Academic year 2009/2010 - Uniwersytet Zielonogórski

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UNIVERSITY OF ZIELONA GÓRA
FACULTY OF ARTS
INSTITUTE OF ARTS
Education of Art
Fine Art Second Degree Course (Master of Art degree)
PROGRAMS OF STUDY
Academic year 2009/2010
Department of Art
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Education of Art / Fine Art
Second Degree Course (Master of Art degree)
History of Idea and Aesthetical Doctrines
08.1-WA-EASP-HIDE
Core module
Basic knowledge of philosophy, history, and history of art
Polish
Artur Pastuszek, PhD
Classes
60
2
1, 2
Pass/Exam
10
Module Aims:
Classical expression of art: Artistic doctrines of the Ancient times-Heraklit, Demokryt, Pythagoreans,
Sophists, Socrates, Plato, Arystothele, Plotinus. Controversies concerning the problem of beauty: a
classical definition of beauty (harmony, symmetry) and its relativism. Beauty as a quality and Plato’s
essential justification.Mimesis and Catharsis as artistic criteria (Aristothele). Problem of the relation: arttruth, cognitive value of art.
Early Christian and Medieval artistic doctrines. Medieval expression of art and beauty. The views of
theologists and philosophers on the significance of art. Beauty as an objective peculiarity. Perfection,
completeness, glamour of form, sacrum.
Classification of art and the problem of copying. Art as biblia pauperum. Claritas aesthetics: Basil of
Caesarea, Clement of Alexandria, Bonaventure, Albertus Magnus, Thomas Aquinas. Boethius, Witelo,
Nicholas of Kues.
The concepts of contemporary art. Renaissance poetics and essays. Classisism and anthropocentrism,
humanism, form, imitatio. The relation between art and science. Anthropocentrism and humanism.
Ancient roots of Renaissance. Ficino, Rafael Santi, Leon Battista Alberti, Leonardo da Vinci, Michael
Angelo. German Aesthetics of the Age of Enlightenment and Early Romanicism: Lessing, Winckelmann,
Herder, Goethe,Schlegel. Immanuel Kant. Impartiality and subjective character of judging tastes in art.
Transcendental concept of beauty and sublimity. Independence and iniqueness of aesthetic objects.
English and French aesthetics of the XVIII century. Burke, Addison, shaftesbury, Dubos, diderot. Aesthetical
and anthropological view of tragedy. Appolinian and Dionisean element. Art in the eyes of Friedrich
Nietzche. Aesthetics by G.W.F.Hegel.
The problem of interpretation of the work of art: Social status of art and its role within contemporary
culture (culture of masses, distance, dehumanisation of art). The problem of continuity (avant-garde).
Aesthetical and anthropological essence of tragedy: Apollonius and Dionysus’ elements. Art by Friedrich
Nitzche.
The aesthetics of the XXth century in Poland: Formism and catastrophism. The theory of Pure Form by
Stanislaw Ignacy Witkiewicz. Metaphysical experience as a rule of the theory of art. Multiplicity of
realities in art by Leon Chwistek. Phenomenological idea by Roman Ingarden. The problem of
interpretation of the work of art. Artistic and aesthetical values. Schematisation and multilayering of the
work art. Ontology of the work of art.
Modern attempts of methodological reflection on art: Psychoanalytical concept. Sigmund Freud and Carl
Gustaw Jung. Contemprorary solutions. Sociological idea by Jose Ortega Y Gasset. The Problem of
perception of the work of art. Institutional theory of art by George Dickie.
Contemporary discussions on the status of the work of art and its author: Problems concerning history,
style, uniqueness, and language of art. Symbol, allegory, metaphor. An argument over the values and
criteria of evaluating the work of art beyond aesthetics. The problem of original and fake
Work of art, masterpiece and daub. The death of the author by Roland Barthes.
Postmodernist inspirations in the theory of art: The attempts to overcome a crisis in contemporary
aesthetics. Nietzche’s basics of contemporary aesthetic criticism. Modernism as a forecast of
postmodernist problems in the eyes of Zygmunt Bauman. Deconstruction of modernism-Jaques Derrida,
Jonathan Culler, Paul De Man. Sublimity in the concept by Jean-Francois Lyotard. Establishing a new field
of interaction between philosophy and art. A proposal by Wolfgang Welsch.
Module Outcomes:
The students should acquire the ability to interpret traditional and contemporary work of art. They are
supposed to familiarise with the history of aesthetics and philosophy of art. Recognition of essential
motives and the most crucial matters of western aesthetics and aesthetic and artistic concepts in their
historical perspective.
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Lecture attendance
Final exam
Basic literature:
(1) W. Tatarkiewicz, Historia estetyki, (T. 1: Estetyka starożytna, T. 2: Estetyka średniowieczna, T. 3: Estetyka nowożytna), Wyd.
Arkady, Warszawa 1985-1991.
(2) K. Wilkoszewska, Estetyki filozoficzne XX w., Wyd. TAiWPN Universitas, Kraków 2000.
(3) M. Gołaszewska, Estetyka i antyestetyka, Wyd. Wiedza Powszechna, Warszawa 1984.
(4) S. Morawski, Na zakręcie: od sztuki do posztuki, Wydawnictwo Literackie, Kraków 1985.
(5) Postmodernizm: antologia przekładów, wyb. R. Nycz, Wydaw. Baran i Suszczyński, Kraków 1998.
Supplementary literature:
1) W. Welsch, Estetyka poza estetyką. O nową postać estetyki, Wyd. TAiWPN Universitas, Kraków 2005.
(2) I. Lorenc, Logos i mit estetyczności, Uniwersytet Warszawski Instytut Filozofii, Warszawa 1993.
(3) M. Bachtin, Estetyka twórczości słownej, Państwowy Instytut Wydawniczy, Warszawa 1986.
(4) J. Margolis, Czym, w gruncie rzeczy, jest dzieło sztuki?, Wyd. TAiWPN Universitas, Kraków 2004.
(5) H. Read, Sens sztuki, Wyd. PWN, Warszawa 1982.
(6) Myśliciele kronikarze i artyści o sztuce. Od starożytności do 1500 roku, wyb. i oprac. J. Białostocki, Wyd. Słowo/Obraz Terytoria,
Gdańsk 2001.
(7) Teoretycy, pisarze i artyści o sztuce 1500-1600 , wyb. i oprac. J. Białostocki, Wyd. PWN, Warszawa 1985.
(8) Teoretycy, artyści i krytycy o sztuce 1700-1870, wyb. E. Grabska i M. Poprzęcka, Wyd. PWN, Warszawa 1974.
(9) F. Nietzsche, Narodziny tragedii czyli hellenizm i pesymizm, Wyd. Zielona Sowa, Kraków 2005.
(10) J. Baudrillard, Spisek sztuki. Iluzje i deziluzje estetyczne z dodatkiem wywiadów o „Spisku sztuki”, Wyd. Sic!, Warszawa 2006.
Department of Art
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Psychophysiological basis of art
03.9-WA-EASP-PPSZ
Core module
Polish
Janina Fyk, Prof.
Janina Fyk, Prof.
Classes
30
1
1-2
Pass/Exam
6
Module Aims:
Biofunctional basis of the perception of art-“artistic genes”.
Selected issues on the development of the brain in the pre-natal and early post-natal stages.
A map of the brain and the functions of brain hemispheres.
Different kinds of intelligence-kinds of activities and the methods of learning.
Canons of music and fine art. Number, harmony and proportion-the basis of Pythagorean philosophy and
the theorem of the spheres. Pythagoras and the Pythagoreans and their contribution to art and science. A
Great Theory of Beauty and its reflection in art and science. The basis of audiometry. The threshold of
pain and the limits of hearing.
Psychophysical and psychological basis of the perception of visual colour.
Sensual dimensions in music and fine art-sensitivity and differential thresholds.
Hoilstic and analytical perception. The psychology of the figure in art-the basic theories of the psychology
of the figure. Synesthesia and chromestesia-extraordinary abilities”savant”-their functions in music, fine
art and art therapy.
States of consciousness-the frequency and characteristics of brain waves.
Creation and the” Creative Moment”by Tadeusz Wroński.
The basic principles of the Methods by Alfred Tomatis.
Suggestion-suggestopedia-superlearning-the role of music and art.
Basic rules of suggestopedic teaching. The activation of brain hemispheres-breathing and music.
