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Tytuł:
Eventy i projekty. Transfery innowacji pomiędzy polem sztuki a życiem codziennym i gospodarką w XX i XXI wieku
Events and Projects. Transfers of Innovation Between the Field of Art, Everyday Life, and Economy in the 20th and 21st Century
Autorzy:
Możdżyński, Paweł
Powiązania:
https://bibliotekanauki.pl/articles/2150772.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
circulation of art pieces
post-Fordism
postmodern art
sociology of art
Opis:
The structural aspects of artistic production are the main topic of Możdżyński’s text. The author explores the notions of post-Fordist society, late capitalism, postmodern aestheticisation of everyday life, and the new rules for the production and circulation of art pieces under these conditions. The last section of the article is focused on the transfers of innovation between the economy, management, and field of art.
Źródło:
Pogranicze. Studia Społeczne; 2018, 34; 7-18
1230-2392
Pojawia się w:
Pogranicze. Studia Społeczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Problematyka kształtowania (w rozumieniu Augusta Zamoyskiego) odniesiona do multimedialności
The problem of shaping (in August Zamoyski’s definition) related to multimedia
Autorzy:
Graf, Paweł
Powiązania:
https://bibliotekanauki.pl/articles/28409282.pdf
Data publikacji:
2018
Wydawca:
Associazione Italiana Polonisti (AIP)
Tematy:
August Zamoyski
Theory of Art
Philosophy of Art
Formism
Avant-Garde
Opis:
The author of the article presents the project of August Zamojski, a Polish artist and theoretician of art, who created his own, very modern idea of artistic experience. This project was discussed in the context of mediumistics and in the confrontation with new tendencies within the theory of literature. It is the first so spacious interpretation of this project.
Źródło:
pl.it / rassegna italiana di argomenti polacchi; 2018, 9; 28-46
2384-9266
Pojawia się w:
pl.it / rassegna italiana di argomenti polacchi
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wejście smoka
Autorzy:
Poprzęcka, Maria
Powiązania:
https://bibliotekanauki.pl/articles/909505.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
history of art history
conference
Poznań
Association of Art Historians
institutional critique
Opis:
The paper is a reminiscence of my first meeting with the colleagues from the Institute of Art History of Adam Mickiewicz University, which took place at an annual conference of the Association of Art Historians in 1974, titled “Reflection on Art.” Choosing an unusual title, I wanted to convey the impetus with which a group of young art historians from Poznań entered the decent and somewhat stagnant stage of Polish art history. The critique they presented was directed against Polish academic institutions, the problematic of the conference, the empty rituals of academic life, etc. Even though I did not accept all their objections, the heated debate suddenly turned out for me to be a liberating factor, stimulating continuous critical thinking which is an antidote for spiritual and intellectual captivity.
Źródło:
Artium Quaestiones; 2019, 30; 393-398
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Enter the Dragon
Autorzy:
Poprzęcka, Maria
Powiązania:
https://bibliotekanauki.pl/articles/909520.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
history of art history
conference
Poznań
Association of Art Historians
institutional critique
Opis:
The paper is a reminiscence of my first meeting with the colleagues from the Institute of Art History of Adam Mickiewicz University, which took place at an annual conference of the Association of Art Historians in 1974, titled “Reflection on Art.” Choosing an unusual title, I wanted to convey the impetus with which a group of young art historians from Poznań entered the decent and somewhat stagnant stage of Polish art history. The critique they presented was directed against Polish academic institutions, the problematic of the conference, the empty rituals of academic life, etc. Even though I did not accept all their objections, the heated debate suddenly turned out for me to be a liberating factor, stimulating continuous critical thinking which is an antidote for spiritual and intellectual captivity.
Źródło:
Artium Quaestiones; 2019, 30; 237-242
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Klaunada – sztuczki czy sztuka?
Clowning – the trick of art or the art of tricks?
