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Tytuł:
Body art – ciało, sztuka, technologia. Od ciała ułomnego do bezawaryjnego humanoida
Body art – body, art, technology. From the defective body to the faultless humanoid
Autorzy:
Franckiewicz-Olczak, Izabela
Powiązania:
https://bibliotekanauki.pl/articles/1373716.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
bodyart
technology
art
culture
body
new media
Opis:
Analyzing the body condition and its status in the technicized, postbiological world – where the body no longer consists an element of nature – the artistic discourse overlaps with the science discourse not only in terms of research subjects, but also research conclusions. However, both perspectives differ one from another in terms of the applied research methods. This article collates the major issues of the contemporary humanistics, such as: disagreement with ageing, interference in human body, transplantology, genetics, exhibicionism with the thematic of the chosen pieces of art.
Źródło:
Przegląd Socjologii Jakościowej; 2012, 8, 2; 228-241
1733-8069
Pojawia się w:
Przegląd Socjologii Jakościowej
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Heidegger and Merleau-Ponty: art and the bodily emergence of meaning
Autorzy:
Gomez Perez, Gustavo
Powiązania:
https://bibliotekanauki.pl/articles/431118.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
Heidegger Martin
Merleau-Ponty
phenomenology
body
gesture
language
art
world
fenomenologia
ciało
gest
język
sztuka
świat
Opis:
The present paper explores parallels between Heidegger’s and Merleau-Ponty’s views on the body phenomenon problem, paticularly considering the articulation between language, gesture and art. Initially, I argue that Heidegger and Merleu-Ponty find similar connections between body and language, in light of an ontological approach to language in which language is considered to be a structural component of existence. Accordingly, I suggest that both philosophers introduce the notion of gesture in order to articulate the relationship between body and language, thus showing that meaning is inherent to bodily comportments, something that is particularly clear in artistic practices. Then, I conclude that both Heidegger and Merleau-Ponty consider gesture to be a creative response to the world, which discloses latent meanings of things, just as happens with the work of art. In this sense, the notion of gesture alludes to a spontaneous or creative capacity that belongs to Being, that pertains to our background understanding of the world, and therefore cannot be confined either to the limits of a subject or to the limits of a body-object.
Źródło:
Studia Philosophiae Christianae; 2013, 49, 4; 109-136
0585-5470
Pojawia się w:
Studia Philosophiae Christianae
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Koncepcja estetyczna Richarda Shustermana i jej konsekwencje dla edukacji estetycznej
Richard Shusteman’s Aesthetic Conception and Its Consequences for Aesthetic Education
Autorzy:
Świętek, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/2141308.pdf
Data publikacji:
2014-12-31
Wydawca:
Wydawnictwo Naukowe Dolnośląskiej Szkoły Wyższej
Tematy:
edukacja estetyczna
doświadczenie estetyczne
sztuka popularna
cielesność
problem ciało–umysł
somatoestetyka
aesthetic education
aesthetic experience
popular art
carnality
body-mind problem
somaesthetics
Opis:
W artykule została przedstawiona koncepcja edukacji estetycznej R. Shustermana oraz jej konsekwencje dla edukacji estetycznej. Na podstawie filozofii tego neopragmatysty uznano potrzebę zmian zarówno w tej edukacji, jak w edukacji w ogóle. Edukacja ma być oparta na założeniach somaestetyki, a zmiany mają uwzględnić doświadczenie estetyczne i percepcję estetyczną, dzięki czemu człowiek może czerpać przyjemność ze sztuki, a w konsekwencji uznać praktyczny charakter sztuki. Zmiany mają także uwzględnić sztukę popularną i zwrócić uwagę na problem uprawomocnienia tej sztuki w programie nauczania, oraz problem cielesności i dualizmu ciała-umysłu (bodymind). Edukacja estetyczna uwzględniająca koncepcję estetyki R. Shustermana wpłynie na rozwój człowieka, zrozumienie ciała i lepsze kierowanie nim, samokreację oraz może zachęcić do praktykowania filozofii, a nawet prowadzić do sztuki życia opartej na estetycznym modelu życia.
