Search results - CEJSH

1

Dziedzictwo: produkt – symulakrum – konsumpcja

100%

Kowalski K.

Rocznik Antropologii Historii

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2016

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issue 9, Dziedzictwo kulturowe

273–293

XX

Reprint (fragment): K. Kowalski, O istocie dziedzictwa europejskiego - rozważania (Kraków 2013)

2

Opera – Pop – Kultura: Wprowadzenie

100%

Lisiecka K., Regiewicz A.

Pamiętnik Teatralny

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2023

|

issue 2(285)

11-14

EN

Introduction to essay cluster Opera - Pop - Culture.

3

James Bond a dylematy tożsamościowe Brytyjczyków – kultura popularna a kształtowanie tożsamości narodowej

87%

Hejwosz-Gromkowska D.

Studia Edukacyjne

|

2020

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issue 58

85-105

EN

The author assumes that popular culture plays a powerful role in the process of socialization of young generation. The author tries to present that the conventional national symbols are being replaced by pop symbols and thus become the sources of national identity. The concepts of banal nationalism put forward by Michael Billig or Tim Enderson’s idea of everyday life’s practices in the development of national identity are being used. In the text, the phenomenon of James Bond is used to analyze the contemporary debates on British identity (Britishness). The author assumes that James Bond is a great example of Englishness that serves as a complex manifestation of a British hero which may, in turn, play a crucial role in political, civic, and patriotic education.

4

Fifty Years After, czyli kilka refleksji o dzisiejszej kulturze młodzieżowej

87%

Jakubowski W.

Studia Edukacyjne

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2017

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issue 46

113-123

EN

The article discusses the problem of recent changes in so-called “teenage culture”. Theoretical bases of the cultural anthropologic conception were provided by Margaret Mead. According to the author, “teenage culture” is different in each type of Mead’s culture types. Insignificant in the post-figurativstage, “teenage culture” is definitelydistinct in configurativetype in terms of separate aesthetics. This is exemplifiedby teenage subcultures, whose members contest dominant culture patterns (associated with adults). The main question concerns the role of “teenage culture” in the pre-figurativeculture – the modern world. Is the difference between the adults’ and young people’s perspectives evident in “teenage culture”? Moreover, is there a real “teenage culture” nowadays?

5

Religious symbolism and contemporary culture. The case of Europe

85%

Sztajer S.

Przegląd Religioznawczy

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2018

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issue 1/267

PL

The aim of this paper is to analyze the ways in which religious symbols are present in non-religious spheres of contemporary European culture. It is widely known that, as a result of secularization, religious symbolic language is no longer present in the public sphere and culture of contemporary European societies in the same way as it was in the past. At first sight, it seems that it has lost its relevance for other fields of culture as well as for everyday communication, and that religion has become a relatively closed system of communication. However, more thorough investigation shows that various religious symbols are widely used in many fields of secular culture. The fundamental question concerning religious symbols is whether and, if yes, in what particular way, they change their meaning as a result of being used in non-religious cultural activity. What is the reason that previously marginalized religious symbols reappear in secular culture? It may be hypothesized that religious symbols are not culturally contingent, but they constitute a universal dimension of culture and are deeply rooted in the human mind.

6

Performing Identities and Negotiating Memory in Contested Spaces: Ukrainian Folk Songs in Contemporary Russian War Films

80%

Harris A. M.

Studia Ethnologica Pragensia

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2023

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issue 1

52-68

EN

Every year leading up to Victory Day on 9 May, Russian screens, large and small, show feature films, documentaries, and miniseries about the Second World War. These films have helped unify Russian citizenry and develop patriotism. The year 2015 proved to be notable for war cinematography: three feature films and one twelve-part miniseries premiered in honour of the 70th anniversary of the Soviet victory over Nazi Germany. While all of these cinematic releases retell or engage with wellknown narratives, these remakes reflect tensions surrounding the conflict that erupted in Ukraine following years of increasing strained relations with Russia. ‘Performing Identities and Negotiating Memory in Contested Spaces: Ukrainian Folk Songs in Contemporary Russian War Films’ analyses the incorporation a Ukrainian folksongs into Sergei Mokritskii’s feature film Battle for Sevastopol and Leonid Pliaskin’s twelve-part miniseries, The Young Guard. In every cinematized version of The Young Guard, music has played a significant role. The author asks how directors use these songs to respond to the annexation of Crimea and conflict that erupted in the Donbas in 2014 as the films take place in these two regions. Contextualizing her analysis in scholarship related to collective memory, nationality, nostalgia, and intertextuality, she argues that the directors use the films to take two different approaches: symbolically reuniting the Soviet Union in film one and appropriating a Ukrainian song to underscore suffering caused by Ukrainian and German ‘fascists’ in the other.

7

Homo Consultans Amidst Pop-Culture

80%

Kargulowa A.

