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POP UNDER THE WHITE-RED FLAG

100%
Czubaj M.
Sprawy Narodowościowe
|
2005
|
issue 27
119-128
EN
The article examines some national topics, figures, and events which occur in and influence popular culture. Frequently, one does not see pop culture in a global perspective, but only in its local versions and varieties. Thus, the question arises whether the diversification of models of culture may bring into existence individual 'national pop cultures'. The author cites some examples from rock music, comic strips, and fiction to present various manifestations of ethnic and national elements in Polish pop culture. The rock group 'Lao Che', for example, makes references to the Warsaw Uprising and induces contemporary young Poles to reflect on their generational experience and ties. Hagiographers of such historical figures as John Paul II and Rev. Jerzy Popieluszko, comic book authors demythologize their subjects. Authors of pop fiction create pictures of Poland as a superpower. The author believes that in this way a permanent complex of 'defensive imagination', passiveness and defensiveness, is revealed in the Polish mentality. The sphere of 'national pop culture' needs further research, both concerning symbolic culture and the practices of every day life (only mentioned in the article).
2
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Liderzy religijni jako gwiazdy amerykańskiej popkultury

80%
Młodzianowska M.
Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego
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2010
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issue 2(14)
505-520
EN
The article presents American religious leaders who acquired the status of popular culture stars. The phenomenon of extraordinary popularity of charismatic preachers in the USA dates back to the Puritan era. Nevertheless, it wasn’t until the era of electronic media that the great career of American ministers began. Religious leaders were provided with new tools to propagate their message and they gradually gained mastery of using them. The label of the progenitor of religious celebrities is traditionally assigned to Billy Sunday who was active in the end of the 19th and the beginning of the 20th century. After him came the pioneers of radio ministry (S. Parkes Cadman) and first TV stars in religious show -business (Fulton J. Sheen). The article focuses on some outstanding figures who in the space of the decades had major influence on televangelism. These are: Billy Graham, recognized as the most famous pastor of all times; Oral Roberts, popular healer, businessman and hero of well -known scandals; Robert Schuller, founder of the famous Crystal Cathedral and promoter of the institution of megachurches; and Joel Osteen, representative of the young generation of televangelists and pastor of the biggest church in the USA. What is common to all these figures is great charisma, perfect mastery of the techniques of creating self -image and influencing people as well as the ability to meet people’s needs. Thanks to these attributes these pastors turned into the icons of the American pop -culture.
3

POP CULTURE FOR CHILDREN (Popkultura detom)

80%
Juraj M.
Pedagogický časopis (Journal of Pedagogy)
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2011
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vol. 2
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issue 1
60-72
EN
The article is devoted to an examination of the ways in which particular pop culture artefacts (works of popular culture) can be used in the educational process, in accordance with the particularities that reflect the external differentiation of groups educated in certain ways (pre-school age, younger students, older students, adolescents). The initial premise is that we can intentionally use pop culture artefacts to evoke authentic experiences in the educational process. The inter-textual nature of pop culture artefacts means that the potential recipient is able to read the full significance only when equipped with a certain amount of knowledge, which is not immediately present in the artefact, but that the viewer is aware of due to existing schemata.
4
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ANALYSIS AND INTERPRETATION OF MASS CULTURE PHENOMENON IN SLOVAK AND CZECH PERIODICAL PRESS

80%
Matyas M., Plencner A.
Slovenské divadlo (Slovak Theatre)
|
2006
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vol. 54
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issue 2
334-344
EN
This paper is offering a comparative analysis of the phenomenon 'mass culture' which occured in the Slovak and Czech periodical press from September 2003 till September 2005. The purpose was to find out the presence of the term mass culture, its location, frequency, seriousness of debates about it, a comparison between its use in the Slovak and Czech mass media, and the most commonly used the connotations and the denotations. We were also searching for the similarities and differences between the journalistic and the academic discourses. The results are as follows: the term mass culture is mentioned only twelve times in the Slovak press, while in the Czech press it is mentioned eighteen times. It could be caused by the fact, that the mass media typically spread a mass culture, therefore the mass cultrue is invisible in the communication sphere - it is too widespread to be discussed as a specified subject. The term pop-culture is more distinct and used more often. In the Czech press the mass culture was debated more abundantly in the themes, the journalistic styles and genres. The overall quality was higher.
5
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REKLAMA AKO POPKULTÚRNY PRODUCT

70%
Peknušiaková E.
ESPES
|
2015
|
vol. 4
|
issue 1
47 – 56
EN
The article analyses the ad text as pop-cultural product. It can stand in its centre - the mainstream or on the periphery. The text is approaching the issue from a broader cultural context, through the issue of mass and popular culture. Short analysis brings television advertising spot both as a common commercial product, and as a product of artistic value.
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La reelaboración de la cultura pop por los Novísimos: delante y detrás de la cámara...

70%
Lavergne L.
Estudios Hispánicos
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2010
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vol. 18
119-132
EN
The works of the Novísimos, Spanish poets of the 1970s, often include different manifestations of pop culture: photo, cinema, comics, popular literature, etc. Sometimes these references operate benevolently and pop culture is looked upon with nostalgia. At other times they bitterly denounce the superficiality of contemporary society and the failure of pop culture to say anything about reality. The vain attempt of the creators (painters, and then poets) to situate themselves in the gap between art and life (Rauschenberg) proved fruitless in their search to reveal the essence of things and men. But beyond the reference to pop culture (as a theme), its integration into poetic compositions and to writing process engenders a commentary of writing itself. Especially as seen in Pere Gimferrer’s poetry, cinema is used either with a “transformation” (G. Genette), i.e. an appropriation of images, characters or situations, or with an “imitation,” i.e. a formal influence of its processes on poetic writing. In the first case, pop culture enables an understanding of the subject itself, whereas in the second, the influence of pop culture suggests a writing method for a “Poetic Pop Art.”
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Lilith i jej potomstwo w mitologii hebrajskiej oraz najnowszej kulturze popularnej – przegląd wybranych reprezentacji

70%
Górska A.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
|
2019
|
vol. 27(27)
198-228
PL
For thousands of years mythological Lilith has undergone countless trans- formations. Although she had been created by God himself, just like Adam and Eve, the texts do not pay her as much attention as they do to the first marriage. What is more, contemporary scholars of religious studies throw doubt whether Lilith had even existed. Regardless of the Church’s or scholars’ acceptance, Lilith seems to be a character invariably present in the worldwide culture. In the dawn of time, she served as a kind of warning, enforcing a more careful childcare – it was believed that if left without a proper care, infants might have been taken or possessed by Lilith; in medieval times she became a symbol of lechery; contemporarily she is mainly associated with bewildering sexual graphics and rare literary presentations which emphasize her intense sex- ual urges. How such transformations came to be? How the transformation of mythological Lilith over the ages looked like?
8
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GENRE IN RELATION TO SACRUM. CRISIS OF FAITH, HORROR AND POP CULTURE (Gatunek wobec sacrum. Kryzys wiary, film grozy i kultura popularna)

70%
Nowak S., Anna T.
Studia Humanistyczne AGH
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2010
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vol. 9
97-107
EN
In the text 'Genre in relation to sacrum. Crisis of faith, horror and pop culture' Samuel Nowak and Anna Taszycka ponder over the phenomenon of modern horror raising the subject of sacrum, especially in relation to the motive of possession and exorcism. The authors attempt to prove that the phenomenon is symptomatic for the transition from religiousness, understood in institutional and collective terms, to individual and contemplative spirituality. After analysing selected films from the perspective of 'spirituality' (in the meaning given to it by Zbigniew Pasek) the authors conclude that today the pop cultural narrations which depict the new function of sacrum and shift the load from institution to an individual may become successful and accepted by viewers. According to the authors the traditional narration - which associates sacrum with a religious experience - is supplanted today by stories which treat sacrum rather in terms of a spiritual experience. This transformation leads to many possible alternative interpretations of selected films which in this text were described in categories of pensiveness or meta-interpretation.
9

Przekład a współczesna popkulturowa narracja religijna — analiza w oparciu o amerykańskie chrześcijańskie strony internetowe

61%
Bednarska-Stec A.
Dziennikarstwo i Media
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2010
|
vol. 1
55-65
EN
The purpose of the text is to define, on the basis of American Christian websites, how religious messages function in the structures of popular culture. Giving to this issue the context of a broadly defined translation (as transfer of a message from one language to another), identifying the sender with the translator (in a metaphorical sense) and defining his or her aims made it possible to better understand the essence of the problem. Religious messages are adapted to mass culture’s structures and this process takes into account communication possibilities of both a medium and its users. This analysis enabled the author to distinguish and describe such characteristics of pop-cultural Christian narration as marginalisation of the religious content, communicativeness and emotionality.
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PHENOMENON OF AMUSEMENT AND ROLE OF STEREOTYPES IN PRODUCTION AND ACCEPTANCE OF MEDIA CULTURE (Fenomen zabavy a uloha stereotypov v produkcii a recepcii medialnej kultury)

