The aesthetics of the city–image

In this paper, I will examine the aesthetic implications of the theories which regard the city as an image. Essentially, I will focus on the positions of the two practitioners, Kevin Lynch and Juhani Pallasmaa, who are an urban planner and an architect respectively, in order to confront two very different approaches to the ‘image’; namely, an empirical approach and a phenomenological one. I am interested in what the city becomes when it is looked upon as an image and I will reflect on the experiences of the city‑image in its various aspects. The aim of this discussion is an attempt to outline certain research areas for exploring the aesthetics of the city centred on the image, with the practitioners’ theories enabling us to widen the scope of this exploration

The City-Place as a Work of Art. Introduction

In this paper I will attempt to look at the city-place as a work of art. Such an approach will allow us to take into consideration its aesthetic, sensual and reflective qualities and, at the same time, contemplate those aspects which go beyond the philosophy of art, such as practical needs of everyday life. I analyze the opinions expressed by Olsen, Christie Boyer and the architects, Le Corbusier and Kevin Lynch. The positive view of the place emphasizes the role played by its shape and layout, by the sense of security and beauty, by harmony, sensuality and emotions, and by the sense of belonging and identity. The city, however, also means ruins, abandoned places invisible to its inhabitants. I examine an approach adopted by Urban Explorer and underline the aesthetic and artistic way of depicting the city. In the final part I discuss the spatial-temporal dimensions/indicators of the city as a work of art

The image of the body-face: The case of Franz Xaver Messerschmidt and Bill Viola

In this paper, I am predominantly interested in interpretations of emotional states portrayed in images of the face. In particular, the interpretations which have grown around the series of busts by Franz Xaver Messerschmidt, as well as those which attempt to expound Bill Viola’s video works. I will refer to aspects of physiognomy, artistic practices and aesthetics, in order to show what each of these tells us about our attitude to the body and emotions and what happens to the body while a person is experiencing an emotion. My aim is to demonstrate how the act of depicting the body, regarded as a cognitive process in an artistic medium accompanied by a special kind of aesthetic experience, becomes a means of communication which is capable of conveying a universal message and of allowing us to define our attitude to the body

Into the noise : anthropological and aesthetic discourses in public sphere

Into the Noise… to zbiór esejów autorstwa Aleksandry Kunce i Marii Popczyk. Są one poprzedzone wstępem napisanym przez Marię Korusiewicz, który porusza problematykę estetyki codzienności, stanowiącej przeciwwagę dla dyskursów instytucjonalnych. Rozważania autorek są efektem antropologicznych i estetycznych eksploracji przestrzeni publicznej. Autorki analizują dyskursy, które nadają kształt wspólnotom przestrzennym. W centrum uwagi znalazły się problemy opisu antropologii punktów, perspektyw antropologii integralnej, instytucji uniwersytetu, tożsamości europejskiej, figur zdziwienia i humanistyki, a także zakorzenienia epistemologicznego. Kluczowe są rozważania estetyczne dotyczące miejsca dzieła sztuki w przestrzeniach publicznych miast (na przykładzie Berlina) oraz zorganizowanych instytucjonalnie wystawach muzealnych. Autorki analizują działania artystyczne będące rodzajem dialogu z zasadami organizacji przestrzeni publicznej. Estetyka jest tu pojmowana jako dziedzina krytyczna nawiązująca do osiągnięć nowej muzeologii i kultury wizualnej, a nie jako filozofia sztuki. Perspektywa antropologiczna i estetyczna uzupełniają się, oświetlając z odmiennych punktów widzenia debaty toczone na temat przestrzeni publicznej

Modele sukcesji zarządzania w przedsiębiorstwach rodzinnych

One of the most important key factors for the development and growth of family businesses is the planning and implementation of management succession. This demanding and complicated process in the vast majority of cases ends in failure and loss of an intangible resource in the form of internal and external social capital, the carrier of which is the ownership family and which is the source of competitive advantage in the 21st century. The purpose of the article is to identify scientific concepts that will help understand the reasons for succession failures in family businesses and to present the best succession solutions in the world that increase the likelihood of intergenerational (or non-family) management transfer in small, medium and large family businesses in the 21st century. // Jednym z najważniejszych kluczowych czynników rozwoju i wzrostu przedsiębiorstw rodzinnych jest zaplanowanie i implementacja sukcesji zarządzania. Ten wymagający i skomplikowany proces w zdecydowanej większości przypadków kończy się niepowodzeniem i utratą niematerialnego zasobu w postaci kapitału społecznego wewnętrznego i zewnętrznego, którego nośnikiem jest rodzina właścicielska, a który jest źródłem przewagi konkurencyjnej w XXI wieku. Celem rozdziału jest identyfikacja koncepcji naukowych, które pomogą zrozumieć powody niepowodzeń sukcesyjnych w firmach rodzinnych, oraz prezentacja najlepszych rozwiązań sukcesyjnych na świecie, zwiększających prawdopodobieństwo transferu międzypokoleniowego (lub pozarodzinnego) zarządzania w małych, średnich i dużych przedsiębiorstwach rodzinnych

