 27; 181-233
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Sztuka i polityka. Tekst Władysława Strzemińskiego O sztuce rosyjskiej jako gest taktyczny
    Art and politics. Text by Wladyslaw Strzemiński ''On Russian Art. Notes'' as a tactical gesture
    Autorzy:
    Załuski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/1194571.pdf
    Data publikacji:
    2019
    Wydawca:
    Akademia Sztuk Pięknych im. Władysława Strzemińskiego w Łodzi
    Opis:
    In discussions on the issue of Władysław Strzemiński's social-political views, the text ”On Russian Art. Notes” was often referred to, interpreting it as a political manifesto and an expression of the artist's anti-communism or anti-Bolshevism. In the article I claim that the text should rather be considered in terms of ”tactics”: the analysis of artists' tactics in post-revolutionary Russia should be seen in it, and the text itself should be treated as a complex tactical gesture. Strzemiński aimed at tactically separating modern art from relations and associations with ”Bolshevism”, because he wanted to build for it a cultural, social and political capital in Poland of the early 1920s, overwhelmed by a collective fear of the ”spectre of Bolshevism”.
    Źródło:
    Powidoki - magazyn artystyczno-naukowy; 2019, 2; 120-125
    2657-652X
    Pojawia się w:
    Powidoki - magazyn artystyczno-naukowy
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Dualism of Prudence
    Dualizm roztropności
    Autorzy:
    Załuski, Wojciech
    Kwarciński, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/469098.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Instytut Filozofii i Socjologii PAN
    Tematy:
    prudence
    virtue
    values
    moral motivation
    egoistic motivation
    well-being
    practical reason
    roztropność
    cnota
    wartości
    motywacja moralna
    motywacja egoistyczna
    dobrobyt
    rozum praktyczny
    Opis:
    Contrary to the rather commonly held opinion that the understanding of prudence (as a certain virtue) has not changed essentially since the ancient times, it is argued in the paper that there are two not only distinct but also incompatible concepts of prudence: the modern – amoral or non-moral, and the classical (Aristotelian-Thomist) – strictly moral. The claim that these concepts are distinct and incompatible implies that ‘modern prudence’ is not part of ‘classical prudence’ but is essentially different from it: one cannot be prudent in both senses (for instance, part of modern prudence is continence/self-control, whereas classical prudence excludes continence/ self-control). Apart from the comparison of both concepts of prudence, the paper also provides an analysis of their relations with the so-called ‘prudential values’ as well as of the causes of the evolution (or rather: revolution) in the understanding of prudence which took place in modern philosophy; It is also argued that within ethics which assumes the classical understanding of prudence there is no place for what Sidgwick called the ‘dualism of practical reason’.
    W polemice z dość powszechnie przyjmowaną opinią, że rozumienie roztropności (jako pewnej cnoty) nie ulegało istotnym zmianom od czasów antycznych, w artykule broniona jest teza, że istnieją dwa, nie tylko różne, ale i niedające się ze sobą pogodzić pojęcia roztropności: nowożytne/nowoczesne – niemoralne lub pozamoralne, i klasyczne (Arystotelesowsko-Tomistyczne) – ściśle moralne. Z tezy, iż oba pojęcia są różne i niekompatybilne, wynika, iż ‘nowoczesna roztropność’ nie jest częścią ‘klasycznej’, lecz jest od niej istotnie różna: nie można być równocześnie roztropnym w obu rozumieniach (przykładowo: składową nowoczesnej roztropności jest samokontrola/opanowanie, którą wyklucza roz¬tropność klasyczna). Oprócz porównania obu pojęć roztropności artykuł dostarcza także analizy relacji między nimi i tak zwanymi ‘wartościami roztropnościowymi’, oraz analizy przyczyn ewolucji (czy raczej rewolucji) w rozumieniu roztropności, jaka nastąpiła w czasach nowożytnych. Broniona jest w nim także teza, iż w ramach etyki, która zakłada klasyczne rozumienie roztropności, nie pojawia się Sidgwickowski „dualizm rozumu praktycznego”.
    Źródło:
    Prakseologia; 2019, 161; 271-290
    0079-4872
    Pojawia się w:
    Prakseologia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kobieta walcząca o pozycję w polu produkcji artystycznej Samoidentyfikacja, samoorganizacja i samoemancypacja według Ewy Partum
    A Woman Fighting for Her Position in the Field of Art Production Self-identification, Self-organization and Self-emancipation According to Ewa Partum
    Autorzy:
    Załuski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/578887.pdf
    Data publikacji:
    2018
    Wydawca:
    Łódzkie Towarzystwo Naukowe
    Tematy:
    Ewa Partum
    conceptual art
    feminism
    self-organization
    alternative galleries
    Opis:
    Ewa Partum’s conceptual art of the early 1970s consisted in creating a new artistic language but at the same time it bore some traits of feminism and was marked by the figure of what might be called “the touch of a woman”. The artist's self-organizational activities which took the form of establishing and running of an alternative art gallery called “Adres” can be also considered as self-emancipatory feminist practice. The gallery was instrumental in Partum’s attempts at producing symbolic capital for herself and taking a position in the field of Polish and international neo-avant-garde.
    Źródło:
    Zagadnienia Rodzajów Literackich; 2018, 61, 2(126); 75-89
    0084-4446
    Pojawia się w:
    Zagadnienia Rodzajów Literackich
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Sekcja 2. Performowanie relacji. Transdyscyplinarność współczesnych działań artystycznych. Wstęp
    Section 2. Performing relationships. The transdisciplinarity in contemporary artistic practices. Introduction
    Autorzy:
    Zaluski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/424373.pdf
    Data publikacji:
    2016
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    performowanie relacji; transdyscyplinarność;
    performing relations; transdisciplinarity; contemporary artistic practices
    Opis:
    In recent years transdisciplinary tendencies have been growing increasingly stronger in Polish culture. They can no longer be reduced to intermedial or transmedial practices within the field of visual arts. Rather, they consist of transgressing and extending the borders of different fields of cultural production and their respective institutional circuits. Visual artists have been trying to enter the field of movie production and use the professional work conditions it offers together with their specific sensibilities, ways of thinking and habits. Another important factor is distribution within the movie industry field – an opportunity to reach a different and potentially larger audience than the one that visits art galleries and museums. This trend which was described – in a somewhat exaggerated manner – as “the cinematographic turn” in Polish contemporary art is really one part of a more general phenomenon. A few years ago “the performative turn” was announced. A bit later it was followed by “the audio turn”. Today it is probably the right moment to start a discussion about an analogical “theatrical” or “choreographical” turn. The point is, however, to recognise that all these “turns” in visual arts are elements of a more comprehensible configuration and they develop according to similar lines. The transdisciplinary movement has also occurred in other fields of cultural production. It can be observed in the field of literature, theatre, music or dance, all of which not only appropriate selected elements from the field of visual arts – e.g. materiality, iconicity, performance, multimedia installations, conceptual and documental dimensions, cognitive and generative protocols, artistic and social actions etc. – but also penetrate further and further into its institutional spaces and circuits. The development of such transdisciplinary tendencies is conditioned – on various levels – by a series of factors: starting form the logic characteristic of visual arts – the one of expansion, self-redefinition and appropriation of the outside – through transdisciplinary studios at art schools, the changing of identities and the tasks of cultural institutions or the criteria of grant programmes, to the general transformations in the forms of labour and modes of production under capitalism. Obviously, there has already been a history – manifold histories – of such exchanges and they are not absolutely new or without precedence. What seems to be new, at least in Poland, is the co-appearance and growing intensity of transdisciplinary and “transinstitutional” practices in various fields of cultural production. Transdisciplinarity can be the main purpose of singular projects or a basis for taking up other issues – a basis for performing relationships between a whole set of elements: body, movement, time, space, habit, affect, sight, hearing, mind, object, sign, discourse, history, culture, production and politics. The common ground of texts gathered in this section is the motif of creating or “performing” relations. They do not exhaust the subject identified here nor even present its full complexity. They rather provide a number of case studies which indicate some more general outlines of the transdisciplinary and transinstitutional logic that governs the field of contemporary cultural production. We hope that the section will contribute to wider discussion on the subject. Ula Zarek defines dance as an “art of relationships” and shows how contemporary choreographic work goes beyond “pure dance” and approaches the field of visual arts and performance art. Using phenomenological and aesthetic concepts of bodily intentionality and the thinking, sentient soma as well as a theoretical reflection on dance, which is becoming increasingly present in Poland, the author analyzes a series of projects based on improvisation – the main method of experimental and cognitive acts in contemporary dance. She also indicates that transdisciplinary practices draw on both the field of “performative arts”, which is often described in Polish with the word “performans”, and the tradition of “performance art”, which is in turn referred to with the original English term. Similar issues are taken up by Katarzyna Słoboda, who presents from the perspective of a curator and dance researcher, the objectives and course of the project Frames of reference. Choreography in the museum. The case study becomes an occasion for general considerations of dance as a way of exploring affective relations, which are an important aspect of contemporary capitalism and its production culture. The analysis touches upon such subjects as choreographic scores, improvisation as an act of coming into relationship with a context, and the presence of the viewer-participant at the site of the creative process: in the space of choreographic work and production. In this space the border between workday movement and dance becomes highly uncertain. Piotr Olkusz presents the project Avant-Garde and social realism, developed as a result of institutional co-operation between The Kazimierz Dejmek New Theatre and The Museum of Art in Lodz. It was intended to explore the relation between certain aspects of social realism and the ideas and practices of the Avant-Garde. It included transdisciplinary practices that led to the interpenetration of theatre and visual arts and, at times, to the creation of a “total performance beyond all genre”. However the project was not centred on the historical past. It was rather meant to examine the inheritance of the Avant-Garde and social realism and check if within it there remained anything alive, worth taking up and updating. It was above all to raise a question about the contemporary place, role and mutual relationship of experimental and socially engaged art. The presence of visual arts themes and practices in the field of theatre is the frame of Katarzyna Urbaniak’s text. The author uses contemporary theories of things and objects to examine the status of Jerzy Grzegorzewski's scenographic objects. She analyses, on the one hand, past agency and performativity of “ready made” objects that co-acted on the stage with human actors, and on the other hand, the place of the objects in the theatre which turn into a collection and an archive. Two difference projects during recent years aimed at presenting the archive – in the form of a book and a hipertext website – change the status of the items it includes: they displace them out of the contexts of the spectacle and actors play and puts them into a space in which they become closer to artistic objects or biographical and cultural traces. In both cases the scenographic objects turn into memory afterimages of Grzegorzewski’s theatre. “The turn to things” also sets a theoretical frame for Joanna Glinkowska’s text. Her analysis concerns the exhibition Things, organised as an artistic project at the Museum of Archaeology and Ethnography in Lodz. In accordance with the concept designed by artist-as-curator Agnieszka Chojnacka, the project participants presented or created their artistic objects in relation to the exhibition space and narration of the museum’s permanent display. Glinkowska tries to show how those artistic objects acted and performed in relation to one another. She also wonders if Things are a sign of a wider tendency on the part of Polish contemporary art to penetrate into the field of ethnography.
    Źródło:
    Sztuka i Dokumentacja; 2016, 14; 114-116
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Foreword
    Autorzy:
    Załuski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/424286.pdf
    Data publikacji:
    2015
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Źródło:
    Sztuka i Dokumentacja; 2015, 12; 42-43
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wstęp
    Autorzy:
    Ilnicki, Rafał
    Załuski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/600524.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Źródło:
    Internetowy Magazyn Filozoficzny Hybris; 2015, 31 (4)
    1689-4286
    Pojawia się w:
    Internetowy Magazyn Filozoficzny Hybris
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    "Wprowadzenie."
    Autorzy:
    Załuski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/424334.pdf
    Data publikacji:
    2014
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Źródło:
    Sztuka i Dokumentacja; 2014, 11; 7-9
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Powtórzenie i krytyczny dyskurs o sztuce performance
    Repetition and the Critical Discourse on Performance Art
    Autorzy:
    Zaluski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/424749.pdf
    Data publikacji:
    2013
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    performance art
    repetition
    critical discourse
    postmodernizm
    appropriation
    remiks,
    re-enactment
    krytyczny dyskurs
    dokumentacja
    documentation
    Opis:
    In the heroic decades of the sixties and seventies of twentieth century, performance art was defined as a form of anti-repetition art. Later, in the eighties and nineties, there was a move away from this anti-repetition ideology towards an ever-growing interest in documentation, re-performances and re-enactments. A configuration of factors: historical, cultural, artistic, technological, institutional, economical, socio-political and educational played a decisive part in this process. Together with it came a change in the theory and historical narration of performance art: since the late nineties there has been developing what the author of the article terms „the critical discourse on performance art”. Its aim is to re-examine the conditions, the possibility of existence and the functioning of performance in cultural and social spaces. The key is to rethink the relationship between performance art and repetition, most importantly in the form of documentation and re-enactment. The article presents some major themes that appear in the texts of various proponents of this discourse. It analyses, at times also in a critical fashion, the new approaches to performance art offered, indicates their possible applications but also their internal tensions and limitations. It is an attempt to focus on the shape of the arising discourse on performance art and repetition as well as to find among its concepts, the ones that seem to carry the greatest potential for research and critical interpretation.
    Źródło:
    Sztuka i Dokumentacja; 2013, 9; 49-60
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    KwieKulik i konceptualizm w uwarunkowaniach PRL-u. Przyczynek do analizy problemu
    Kwiekulik And Conceptualism In The Peoples Republic Of Poland (Prl). A Contribution To The Problem Analysis
    Autorzy:
    Załuski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/424689.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    CONCEPTUAL ART
    CONCEPTUALISM
    CONTEXTUALISM
    KWIEKULIK
    PRZEMYSLAW KWIEK
    ZOFIA KULIK
    OPEN FORM
    PRAXEOLOGY
    ARTISTIC GEOGRAPHY
    Opis:
    Until now, the artistic practices of a duo named KwieKulik, founded between 1971-1987 by Przemysław Kwiek and Zofia Kulik, were placed outside of conceptual art. I am not presenting here a simple thesis that KwieKulik were conceptual artists, but I attempt to formulate an introductory question about the complex relationship in which they situated themselves in response to conceptualism. In one of the interviews, the artists claimed that they could never be ‘pure conceptual artists’. I wonder, however, if the activity of the duo may be framed in a category of some ‘impure conceptualism’ whose important aspect is to be found in exposing the conditions of life and work in the People's Republic of Poland . To achieve this one needs to investigate thoroughly the artists stance towards the hegemonic term of ‘conceptualism’ whilst highlighting all of their actions that had any conceptual feature and to define a specific, individual form which appeared in the network of relationships with other elements of artistic practice. In my text I explain how one should understand ‘conceptualism’ as ‘a hegemonic term’ that organises and imposes itself onto an agonistic field of innovative art practices — not only in the West, but also in Poland. In this context, undertaking the question of “KwieKulik and conceptualism” opens a new perspective for a counter-hegemonic reinterpretation of conceptualism in the People's Republic of Poland. Without rejecting the term ‘conceptualism’, one needs to look at the questions related to it through the prism of an individual case of the KwieKulik duo. It should also allow the practices of both artists to make an imprint on ‘conceptualism’. In the last part of my text, I limit myself to a series of ‘contributive’ notes which may be treated as orientation points in an appropriate analysis of the conceptual aspects of the art of KwieKulik.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 79-88
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Vegetation Transformations of Kujawy-Pomerania Region in the Last Twenty Years Period
    Autorzy:
    Załuski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/765031.pdf
    Data publikacji:
    2011
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    causes of transformations
    ecological processes
    plant communities
    vegetation dynamics
    Opis:
    This paper contents dynamic tendencies analysis results of Kujawy-Pomerania region (N Poland) for a 20-year time period. Acreage changes as well as structure and species composition transformations of forest and shrub vegetation (associations) and non-forest vegetation (alliances) were evaluated. Main factors influencing on regressive and progressive changes were set out. Analysis was relied on results of geobotanical research and observations of selected objects. Regressive changes were noted for i.a. thermophilous oak forests, dry and fresh coniferous forests, aquatic, halophytic, pasture vegetation, vegetation of Molinion and Cnidion meadows, heaths and xerothermic grasslands. Whereas progressive were observed in case of mixed coniferous forests, mesophytic shrubs, rush and tall herbs vegetation, fresh meadows and some ruderal communities.
