Papers by Mariusz Bartosiak
Wydawnictwo Uniwersytetu Łódzkiego eBooks, 2022
Wstęp W wyniku "debaty wyobrażeniowej" (zreasumowanej przez Cohena 1996) w badaniach kognitywnych... more Wstęp W wyniku "debaty wyobrażeniowej" (zreasumowanej przez Cohena 1996) w badaniach kognitywnych można było zrezygnować z propozycjonalnych (opartych na sądach) modeli obrazowania mentalnego na rzecz znacznie efektywniejszych teorii wyobrażeniowych, postulujących korelację z reprezentacjami obrazowymi. Ten kierunek obrali George Lakoff i Mark Johnson, którzy w 1999 roku największe odkrycia kognitywizmu ujęli w trzech tezach: Umysł jest z natury ucieleśniony. Myślenie jest w przeważającej części nieświadome. Pojęcia abstrakcyjne są najczęściej metaforami [Lakoff, Johnson 1999a: 25]. Ich koncepcja "filozofii w ciele" ustanawia bezpośrednią korespondencję między kognitywizmem a fenomenologią, szczególnie fenomenologią percepcji Maurice'a Merleau-Ponty'ego, w której twierdzeniach rozpoznali korzenie swojej koncepcji "ucieleśnionego umysłu" [Lakoff, Johnson 1999b: xi] 1. Jedną z ważniejszych konsekwencji tej korespondencji jest możliwość zintegrowania percepcji i wyobraźni. Na konieczność takiej integracji wskazywał D.L.C. Maclachlan w swojej "filozofii percepcji". Jego zdaniem: ponieważ jesteśmy w zasadzie aktywnymi istotami, których pierwszoplanową troską nie jest kontemplacja świata, lecz jego zmiana, to główna nasza uwaga nie jest skierowana ani na świat teraźniejszości, ani na świat bezpośredniej przeszłości, lecz na świat bezpośredniej przyszłości [Maclachlan 1989: 101]. * * * Zaproponowana w pracy koncepcja kognitywnej antropologii teatru jest efektem wieloletnich badań, których cząstkowe wyniki były poddawane konferencyjnym dyskusjom i ocenom. Niektóre fragmenty "… za pośrednictwem osób działających" były, z reguły w innej redakcji i w innym kontekście, publikowane, co zostało w stosownych miejscach zaznaczone, a wcześniejsze wersje wprowadzone zostały do bibliografii.
Kultura i Społeczeństwo, 2012
Kultura i Społeczeństwo, 2012
Czy są to zamknięte drzwi, czy może został jakiś rodzaj rysy, śladu, niepokoju, piętna i dziedzic... more Czy są to zamknięte drzwi, czy może został jakiś rodzaj rysy, śladu, niepokoju, piętna i dziedzictwa, wobec którego trzeba stanąć i okazać się go wartym albo się z nim zmierzyć i odrzucić?"
Methis. Studia humaniora Estonica, 2009
Ma r iu sz B a r tosia k The fundamental premise of the phenomenology of art is the distinction b... more Ma r iu sz B a r tosia k The fundamental premise of the phenomenology of art is the distinction between artistic and aesthetic objects. The first is considered the basis for the second: the artistic object consists of sensually perceptible entities and their qualities which are presented to the consciousness of the receiver, who in turn interprets them, during so-called concretisation acts, into the aesthetic object and its qualities. Whereas the artistic object is sensual and needs material substance to exist and be perceived (including light and sound), the aesthetic object is purely intentional, since it derives from intentional acts of consciousness. What we see and/or hear (sometimes even smell, sense, and taste) is the artistic object and its features. Phenomenology insists that perception of the sensual is but the first step, which needs the next one − the concretisation acts of the receiver resulting in the formation of the wholly intentional aesthetic object of art. Within the framework of the phenomenology of art, the dynamics of the aesthetic object of theatrical performance relates to its formation during concretisation acts of the receiver. In this respect, this dynamics is connected with ambiguities in perception and understanding of the aesthetic object − the ambiguities that form different types of instabilities in play and performance. Some of these instabilities are characteristic only of special dramatic and/or performance constructions (e.g. mise-en-abyme), and some seem to be specific to the art of theatre as such. The latter instabilities are not merely connected with the actual presence of the performer, but rather, and most importantly with the situation in which the actor (his body and psychomotor abilities) becomes the substance for the formation of the object of art. (The feature that is characteristic only to the art of theatre, where the artist becomes the medium for his art; only in the art of theatre does a human being act (speak and move) on behalf of an imaginative being.) Theatrical performance is ambiguous in itself: materially and sensually it belongs to the physical, everyday world we live in, but at the same time, due to the conscious acts of the spectators, it belongs to the imaginative (fictitious), intentional world (called sometimes "the presented world"). The first is actual, the second is potential. And both exist together only during the performance. Ambiguity (and instability) of Hamlet Let us begin with the famous lines of Hamlet, which may serve to introduce the problem of ambiguity and instability (especially, as inscribed into the dramatic world and spoken of by
