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    Wyświetlanie 1-5 z 5
    Tytuł:
    Puszkin Abrama Terca, czyli metafora „sztuki czystej”
    Пушкин Абрама Терца, или метафора чистого искусства
    Autorzy:
    Woźniak, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/1945247.pdf
    Data publikacji:
    2008
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Abram Terc
    Puszkin
    „sztuka czysta”
    „recepta” Poety
    idealizacja obrazu
    Abram Tero
    Pushkin
    “pure art”
    Poet’s “prescription”
    idealization of the image
    Opis:
    В статье предлагается один из возможных вариантов прочтения книг Терца на тему Пушкина и его творчества Прогулки с Пушкиным (1975) и Путешествие на черную речку (1994) – как книг об искусстве, его истоках и эстетических стимулах. Для Терца Пушкин являлся гением русской поэзии и наилучшим осуществлением метафоры „чистого искусства”, Поэзии. Образ Пушкина для Терца – это идеал Поэта, универсального творца. В анализе текстов затронуты пушкинские картины и маски, в видении Терца, такие как Пушкин, который входит в историю со своей биографией, который убивает в себе человека, Пушкин как негр, царь, самозванец, Пушкин как воплощение „incognito”, т.е. „чистого искусства”.
    Źródło:
    Roczniki Humanistyczne; 2008, 56, 7; 53-70
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Artystyczne kompozycje egzystencjalne. Teorie estetyczne w 622 upadkach Bunga Stanisława Ignacego Witkiewicza
    Autorzy:
    Aneta, Jabłońska,
    Powiązania:
    https://bibliotekanauki.pl/articles/897036.pdf
    Data publikacji:
    2020-01-13
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    Mystery of Existence
    aesthetic existence
    modern aestheticism
    unity in multiplicity
    destablilization of existence
    modern fragmented life
    boredom
    falsified existence
    pure art
    metaphysical necessity
    metaphysical novel
    aesthetic pragmatism
    Opis:
    In the article, Aneta Jabłońska analyzes a way Witkacy defined art and creative process. Jabłońska discerns a parallel between Witkacy’s terms and interpretations of these categories which were named in modernism. The author of the article shows the conceptions of art which were described in The 622 Downfalls of Bungo. She also presents how these conceptions influence the acts of the novel’s main characters (among others of Bungo, Duke of Nevermore and Baron Brummel). Jabłońska distinguishes the following theories: aestheticism of the modern period, aesthetic pragmatism, and modern aestheticism. The article casts doubt on Bożena Danek-Wojnowska’s thesis because Jabłońska proves that in his novel, Witkacy did not opt for any of the theories which he showed in The 622 Downfalls of Bungo as each of them was either destroying the artist or denying the existence of pure art and its creation.
    Źródło:
    Przegląd Humanistyczny; 2019, 63(4 (467)); 29-40
    0033-2194
    Pojawia się w:
    Przegląd Humanistyczny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Edgar Wind i oblicza sztuki nowoczesnej. Na marginesie książki Bena Thomasa
    Edgar Wind and the Faces of Modern Art. In the Margins of Ben Thomas Book
    Autorzy:
    Kasperowicz, Ryszard
    Powiązania:
    https://bibliotekanauki.pl/articles/32346311.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Edgar Wind
    romantic revolution
    aesthetic tautology
    aesthetic illusio
    artistic values
    cult of pure form
    history of art history
    art criticism
    Opis:
    The issue of the relationship between art history, its analytical procedures and critical judgements, and the attitude of art historians to modern art has long been a problem discussed when we refer, for example, to scholars such as Riegl, Wölfflin, and, for obvious reasons, Justi or Sedlmayr. Although many art historians reacted very negatively to their own contemporary artistic phenomena, of which Justi’s aversion to Impressionism was perhaps the most notable example, the issue is by no means clear-cut. It is important to note here that even critical remarks made against distinct phenomena in modern art need not be tantamount to a condemnation of “modernity”. Edgar Wind, an outstanding methodologist of science and an excellent art historian of the 18th century and the Renaissance, seems to be a particularly interesting example here. Criticising various manifestations of the cult of “pure form”, and associating them with the influence of Romantic “autonomy” of art creation and certain concepts from the sphere of art history as a discipline, Wind was at the same time a very insightful observer of contemporary art, valuing selected artists highly. This issue was presented in detail by Ben Thomas in his recently published book on Wind’s attitude to contemporary art, drawing on Wind’s previously unpublished and unknown materials. The present text is an attempt at a broader, problematising discussion of this issue on the basis of reading Ben Thomas’s book, the publication of which should be regarded as an important event in the field of research into the history of art, history of art history, and the influence exerted by art history as a practice and as a discipline on the problem of esteeming modern art.
    Źródło:
    Artium Quaestiones; 2022, 33; 301-317
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Freedom of self-discreditation. On Witkacy’s letters to his wife
    Autorzy:
    Kurowska, Sara
    Powiązania:
    https://bibliotekanauki.pl/articles/650104.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Witkacy’s letters to his wife
    Pure Form
    carnality
    innards
    low art
    self-discreditation
    correspondence
    autobiographic
    novel pact
    Opis:
    „If these letters are to be found by someone after my death, I will be brought into disrepute (…)” – wrote Witkacy to Jadwiga and he reminded his wife of destroying all the letters she receives from him. The question what and why could put the artist in disgrace seems fundamental and not so simple as one could assume. In order to find answer to this question I analyze letters in reference to Witkacy’s theory of Pure Form. According to Marshall Berman, the elements of antimodernity in modernism, i.e. an art which strived for originality and innovation, were of utmost importance because due to them the artist keeps his identity. Witkacy, an artist from the provinces, who wished to become an artist fitting modern West European art, and who tailored his theory of Pure Form to that, did not express his anti-modernist resistance directly. His resistance is visible in creating low, carnal, trivial and autobiographic forms – brought into disrepute from the point of view of modernist art and Witkacy’s own theory. Thus in his letters to his wife, Witkacy found a peculiar area of freedom – freedom of self-discreditation. Although he constantly blamed Jadwiga for lack of interest in philosophy, he was glad to communicate with her via the low art and low carnality.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2017, 45, 7
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    "Czysta widzialność" w estetyce formalnej Konrada Fiedlera
    „Pure Visibility” in Konrad Fiedler’s Formal Aesthetics
    Autorzy:
    Kaźmierczak, Magda
    Powiązania:
    https://bibliotekanauki.pl/articles/945727.pdf
    Data publikacji:
    2017-12
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Konrad Fiedler
    Immanuel Kant
    formal aesthetics
    pure visibility
    theory of vision
    theory of art
    estetyka formalna
    czysta widzialność
    teoria widzenia
    teoria sztuki
    Opis:
    Nowadays still not well known, Konrad Fiedler was an extremely original philosopher of art and an inspiring follower of Kant. He created a theory of art’s autonomy and his pioneering thought contributed not only to the formalist theory of art but also and foremost to creating an epistemology that later became a foundation of theories of art stressing the uniqueness of seeing and raising the status of visual representations. The artistic way of seeing, according to him, undiscloses the principles of how the world emerges from nothingness of chaotic sensations – it is the way of seeing that presents „pure visibility”. According to Fiedler, this way of seeing is the basis of each true artistic creative act.
    Źródło:
    Internetowy Magazyn Filozoficzny Hybris; 2017, 39 (4)
    1689-4286
    Pojawia się w:
    Internetowy Magazyn Filozoficzny Hybris
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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