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zbiorowa Praca
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Maurice Lisa
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Year
2010 - 2019
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2000 - 2009
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Poland
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English
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Clearly, wherever myth forms part of an educational syllabus, value judgements have been made by those who chose the texts, with regard to content, approach, usage, emphases, purpose and many other elements. [...] the present volume examines the reception of such myth within formal education in the twentieth and twenty-first centuries […]. It focuses for the most part on school education, but with forays into post-high school where relevant, and includes a wide geographical and chronological range. With regard to the latter limitations, the general emphasis is on modern day, and the current situation, but as a result of individual historical circumstances in each example (Lisa Maurice, Editor of the Volume). This is a task of paramount importance, as educational processes have a lasting influence on us – all the more so as we are exposed to them already in childhood, when the capacity for critical thinking is being formed by none other than school curricula shaped and developed in specific circumstances. This volume makes us aware of these complex processes, their implications, and the opportunities they create for the future of Classical Antiquity (Katarzyna Marciniak, Editor of the Series).
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ARTISTIC ALLERGIES In its literal application, the term allergy, connoting a reaction different from the customary – from the Greek allos (“different”) and ergos (“reaction”) – is used in the field of medicine. However, in the cultural domain, and particularly in the realm of art, one may discern some reactions analogous to the pathological behavior of a tissue when confronted with an allergen. Such behavior manifests itself in the form of negative sensitivity, lacking normal justification, which leads to a subconscious or semi-conscious avoidance of certain notions or works of art, or even to their active negation and rejection. Such reactions may be individual in nature or may be manifested by smaller or larger groups of people. The causes of such allergies or hypersensitivity may be genetic or environmental. They may be sought in the original circumstances or in some activities of the organism; one can try to established them by focusing on the incidence of the infection. Artistic allergies understood in this way have occurred frequently in the history of various arts, also manifesting themselves in the fields of art theory and aesthetics. The present issue of Art Inquiry sets out to describe some of their varieties and to examine the mechanisms governing their appearance and their subsequent course. Grzegorz Sztabiński Translated by Krzysztof Majer ALERGIE ARTYSTYCZNE Słowo alergia oznaczające odmienną reakcję (gr. allos – inny + ergosreakcja) stosowane jest w znaczeniu dosłownym w medycynie. W dziedzinie kultury, a chyba szczególnie w sztuce, zauważyć można jednak sposoby reagowania zachodzące analogicznie do patologicznej reakcji tkanek na alergen. Przejawiają się one jako pozbawione normalnego uzasadnienia negatywne uwrażliwienie, prowadzące do nieuświadomionego lub częściowo tylko świadomego pomijania, odrzucania pewnych idei lub dzieł, a także ich zwalczania lub negowania. Reakcje takie mogą mieć charakter indywidualny lub dotyczyć mniejszych lub większych grup ludzi. Ich uwarunkowania mogą być genetyczne albo środowiskowe. Przyczyn uczuleń lub nadwrażliwości poszukiwać można w warunkach początkowych czy sytuacjach rozwojowych, albo koncentrując się na występowaniu infekcji, zarażania się. Alergie artystyczne miały miejsce wielokrotnie w dziejach różnych dziedzin sztuki, a także w teoriach artystycznych i w estetyce. Opisaniu niektórych ich odmian, a także próbom prześledzenia zasad ich pojawiania się i przebiegu poświęcony jest niniejszy tom Art Inquiry. Grzegorz Sztabiński
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Temat: Contemporary art ; Łódź ; Love ; Theater ; Music ; Paintings ; Globalization ; Databases ; Set design ; Hybridity ; Exclusion ; “African Art” ; Exhibition ; Modernism ; Myth ; Visual anthropology ; Intercultural symbolism ; Craft ; Drugs ; Shoah ; Eternity ; Margins ; Postmodernity ; Discourse ; Decline of metaphysics ; Alienation ; Disillusion ; Enstrangement ; Остранение ; Verfremdung ; Dépaysement ; Perimeter-peryferium ; Das Unheimliche/the uncanny ; Center ; Periphery ; Contemporary artist ; Mirosław Bałka ; Zbigniew Libera ; Transcendence ; Secularization ; Modern iconoclasm ; The role of the margins in the study of art ; Surrealism ; Occultism ; Fascism ; Imagination ; Altered states of consciousness ; Visionary art ; Extrasensory images in art ; Transposing works of art ; Scenography ; History of theater ; Digital cinema ; Interactive film ; Computer game ; Participatory culture ; Mail art ; Net ; Network ; Archive ; Art documentation ; Post-conceptual understanding of art ; Alternative scene ; Computer culture ; Narratives ; Cultural metissage ; Andean Baroque ; Mestizo style ; Hybridity of culture ; Feather art ; African-American ; “New Negro” ; “Harlem Renaissance” ; Photography ; Modern art ; Murals ; 20th century ; “as though” ; Marginalization ; Blasphemy ; Irreligion ; Religion without religion ; Offending religious feelings ; Unbelief ; Contemporary aesthetics ; Philosophy of life ; Herstory ; Depth psychology ; Symbols of death ; Art ; Chlanda ; Tango of Death ; Sketch/triptych ; Death camp ; Margin of Life ; William Blake ; Feminism ; Postfeminism ; Judy Chicago ; Feminine aesthetic ; Women’s art ; Vanessa Beecroft ; Toxic Tittes ; Iber ; Post-socialist city ; Gentrification ; Redevelopment ; Revelation ; Mountain climbing expedition ; Man
Margins and Marginalization The concepts spelled out in the title Margins and Marginalization usually carry negative connotations. They are associated with having to live outside the main current of events, or with the peripheral and thus inessential aspects of an artwork. Such an understanding assumes a sharp division into major, central, important elements, and minor or marginal ones. However, the validity of such division has been questioned by some contemporary theoreticians and artists. Its arbitrariness and relativist character had been also pointed out in the past. The aim of the 2014 volume is to investigate the occurrence of the titular concepts in the theory and practice of both old and contemporary art. We wish to examine different conceptualizations of margins and marginalization and we are open to a broad range of approaches to his topic.
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