Dramaturgia polska po 1989 roku

The book constitutes an overview of the Polish dramatic works created after 1989. The number of drama texts published has considerably increased for the period of twenty‑some years; the form of dramas, as well as a direction of an academic reflection on these works have changed, too. One can point to many texts breaking the rules characterizing the very genre, such as eventfulness, presentation of human relationships in the form of a dialogue, a linear action finished with the conflict solution among the group of various plays. The three chapters of the book subsequently discuss three important textological issues: the problem of mimesis, reference to a literary tradition, and the issues of a linguistic material. The whole aims at picturing various offences as regards classical and modern compositional models of a drama, with the reservation that a transgressive aesthetics, typical of contemporary dramaturgy, is revealed in latest Polish dramas not as commonly and clearly as one could assume. Apart from many heterogeneous texts, dismantling traditional drama categories (paradoxically still defined by their authors as dramas) the latest dramaturgy contains a lot of plays conventionally built, in accordance with priorities and aspirations of a standard socio‑moral writing. The main aim of the book is to discuss dominant strategies of writing dramatic works, created with an intention to reproduce political, economic and moral changes in Poland these days. Starting from the end of the 1990s, one can observe a gradual change in accent distribution in plays: the play topics change, which is obvious, and, hence, the images of the modern world inscribed in them. Also, what changes is an examination perspective, and the way of presenting both the present and the past. The authors often expose problems related to the sense of an individual and national identity, provoking a reader to ask questions and verify beliefs. The latest Polish dramaturgy is composed of a collection of various texts among which one can find opinions serving reader’s orientation on various spaces and discourses of the postmodern world

Body and image

In aesthetics, as a philosophy of art, the body of the viewer is juxtaposed with the image of the painting, before which it stands still; both body and image are considered to be independent, which is a condition of a full aesthetic experience. In the present article I demonstrate how, through phenomenology, pragmatism and the idea of incarnation, post‑Kantian aesthetic is broadened. I limit myself to three theoretical perspectives; in each of them the duality of body and image is neutralised according to different rules. Phenomenology develops the relations between consciousness and body, while in pragmatism the encounter of body and image takes place in the process of the performative creation of image. The idea of incarnation, on the other hand, develops both of these currents in two divergent approaches: a theological and an anthropological one. Bringing together perspectives, which are so different methodologically reveals the existence of a profound tie between body and image

Innowacyjność polskich przedsiębiorstw rodzinnych w świetle dotychczasowych badań oraz wybranych studiów przypadku

In the theoretical part the paper highlights the most important research carried out in our country, in order to describe and diagnose the innovative processes in small and medium-sized family businesses. In turn, the empirical part consists in the author’s analysis of the two innovative family businesses located in Lodz: The Baker and Confectioner’s Trade “Jaś i Małgosia” and PHARMENA S.A. The purpose of the work is to criticize the stereotype still remaining in Poland on opportunistic, traditional, risk-averse behaviours of family firms in comparison with their non-family counterparts. &nbsp

Biogramat - nowa forma dramatyczna czy hybryda gatunkowa?

Many contemporary Polish dramas are works inspired by biographies of fa-mous people, created on the basis of a “biographical pact” between the author and the reader. This writing practice is so frequent that the term “biograma” has appeared in the academic and critical reflection. Authors of plays “includ-ing biography in the background” often use two types of artistic expression: they construct their texts either as monologues of the protagonist (updating the convention of the monodrama), or as stylistically diverse, often narrative frag-ments, constituting a demonstration of fragments of someone’s life – usually autothematic and metafictional. In the first case, playwrights take on the role of a biographer who “writes with themselves,” establishing a strong, intimate relationship with the hero/heroine (e.g. Artur Pałyga). In the second case, they choose the role of a biographer-researcher, who confronts different sources and documents, revealing the method of dealing with the selected biographical material (e.g. Małgorzata Sikorska-Miszczuk). Therefore, we can distinguish biogramas in the “bio” sense, i.e. texts constructed in the form of a monologue/monologues of characters, saturated with emotionality and corporeality of the protagonist’s speech act, as well as biogramas with an emphasis on the play/drama element, i.e. works created as an effect of the writer’s play with sources and documents. The dramatic texts discussed in this article form a distinct trend of bio-graphical writing in the area of contemporary theater production. However, they do not constitute a new dramatic genre. They are fragmentary and syn-cretic works, in which we can observe references to other, quite non-dramatic, forms of expression – to soliloquy and storytelling