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EN
The aim of this article is to present Azerbaijan cultural institutions and their program in the socio-political context. The processes of forming modern Azeri identity narrative have a great impact on institutional sphere that refers both to an ancient history and modern life style. The analysis is based on three institutions located in Baku: The Heydar Aliyev Center, Museum of Modern Art Baku and YARAT Contemporary Art Space. Their exhibitionary program reflects cosmopolitan aspirations of political authorities. However, it ceases to become an intellectually challenging experience, reducing interest in art to an activity of enhancing prestige. Karolina Golinowska, Azerbaijan Treasures – impresje na temat azerskich instytucji kultury [Azerbaijan Treasures – impressions on Azerbaijani cultural institutions], edited by W. Bryl-Roman, „Człowiek i Społeczeństwo” vol. XLIII: Projektowanie w latach 70. [Designing in the 1970s], Poznań 2017, pp. 217-224, Adam Mickiewicz University. Faculty of Social Sciences Press. ISSN 0239-3271.
EN
The aim of this article is to analyze the notion of creativity in reference to social and economical context. The idea of creative industries becomes the fundament for processes supporting commercialization of culture. Their protagonists consider the consequences of those processes without further reflections. Commercialization of culture supported by cultural tourism becomes a formula for economical success of region. However, instrumental attitude towards culture has its serious consequences. Example referring to work of Damian Hirst exposes difficulties that may be encountered by cultural institution in creative city.
PL
Celem artykułu jest analiza pojęcia kreatywności w odniesieniu do kontekstu społecznego i gospodarczego. Idea kreatywnych gałęzi gospodarki staje się fundamentem działań wspierających komercjalizację kultury. Zwolennicy owych procesów ich konsekwencje często ujmują w sposób jednowymiarowy. Komercjalizacja sektora kultury wspierana turystyką kulturalną stanowić ma bowiem receptę na sukces gospodarczy regionu. Niemniej tak instrumentalne traktowanie sektora kultury skutkuje poważnymi konsekwencjami. Przykład związany z pracą Damiana Hirsta uświadamia, jakie zagrożenia pojawiają się w odniesieniu do instytucji kultury funkcjonującej w mieście kreatywnym.
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