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1

CURRENT STARTING POINTS TO AUDIENCE DEVELOPMENT IN SLOVAK THEATRES

100%

Timčíková Z.

Slovenské divadlo (Slovak Theatre)

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2022

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vol. 70

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issue 3

282 – 295

EN

The term “audience development” is entangled with a number of definitions that differ in their meaning. While working with the audiences was considered to be primarily a marketing tool to ensure an increase in the number of spectators and lead to the economic stability of cultural institutions, in several European countries and, particularly, at the level of the cultural policies of European institutions, the perspectives of working with the audiences gradually developed into a more inclusive approach and people began to talk about access to culture for all. In this study, the author zooms in on a number of definitions of audience development formulated by theoreticians and culture managers prevailingly in English-speaking countries (Steven Hadley, Nobuko Kawashima) and national and European cultural policy makers. Based on the identification of several aspects of audience development, she also ponders whether discussions about audience development are taking place in Slovakia just like in other European countries, what direction the issues of audience development follow in the field of theatre culture in Slovakia, and who is their initiator.

2

Od Traktatu o Unii Europejskiej do Europejskiej Agendy dla Kultury – narodziny i rozwój polityki kulturalnej UE

100%

Jurkiewicz-Eckert D.

Studia Europejskie-Studies in European Affairs

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2015

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issue 1

65-90

EN

In 2013, the European Union celebrated the twentieth anniversary of the entry into force of the Treaty of Maastricht, while the European cultu-re, the cultural sector and cultural institutions – the twentieth anniversary of the birth of the EU cultural policy. Article 128 of the Treaty contained the ﬁ rst deﬁnition of the goal, powers and scope of activity of the Commu¬nity in the ﬁeld of culture. Currently, the EU’s competences in the ﬁeld of culture are speciﬁed in Article 167 of the Treaty on the Functioning of the European Union (former Article 151 of the Treaty of Amsterdam). In the ﬁrst part of this paper, the author outlines, in chronological order, the legal basis for the EU cultural policy laid down in each of the Treaties and analyses the ‘soft’ instruments used for shaping this policy that have determined its development in the years 1992–2013. The second part of the article focuses on the European Agenda for Culture, the ﬁ rst strategic document in which the EU has deﬁned long-term goals and priorities of cultural policy. The document, adopted in 2007, was to become the response of the Community to new challenges in the area of European culture and to initiate the process of shifting culture from the periphery to the mainstream of EU policies. The article points to the importance of the European Agenda for Culture in the history of the EU cultural policy, not only because it shows a change in the EU’s rhetoric regarding the place and role of culture in the process of integration but mainly because the priorities adopted in the document, as well as new mechanisms of decision-making and cooperation between the EU, its Member States and the cultural sector, have determined the shape of the EU cultural policy, including the shape of EU programmes and the measures taken in the ﬁeld of culture after 2007. The dynamism of implementing the objectives of the European Agenda for Culture also shows that – in the long run – the Agenda will have an impact on the future condition and development of culture in Europe. Will incorporating the EU cultural policy in the Agen¬da shift culture from the periphery to the mainstream of EU policies? What price will the cultural sector and culture have to pay for this shift and will it not be too high? What will be the impact on culture of the pro¬gressive economisation of culture and the introduction of new key words to the language of the EU cultural policy (creativity–innovation–growth), which have dominated the point of view on the role and place of the cul¬tural sector in Europe after 2007. Can the EU ﬁnd a balance in supporting the economic and social dimensions of culture, and can it support culture as an area of autonomous values, actions as well as complex identities that cannot be reduced to one common denominator? The conclusion ending the text concerns the future of the EU cultural policy and the paradox that it can become part of. Because what we are witnessing now is an attempt to negotiate a partial ‘soft’ communitisation of the EU cultural policy wit¬hin the limits imposed by Article 167 TFEU. It is possible, however, that in the future the same limits, so fervently criticised over the years, will be the basis for insisting on the autonomy of culture and its values and needs not deﬁned by the market.

3

„Kultura dla każdego”. Francuski model polityki kulturalnej

88%

Kamecka M.