The conception of aesthetic education and its consequences by Richard Shusterman were presented in this article. On the basis of this neopragmatist’s philosophy, it was considered as a need for changes within the sphere of this education and education in general. Education ought to be based on somaesthetics and changes should provide aesthetical experience and aesthetical perception. Thanks to this, a human may derive a pleasure from art, what in consequence may lead to the approval of its practical character. Those changes may also include popular art and draw attention to the problem of legitimacy of the art in the curriculum. Furthermore, it also should put under consideration the problem of carnality and bodymind dualism. Aesthetic education, having Shusterman’s conception, may affect human development and better understating of body. Moreover, it can affect self-creation and may lead to practicing the philosophy, sometimes even starting a lifestyle based on the aesthetical model of life.
Źródło:
Teraźniejszość – Człowiek – Edukacja; 2014, 17, 4(68); 119-130
1505-8808
2450-3428
Pojawia się w:
Teraźniejszość – Człowiek – Edukacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
THE ESSENTIAL CONNECTION BETWEEN COMMON SENSE PHILOSOPHY AND LEADERSHIP EXCELLENCE
Autorzy:
Redpath, Peter A.
Powiązania:
https://bibliotekanauki.pl/articles/507500.pdf
Data publikacji:
2014
Wydawca:
International Étienne Gilson Society
Tematy:
aim
analogy
anarchy
art
body of knowledge
cause
common sense
communication
comprehensive understanding
concept
contrary
contrariety
culture
demonstration
demonstrative
equality
emotion
end
excellence
existence
explanation
fear
genus
habit
happiness
harmony
hierarchically ordered
history
hope
human
humanist
inequality
judgment
knowledge
language
leadership
logic
mathematics
memory
metaphysics
multitude
nature
operational
opposite
order
part
person
philosophy
physical
poetry
principle
quality
reason
receptivity
relationship
renaissance
resistance
rhetoric
science
soul
species
strength
syllogism
system
truth
West
Western civilization
unity
universe
virtue
whole
wonder
Opis:
This article argues that, strictly speaking, from its inception with the ancient Greeks and for all time, philosophy and science are identical and consist in an essential relationship between a specific type of understanding of the human person as possessed of an intellectual soul capable of being habituated and a psychologically-independent composite whole, or organization. It maintains, further, that absence of either one of the extremes of this essential relationship cannot be philosophy/science and, if mistaken for such and applied to the workings of cultural institutions, will generate anarchy within human culture and make leadership excellence impossible to achieve. Finally, it argues that only a return to this “common sense” understanding of philosophy can generate the leadership excellence that can save the West from its current state of cultural and civilizational anarchy.
Źródło:
Studia Gilsoniana; 2014, 3: supplement; 605-617
2300-0066
Pojawia się w:
Studia Gilsoniana
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
THE NATURE OF COMMON SENSE AND HOW WE CAN USE COMMON SENSE TO RENEW THE WEST
Autorzy:
Redpath, Peter A.
Powiązania:
https://bibliotekanauki.pl/articles/507346.pdf
Data publikacji:
2014
Wydawca:
International Étienne Gilson Society
Tematy:
aim
analogy
anarchy
art
body of knowledge
cause
common sense
communication
comprehensive understanding
concept
contemporary
contrary
contrariety
culture
demonstration
demonstrative
disorder
education
equality
emotion
end
enlightened
enlightenment
excellence
existence
explanation
fear
fundamentalistic
genus
God
habit
happiness
harmony
hierarchically ordered
history
hope
human
humanist
inequality
inspiration
inspired
judgment
justice
knowledge
language
leadership
logic
mathematics
memory
metaphysics
modern
multitude
nature
Nietzschean
operational
opposite
order
part
person
philosophy
physical
poetry
power
principle
provocative thought
quality
reality
reason
receptivity
relationship
renaissance
resistance
rhetoric
science
scientism
skeptic
sophist
soul
species
strength
success
system
truth
utopian
West
Western civilization
unity
universe
values
virtue
whole
will
wisdom
wonder
World War
Opis:
Since most pressing today on a global scale is to be able to unite religion, philosophy, and science into parts of a coherent civilizational whole, and since the ability to unite a multitude into parts of a coherent whole essentially requires understanding the natures of the things and the way they can or cannot be essentially related, this paper chiefly considers precisely why the modern world has been unable to effect this union. In so doing, it argues that the chief cause of this inability to unite these cultural natures has been because the contemporary world, and the West especially, has lost its understanding of philosophy and science and has intentionally divorced from essential connection to wisdom. Finally, it proposes a common sense way properly to understand these natures, reunite them to wisdom, and revive Western and global civilization.