.The Effect of Mozart in Music and Fine Art.The use of “Mozart Effect” in science, medicine and for
individual needs.
“Musical” and “Artsitic” brain in light of scientific research.
A therapeutic effect of art as shown in music and fine art-therapeutic effect of sound and colour.
Neurophysiology,biomusicology,and psychology in music, art and education.
Module outcomes:
The students will broaden their knowledge on psychophysiological and neurobiological conditions of the
development of the artistic and musical talents in human beings. They will also acquire the ability to use
the knowledge on physiological and neurobiological conditions of art teaching and enriching aesthetic
experience.
Attendance. Exam.
Basic Literature:
Konieczna, E. Arteterapia w teorii i praktyce, Oficyna Wydawnicza „Impuls”, Kraków, 2003.
Kataryńczuk-Mania, L., Karcz, J. (red.) Sztuka w kontekście oddziaływań na człowieka, Uniwersytet Zielonogórski, 2006.
Szulc, W. Sztuka w służbie medycyny, Akademia Medyczna im. Karola Marcinkowskiego w Poznaniu, Poznań, 2001. Tomaszewski, T.,
Główne idee współczesnej psychologii, Wiedza Powszechna, Warszawa, 1984, wyd. I.
Tatarkiewicz
Campbell, D. The Mozart Effect, Quill, 2001.
Lewandowska, K. Muzykoterapia dziecięca, Studio NORMA, Gdańsk, 1996.
Tomatis, A.A. Ucho i śpiew, Wydawnictwo UMCS, Lublin 1995.
Zeugner, G. Barwa i człowiek, Wydawnictwo „Arkady”, Warszawa 1965, Wyd. I.
Supplementary Literature:
Metera, A. Muzykoterapia. Muzyka w medycynie i edukacji. Wydawnictwo Centrum Techniki Nauki Metronom, Leszno, 2002.
Oster, G., Gould, P. Rysunek w psychoterapii, Gdańskie Wydawnictwo Psychologiczne, Gdańsk, 2001.
Anisimowicz, B. Alternatywne nauczanie języków obcych w XX wieku.
Lecourt, E. Muzykoterapia czyli jak wykorzystać siłę dźwięków, Videograf II, Katowice, 2008.
Utwory muzyczne okresu baroku – wybór.
Wierszyłowski, J. Psychologia muzyki, PWN, Warszawa, 1970.; Czasopisma: Arteterapia, Exit.
Department of Art
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Art-musical workshops
03.9-WA-EASP-WPLM
Core module
Polish
Janina Fyk, Prof.
Janina Fyk, Prof.; Agnieszka Graczew-Czarkowska, MA
Workshops
60
2
3, 4
A pass grade
8
Module Aims:
Point, line and plane as in a therapeutic aspect.
Sound, cluster, melodic contour, melodic line-autocharacteristics;
Timbre, colour tint and the colour of emotions in the context of therapeutic interactions;
Music and colour associations in the context of musical and compositional styles;
Statement and the real value of art-knowledge and the perception of art, role and competence of an
artist;
Self-correlation in the creative process (building creative identity);
Statement-selection of a leading topic of an artistic and musical statement and its message;
The usefulness of the artistic medium in therapy;
Emotions and intellectual and aesthetical experience-subject and the message, empathy-articulation-part
of an experience, the dynamics of a message and the dynamics of reception (alea).
Creator-work-receiver: From an initiative to culmination, organisation of work, ways and attractiveness of
the presentation of work, author’s responsibility and control, work and the credibility of the
author/creator.
Music, emotional mood and a conscious selection of visual colours;
Communicative activity: art as a tool, the art of a dialogue and dialogicality;
Interdisciplinary attitude (sense of montage);
“artistic”influence of a piece of music;
“musical”influence of an artistic work;
Creative perception of artistic and musical work;
Exhibition/performance.
Module outcomes:
The students should be able to analyse the progress of the workshops and their forms; they should master
the skill of organising work, they should also be able to search for an impulse and artistic inspiration.
The students should be able to match a musical background with a piece of art and to match a piece of art
with a musical background with regard to the therapeutic effects.
Artistic interpretation of musical vision, musical interpretation of an artistic vision including a written
elaboration and a recording (CD).
Basic literature:
Marvin Carlson, Performans, PWN, Warszawa, 2007.
Mieczysław Porębski, Sztuka a informacja, Wyd. Literackie, Kraków, 1986.
Marek Wasilewski, czy sztuka jest wściekłym psem ?, Stowarzyszenie Czasu Kultury, Poznań, 2009.
Supplementary Literature:
Leszek Polony, W kręgu muzycznej wyobraźni, PWM, 1980.
Witold Rudziński, Dźwięki i rozdźwięki, Wydawnictwa Radia i Telewizji, Warszawa. 1986.
Utwory muzyczne od baroku do muzyki współczesnej oraz utwory muzyki rozrywkowej – wybór
Czasopisma: Arteterapia, Exit, Arteon
Department of Art
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Relaxation Techniques
16.9-WA-EASP-TREL
Core module
Polish
Maria Jałocha, PhD
Maria Jałocha, PhD
Classes
30
2
3
A pass grade
2
Module Aims:
Humanistic basis of relaxation techniques (support and stimulation of the development).
Stress-symptoms and techniques used to reduce it.
Autogenic training by Schultz.
Progressive training by Jacobson
Visualisation as a process of creativity and expression.
Relaxation massage (Alexander’s technique, reflexotherapy).
Conscious breathing.
Yoga and oriental relaxation techniques(tai-chi, zen-shiatzu).
Other relaxation techniques using work with the body and breath-meditation techniques (Benson’s
exercises), hypnotic trance, NLP, Denison’s exercises, the method of Developmental Movement by Veronica
Sherborne, relaxation by Wintrebert, relaxation fairy tales.
The use of colour therapy and aromatherapy in relaxation.
Music therapy.
Module outcomes:
The students should know relaxation methods and techniques and should be able to use them in practice.
They become able to calm down and relax, get rid of stress and thus reach a state of relaxation.
They also learn how to run classes with the use of relaxation techniques.
They should be able to use and create their own texts for visualisation and invent their own relaxation
fairy tales.
Assessments requirements:
Attendance, practical skills, and the knowledge of the issues are the conditions for a pass.
Basic literature:
ALBISETTI Valerio - Trening autogeniczny. – Kielce : Wydawnictwo „Jedność”, 2005
BAILEY Roy - Zarządzanie stresem : 50 ćwiczeń. - Warszawa : Wydaw. ARTE, cop. 2002
CRAZE R., tł. Ciepłowska A.: Relaksacja ciała i umysłu - Warszawa 2007
DIEKEMPER Elisa - Więcej niż wyciszenie : znaczenie i przebieg podróży w krainę fantazji oraz ich praktyczne wykorzystanie :
poradnik dla rodziców i wychowawców. - Kielce : Wydawnictwo "Jedność", 2005
KULMATYCKI Lesław - Lekcja relaksacji. - Wyd. 2. - Wrocław : Wydaw. Akademii Wychowania Fizycznego, 2002
SCHENK Christoph, tł. Hanna Borowiec.: Relaksacja: sposób na stres. Warszawa JBF,1996
CHOROŚ Jadwiga - W pułapce stresu, w: Lider 2006, nr 1, s. 9-15
DUDA Dorota - Oddech - pigułka na stres. Cz.1, w: Ekoświat. - 2005, nr 9, s. 44-45 , Regeneracja organizm: oddech - pigułka na stres.
Cz. 2 w: Ekoświat. - 2005, nr 10, s. 46
GIMNASTYKA mózgu, w: Gazeta Szkolna 2003, nr 1, s. 11,15
MARCHWICKA M. - Bajki - jako elementy treningu autogennego dla dzieci, w: Szkoła Specjalna 1990, nr 5, s. 265-268
Department of Art
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Methods of popularising the Art Culture and Artistic Criticism
03.9-WA-EASP-MEKA
Core module
Polish
Mirosława Vierstra, MA
Mirosława Vierstra, MA
Classes
60
2
1, 2
A pass grade
10
Module Aims:
The aim of the classes is to:
− develop students’ abilities to present their own world-views on art in different possible ways
− further develop the awareness of the criteria used when judging the artistic work
− developing different ways and strategies used to popularise the art
Module outcomes:
By the end of the course, the students should acquire the skill to:
− comment on current artistic events
− express their views on contemporary art
− popularise the art and artistic activities by using different forms and strategies of promotion
Exhibition reviews, participation in discussions, presenting students’ own projects (catalogue lay-out,
scenario of the exhibition).
