ŹRÓDŁO PRZEKŁADU: Wartości wieczyste w sztuce islamu
BURCKHARDT, T. (1967). Perennial values in Islamic art. Studies in Comparative Religion, 1(3), © World Wisdom, Inc. (www.studiesincomparativereligion.com)
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BURCKHARDT, T. (1967). Perennial values in Islamic art. Studies in Comparative Religion, 1(3), © World Wisdom, Inc. (www.studiesincomparativereligion.com)
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The aim of the present article is an attempt to analyse and interpret cinematic cruelty from a sociological and philosophical perspective. Contrary to the received wisdom, where film violence results on the viewers’ side from the destructive aspects of human nature and on the producers’ side from the desire for material profit, the author presents an alternative approach to this social phenomenon. the main thesis is that gore in movies poses a more or less fulfilling artistic commentary on actual social relationships and contemporary cultural conditions. The line of the argument is divided into three parts: in the first part, the author describes the modern transition from a transcendental to a transgressive understanding of the body and of corporeality; in the second part, the author presents the issue of cultural fascination with cruelty, from a sociological and also from a historical perspective; in the third and last part, the author analyses and interprets the respective aspects of three selected violent movies, pointing out their sociological and philosophical implications. the main methodological premise is posed by the concept of the ‘productive viewer’ from rainer Winter, according to which the viewer is not a passive perceiver of art, but is an active and interpretive subject of the pictures on the basis of their contemporary cultural meanings and content.
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Tis paper attempts to acquaint Polish readers with the russian Orthodox philosopher Pavel Florensky’s (1882–1937) thinking on the category of spaceness, which together with the categories of symbolism and light is one of the key‑words in his theory of aesthetics. The concept of space is, according to Florensky, a criterion for distinguishing art types, although for him it is only a model, which can be used to help form judgments about the world. It is also the basis of being for the artwork itself. Painting and printmaking, among other arts types mentioned by Florensky (poetry, music, theatre, and architecture), have their own particularities in their organization of space. Painting and printmaking are, for Florensky, the truest art forms — art par excellence. The presentation of a threefold interpretation of the category of spaceness, together with the description and justification of the divisions which are made in art based on these spatial categories by the philosopher is the leitmotiv of this paper. The aim of the paper is to present and discuss the opinions and arguments of the Orthodox thinker from his work Анализ пространственности (и времени) в художественно ‑изобразительных произведениях, which has not yet been translated into Polish or english.
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picture book, migration, children’s literature, multiplicity of audiences, affects
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bronies, refigurations of masculinity, My Little Pony, New Sincerity, fandom
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rare-earth metals, deep time, geological fiction, terraforming, noosphere, cosmic sto-rytelling, sedimentation of the mind, archaeology of the future
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agential realism, motion capture, Musica Posthumana, intra-actions, sound, dance, technology
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textile art, queer art, political art, minority stress, teens’ suicides
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autoethnography, essay, canon, queer, national literature
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Wooden churches, that are present in the Province of Silesia, belong to different cultural centers. Basically, they were erected in accordance to two types of wooden construction: one typical for Lesser Poland (north and south-eastern part of the province) and one typical for Upper Silesia (the remaining areas). Diverse in terms of their fittings and decor, they were usually influenced by trends and styles of a specific period, as well as historical conditions. The following article attempts to deliver a brief presentation of the preserved as well as recently discovered paintings in wooden churches of the Province of Silesia. As a contribution to further in-depth researches, the article is a sketch, attempting to include in the alphabetical order all the paintings of artistic character found in the discussed region. Described painting collections are located in 35 temples. In several studied churches, such as those from Stara Wieś and Ćwiklice, there are paintings from various historical periods. One can find there four or five layers of historical paintings. Among the discussed polychromies we should draw special attention to those which, so far unknown, have been revealed in the last several years, including paintings located in wooden churches in Łaziska, Żernica, Sierakowice and Stara Wieś.