Autorzy:
Bisko, Agata
Powiązania:
https://bibliotekanauki.pl/articles/636982.pdf
Data publikacji:
2011
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
clowning
trick of art
Opis:
The article based on scientific studies and literature is an attempt to describe and analyze this type of circus arts as a response to the title question whether while talking about clowning we are dealing with the actual expression of artistry or with simple tricks intended primarily for middlebrow audience and children. For this purpose various literary sources ranging from textbook for students of clowning, by recognized works of world literature like The Clown of Nobel Prize for Literature winner, Heinrich Böll and The Smile at the Foot of the Ladder of Henry Miller or studies on the circus of Polish authors, to the anthropological essays on the figure of clown are analyzed. The article is conventionally divided into two parts. The first one – so to say – disassembles the clown’s performance to show the workshop of this circus artist. It focuses also on the matter of appearance and props, lists the types of clowns and his shows and describes disciplines involved in his work. The second part introduces briefly the scientific reflection on the scenic character in its three scenes, which are the concept of scapegoat, Savior and troublemaker, at the same time highlighting its ambivalence.
Źródło:
Przegląd Kulturoznawczy; 2011, 2(10); 31-40
1895-975X
2084-3860
Pojawia się w:
Przegląd Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Istnienie dzieła sztuki a jego tożsamość hermeneutyczna według Hansa-Georga Gadamera
The existence of a work of art and its hermeneutical identity according to Gadamer
Autorzy:
Sołtysiak, Marek
Powiązania:
https://bibliotekanauki.pl/articles/426853.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
H. G. Gadamer
work of art
hermeneutical identity
autonomy of a work of art
occasional character of a work of art
Opis:
The first part of the article attempts to reconstruct Gadamer’s ideas concerning auto – presentation as the ontological essence of a work of art. It also addresses the claim that relates art to the nature of truth. The second part of the article touches on the analysis of the autonomy of a work of art and connected with it – its hermeneutical identity. For Gadamer, this hermeneutical identity of the work of art is characterized by three main features: The first, and principal feature, is the consistency of a repetition of the same features of each presentation that is, the repetition of an established truth concerning reality. The second feature is the continuity of the presentation of the work of art in relation to the tradition of its interpretation. While the third feature contained within a work of art is its occasional character, that is, the specific reason for its origin and its purpose.
Źródło:
Logos i Ethos; 2013, 2(35); 7-25
0867-8308
Pojawia się w:
Logos i Ethos
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Facing the Work of Art. Memories of My Student Years
Autorzy:
Skubiszewski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/909539.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
University of Poznań – art history
University of Poitiers – art history
methodology of art history
art history around 1950
Opis:
The present essay includes the author’s memories of his university studies and the intellectual formation that he received as a student of art history at the University of Poznań in 1949-1954. His first professor who opened to him the door to art history and exerted on him a strong intellectual influence, was Szczęsny Dettloff, a disciple of Heinrich Wölfflin in Munich and Max Dvořák in Vienna. Dettloff taught his students that the foundation of studying art in history is the study of the form of an individual artwork He believed that without a proper analysis of form it is impossible to construct appropriate series of the works of art and specify their position in the culture of the times of their origin. Similar sensitivity to form and the understanding of its significance for the art historian’s work were represented by two other professors important for the author, both educated by Dettloff already before World War II: Gwido Chmarzyński and Zdzisław Kępiński. When in 1957-1968 the author was a postgraduate student in the Centre d’Études Supérieures de Civilisation Médiévale at the University of Poitiers (CÉSCM), it turned out that the local methodological tradition was similar to what he had learned in Poznań before. The CÉSCM was founded as a multidisciplinary institute for the study of the Middle Ages, combining history, art history, literary history, and the history of ideas. It was important that one of them could shed light on an object studied by another, but each of them, including art history, kept its material and methodological identity. In the French tradition, art history had an “autonomous” status, focusing on artistic creation as a special sphere of human activity. That idea influenced also quite strongly the study of medieval architecture, originated in the early 19th century by Arcisse de Caumont, and continued until today by many generations of French scholars. What is characteristic of their research is meticulous analysis of form, articulated with a precise, detailed, and comprehensive specialist vocabulary. The lectures of French scholars on medieval architecture, which the author attended in Paris and Poitiers, taught him precision in the analysis of the artwork’s structure and its components, as well as responsibility for every single statement made on art. For a young art historian who did not specialize in architecture but in representational arts, that French experience was a lesson of methodological rigor necessary in the intellectual pursuits of the humanities scholar.