Źródło:
Studia Gilsoniana; 2014, 3: supplement; 455-484
2300-0066
Pojawia się w:
Studia Gilsoniana
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Art and the body: The Tatsuno Art Project
Autorzy:
Kasuya, Akiko
Powiązania:
https://bibliotekanauki.pl/articles/437304.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie. Instytut Filozofii i Socjologii
Tematy:
body in art; Japanese art and culture; transcultural aesthetics; contemporary art; town as a museum; community based art project
Opis:
The author discusses the relationship between art and the body, as exemplified by the similarities and differences in the works of: two Japanese artists, Matsui Chie (b. 1960) and Higashikage Tomohiro (b. 1978); and the Polish artist, Mirosław Bałka (b. 1958). These examples are referred to in the context of a unique project recently conducted in Japan — the Tatsuno Art Project 2013. Held with the support of the Agency for Cultural Affairs of Japan, the project aims to present contemporary art to people from across Japan and around the globe, and to capitalize on the region’s unique cultural heritage, creating opportunities for people to communicate with local residents and making Tatsuno a more dynamic and popular place to visit. This paper considers various connections between art and the body by focusing on a selection of works included in the Tatsuno Art Project 2013: Arts and Memories. Known in past centuries as the ‘little Kyoto’ of Harima Province, Tatsuno is an atmospheric old castle town. It is mild and relatively warm all year round, with the climate of the nearby Seto Inland Sea region, said to be similar to that of the Mediterranean. Thanks to the support of numerous people, the organizers were able to hold the 2013 event which represented the culmination of their efforts over the past few years, being the largest ever in terms of scale with nine invited artists, eleven other participating artists, and one contemporary musician, for a total of 21 creators contributing works. With new spaces added to create a total of 16 venues, the community‑wide project truly achieved its goal of presenting the ‘historic castle town as a museum’. The project curators were also able to strengthen Tatsuno’s international ties by inviting artists from France and Poland to take part, as well as Japanese artists residing in the UK and Spain.
Źródło:
ARGUMENT: Biannual Philosophical Journal; 2015, 5, 1; 267-274
2083-6635
2084-1043
Pojawia się w:
ARGUMENT: Biannual Philosophical Journal
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Between the ideal and the reality: The human body through the eyes of European artists
Autorzy:
Wałek, Janusz
Powiązania:
https://bibliotekanauki.pl/articles/437582.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie. Instytut Filozofii i Socjologii
Tematy:
European painting; image of human body; body in art; idealization of human body
Opis:
The human body has always been one of the most important subjects for European artists. But the way it is displayed in art has varied in different epochs. In ancient Greece, a canon was constituted that proclaimed an ideal vision of the body, derived from the rules governing the universe. This idealization of the human body, neglected in the Middle Ages, was re‑established in Renaissance and Classicist art. However, Renaissance artists also created another image of the human body by borrowing from patterns mainly found in nature, and started to depict their models not in an ideal but rather in a more natural shape. The new non‑ideal forms of art that appeared in Mannerist art made the artists develop a much wider artistic language, which brought into being a variety of individually interpreted artistic representations of the human body. It preceded similar phenomena which became widespread in the twentieth century. Thus, the human body was not always displayed in art as strong, healthy and beautiful. On the contrary, the martyred bodies of Christ and the saints, as well as the depictions of aged, tired or ill people, also carried enormous artistic expression. A distinct problem has occurred with the ways in which corpses have been presented in art. The review concludes with a reference to the contemporary trend called Body‑Art that involves various artistic activities, such as happenings and performances, where the human body is itself used as a significant work of art.
Źródło:
ARGUMENT: Biannual Philosophical Journal; 2015, 5, 1; 87-98
2083-6635
2084-1043
Pojawia się w:
ARGUMENT: Biannual Philosophical Journal
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ciało cierpiące jako widowisko w malarstwie Igora Podolczaka i Wasylija Cagolowa
Suffering body as a spectacle in paintings of Igor Podolchak and Vasily Cagolov
Страждання тіла, як видовище, у живописі Василя Цаголова та Ігора Подольчака
Autorzy:
Zambrzycka, Marta
Powiązania:
https://bibliotekanauki.pl/articles/2178918.pdf
Data publikacji:
2015-12-31
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
contemporary art
painting
suffering
pain
body
sight
сучасне мистецтво
живопис
страждання
біль
тіло
видовище
Opis:
The topic of this article is a way of presenting suffering in paintings of Vasily Cagolov and Igor Podolchak - Ukrainian contemporary artists. In the paintings of Cagolov suffering and causing pain are shown in the convention of popular culture (crime story film style). In art of Podolchak human body is represented as an object of experiments. Both painters try to analyze the place and role of images of suffering and Violence in the contemporary culture.
