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THE HOMELESSNESS OF ART References to 鈥瀊eing settled鈥 somewhere and being 鈥瀐omeless鈥 have reappeared in various disciplines of the humanities for a long time. Those concepts were used in different contexts and in different senses. In 20th century philosophy, much attention was paid to the Heideggerian concept of man as 鈥渢he neighbour of Being鈥, i.e. his dwelling 鈥渋n the nearness of Being鈥. This image led to attempts at discovering what is unique to the human condition. Lukacs offered a critique of 鈥瀟ranscendental homelessness鈥, which he saw as characteristic of contemporary culture. Other philosophers pointed out that the fast-changing reality and the engagement in utopian projects characteristic for the condition of the modern man, are conducive to our loss of the sense of settlement. The second half of the 20th century introduced the discourse of unsettlement, non-belonging. Adorno negated the possibility of feeling at home in the world after Auschwitz. Other authors offered the concept of 鈥渢he uncanny鈥 (das Unheimliche), or being faced with strange and incomprehensible forces in one鈥檚 own home, only illusorily familiar. It has been also pointed out that the sense of settlement and the associated feeling of safety may turn out to be limiting. Freedom must mean the loss of the sense of safety, familiarity, commitment. Encountering what is different, marginal, often suffering or victimized (e.g. in feminist or postcolonial discourses) also sensitizes us to the importance of opening ourselves to new experience, which leads to the de-stabilization of our own monolithic home. The subject area outlined here may be variously related to art. On the one hand, art may be considered as an important voice in the discussion on our sense of belonging or uprootedness, on the other the question of whether it should be rooted in tradition, or leave this 鈥渉ome鈥 to gain new experiences is also pertinent. The volume of Art Inquiry to which we seek your contributions will be devoted to this set of issues. Your prospective papers should concern some theoretical aspects of the concepts mentioned above in relation to art, artistic activity, reception of art works, or offer a case study of some artistic endeavour in which those concepts have taken a concrete shape. BEZDOMNO艢膯 SZTUKI Sformu艂owania nawi膮zuj膮ce do poj臋膰 鈥瀦adomowienia鈥 i 鈥瀊ezdomno艣ci鈥 od kilkudziesi臋ciu lat pojawiaj膮 si臋 w r贸偶nych obszarach humanistyki. Wyst臋puj膮 one w wielu kontekstach i nadawany jest im r贸偶ny sens. W filozofii XX wieku podstawowe znaczenie ma Heideggerowski problem cz艂owieka jako 鈥瀞膮siada bycia鈥, czyli zamieszkiwania przez niego w 鈥瀊lisko艣ci wobec bycia鈥. Ta wysoka ocena blisko艣ci prowadzi艂a do sugestii odzyskania tego, co w艂asne i w艂a艣ciwe dla ludzkiego sposobu istnienia. Lukacs poddawa艂 krytyce 鈥瀟ranscendentaln膮 bezdomno艣膰鈥, kt贸r膮 uwa偶a艂 za charakterystyczn膮 dla wsp贸艂czesnej kultury. Inni filozofowie zwracali uwag臋 na to, 偶e zachodzenie szybkich zmian, a tak偶e formu艂owanie utopijnych projekt贸w charakterystyczne dla nowoczesnej kondycji cz艂owieka, sprzyja utracie uczucia zadomowienia. W drugiej po艂owie XX wieku, rozwija艂 si臋 te偶 dyskurs zwi膮zany z kryzysem zamieszkiwania. Adorno negowa艂 mo偶liwo艣膰 uczucia zadomowienia w 艣wiecie po Auschwitz. Inni autorzy brali pod uwag臋 鈥瀗ieswojo艣膰鈥 (das Unheimliche), czyli wyst臋powanie obcych i niezrozumia艂ych si艂 we w艂asnym domu, pozornie tylko oswojonym. Podkre艣lano te偶, 偶e zadomowienie i zwi膮zane z nim poczucie bezpiecze艅stwa mo偶e okaza膰 si臋 ograniczaj膮ce. Za wolno艣膰 p艂aci si臋 przecie偶 na og贸艂 utrat膮 poczucia bezpiecze艅stwa, zanikiem stanu blisko艣ci, za偶y艂o艣ci. Tak偶e wzi臋cie pod uwag臋 tego, co inne, marginalne, cz臋sto cierpi膮ce lub poszkodowane (np. w dyskursach feministycznym i postkolonialnym), uwra偶liwia na rol臋 otwarcia, kt贸re prowadzi do destabilizacji monolitycznie pojmowanego w艂asnego domu. Zarysowany tu kr膮g problematyki w r贸偶ny spos贸b odnosi si臋 do sztuki. Z jednej strony mo偶e ona by膰 rozwa偶ana jako wa偶ny g艂os w sporach dotycz膮cych zadomowienia i bezdomno艣ci, z drugiej za艣 w odniesieniu do niej samej mo偶na sta (...)
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