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The book aims to describe the complex, multilateral relations among cinematography, propaganda, and the viewers in the times of the Polish People’s Republic. In the second half of the 20th century, after they seized power, the communists launched intensive propaganda activities to create the impression that they enjoyed public support. Among the motifs developed in propaganda texts, there was the generation theme. It involvedthree generation myths, introduced gradually, to which the author refers as the myth of the generation of fight, the myth of the generation of work, and the myth of the generation of duty. They depended for their credibility on information provided by journals and memoirs collected during competitions organised by various newspapers and magazines. The cinema,in turn, was supposed to disseminate them because of its wide range of influence. However, partly for political but mostly for artistic reasons, the filmmakers usually aimed at presenting their own reaction to a generation myth rather than at illustrating it according to the expectations of those who controlled cinematography. Discussing selected fictional films, the author attempts to describe the relation between the myth and its depiction on the screen as perceived by the viewer. Importantly, the author’s intention is to reconstruct the reception of the films upon their first release rather than interpret them according to the standards of the present. Obviously, it is difficult to fully reconstruct the senses that used to provide an important context for the viewers to understand the works discussed. The author strives to accomplish this task by focusing on the senses suggested to the audience by the press, and in particular, by three groups of texts. The first group comprises propaganda texts which verbalised the generation myths. The second group includes generation memoires as published in the press (they were also published in book forms). They served as the foundation for the generation myths by providing necessary details, which were thengeneralised in the myths’ content. The third group comprises film reviews which were supposed to steer the reception of the films. The reference point for the ideological interpretation of the productions they reviewed was the image of generations disseminated by the propaganda of the time. As a result of this discussion, the reader of the book is presented with an outline of some of the complex mechanisms that shaped the cultural memory in the times of the Polish People’s Republic.
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An interdisciplinary study in the field of the social history of culture, devoted to the “images of Polishness” which functioned in the fine arts of the Second Polish Republic. The author attempts to reinterpret the works of, among others, Wojciech Kossak, Jacek Malczewski, Zofia Stryjeńska, Władysław Skoczylas, Stanisław Szukalski, and inscribes them into a wider theoretical framework.
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The book shows the importance of hip-hop culture for popular culture in Poland and describes the rules and contexts of hip-hop, as well as the methods of their scientific research. Authors representing various scientific disciplines (sociology, cultural anthropology, linguistics, literary studies) try to interpret selected fragments of hip-hop culture, using theoretical and methodological devices specific to their disciplines. Most of the texts were written in intensive cooperation with the hip-hop community.
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The book Artistic universes of Anna Szpakowska-Kujawska. Close up focuses on lessknown fields of diverse artistic activity of this prominent artist living in Wrocław, such as her participation in Symposium Wrocław’70, ceramic sculptures, Nigerian period (exotic “Calabashes”) and artforms made in Lasowka (painted collages and 3-dimensional Skrzydlaki – “Winged Ones”). The study in six chapters presents characteristic ranges of artistic work of this artist. It allows to set apart the particular specificity of this multimedial art. She holds it in the present discourse clarifying her, still not enough described formal-thematic values as well as a membership of the paradigm of contemporary work.
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The discovery of unknown musical manuscripts in the archives of the Church of Jesus in Cieszyn (Teschen) in 2008 was an impulse to conduct comprehensive scientific research. In the light of these studies, the eighteenth-century Cieszyn appears to be one of the main centers of Protestant musical culture in Silesia, radiating throughout Upper Silesia and its neighboring regions.From 1710, despite many difficulties, Cieszyn cantors managed to create a thriving vocal and instrumental ensemble and provide a musical setting for celebrations and services at a high artistic level. The so-called "Cieszyn cantatas", the surviving works from the then repertoire, are living testimony to this fascinating chapter in the history of music.
