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Homoseksualna katastrofa wsteczna: Mężczyźni z różowym trójkątem i Cholernie mocna miłość
Pub Date : 2022-03-01 DOI: 10.4467/20843860pk.22.002.15747
A. Kumala
The article offers in-depth, critical analysis of the books The Men With The Pink Triangle: The True Life-and-Death Story of Homosexuals in the Nazi Death Camps by Heinz Heger and Damned Strong Love: The True Story of Willi G. and Stefan K. by Lutz van Dijk, touching upon the topic of Nazi persecutions of homosexuals. Both texts are being presented as matrix testimonies, which not only widened the Second World War discourse by introducing the homosexual victim, but also initiated homosexual variant of what Przemysław Czapliński’s called the “reverse catastrophe”. Although concentrating precisely on male war-time experience, the texts significantly exceed the dominant, male-centered narrative pattern. By discussing the issues such as ambiguous authorship, differences between narrative strategies, brutalization of the language and the authors’ attitudes towards body, sexuality or violence, the article demonstrates—thus far seldomly considered—“catastrophic potential” of the publications. Attention is also being drawn to the fact that by virtue of their existence, homosexual war-time experience no longer has to be considered—to use Sławomir Buryła’s term—“non-verbalizable”
这篇文章对Heinz Heger的《粉色三角形的男人:纳粹死亡集中营中同性恋者的真实生死故事》和Lutz van Dijk的《该死的强烈的爱:Willi G.和Stefan K.的真实故事》这两本书进行了深入的批判性分析,涉及纳粹迫害同性恋者的话题。这两篇文章都是作为矩阵证言呈现的,这不仅通过介绍同性恋受害者拓宽了二战的论述,而且开创了同性恋变体Przemysław Czapliński所称的“逆向灾难”。尽管这些文本集中于男性的战时经历,但它们明显超越了以男性为中心的主流叙事模式。通过对作者身份的模糊、叙事策略的差异、语言的野蛮化以及作者对身体、性或暴力的态度等问题的讨论,本文展示了迄今为止很少被考虑的出版物的“灾难性潜力”。人们还注意到,由于同性恋者的存在,他们在战争时期的经历不再需要被考虑——用Sławomir Buryła的术语来说——“无法用语言表达”。
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引用次数: 0
Awangardowe muzeum w XXI wieku. Agnieszka Pindera, Jarosław Suchan, Wstęp [w:] Awangardowe muzeum, red. Agnieszka Pindera, Jarosław Suchan, Muzeum Sztuki w Łodzi, Łódź 2020.
Pub Date : 2022-03-01 DOI: 10.4467/20843860pk.22.012.15757
K. Jagodzińska
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引用次数: 0
Przemiany estetyki
Pub Date : 2022-03-01 DOI: 10.4467/20843860pk.22.009.15754
Grzegorz Dziamski
Metamorphosis of AestheticsMany aesthetic lecturers feel that the subject of their lectures is not so much aesthetics as the history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, British philosophers of taste and German romantics. Does this mean that aesthetics is nourished by its own past, nourished by reinterpretations of its classics, defends concepts and categories that no longer inspire anyone? Don’t they open up new cognitive perspectives? Does this mean that aesthetics is dead today, like Latin or Sanskrit, and that its vision of art and beauty is outdated, out of date and completely useless?Stefan Morawski in the introduction to the anthology Twilight of Aesthetics – Alleged or Authentic? he wrote that he did not know the history of aesthetic thought that would begin in the eighteenth century with Baumgarten. Today we can meet with such an approach more and more often. Many authors assume that in the second half of the 18th century, modern aesthetics was born as a science of senses, how our higher (sight, hearing) and lower senses (taste, smell, touch) contribute to our knowledge of the world.In the introduction to the anthology cited here, Stefan Morawski divides the history of aesthetics into four periods of unequal length. The Morawski diagram seems to be a convenient starting point for defining the changing object of aesthetics. The first of the periods distinguished by Morawski is the longest one, lasting from Ancient Greece to Enlightenment, can be called the history of aesthetic thought, the second is philosophical aesthetics, the third is a time of emancipation and institutionalization of aesthetics as autonomous discipline, and the fourth period leads beyond the limits of classical aesthetics.
