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    Wyświetlanie 1-4 z 4
    Tytuł:
    L’apprentissage informel au service de l’enseignement de la littérature et de la culture à la philologie française
    Informal Learning for the Teaching of Literature and Culture to French Philology Students
    Autorzy:
    Grabowska, Monika
    Sadkowska-Fidala, Agata
    Powiązania:
    https://bibliotekanauki.pl/articles/28408105.pdf
    Data publikacji:
    2023-12-16
    Wydawca:
    Komisja Nauk Filologicznych Oddziału Polskiej Akademii Nauk we Wrocławiu
    Tematy:
    informal learning
    teaching literature and culture
    French as a foreign language
    mediation
    creativity
    apprentissage informel
    enseignement de la littérature et de la culture
    français langue étrangère
    médiation
    créativité
    Opis:
    The aim of the present study is to examine the extent to which French philology students' informal learning – in the area of multimodal literacies and leisure activities – reinforces the gains in French literature and French history and culture courses through creative mediation. We report on an experiment conducted in the years 2020-2022 in five online courses at the French Philology department of the University of Wrocław during the Covid-19 pandemic. In these courses, students were expected to personally mediate the texts or content studied in class and present them on a group Facebook site. The students' projects are classified according to two criteria (intersemiotic and intrasemiotic mediation; mediation of form and content) and prove that the involvement of informally acquired knowledge and skills not only developed the students' creativity, but also promoted interpretative processes by anchoring the formal learning of the course in personal experience.
    Źródło:
    Academic Journal of Modern Philology; 2023, 20; 83-94
    2299-7164
    2353-3218
    Pojawia się w:
    Academic Journal of Modern Philology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Architekt Luigi Moretti. Od racjonalizmu do "lart informel" - sztuki informelu
    The Architect Luigi Moretti. From Rationalism to Informalism
    Autorzy:
    Viati Navone, A.
    Powiązania:
    https://bibliotekanauki.pl/articles/1366633.pdf
    Data publikacji:
    2012
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Luigi Moretti
    architektura XX w.
    informel
    20th century architecture
    Informal Art
    Opis:
    Twórczość wybitnego architekta włoskiego modernizmu Luigi Morettiego (1907-1973) stanowi odbicie jego rozległych zainteresowań. Szczególnie pasjonował go nurt w sztuce nowoczesnej l'art informel - informel - nowy gatunek nazwany tak pod koniec lat czterdziestych przez francuskiego kolekcjonera i krytyka sztuki Michela Tapiè. Art informel - sztuka nieformalna uprawiana przez wielu młodych artystów, m. in. Alberto Burri, Lucio Fontanę, Jacksona Pollocka czy Georgesa Mathieus, wykreowała wówczas różne techniki i gatunki. Jednym z ważnych zagadnień, wokół których ogniskowały się zainteresowania twórcze Morettiego była historia, a szczególnie dzieła Michała Anioła. Inne to: fascynacja przestrzenią wewnętrzną, którą potrafił ująć i opisać jak nikt inny przed nim we Włoszech, oraz zaciekawienie naukami ścisłymi, które kazało mu poszukiwać ich związku z architekturą i sztuką. Morettiego zajmował również odbiór dzieła sztuki w przestrzeni. Poszukiwał właściwych kątów patrzenia, które dawałyby ogólny i szczegółowy obraz struktury architektonicznej.
    The work of the eminent Italian modernist architect Luigi Moretti (1907-1973) reflects his wide interests. He was especially interested in the new art form, which was called Informal Art or Art Autre (Other Art), by the French art critic Michel Tapiè at the end of the forties. Informal Art was created by many young artists such as Alberto Burri, Lucio Fontana, the Jackson Pollock and Georges Mathieu. One of the important issues arround which Moretti's creative interests the history, especially the great works of Michelangelo. The others being his attention to the inner space, resulting in the new way to consider it and to describe its qualities as nobody in Italy had before, and his curiosity for science, which led him to explore its possible connection with architecture and art. Moretti was also interested in the conditions of vision, in how the observer perceives a work of art in its general form and in details; therefore, he looked for the correct angles giving a global and a particular vision of a work of architecture.