Białostockie Studia Literaturoznawcze

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2012

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vol. 3

217-225

EN

The author presents the main rules of cultural policy introduced by André Malraux, who ran the French Ministry of culture in the years 1959-1969. Malraux, who aimed to "give to the largest possible number of citizens access to the great works of culture (particularly French culture)", assigned to his department a special role in popularising culture and bridging differences between the province and the capital. Even though later the writer met with the accusation of designing a model based on an excessive interference of the state into the realm of culture, one cannot overestimate his insights into the special place of culture and art in social life.

4

MUSIC IN THE SERVICE OF POLITICAL POWER. SONGS FOR THE PEOPLE, CANTATAS, OPERAS AND SYMPHONIC GENRES IN POLAND IN 1947-1955 (Muzyka na uslugach wladzy. Piesni masowe, kantaty, opery i gatunki muzyki symfonicznej w Polsce w latach 1947-1955)

75%

Krzyzanowska E.

Przegląd Muzykologiczny

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2011

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issue 8

137-174

EN

The aim of this article is to verify some common and ill-defined views on the Polish instrumental and vocal instrumental music written between 1947 and 1955 (all inspired by the socialist cultural policy), in the light of the analysis of both their texts and forms. A typical feature of these songs of the people, cantatas, operas and some symphonic genres was the use of texts which represented the style of the so-called 'socialist realism'. Yet a thorough study of the music created in the post-war decade allows us to distinguish those works with a clear political motivation, which can indeed be counted among the category of 'socialist-realist' music, and the 'independent' and politically 'neutral' works which belonged to the neo-classical or folkloristic tradition. The latter compositions, through the analysis of their forms and compositional techniques, reveal the features which enable us to verify common, and sometimes inaccurate opinions on their artistic value, and also allow us to bring to life several works forgotten by history.

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BILITERÁRNOSŤ, BILINGVIZMUS A „PRÍLOHOVÉ SLOVNÍČKY“ AKO TEXTOVÁ LEXIKOGRAFICKÁ OPORA V ČESKOM A SLOVENSKOM LITERÁRNOM PRIESTORE

63%

Nábělková M.

Slovenská literatúra (Slovak Literature)

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2020

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vol. 67

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issue 1

11 — 35

EN

The paper focuses on mutual reception of literary works and nurture of biliteracy in the Czech and Slovak cultural environments. Attention is paid to the issue of mutual intelligibility of Slovak and Czech in relation to the existence and development of bilingualism and biliteracy as historically changeable phenomena. Alongside the traditional dichotomy between „reading books in original“ and „reading books in translation“, what may be observed in the Czecho-Slovak context is also existence of the third way – reading books in the original language equipped with appended text dictionaries serving as aids in solving potential problems with unknown expressions in literary works. The paper presents specific examples of language management aimed at simultaneous nurture of bilingualism and biliteracy – publishing the requirements and suggestions of text lexicography and editorial pre-production of literary works including appended text dictionaries designed for Czech readers of Slovak literature. Attention is paid to the interwar period marked by intense social negotiations over the optimal inter-literary relations.

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POLITYKA GLOBALNEGO ŚWIATA SZTUKI

51%

Dziamski G.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2016

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vol. 21

20-34

EN

POLITICS OF GLOBAL ARTWORLD The term ‘art world’ (Artworld) was not used before the 1960’, and if – rather rarely and without consequences. It was only in 1964 that Arthur Danto has made the term one of the key concepts of contemporary reflection on art. The artworld has come to mean the discourse accompanying art. The world of art should not be equated with art market, although today the Western artworld is increasingly subordinated to the market. Can market replace politics? Can it become policy? Is this the way of post-political policy? Is the market always connected with some policies and always requires some assistance from politics? Today’s global art world wants to combine what is global with what is local; it combines global discourses and local practices. It contributes to global circulation of what is local. Very often, what is local, turn to subaltern art, younger art, lower, worse.

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1 Białostockie Studia Literaturoznawcze

1 DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

1 Przegląd Muzykologiczny

1 Slovenská literatúra (Slovak Literature)

1 Slovenské divadlo (Slovak Theatre)

1 Studia Europejskie-Studies in European Affairs

1 Dziamski G.

1 Jurkiewicz-Eckert D.

1 Kamecka M.

1 Krzyzanowska E.

1 Nábělková M.

1 Timčíková Z.

1 2022

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