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SUPPORTING 'BRITISHNESS'. ON THE IDENTITY OF POLISH MANCHESTER CITY FC FANS

100%
Drozda J.
Sprawy Narodowościowe
|
2008
|
issue 32
165-180
EN
In this essay the author briefly describes a group of Polish Manchester City Football Club fans and presents the wide cultural context of their activities. Whereas most football-related scientific works usually focus on rather exploited aspects of fandom and commercialism in sport, this text aims to combine various approaches and to shed light on new genres of football supporters' culture. The theoretical background used to illustrate these issues includes some esteemed works belonging to the tradition of British cultural studies, as well as modern Polish popcultural analyses. The essay shows how some Polish football supporters remain on the margins of standard football fandom. Still, rather than being a coherent group, they shift from one style to another and submit themselves to different cultural inspirations. While being far from hooliganism or even verbal violence, they attach great value to the supporters' ethos.
2

BLUE MOUNT: A TRIP BEYOND POETRY WITH A CONTRIBUTION TO SPONTANEOUS CREATIVITY (IVAN STRPKA: THE BLUE MOUNT)

80%
Taranenkova I.
Slovenská literatúra (Slovak Literature)
|
2007
|
vol. 54
|
issue 1
27-40
EN
The study is a part of the collective project dedicated to the key works of the Slovak literary of 20th c. It deals with the interpretation of the book of Ivan Strpka 'Modry vrch' (The Blue Mount). It is a collection of the lyric songs written in a co-operation with the chief representative of the Slovak rock music Dezo Ursiny during the time when Strpka was excluded from the official literary life. The study is a recapitulation of a discussion about the possibilities in the overlapping arts and pop-culture. This discussion started with this book. The study also deals with the context of the rock music in which the Strpka's book was operating. It shows that the texts from the 'Modry vrch' can bear the criteria of poetry. The co-operation with I. Strpka means fulfilment the principles of his work; it does not mean breaking them or applying of them automatically. The study is focused on the context of Slovak poetry from the beginning of 60s. It reveals the filiations of poetics of the texts of 'Modry vrch' with the expression of the artistic neo-avant-gardes that is connected with Strpka's work in the literary group 'Osameli bezci' (Lonely Runners) proclaiming the art opened toward life. Interpretation of themes and motives in the texts of 'Modry vrch' searches the connections with the poetics of Ivan Strpka presented in his collections of the poems. The key theme is a reconstruction of the wholeness, fullness and satisfaction of the human existence and world, restoration of a nature of a man. This attitude influences also a language of the poems. The attempt of the lyrical subject toward the world is stressed by strong sensibility. The central motive of Strpka's poetry - a child and childhood - is remarkably presented in this part of the book. In the second part harmonic relationship to world is broken and complicated. There are more and more moments of disharmony and problems in the life. The poems from 'Modry vrch' prove, that creative co-operation with D. Ursiny was a possibility for I. Strpka to enrich his own poetry in the new dimensions. The verses included in his book are more powerful than many of his poems from his previous collections of poems.
3

CONTEMPORARY UKRAINIAN LITERATURE (THE METAMORPHOSIS OF LITERARY PROCESS)

70%
Oriesek P.
Slovak Review. A Review of World Literature Research
|
2006
|
vol. 15
|
issue 2
158-175
EN
The article deals with the metamorphosis of Ukrainian literature after 1989. The author is focusing on the constitution of the postmodern discourse in Ukrainian literature and its implementation in the sphere of the academic criticism. The postmodern tendencies in the Ukrainian literature become visible at the end of the 1960s and at the beginning of the 1970s in the texts of the New York Group (E. Andijevska, V. Vovk, Zh. Vasylkivska, P. Kylyna, J. Tarnavskyj, B. Rubchak and B. Bojchuk), 'chimerical novel' (H. Pahutak, V. Nazarenko, O. Lysheha) and the group of the writers (V. Petrov, I. Bahrjanyj, U. Samchuk, T. Osmachka, J. Malanjuk, J. Sherekh etc.). At the end of the 1980s the definitive leaning to the poetics of the postmodernism became conspicuous in the texts of Jurij Andrukhovych, Viktor Neborak and Oleksander Irvanets from Bu-Ba-Bu. In the 1990s, a number of the new literary groups belonging to the discursive sphere of postmodernism and neomodernism came into being: New Degeneration, Lu-Ho-Sad, Dogs of St. Georgy etc. The author also deals with the works of the writers adherent to regime of writing of so called 'social clinic', stream of the consciousness, visual poetry and feminism. In the center of the author's interest stands the perception and reinterpretation of the phenomena of popculture which became dominant in the texts of the Ukrainian writers at the end of the 1990s.
4

TOTALITARIANISM INDEXES AND POP-CULTURAL INTERVENTIONS IN SLOVAK FEATURE FILM. A CONTRIBUTION TO THE CONTEMPORARY ART MEDIALITY (Indexy totalitarizmu a pop-kulturne intervencie v slovenskom hranom filme. Prispevok k medialite sucasneho umenia)

51%
Pastekova J.
Slovenská literatúra (Slovak Literature)
|
2011
|
vol. 58
|
issue 2
105-117
EN
The study is concerned with images of totalitarianism in Slovak feature film after the year 1989. It monitors the level of social criticism in the1970s and 1980s film against the background of historical, economic and political context and provides examples of banned and censored films. The author raises a question whether the Slovak film paradigm of totalitarianism representations has changed after the year 1989. She seeks the answer using Peirce triad typology. It enables her to identify three specific forms of the totalitarianism legacy discourse: the iconic variant, which is based on reviving a particular experience, the symbolic variant, inspired by the memory and headed for the future and the index variant, revealing the causal relationship between the past and the presence. The iconic variant includes the biggest number of films, which are represented by the collective past stories and dominated at the turn of the decade and in the first half of the 1990s. (The Right For The Past, Sitting On A Branch I Am Fine, Better To Be Rich And Healthy Than Poor And Sick, The Camp Of Fallen Women, When The Stars Were Red). The symbolic variant is associated with the expressive gesture of an emotional protest (See You In Hell, My Friends!, Rivers of Babylon). In the author's opinion, the best reflection is given by the index variant, containing a correlation, allowing the past-presence juxtaposition (Private Lives, Tenderness, The City of the Sun, Mosquitoes' Tango). With regard to the current economic possibilities and value preferences, it is most desired together with a genre (Music).
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