    Źródło:
    Kwartalnik Architektury i Urbanistyki; 2012, 57, 2; 3-41
    0023-5865
    Pojawia się w:
    Kwartalnik Architektury i Urbanistyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    ACCIDENT, ARTISTIC INTENT AND ERROR: A STUDY OF (UN) INTENTIONALITY IN POST-WORLD WAR II CROATIAN ART
    Autorzy:
    Derado, Dora
    Powiązania:
    https://bibliotekanauki.pl/articles/1011633.pdf
    Data publikacji:
    2020
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    croatian art
    unintentionality
    error in art
    neoavantgarde
    conceptual art
    art informel
    Opis:
    In modern art, the boundaries between artist and spectator are often blurred as the spectator is engaged in the interpretation process and thus in the creation of an artwork, a process referred to by Marcel Duchamp as the "transubstantiation" of objects into art. However, this communication of artistic intent provides room for error, misinterpretation, and reinterpretation (accidental or intentional) of the artwork's intended meaning. Duchamp refers to this as the "art coefficient," which is mathematically explained as the difference between the artist's intended, unexpressed idea and what they unintentionally expressed. The idea of artistic intent, or lack thereof, was toyed with by Duchamp and the artists who followed in his footsteps, including some protagonists of the post-WWII Croatian art scene (Ivo Gattin, Goran Trbuljak, Braco Dimitrijević, and Tomislav Gotovac) who were involved in emerging art movements such as Art Informel, Conceptual art, and the neo-avantgarde, respectively. This paper puts forward works by Croatian artists who experimented with (un)intentionality and haphazardness by employing new artistic techniques, leaving room for (intentional) error and chance, or challenging the artist's and spectator's role, often by exploiting the latter to do their work for them.
    Źródło:
    Sztuka i Dokumentacja; 2020, 22; 17-26
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Cały świat – samo życie”. Rola materii w malarstwie Tadeusza Kantora w latach 1945–1964
    Autorzy:
    Cieślak, Jan Piotr
    Kozioł, Wiktoria
    Kunińska, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/909488.pdf
    Data publikacji:
    2019-05-07
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    matter
    painting of the matter
    the Informel
    Tadeusz Kantor
    painting after World War II
    Opis:
    The topic of the paper is the idea of matter in Tadeusz Kantor’s painting after World War II, including metaphorical painting, the informel, and the painting of the matter (1945-1964). The artist defined matter as an indeterminate, universal foundation which is a vehicle of the attributes of all that can be perceived by the senses, both animate bodies and inanimate things. A starting point are Kantor’s own texts – his notes and publications reflecting particular stages of his artistic evolution, critical essays on art, as well as later statements referring to the period under scrutiny. The present analysis is an attempt to find out whether Kantor’s postulates were really reflected in his art. Its main goal is to reconstruct his line of reasoning concerning matter and focus on the activities rooted in his theories, which is why contemporary reception and interpretations of his painting have not been taken into account. The frame of reference includes philosophical and artistic ideas known to Kantor or available to the artistic circles of the period. The text has been divided into four parts corresponding to particular stages of the artist’s development: (1) 1945-1947, when Kantor was trying to find ways of artistic expression beyond traditional topics of painting, such as the human figure, (2) 1947-1954, the metaphorical period, when, as a result of his visit to the Palais de la Découverte, he tried to represent the world invisible to the eye, (3) 1955-1959, the informelperiod, when paint became for him an equivalent of the matter, a synecdoche, one substance symbolizing all of it, and (4) 1958-1964, painting of the matter, when he kept using also other substances added to paint and chose a “concrete” approach to the painting’s meaning. The authors argue that over the first two decades following World War II Kantor succeeded in creating a new kind of painting, corresponding to the present, in which matter was to be dominant. To achieve that goal, for many years he was experimenting with different ways of representing matter – its ruling forces and principles. His initial existential observations, which challenged the uniqueness of humans in the universe, were later supplemented by shocking contact with science at the Paris Museum of Inventions. In the next decade, Kantor stopped making references to science and accepted process as a basic method of reaching the ontological foundation of the world, i.e. “matter.” His art was no longer “production,” but turned into “action.” At the last stage under consideration, he decided that the painting must not present signs referring to reality beyond it. He rejected the idea of painting as illusion and mediation, claiming that the matter of art is concrete, that it becomes “what it is.”
    Źródło:
    Artium Quaestiones; 2018, 29; 121-159
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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