Temat: figuration - Prolib Integro

Skocz do pozycji: 1.

Tytuł:: Gendered Figurational Strategies in Norbert Elias’s Sociology
Autorzy:: Bucholc, Marta
Tematy:: Norbert Elias
figuration
feminism
proxemics; Pokaż więcej
Wydawca:: Polskie Towarzystwo Socjologiczne
Powiązania:: https://bibliotekanauki.pl/articles/1929915.pdf Link otwiera się w nowym oknie
Opis:: Norbert Elias conceptualized social inequality as a result of shift in relative social forces of individuals in figurations, in which framework he also viewed the inequality between men and women. In this paper I examine the main thesis of what could be named Elias’s gender sociology: firstly, men and women use different strategies in their striving for an increase in relative power depending on their social position, and secondly, one of the most effective strategies which may be successfully used by the weaker party in order to change the distribution of power between the sexes is redefining the arsenal of cultural weapons used in this struggle. The antagonism between men and women trying to draw as much power as possible to themselves in the zero-sum social game can become very fierce, especially if the use of physical violence is legitimized on a respective level of civilization. On the other hand, according to Elias’s basic theoretical assumptions all individuals in a figuration are interrelated and interdependent, which restrains direct violence as well as suppresses radical liberation tendencies. This makes it easier for women to engage in strategies of coping with oppression on institutional, symbolic and proxemic level, which are discussed in the final part of the paper.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Montaigne, czyli o wielkości małych słów
Montaigne, or On Grandeur of Little Words
Autorzy:: Ryczek, Wojciech
Tematy:: Montaigne
rhetoric
amplification
elocution
figuration
tropes
figures; Pokaż więcej
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Powiązania:: https://bibliotekanauki.pl/articles/1040968.pdf Link otwiera się w nowym oknie
Opis:: The main aim of this paper is to propose a new Polish translation one of the well-known Michel de Montaigne’s essays, De la vanité des paroles (On the Vanity of Words, I 51). For the humanist, rhetoric delimited only to elocution responsible for linguistic adornments becomes the subject for critical investigation. In a short introduction to the essay, the author takes into consideration the rhetoric of Montaigne’s discourse on ‘the vanity of words’ with a particular attention to two rhetorical forms: amplification and figuration. Raising questions about lack of temperance in amplifying and adorning words with tropes and figures, the humanist attempted to revalorize linguistic and stylistic simplicity. Therefore, to find the proper words for various things, emotions and experiences are the central concern of an essay, a new literary genre invented by Montaigne.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: A Circle or a Spiral? The Primeval, Tropological Scheme Identified in the Structure of Truth Theories
Autorzy:: Cirillo, Giulia
Tematy:: Truth
tropes
Hayden White
Giambattista Vico
figuration; Pokaż więcej
Wydawca:: Polska Akademia Nauk. Instytut Filozofii i Socjologii PAN
Powiązania:: https://bibliotekanauki.pl/articles/31234074.pdf Link otwiera się w nowym oknie
Opis:: Applying linguistic tropes to the deep structure which underlay the 19th century historical imagination Hayden White derived from the vault of philosophical richness contained in Giambattista Vico’s La Scienza Nuova. Now the treasure trove becomes a source of one more illuminating analogy. The following study demonstrates how metaphor, metonymy, synecdoche and irony can be identified with five major theories of truth: the correspondence, pragmatic, coherence, deflationary and the semantic one. Theories are evoked on the basis of texts by philosophers themselves (Bertrand Russell, Charles Sanders Peirce, Brand Blanshard et al.). Moreover, a numerical mismatch between them and the four tropes should be seen as everything but unwanted. The concept of irony has multiple interpretations, and so mapping it onto the semantic theory will expose the relation between truth accounts and the principle of their development. In the end, there emerges a pattern in the shape of a circle or a spiral—two models of infinity along which runs the human quest for meaning of truth.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: Publicistički diskurs A.G. Matoša – od stila do političkog imaginarija
Journalistic Discours of A.G. Matoš – from Style to Political Imagery
Autorzy:: Beck, Boris
Tematy:: figuration
irony
political imaginary
liberalism
revolution
nation
body; Pokaż więcej
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Powiązania:: https://bibliotekanauki.pl/articles/635448.pdf Link otwiera się w nowym oknie
Opis:: In the newspaper articles and feuilltons, Antun Gustav Matoš uses a variety of procedures analogous to his artistic creation and develops a rich figuration and characteristic irony. The journalistic discourse constructed in that way consistently creates political and social imaginary which confirms oppositions: nationally/internationally, individual/collective, tradition/modernity and Croat/Serb, where the author clearly states his preference. Although Matoš consistently promote Starčevićʼs heritage, liberalism and individualism, he does not simply convey a political message, but adds meaning to agitation, which boosts its suggestivness, but also causes that it becomes relative.
In the newspaper articles and feuilltons, Antun Gustav Matoš uses a variety of procedures analogous to his artistic creation and develops a rich figuration and characteristic irony. The journalistic discourse constructed in that way consistently creates political and social imaginary which confirms oppositions: nationally/internationally, individual/collective, tradition/ modernity and Croat/Serb, where the author clearly states his preference. Although Matoš consistently promote Starčevićʼs heritage, liberalism and individualism, he does not simply convey a political message, but adds meaning to agitation, which boosts its suggestivness, but also causes that it becomes relative.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 5.