Basic literature:
Galinowska, S., (red), (1992), Komercjalizacja w kulturze, Warszawa
Estetyka i krytyka, (2003), nr. 5, Kraków: Uniwersytet Jagielloński
Dziemidok, B., (2002), Główne kontrowersje estetyki współczesnej, Warszawa: PWN
Ruskin, J., (1977), Sztuka, społeczeństwo, wychowanie, Wrocław: Ossolineum
Matuchniak-Krasuska, A., (1988), Gust i kompetencja, Łódź: Wydawnictwo Uniwersytetu Łódzkiego
Selected articles on the artistic work.
Department of Art
Faculty:
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Optional Workshop
Module Code:
03.0-WA-EASP-PWW
Module Type:
Core module
Polish
Principal lecturer:
Ryszard Woźniak, Prof.UZ; Magdalena Gryska, PhD; ad. Zenon Polus;
Radosław Czarkowski, PhD; Alicja Lewicka-Szczegóła, PhD; kw. art. I st. Piotr Czech; Jarosław Dzięcielewski, PhD; kw.
art. I st. Helena Kardasz; Wiesław Hudon, Prof.; Wojciech Müller, Prof.
Mode of Delivery:
Classes, Classes
Number of Hours:
150, 150
5, 5
Term:
1, 2; 1, 2
A pass grade
Points ECTS:
5, 5
Painting / Unconventional forms in painting
Language of Delivery: Polish
Module supervisor: Ryszard Woźniak, Prof.UZ
Principal lecturer: Ryszard Woźniak, Prof.UZ
Module Aims:
Closed form. Open form. The work of art as a thing, as a process and as a recording. The scheme of work
assumes students’ individual artistic search. The whole term is devoted to complete one self-prepared
project or to complete the programme that meets students’ individual needs. Classes on selfpresentation.
Module outcomes:
The students should be able to create original work in painting based on individually elaborated expressive
idioms and the individual techniques of working. The ability to present and defend an individual concept
in art.
Revision of the portfolio. One of the conditions for a pass is to elaborate a selected topic in the form of a
series of works.
Basic literature:
Magazines
Artforum, WWW.artforum.com
Art Review, WWW.artreview.com
Flash Art., WWW.flashartonline.com
Parkett, WWW.parkettart.com
Obieg, WWW.obieg.pl
Art&Business, WWW.artbiznes.pl
Sztuka.pl, WWW.sztuka.pl
Piktogram, WWW.piktogram.pl
Notes.na.6.tygodni, WWW.funbec.eu
Muzeum, WWW.gazeta-muzeum.pl
Arteon, WWW.arteon.pl
Exit
Painting / Unconventional forms in painting
Language of Delivery: Polish
Module supervisor: Magdalena Gryska, PhD
Principal lecturer: Magdalena Gryska, PhD
Module aims:
The main aim is to understand and master the main techniques connected with painting, get familiarised
with the structure of a painting, painting materials, texture, light and colour and also approach painting
as a discipline that enables to reach all the contemporary ways of expression leading to the final outcome,
which is painting. The scheme of work of the Workshop is included in the topics that are based on the
study of nature and the use of multiple interpretation means.
One of the aims is also to develop students’ skills to make their own decisions in painting.
Module outcomes:
The students will get familiarised with the basic elements of painting. They will also get to know basic
techniques in painting such as: oil painting, acrylic painting, mix media, drills with different kinds of
support in painting.
Attendance, participation in the term exhibitions, completion of the scheme of work.
Basic literature:
Wassily Kandinsky, O duchowości w sztuce, przeł. Stanisław Fijałkowski, wyd. PGS, Łódź 1996.
Władysław Strzemiński, Teoria widzenia, Wyd. Literackie, Kraków 1974.
Kazimierz Malewicz, Świat bezprzedmiotowy, Wydawnictwo Słowo/Obraz/Terytoria,
Heinrich Wolfflin, Podstawowe pojęcia historii sztuki, Wydawnictwo Słowo/Obraz/ Terytoria, Gdańsk 2006.
Magazines:
Arteon, Exit, Artluk, Format, Obieg itp.
Other sources: internet, World museums, Galleries of Modern Art, artists’ authorised articles
Drawing / intermedia drawing operations
Language of delivery: Polish
Module supervisor: ad. Zenon Polus
Principal lecturer: ad. Zenon Polus
Module aims:
One of the main aims is to develop the acquired skills (during the License course) in drawing through the
expression of the observed and analysed reality, its interpretation and creative processing.
The students have to acquire the skill to join traditions with the modern artistic thought and improving
the present and searching for the new methods of teaching the art of drawing. The scheme of work
includes the skills of drawing notations of both our reality as well as everything that is connected with our
sensitivity and spirituality. The main aim of this work is to prepare the students to complete a drawing as
an individual form of expression.
Module outcomes:
The students will be able to make their own artistic decisions which reflect the way they perceive the
world and show their own sensitivity and fulfil them in drawing.
Attendance, completion of the scheme of work.
Basic literature:
Dick Higgins, Intermedia, Akademia Ruchu, Warszawa 1985.
Performance, wybór tekstów, MAW, Warszawa 1984.
E.H. Gombrich, O sztuce, Rebis, 2008.
Marcin Czerwiński, Samotność sztuki, Warszawa 1988.
A. Rottenberg, Sztuka w Polsce 1945-2005, Warszawa 2005.
K. Wilkoszewska, Wariacje na postmodernizm, wyd. Universitas, Kraków 2008.
B. Reeves, C. Nass, Media i ludzie, Wyd. PIW 2000.
Any books, magazines or catalogues concerning the problems of contemporary art.
Module supervisor: Radosław Czarkowski, PhD
Principal lecturer: Radosław Czarkowski, PhD
Module aims:
The teaching methods include: individual discussions, monitoring the development of workshop and
artistic awareness, joint analysis of ideological qualities, organisation of exhibitions, supervision of the
exhibitions, open air exhibitions, public discussions.
The topics of the workshops are elaborated according to individual requirements of the students with
particular attention to the needs of the Diploma artistic workshops.
Module outcomes:
The main aim of the workshop is permanent development of the artistic workshop, enriching the artistic
awareness, developing the skills to express the creative ideas, developing autonomous values, free
discussions including openness and flexibility in reflections and alternative ideas, developing the skills to
observe a broad spectrum of phenomena within the students’ interests , developing the artistic sensitivity,
strengthening individual attitudes.
The students have to complete all the required end of term and mid-term projects. The course ends with
a pass grade.
Basic literature:
Module supervisor: Alicja Lewicka-Szczegóła, PhD
Principal lecturer: Alicja Lewicka-Szczegóła, PhD
Module aims:
The main aim of the workshop is to develop students’ artistic sensitivity and awareness, perfect the
artistic skills, as well as to familiarise the students with the problems of contemporary art.
The main form of teaching consists of an individual work with a student and it is based on their own
sensitivity and predispositions. The students are allowed to use both classical and unconventional drawing
techniques within the workshop. The scheme of work includes the problems of interactive drawing,
installations, dimensional drawing, etc. The scheme of work is completed through suggested topics that
are then carried out in drawing, object, photography, sound and video.
The students start an individual scheme of work or completes the topics offered by the scheme of work of
the workshop. In both cases , the students have to consult the workshop supervisor during their work-from
the very beginning to the final outcome.
Examples of the tasks:
1. Pleasant-awful-moving
2. Places-maps-histories.
Module outcomes:
Students should be to complete the selected topic. They should feel quite confident within various
cultural contexts. They should be able to express the phenomena, emotions, and attitudes towards
different situations of everyday life as well as different social behaviours by means of intermedia
visualisations.
Revision of works (participation), regular consultations. To get a pass, the students have to complete the
selected project in a form of a series f works or one individual artistic work (installation, drawing
operation, etc.)