Źródło:
Artium Quaestiones; 2019, 30; 7-20
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Adorno and practically useless art, or autonomy instead of avant-garde
Autorzy:
Czekaj, Rafał
Powiązania:
https://bibliotekanauki.pl/articles/593853.pdf
Data publikacji:
2017
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
Adorno
autonomy
logic of art
content of art
autonomia
logika sztuki
treść sztuki
Opis:
Adorno’s aesthetic theory allows us to treat him as an anti-theorist of the avant-garde. We can find in his work many accurate observations grasping the essence of the changes that were introduced by this artistic formation. Adorno himself used the term “avant-garde” in a slightly different meaning – as denoting artistic production going against the traditional aesthetic tastes, but also resistance to commercialization and reification. In the context of Adorno’s whole philosophy such resistance is illusory. The mechanisms governing the sphere of culture are total and efficiently pacify any aesthetic rebellions. Therefore, it is not in the formal experiments that Adorno saw the rebellion of art against the existing system. According to the German philosopher, the critical function of art – its main vocation – is realized in the antithetic attitude to reality and is due to the so-called “ideal of transformation”. And those are only conditioned by the autonomy of art. In the present paper I discuss the points in Adorno’s aesthetic theory at which he shows art as autonomous.
Teoria estetyczna Adorna pozwala na traktowanie go jako teoretyka awangardy. Znajdziemy u niego wiele trafnych analiz dotykających istoty zmian, jakie wprowadziła ze sobą ta formacja artystyczna. Sam Adorno jednak używał terminu „awangarda” w nieco szerszym znaczeniu – jako produkcja artystyczna, która nie tylko łamie tradycyjne gusta estetyczne, ale także stawia opór komercjalizacji i reifikacji. W kontekście całej filozofii Adorna taki opór jest jednak iluzoryczny. Mechanizmy rządzące sferą kultury są totalne i skutecznie pacyfikują wszelkie bunty estetyczne. Dlatego to nie w formalnych eksperymentach Adorno widział rebelię sztuki przeciwko panującemu systemowi. Funkcja krytyczna sztuki – wedle frankfurtczyka naczelne jej powołanie – spełnia się w antytetycznym stosunku do rzeczywistości i dzięki tzw. ideałowi przetworzenia. Ich warunkiem z kolei jest autonomia sztuki. W niniejszym tekście przedstawiam te momenty teorii estetycznej Adorna, w których ukazuje on sztukę jako autonomiczną właśnie.
