THE DEVELOPMENT OF A POSITIVE RELATION TO POSTMODERN VISUAL CULTURE IN ADOLESCENTS

Author(s): Matjaž Duh,Tomaž Zupančič / Language(s): English Issue: 2/2013

Pedagogical theories that concern post-modern art (Blohm, 1995; Efland, 1992; Boughton, 1999; Mason, 1999; Hardy, 2006 and others) have a strong impact on the practice of art education. Empirical research dealing with art pedagogy should follow the changes that occur in modern and post-modern art and contemporary pedagogical theories of art. Therefore, there is an increasing need for conceptual, methodological and thorough topical research.The article introduces empirical research that was done with the purpose of finding out the influence contemporary art has on changing student’s attitudes towards contemporary art culture, i.e. art creativity. The findings point out to possibilities of changing this attitude. A sample of 210 students, aged 14, was used for the research. A combination of qualitative (action research) and quantitative (one-factor experiment with the departments as comparison groups) methodologies was used. We examined the effectiveness of recent innovations from the viewpoint of the students' opinions on art creativity, artwork in school and on modern art. The obtained results were compared with the level of their artistic abilities. Extremely positive changes were discovered in students and their attitude towards art creativity. The model is suitable for 14- to 18-year-old students.

THE ROLE OF SUMATIVE EVALUATION OF FINE ARTS IN DEVELOPING ART APRECIATION

Author(s): Matjaž Duh / Language(s): English Issue: 1/2013

The evaluation of fine arts is an extremely complex activity, in which the processes of communication and interaction create a multidimensional system of didactic procedures and communications serving as a means for the achievement of aims and tasks in fine arts. The innovative approach to summative evaluation in the process of teaching fine arts was experimentally tested, and it produced good results. The development of all factors defining art appreciation was statistically more significant in the experimental group than in the control group. Innovative approach to summative evaluation of visual art proved to be exemplary also in the light of developing art appreciation.

Dzieła ojca Efrema z Kcyni (Stanisława Klawittera, 1894–1970) w zbiorach Muzeum Franciszkańskiego w Rzymie

Author(s): Cyprian Janusz Moryc / Language(s): Polish Issue: 2/2017

The article is devoted to the work of the monastic artist Friar Ephrem Maria Klawitter, a Polish Capuchin, who acquired education in major European centres of the renewal of religious art. The works discussed here concern only the ones kept in the Franciscan Museum in Rome, which is merely a small part of the artist’s output. The aim of the article is the stylistic and iconographic analysis of the monastic painter’s works in the context of Franciscan iconography and the sudden cultural change at the turn of the 19th and 20th century, in which he actively took part. The author employed the methods used in interdisciplinary research, mainly stylistic and iconographic analysis of Roman works of Friar Klawitter, and afterwards confronted the results with a wide panorama of neo-Franciscan legend, which had captured, in the period concerned, the hearts and minds of writers, poets, art historians, musicians and artists themselves.In the analysed works of Friar Ephrem, there are no examples of impersonal attitude and the reflection on the pictures and sculptures from the monastic museum, whose history and activity had also been exemplified, allowed to notice a high formal and iconographic level of all works. The artist remains faithful to hagiographic sources and monastery tradition, which he knows perfectly well, and at the same time he is open to new trends in art, which he got to know while in the Benedictine school in Beuron and in the centre of neo-Thomism in Leuven. The results of the analysis, limited to a group of chosen works, can be used for educational purposes and for further research on the monastic artists’ output as well as Franciscan religious culture in Poland and Europe.

Emigracyjne drogi Romana Palestra i Andrzeja Panufnika

Author(s): Beata Bolesławska-Lewandowska / Language(s): Polish Issue: 2/2017

After the end of the Second World War, a large group of Polish composers decided to stay outside Poland. In the next few years this group was enlarged by other composers who had initially tried to make their lives in People’s Poland, searching for their own place within the framework of the imposed communist system. In 1949, Roman Palester (1909–1989), one of the most important Polish composers of the pre-war period and very active in the first years after the war, took the decision to remain in France. Soon afterwards he started working for Radio Free Europe in Munich, where he was responsible for preparing cultural programmes as the head of the cultural department. Simultaneously, he kept composing and managed to write many works of distinction. Unfortunately, his music today remains almost entirely forgotten.Andrzej Panufnik (1914–1991) took a quite a different road, deciding to leave Poland illegally in 1954. He settled in the United Kingdom, where after some extremely hard years he started to gain sustained recognition both as a composer and a conductor. His works are nowadays in the repertoire of many outstanding soloists and orchestras all over the world. However — as is also in the case with Roman Palester — the long-lasting censorship of his music and of any mention of his name in the Polish press meant that it was hard to consider him as part of 20th-century Polish musical culture. It is still difficult to bridge this gap. Why Roman Palester and Andrzej Panufnik decided to choose emigration and how this decision determined their lives henceforth? How did it influence the reception of both composers and the presence (or non-presence) of their music in Polish cultural life of the last seven decades? This article aims to answer these questions.