Basic literature:
M. Archer, N. de Oliveira, N. Oxley, M. Petry, Installation Art, Smithsonian Institution Press
J. Brach-Czaina, Szczeliny istnienia, PIW, Warszawa 1992
U. Czartoryska, Fotografia – mowa ludzka. Perspektywy teoretyczne, Wyd. słowo/obraz terytoria, Gdańsk 2005
M. Eliade, Mity, sny i misteria, Wyd. KR, Warszawa 1999
M. Głowiński (red.), Symbole i symbolika, Czytelnik, Warszawa1990
A. Jakubowska, Na marginesach lustra, Universitas, Kraków 2004
C.G.Jung, Archetypy i symbole. Pisma wybrane, Czytelnik, Warszawa 1975
A. Żmijewski, Drżące ciała, rozmowy z artystami, seria Krytyki Politycznej, t.2, Bytom-Kraków, 2006
10. A. Mencwel [red.], Antropologia kultury. Zagadnienia i wybór tekstów, Wyd. Uniwersytetu Warszawskiego, Warszawa 2005.
11. L. Kolankiewicz [red.], Antropologia widowisk. Zagadnienia i wybór tekstów, Wyd. Uniwersytetu Warszawskiego, Warszawa 2005.
Paper and network magazines
Circulation
Exit
ARTeon
Art and Philosophy
Oronsko
Exhibition catalogues
Graphic Designs
Introductory requirements: advanced knowledge of the computer and computer graphics packages.
Module supervisor: kw. art. I st. Piotr Czech
Principal Lecturer: kw. art. I st. Piotr Czech
Module aims:
Development of skills in: use of typography, poster design, character design, publishing and editorial
graphics, visual communication. Developing computer techniques in graphic design, skilful and conscious
choice of tools to the ways of completing the project. Preparing the materials for digital print.
The students should also develop their skills to think creatively and solve the problems in individual design
work and look for individual designs solutions taking into consideration aesthetic and usable functions of
the objects. During the education process, the scheme of work is individualised depending on creative
possibilities of the students that lead to final professional and conscious artistic outcome.
Module outcomes:
The students should acquire a practical knowledge in: graphic design, and they should further develop the
skills they acquired during the License course.They should also be able to achieve a conscious and
individual expression through graphic design and acquire an artistc maturity leading to the Dipolma. The
students should acquire a professional attitude towards the use of both traditional media as well as the
latest digital technologies. Using graphics applications: CorelDraw, Adobe Photoshop and their derivatives
(at an advanced level) in completing the projects.
Active participation in the classes,completion of the scheme of work, a pass grade.
Basic literature:
Stefan Bernaciński, Liternictwo, WSiP, Warszawa 1990
Robert Chwałowski, Typografia typowej książki, Gliwice, Helion 2002
Adrian Frutiger, Człowiek i jego znaki, Do/Optima, Warszawa 2003
Robert Bringhurst, Elementarz stylu w typografii, Design Plus, Kraków 2007
Friedrich Forssman, Hans Peter Willberg, Pierwsza pomoc w typografii, Słowo-Obraz Terytoria, Warszawa 2008
James Felici, Kompletny przewodnik po typografii. Zasady doskonałego składania tekstu, Słowo Obraz Terytoria, Warszawa 2007
Tibor Szántó, Pismo i styl, Wrocław, Zakład Narodowy Imienia Ossolińskich Wydawnictwo 1986
Krzysztof Tyczkowski, Lettera Magica, Polski Drukarz, Łódź 2005
Jacek Mrowczyk, Niewielki słownik typograficzny, Słowo-Obraz Terytoria, Warszawa 2008
Gavin Ambrose, Paul Harris, Typografia, Wydawnictwo Naukowe PWN SA, Warszawa 2008
Piotr Rypson, Książki i strony. Polska książka awangardowa i artysytczna w XX wieku,
Piotr Rypson: Obraz Słowa, Wydawnictwo AR, Warszawa 1989
Centrum Sztuki Współczesnej Zamek Ujazdowski w Warszawie, Warszawa 2000
S.G Wheeler, G.S. Wheeler, Typografia komputerowa, Exit, Warszawa
Janina Wiercińska, Sztuka i książka, PWN, Warszawa 1986
Frantz Herman Wills, Grafika reklamowa, WNT, Warszawa 1972
L. Manovich, Język nowych mediów, Warszawa 2006
Czasopisma: O ile to możliwe stała lektura periodyków:
Tekst oraz 2+3D (krajowe), Graphis, Print, Typography, Computer Arts
Inne źródła: strony WWW (podawane sukcesywnie) związane z tematyką projektowania.
Sculpture
Introductory requirements: Language of delivery: Polish
Module supervisor: Jarosław Dzięcielewski, PhD
Principal Lecturer: Jarosław Dzięcielewski, PhD
Module aims:
This workshop is for the full time students-(Master Of Arts course). I particularly focus on
students’autonomy, ability to make their own, artistic decisions, to express their ideas, judgments,
remarks. The workshop is supposed to help the students to complete their Diploma in Sculpture.
Teaching Methods:
Through individual conversations and consultations concerning the selected projects-authorised
programmes-I aim at developing students’personalities and their artistic qualities. During our discussions, I
try to listen, observe, suggest, justify my own doubts. I show them all the possibilities and the limits
concerning some projects and problems. I expect the same from my students. Any project which includes
four main topics that is elaborated by them may be accepted by me or rejected. I have the duty to justify
my choice. Through individual discussions with my students I care about the development of their artistic
personalities. I also help them to make their own artistic decisions concerning the diplomas. The students
should be able to make judgments and express their ideas connected with their creative work.
Module outcomes:
Attendance and completion of the project.
Photography / intermedia photography
Introductory requirements: knowledge on photography (techniques and technology-advanced level), theory and
aesthetics in photography
Module supervisor: kw. art. I st. Helena Kardasz
Principal Lecturer: kw. art. I st. Helena Kardasz
Module aims:
The main aims are to develop the students’ artistic self-awareness expressed through photography. The
students are able to interpret the programme through digital or analogue recording, video, object,
installation.
Photography areas suggested for interpretation:
Staging, experiment: postmedia photography (rejecting the conventional rules of optics resulting in the
correctness of a photographic picture), pinhole photography (camera obscura, darkroom); digital
recording; montage; virtual photography (consultations with the use of Adobe Photoshop).
Module outcomes:
The students should develop their artistic awareness and acquire the knowledge on contemporary
photography.
− individual consultations (project, assumptions concerning the topic)
− participation in workshop discussions; self-presentation of individual stages of project completion
− participation in the open air Photography Workshop( broadening the scheme of work with an
experiment and cognitive qualities by observing the reality)
Basic literature:
Barthes Roland, „Światło obrazu”, Wyd. KR, Warszawa 1999
Benjamin Walter, „Twórca jako wytwórca”, Wyd. Poznańskie, Poznań 1975
Benjamin Walter, „Dzieło sztuki w dobie reprodukcji technicznej”, w: „Anioł historii”, red. H. Orłowski, Wyd. Poznańskie, Poznań
1996
Brauchitsch Boris von, „Mała historia fotografii”, Cyklady, Warszawa 2004
„Przestrzenie fotografii. Antologia tekstów”, praca zbiorowa pod red. T. Ferenca, K. Makowskiego, Galeria f5, Łódź 2005
Rosenblum Naomi, „Historia fotografii światowej”, Wyd. Baturo i Grafis Projekt, Bielsko – Biała 2005
Rouillé André, „Fotografia. Między dokumentem a sztuką współczesną”, Universitas, Kraków 2007
Sontag Susan, „O fotografii”, Wyd. Artystyczne i Filmowe, Warszawa 1989
Tomaszczuk Zbigniew, „Łowcy obrazów. Szkice o fotografii”, CAK, Warszawa 1998
Berger John, „O patrzeniu”, Fundacja Aletheia, Warszawa 1999
Berger John, „Nasze twarze, moje serce, zwięzłe jak fotografie”, Czuły Barbarzyńca Pies, Warszawa 2006
„Co widać?”, praca zbiorowa pod red. J. Kaczmarka, M. Krajewskiego, Wyd. Naukowe UAM, Poznań 2006
Czartoryska Urszula, „Fotografia mowa ludzka. Perspektywy historyczne. Tom 2”, słowo/obraz/terytoria, Gdańsk 2006
Flusser Vilém, „Ku filozofii fotografii”, folia academiae, Katowice 2004
„Fotografia: realność medium”, praca zbiorowa pod red. G. Dziamskiego, A. Kępińskiej, S. Wojneckiego, ASP Poznań, Poznań 2000
Michałowska Marianna, „Niepewność przedstawienia. Od kamery obskury do współczesnej fotografii”, Rabid, Kraków 2004
Michałowska Marianna, „Obraz utajony. Szkice o fotografii i pamięci”, Galeria f5, Kraków 2007
„Słowo o fotografii”, Krzysztof Jurecki, Krzysztof Makowski, ACGM Lodart S.A., Łódź 2003
Segal Hanna, „Marzenie senne. Fantazja i sztuka”, Universitas, Kraków 2003
Sobota Adam, „Szlachetność techniki”, Wyd. Naukowe Scholar, Warszawa 2001
Tomaszczuk Zbigniew, „Odwzajemnione spojrzenie”, Typoscript, Wrocław 2004
„Wokół dekady. Fotografia polska lat 90”, praca zbiorowa pod red. M. Bauera, K. Jureckiego, A. Soboty, Muzeum Sztuki, Galeria FF,
Łódź 2002
Exit http://www.exit.art.pl/
Fotografia http://www.fotografia.net.pl/
Fototapeta http://fototapeta.art.pl/
Obieg http://www.obieg.pl/
Department of Art
Faculty:
Level:
Module:
Module Code:
Module Type:
Module supervisor:
Principal lecturer:
Mode of Delivery:
Number of Hours:
Term:
Points ECTS:
Creative Education Studio
03.9-WA-EASP-PTWR
Core module
Polish
Katarzyna Podgórska-Glonti, PhD
Katarzyna Podgórska-Glonti, PhD
Classes
90
3
1, 2
A pass grade
10
Module Aims:
Designing and completion of educational-artistic activities understood as an area of art and education.
