We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Dogtooth is perhaps the most interesting film of Yorgos Lanthimos receiving in 2009 the Prix Un Certain Regard at the Cannes Film Festival. By portraying the peculiar relationships of a family in which parents deprive their children of genuine contact with the coordinates of objective reality, the Greek director creates in his film a frightening dystopia about how the perception of the individuals is a natural consequence of their relationship with their own language. Without being an exhaustive analysis, this paper briefly outlines some observations about Yorgos Lanthimos's strategy, following some of the theoretical coordinates whereby the director guides in the process of designing his film.
More...
An attempted analysis of relations between the word and the image in the domain of outsider art or art brut. The author considered the manner in which elements of writings were applied in artistic compositions by selected authors (Władysław Grygny, Zdeněk Košek, Iwona Mysera), while at the same time drawing attention to assorted processes and transformations to which this medium succumbs in the described works and trying to indicate within this context features specific for this particular sphere of artistic activity. The methodological foundation of the study is composed of such conceptions as: the intentional and the non-intentional (Jan Mukařovský), the semiotic (Julia Kristeva), visuality (Georges Didi-Huberman), shapelessness, and ornament.
More...
Texts by Pierre Francastel, the French sociologist of art, are precursors of important contemporary models of thinking about art. Such ideas as art conceived as the place of thought, the expansion of the perception of art by including the anthropological dimension, and questioning the limits of art have become quite obvious. In accordance with the thesis proposed in this article these types of elements of a breakthrough in reflections on art (summed up in the article on the joint conceit of “visual art thought”) were devised by Francastel thanks to tackling the interpretation of relations between art and technology. The French sociologist wished to understand the way in which art, predominantly Modernism, makes it possible to understand technical progress and modernity as such. With this purpose in mind he questioned the limit of the discipline of history and postulated studies whose object were to be mutual relations between parallel developing cultural practices.
More...
A presentation of the features of artistic testimony and literal quality conceived as a vehicle of historical testimony, with particular attention paid to its cognitive and affective aspects. The successive part of the text proposes a detailed study of a single case - the “literary” book by Otto Dove Kulka, an historian of the Holocaust and anti-Semitism. K. Bojarska went on to indicate certain features of the analysed case and proposed an alternative formula of artistic testimony and of the witness as creator.
More...
In this case reminiscences linked with the beginning of my friendship with Mariusz Tchorek concentrate on the evolution of the vantage point from which he perceived the reality of art. This evolution was a process strongly inspiring for the co-participants and witnesses of his activity. I saw it as a moulded by diametrically different geographical-cultural and social relations and am, therefore, compelled to present accounts of this impact in my capacity as someone who recognises in Tchorek’s ideas his status as a mentor.
More...
The text sets out to describe the origin and development of Mariusz Tchorek’s conception of the place coined in response to post-war developments in abstract painting – Henryk Stażewski’s late version of Constructivism, on the one hand, and the informel type of painting, on the other hand. Other points of reference were Katarzyna Kobro’s and Władysław Strzeminski’s programme of Unism and Roman Ingarden’s theory of painting; the article shows the way in which Tchorek’s conception of the place connects the ontological aspect of a Unist work with the notion of intentionality developed in Ingarden’s aesthetics. In addition, it highlights the performative dimension of Tchorek’s theoretical reflection.
More...
The author proposes a reinterpretation of the parable about the Prodigal Son within the context of the narration introduced in Rainer Maria Rilke’s The Notebooks of Malte Laurids Brigge and therapeutic sketches by Mariusz Tchorek. In doing so, she tries to prove a connection between Tchorek’s underlines in The Notebooks and his later psychological practice. By analysing the story of the Prodigal Son proposed by Rilke Anna Świtaj shows the similarity of this process to the path postulated by Mariusz Tchorek, which the patient should traverse in the course of therapy.
More...
Rozmowa o cenzurze i autocenzurze z Josifem Brodskim, Hansem Christophem Buchem, Hansem Magnusem Enzensbergerem, Susan Sontag i innymi. Rozmowa ta, którą przedrukowujemy w skróconej wersji, odbyła się w początkach lutego 1980 roku w Instytucie Nauk Humanistycznych Uniwersytetu w Nowym Jorku.
More...