Coșmarul morților vii/ România interbelică, via Blecher

Author(s): Cristina Chevereșan,Adina Baya / Language(s): Romanian Issue: 06/2017

Chateauneuf du Pape: Între New York și Nebraska / Iubiri Damnate: Carol și Adele

Author(s): Cristina Chevereșan,Adina Baya / Language(s): Romanian Issue: 06/2016

Mersi, Marius Giura!/ Despre un visător

Author(s): Daniel Vighi,Adriana Cârcu / Language(s): Romanian Issue: 07/2016

Carpe Diem cu Anne Frank/ Comerțul cu suferință umană

Author(s): Cristina Chevereșan,Adina Baya / Language(s): Romanian Issue: 07/2016

Boii soarelui pe-un deal/ Earth Machine Gărâna

Author(s): Oana Doboși,Alexandru Potcoavă / Language(s): Romanian Issue: 08/2016

Iubiri livrești/ Love Story cu detectivi filologi

Author(s): Cristina Chevereșan,Adina Baya / Language(s): Romanian Issue: 08/2016

Legenda americană în evoluție (1)

Author(s): Cristina Chevereșan / Language(s): Romanian Issue: 11/2016

Sacralități de septembrie/ Jazzstories sau jazzul ca stare

Author(s): Claudiu T. Arieşan,Petru Ilieșu / Language(s): Romanian Issue: 09/2016

Destrămare/ Arta de a pierde

Author(s): Cristina Chevereșan,Adina Baya / Language(s): Romanian Issue: 09/2016

Noul, ori, poate, ultimul țar/ ”Mai încearcă!”

Author(s): Vladimir Tismăneanu,Anonymous Anonymous / Language(s): Romanian Issue: 05/2016

Urzeli ale vechilor tronuri/ Macbeth: film de acțiune

Author(s): Cristina Chevereșan,Adina Baya / Language(s): Romanian Issue: 05/2016

Aducătorul de vise/ Uriașul de la Hollywood

Author(s): Cristina Chevereșan,Adina Baya / Language(s): Romanian Issue: 10/2016

Granice pytań / Poezja nie bez związku z wystawą sztuki

Author(s): Cezary Wąs / Language(s): Polish Issue: 1 (22)/2017

Czytając Adorna...

Author(s): Jan P. Hudzik / Language(s): Polish Issue: 2/2017

The purpose of this article is to answer the question ‘what is aesthetc theory?’ I try to perform the way of reasoning about this topic by Theodor Adorno. Such a challenge by definition must be spontaneous, and fully loaded with idiosyncratic volatilities and factors, while being fully aware that it is impossible to perform the mode of thinking of the great Frankfurt School figure. There is no way to repeat his negative dialectics skilled argumentation, one that undermines itself and therefore it is a seductive, probably the most proximate thinking about art. It is also incomprehensible comprehensibility that is usually the most attractive feature of art to us. Its unknowable truth. I begin with reminding the modern idea for aesthetics as a place of refuge from increasing rationalization of the world. Then I write about antinomy of art and paradox of theory – the sources and mechanisms of its cognitive emptiness. The next step is about philosophy of picture – its short history associated with Adorno’s concept of picture as a ‘field of forces’. In the end of searching for a way out from the antinomical trap I defend the thesis about aesthetic theory as a performance.

Estetyczna natura wspomnienia

Author(s): Teresa Pękala / Language(s): Polish Issue: 2/2017

The main objective of the paper is to investigate how reflection on the ‘nature of recollection’ may change under the influence of transformations in understanding moder-nity. The analysis covers the esthetic dimension of the recollection process. Recollection has gradually solidified its position: from comprehensive conceptualizations of human temporality to various analyses of time experience, resulting in distinguishing memory as a separate issue, and finally to detailed considerations of its forms. The current trends in research are set, on the one hand, by new historiography and memory studies, and, on the other hand, by reflection on perception and body memory. In either case the esthetic aspect of recollection (memories) can clearly be observed. The esthetic is connected with either the ‘poetic’ (in the creative sense) aspect of the processes of recollection understood as a process of narrative building or aisthetic reconstruction by body memory.

Ciała w glorii. Z antropologicznego archiwum estetyzacji

Author(s): Ewa Nowak / Language(s): Polish Issue: 2/2017

Archaic texts and artifacts shows that human appearance, physiognomy, figure, charm, motoric, and body functioning was perceived as ‘significant’ in peculiar contexts. They are worth recalling. Among others, biometric identification and mantic were practiced in ancient Mediterranean cultures. In the Middle Ages, human body became meaningful when celebrating in isolation from its everyday functionalities. Its ‘glory’ only appeared in light of eschatology. Nowadays, splendid ‘ideal’ bodies detach themselves from both transcendent as well as immanent meanings (i.e., psyche, interiority). They seem to be empty, as Giorgio Agamben emphasizes.