Темою статті є зображення страждання в живописі Василя Цаголова та Ігора Подольчака - українських сучасних художників. У живописі Цаголова страждання вписується у стилістику масово'і культури (фільми типу детектив та бойовик), у Подольчака людське тіло представлене як об'єкт, який піддається експериментам. Обидвоє художників, шукають у своїй творчості відповідь на запитання, про місце і роль образів страждання і насильства в сучасній культурі.
Źródło:
Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe; 2015, 1; 137-146
2543-9227
Pojawia się w:
Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The image of the body-face: The case of Franz X. Messerschmidt and Bill Viola
Autorzy:
Popczyk, Maria
Powiązania:
https://bibliotekanauki.pl/articles/437567.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie. Instytut Filozofii i Socjologii
Tematy:
body
physionomy
aesthetics
art
emotion
franz xaver messerschmidt
bill viola
bodily expression
contemporary art
Opis:
In this paper, I am predominantly interested in interpretations of emotional states portrayed in images of the face. In particular, the interpretations which have grown around the series of busts by Franz Xaver Messerschmidt, as well as those which attempt to expound Bill Viola’s video works. I will refer to aspects of physiognomy, artistic practices and aesthetics, in order to show what each of these tells us about our attitude to the body and emotions and what happens to the body while a person is experiencing an emotion. My aim is to demonstrate how the act of depicting the body, regarded as a cognitive process in an artistic medium accompanied by a special kind of aesthetic experience, becomes a means of communication which is capable of conveying a universal message and of allowing us to define our attitude to the body.
Źródło:
ARGUMENT: Biannual Philosophical Journal; 2015, 5, 1; 99-110
2083-6635
2084-1043
Pojawia się w:
ARGUMENT: Biannual Philosophical Journal
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Патріотичний боді-арт: політична мода чи мода на патріотизм?
Polityczny body-art: Moda polityczna czy moda na patriotyzm?
Autorzy:
Хома, Наталія
Powiązania:
https://bibliotekanauki.pl/articles/489345.pdf
Data publikacji:
2015
Wydawca:
Polskie Towarzystwo Naukowe w Żytomierzu
Tematy:
patriotic body art,
tattoo-regalia,
visualisation, non-verbal communication,
political fashion
Opis:
Practice of visualization of patriotic moods of Ukrainian people in the form of body art (tattoo-regalia), which became more intensified during and after the Revolution of Dignity, is analyzed in the article. It is proved that pro-Ukrainian body art as a kind of “body language” is a socio-political (patriotic) marker. In the article there is argued that the human body is not only biological, economic or virtual unit, but also a semiotic (sign) one; it acts as a kind of text, related to the social construction of identity; a set of specific social signs, symbols and codes. Tattoo-regalia is considered by the author as a symbolic expression of social interaction, mean of visual of non-verbal communication through the transformation of the natural structure of a man. It is noted that the patriotic body art is external corporeal expression of cultural meanings, which is manifested in tendencies among the Ukrainians to put patriotic images: tridents, embroidered ornaments, images of “Heaven Hundreds”, Cossack images. The author emphasizes that the good reason to put patriotic tattoo is an ideology: tattooregalia perceives by others as a visualization of a clear identification of the person with certain events in life of the state and the nation. It is proved that modern Ukrainian patriotic body art expresses emotions and (or) individual awareness of belonging to a particular social and personal position within social roles (Ukrainian, patriot, a fighter for certain national values). Attention is paid to the fact that the current practice of patriotic body art is associated with markers of both personal and the group (national) identity.
Źródło:
Studia Politologica Ucraino-Polona; 2015, 5; 259-264
2312-8933
Pojawia się w:
Studia Politologica Ucraino-Polona
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kontener Lukasa Moodyssona – garb brzydkiego ciała
Lucas Moodyssons Container: the hump of the ugly body
Autorzy:
Syska, Rafał
Powiązania:
https://bibliotekanauki.pl/articles/458984.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Warszawski. Ośrodek Studiów Amerykańskich
Tematy:
film
ciało
transseksualizm
film artystyczny
narracja subiektywna
body
transsexuality
art film
subjective narration
Opis:
W artykule dokonano gruntownej analizy filmu „Kontener” (Container, 2006) Lukasa Moodyssona, portre-tującego wewnętrzny świat psychocielesnych doświadczeń transseksualisty. Analizę filmu poprzedzono opisa¬niem dwóch fundamentalnych dla filmu kontekstów: ewolucji twórczości Lukasa Moodyssona i przemian w sposobie pokazywania transwestytów i trans-seksualistów w historii kina, a zwłaszcza na gruncie tzw. New Queer Cinema.
