http://hdl.handle.net/11716/9389 2026-05-13T15:55:21Z 2026-05-13T15:55:21Z Bankiewicz, Paweł http://hdl.handle.net/11716/9410 2020-11-21T21:28:11Z 2014-01-01T00:00:00Z

Kilka uwag na temat neuroestetyki. Na marginesie książki G. Gabrielle Starr, Feeling Beauty. The Neuroscience of Aesthetic Experience Bankiewicz, Paweł The article comprises a review of basic methodological assumptions of neuroaesthetics. The author indicates a connection between neuroaesthetic research and conclusions in cognitive psychology, as well as evolutionary psychology. He puts forward a thesis concerning little usefulness of neuroaesthetic brain examination and evolutionary conceptual schema for the understanding of works of art and aesthetic experiences. To substantiate it, he carries out an analysis of chosen elements of solutions by A. Chatterjee, S. Zeki, V.S. Ramachandran and W. Hirstein. A better example for using brain examination in aesthetics seems to be Gabrielle G. Starr work devoted to neural basis of aesthetic sensations. Dokument cyfrowy wytworzony, opracowany, opublikowany oraz finansowany w ramach programu "Społeczna Odpowiedzialność Nauki" - modułu "Wsparcie dla bibliotek naukowych" przez Ministerstwo Nauki i Szkolnictwa Wyższego w projekcie nr rej. SONB/SP/465103/2020 pt. "Organizacja kolekcji czasopism naukowych w Repozytorium UP wraz z wykonaniem rekordów analitycznych".

2014-01-01T00:00:00Z Brandys, Iwona http://hdl.handle.net/11716/9409 2020-11-21T21:23:04Z 2014-01-01T00:00:00Z

Ekspresjonizm Wincentego Drabika Brandys, Iwona The stage design taking shape in Poland after World War I was an extension of painting work of such artists as Karol Frycz, Wincenty Drabik, and the Pronaszko brothers. Among them, Wincenty Drabik proved to be the most revolutionary for the Polish stage design. The creative output of this artists consisted in materializing staging visions first of Wyspiański, and then his own. He passionately used patterns adapted from Polish folk art; he was well-acquainted with the shape deformation characteristic for German expressionism. Drabik in an original way realized the idea of Gasamtkunswerk. His social role was extended by pedagogical work. Drabik laid a foundation for stage design education in Poland. Initially, he taught decoration and perspective in painting in Kiev at the Polish School of Fine Arts (1916–1918), and then in Warsaw in the School of Fine Arts (1918–1933). Under his auspices, a new generation of stage designers was educated, who following WWII constituted the core of Polish theatres in terms of visual arts. Dokument cyfrowy wytworzony, opracowany, opublikowany oraz finansowany w ramach programu "Społeczna Odpowiedzialność Nauki" - modułu "Wsparcie dla bibliotek naukowych" przez Ministerstwo Nauki i Szkolnictwa Wyższego w projekcie nr rej. SONB/SP/465103/2020 pt. "Organizacja kolekcji czasopism naukowych w Repozytorium UP wraz z wykonaniem rekordów analitycznych".

2014-01-01T00:00:00Z Woźny, Paulina http://hdl.handle.net/11716/9408 2020-11-21T21:18:07Z 2014-01-01T00:00:00Z

Działalność dydaktyczna Adama Hoffmanna w relacjach jego uczniów – członków grupy „Wprost” Woźny, Paulina Adam Hoffmann (1918–2001) was a painter by education and a teacher by vocation. He taught students of the Secondary School of Visual Arts in Kraków and Katowice. Concurrently, he carried out his pedagogical work at the Academy of Fine Arts in Kraków and its branch in Katowice. He devoted himself to teaching so much that he could not find time for his own creative output. He set developing in his students a liking for art as the most important goal. As recalled after the years by one of his pupils, Zbylut Grzywacz, the subject of his teaching, apart from drawing and composistion, was also educating students in terms of “common sense, anti-academicism and artistic non-conformism”. Drawing in sketchbooks served as basis for his teaching. He advised his students to make at least three sketches a day. An element of the sketchbook was copying and analysing works of past masters. Among his students (first at the level of secondary school and then university) were the members of Wprost group (in Kraków: beside the above mentioned Grzywacz, also Maciej Bieniasz and Jacek Waltoś, and in Katowice Leszek Sobocki), who unanimously describe him as a master, teacher and spiritual leader. Dokument cyfrowy wytworzony, opracowany, opublikowany oraz finansowany w ramach programu "Społeczna Odpowiedzialność Nauki" - modułu "Wsparcie dla bibliotek naukowych" przez Ministerstwo Nauki i Szkolnictwa Wyższego w projekcie nr rej. SONB/SP/465103/2020 pt. "Organizacja kolekcji czasopism naukowych w Repozytorium UP wraz z wykonaniem rekordów analitycznych".

2014-01-01T00:00:00Z Reinhard-Chlanda, Małgorzata http://hdl.handle.net/11716/9407 2020-11-21T21:13:29Z 2014-01-01T00:00:00Z

Włodzimierz Hodys – indywidualność pedagoga i animatora sztuki Reinhard-Chlanda, Małgorzata The work of Włodzimierz Hodys – the first principal of the Secondary School of Visual Arts and forms teacher of a few generations of artists in the post-war period – has become legendary in Kraków. The paper presents the role of a history of art teacher, his methods as well as skills and tools, the impact he exerted on the shaping of artistic attitudes first among pupils and then among students of the Academy of Fine Arts. Professor Hodys also manifested a great didactic passion as a populariser of many exhibitions and historical building tours. His pedagogical work during the communist era in Poland is recalled on the basis of recollections of the students and preserved archive materials. Dokument cyfrowy wytworzony, opracowany, opublikowany oraz finansowany w ramach programu "Społeczna Odpowiedzialność Nauki" - modułu "Wsparcie dla bibliotek naukowych" przez Ministerstwo Nauki i Szkolnictwa Wyższego w projekcie nr rej. SONB/SP/465103/2020 pt. "Organizacja kolekcji czasopism naukowych w Repozytorium UP wraz z wykonaniem rekordów analitycznych".

2014-01-01T00:00:00Z