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An Evaluation of Fashion Involvement: A Study on Generations X and Y

Author(s): Hatice Aydin / Language(s): English Issue: 1/2016

This study deals with the influence of materialism on fashion involvement and of fashion involvement on mavenism, purchase decision involvement and recreational involvement. The data were collected via face-to-face survey method. The surveys were administered through convenience sampling method to generation X and Y members separately. Structural equation modeling was used to test generation X and Y models. At the end of the study, it was seen that generation Y are more materialist, involved in fashion and recreational shopping, and share their views of fashion products with others more. In addition, it was found out that the centrality materialism of generation X do not have any significant influence on their fashion involvement and their fashion involvement does not have any significant influence on their recreational shopping involvement whereas the success materialism of generation Y members do not have significant influence on fashion involvement.

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Karen Petrone. The Great War in Russian Memory. Bloomington: Indiana University Press, 2011

Author(s): Jason R. Morton / Language(s): English Issue: 3/2015

Review of: Jason R. Morton - Karen Petrone. The Great War in Russian Memory. Bloomington: Indiana University Press, 2011. 408 pp. ISBN 978-0-253-35617-8.

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From Constructivism to “Routinized Modernism”: The Zigzag Trajectory of Radical Utopianism in Postwar Central Europe

Author(s): Viraґg Molnaґr / Language(s): English Issue: 1/2016

This article uses the example of constructivist architecture to show how radical utopianism influenced postwar plans for the large-scale transformation of the built environment in a significant but highly fragmentary fashion. Rather than dominating a longer period and slowly fading away, constructivism recurred in Hungary in several short but intensive episodes. The analysis focuses on two crucial episodes—plans for the post-1945 reconstruction of Budapest and the construction of a “strip house,” a massive collective housing superbloc — to show how constructivism came to be coupled with various social and political agendas that often caused its demise; yet it left a complex and lasting legacy even when it failed. The article also argues that the zigzag trajectory of postwar constructivist architecture is largely a function of Hungary’s interstitial geopolitical and cultural position between East and West. As a result, Hungary, together with other Central European countries, offers an example that can illuminate the nonlinear ways in which intellectual ideas and cultural models circulate on regional and global scales.

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Author(s): Walter Benjamin / Language(s): Croatian Issue: 21/2016

Post-antički čovjek zna možda samo za jedan duševni ustroj u kojem svoj unutarnji svijet u punoj veličini i posvemašnjoj čistoći postavlja u odnos prema cjelini prirode, kozmosa, naime bol. Sentimentalni čovjek, kako ga imenuje Schiller, može ostvariti približno čist i velik, što znači približno naivan osjećaj sebe samog samo po visoku cijenu da svoje cijelo unutarnje biće organizira kao jedinstvo odvojeno od prirode.

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Picturebooks and politics: Israeli children’s picturebooks during the shift from pre-state to statehood

Author(s): Yael Darr / Language(s): English Issue: 3 (34)/2016

Cultures vary according to the level of political potency they attribute to their young readers. Some ascribe to their children the ability to experience political solidarity and are eager to offer them literature accordingly. Other cultures try to exempt children from taking any public interest and shield them within the home and family, distant from what is regarded as the aggressive public arena. In rare cultural and social conditions shifts from one attitude to another regarding children’s political potency can be quite extreme. This article points to a dramatic change in the nature of politicization of Hebrew children’s picture books, which took place in the decade following the establishment of the State of Israel in 1948. This period saw a rapid transition from the former overt politicization of children’s literature to a striking and active avoidance of political content. During the first decade of Israeli statehood children’s picture books decisively disencumbered the children of their former active political tasks, thus implementing a new politics of a civic society in a sovereign state.

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From occupation to independence: contemporary East Timorese history and identity in Portuguese picturebooks

Author(s): Ana Margarida Ramos / Language(s): English Issue: 3 (34)/2016

In Portugal, the suffering and struggle of the East Timorese people for independence started a social movement of solidarity with strong repercussions in the arts, namely music and literature. Children’s Literature depicted the theme of this period of oppression in East Timor, as well as the recognition of its independence and its right to freedom, in a picture book selected for the White Ravens List in 2003 called East Timor – Island of the Rising Sun (2001), by João Pedro Mésseder and André Letria. This unusual picture book, characterized by a very simple and sparse, almost poetic, text combined with large-format pictures, depicts this chapter of the contemporary history of East Timor in very specific way, resembling fairy tales or legends. The text and images are combined in order to promote symbolic readings, suggesting a magical/mystical environment that impresses readers. More than a decade later, recent struggles and stories from East Timor are still present in Portuguese pic- turebooks such as Lya/Lia (2014), by Margarida Botelho. The social change, path to democracy and educational development, as well as daily life and children’s pastimes are now the center of a narrative that establishes the similarities and differences between modern-day Portugal and East Timor. Our aim is to analyze both the political and ideological perspectives present in these picture books aimed at very young readers, offering a broad vision of different realities and contexts, even when they deal with war, death and suffering, as was the case of the East Timorese fight for independence.

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Głód mięsa. O kanibalizmie w filmie Delicatessen

Author(s): Iga Łomanowska / Language(s): Polish Issue: 04/2014

The text has a character of a draft – the author signals some aspects and themes of complex issues of anthropophagy and human carnivorism, placing them in historical, sociological and anthropological perspectives. As its starting point author takes black comedy Delicatessen, which characters are hungry for meat and not being able to get the animal meat they practice cannibalism. The author analysis their customs, defining the kind of cannibalism they practice and describing its significance for them as a community. She reaches for historical examples of cannibalism and recalls its ritual, social and mystical importance referring it to the situation in the movie. She enriches the whole with the reflection on the carnivorous nature of man, as a creature condemned to hunger for meat.

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Mięso w tradycyjnej sztuce azjatyckiej. Indie i Japonia

Author(s): Magdalena Tomaszewska-Bolałek / Language(s): Polish Issue: 04/2014

In Western art still life is a very popular subject. Objects as flowers, plants, books, jewellery, weapons can be found in many paintings. Numerous artworks of still life are also a presentation of food in different aspects, from dead animals, meat, raw vegetables to sophisticated dishes and pastries. Jacopo de’Barbari, Pieter Claesz, Jan Davidszoon de Heem or Francisco José de Goya y Lucientes are only a few examples of painters who presented still life with food. Food and eating are natural needs for people all around the world. Is meat also a popular subject of still life in Asian art? Is meat the main theme or just a part of scenes or events from everyday life, history painting or landscape art? In this article the attitude towards meat in Asian still life art will be presented in Indian and Japanese art.

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Głód życia. Dwa oblicza pożerania w malarstwie René Magritte’a

Author(s): Piotr G. Górniak / Language(s): Polish Issue: 04/2014

René Magritte was a Belgian surrealist painter. It is often said that it is impossible to analyze and interpret works of surrealists, because they are an illustration of realms, such as dreams and hallucinations, which cannot be seen for nobody except the artist. Even if we agree with this thesis the situation is different with Magritte and that is what I will show in the text. I am going to describe two of Magritte’s paintings: The Pleasure from 1927 and The Famine from 1948. Both these painting relate to eating or rather devouring living beings. To analyze both of this paintings, I’m going to try to show cultural context related to them in reference to religion and mythology. An important point of my analysis will be reference to the concept of meatiness. For that I’m going to use of the text by Jolanta Brach‑Czaina, The Metaphysics of meat. However, the analysis will only be an excuse to try and answer the question: is the act of eating meat only an ordinary activity or maybe something more?

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The new within the old, the old within the new: transmediality and the introduction of the kinematograph in the case of Aladinou la lampemerveilleuse (1898)

Author(s): Gert Jan Harkema / Language(s): English Issue: 01/2016

Accordin g to the Provinciale Geldersche en Nijmeegsche Courant’s coverage of Grünkorn’s exhibition in October 1859, the scenes from Aladdin and his wonder lamp were the most popular aspect of his show and “caught [ the audience’s ] special attention, which they deserved.” :These scenes were even more appreciated by the audience than the nationalistic scenes from royal festivities (an observation that could indicate that the late nineteenth -century audiences who went to the early kinematography shows were not necessarily as much aroused by the radically new, as with the ‘new within the old’). The audience might have liked the scenes from Aladin ou le lampe merveilluese in particular because of the double logic discussed above: on the one hand, the reels anticipated in a familiar transmedial imagination themes that were already in people’s minds, while at the same time these scenes also highlighted the specific attraction of the newly introduced device for projecting moving images. The intersection between the new and the old remains a fascinating field for study because new knowledge of the nineteenth -century popular imagination could still shed new light on the earliest encounters with the kinematograph.