The article is an in-depth analysis of the film Container (2006) directed by Lukas Moodysson, portraying the inner world of psycho-physical experiences of transsexual person. The analysis explores two contexts that are fundamental for this movie: on the one hand, the evolution of Lukas Moodysson's works and, on the other, transformations in the way of showing transvestites and transsexuals from classical films to new queer cinema.
Źródło:
InterAlia: Pismo poświęcone studiom queer; 2016, 11b; 20 - 31
1689-6637
Pojawia się w:
InterAlia: Pismo poświęcone studiom queer
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Performance art, performativity and the issue of neomodernism
Performance art i performatywność a problem neomodernizmu
Autorzy:
Sztabińska, Paulina
Powiązania:
https://bibliotekanauki.pl/articles/593983.pdf
Data publikacji:
2016
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
body art
performance art
performativity
modernism
postmodernism
neomodernism
Marina Abramović
performatywność
modernizm
postmodernizm
neomodernizm
Opis:
Body art and performance art are often discussed together, and even identified as the same thing. A careful analysis of these artistic trends and the accompanying theoretical commentary tends, however, to highlight their differences. Body art turns out to be a phenomenon manifesting significant similarity to the modernist conception of art in the spirit similar to the concept of Clement Greenberg, while performance art largely rejects these assumptions. Performative aesthetics developed by Erika Fischer-Lichte on the one hand stems from challenging modernist artistic essentialism, but on the other emphasizes the role of “the radical concept of presence” of the artist. The article presents a detailed analysis of two new creative achievements of Marina Abramović, the artist associated both with body art and performance art: Seven Easy Pieces (2005) and The Artist is Present (2010). The indicated ambiguity of performance art has been radicalized in their case. They combine the modernist emphasis on authenticity, presence, and essentialism with the postmodern penchant for citing. The phenomenon of pastiche described by Frederic Jameson has been transformed in such a way that it is no longer empty but takes over the whole of the performer’s self. The term “neomodern” is used today in a variety of meanings. The issues discussed in the article suggest the possibility of understanding it as overcoming the oppositions characteristic of modernism and postmodernism, while maintaining some of the features of these two trends regarding their respective approaches to art.
Sztuka ciała i performance art często omawiane są łącznie, a nawet utożsamiane. Uważna analiza tych tendencji artystycznych oraz towarzyszących im komentarzy teoretycznych skłania jednak do zaznaczenia dzielących je różnic. Body art okazuje się wówczas zjawiskiem wykazującym istotne związki z modernistycznym pojmowaniem sztuki w duchu zbliżonym do koncepcji Clementa Greenberga, natomiast performance art założenia te w znacznym stopniu odrzuca. Także estetyka performatywna rozwijana przez Erikę Fischer-Lichte z jednej strony wywodzi się z zakwestionowania modernistycznego esencjalizmu artystycznego, choć jednocześnie akcentuje rolę „radykalnej koncepcji obecności” artysty. W artykule szczegółowej analizie poddane zostały dwa nowe dokonania twórcze Mariny Abramović, artystki łączonej zarówno ze sztuką ciała i performance art: Seven Easy Pieces (2005) oraz The Artist is Present (2010). Wskazana niejednoznaczność performance art została w nich zradykalizowana. Łączą one modernistyczne zaakcentowanie autentyczności, obecności, esencjalizmu z postmodernistycznym cytowaniem. Opisywane przez Frederica Jamesona zjawisko pastiszu przekształcone zostało w taki sposób, że przestaje on być pusty, a przejmuje pełnię „ja” performera. Pojęcie „neomodernizm” używane jest dziś w różnych znaczeniach. Omówiona w artykule problematyka sugeruje możliwość pojmowania go jako przekroczenia opozycji właściwych dla modernizmu i postmodernizmu, przy jednoczesnym zachowaniu pewnych cech obu tych nurtów myślenia o sztuce.