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The article is dedicated to explanation of the Bulgarian phenomenon in the 20th century music based on Thracian ancient roots of Bulgarian dancing culture. The «new barbaric» feature of irregular rhythms of Bulgarian folk music in fast tempos of western European music of the 20th century including a number of piano works by B. Bartok and D. Ligeti became a renovating feature that was revealed through actualization of historic memory about Eastern European sources of the musical culture of the west. B. Bartok was the first to discover super national importance of the Bulgarian folklore feature for renovation of image and musical and technique language in avant-garde feature of the 20th century music. The article is revealing historical and musical roots for a number of music works by B. Bartok and D. Ligeti discovering parallels between the composers in conceptualization of Bulgarian national tradition and importance of its accumulation. The article also focuses on usage of metric signatures and beaming that are typical for dancing rhythms of Bulgaria by the Hungarians. Quite a lot of attention is paid to the usage of the Bulgarian folk instrument gaida sound imitation. The sound imitation of that musical instrument originated from the Greek ison-burdon is characteristic of the Bulgarian church music. The author also defines “ cluster layer overlapping ”of black and white keys, accords of 2nd and 4th and 2nd and 5th together with quite spread in Bulgarian folk music pentatonic and pentachoric scales within the range of minor 5th as characteristic stylistic components of the Bartok and Ligeti’s piano style
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In this paper concerns about training on electronic musical instruments to students and the formation of musical skills and competencies needed for future employment as primary school teachers. Training is tailored to the achievements of contemporary information and communication technologies and their potential for use in education.
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We discuss various attempts to make a classification of music computer programs based on the technology they use or the main functions they perform. Since most programs perform several functions and can solve various tasks, it is not possible to make a classification according to their functions. In this article are analyzed some types of music computer programs in order to familiarize future primary school teachers.
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Artistic experiences, especially musical ones, are of justified importance for increasing the personal integrity of each person. They not only stimulate communication between lots of brain parts but also enable the development and harmonization of affective and cognitive functions. The present atricle names, on the basis of physiological, psychological and pedagogical research, the content and meaning of the phrase musical experience in the context of experiencing as an area of the inner state of man, which is also decisive in contemporary general psychology. It deals with the support of personal and social development of the individual with regard to ethical and prosocial behavior and emotional development of personality.
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A playwright’s relationship with the stage can be documented from various materials (interviews, notes while working on theirdrama texts, theoretical writings on theater etc.), but the analysis of their stage directions is the only one that can provide a complete image in this respect. The present paper attempts to offer an overview of Friedrich Dürrenmatt’s vision of the stage and of the role that stage directions play in his drama texts when it comes to the actor’s corporal activity. The fact that our analysis uses the instruments of Theatre Semiotics allows a differentiated balance between facial expressions, gestures and proxemics, and proves that a dialectic relationship between staging and drama text can only arise if the so-called“ pré-mise en scène” of the playwright is considered.
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Franz Kafka’s encounter with Yitzchak Löwy (1911–12), Yiddish theatre, and Yiddish language has often been regarded in the context of his quest for his Jewish roots and his Jewish identity (Shahar 2004). However, numerous studies related to the brief episode in Kafka’s life vary in their emphasis. They range from the attention paid by Walter Benjamin to Kafka’s use of gestures, to Evelyn Torton Beck’s study devoted to the Yiddish plays Kafka witnessed, Hartmut Binder’s analysis of various types of body language, Martin Puchner’s claim about Kafka’s antitheatricality, to Klaus Mladek’s performative gestures connected with the legal process and Mark Anderson’s exploration of sartorial aspects in Kafka’s texts. Others (Shahar, Baioni) illuminate artistic and historic background of Kafka’s interest in the actor and examine some aspects of Judaism relevant to this context.
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The article presents the educational potential of modern art as art contemporary for the theory of education through art, introduced to the Polish pedagogical thought in the 1960s by Irena Wojnar. In the initial stage of shaping the Polish theory of aesthetic education, Wojnar analysed the relationship between aesthetics and pedagogy, paying attention to the educational possibilities not only of “classical” art, but also of modern art. Despite her later approach to treating art as a whole, in her early publications, the then young researcher distinguished contemporary art, paying attention to its cognitive, emotional and creative potential, which was compatible with the modern civilisation of the second half of the 20th century. Contemporary discussions on the educational possibilities of art are often limited to canonical art, treating contemporary art with reserve. The first publications by Irena Wojnar, presented in the article, show the educational potential of contemporary art of the 1960s, which was characterised by controversy and incompatibility with previously learned ways of perceiving art. Wojnar saw a place in education for contemporary art and called for educating teachers in the field of contemporary art. This text presents the educational aspects of modern art, distinguished by Irena Wojnar in her first scientific publications in the 1960s. The text is also an invitation to rediscover the innovation of the theory of education through art.
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In the paper, I critically discuss the commemorative exhibition “Asia Minor Hellenism: Heyday-Catastrophe-Displacement-Rebirth” (Athens, Benaki Museum, 2022–2023), examining the role of postmemory in the shaping of national identity in contemporary Greece. Building my analysis on Marianne Hirsch’s concept of postmemory, I draw attention to commemorative exhibition practices and the intergenerational transmission of collective traumatic experiences related to dark events of national significance. Touching upon issues concerning the civilianization of war, I interrogate commemorative exhibitions as prefabricated events, bringing to the fore the selective management of collective memory through exhibition design.
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