美学的蜕变许多美学讲师认为,与其说他们讲座的主题是美学,不如说是美学的历史,柏拉图和亚里士多德、康德和黑格尔、休谟和伯克、英国趣味哲学家和德国浪漫主义者的美学观点。这是否意味着美学是由它自己的过去滋养的,是由对经典的重新诠释滋养的,是为那些不再激发任何人灵感的概念和类别辩护的吗?它们不是开辟了新的认知视角吗?这是否意味着美学今天已经死了,就像拉丁语或梵语一样,它对艺术和美的看法已经过时,过时,完全无用?斯蒂芬·莫拉夫斯基在《美学的黄昏》选集的导言中说:所谓的还是真实的?他写道,他不知道18世纪鲍姆加滕开创的美学思想史。今天,我们可以越来越多地遇到这样的做法。许多作者认为,在18世纪下半叶,现代美学作为一门感官科学诞生了,我们的高级感官(视觉、听觉)和低级感官(味觉、嗅觉、触觉)如何促进我们对世界的认识。在这里引用的选集的引言中,斯蒂芬·莫拉夫斯基将美学的历史分为四个长短不一的时期。Morawski图似乎是定义不断变化的美学对象的一个方便的起点。莫拉斯基所划分的第一个时期是最长的时期,从古希腊到启蒙运动,可以称为审美思想史;第二个时期是哲学美学;第三个时期是作为自主学科的美学解放和制度化的时期;第四个时期是超越古典美学限制的时期。
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引用次数: 0
Czy psychobiografia musi być redukcjonistyczna? Lucy in the Mind of Lennon jako przykład pomostu pomiędzy naukami humanistycznymi i psychologią
Pub Date : 2022-03-01 DOI: 10.4467/20843860pk.22.005.15750
Marcela Kościańczuk
Psychobiography- if it has to be reductionist? Lucy in the mind of Lennon as an example of a bridge between the humanities and psychologyIn the article I will present Tim Kasser’s psychobiography entitled Lucy in the Mind of Lennon as an example of a non-psychoanalytical psychobiography that is multidisciplinary. Psychobiography will also be treated here as an opportunity for the humanities and psychology to come closer, and this rapprochement will be presented from the perspective of the humanities. At the same time, I would like to point out that psychobiography may come close to the assumptions of empirically oriented disciplines. In a broader context, the article also introduces the reader to the contemporary approach to psychobiography, as well as a discussion with previous ways of presenting it.
心理传记——如果它必须是简化论者?在这篇文章中,我将介绍Tim Kasser的心理传记,书名为《列侬心中的露西》,作为多学科的非精神分析心理传记的一个例子。在这里,心理传记也将被视为人文学科和心理学走近的机会,而这种走近将从人文学科的角度来呈现。同时,我想指出,心理传记可能接近于经验导向学科的假设。在更广泛的背景下,这篇文章还向读者介绍了当代心理传记的方法,以及与以前呈现它的方式的讨论。
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引用次数: 0
Piosenki – „poezja oralna cywilizacji przemysłowej”
Pub Date : 2022-03-01 DOI: 10.4467/20843860pk.22.006.15751
Paweł Tański
Songs: “Oral Poetry of Industrial Civilization”The presented article poses a question about the limits of the art of lyricism, and more specifically about the methods of literary studies capturing certain specific or border phenomena that have emerged from it and gained an independent status, and the song/songs is one of such phenomena. Hence, the title of the study includes a quotation from an important work by Paul Zumthor, it is both the starting point and the thesis of the text. The thesis of the study is the judgment that songs can be called literature, provided that we clearly emphasize that they are not poetry, but oral poetry. It is a completely different entity from lyricism, it gained its own language, fully fledged in culture, it emerged from poetry, it evolved and became a new type of cultural text. The aim of the reflection is an attempt to take a closer look at this extraordinary adventure, which this evolution, and even revolution, has become, because it is the rapid expansion of rock music, the outbreak of counterculture in the second half of the 20th century, and with them – the incredible development of various types of songs. The article addresses, inter alia, the following issues: describes “helpful methodologies”, gives terminological suggestions and mentions the “technical” aspects of song studies. Selected examples of research perspectives are also given.