Źródło:
Art Inquiry. Recherches sur les arts; 2017, 19; 121-130
1641-9278
Pojawia się w:
Art Inquiry. Recherches sur les arts
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przed dziełem sztuki. Wspomnienia ze studiów
Autorzy:
Skubiszewski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/909541.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
University of Poznań – art history
University of Poitiers – art history
methodology of art history
art history around 1950
Opis:
The present essay includes the author’s memories of his university studies and the intellectual formation that he received as a student of art history at the University of Poznań in 1949-1954. His first professor who opened to him the door to art history and exerted on him a strong intellectual influence, was Szczęsny Dettloff, a disciple of Heinrich Wölfflin in Munich and Max Dvořák in Vienna. Dettloff taught his students that the foundation of studying art in history is the study of the form of an individual artwork He believed that without a proper analysis of form it is impossible to construct appropriate series of the works of art and specify their position in the culture of the times of their origin. Similar sensitivity to form and the understanding of its significance for the art historian’s work were represented by two other professors important for the author, both educated by Dettloff already before World War II: Gwido Chmarzyński and Zdzisław Kępiński. When in 1957–1968 the author was a postgraduate student in the Centre d’Études Supérieures de Civilisation Médiévale at the University of Poitiers (CÉSCM), it turned out that the local methodological tradition was similar to what he had learned in Poznań before. The CÉSCM was founded as a multidisciplinary institute for the study of the Middle Ages, combining history, art history, literary history, and the history of ideas. It was important that one of them could shed light on an object studied by another, but each of them, including art history, kept its material and methodological identity. In the French tradition, art history had an “autonomous” status, focusing on artistic creation as a special sphere of human activity. That idea influenced also quite strongly the study of medieval architecture, originated in the early 19th century by Arcisse de Caumont, and continued until today by many generations of French scholars. What is characteristic of their research is meticulous analysis of form, articulated with a precise, detailed, and comprehensive specialist vocabulary. The lectures of French scholars on medieval architecture, which the author attended in Paris and Poitiers, taught him precision in the analysis of the artwork’s structure and its components, as well as responsibility for every single statement made on art. For a young art historian who did not specialize in architecture but in representational arts, that French experience was a lesson of methodological rigor necessary in the intellectual pursuits of the humanities scholar. 
Źródło:
Artium Quaestiones; 2019, 30; 307-321
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Emocje w polu dóbr symbolicznych. Od Leonarda da Vinci do Jerzego Dudy-Gracza
Emotions in the Field of Symbolic Goods
Autorzy:
Matuchniak-Krasuska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/623096.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
sociology of art, sociology of emotions
emotions in art
field of art
Leonardo da Vinci’s Mona Liza
Opis:
Rozważania przestawione w tym artykule sytuują się na pograniczu socjologii sztuki i socjologii emocji. Analizowana jest problematyka emocji związanych z istnieniem dzieła sztuki i pojawianiem się jego nowych wersji, pastiszów, adaptacji, co wymaga, zgodnie z koncepcją Pierre’a Bourdieu, odwołania się do miejsca w polu dóbr symbolicznych (awangarda, klasyka, kultura masowa) oraz podmiotów w tym polu (twórców, krytyków, odbiorców). Stosowane jest wielokrotne studium przypadku; w tym tekście przedmiotem analiz jest Mona Liza Leonarda da Vinci oraz jej wersje awangardowe i rozrywkowe, poczynając od Marcela Duchampa i Salvadora Dali, Fernanda Botero, Jerzego Dudy-Gracza (ujęcia artystów awangardowych) aż do licznych ujęć twórców nieznanych, ukazujących Monę Lizę jako kulturystkę, rugbystkę, łysą, utrefioną, małpę, kocicę lub wcielenie wielkich uczonych, polityków, gwiazd popkultury. Mona Liza Leonarda da Vinci sytuowała się zawsze w polu kultury prawomocnej, stanowiąc idealny przejaw wartości uznawanych, odczuwanych i realizowanych – według terminologii Stanisława Ossowskiego. Tysiące pastiszów, o różnej wartości artystycznej, usytuowanych w trzech różnych subpolach dóbr symbolicznych, świadczy o żywotności dzieła i „grach z kanonem”, choć budzi zróżnicowane emocje odbiorców współczesnych.
The consideration is a borderline case combining sociology of art and sociology of emotions. The problems concerning emotions associated with a piece of art as such, its new versions, pastiches, and adaptations have been analyzed in the paper. The analysis involves reference to the position in the field of symbolic goods (the avant-garde, classic, mass culture) and the subjects in this field (creative artists, critics, recipients). A multiple case study has been applied and it is essential to use the reproductions of the pieces of art that have been discussed (Mona Liza by Leonardo da Vinci, Marcel Duchamp, Salvador Dali, Fernando Botero placed in avant-garde field, and numerous versions done by unknown creators from mass culture field).
