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    Wyświetlanie 1-4 z 4
    Tytuł:
    Originary experience of art in Martin Heidegger’s philosophy
    Źródłowe doświadczenie sztuki w filozofii Martina Heideggera
    Autorzy:
    Krawiec, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/2096333.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    aletheia
    phenomenology
    M. Heidegger
    essence
    eyeblink
    art
    dread
    origin (Ursprung)
    fenomenologia
    istota
    okamgnienie
    sztuka
    trwoga
    źródło (Ursprung)
    Opis:
    Martin Heidegger in The Origin of the Work of Art (Der Ursprung des Kunstwerkes) developed a whole new way of thinking about art, going beyond traditionally understood aesthetics or even philosophy of art. Some of Heidegger’s thoughts, however, appear to be understated and only signal a huge complexity of both experiencing works of art and the very issue of the origin of the work of art. The analysis of the terms ‘dread’ and ‘eyeblink’ from Time and Being presented in this article complement and develop Heidegger’s ideas included in his essay. Linking art to these two crucial phenomena of fundamental ontological analysis of Dasein casts light on the status of art and its existential significance. The author aims mainly at demonstrating the aletheic connection (based on unclosedness) between the experience of ‘originary source’ of a piece of art and ‘dread’, and also, in conclusion, he points to the ‘event of Being’ as the essential, non-metaphysical origin of art.
    Źródło:
    Przegląd Filozoficzny. Nowa Seria; 2019, 1; 93-113
    1230-1493
    Pojawia się w:
    Przegląd Filozoficzny. Nowa Seria
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Projektowanie egzystencji. Samotność. Właściwe bycie sobą?
    Project of existence. Solitude. Authentic being-ones-self?
    Autorzy:
    Łobocki, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/1048401.pdf
    Data publikacji:
    2015-07-04
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    life
    project of existence
    time
    meaning of life
    human being
    solitude
    angst
    death
    freedom
    życie
    projektowanie egzystencji
    czas
    sens życia
    człowiek
    samotność
    trwoga
    śmierć
    wolność
    Opis:
    The author, following Heidegger’s analysis of Dasein way, starts with a description of common understanding of a project of existence. Then he passes on to its ontological understanding. Both common and Heidegger’s way of understanding treat these issues in a different way. Despite significant differences, both ways of understanding the existence project – as a suggested answer to “how to live” question claiming to be the right ones – result from the same paradigm of viewing a human-being, mostly as somebody apart, who is distinguishable by possessing a self-imposed task, which could be “discovered” and put into reality only by an entity alone – and be oneself. Such a human, as a unique in his existence, is his own biggest problem and a task (a project) for all life.
    Źródło:
    Filozofia Chrześcijańska; 2015, 12; 89-113
    1734-4530
    2450-0399
    Pojawia się w:
    Filozofia Chrześcijańska
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zygmunt Haupt: An ambivalent presence
    Zygmunt Haupt. Figura ambiwalentnej obecności
    Autorzy:
    Zając, Michał
    Powiązania:
    https://bibliotekanauki.pl/articles/2088404.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    20th-century Polish literature
    Zygmunt Haupt (1907–1975)
    short stories
    presence / absence
    memory
    desire
    horror
    identity
    melancholy
    psychoanalytic criticism
    Jacques Lacan
    Julia Kristeva
    Jacques Derrida
    Haupt
    Lacan
    Kristeva
    Derrida
    literatura
    obecność
    pamięć
    pragnienie
    trwoga
    tożsamość
    melancholia
    Opis:
    This article is an attempt to identify the main themes in the literary work of Zygmunt Haupt, a Polish writer, journalist and painter, who emigrated to the United States in the aftermath of World War II. His writings show a keen awareness of the issue of absence/presence and the related problems of memory traits, identity and literary representation. Drawing on the psychoanalytical criticism of Jacques Lacan and Julia Kristeva and the philosophy of Jacques Derrida, this reading of Haupt’s fi ction, especially his short stories (whose collected edition was published in 2007 under the title The Basque Devil), is a critical reassessment of his work. As a storyteller he excels in the depiction of scenes of terror, desire and the uncanny. The article argues Haupt’s work represents not only a remarkable literary achievement but also offers an interesting study case for critics whose approach is founded on literary theory, psychoanalysis and anthropology.
    Źródło:
    Ruch Literacki; 2019, 1; 15-25
    0035-9602
    Pojawia się w:
    Ruch Literacki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pod warszawskim adresem: wyobrażenia i realia. Dokumentalne opowieści o stolicy, jej mieszkańcach i prowincjonalnych „słoikach”
    At Warsaw: imaginations and reality. Documentary stories about the capital, its residents and newcomers called “provincial jars”
    Autorzy:
    Smoleń, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/920059.pdf
    Data publikacji:
    2013-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Paweł Kędzierski
    Uliczka wolność
    Tadeusz Pałka
    W cieniu Pałacu
    Andrzej Titkow
    Trwoga
    Andrzej Sapija
    Stadion czyli Jarmark Europa
    Jerzy Kalina
    Pole karne
    Karolina Bielawska
    Julia Ruszkiewicz
    Warszawa do wzięcia
    Warsaw
    image of the city
    capital
    documentary film
    province
    "black series"
    Opis:
    The author of the article discusses in detail documentary films which provide images of Poland’s capital, its permanent residents and newcomers, called “provincial jars”. She compares prevalent imaginations about Warsaw with the realities of daily life in the capital. The analysis begins with examples from the “black series” of the Polish documentary. In the 1950s, directors like Hoffman, Skórzewski, Karabasz and Ślesicki initiated the trend of recording the “dark side of the city”, though most films from the times of the People’s Republic of Poland showed Warsaw as a wonderful, modern metropolis. In the 1990s, Warsaw became the symbolic center of a newly developing capitalism. Most of the phenomena associated with this socio-economic transformation can be seen on the streets in this city. Back then, directors like Titkow, Pałka, Sapija and Kędzierski aimed their cameras at central points in the city (the Palace of Culture and Science and the Stadium of the 10th Anniversary), asking residents of the capital, newcomers from the East, and those from the Polish provinces about their situation, views, plans for the future and opinions on Warsaw. The documentary film Warszawa do wzięcia, directed by Julia Ruszkiewcz and Karolina Bielawska, might be considered a perfect summary of the changes in the image of the Polish capital. In this picture, Warsaw is shown through the eyes of three young girls from a State Agricultural Farm somewhere in the Polish provinces, for whom a trip and work in the capital offered a chance for a change in their fate, but ended in failure.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 12, 21; 193-205
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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