Module outcomes:
By the end of the course the students should be able to:
− write a scheme of work for different age groups and on various topics
− define clearly the main aims of the workshop, artistic and educational activities
− activate the participants
− carry out the workshops
− use various techniques including digital recording
A pass grade.
Basic literature:
E. Olinkiewicz i E. Repach, Warsztaty edukacji twórczej, wyd. Europa, Wrocław 2001,
W. Karolak, Warsztaty twórcze, wyd. Jedność, Kielce 2002;
E. Goffman, Człowiek w teatrze życia codziennego, wyd. KR, Kraków 1998;
E. Hall, Ukryty wymiar, wyd. Muza, Warszawa 2000.
1) W. Welsch, Estetyka poza estetyką. O nową postać estetyki, Wyd. TAiWPN Universitas, Kraków 2005.
(2) I. Lorenc, Logos i mit estetyczności, Uniwersytet Warszawski Instytut Filozofii, Warszawa 1993.
(3) M. Bachtin, Estetyka twórczości słownej, Państwowy Instytut Wydawniczy, Warszawa 1986.
(4) J. Margolis, Czym, w gruncie rzeczy, jest dzieło sztuki?, Wyd. TAiWPN Universitas, Kraków 2004.
(5) H. Read, Sens sztuki, Wyd. PWN, Warszawa 1982.
(6) Myśliciele kronikarze i artyści o sztuce. Od starożytności do 1500 roku, wyb. i oprac. J. Białostocki, Wyd. Słowo/Obraz Terytoria,
Gdańsk 2001.
(7) Teoretycy, pisarze i artyści o sztuce 1500-1600 , wyb. i oprac. J. Białostocki, Wyd. PWN, Warszawa 1985.
(8) Teoretycy, artyści i krytycy o sztuce 1700-1870, wyb. E. Grabska i M. Poprzęcka, Wyd. PWN, Warszawa 1974.
(9) F. Nietzsche, Narodziny tragedii czyli hellenizm i pesymizm, Wyd. Zielona Sowa, Kraków 2005.
(10) J. Baudrillard, Spisek sztuki. Iluzje i deziluzje estetyczne z dodatkiem wywiadów o „Spisku sztuki”, Wyd. Sic!, Warszawa 2006.
Department of Art
Faculty:
Level:
Module:
Module Code:
Module Type:
Module supervisor:
Principal lecturer:
Mode of Delivery:
Number of Hours:
Term:
Points ECTS:
Proseminar
03.9-WA-EASP-PSEM
Core module, optional
Artur Pastuszek, PhD; Roman Sapeńko, PhD
Classes
60
2
1, 2
A pass grade
10
Introductory requirements: Basic knowledge on cultural, historical, artistic and linguistic. A pass in at least two
modules on intellectual and aesthetical culture (philosophy, aesthetics, history of art, sociology of art, anthropology
of culture)
Language of Delivery/Instruction: Polish
Principal lecturer: Artur Pastuszek, PhD
Module Aims:
Establishing the borderlines in scientific search (aesthetics, philosophy of art, sociology of art, philosophy
of culture)and presenting the ideas and topics of research. Selecting the problems of the thesis and
attempts to establish its range. The ability to choose the method of research. Formulating the topic of
Master of Art thesis. Library query. Looking for the materials suitable for the thesis. Studies on the state of
research. Preparation of a conspectus and elaboration of the plan of work.
The problem of copyright and plagiarism. The first attempts to formulate an argument of the thesis and its
public presentation, discussion. Terminological precision, defining the ideas, supplementary literature,
(varia).Criteria of the assessment: methodological cohesion, logic of argument, transparency, substantial
quality.
Module outcomes:
The students should acquire the ability to solve any problems in their research independently and also to
present the results of their research in public. They should also acquire the ability to express their
criticism and judge the effectiveness of certain research techniques and tools.They should be able to
present the topic of their thesis, its structure and the selected methodology. The students should be
familiarised with the rules of preparing and editing the university theses.
The students should present the conspectus of the thesis and the results of the query.
They should also hand in the first chapter of the thesis and give a presentation on the arguments put
forward in their thesis.
Basic literature:
Eco U., Jak napisać pracę dyplomową, Warszawa 2008.
Oliver P., Jak pisać prace uniwersyteckie?, Kraków 1999.
Urban S., Ładoński W., Jak napisać dobrą pracę magisterską, Wrocław 2001.
Zenderowski R., Praca magisterska. Jak pisać i obronić. Wskazówki metodologiczne, Warszawa 2004.
1.
2.
3.
4.
Lindsay D., Dobre rady dla piszących teksty naukowe, Wrocław 1995.
Maćkiewicz J., Jak pisać teksty naukowe, Gdańsk 1996.
Woźniak K., O pisaniu pracy magisterskiej na studiach humanistycznych. Przewodnik praktyczny, Warszawa-Łódź 1998.
Zenderowski R., Technika pisania prac magisterskich, Warszawa 2005.
Department of Art
Faculty:
Level:
Module:
Module Code:
Module Type:
Module supervisor:
Principal lecturer:
Mode of Delivery:
Number of Hours:
Term:
Points ECTS:
Diploma Seminar
03.9-WA-EASP-SEMM
Core module, optional
Artur Pastuszek, PhD, Roman Sapeńko, PhD
Conversations
90
3
3, 4
A pass
20
Introductory requirements: A grade achieved at M.A proseminar of similar profile. Basic knowledge on the selected
cultural, artistic, historical and linguistic problems.
Module supervisor: Artur Pastuszek, PhD
Module Aims:
Presentation of the topic of research and critical discussion on it. Attempts to make the thesis issues
concise and compact. Evaluation of the availability of the means to carry out the research. Introductory
notes-possible modification of the topic. Establishing the final version of the thesis topic (criteria:
-transparency, objectivity, linguistic correctness).
Analysis of the contents of the thesis, its range and suitability of the selected tools and techniques.
Evaluation of the outcome of the selected aims. Selectivity- pointing at the questions that were omitted
in the thesis. Presentation of the first version of the M.A thesis. Tutor’s pre-view. Proofreading. Final
conclusions. Preparation of the thesis for print.
Module outcomes:
Students should master the technique to write a thesis-structure of the text (introduction, layout of the
thesis, arguments, conclusions), ways of presenting the sources (quotation, discussion, paraphrase,
remarks, language, references, reference marks,appendix).
Students should acquire the ability to understand and interpret the collected research material. They
should also acquire the skill to properly use the methodology, terminology and the techniques of writing
an M.A thesis. They should be able to solve any research problems and to present the results of the
research in public. The students should know the rules of preparing and editing a university thesis.