Kultura i Społeczeństwo, 2012
Collectanea Philologica, 2014
The paper presents a complex analysis of "Arcadia" by Tom Stoppard as an example of the postmoder... more The paper presents a complex analysis of "Arcadia" by Tom Stoppard as an example of the postmodern artistic strategy that reinterprets traditional myth and themes within the context of dynamical changes in the cultural discourse of the last few decades. At the same time, it applies theories of contemporary natural sciences in the construction of characters, scenery and dramatic plot. The paper argues that such artistic strategy aims at the topoi koinoi of the anthropologically conceived culture and technologically oriented civilization. The analysis of Stoppard's drama is set within two contexts: 1) the historical bifurcations of ancient (Theocritus, Virgil) and modern (Phillip Sidney, Nicolas Poussin) interpretations of the Arcadian myth; 2) the basic notions of chaos theory that are suggested in the dialogues and, at the same time, are applied in the construction of dramatic plot and its representation (bifurcation, attractor). The notion of entopia ('in-place'), as opposed to the pair of utopia and dystopia, which are usually connected with interpretations of the myth of Arcadia as a desirable or undesirable 'no-place', refers to the 'Arcadian' aspects and possibilities of living, and especially to the acting here and now. In this respect, the paper argues that Stoppard's "Arcadia" provides a mental space for the recognition of anthropological and axiological (performative) determinants of contemporary 'Arcadian' entopia.
Kultura i Społeczeństwo, 2005
Stephen H. Kellert states that “chaos theory is the qualitative study of unstable aperiodic behav... more Stephen H. Kellert states that “chaos theory is the qualitative study of unstable aperiodic behaviour in deterministic non-linear dynamical systems”. In recent years, modelling and interpretative tools of chaos theory have been applied to theatre studies. Different attempts have been made to analyse dramatic texts, revealing either their inherent non-linear dynamics, extreme sensitiveness to initial dramatic conditions inside represented reality, or precisely defined fractal structures of dramatic time. Moreover, a spectacle, with its stage design, choreography and course of action, has been regarded as an analogous representation of non-linear dynamics characteristic for the operating consciousness, with its continuous feedback, unpredictability, and sensitivity to its initial and changing conditions.Straipsnyje pristatomas teatrinis įvykis kaip dinamiškas modelis, viena vertus, susijęs su komunikacijos procesais, o antra vertus, su antropologinėmis ir kultūrinėmis apibrėžtimis, ku...
The paper presents a complex analysis of “Arcadia” by Tom Stoppard as an example of the postmoder... more The paper presents a complex analysis of “Arcadia” by Tom Stoppard as an example of the postmodern artistic strategy that reinterprets traditional myth and themes within the context of dynamical changes in the cultural discourse of the last few decades. At the same time, it applies theories of contemporary natural sciences in the construction of characters, scenery and dramatic plot. The paper argues that such artistic strategy aims at the topoi koinoi of the anthropologically conceived culture and technologically oriented civilization. The analysis of Stoppard’s drama is set within two contexts: 1) the historical bifurcations of ancient (Theocritus, Virgil) and modern (Phillip Sidney, Nicolas Poussin) interpretations of the Arcadian myth; 2) the basic notions of chaos theory that are suggested in the dialogues and, at the same time, are applied in the construction of dramatic plot and its representation (bifurcation, attractor). The notion of entopia (‘in-place’), as opposed to the...
Strategie komunikacyjne i procesy twórcze, 2022
Moda: model(ka) i czytelnicy. O ikonicznych reprezentacjach w kulturze
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Papers by Mariusz Bartosiak