51%
Pravdova H.
Communication Today
|
2011
|
vol. 2
|
issue 1
6-24
EN
The paper deals with the issue of amusement phenomenon and function of stereotypes by production and acceptance of media culture. The goal of submitted text is the analysis of complex row of primary and secondary factors, on the ground of which, the author defines the initial ideas and conclusions. The paper is divided into four, logically ordered and mutually connected ideas and conclusions. The first part was by the author called 'Amusement phenomenon reflection from interdisciplinary points of view.' There are drafted out some views of key disciplines-philosophy, aesthetics, social and cultural anthropology, cognitive psychology, sociology and methodology on ontological origin of amusement. The author comes to conclusions that the phenomenon of amusement in human culture is the result of need, resulting from mental and physical dispositions of individuals. The need to be entertained is culturally related and defined as well. The amusement phenomenon has its formal and content related expression too (verbal, motional, written, symbolical, genre etc.), which takes into consideration and respects given cultural issues (symbols, language, norms, values). There is some specific emotion connected with the acceptance of amusement-fascination that signals the intensity of living by an individual-something unexpected, surprising, shocking, wonder, feelings and states of flush, thrill, etc. The amusement consumption in mass media leads to fantasy escapes from reality to imaginary worlds and to loss of interest in the relevant social questions. In the second part, 'Mental 'corridor' of contemporary society - fascination and phenomenon of amusement,' the author allocates the implications of secularized amusement acting in purviews of processes of progressive infantilism, juvenilization, voyeurisms, carnival show, individualization, reduction, narcissism and hedonism of individuals, who live in funny, humorous, spectacular or adventurous society. She also analyses the phenomenon of mass and pop culture in the context with cardinal changes of society. She comes to the following conclusions: The phenomenon of amusement fills several functions-hedonistic, escapic and therapeutical. The contemporary man is fascinated by media amusement, because it enables him distraction, short-lasting reality escape, change of identity by becoming one of the main protagonists, distance from the suffering of others, riddance of responsibility for the others, etc. On one hand, in the theoretical reflexion of the issue, the authors point at fatal influence of media amusement on an individual and society, and on the other hand they praise its ability to recover the energy, inform, educate and bring up in a non-violent, interesting way. The success of American general popular mass culture in global dimensions proves the global human interest in love, sex, violence, mysticism, hedonism, possessions, as well as the abilities of American commercial companies to use this interest in their advantage. The fascination by amusement enhances the way of self-presentation of recipients, sets the favourite free-time activities, lifestyle and reinforces the effort to liberate from responsibility for the others. The individuals identify themselves with amusement, which offers them various kinds of consuming, exciting show of disparate pictures, rhythms, exotic fads, erotic etc. They act under the media pressure of two antagonistic tendencies. On one hand, they live in the frame of mass culture which offers uniformity, standardization, homogenization, 'hyperconsum.' On the other hand, their pop-culture resistance leads to extreme individualism, to an effort to differentiate from the others, exhibition of narcissistic superego and flashy self-presentation. The next part called 'Dominant position of television in the spectrum of media amusement' is dedicated to impact of television on the most important and most watched mass media in the field of amusement production in various types of programmes. The most favourite and watched types of amusement in contemporary TV production are so called easy dramatic genre. The author states that the amusement became the base building principle of other programmes and genres as well, including news or news-documentary genres. The primary duty of TV production is to drag the viewer into the story, which is usually set in some realistically perceived frame. The media content does not usually bring any specific message but simple, not complicated, easy-to-understand amusement, the goal of which is to offer the imagination, dramatic actions and emotions to people. This world is typical for the news and documentaries, which started to be created in the spirit of trivial infotainment. The trend of co called infotainmentization proves it. This trend is the result of public service news being changed into commercial one. Infotainment makes the happening easier, completes, edits according to its own images, dramatizes or changes the authentic events and affirmations about them entirely. The last part, 'Problem of stereotypes in the context of television infotainment, 'deals with mediated and mass media stereotypes in the process of creating specific media reality. According to the author, the stereotypes are present in the frame of creating news service, where the specific elements and methods of infotainment are applied to large extent. She emphasises that when identifying individual elements creating the stereotypes in contemporary TV news service it is necessary to take into consideration the specialities of infotainment and trends, when processing given event, which have been applied mainly in commercial televisions. TV news service in Slovakia has several expressive components and features: infotainmentization (variety and ranking of topics, way of their processing in the way of show), celebritization (extreme personification), exercitation of sharp graphic, dynamic cut and comment elements in news service texts. The author came to a conclusion that TV news service in the context of infotainmentization offers own versions of media reality and in it included media stereotypes.
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