The students should hand in the next chapter of the M.A thesis and give at least one presentation of the
arguments put forward in their thesis. Final editing and submission of the M.A thesis.
Basic literature:
Eco U., Jak napisać pracę dyplomową, Warszawa 2008.
Oliver P., Jak pisać prace uniwersyteckie?, Kraków 1999.
Urban S., Ładoński W., Jak napisać dobrą pracę magisterską, Wrocław 2001.
Zenderowski R., Praca magisterska. Jak pisać i obronić. Wskazówki metodologiczne, Warszawa 2004.
1.
2.
3.
4.
Lindsay D., Dobre rady dla piszących teksty naukowe, Wrocław 1995.
Maćkiewicz J., Jak pisać teksty naukowe, Gdańsk 1996.
Woźniak K., O pisaniu pracy magisterskiej na studiach humanistycznych. Przewodnik praktyczny, Warszawa-Łódź 1998.
Zenderowski R., Technika pisania prac magisterskich, Warszawa 2005.
Introductory requirements: Module supervisor: Roman Sapeńko, Ph.D
Module aims:
The main aim is to prepare the students for individual preparation of the M.A thesis. The thesis should be
a proof of students’ ability to use literature, empirical materials, and to solve basic empirical problems.
The classes should result in students’ ability to write individual assignments, papers, articles, and other
scientific theses. The students should also be able to master the technique of public presentation of the
achieved results. The seminar gives the students an opportunity to practise their skills in studying, group
work, to make decisions and to writ synthetic reports.
Teaching methods:
Reporting on the elaborated material.
Conceptual and problematic work.
Definitions of notions.
Creative problem solution.
Activating methods (brainstorm, projects, discussions)
Lecture.
Scheme of Work.
Structure of the diploma thesis.
Selection of the topic of the license thesis and formulation of the topic. Methodology of conceptual work
(diagnosis, research, completion).
Literature study and library query.
Use of empirical materials (interpretation,exemplification, generalisation).
Preparation of the plan of work and its approval.
Techniques of writing a thesis (introduction, development of the topic, conclusions, research methods,
footnotes,graphic, list of sources, literature).
Scientific properties of diploma theses and criteria of evaluation: correctness, methodology, structure of
the contents, terminological precision, transparency of the structure of the thesis, delivery of the first
version of the manuscript, corrections, discussion on the style and transparency.
Preparation of the thesis for print.
Preparing the students to defend the problems raised in the thesis during the license exam. The exam
procedure (plagiarism, university rules).
Basic Literature:
Pułło Andrzej. Prace magisterskie i licencjackie. Wskazówki dla studentów. Warszawa 2000.
Oliver Paul. Jak pisać prace uniwersyteckie? Kraków 1999.
Weiner Janusz. Technika pisania i prezentowania przyrodniczych prac naukowych. Warszawa 1998.
Urban Stanisław. Jak napisać dobrą pracę magisterską? Wrocław 1997.
Department of Art
Faculty:
Level:
Module:
Diploma Art Studio
Module Code:
03.0-WA-EASP-DPAM
Module Type:
Core module,optional
Module supervisor:
Ryszard Woźniak, Prof.UZ; Magdalena Gryska, PhD; ad. Zenon Polus; Radosław
Czarkowski, PhD; Alicja Lewicka-Szczegóła, PhD; kw. art. I st. Piotr Czech; Jarosław Dzięcielewski, PhD; kw. art. I st.
Helena Kardasz; Wiesław Hudon, Prof.; Wojciech Müller, Prof.
Mode of Delivery:
Classes
Number of Hours:
135
5, 4
Term:
3, 4
Pass
Points ECTS:
20
Painting / unconventional forms of painting
Module supervisor: Ryszard Woźniak, Prof.of Zielona Góra University
Module Aims:
Individual formulation of a topic based on the acquired experience or a new topic, which represents
students’ present interests. Making concept sketches. Planning and completion of individual compositions
as part of the whole series.
Module outcomes:
The students should be able to:
− visualise the reflections connected with the topic
− to choose adequate means of expression, tools, materials
− to make a coherent and complex statement in the form of an exhibition.
The students should consult on all the key stages during the completion of the diploma complete all the
parts of the whole project.
Basic literature:
The literature is selected according to the students’ topic of the thesis and their own interests.
Czasopisma:
Artforum, WWW.artforum.com
Art Review, WWW.artreview.com
Flash Art., WWW.flashartonline.com
Parkett, WWW.parkettart.com
Obieg, WWW.obieg.pl
Art&Business, WWW.artbiznes.pl
Sztuka.pl, WWW.sztuka.pl
Piktogram, WWW.piktogram.pl
Notes.na.6.tygodni, WWW.funbec.eu
Muzeum, WWW.gazeta-muzeum.pl
Arteon, WWW.arteon.pl
Exit
Other sources
web pages, up-to-date exhibition catalogues.
Painting / unconventional forms of painting
Introductory requirements: Drawing and painting skills.
Language of delivery: Polish and English
Module supervisor: Magdalena Gryska, PhD
Principal Lecturer: Magdalena Gryska, PhD
Module aims:
Developing students’ skills to make decisions in painting. The students have already acquired the skills
connected with the so called classical drawing and painting and they know the properties of different
techniques and painting materials. They further develop the painting skills they acquired during the
License course.
Module outcomes:
The students should develop their artistic awareness in the process of searching for their individual ways
and forms of expression. They should prepare an individual series of works in painting by using any
technique.
By the end of the course the students should:
− become aware of their predispositions, tool, materials, etc.
− know the reagents
− have drawing skills
− be aware of colour, temperature, quality, facture
− be able to formulate an artistic concept
It is, however, the students’ mental processes and their personal engagement, hard work and consistency
that play a crucial role in their artistic work.
Consultations, review of works.
Basic literature:
Krystyna Bartnik, Zbigniew Makowski, Muzeum Narodowe, Wrocław, 2008.
Umberto Eco, Historia piękna, Rebis, Poznań 2005.
Władysław Strzemiński, W setną rocznicę urodzin, Muzeum Sztuki, Łódź 1994.
Marek Wasilewski, Sztuka nieobecna, Wydawnictwo Obserwator, Poznań 1999.
Ludwiński Jerzy, Epoka błękitu, Wydawnictwo Stowarzyszenie Artystyczne Otwarta Pracownia, Kraków 2003
Marek Sobczyk; Kurs abstrakcji, Wyd. Galerii Zderzak, Kraków 1996
Bieńczyk Marek, Melancholia, czyli o tych, co nigdy nie odnajdą straty, Wydawnictwo Sic!, Warszawa 1998.
Anda Rottenberg, Sztuka w Polsce 1945-2005, Wyd. Stentor, Warszawa 2005.
Grzegorz Sztabiński, Dlaczego geometria? Problemy współczesnej sztuki geometrycznej, Wydawnictwo Uniwersytetu Łódzkiego, Łódź
2004.
Baus Wojciech, Mundus melancholicus. Melancholiczny świat w zwierciadle sztuki, Wydawnictwo Universitas, Kraków 1996.
Adorno Theodor W., Sztuka i sztuki, Wybór esejów, przeł. Krystyna Krzemień-Ojak, PIW, Warszawa 1990.
Czasopisma:
Arteon, Exit, Artluk, Format, Obieg itp.
Inne źródła:
Strony internetowe; Muzea świata, Galerie Sztuki Współczesnej, autorskie strony artystów.
Drawing / intermedia drawing activities
Module supervisor: ad. Zenon Polus
Principal Lecturer: ad. Zenon Polus
Module aims:
Through practising the technique of drawing and its constant attempt to get to know, define, and describe
the reality, we are open to a discourse about the culture of artistic message and its meaning.
The students’ task is to prepare an individual, authorised concept of a diploma using the individually
selected technique of an artistic expression.
Module outcomes:
The students should develop their creative skills and the abilities to use drawing techniques. The students
should be prepared to construct various forms of collective activities of artistic character.
Attendance, completion of the scheme of work.