Źródło:
Art Inquiry. Recherches sur les arts; 2016, 18; 161-176
1641-9278
Pojawia się w:
Art Inquiry. Recherches sur les arts
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Taniec jako sztuka relacji
Dance - the art of relations
Autorzy:
Zerek, Ula
Powiązania:
https://bibliotekanauki.pl/articles/424732.pdf
Data publikacji:
2016
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
sztuka tańca,
współczesna choreografia,
improwizacja,
ciało,
ruch,
art of dance,
contemporary choreography,
improvisation,
body,
movement
Opis:
Humans were expressing their needs and emotions in movement far before developing speech or any other civilised skills. The body as a source of movement is the closest and primary form of experiencing life as well as perceiving the surrounding world. Dealing with dance as a form of artistic expression, I question the essence and meaning contained in dance presentations from both the perspective of a dancer and as a researcher. Contradictory to visual arts, literature and even music, dance is a living ephemeral art that evolves in time and space in front of the spectator. Without time and space the experience would not be possible. By observing transformations within the art of dance, searching for deeper understanding of its roots as well as for artistic self reflection, I have come upon with principles which can define the essence of dance. In addition to the previously mentioned condition of time and space, there is a fusion of body and mind. Dance exceeds stereotypes and limiting ideologies. Dance as a field of art practice is able to challenge both the artist and the spectator. All the elements – body, mind, time, space, artist, spectator may take different configurations influencing each other. Therefore dance is the art of relations. The direct input on the individual character of dance experience and interpretation lays in body awareness. This phenomenon is explained through the phenomenology of perception by the French philosopher Maurice Merleau-Ponty, and further developed studies by the contemporary researcher Richard Shusterman. The potential of dance seems to be infinite which might be the reason for the unlimited explorations of artists in relation to dance voyaging beyond the boundaries of the discipline. In this text a variety of contemporary dance art is presented by introducing examples of chosen artists and their works. Art performances which are hard to classify, often cause controversy and difficulties with reception and interpretation. There is another element necessary for the understanding of the contemporary art of dance and this is the theory and practice which builds a discourse that develops a tradition. This paper is a reflective analyses which goes beyond explicit meanings and theories while at the same time following the primal essence of dance.
Źródło:
Sztuka i Dokumentacja; 2016, 14; 118-143
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Laboratorium ciała: Kasjan Golejzowski i nowy taniec w Rosji na początku XX wieku
Body lab: Kasyan Goleizovsky and the new dance in Russia in the early 20th century
Autorzy:
Nabokina, Anastasia
Powiązania:
https://bibliotekanauki.pl/articles/1853415.pdf
Data publikacji:
2018
Wydawca:
Narodowe Centrum Kultury
Tematy:
rosyjska sztuka ruchu
symbolizm
ciało
kasjan golejzowski
laboratorium choreologiczne
russian art of movement
symbolism
body
kasyan goleizovsky
choreological laboratory
Opis:
The article is devoted to the role of dance seen as a laboratory of bodily culture. The idea is analysed using the example of a lesser-known area of the Russian culture from the first three decades of the 20th century – the so-called “free dance” – and the creation of Kasyan Goleizovsky. The sources of the new dance are being placed in the tradition of a Russian symbolism, as well as in an early 20th century anthropological project focusing on the change of human nature inspired by the ideas of F. Nietzsche and W. Ivanov. Drawing inspiration from the vision of theatre as a Dionysian practice, making collective spiritual revival possible, dancing becomes both a body releasing and a body restrictive practice.
Źródło:
Kultura Współczesna. Teoria. Interpretacje. Praktyka; 2018, 99, 1; 37-53
1230-4808
Pojawia się w:
Kultura Współczesna. Teoria. Interpretacje. Praktyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Natalia LL jako artystka neoawangardowa
Natalia LL - the Neo Avant-garde Artist
Autorzy:
Świeściak, Alina
Powiązania:
https://bibliotekanauki.pl/articles/579049.pdf
Data publikacji:
2018
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
neo avant-garde
conceptual art
body-art
feminist art
“consumer art”
Opis:
The paper shows Natalia Lach-Lachowicz (Natalia LL) as a neo avant-garde artist whose works in a specific maximalistic way are very close to the main currents of avant-garde trends: newmediality (photograph), minimalism, conceptualism, performance, bodyart, pop-art and feminist art. The paper concentrates mainly on the mutual influencing features of conceptualism, consumptionism and feminism in Natalia LL’s works and pays attention to the emancipational potential of her works of the 70s and 80s.
Źródło:
Zagadnienia Rodzajów Literackich; 2018, 61, 2(126); 91-102
0084-4446
Pojawia się w:
Zagadnienia Rodzajów Literackich
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 26

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