本文提出的问题是抒情诗艺术的局限性,更具体地说,是文学研究的方法如何捕捉从抒情诗艺术中产生并获得独立地位的特定或边缘现象,而歌曲就是这种现象之一。因此,研究的标题包括引用保罗·卒姆托的重要著作,这既是起点,也是本文的论点。本研究的论题是判断歌曲可以被称为文学,只要我们明确强调它们不是诗,而是口述诗。它与抒情诗是完全不同的实体,它有自己的语言,在文化中完全成熟,它从诗歌中产生,它演变成为一种新型的文化文本。反思的目的是试图更仔细地审视这一非凡的冒险,这种演变,甚至革命,已经成为,因为它是摇滚音乐的迅速扩张,反主流文化在20世纪下半叶的爆发,与此同时,各种类型的歌曲也得到了令人难以置信的发展。这篇文章特别讨论了以下问题:描述了“有用的方法”,给出了术语建议,并提到了歌曲研究的“技术”方面。选定的研究视角的例子也给出了。
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引用次数: 0
Czy to już koniec krytyki? Wstęp do metakrytyki Mieczysława Porębskiego
Pub Date : 2022-03-01 DOI: 10.4467/20843860pk.22.011.15756
Judyta Dąbrowska
The article discusses the key text of Mieczysław Porębski(1921-2012), an outstanding Polish art historian and art critic, which is vital for understanding his proposed idea of ​​creating a metacritical language that would allow description of the contemporary art world − Introduction to Metacriticism (first edition around 1966, second 1983). All Porębski's publications on this subject are mentioned in the article to obtain a full picture of this concept in the researcher's writings. The importance of creating it for critical-artistic methods is emphasized. The sources of inspiration for the idea of ​​metacriticism (including bibliographic ones) and the implementation of its assumptions in the text itself are shown, taking into account the approximate mid-twentieth century historical context of methodologies developed on the basis of structuralist reflection, especially the influence of information theory and game theory. The ways in which Porębskicame to formulate the assumptions of metacriticism are presented, also through analysis of the language itself.The idea of ​​metacriticism is placed in the wider context of the researcher's scientific work too, linking it with his proposal to divide the history of art criticism into the so-called criticism of poets and criticism of experts, as well as the idea of ​​the iconosphere postulated by him, which proves to be a pioneering one for contemporary research on visual culture. Finally, the paper suggests that the idea of ​​metacriticism can be the beginning of the present-day style of writing about art.
本文讨论了Mieczysław Porębski(1921-2012)的关键文本,他是一位杰出的波兰艺术史学家和艺术评论家,这对于理解他提出的创建一种元批评语言的想法至关重要,这种语言可以描述当代艺术世界-元批评导论(1966年第一版左右,1983年第二版)。文章中提到了所有Porębski关于这个主题的出版物,以便在研究人员的著作中获得这个概念的全貌。强调了创作它对于批判艺术方法的重要性。考虑到在结构主义反思的基础上发展起来的方法的20世纪中期的大致历史背景,特别是信息论和博弈论的影响,显示了元批评思想的灵感来源(包括书目)及其在文本本身中的假设实施。通过对语言本身的分析,提出了Porębskicame对元批评的假设的方法。元批评的思想也被置于研究者的科学工作的更广泛的背景下,与他提出的将艺术批评的历史划分为所谓的诗人批评和专家批评的建议以及他所假设的图像圈的想法联系在一起,这被证明是当代视觉文化研究的先驱。最后,本文认为元批评的思想可以成为当今艺术写作风格的开端。
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引用次数: 0
Prawda ekranu. O praktyce screenshotowania
Pub Date : 2022-03-01 DOI: 10.4467/20843860pk.22.004.15749
Jan Jęcz
The truth of screen. On the practice of screenshottingThe article explores the phenomenon of the popularity of screenshots and the variety of contexts in which they are used. Screenshotting is treated as a social practice, drawing on the theory of practices, primarily Theodore Schatzki's approach. On its basis, two aspects of the creation of screenshots are highlighted: bodily-material and social framework. Analysis of both results in the description of screenshotitng as a dispersed practice and a key component of integrative practices, especially those that deal with proving the truth. Finally, those reflections lead to the postulate that screenshots should be given greater recognition in the social sciences as an important source of knowledge about everyday life on the internet.