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Na antypodach (artystycznego) kabaretu. Specyfika warszawskiej rewii międzywojennej w kontekście globalnych wzorców gatunkowych – rekonesans

Author(s): Jacek Mikołajczyk / Language(s): Polish Issue: 01/2016

„Jedź i kradnij, co możesz” – według Fryderyka Járosyego do tego sprowadzała się praca nad programem rewiowym nadwiślańskich twórców epoki dwudziestolecia. „Dyrektor artystyczny jedzie do Paryża, odwiedza z miną bogatego Anglika wszystkie music -halle i bucha wszystko, co nie jest przykute łańcuchami albo wmurowane w ściany. Potem wraca do Warszawy i zmienia obiekty kradzione przy pomocy członków swej bandy w taki sposób, że trudno je poznać” (Kałużyński,2013,300). Ciekawa strategia, która jednak nie odbiegała zbytnio od zwyczajów panujących w ówczesnym show -businessie. Florenz Ziegfeld, twórca słynnych amerykańskich Ziegfeld Follies, regularnie odwiedzał Londyn, podpatrując tamtejsze rozwiązania i podkradając nieco uboższym krewnym gwiazdy, Londyn kopiował rozwiązania berlińskie, zapożyczone zresztą czasem z tak odległych estetyk jak japoński teatr kabuki, a wszyscy demokratycznie zżynali z Folies Bergère, rewii paryskiej, która, należy dodać, również powstała jako amalgamat popularnych widowisk rodzimych i angielskiego music -hallu (Bailey, 2014, 137-139). Pod tym względem wcześnie dobiliśmy zatem do standardów światowych, dołączając do uprawianego w pierwszej połowie qq wieku bez większych skrupułów intelektualnego rabunku, który szczęśliwie i o wiele bardziej elegancko możemy dzisiaj nazwać transferem kulturowym i objąć pogłębioną reveksją badawczą.

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Składanie tygodników. Projekty graficzne Janusza M. Brzeskiego dla koncernu „Ilustrowanego Kuryera Codziennego”

Author(s): Julia Harasimowicz / Language(s): Polish Issue: 04/2015

A basic attempt in this article is to analize graphic projects of Janusz Maria Brzeski for the polish publishing house “Ilustrowany Kuryer Codzienny”. Brzeski, one of the most unconventional artists in the interwar period in Poland, created layouts of two important magazines for mass public. 0e earlier one, a controversial weekly “Tajny Detektyw” (“Secret Detective”), concerned a schematic, crude content. 0e extremely dynamic and modern layout, based mainly on the photomontages and photocollages, emphasized short articles and created an effect of the organic unity with text. After magazine’s cancellation caused by the protests of the conservative elite of these days, “Tajny Detektyw” was replaced by “As” – the illustrated weekly magazine for women. 0is Brzeski’s second project was a polish equivalent to the french photojournal “Vu”. This evidential inspiration, the connection of visual strategy of the Avantgarde and popular culture points toward new perspectives for the interpretations of Janusz M. Brzeski’s artwork.

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Polskie internetowe serwisy filmowe dla dorosłych. Kilka uwag o sposobach odbioru tekstów pornograficznych w nowych mediach

Author(s): Adam Regiewicz / Language(s): Polish Issue: 01/2015

Along with the technology and customs changes in recent decades,pornographic message changes as well on the network.A full‑length feature films are replaced by short videos, devoid of narrative and focused on scenes of sexual acts themselves. On this background, aquasi‑document porn film which records sexual practices from the executor’s perspective (First Person Perspecitve) or accompanying cameraman draws a special attention. This type of production enters the new hybrid genre popular in new media either by composition, poetics or epistemology building its message on the tension between truthfulness and fabrication, fiction and fact.

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Z ekranu do sieci. O sieciowych fanach sztuki filmowej

Author(s): Marek Jeziński / Language(s): Polish Issue: 01/2015

In the paper group‑making and social bonds making potency of film as a certain kind of art and entertainment is discussed. Emotions that accompany watching the movies are carried out of the circumstances of reception of a film work and are manifested in the creation of a certain kind of social relations. Specific character of such group activity is also manifested in the Internet environment. A movie, as cultural text, becomes as a particular focus center, which is attractive enough to have a potency for the creation of certain communities. The latter occur as social groups of a unique character, that relies in the specific nature of environment in which they emerge. Movie blogs and www sites concerning movies, cinema and film art display a significant strength for creating social bonds depending on cinema as a specific environment and on the emotions generated by the movies.