Kultura i Edukacja

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2017

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issue 2(116)

9-29

EN

The article aims to portray changes in provision and reception of contemporary counselling, which finds itself under a strong impact of popular culture. The pop culture is described as a phenomenon intimately related and saturating social life, scientific research and daily life of modern people. In postmodern mediatized reality, deeply immersed in popular culture, the guidance is sought by a Homo consultans-a reflexive individual that experiences uncertainty/helplessness and establishes an interpersonal relationship (dialogue) with another human being-a counsellor-with a view to solving his/her problems. Seeking guidance and attempting to use the counsellor’s help to understand oneself, others and the world, the counselee actually strives after sustainable personal development and decent life. Homo consultans-is simultaneously the active seeker of a guidance and the passive object of the attack of guidance practices.

8

Polski kabaret – tradycja i współczesność

80%

Fox D.

Postscriptum Polonistyczne

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2011

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issue 2(8)

123-141

EN

Polish cabaret, while being inspired by European ancestors, has been evolving over years. It served many purposes, searched for new means of expression. The article presents signifi-cant stages of its evolution, which serves as the main context for describing the expansion of contemporary types of cabaret that have been developed under the influence of new media and culture that concentrates on entertainment. Rich cabaret life and significant pres-ence of cabaret programs on TV provokes question concerning the identity of cabaret. An answer to such question enables understanding the reasons of its attractiveness and its presence in different means of popular culture.

9

Układy, znajomości, „haki” Paranoja spiskowa w polskim kinie współczesnym

80%

Durys E.

Studia Etnologiczne i Antropologiczne

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2016

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vol. 16

44-54

EN

The Polish national cinema is famous for its critical approach towards the government and official authorities and implicit references to the current social and political situation. The Polish Film School, The Cinema of Moral Concern or the works of such great auteurs as Andrzej Wajda or Krzysztof Kieślowski (esp. in his early work) bear that mark and must be analyzed in the context of politics. With the exception of historical movies, after 1989 Polish filmmakers openly distanced themselves from politics. The few exceptions that were released employ genre formulas to express political views. In my article I would like to focus on the usage of conspiracy paranoid cinema in Entanglement (2011), Traffic Department (2013), Closed Circuit (2013), and Secret Wars (2014). A brief history of paranoid conspiracy thinking in Poland precedes the analysis of the aforementioned movies. I also address the question to what extent the genre formulas shaped the world vision and ideology that inform those productions.

10

PRZYCZYNY POPULARNOŚCI RELIGIJNYCH EVENTÓW W PERSPEKTYWIE TEORII POTRZEB LUDZKICH ABRAHAMA MASLOWA

80%

Zduniak A.

Colloquium Wydziału Nauk Humanistycznych i Społecznych AMW

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2015

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issue 3

251-267

EN

The main purpose of this article is to explain the popularity of mass religious events through the analysis of their impact on the different categories of human needs. Events are a kind of bridge between the traditional religious culture and the modern popular culture. Their popularity also stems from the fact that they can meet important needs of the individual more comprehensive than conventional forms of religiosity, which focus primarily on higher level needs. The author justifies her thesis on the basis of Maslow’s need hierarchy theory and shows how religious events can enhance and renew the traditional forms of religiosity.

11

Rock narratives as space for co(being) The research report

80%

Adamska-Staroń M.

Podstawy Edukacji

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2020

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vol. 13

129-145

EN

The paper fits into the area of research over educational contexts of popular culture, which is a voice in a discussion focused on possible ways of “using” rock lyrics in formal education, on critical education through rock narratives, on a category of co(being). This paper is intended to familiarize with research on educational contexts brought by rock narratives also about involving a Recipient in the discussion on the presented issues.

12

Dosezi i granice simboličkog otpora. „Proza u trapericama” u kontekstu jugoslavenskog socijalizma

80%

Kolanović M.

Poznańskie Studia Slawistyczne

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2014

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issue 6

EN

The main thesis of the paper implies the historically changeable characteristics of symbolical resistance in the texts of „jeans prose” (Flaker). Using jeans as a symbol of global popular culture, freedom, casualness, the American lifestyle, resistance to forms, rules, and high culture etc., jeans prose had its specific life in Yugoslav socialism which dynamically changed during the last three decades of socialist Yugoslavia. In the early sixties it was a symbolic place of critique of dominant socialist ideology and in later period, in a more commercial orientated Yugoslav society when jeans as commodity became a part of everyday life, jeans prose lost its primal rebel energy and malted into the culutral mainstream.

13

Film jako kulturowa przestrzeń edukacji nieformalnej

80%

Pilawska R.

Studia Edukacyjne

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2021

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issue 61

207-228

EN

The article attempts to theoretically and methodologically capture the potential and possibilities of films within informal education. The author begins by reflecting on the importance of popular culture in the process of shaping the identity of the individual and then proceeds to determine the contemporary role of informal education and the importance of film as an educational medium (in reference to the previously applicable communication model and cognitive theory). In the further part of the article, in order to determine the current discourse, the author tries to present in an orderly manner both well-known and newer concepts in the field of film (originating from various fields of science). As a summary, the author refers to contemporary trends that seem to be followed by the latest research and practical activities related to film education.

14

Seniorka w świecie mass mediów. Uczestnictwo kobiet starszych w kulturze popularnej na przykładzie Częstochowy

80%

Szwed M., