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Wyszukujesz frazę "abstract expression" wg kryterium: Temat


Wyświetlanie 1-2 z 2
Tytuł:
Rozumienie wyrażeń abstrakcyjnych przez dzieci niedosłyszące
Autorzy:
Błoch, Patrycja
Powiązania:
https://bibliotekanauki.pl/articles/2151231.pdf
Data publikacji:
2018
Wydawca:
Instytut Studiów Międzynarodowych i Edukacji Humanum
Tematy:
deaf
metaphor
abstract expression
proverb
hard-of-hearing
phrasal verb
prepositional phrase
names of professions
Opis:
The aim of this article is to present the problems and phenomena present among the deaf and hearing-impaired people, and to study the trend estimation of this issue. The study was based on questionnaires given to the children of primary and middle schools, with the questionnaires including abstract expressions divided into thematic sections. The results present lack of comprehension of the abstract expressions by the hearing-impaired children, especially those expressions which are used the least in the everyday language. The older the students, the more language experience but at the same time the less confidence in their own abilities they have. While working with the hearing-impaired children, it is important to remember about paying attention to the issue of abstract expressions such as metaphors, idiomatic expressions, even the prepositional phrases or the names of categories and professions. It would definitely make it easier for them to understand written texts and simplify broadly defined functioning in our society.
Źródło:
Prosopon. Europejskie Studia Społeczno-Humanistyczne; 2018, 1(22); 5-13
1730-0266
Pojawia się w:
Prosopon. Europejskie Studia Społeczno-Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zbigniew Dłubak. Od sensu ukonstytuowanego do konstytucji sensu
Zbigniew Dłubak. From A Constituted Sense To The Sense Constitution
Autorzy:
Brogowski, Leszek
Powiązania:
https://bibliotekanauki.pl/articles/424605.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
ZBIGNIEW DLUBAK
ABSTRACT PAINTING
EMPTY SIGN
SOURCE OF MEANING
ART IDEA
CONCEPTUAL PHOTOGRAPHY
POLISH ART AVANT-GARDE
ART BEYOND MEANING
ART BEYOND INFORMATION
ART BEYOND EXPRESSION
ART BEYOND ESTHETICS
ART BEYOND STYLE
DESYMBOLISATION
PHENOMENOLOGY OF PAINTING
SEMIOTICS OF ART
TAUTOLOGY
DIFFERANCE
Opis:
The article is based upon his translation of a French text published in 1994. The text was part of a catalogue featuring an individual exhibition by Zbigniew Dlubak in Maison des expositions de Genas. There were some minimal changes introduced by the author to the original work entitled “Du sens constitué à la constitution du sens.” The text highlighted the originality of the artist's inspirations: on the one hand — similarly to other conceptualists in 1960-1970 — Dłubak was interested in semiotics and linguistics. However he was more captivated by Jakobson and Mukarowsky than Ayer and Wittgenstein. On the other hand, in a similar way to some 20th century painters, he intuitively discovered the procedures of phenomenology. Dlubak's contribution to conceptual art is based on a 'structural-painterly' approach to art, which is reminiscent of Maurice Merleau-Ponty's philosophy. According to this French philosopher, language signs are 'forms in blanco'. For Dlubak, a work of art is an 'empty sign', which will acquire meaning during a process which Dlubak equaled with the work of art itself. The artist suggested an original—phenomenological—concept of aesthetic experience, which was based on the idea of stepping outside 'the world of meaning' in a search for the source where the sense of art is constituted. The discovery of the process in which the sense of art emerges and understanding its mechanisms, stand in opposition to aesthetic concepts, as these aesthetic concepts find the style as the main goal of art creation and assume that for an artist a specific style represents a specific way of thinking. Breaking away from the stylistic focus and from thinking in the categories of style, is one of the most significant elements of creation according to Dlubak; a style is an ossified and fossilised sense. One of his characteristic strategies, which is aimed at overcoming the category of style, is a parallel and concurrent use of painting and photography. He underlined the overlapping of artistic and cognitive processes and by doing so, Dlubak arrived at an original concept—not very new in the history of aesthetic thought—which sees art as ‘principle to the liveliness of one’s mind’.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 55-62
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-2 z 2

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