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Kiedy świat staje się błękitem. Blue Dereka Jarmana jako artystyczny i osobisty manifest twórcy

Author(s): Aleksandra Drzał-Sierocka / Language(s): Polish Issue: 01/2015

Blue (1993), the last film by Derek Jarman, had been released only four months before the director’s death, caused by AIDS‑related diseases. It is a very unique kind of private confession. At the end of his life, Derek Jarman was getting blind and in some moment the only that he could see was blue (a kind of blue nothing). His last movie reproduces this experience and at the same time makes viewers to feel reality in the similar way, because the only thing that we see is a blue screen. So, on the other hand, Blue is a very interesting project from the theoretical point of view. It is not a typical documentary; it is not even a typical movie. In my thesis I try to analyze Blue from few different perspectives: as an unique audiovisual project, a manifest of artistic freedom and independence and as a deeply poignant confession of a dying man.

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Film jako remedium na rzeczywistość. O motywie Piotrusia Pana w wybranych niezrealizowanych scenariuszach filmowych Stanisława Dygat

Author(s): Barbara Giza / Language(s): Polish Issue: 01/2015

The idea of this paper is to describe unrealizded screenplays of Stanisław Dygat. Those works are kept in the archives of Filmoteka Narodowa and show how much Dygat, one of the most famous Polish writers, was interested in film and how many trials to become a screenwriter he has undertaken. The idea here is to look for a very characteristic motive for Dygat’s prose – Peter Pan motive. The main hero in Dygat’s books is always like a big boy, trying to manage in the adult’s world, believing in magic and the power and illusion. Reading the unrealized screenplays being written by Dygat since late 40’s one can very easily find the same motive of Peter Pan, which shows the writer’s artistic consequence and his strong fascination of film as a new way of expression.

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O złudnym poczuciu sprawstwa wśród fanów na przykładzie serialu Sherlock Holmes

Author(s): Katarzyna Rabiej / Language(s): Polish Issue: 01/2015

The aim of this article is analyze and reflection on an illusory sense of participation among viewers Sherlock Holmes series. Today boundaries are cover between network users and producers, consumption and participation, professionalism and amateurism. The article presents the results of the analysis which indicate, that the purpose of the film industry, is to invite viewers to explore the rich world presented in the film, which turned out to be “too big” for a full‑length movie or episode or even season series. Today, image of the film are mosaic, and require social replenishment and dialogue. It is used in an ingenious way by film producers. At the same time the viewers thinks that they have control, and they participate in process of creating a movie. The recipient has the feeling that is an integral part of the community watching movies and series. Producers of the series Sherlock Holmes, who in the third season presented possible solutions to the further Sherlock fate, proposed by fans, made a bow to the viewer, but at the same time they strengthened his sense of participation. In this article I assert thesis that the film industry trying to strengthen the viewer sense of participation in the process of creating a movie (series) mislead the public, cheating them. Spectator, despite the multiplicity of communication channels and tools, has no effect on the shape of a movie or the series, but only serves as a barometer for the producers and the marketing department.

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Współczesny teatr polski wobec aborcji

Author(s): Ewelina Wejbert‑Wąsiewicz / Language(s): Polish Issue: 02/2015

In Poland, abortion is particularly engaging to discuss political and religious elite. For many years the debate on the rights of women to abortion increases during election campaigns. Sociologists focus on the study of social facts, highlighting the links between them and building general rules. Art as a social fact is of interest to the sociology of culture and art. The aim of this paper is to compare scientifc discourse, sociological discourse about abortion and art ( theater). Theatre and monographic studies about the phenomenon of abortions allow to keep track of correspondence of art and social reality. The article describes the selection of theater on the phenomenon of abortion from the perspective of the story and creative motivation.

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Od anielskiego śpiewu do ochrypłego krzyku. Przemiany solistów operowych i ich współczesne oblicze

Author(s): Małgorzata Rychert / Language(s): Polish Issue: 02/2015

From the very beginning opera underwent transformations, keeping up with the changing world. The seemingly homogeneous form developed into different subgenres, tailored to the needs of their specific audiences. The notion of an opera soloist evolved together with the form. In this way a soloist transformed from a castrato with an angelic voice, singing both male and female parts, to a rock man performing a rock -opera. The development of technology and the marriage of opera with popular music established a new face of an opera singer.

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Komputer jako metamedium w praktykach artystycznych

Author(s): Lidia Rudzińska / Language(s): Polish Issue: 02/2015

Art without the technology does not exist… Availability of digital media, computers and software makes the art goes to private homes, crosses the boundaries of intimacy. Contemporary art is interactive, changeable, inconstant and hybrid.

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