Tytuł:: Przygodny czas Eliasa
Time and Contingency According to Elias
Autorzy:: Michalak, Dominika
Tematy:: Norbert Elias
time
subjectivity
figuration
czas
podmiotowość
figuracja; Pokaż więcej
Wydawca:: Polska Akademia Nauk. Czytelnia Czasopism PAN
Powiązania:: https://bibliotekanauki.pl/articles/1373615.pdf Link otwiera się w nowym oknie
Opis:: The article aims at a reconstruction of Norbert Elias’s theory of time, as presented in Time: An Essay. The author stresses the importance of the ontological and existential questions posed by Elias or implied by his concept. Referring to Elias’s earlier works and to critical interpretations, the author attempts to answer three questions: According to Elias, what is time in social practice? What are Elias’s key ontological arguments about time? What does Elias’s theory of time imply about the human condition?
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 6.

Tytuł:: Recepcja twórczości Francisa Bacona w sztuce polskiej lat sześćdziesiątych i siedemdziesiątych XX wieku. Rozpoznanie wstępne
Reception of Francis Bacon’s Paintings in the Polish Art. Introductory Reconnaissance
Autorzy:: Zychowicz, Karolina
Tematy:: polska sztuka po 1945 roku
malarstwo polskie
rzeźba polska
figuracja
„nowa figuracja”
nouvelle figuration
realizm
pop-art
sztuka zaangażowana
deformacja
groteska
egzystencjalizm
angoisse
Angst
recepcja
intertekstualność
Polish art after 1945
Polish painting
Polish sculpture
figuration
New Figuration
Realism
Pop-art
Engaged Art
deformation
grotesque
existentialism
reception
intertextuality; Pokaż więcej
Wydawca:: Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Powiązania:: https://bibliotekanauki.pl/articles/2121221.pdf Link otwiera się w nowym oknie
Opis:: In the mid Sixties New Figuration appeared in Poland. Researchers interested in this chapter of polish art consider the reception of Francis Bacon's paintings as one of the sources of this kind of art. The subject of this article is mainly the painters, whose works show this reception, but also the sculptors. It concentrates on the Sixties and Seventies in Polish painting. At that time in the Polish art we can see a group of artists connected with existentialism. One of the most interesting phenomena is the painting of Teresa Pągowska (1926-2007), this artist, whom was older than others who were also working in the area of New Figuration, already had concrete artistic experience. In spite of similarities between many works of Francis Bacon and Teresa Pągowska, mainly in the composition and shot of the figure (deformed, not complete, dismembered), the works of Pągowska should be considered in their own right particular to her own style. Pągowska processed Bacon's art in an original way. Her distinction from other painters belonging to New Figuration comes from her experience, on the one hand Colorism (polish Postimpresionism), on the other hand – Abstraction, which led her to understand figures as a plastic sign, moving, full of color. In the second half of the Sixties we can find the inspiration of Francis Bacon's art in the paintings of Janusz Przybylski (1937-1998). Bacon in his compositions used spatial frame which was interpreted in different ways. It had been seen as a usual glass cage, confined the human being. The artist admitted that he uses this endeavour to expose a man in a better way. This solution became a kind of an artistic hook and it was taken by other artists. It spread so much that it became a kind of a manner. To avoid narration Bacon sometimes used a form of triptych. This was typically used by him and was imitated almost as often as placing people in a spatial frame. Both hooks were used by Przybylski, whose art in a different way fits in as a style of existentialism. The deformed human beings in the cages should show alienation and the drama of man. This aspect of polish artists' paintings more than others highlights connections with the English master's art. The polish painter of the Sixties and Seventies was not an artist who could be described as self-sufficient from what we can see by viewing their paintings and reading art critics. The reception of Bacon's painting we can also find in the art of a group from Cracow called “Wprost”, especially in the one of their member's art – Zbylut Grzywacz (1939-2004). Grzywacz confirmed that his interest in Bacon's art can be seen in his paintings created in the Seventies. The nature of these adaptations lay mainly in getting compositional solutions typical to Bacon and the original look of the deformed human being. However, the artist also underlined that used by him endeavours of body's deformation were connected with politics so they had a different context than in the work of Bacon. This highlights the large gap between English artists who's art concentrated on universal cases and the public art of the polish artist. Grzywacz painted with speed, carelessly, he just wanted to give us a short message, he didn't care about particular artistic problems. He wasn't a member of this group interested in Francis Bacon. Next to him we should remember Jacek Waltoś (born 1938). In his paintings we won't find such a direct connection with Bacon's art like as is the case with Grzywacz. Waltoś was fascinated by Bacon but he took from him just the ideas concerning problems of a painting's composition. This artist, contrary to other members of “Wprost” was mostly interested in the representation of emotional states, of what is inside the human being. Waltoś, a creator of existential art, feeling incomplete, the loneliness of human being, found in the Irish artist a kind of brother. There was also Wiesław Szamborski (born 1941) who was among the painters inspired by Bacon. In the first years after he finished his studies he exhibited often with Marek Sapetto (born 1939; until 1974). The art of both artists joins with Bacon's art color standardisation of painted surfaces and putting on them strongly deformed human beings. More painters were regarded as inspired by Bacon but there is not a description of their art in this article which is just an introductory reconnaissance of this problem. The image of a human being which was proposed by Francis Bacon turned out to be very interesting also for sculptors centred on existential reflection. The dramatically deformed face occurred to be the best medium to express people's anxieties, their feelings of emptiness and loneliness (Jacek Waltoś, Jan Kucz – born 1936, Wiktor Gajda – 1938, Adam Myjak – born 1947). The Eighties did not have such rich artistic material as can confirm a permanent fascination of Bacon's painting in Poland. It seems that in a world dominated by New Expressionism there is no place for it. Enough to say that the most interesting artist in dialogue with the English painter seems to be Grzegorz Bednarski (born 1954), consequently belonging to Figuration, connected with Cracow's environment. After his debut he moved to the area of existentialism. Nowadays Bacon's work is regarded as a classic. Artists quote his paintings in a conscious way (for example Marek Przybył, born 1961). Bacon happened to be a very popular artist in Poland in the Sixties and Seventies which corresponds with general trends in European art. At this time came after return to show a human being. It appeared New Figuration, antidote on the Abstraction, Conceptual Art and metavisual experiments of the Sixties. Bacon became the father to these new phenomena in art because he brought about a renewed artistic imagination and created a new image of the human being. Moreover, Bacon was regarded as a main representative of art identified with existential philosophy. This painting in a very good way expressed spirits of the time. It reflected Zeitgeist, that climate which was then best shown in the philosophy of existentialism. Bacon's reception in Poland had also local color. English artist's art was assimilated by polish painters, who were interested in politics, what was unfamiliar with Bacon who concentrated on universal problems. It seems that polish artists like thematic art, taking problems concerning a human being and his immediate environment, what constitutes the heritage of our history.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 7.