Źródło:
Przegląd Socjologii Jakościowej; 2013, 9, 2; 46-69
1733-8069
Pojawia się w:
Przegląd Socjologii Jakościowej
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zakres sztuk wizualnych w Indiach klasycznych
The Field of Visual Art in Classical India
Autorzy:
Banasik, Barbara
Powiązania:
https://bibliotekanauki.pl/articles/914957.pdf
Data publikacji:
2016-06-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Classical India
visual arts
field of art
theory of art
theory of taste
theory of the senses
Opis:
The objective of this paper is to identify and define the main differences in modern Western and Classical Indian approaches to the theory of art, and by extension to the work of art itself. It is important in research on the history of art to avoid a cultural bias resulting from different theoretical approaches towards art and the basis of visual culture. Three main areas are examined: the classification of art or art disciplines, the theory of the senses and strategies in the perception of art. The first part analyses concerns about the origin of art, its boundaries and inner divisions. This serves top identify the scope of the Field of Art, connections between disciplines (theatre, music, painting, sculpture, etc.), and their position in the Art World. The following Sanskrit treatises serve as a basis: Nāṭya-śāstra, Kāma-sūtra, Viṣṇu-dharmôttara-purāṇa. A significant distinction can be found in the theory of the senses. Based on Saṃyutta Nikāya, Nyāya-sūtra, Vaiśeṣika- sūtra, etc. classical concepts of sensual perception and their roles are examined, with special emphasis on the position of the mind (manas) as a sixth sense or inner organ linked to senses. With that background, a brief analysis of the theory of taste (rasa), including the roles of emotion (bhāva) and mind (manas), is presented.
Źródło:
Studia Azjatystyczne; 2016, 2; 7-19
2449-5433
Pojawia się w:
Studia Azjatystyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Displaced Objects and Meanings. A Few Remarks on the Fang Mask, Masawa Canoes and Kachina Dolls
Autorzy:
Kisielewski, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/1985614.pdf
Data publikacji:
2018-06-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
cultural anthropology
art history
anthropology of art
Opis:
Each of the artefacts mentioned in the title is an exemplification of products of the anthropological “Other”. Each of them comes from a distinct geographical region and represents an entirely different culture. However, all of them have been connected together in the Western culture realia as a result of a particular type of displacements. The first displacement involved their physical migration – first to European museums of natural history and ethnological museums. The next one resulted in their emergence on the market of exotic “oddities” whereas yet another displacement located them within the conceptual framework delimited by the artistic discourse. This last displacement shows that it is very difficult to understand or “translate” one culture into another because the conceptual framework of the “translator” is always determined by their own culture.
Źródło:
Kultura i Edukacja; 2018, 2(120); 97-112
1230-266X
Pojawia się w:
Kultura i Edukacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The art of failure – the victory of the losers
Sztuka porażki – zwycięstwo przegranych
Autorzy:
Szczepanek, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/593929.pdf
Data publikacji:
2015
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
art of failure
end of art
queer
sztuka porażki
koniec sztuki
Opis:
The article describes the phenomenon of the art of failure. Traditional narrative focuses on the experience of winning, while marginalizing everything that is weak, mediocre, lost. The change comes with the end of art understood as a decomposition of the historical structures organizing artistic discourse (cf. Arthur C. Danto, Gianni Vattimo, Jean-Luc Nancy). In the post-historical plurilogue, the art of failure becomes a means of expression of the groups which have been traditionally excluded (Judith Halberstam). This in turn leads to a multi-level game between the participants of cultural life and its institutions. The author goes on to present and analyse specific examples of the art of failure accentuating their subversive-emancipatory potential.
