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    Wyświetlanie 1-3 z 3
    Tytuł:
    “Who of us has never traced light over these walls”?: The archaeology of Stanisław Grochowiak’s poems
    „Kto z nas nie błądzi światłem po tych ścianach”, czyli archeologia wierszy Stanisława Grochowiaka
    Autorzy:
    Hejman, Helena
    Powiązania:
    https://bibliotekanauki.pl/articles/1042122.pdf
    Data publikacji:
    2020-06-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    zwrot ku rzeczom
    konkret egzystencjalny
    inskrypcja
    material turn
    existential concrete element
    inscription
    Stanislaw Grochowiak
    Opis:
    Through a simple wall, a transparent element of everyday life, Stanisław Grochowiak’s poems enable one to uncover the existential concrete element, matter endowed with an amazing hypnagogic potential, a chronicle of ‘objectness’. In the poet’s imagined world, the wall constitutes both an empirical item and a phenomenon, which transcends the ontology of matter, which determines its semantic fluidity: at one point it resembles an anthropological document (a place of cultural/biographical inscription) only to, a moment later, resemble the basis for surrealist visions or the material of an artifact. The wall seems to be the limit of the zone of mental comfort or, e.g., expose the in-body plane, which, like the walls of pre-historic caves, is covered with archetypal images from (the) childhood (of humanity). This study, based on contexts in art history, psychoanalysis, and a material turn, is an attempt at identifying the references which focus “on the wall” in the following works: “Płonąca żyrafa”, “Malarstwo”, “Zejście”, and “Ars Poetica”.
    W prozaicznej ścianie, transparentnym elemencie scenerii życia, wiersze Stanisława Grochowiaka pozwalają odkryć konkret egzystencjalny, materię obdarzoną niesamowitym potencjałem hipnagogicznym, kronikę „przedmiotowości”. Ściana w imaginarium poety stanowi zarówno obiekt empiryczny, jak i fenomen, wykraczający poza ontologię materii, co warunkuje jej semantyczną płynność: raz przypomina antropologiczny dokument (miejsce inskrypcji kulturowej/biograficznej), kiedy indziej – substrat surrealistycznej wizji lub tworzywo artefaktu; może jawić się granicą strefy psychicznego komfortu bądź unaoczniać wewnątrzcielesną płaszczyznę, którą – niczym ściany prehistorycznych jaskiń – pokrywają archetypowe obrazy z epoki dzieciństwa (ludzkości). Szkic ten, zainspirowany kontekstami z pola historii sztuki, psychoanalizy oraz zwrotu ku rzeczom, jest próbą rozpoznania znaczeń koncentrujących się „na ścianie” w utworach: „Płonąca żyrafa”, „Malarstwo”, „Zejście” i „Ars Poetica”.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2020, 57, 2; 129-144
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ogół czy konkret przedmiotem ludzkiego poznania? Rozważania na podstawie q. 2 a. 6. "Quaestiones disputatae De veritate – De scientia Dei"
    Is the Generality or the Concrete Thing the Object of Human Knowledge? Reflections based on Article 6 of the Question 2 of "Quaestiones disputatae De Veritate – De scientia Dei"
    Autorzy:
    Sulenta, Paulina
    Powiązania:
    https://bibliotekanauki.pl/articles/452701.pdf
    Data publikacji:
    2013
    Wydawca:
    Naukowe Towarzystwo Tomistyczne
    Tematy:
    ogół
    konkret
    intelekt
    ludzkie poznanie
    Tomasz z Akwinu
    generality
    concrete thing
    intellect
    human knowledge
    Thomas Aquinas
    Opis:
    Presented article is an attempt to answer the question: what, according to St. Thomas Aquinas, is the object of human knowledge – the generality or the concrete thing? In the introduction the author remarks that the purpose of her reflections is not to make an ultimate subjective rational justification for the possibility or impossibility of knowing what is individual, but her reflections form a reconstruction of St. Thomas Aquinas’ position contained in article 6 in the second question of Quaestiones disputatae De veritate – De scientia Dei. It is mainly a question here of showing in Aquinas’ analyses a factor that would allow us to resolve whether the human intellect is capable of knowing what is individual. In the first part of the article, the author presents a fundamental difficulty that led St. Thomas to study the problem. The difficulty arose from the Aristotelian theory of the faculties and of abstraction. The theory allowed him to explain how the passage occurs from the sensory apprehension of the concrete thing to the intellect’s reading of the concrete thing’s general, necessary, and constant content, but the theory did not