屏幕的真相。关于截图的实践,本文探讨了截图的流行现象以及使用截图的各种情境。截图被视为一种社会实践,借鉴了实践理论,主要是Theodore Schatzki的方法。在此基础上,突出了截图创作的两个方面:身体物质和社会框架。对两者的分析结果是将截屏描述为一种分散的实践和综合实践的关键组成部分,特别是那些涉及证明真相的实践。最后,这些反思导致了一个假设,即截图应该在社会科学中得到更大的认可,因为它是关于互联网日常生活的重要知识来源。
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引用次数: 0
Filozoficzny spór globalizmu z lokalnością: rozwój nowoczesnych technologii w Chinach według Yuka Huia
Pub Date : 2022-03-01 DOI: 10.4467/20843860pk.22.003.15748
Olgierd Miedzybłocki
The aim of this article is to discuss the relation between global and local in the works of certain philosophers of technology. The main focus is the concept of cosmotechnics created by Yuk Hui, a philosopher who is strongly influenced by Peter Sloterdijk and Bernard Stiegler. In the text we examine how Heidegger’s question about technology has led Sloterdijk and Stiegler to introduce their criticisms but also to build their original concepts that view the modern technology more favorably. For Yuk Hui those thinkers are a strong inspiration, however, he criticise them for being too Western-oriented and adds another contexts – the role of China as both a postcolonial state with it’s unique philosophical tradition and as a center for new technologies. Then the introduces cosmotechnics as a form of cultural a priori that is a mixture of moral and cosmological thinking resulting in a locally-specific approach to technology. It also allows him to talk about a local-global dichotomy in a new, interesting way. This however includes also some signs of a new universlaism rooting from the Chinese culture.
本文的目的是讨论某些技术哲学家的作品中全球和地方之间的关系。主要焦点是受Peter Sloterdijk和Bernard Stiegler强烈影响的哲学家Yuk Hui创造的宇宙技术概念。在本文中,我们考察了海德格尔关于技术的问题如何引导斯洛特戴克和斯蒂格勒引入他们的批评,同时也构建了他们对现代技术更有利的原始概念。对于Yuk Hui来说,这些思想家是一个强大的灵感,然而,他批评他们过于西方化,并增加了另一个背景-中国作为一个具有独特哲学传统的后殖民国家和新技术中心的角色。然后介绍了宇宙技术作为一种文化先验的形式,它是道德和宇宙思维的混合物,导致了一种当地特定的技术方法。这也使他能够以一种新的、有趣的方式谈论局部-全局二分法。然而,这也包含了一些源于中国文化的新普遍主义的迹象。
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引用次数: 0
Bernie Krause i jego dźwiękowe archiwa. Między dziką naturą a ucieleśnioną relacją 伯尼-克劳斯和他的声音档案。在野性与体现关系之间
Pub Date : 2022-03-01 DOI: 10.4467/20843860pk.22.001.15746
Maciej Guzy
Bernie Krause and His Sound Archives. Between Wild Nature and Embodied RelationThe paper aims to compare two natural sound archives by Bernie Krause, Wild Sanctuary (being developed since 1968) and Dawn Chorus (established in 2020), from the perspective of ecology paradigms changes that have occurred over the years. The author assumes that both of the abovementioned projects are consistent with each other in respect of the goals formulated by Krause – they are thought to affect their listeners and evoke ecological attentiveness among them – but differ in terms of their structure and presupposed strategies of enhancing human-environment entanglements. The first part of the article is dedicated to the description of analysed projects. Also, the article considerations are being positioned as the amplification of the previously published paper by Renata Tańczuk (who treated Wild Sanctuary as an Anthropocene archive). Secondly, the author investigates the visibility of the archive production process in the forms in which they were publicly shared. Afterwards, the conceptualizations of the Nature underlying both of the archives are described. Finally, the author presents the differences in the affective agencies of Wild Sanctuary and Dawn Chorus, coming to the conclusion that the latter project, not the former one, responds to the contemporary requirements imposed on the pro-environmental artistic and research activities.