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This book describes the phenomenon of creating gamer’s identity in Poland and specific gamer’s habitus which started forming itself in the second half of the 1980s through the articles published in computer magazines. Until the fall of the communist regime video games in Poland had been on the sidelines. The situation began to change after 1989 when access to computers, games and software was much easier than it used to be. As a result, there was a need for magazines devoted only to games. Publication includes description of how journals from the 1990s created players discourse and what consequences it had. It contains an analysis of specific writing style and language used by editors who created terms and names of genres later used by gamers. In this context it is worth mentioning that in that time specific types of articles emerged. Among them were reviews and walkthrough, which allowed practice of ‘reading’ games, that’s why people without access to new interactive medium learned about it through magazines. The first chapter presents the methodology of the research, using the concept of habitus, field and cultural capital by Pierre Bourdieu, as well as analyzes carried out by Graeme Kirkpatrick and Jaakko Suominen, who described how British and Finnish magazines influenced the formation of a specific discourse on video games. The relationship between the content of video game magazines and their influence on the development of the broadly understood game culture was also discussed. This book also includes a commentary on the differences between the gaming press published in Western Europe and Polish magazines created during the political transformation. It also focuses on issue of stereotypes connected with games and gamers, who formed some kind of subculture.
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The book provides a synthesis of the methodological issues in art history as a discipline that in the 20th century chose the methodical and objective explanation of images as one of its main tasks. Since the time when W. Dilthey's methodology distinguished the humanities, the most eminent art historians have sought to strengthen its position among these sciences by relying on the rigors of scientific objectivity and empiricism, accuracy and correctness, verifiability and cognitive certainty, in line with the natural science model. Can and if so how can an interpretation come closer to the explanatory model, and how can it fulfill the role of a historical explanation of the works of painting? How should it be based on the solid ground of facts and the logic of inferences? What research methodologies can ensure the correctness of explanations, verifiability and the accuracy of the results? Such methodological issues were connected with the reflections of a number of scholars. Among whom E. Gombrich played a special role, first as a spokesman for the turn in iconology towards Popper’s deductionism, and then as an inspiration and point of reference for the next generation of academics, some of whom followed the rigors of normative methodology, while others looked for alternatives or developed a narrative methodology. The book presents significant relationships linking methodologically oriented art history not only with various concepts of general methodology and the philosophy of science, but also with another important source of inspiration, namely the models of inference used by detectives in crime novels.
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Michael Kunze, librettist whose works include "Elisabeth" and "Dance of the Vampires", enjoys immense popularity throughout Europe and Asia. His biographical musicals are not only impressive shows but also fascinating attempts at introducing the audience both to Austrian history and to mechanisms of presenting the past by means of modern music theatre. "Musical as Memory Machine" discusses the creation process of Kunze’s two famous musicals, "Elisabeth" and "Mozart!", in the context of studies on collective memory and of the Euro-American history of music theatre as a form of entertainment. The book demonstrates that the musical has long been tightly intertwined with the memories of the societies where it is staged, and that the history of the musical as a genre is inextricably linked with Vienna.
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The monograph deals with image self-creation on social media among fashion bloggers from the perspective of literary genology. It aims to indicate the relationship between the genre of selected social media channels and the image created through them, and to confirm the hypothesis that each of these social media channels can be defined as a separate genre or macrogenre, which in effect impacts on the type of activities undertaken within it. The work is divided into four chapters: Chapter One presents the relationship between fashion and image creation; Chapter Two undertakes an analysis of social media as an area of image creation; the third chapter considers social media from the genological point of view; while the fourth and final chapter is devoted to the self-creation of fashion bloggers on social media.
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The presented results of the research into the realisation of consonant phonemes of drama students allow for the creation of a paradigm of diagnostic proceedings relating to the pronunciation of drama students – its research, description and interpretation in heuristic categories, as well as the formulation of basic assumptions of an applied nature. Analyses based on linguistic foundations complement the knowledge about non-normative realisations of phonemes, their essence and mutual interrelations. This dissertation is part of the trend of empirical research important for the formulation of conclusions relevant to linguistic theory in the aspect of pathophonetics, speech therapy, as well as orthodontics, laryngology and phoniatrics. On the basis of the analysis of research results and formulated conclusions, the author presents a draft educational programme in the field of media speech therapy.
