Bogna J. Gladden-Obidzińska
Bogna J. Gladden-Obidzińska has served as a Research Assistant Professor at the Jagiellonian University, lecturer at the University of Warsaw, the Warsaw University of Humanities, and the Bogdan Jański Academy, and has held research and teaching fellowships in Great Britain, Italy, Spain, and the United States.
Her primary focus is the field of philosophical aesthetics, where she seeks to develop conceptual models for the topos of renaissance and renovatio in Western culture from antiquity to the present.
She also studies problems of aestheticization, interpretation, and criticism in the context of the philosophy of culture; the philosophy of artistic inspiration; and the historical and contemporary concepts of Messianism in art and the secular society.
She serves as an editor at the editorial staff of Sztuka i filozofia / Art and Philosophy, peer-reviewed journal of philosophical aesthetics. She has also researched and taught in areas including Ancient Greek philosophy, Early Modern philosophy, Romanticism, Pragmatism, the philosophy of culture, environmental philosophy, and ethics.
She has directed or facilitated international research projects on topics including the philosophy of artistic inspiration, the relationship of science and the humanism, Old Orthodox iconography, and Polish Messianism as a philosophy of culture. In addition to publishing her own books, articles, and essays, she has published translations of the works of Pater, Volpi, Frohne, and Gómez Dávila, among others.
She has served as a commentator on TV and radio programs, helping to make philosophical aesthetics accessible to wider audiences by interpreting the contemporary intersection of philosophy, art, and culture.
Phone: 00 48 664 603 886
Her primary focus is the field of philosophical aesthetics, where she seeks to develop conceptual models for the topos of renaissance and renovatio in Western culture from antiquity to the present.
She also studies problems of aestheticization, interpretation, and criticism in the context of the philosophy of culture; the philosophy of artistic inspiration; and the historical and contemporary concepts of Messianism in art and the secular society.
She serves as an editor at the editorial staff of Sztuka i filozofia / Art and Philosophy, peer-reviewed journal of philosophical aesthetics. She has also researched and taught in areas including Ancient Greek philosophy, Early Modern philosophy, Romanticism, Pragmatism, the philosophy of culture, environmental philosophy, and ethics.
She has directed or facilitated international research projects on topics including the philosophy of artistic inspiration, the relationship of science and the humanism, Old Orthodox iconography, and Polish Messianism as a philosophy of culture. In addition to publishing her own books, articles, and essays, she has published translations of the works of Pater, Volpi, Frohne, and Gómez Dávila, among others.
She has served as a commentator on TV and radio programs, helping to make philosophical aesthetics accessible to wider audiences by interpreting the contemporary intersection of philosophy, art, and culture.
Phone: 00 48 664 603 886
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Books by Bogna J. Gladden-Obidzińska
Retrospection as a peculiar type of return to the past modes of artistic activity was pursued by them for the sake of re-enacting the mythical creation (in the platonic sense of mimesis) of the material world rather than copying (mechanical mimicking) of the objects’ appearances. It is exposed as the main line of articulation and fundamental difference between the ideal of the renaissancist aestheticism and modern (hyperbolized by the post-modern) aesthetisation. These two complementary aesthetic approaches are analysed in terms of foundation for two distinct theories of culture.
Thus, the first part of the book entitled Form as a Premise for Aestheticism establishes the method of interpretation being the theory of form as a significant criterion of distinguishing art, proposed and defined by the critics and aestheticians from the Bloomsbury Group in reference to the pre-raphaelite Italian art. Clive Bell’s theory of significant form is introduced and further applied discriminatively with regard to its Kantian foundations being radically distinct from the early renaissance epistemological convictions.
The second part of the dissertation entitled Hallmarks of Renaissancism brings in an analysis of the understanding of form not only as notion used for analysis of visual arts but also as a key philosophical category of cultural re-novation in the quattrocento. The significance of time as a formal factor that shaped the autoreferential idea of the renaissance as a cultural retrospective, is presented as opposed to the idea of revolution, often wrongly associated with the fifteenth century historiosophic mission.
The third part entitled Form and the Past presents insight into the theories of art proposed by Walter H. Pater and Dante G. Rossetti as a critique of modern culture from the perspective of a conscious retrospective performed in criticism as well as in art, in the renaissancist movement proclaimed by them in the post-romantic/pre-decadent Victorian era. In particular their notion of the relationship between painting and music as a transgression of idea-matter dichotomy is explored.
The fourth and last part entitled Revival of Nature – Revival of Form, or Memory Embodied exposes formal consequences of this theory embodied in D.G. Rossetti’s art, in particular representations of memory both as a theme and formal rule of his double-works comprising paintings and poems illustrating them (sic).
In its conclusion the book seeks to propose a path for a critical comparison of the renaissancist theories with the twentieth century aesthetisation as a key cultural phenomenon"
Journal Issues Edited by Bogna J. Gladden-Obidzińska
Research Articles by Bogna J. Gladden-Obidzińska
Retrospection as a peculiar type of return to the past modes of artistic activity was pursued by them for the sake of re-enacting the mythical creation (in the platonic sense of mimesis) of the material world rather than copying (mechanical mimicking) of the objects’ appearances. It is exposed as the main line of articulation and fundamental difference between the ideal of the renaissancist aestheticism and modern (hyperbolized by the post-modern) aesthetisation. These two complementary aesthetic approaches are analysed in terms of foundation for two distinct theories of culture.
Thus, the first part of the book entitled Form as a Premise for Aestheticism establishes the method of interpretation being the theory of form as a significant criterion of distinguishing art, proposed and defined by the critics and aestheticians from the Bloomsbury Group in reference to the pre-raphaelite Italian art. Clive Bell’s theory of significant form is introduced and further applied discriminatively with regard to its Kantian foundations being radically distinct from the early renaissance epistemological convictions.
The second part of the dissertation entitled Hallmarks of Renaissancism brings in an analysis of the understanding of form not only as notion used for analysis of visual arts but also as a key philosophical category of cultural re-novation in the quattrocento. The significance of time as a formal factor that shaped the autoreferential idea of the renaissance as a cultural retrospective, is presented as opposed to the idea of revolution, often wrongly associated with the fifteenth century historiosophic mission.
The third part entitled Form and the Past presents insight into the theories of art proposed by Walter H. Pater and Dante G. Rossetti as a critique of modern culture from the perspective of a conscious retrospective performed in criticism as well as in art, in the renaissancist movement proclaimed by them in the post-romantic/pre-decadent Victorian era. In particular their notion of the relationship between painting and music as a transgression of idea-matter dichotomy is explored.
The fourth and last part entitled Revival of Nature – Revival of Form, or Memory Embodied exposes formal consequences of this theory embodied in D.G. Rossetti’s art, in particular representations of memory both as a theme and formal rule of his double-works comprising paintings and poems illustrating them (sic).
In its conclusion the book seeks to propose a path for a critical comparison of the renaissancist theories with the twentieth century aesthetisation as a key cultural phenomenon"