伯尼·克劳斯和他的声音档案。本文旨在从生态学范式变化的角度,比较伯尼·克劳斯(Bernie Krause)的两个自然声音档案——野生保护区(Wild Sanctuary)(1968年开始开发)和黎明合唱团(Dawn Chorus)(2020年建立)。作者认为,上述两个项目在克劳斯制定的目标方面是一致的——它们被认为会影响听众并引起他们之间的生态关注——但在结构和加强人与环境纠缠的预设策略方面有所不同。本文的第一部分是对分析项目的描述。此外,文章的考虑被定位为Renata Tańczuk先前发表的论文的放大(他将野生保护区视为人类世的档案)。其次,作者考察了档案生产过程中公开共享形式的可见性。然后,描述了这两个档案背后的自然概念。最后,笔者分析了《野生保护区》与《黎明合唱团》在情感媒介上的差异,认为后者更符合当代对环保艺术和研究活动的要求,而不是前者。
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引用次数: 0
Korpomuzeum jako typ idealny
Pub Date : 2021-12-30 DOI: 10.4467/20843860pk.21.050.14967
Justyna Żak-Szwarc
Corpomuseum as an Ideal TypeThe beginning of the 21st century was a time of great museum revolution. Many museums have been created that focus their activities not so much on collecting artefacts as on presenting impressive exhibitions, largely made of media relays. New museums are increasingly moving away from the concern for durable goods that characterizes traditional museums and transfer knowledge to their recipients through modern products and attractive technologies. In connection with the implementation of new and costly solutions regarding architecture, equipment, organizational structure and functioning, they actually need a lot of capital in the form of public finances and “human resources” from the very beginning of their activity. It seems that at present the need to raise this type of capital in a case of creating new institutions is far ahead of the need to collect works of culture that have constituted the essence and sense of museums created in previous centuries. The quality of planned projects also ceases to be related to the significance and reputation of the material culture heritage, and begins to be measured by the scale of the new museum buildings and the number of visitors. Products instead of cultural goods, or even products understood as cultural goods; visitors as engaged customers; capital understood by finance and “human resources”; large size ‒ which covers many issues ‒ ranging from structure, and architecture; modern technologies; political influence; brand strength and promotion ‒ all these aspects resemble the corporate model of organization. They provoke reflection on the functioning of the museum as a corporation, which is the purpose of the ideally typical structure of the “corpomuseum”.
21世纪初是一个伟大的博物馆革命的时代。许多博物馆的活动重点不是收集文物,而是举办令人印象深刻的展览,主要是通过媒体转播。新的博物馆正逐渐摆脱传统博物馆所特有的对耐用品的关注,而通过现代产品和有吸引力的技术将知识传递给它们的接受者。在实施关于建筑、设备、组织结构和功能的新的和昂贵的解决方案方面,它们实际上需要从活动一开始就以公共财政和“人力资源”的形式投入大量资金。目前看来,在创建新机构的情况下,筹集这类资本的需求远远超过了收集文化作品的需求,这些文化作品构成了前几个世纪创建的博物馆的本质和意义。规划项目的质量也不再与物质文化遗产的重要性和声誉有关,而是开始以新博物馆建筑的规模和参观人数来衡量。代替文化商品的产品,甚至被理解为文化商品的产品;访客是参与的客户;资本被金融和“人力资源”理解;大尺寸——涵盖了很多问题——从结构和建筑;现代技术;政治影响力;品牌实力和推广——所有这些方面都类似于公司的组织模式。它们引发了对博物馆作为一个公司的功能的反思,这是“corpomuseum”的理想典型结构的目的。
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引用次数: 0
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