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Dance is often neglected in studies on Plato, just as it is neglected in other situations, as an inferior art, to seme extent in keeping with the quasi-Platonic paradigm of the superiority of the soul over the body. Quasi-platonic, because in dance the body is endowed with a soul, and it even seems that it is in dance that we should look for the moment when the soul is most clearly present in the body. This is probably the reason why Plato eagerly turns to dance metaphors when he seeks the most appropriate way of talking about the soul. This is the case, for example, in the Phaedrus. Funnily enough, recently the discourse on dance has very often adopted an anti-Platonic formula, as if overcoming Platonism were an indispensable condition for a proper understanding of dance. Of course, there is a difference between Platonism and Plato, perhaps even an immeasurable one, but this anti-Platonic battle, which would like to present itself as an action or reaction that valorises the body, regardless of the nobleness of its intentions and perhaps of the benefit it brings with it, is something inelegant and quite possibly something that is simply unfair both to Plato and to dance. It is the case, rather, that the author of the book wishes to prove that Plato has much to say about dance. To my knowledge, nobody thought about dance as seriously as Plato, as evidenced by the omnipresence of dance in Plato's Laws dialogue. Plato initially classifies dance according to three criteria, and so we have wild and civilised dances, serious and frivolous dances, and war and peace dances. This somewhat technical outline of classification obviously raises a number of doubts and, let us add without further ado, doubts on the part of Plato himself. But this technical outline of the classification is also an interpretation of the state, and at the same time of what is human but nonetheless alien to the state. That which is alien still remains in relation to the state, even when it is a relation of an exile (wild dances) or of a disenfranchised citizen (frivolous dances).
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The monograph constitutes a compendium of knowledge related to the field of artistic performances approached in their diverse aspects, such as theatre, cinema, television and radio as well as dance, music, circus, press or art. The academic dimension of the work is manifested in the theoretical thorough literature overview, which introduces the reader into the world of artistic performances outlining at the same time their historical development, the interdisciplinary and complex nature of the corpus as well as extensive and rich bibliography. Since the monograph addresses the needs of a wide range of readers (i.e. translators, students, literary scholars, linguists and artistic performance lovers), it has the potential to exert considerable social influence.
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The volume brings together some of the presentations made during the symposium "Around and Across" organised by the Centre de Réussite Universitaire of "Gheorghe Asachi" Technical University of Iasi as part of a larger project, entitled Transversal(ité) dans l'Univers(ité), supported and funded by the Agence Universitaire de la Francophonie in Central and Eastern Europe in 2021-2022. The general topic of the volume - circularity and linearity in sciences and arts, and in knowledge in general - was intended to be approached in a trans-disciplinary or in a multidisciplinary perspective.
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This comparative Polish-Italian study explores the comic potential of metafiction, and illustrates it with the examples drawn from drama works of Luigi Pirandello and Witold Gombrowicz. It is the first publication which juxtaposes this aspect of both writers’ works, and the theoretical model elaborated by the author allows reading works by other authors in this context.
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This post-conference publication, prepared to mark the 10th anniversary of Law & Art Scientific Circle, attempts to show current problems and contemporary challenges which are the domain of almost all branches of law in relation to culture and art. The articles collected in the volume cover the heritage protection, art market, cultural activities, changes taking place in culture, intellectual property rights issues, the development of new technologies, and challenges related to armed conflicts, terrorism and other forms of crime.
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The scholars who have studied the past of the Bulgarian people have all confined themselves almost exclusively to the domain of its political destinies. The founding of the Bulgarian Empire, its incessant struggles against Byzantium during the Middle Ages, the national movement during modern times, these are the most important questions to the clarification of which native and foreign Bulgarian historiography has in the first place consecrated. On the other hand, the intimate life of the nation and its conquests in the intellectual spheres have been examined more superficially. One easily recognizes in the ancient Bulgarians political aptitudes and warlike virtues, by the fact that they succeeded in grouping the Slavic populations of the Balkan peninsula into a vigorous and viable state and that they were able to maintain themselves in this way despite the numerical predominance of Byzantium, but we do not do enough justice to their intellectual talents. It is wrongly taken for granted that the Bulgarians received all their material and moral civilization from the Byzantines from whom they were inspired. Now, the first of the Slavic peoples, they created for themselves a script which they passed on to the other Slavs, which should suffice to prove that they also sought in the intellectual field to maintain their independence and independence in an absolute way. their national characteristics with regard to the Byzantines. Still the first among the Slavs, they established a completely autonomous national church.
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autobiographic work of Fjodor Iwanowitsch Schaljapin. published in German language in the year of his death, 1938, ba Adlerverlag in Berlin
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The author proposes reflections on the relations of music and the world of sounds with visual arts – painting, graphics and sculpture – as a description of an impossible alliance. Avoiding an unambiguous answer, he discusses the search for such relations, their artistic, social and personal circumstances, which allow us to understand the paradox of art and the essence of modernity more fully.
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