Basic literature:
Alicja Kępińska, Energie sztuki, PWN Warszawa 1990
Edward Nęcka, Psychologia twórczości, GWP Gdańsk 2005
Zbigniew Herbert, Znaki na papierze. Cyprian Norwid, Wyd, Bosz, 2008
A. Gwóźdź, Widzieć, myśleć, być. Technologie mediów, Wyd. Universitas, Kraków, 2001
Postmodernizm - antologia przekladów, Poznań1997
Alicja Kępińska, Energie sztuki, PWN Warszawa 1990
Edward Nęcka, Psychologia twórczości, GWP Gdańsk 2005
Zbigniew Herbert, Znaki na papierze. Cyprian Norwid, Wyd, Bosz, 2008
A. Gwóźdź, Widzieć, myśleć, być. Technologie mediów, Wyd. Universitas, Kraków, 2001
Postmodernizm - antologia przekladów, Poznań1997
Matilde Battistini, Symbole i alegorie, wyd. Arkady 2005.
S. Sontag, O fotografii, wyd. Warszawa 1986.
Leszek Brogowski, Powidoki i po... Unizm i "Teoria widzenia" Władysława Strzemińskiego, Wyd. Słowo/Obraz/ Terytoria, Gdańsk 200
Jean Baudrillard, Spisek sztuki, Wyd. Sic, Warszawa 2006.
Module supervisor: Radosław Czarkowski, PhD
Principal lecturer: Radosław Czarkowski, PhD
Module aims:
The main aim of the module is to supervise the students’ diploma preparation. The whole course ends
with the students’ defence of a Diploma-a thoroughly individual artistic output. The whole work should be
logical and thus coherent, and all the techniques used should not raise any doubts whatsoever. The idea
should be clear and should not raise any doubts as for the intentions of the artistic message.
Teaching methods are adapted according to students’ individual requirements.
Module outcomes:
The students’ acquired qualities should express their permanent search, and should guarantee the ability
to advance arguments, ask questions, analyse the reality and to evaluate various phenomena.
It is important to be able to avoid extreme, destructive, incoherent attitudes. Therefore, it is quite
crucial to construct flexible attitudes in an artistic discourse and be flexible in the way they perceive and
evaluate the reality.
Review of work in med-term and at the end of the term. A pass.
Basic literature:
Adapted according to students’ topic of the M.A thesis.
Module supervisor: Alicja Lewicka-Szczegola, PhD
Principal Lecturer: Alicja Lewicka-Szczegola, PhD
Module aims:
Continuation of the selected concepts and ideas or the completion of a new topic that was formulated by
a student. Presentation of an idea of the thesis, planning and final completion of all the elements of the
thesis leading to the final outcome of the artistic expression.
Module outcomes:
The students should be able to formulate the topic of the thesis, they should be able to express their own
ideas and images through art. They should be able to utilise the appropriate means of expression for an
individual completion of the topic. Completion of the works resulting in the diploma exhibition.
The student should formulate the topic of the diploma thesis. Consultations on the individual stages of the
topic. Completion of the works resulting in the diploma exhibition.
Basic literature:
Literature chosen according to students’ interests and adequate to the topic of the thesis.
Paper and network magazines
Circulation
Exit
ARTeon
Art and Philosophy
Oronsko
Exhibition catalogues
Graphic Design
Introductory requirements: advanced knowledge of computers and graphic programmes.
Module supervisor: kw. art. I st. Piotr Czech
Module aims:
During classes the students will have to further develop their skills to use typography, design posters,
symbols and editorial graphics. They will also develop graphic design and visual communication. The
students will also develop computer techniques in graphic design, they will learn how to consciously and
skilfully choose the right tools to complete the project. They will have to prepare the material for digital
printing.
The students should also develop the ability to think creatively and to solve problems as well as search for
individual design solutions with regard to the aesthetic and practical functions of graphic objects. The
content, in other words-an idea, and the form of graphic expression and its completion are of high
importance. Searching for individual creative and design solutions in the completion of the diploma.
Module outcomes:
The scheme of work is prepared according to students’ individual interests and skills that are shown in
individual stages of their work. This leads to the final conscious and professional outcome, which is a
diploma.
Partcipation in consultations. A pass.
Basic literature:
Adrian Frutiger, Człowiek i jego znaki, Do/Optima, Warszawa 2003
Robert Bringhurst, Elementarz stylu w typografii, Design Plus, Kraków 2007
James Felici, Kompletny przewodnik po typografii. Zasady doskonałego składania tekstu,
Słowo-Obraz Terytoria, Warszawa 2007
Tibor Szántó, Pismo i styl, Wrocław, Zakład Narodowy Imienia Ossolińskich Wydawnictwo 1986
Gavin Ambrose, Paul Harris, Typografia, Wydawnictwo Naukowe PWN SA, Warszawa 2008
Quentin Newark: Design i grafika dzisiaj, ABE Dom Wydawniczy, Warszawa 2006
Alice Twemlow: Czemu służy grafika użytkowa, ABE Dom Wydawniczy, Warszawa 2006
Gavin Ambrose, Paul Harris, Twórcze projektowanie, Wydawnictwo Naukowe PWN SA,
Warszawa 2007
L. Manovich: Język nowych mediów, Warszawa 2006
Piotr Rypson, Książki i strony. Polska książka awangardowa i artysytczna w XX wieku,
Piotr Rypson: Obraz Słowa, Wydawnictwo AR, Warszawa 1989
Centrum Sztuki Współczesnej Zamek Ujazdowski w Warszawie, Warszawa 2000
Janina Wiercińska, Sztuka i książka, PWN, Warszawa 1986
Frantz Herman Wills, Grafika reklamowa, WNT, Warszawa 1972
Ruedi Ruegg Basic: Typography Design with Letters.
David Brier: Great Type and Lettering Designs.
Czasopisma: O ile to możliwe stała lektura periodyków:
Tekst oraz 2+3D (krajowe), Graphis, Print, Typography, Computer Arts
Inne źródła: strony WWW (podawane sukcesywnie) związane z tematyką projektowania.
Sculpture
Module supervisor: Jarosław Dzięcielewski, PhD
Principal lecturer: Jarosław Dzięcielewski, PhD
Module aims:
Teaching methods: through individual conversations and consultations on the topics offered by the
students, I care to develop my students’ personality and the artistic qualities of their works. During our
conversations I listen to my students, ask the questions and justify my doubts and reasons. I show them
the possibilities and the limits of the concrete topics and problems. I expect the same from my students: I
have the right to accept or reject each topic proposed by a student. I am obliged to justify my arguments.
I also help my students to choose their own artistic decisions concerning the diplomas in my studio. The
ability to make judgments and express convictions connected with artistic works is essential in my studio.
Module outcomes:
The studio is available for the students who want to do an M. A diploma. Independence, students’ abilities
to make their own decisions, express their own criticism and ideas are crucial in the Studio.
The studio of Sculpture is supposed to help the students complete their M.A diplomas.
Basic literature:
J. Brodski- ,,Pochwała nudy”.
Z. Bauman- ,,Humanista w ponowoczesnym świecie”.
W .Tatarkiewicz-,,O sztuce filozofii”.
H. Gadamer- ,,Aktualność piękna. Sztuka jako gra ,symbol i święto”.
Rocznik Rzeźby Polskiej, Orońsko – poświęcony instalacji i obiektowi.
Photography / intermedia photography
Introductory requirements: advanced knowledge on photography (techniques, technologies); theory and aesthetics of
photography
Module supervisor: kw. art. I st. Helena Kardasz
Principal lecturer: kw. art. I st. Helena Kardasz
Module aims:
Photography as an autonomous means of expression.
Photography as an interdisciplinary means of artistic expression. This aspect concerns the photography as
a tool enabling and broadening the ways of imaging in various areas of artistic creativity.
Completion of one of the topics chosen in the studio-selection (Winter Term).
Students’ engagement in the completion of the project results in their deepening of artistic selfawareness. The students are able to complete their diploma through analogue and digital recording,
video, object and instalation.
The topic of the MA thesis offered by the student.
Module outcomes:
−
−
−
−
the students should broaden their knowledge and self-awareness on contemporary photography
they should be able to offer some symbols for interpretation
the students should be able to complete their work in exhibition context
MA Diploma
Individual consultations(project-the assumptions of the topic, completion), participation in discussion
meetings. Presentation of individual stages of the diploma.