    Źródło:
    Acta Universitatis Lodziensis. Folia Biologica et Oecologica; 2011, 7; 75-98
    1730-2366
    2083-8484
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Biologica et Oecologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Umberto Eco: powtórzenie i pozaestetyczny sens awangardy
    Umberto Eco: Repetition and the Extra-Aesthetic Meaning of the Avant-Garde
    Autorzy:
    Załuski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/941659.pdf
    Data publikacji:
    2006
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Opis:
    The subject matter of the text is an examination of the role the problem of repetition plays in cognitive, social and anthropological aspects of the artistic avant-garde as those are viewed from the standpoint of Umberto Eco's semiology. In Eco's "The Open Work" and "The Absent Structure" the above-mentioned problem takes the form of the concept of redundancy. The latter must be analysed in its relation with the concept of information, as they constitute each other; additionally, they shape Eco's approach to the world of signs, being therefore a kind of conceptual infrastructure of his discourse. The author demonstrates that there are in Eco two interpretations of the relation between information and redundancy. According to the one that Eco himself calls "dialectical", the two concepts, although purported to be inextricably linked, remain opposed to each other: information is held to be a function of challenging established communicational codes, thus opening up a possibility of multiple interpretations of signifying structures, whereas redundancy does not question those codes and guarantees communication of single univocal meaning. As for the other, more complex interpretation, the author maintains that a sketch of it can be found on the margins of Eco's discourse. It is largely implicit there and the author makes an attempt to throw it into relief under the name of ostentatious redundancy. The latter oscillates, in a highly ambiguous manner, between confirming and challenging communicational codes. By the same token it can be regarded not as opposing information but as creating it, or even as being, paradoxically, informative in itself. The tension between the two interpretations shapes Eco's internally divided approach to the question of the avant-garde and its cognitive, social and anthropological aspects. Discussing these aspects, the author indicates that Eco has recourse, obliquely, to ostentatious redundancy every time the dialectical interpretation, which i san explicit driving force of his discourse, poses serious difficulties and starts to undermine itself. Ostentatious redundancy is therefore shown to play an important role in all the avant-garde's aspects as well as to govern Eco's reinterpretation of the concept of "avant-garde" itself and his critical re-examination of modernist aesthetics. Finally, it has a strong connection with Eco's theory of the open work. Advocating a further development of the concept of ostentatious redundancy, the author argues that it may and should, with all its necessary internal complexity, be used for analysing contemporary artistic practices.
    Źródło:
    Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica; 2006, 18
    0208-6107
    2353-9631
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kilka uwag o pomysłowości (wit) u Lockea
    Some Remarks on 'Wit' in Locke
    Autorzy:
    Załuski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/941381.pdf
    Data publikacji:
    2004
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Opis:
    The subject matter of the paper is an analysis of the role of 'wit' in J. Locke's "An Essay Concerning Human Understanding". The analysis shows that this apparently marginal issue plays in Locke's text ambivalent role. Interpreted by Locke as assemblage of ideas on the basis of their similarity, wit is, on the one hand, explicitly excluded from the domain of philosophy and situated within the sphere of aesthetic pleasure. On the other hand wit is an implicit constitutive element of a number of "Essay's" important philosophical issues, especially those of mind and of ideas formation. The analysis of wit may also be regarded as a contribution to the history of the philosophical treatment of wit and some related problems, such as inventiveness.
    Źródło:
    Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica; 2004, 16
    0208-6107
    2353-9631
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-14 z 14

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