explain how one can recognize the concrete thing as such in which the general nature is realized. Next, the author concentrates on an analysis of the corpus of article 6 of the second question of Quaestiones disputatae De veritate – De scientia Dei. St. Thomas says there that the impressed intellectual-cognitive form (species intelligibilis impressa) that determines the intellect to know a thing does not contain individualizing material conditions, and thereby the intellect through itself (per se) knowls only generalities, but does not know concrete things. Thomas notes, however, that per accidens the human intellect can know what is individual. Therefore also in the third part of the article the author considers how, according to Aquinas, the concrete thing can be apprehended by the intellect. St. Thomas in this passage looks to the operation of conversio ad phantasmata in which the intellect indirectly knows the concrete content of a thing as the reason for a general concept. However, the author remarks that this is not the only possibility that man has for knowing what is individual. This is because Thomas in his analyses emphasizes that ultimately it is not the intellect but the entire man who is the subject of knowledge. For the operation of a turn to mental images to be possible, it is necessary that a faculty should exist that makes it possible to recognize earlier the concrete thing as that in which the general nature is realized. According to Aquinas, this faculty is the particular reason (ratio particularis, vis cogitativa).
    Źródło:
    Rocznik Tomistyczny; 2013, 2; 113-135
    2300-1976
    Pojawia się w:
    Rocznik Tomistyczny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Działania konceptualne w łódzkim środowisku plastycznym na przykładzie Grupy Konkret
    Conceptual Activities Within The Artistic Environment Of Łódź By The Konkret Group
    Autorzy:
    Jabłońska, Karolina
    Powiązania:
    https://bibliotekanauki.pl/articles/424687.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONCEPTUALISM
    CONCEPTUAL ART
    KONKRET GROUP
    ART GROUPS
    LODZ
    ALEKSANDER HALAT
    ROMANA HALAT
    RYSZARD HUNGER
    ANDRZEJ JOCZ
    ZBIGNIEW KOSINSKI
    ANDRZEJ NAWROT
    HENRYK STRUMIŁŁO
    KONRAD FREJDLICH
    ANTONI SZRAM
    Opis:
    The Konkret Group emerged in the spring of 1970. The group exhibited three times in Łódź, and one of their exhibitions was also shown in Sieradz. The group consisted of Aleksander Halat, Romana Halat, Ryszard Hunger, Andrzej Jocz, Zbigniew Kosinski, Andrzej Nawrot, Henryk Strumillo, later accompanied by Konrad Frejdlich and Antoni Szram. Among the group members there were artists who expressed themselves in painting, sculpture and graphics, and also ones who were associated with the creative use of text and language. The group did not have a formal program. The group members agreed, that at this specific time and place one needed to turn to concrete art, that is to concentrate on the form, not forgetting, however, about its social aspect. They perceived a way to develop art by new artistic means, using the achievements of technology and science. They did not support enclosing oneself within one discipline, they rather wanted to show the convergence of the ideas of visual art and other artistic disciplines, such as poetry. The activity of the Konkret Group may be placed on the border of conceptualism and Dadaism, however, the resignation from creating a tangible artwork that happened not sooner than in the last exhibition of the group would favour the previous. Paradoxically, the lack of presence of a recognised artwork in the exhibition of 1972 was caused by the impossibility to realise a specific concrete form. On the other hand, the form that the artists wanted to show was a form of communication, therefore it dealt with a concept, not an object. The other argument to support the conceptual character of the group was the introduction of documentation to the exhibition and the elevating of this aspect to the importance of an artwork, equal to painting. On the other hand – the Dada character of the group’s activities can be seen in the fact that in their ventures they were critical towards the artistic milieu and used ready mades. This group of young artists was open to the novelty factor in art and at the same time, the newest of artistic phenomena and tendencies became for them useful tools amongst others to deepen the essence of art.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 157-162
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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