Tytuł:: Chuligaństwo czy figuracja w procesie cywilizowania? Recepcja szkoły Leicester a świat polskich kibiców piłkarskich
Hooliganism or Figuration in the Civilizing Process? Reception of the Leicester School and the World of Polish Football Fans
Autorzy:: Kossakowski, Radosław
Tematy:: Norbert Elias
football fans
hooligans
figuration
civilizing process
kibice piłkarscy
chuligani
figuracje
proces cywilizowania; Pokaż więcej
Wydawca:: Polska Akademia Nauk. Czytelnia Czasopism PAN
Powiązania:: https://bibliotekanauki.pl/articles/1373626.pdf Link otwiera się w nowym oknie
Opis:: The main aim of this article is to consider the topicality of the theoretical achievements of the Leicester School, formed by the students and continuers of Norbert Elias’s ideas, with Eric Dunning at their head. The author presents the main theses on stadium hooliganism which Dunning and his team formulated on the basis of a socio-historical analysis. The English researchers connect the behaviour of football fans with their class origins, with patterns of ‘street’ socialization, with masculinism, and with violence constituting an important aspect of daily life. They show that the social environment from which the majority of hooligans originate has not been included in the broader stream of the civilizational process. Then the author, in describing Polish football fans, makes use of certain elements of Norbert Elias’s process sociology (constituting Dunning’s analytical tool). History shows that the sub-culture of football fans is ‘becoming civilized’, although not in a uniform manner. The concept of ﬁguration could be a valuable analytical tool for describing the community of football fans, as it is not a society separated from the outside world, but remains in a speciﬁc interdependence with it. In the analysis, the dichotomy between ‘settlers’ and ‘outsiders’ is also helpful.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 8.

