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Problems in communication and understanding create a gap within the structure of social change modern age. Value compromise in differences. Any system, including the social structure can function only if there is a degree of mutual fund its constituents, as well as readiness for dialogue. In the dialogue the key to success is a compromise. Within the various substructures of society as two very volatile segment impose the necessity of dialogue, which is in addition to the trust is based on the synthesis of diversity. A variety of identity in an area that represents the diversity and specificity of a particular comparative advantage in social being, compared to other more homogeneous areal. Differences identity of existence is something you can not escape and which is often caused conflicts and conflicts. Conflict to cause misunderstanding diversity of identity is a companion of life events on the South Slavs. In other features of identity are not rarely seen danger to their own existence. The essence of the confrontation of identities in social change can be seen in the conflict, which is the result of certain stereotypes, according to the second or third. In addition, the feature of inter-identity conflict borne of ignorance of the specifics of the cultural identity of other properties. In this sense, the role of media is of great importance. Synthesis of diversity which is demonstrated in conjunction media and identity of the substructure of society is manifested in specific the phrase - culture of peace. Culture of peace in hetoregenous coexistence is something that is constituted on understanding, tolerance, nonstereoty,and above all, the knowledge of otherness. Of course, streotype will exist not only in the past and present, but also in the future. When you add even mitomany in explaining and interpreting inter identitety relations on a seismically active area resulting confusion that culminates destruction and conflict. The fundamental determinant of the culture of peacemakes the education and training, above all, the younger generation not to streotipy mania,but on reflection that respects and appreciates diversity and is based on their own speculative, rational and emotional experience. The resultant basic determinants of the incidence of a culture of peace leads to the synthesis of diversity through the establishment of, and in,the dialogue diversity substructure of society. The essence of social change modernization era is to promote cultural values which transcend divisions, a highlight and emphasize the differences as integration nucleus
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The purpose of the work is a conceptual analysis of social culture as a methodological basis for researching Ukrainian cuisine. The methodology is based on the application of general scientific methods (systemic, structural-functional, genetic, typologization, etc.) with the involvement of research settings of socio-cultural analysis of phenomena and processes. Scientific novelty consists in the following: cultural essence of social culture has been clarified and a distinction between the concepts "social culture" and "sociocultural" has been revealed. The study points out the necessity of applying the concept of social culture for the study of Ukrainian cuisine. Conclusions. Based on the analysis of the views of Ukrainian and foreign scholars, the work shows the relationship between the concept of "social culture" and the concept of "culture". Attention is drawn to the inclusion into the first term of two meanings – social and cultural. Culture is an internal form, and the social world is external, so they can be viewed both in close interdependence and in interaction, and apart from each other. It is in the context of social culture as a complex and multilevel phenomenon that Ukrainian cuisine should be considered, since the latter is closely related to various aspects of public life, reflects people's relationships, norms and forms of their behavior, artifacts, etc., traditional for the culture of a particular society.
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As part of the broader debate on the changing nature of the art sphere, the author raises the question of whether Poles’ degree of participation in art is still strongly connected with social position. He makes use of the categories of esthetic disposition and artistic competence in Pierre Bourdieu’s sense of the terms. He bases his conclusions on quantitative and qualitative data obtained from research into the tastes and cultural participation of Wrocław inhabitants in 2011. He analyses patterns of cultural engagement. While the general attitude toward art and knowledge of artists appears, in accord with the author’s hypothesis, to be connected with occupation, income, and education, at the same time the distinctive power of ‘high culture’ has decreased among the young generation in comparison with the older generation. This leads the author to suppose that traditional forms of high culture are playing a lesser role in the creation of social boundaries, although this does not mean the erosion of cultural capital as such but rather the emergence of new forms of culture and new socio-cultural divisions.
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Who is an artist? Questions over how to define this role divided the makers of the project The Invisible Visual: Visual Art in Poland—Its State, Role, and Significance. The authors’ sources of data were the results of a nationwide survey, a survey of graduates of the Polish Academy of Fine Arts in the years 1975–2011, and in-depth interviews with seventy individuals in the field of visual arts. The authors were able to establish, first, that persons working in the art field give different definitions from those beyond its bounds; second, that artists, decision-makers, curators, and critics try to defend the sense and autonomy of their activities against ways of thinking and acting that are typical of other areas of the social world (while they are themselves engaged in disputes over who has a right to call him- or herself an artist and what is and isn’t good art); and third, being an artist is marked by a difficult-to-cross boundary, as is shown by the common necessity of supplementing artistic work by other sources of income and the high risk of failure in an artistic career.
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Biographical interviews conducted among Polish émigré artists have revealed several key categories. One of them is the feeling of otherness, which turns out to be a complex and multifaceted category. In the artists’ ‘mythologies’ their sense of foreignness, otherness, and even awareness of the hostility of the outside world appears very often and becomes part of their biographies and artistic ethos. Emigration generally exacerbates this condition. In the emigrant experience, the foreignness of the new place of residence and prolonged absence from the home country has its consequences. Very often emigré artists experience a dual sense of otherness: in the home country that they have left and in the new place of residence. However, this does not mean that the feeling is connected solely with suffering. Many artists are able to use this feeling to find subject matter and stimulation for creative work. These artists continually derive inspiration from being an outsider. The author uses biographical material to show the different trajectories of foreignness and the various creative strategies used by emigré artists. Otherness is shown to be a key category of their experience but not an entirely unambiguous one.