Basic literature:
Barthes Roland, „Światło obrazu”, Wyd. KR, Warszawa 1999
Benjamin Walter, „Twórca jako wytwórca”, Wyd. Poznańskie, Poznań 1975
Benjamin Walter, „Dzieło sztuki w dobie reprodukcji technicznej”, w: „Anioł historii”, red. H. Orłowski, Wyd. Poznańskie, Poznań
1996
Brauchitsch Boris von, „Mała historia fotografii”, Cyklady, Warszawa 2004
„Przestrzenie fotografii. Antologia tekstów”, praca zbiorowa pod red. T. Ferenca, K. Makowskiego, Galeria f5, Łódź 2005
Flusser Vilém, „Ku filozofii fotografii”, folia academiae, Katowice 2004
Michałowska Marianna, „Niepewność przedstawienia. Od kamery obskury do współczesnej fotografii”, Rabid, Kraków 2004
Michałowska Marianna, „Obraz utajony. Szkice o fotografii i pamięci”, Galeria f5, Kraków 2007
Rosenblum Naomi, „Historia fotografii światowej”, Wyd. Baturo i Grafis Projekt, Bielsko – Biała 2005
Rouillé André, „Fotografia. Między dokumentem a sztuką współczesną”, Universitas, Kraków 2007
Sontag Susan, „O fotografii”, Wyd. Artystyczne i Filmowe, Warszawa 1989
Tomaszczuk Zbigniew, „Łowcy obrazów. Szkice o fotografii”, CAK, Warszawa 1998
Bakke Monika, „Ciało otwarte”, Wyd. Naukowe IF UAM, Poznań 2000
Berger John, „O patrzeniu”, Fundacja Aletheia, Warszawa 1999
Berger John, „Nasze twarze, moje serce, zwięzłe jak fotografie”, Czuły Barbarzyńca Pies, Warszawa 2006
„Co widać?”, praca zbiorowa pod red. J. Kaczmarka, M. Krajewskiego, Wyd. Naukowe UAM, Poznań 2006
Czartoryska Urszula, „Fotografia mowa ludzka. Perspektywy historyczne. Tom 2”, słowo/obraz/terytoria, Gdańsk 2006
„Efekt rzeczywistości. Fotografia i wideo z Polski”, praca zbiorowa pod red. M. Jurkiewicz, Zachęta Narodowa Galeria Sztuki,
Warszawa 2007
„Estetyka wirtualności”, praca zbiorowa pod red. M. Ostrowickiego, Universitas, Kraków 2005
Ferenc Tomasz, „Fotografia – amatorzy, dyletanci i artyści”, Galeria f5, Łódź 2004
„Fotografia lat 90. Czas przemian czy stagnacji?”, praca zbiorowa pod red. K.Jureckiego, Muzeum Sztuki, Galeria FF, Łódź 2002
„Fotografia: realność medium”, praca zbiorowa pod red. G. Dziamskiego, A. Kępińskiej, S. Wojneckiego, ASP Poznań, Poznań 2000
Margolis Joseph, „Czym, w gruncie rzeczy jest dzieło sztuki?”, Universitas, Kraków 2004
Miselbeck Reinhold, „Fotografia XX wieku. W Muzeum Ludwig w Kolonii”, Taschen, Bonn 2001
Giżycki Marcin, „Koniec i co dalej?”, słowo/obraz/terytoria, Gdańsk 2001
Jenkins Henry, „Kultura konwergencji”, Wyd. WaiP, Warszawa 2006
„Kadrowanie rzeczywistości. Szkice z socjologii wizualnej”, praca zbiorowa pod red. J. Kaczmarka, Wyd. Naukowe UAM, Poznań 2006
Kluszczyński Ryszard W., „Film, video, multimedia”, Instytut Kultury, Warszawa 1999
Kluszczyński Ryszard W., „Obrazy na wolności”, Instytut Kultury, Warszawa 1998
„Nowoczesnośc jako doświadczenie”, praca zbiorowa pod red. R. Nycz, A. Zeidler – Janiszewskiej, Universitas, Kraków 2006
Manovich Lev, „Język nowych mediów”, Wyd. WaiP, Warszawa 2006
„Od fotografii do rzeczywistości wirtualnej”, praca zbiorowa pod red. M. Hopfinger, IBL PAN 1997
Ostrowicki Michał, „Wirtualne realis. Estetyka w epoce elektroniki”, Universitas, Kraków 2006
Pontremoli Edouard, „Nadmiar widzialnego. Fenomenologiczna interpretacja fotogeniczności”, słowo/obraz/terytoria, Gdańsk 2007
Popczyk Maria, „Przestrzeń sztuki: obrazy – słowa – komentarze”, ASP Katowice, Katowice 2005
Ronduda Łukasz, „Strategie subwersywne w sztukach medialnych”, Rabid, Kraków 2006
Ryczek Justyna, „Piękno w kulturze ponowoczesnej”, Rabid, Kraków 2006
„Słowo o fotografii”, Krzysztof Jurecki, Krzysztof Makowski, ACGM Lodart S.A., Łódź 2003
Segal Hanna, „Marzenie senne. Fantazja i sztuka”, Universitas, Kraków 2003
Sobota Adam, „Szlachetność techniki”, Wyd. Naukowe Scholar, Warszawa 2001
Tomaszczuk Zbigniew, „Odwzajemnione spojrzenie”, Typoscript, Wrocław 2004
Wasilewski Marek, „Sztuka nieobecna”, Obserwator, Poznań 1999
„Widzieć, myśleć, być. Technologie mediów”, opr. Andrzej Gwóźdź, Universitas, Kraków 2001
Obieg http://www.obieg.pl/
updated exhibition catalogues and albums
Department of Art
Faculty:
Level:
Module:
Module Code:
Module Type:
Language of Delivery:
Module supervisor:
Principal lecturer:
Mode of Delivery:
Number of Hours:
Term:
Points ECTS:
‘Bachelors’ / ‘Licentiate’
Art therapy
03.9-WA-EASP-ARTE
Core module
Polish
Agnieszka Graczew-Czarkowska, MA
Agnieszka Graczew-Czarkowska, MA
Classes
30
1
1, 2
A pass grade
4
Module Aims:
The module is delivered through a course of classes and students must obtain a pass at the end of each
term. The main aim of the module is to attempt to find values in the sense of functioning cooperatively
and establishing effective relationships in one’s local surroundings. The role and essence of leadership in
relation to individuality will also be examined.
The course is also concerned with developing a flexible way of creating therapeutic workshops; the
structure and dynamic of a workshop; the broadening of the functions of a dialogue; developing the
responsibilities of future therapists / instructors; awareness of the role of ‘navigator’.
A variety of teaching methods will be used including class instruction, workshops, and presentations. Areas
covered will also include:
–
–
–
–
–
–
Discussion of and conception of projects
Realization, modification and carrying action
Action / Reaction, The Dynamics of Relations and Creative Stimulation
Discussion-conclusions
Verbalisation / Elements of a lecture/ The Idea of A Discussion
Description Synopsis. Review, Evaluation
Practical Experimentation will develop:
–
–
–
–
Moral Values and Artistic Skills
Broadening One’s Therapeutic Realities
Interdisciplinary Attempts
The Possession and Acquisition of Skills (A Authorised Conception of Work)
Examples of topics are:
–
–
–
‘Mine’ and ‘I’, ‘Empathy’ ,‘Recollection’, and ‘The Problem of Memory’
‘Ice’ , ‘Fairy Tales and their use in therapy’ , ‘Themes and Symbols’
‘Self Presentation -broadening your horizons’ , ‘The author as initiator’ , ‘The role and competence of the artist’
Module Outcomes:
The focus of the scheme of work is on building a sense of a valuable individual. Other issues covered
include similarities and differences in the quality of treatment (and how the border is delineated between
effective and non-effective therapy treatments); the issue of estimation and self-estimation (in particular
questions of attitude – critical or uncritical; and evaluation – realistic and imaginary) ; communicating and
receiving messages; the interpretation of signals; a sense of duty; a sense of identity; and illnesses and
defects. Observing the existing conditions of a patient, examining their therapeutic prognoses, referring
to a pro homini model, employing holistic ideas of the therapeutic role of art are also discussed.
Assessment requirements: Basic literature:
Mieczysław Porębski: Sztuka a informacja – Wyd. Literackie, Kraków 1989;
Wita Szulc: Sztuka w służbie medycyny od antyku do postmodernizmu – Poznań 2001;
Red. Lidia Kataryńczuk-Mania: Wybrane elementy terapii w procesie edukacji artystycznej – Zielona Góra 2002.

Academic year 2009/2010 - Uniwersytet Zielonogórski

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