The great conductor and scholar of the works of Bach, Helmuth Rilling, commissioned his colleague composers from different countries to write works on the Passion of Christ inspired by the four Gospels. This project known as Passion 2000 was realized on the 250th anniversary of Bach’s death. As part of this valuable initiative and tribute to the Bach, the Russian composer Sofia Gubaidulina, the German composer Wolfgang Rihm, the Chinese composer Tan Dun, and the Argentinian composer Osvaldo Goliovo created four considerable works that completely differ stylistically and provide new perspectives on Passion settings. This article presents the following two European Passions from a historical perspective: the St. John Passion by Sofia Gubaidulina and the Deus Passus by Wolfgang Rihm. These composers’ perspectives of the Passion genre expand the traditional framework of this genre as they present the events of the Passion within contemporary contexts and combine musical styles from different historical periods.
More...
When aesthetics is in question, Marx’s actuality is seen primarily in his almost romantic perception of art as a norm and unreachable postulate. This position enabled art of the 20th century to have free flow of aesthetic ideas, and to have distance with real socialist praxis of social and political functionalising of culture. The result of Marx’s empirical analyses of raise of capitalist production might have been even greater than this. Capitalism becomes an arch enemy of art in utterly rationalistic, technological world together with logos holy observation (Weltanschauung). Although Marx was theoretically in a different path form Hegel, he managed to perceive the same tragic destiny of art.
More...
In the article I concentrate on examining Obrazy Londynu by Wojciech Karpiński from the perspective of phenomenological and neuro)cognitivist examinations. The interactive position allows the analysis of the mechanisms of the perception of works of art by the hero. The reception of works of art is a tangle of the entire sequence of intellectual processes, among which cognitive processes play a central and emotional role. The intertwining of cognitive processes and emotional processes is a specific mechanism causing that the recipient does not leave the work right after the confrontation with it, but consequently carries out further intellectual activities which are essential for its full understanding. At first the sensory, then the intellectual reflection of the hero, lets him discover his self anew, teaches him how to look at the world and Others. Ie lets him come into contact with endless and ambiguous reality. In this sense, every art becomes a concept. It always entails some "theory of existence" articulated in the language of colors, contours, lines and the play of light which requires translation to the discursive language.
More...
Bogusława Latawiec is the author of – among others – short prose verging on essay. These works reveal her attitude towards the art of words and at the same time they tell the private history of the woman writer. It is a dialogic attempt to define herself in confrontation with the texts of culture. Short prose by Latawiec has the potential of self-presentation and leads to working out of an individual poetic project. Bogusława Latawiec values this literary form for its fragmentarity, discursiveness, intellectuality and autobiographicalness; paired with metacritical reflexion it allows her to recognize and to construct her own identity.
More...
The article presents a few comments on the origin of interest in Europe in the so-called fourth dimension and the way of presenting its phenomenon in European thought at the turn of the 19th and 20th century. The turn of the 19th and 20th centuries is in Europe (and in the United States) the time of the greatest popularity of the idea of the fourth dimension, i.e. a kind of hyperspace. The authors of many scholarly, popularizing and literary works, as well as artists, philosophers and theologians asked the question: is it possible to see and present the fourth dimension of space, and give them answers. The epiphany experience of admiration for this novelty was combined with the conviction of the possibility of solving – with the help of mathematics tools – various “mysteries of existence”. From about 1915 to the description of space, the notion of time began to be added more and more often. There has been a peculiar blurring of the difference between the fourth dimension of space and time as the fourth dimension. Albert Einstein’s concepts contributed to changing the perception of the fourth dimension. Until now, the fourth dimension was the deepening of space, the total spread, but it had no connection with the determination of time. The model of Einstein’s inseparable space-time space has changed the center of gravity. It turned out that the fourth dimension is nothing but the identification of the object and subject, time and space, matter and energy. These parallelities of the physical continuum, for the scientist being a hypothesis, are realized in the “miracle” of art.
More...
In 2013, prominent Polish documentary filmmakers, Marcel and Paweł Łoziński, father and son, decided to implement a joint film project, that was to be a report from a journey from Warsaw to Paris. The expedition was also supposed to have a therapeutic significance, to help to clarify misunderstandings and to repair their mutual relations. The idea was not entirely successful. The joint project was not realized, and instead, based on the same photographic material, two independent films were created: Father and Son by Paweł Łoziński, “Father and Son on the Journey” by Marcel Łoziński. The author defines these films as examples of personal documentary and first person documentary, and places them in a broader context – on the line of the relationship between father and son – post-memory referring to the history of the family and its Jewish roots and dilemmas resulting from father and son practising the same profession.
More...