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This article starts with an analysis of sensitivity, which is a two-sided trait. We value and admire sensitive people, but we may also consider them to be weak individuals, unable to cope. An overly intense reception of the world can sometimes lead to alienation. In today’s computerized, rationalized world, where efficiency matters above all, feelings can be a burden; reflection postpones immediate success. However, academic knowledge and artistic creativity require sensitivity to the world and the individualization of thinking and feeling. In considering philosophical ideas and the findings of researchers of the human mind, the author demonstrates that sharpened sensitivity and being different are essential traits of the creative attitude, while their lack testifies to a society’s regression.
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This article is about the educational turn in contemporary art. At present, many artists are interested in educational projects—the planning of events in which education is not reduced to an auxiliary role (as is traditional with an exhibition). Simultaneously, however, the artists distance themselves from the school system and are attempting to experiment with education, treating it as an autonomous, alternative cultural practice. The author describes the traits and circumstances of this artistic phenomenon (above all, transformations in the field of socially engaged art, and criticism of the idea of a knowledge-based economy). She analyses the role of pedagogical methods and ideas in artistic and curating practices, while focusing primarily on methods of using dialogue in artistic projects.
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The term ‘found object’ refers to an existing object or artifact that contemporary artists use in undertaking memory-related themes in their art. Originally, such objects would not have fit in the category of art, although for their finders they might have had value (for instance, for aesthetic or nostalgic reasons, or due to the object’s originality). By means of the found object an artist comments on contemporary culture, constructing an artistic narration that concerns the past and reveals the memories or identities connected with places and people (for instance, site-specific art or community art). Through art collecting, the revelation or discovery of things from the past, artists become custodians of memory and engage in its reconstruction; this may involve either the ‘small’ personal memory or the collective memory, for instance, one based on the history of a location. In the artistic practices analyzed in the article, things also become a means to influence the course of our activities, by evoking memories and the emotions connected with them, awakening the senses and affecting the course of interhuman relations.
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Artists and scholars have long been interested in the relations between art and science. However, on account of the diverse and transgressive nature of these relations, they may escape attempts to classify them in accord with the traditional divisions of academic disciplines, which are so characteristic of contemporary times. These divisions also prove inadequate for consideration of the rapid technological and socio-cultural changes destabilizing the mutually autonomous territories of art and science. The author thus attempts to respond to the need for new conceptual frames that will allow the existing forms of collaboration between artists and scholars to be revealed and systematized in a more cross-sectional and reflective manner. For this purpose she proposes a new typology—a model organizing phenomena in which art combines with science.
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This article concerns the question of stigma and the exclusion of individuals by a small community. Three films exemplify this process: Sam Peckinpah’s Straw Dogs (1971); Giuseppe Tornatore’s Malena (2000); and Lars von Trier’s Dogville (2003). Each of these is a study in atypical stigmatization and exclusion—the situations are atypical because the victims of social aggression are not stigmatized in the classic sense by having an unambiguously negative attribute (for instance, poverty, an addiction, a physical deformity, etc.) but are persons who differ from the group in a positive way.
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The author analyzes and interprets the housing practices of Muscovites in Soviet Russia of the 1930s through Mikhail Bulgakov’s novel The Master and Margarita. Literature is here used as a source of knowledge about the social world, and the author also makes numerous references to works on the subject of Bulgakov’s masterpiece. She shows how the fantastical picture presented in the novel, which in large measure corresponded to Bulgakov’s personal experience, brought to the fore those paradoxes of Soviet conditions that testified to the degeneration of the system.
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This article shows how members of the contemporary art world in Poland understand the concept of the brand: how they define and validate it; what associations it evokes; and what kind of language is used to speak about it. The article summarizes part of the research conducted in 2015 with members of the art world within the framework of the project ‘The Artistic Brand as a Social Phenomenon: The Creation, Differentiation, and Role of Artistic Brands in Contemporary Poland.’ Thoughts on the subject of art brands lead to a description of the state of contemporary art in Poland. The definitions formulated by the respondents are compared to marketing theories, thus making it possible to determine the respondents’ level of knowledge of such theories. In conclusion, definitions of artistic brands are reviewed and supplemented on the basis of the material obtained from the research.
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This text provides a critical discussion of the dominant concepts used to identity soccer fans and proposes new ways of analyzing the fan phenomenon. The two most widespread interpretative frameworks divide fans into ‘traditional’ supporters and ‘consumer’ fans. The authors indicate that this division is not the only possible frame for viewing fans’ identity. The examples provided demonstrate that fans’ individual and collective identities do not develop solely on the basis of events associated with the soccer field. Among other things, their identities can be shaped by unexpected human or non-human factors or catastrophes, or by struggles to preserve the past or the club’s heritage. Such instances prove that the formation of identity involves more than the dichotomy between a traditional fan and a consumer fan. This text also contributes to expanding the interpretative realm in contemporary research into group identities.