Przedmiotem artykułu jest opis zjawiska sztuki porażki. Tradycyjna narracja stawia w centrum doświadczenie sukcesu, marginalizując jednocześnie to, co słabe, przeciętne, przegrane. Zmiana następuje wraz z końcem sztuki rozumianym jako rozpad historycznych struktur organizujących dyskurs artystyczny (Arthur C. Danto, Gianni Vattimo, Jean-Luc Nancy). W posthistorycznym wielogłosie sztuka porażki staje się środkiem ekspresji grup zwyczajowo wykluczanych (Judith Halberstam), co prowadzi do wielopoziomowej gry między uczestnikami życia kulturalnego, a jego instytucjami. W dalszej części artykułu autor przedstawia i analizuje poszczególne przykłady sztuki porażki, akcentując ich subwersywno-emancypacyjny potencjał.
Źródło:
Art Inquiry. Recherches sur les arts; 2015, 17; 181-194
1641-9278
Pojawia się w:
Art Inquiry. Recherches sur les arts
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Czy chory człowiek może być inspiracją dla artysty?
Should a Sick Person Be an Inspiration for An Artist?
Autorzy:
BŁACHUTA, Monika
Powiązania:
https://bibliotekanauki.pl/articles/1033816.pdf
Data publikacji:
2013
Wydawca:
Zakład Opieki Zdrowotnej Ośrodek Umea Shinoda-Kuracejo
Tematy:
affective disorders
history of art
psychiatry
Opis:
This article highlights the role of psychiatric illness, mainly the affective disorders, in the work of famous painters throughout the centuries. Especially paintings from well-known artists such as Pieter Bruegel, Albrecht Dürer, Henri de Toulouse – Lautrec, Vincent van Gogh, Edward Munch, Ernst Ludwig Kirchner, Frida Kahlo and Lucian Freud are discussed in detail. While pain and disease are unavoidable parts of human life artists are especially sensitive to suffering and melancholy. Artists should create honest and true art which gives a reflection of the times they live in. Through their art they should give a reason to look closer and understand people and circumstances. Overidentification of the artist with that mission may, however, lead to overwhelmingly deep compassion and may cause depression. On the positive side art may contribute to higher awareness concerning many diseases and thus provide a strong impulse to more intense research activity or social tolerance, which finally will considerably improve the situation of the patients.
Źródło:
Medicina Internacia Revuo; 2013, 25, 101; 243- 252
0465-5435
Pojawia się w:
Medicina Internacia Revuo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Pedagogical and neuropsychological aspects of prisoner creativity
Autorzy:
Gajewski, Mariusz
Powiązania:
https://bibliotekanauki.pl/articles/2106012.pdf
Data publikacji:
2020-03-11
Wydawca:
Fundacja Edukacji Medycznej, Promocji Zdrowia, Sztuki i Kultury Ars Medica
Tematy:
creation
emotions
work of art
communication
Opis:
Detention in a prison is the isolation of an individual from society, placing him in an isolated space, where the punishment is not only the lack of contact with family or loved ones, but also being with other - often not easy in coexistence - prisoners. The reduced level of external stimuli makes internal life (experiences, emotions) a priority. Undertaking any creative activity reduces a prisoner’s concentration on the matter of isolation and any health problems and issues: real or imaginary. This process counteracts chaos and contributes to a gradual stabilization of the emotional system. Creative activity, by strengthening emotional stability, helps the regaining of balance and influences the prisoner’s adaptation to the life situation in which he finds himself. The initiation of creative activity by prisoners promotes the reintegration of the individual and social (here including cultural) self. The first part of this article will explain why introducing the arts is not only desirable, but natural given the setting, and inmates’ propensity for creative expression. The next part will present the examples of unstructured and structured programs developed for the creative revalidation of prisoners. Studies have revealed that undertaking creative activity on the part of prisoners plays an important role in the proces of revalidation. At the same time, analysis of works of art produced by prisoners gives an insight into the neuropsychological mechanisms of creation and provides important information for planning therapeutic programs.
Źródło:
Acta Neuropsychologica; 2020, 18(1); 97-125
1730-7503
2084-4298
Pojawia się w:
Acta Neuropsychologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 1040

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