Tytuł:: Naród jako forma ucywilizowania. Przyczynek do ﬁguracji narodu polskiego
The Nation as a Civilizing Form: Contribution to the Figuration of the Polish Nation
Autorzy:: Peisert, Arkadiusz
Tematy:: Norbert Elias
habitus
figuration
nation
perverse effect
national charakter
Germany
figuracja
naród
charakter narodowy
Niemcy; Pokaż więcej
Wydawca:: Polska Akademia Nauk. Czytelnia Czasopism PAN
Powiązania:: https://bibliotekanauki.pl/articles/1373621.pdf Link otwiera się w nowym oknie
Opis:: This article was inspired by the book Studien über die Deutschen [Studies on the Germans] in which Norbert Elias encourages his readers to make sociological descriptions of the habitus of other nations. It is not only a matter of once again relearning lessons from history, but to look at them from the sociological perspective of ﬁguration theory. The author’s aim is to make an initial outline of the research perspective that would combine the macro-sociological changes of Polish society with experience at the micro-sociological level (Łuczewski) or even the biographies of individuals (Bończa-Tomaszewski). For example, the inﬂuence of the partitions on Poles’ mentality is part of common knowledge, but it has not been (perhaps precisely for this reason) addressed sociologically. These considerations inevitably lead the author to ask what, in essence, is a nation and what national consciousness is. In conclusion, the author proposes hypothetical main motifs for describing the Polish habitus.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 9.

Tytuł:: Słyszę was głosy zabitych – Andrzeja Wróblewskiego przypis do Louisa Aragona
“I hear you, voices of the killed”: Andrzej Wróblewski’s Reference to Louis Aragon
Autorzy:: Nowicka, Daria
Tematy:: Andrzej Wróblewski
Louis Aragon
poezja polska
poezja francuska
pamięć
sztuka
figuracja
Polish poetry
French poetry
memory
art
figuration; Pokaż więcej
Wydawca:: Wydawnictwo Uniwersytetu Śląskiego
Powiązania:: https://bibliotekanauki.pl/articles/699386.pdf Link otwiera się w nowym oknie
Opis:: For Wróblewski, Aragon – whose famous cry “I hear you, voices of the killed” is derived from the poem entitled “Autumn Night” – has become a figure of comparable imagination. This article juxtaposes Andrzej Wróblewski’s art with the work of Louis Aragon, a French poet and novelist, making it possible to recognise their shared poetics of war. In fact, both of them perceived language as a device shaping social imagery, searched for new forms of artistic expression,used metaphors and allegories extensively, and fought for a new and peaceful dimension of art.
Aragon, będący autorem poematu Noc sierpniowa, w którym pojawia się słynne zawołanie: „Słyszę was głosy zabitych”, stał się dla Wróblewskiego twórcą o zbliżonej wyobraźni. Próba zestawienia sztuki Andrzeja Wróblewskiego z twórczością francuskiego poety i powieściopisarza Louisa Aragona, która jest tematem artykułu, pozwala na zauważenie wspólnych, wojennych poetyk obu twórców. Artystów łączyło podobne rozumienie istoty języka jako narzędzia kształtującego społeczne imaginarium, poszukiwanie nowych form wyrazu, posługiwanie się metaforą i alegorią, a także walka o nowy, pokojowy wymiar sztuki.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 10.

Tytuł:: Słyszę was głosy zabitych – Andrzeja Wróblewskiego przypis do Louisa Aragona
“I hear you, voices of the killed”: Andrzej Wróblewski’s Reference to Louis Aragon
Autorzy:: Nowicka, Daria
Tematy:: Andrzej Wróblewski
Louis Aragon
poezja polska
poezja francuska
pamięć
sztuka
figuracja
Polish poetry
French poetry
memory
art
figuration; Pokaż więcej
Wydawca:: Wydawnictwo Uniwersytetu Śląskiego
Powiązania:: https://bibliotekanauki.pl/articles/699414.pdf Link otwiera się w nowym oknie
Opis:: For Wróblewski, Aragon – whose famous cry “I hear you, voices of the killed” is derived from the poem entitled “Autumn Night” – has become a figure of comparable imagination. This article juxtaposes Andrzej Wróblewski’s art with the work of Louis Aragon, a French poet and novelist, making it possible to recognise their shared poetics of war. In fact, both of them perceived language as a device shaping social imagery, searched for new forms of artistic expression,used metaphors and allegories extensively, and fought for a new and peaceful dimension of art.
Aragon, będący autorem poematu Noc sierpniowa, w którym pojawia się słynne zawołanie: „Słyszę was głosy zabitych”, stał się dla Wróblewskiego twórcą o zbliżonej wyobraźni. Próba zestawienia sztuki Andrzeja Wróblewskiego z twórczością francuskiego poety i powieściopisarza Louisa Aragona, która jest tematem artykułu, pozwala na zauważenie wspólnych, wojennych poetyk obu twórców. Artystów łączyło podobne rozumienie istoty języka jako narzędzia kształtującego społeczne imaginarium, poszukiwanie nowych form wyrazu, posługiwanie się metaforą i alegorią, a także walka o nowy, pokojowy wymiar sztuki.
Dostawca treści:: Biblioteka Nauki

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