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The author analyzes the segmentation and institutionalization of the social world of soccer fans in the context of global economic and cultural changes. He refers to the literature on the subject to present the genesis of this sport and the descriptions that have been made of its fans. In the empirical part, he views the fan phenomenon in Poland on the basis of press and internet materials, casual interviews with fans of the Łódź Sports Club, and fan behavior in stadiums (the ‘framework’). Institutionalization and structurization in the social setting of Polish soccer fans are considered in connection with the economic and institutional changes after 1989 and global changes in the world of culture and the media. He proposes a typology of fans—the participants in the social world of soccer. He claims that the institutionalization of this world is underway but that organizing fans into associations is having a different impact on fan culture and the social world beyond than was earlier expected.
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Contemporary socio-cultural situation based on globalization make that many categories, concepts and theories required decontextualization, then recontextualization and redefinition. This process also applies to so intuitively obvious category, which is time. The specificity of the„survival” of time, perception and understanding have changed significantly influenced by current trends of modern times, such as the primacy of pleasure, the cult of success, mainstream consumerism, mass media influence. Because of these issues important and necessary it seems that re-thinking on modern understanding of time as a sociocultural category, which characterizes the quality and style of life of individuals as it exists in the current, post-modern space-time.This article provides theoretical considerations on the nature and specificity of everyday time and festive time in the context of current sociocultural based globalization processes. Assuming that the time and its fulfillment, or lifestyle are subject to the relationship of interdependence, the analysis will undergo a proposition about the consistency /heterogeneity of the individual’s life style presented in the context of the division of temporal existence of the unit on time everyday and festive time. Considerations will address today’s youth. It results from the specific lifestyle of this age group, which is due to the peculiarities of the development phase and the „soak” contemporary trends, in particular understands everyday / celebrating.
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Contemporary space of communication and dialogue increasingly connects local and global dimensions of cultural interactions, creating a new transterritorial exchange not only of information but also of values, attitudes and patterns of social relations. They occur both in real world but more and more in virtual and hybrid reality, which combines them into synergetic connections, flows, but also qualitatively new forms of reality. The ease with which virtual space overlaps with the content of different cultures forces us to ask questions about the nature of contemporary cultural relationships, which are as easily and quickly moving into the virtual and hybrid world by setting new conditions, but also the course and the process of intercultural dialogue. Expanding the contemporary discourse space opens up new opportunities, but also threats we are not yet aware of. Humanities need to develop new insights into the ever-changing and complex nature of dialogue that changes the role of “place”,“time”, interpersonal relationships, social bonds, sense of closeness, dimensions of the cultural community and its fundamental values. In order to understand the dynamics of these changes and the new challenges of intercultural dialogue, the social sciences and the humanities must work out the corresponding paradigms of perceiving, defining, and analyzing its fundamental categories.
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In the process of mediation, dialogue between the parties is one of the major elements. Thanks to dialogue carried out between the parties, with the support of an impartial and neutral mediator who is not engaged in the conflict, the parties may view the conflict from another perspective and try to solve it, opening to the needs of the other party at the same time. For that to be possible the dialogue must be based on respect to other people, recognition for the other party and non-prejudiced approach. The essence of a dialogue between people is to understand the point of view of another person. Thanks to the dialogue, the parties may not only solve the current conflict but also maintain and improve mutual relations, which is particularly important in mediation related to family affairs or business affairs. Additionally, mediation in a multicultural environment requires consideration of cultural differences which determine the style of communication between people and the method of solving conflicts. The mediator should, therefore, possess broad cultural competencies, including cultural sensitivity, which may be used in a mediation meeting with people stemming out of various cultures. Thanks to the adequate climate of understanding created by the mediator, taking into account such cultural differences and contributing to a constructive dialogue between the parties, a chance for achieving the basic goal of mediation – a mutually satisfactory agreement – is growing.
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The article touches on the issue of local crime prevention with the use of community policing philosophy according to which the police is responsible for protecting the society and the public order cooperating with local community. At present, Polish Police has noticed the importance of society in preventing and fighting crime. The example is a National Safety Risk Map interactive tool where inhabitants can anonymously report information about threats appearing in their neighbourhood forcing appropriate service to react as also radical change of a constable’s work by bringing it closer to citizens.
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The author presents the hermeneutic method of interpretation of one of the most eminent 20th century philosophers, Paul Ricoeur. Hermeneutics as such has never been in the mainstream of philosophy but it has always been a significant domain and object of interest. The thinkers used its tools to study human beings more in depth and to understand everything there was about one of the unique to humans creations, their writings. Speaking of texts, hermeneutics is not limited to words and phrases but it extends to rituals, gestures, customs and relationships between people as individuals and social groups. In all of this, the aim is to capture the original intentions of the authors of the texts but also the intentions and meanings that may go beyond what they consciously intended to convey in the first place. The meaning that originates in the course of functioning in a certain place and time.
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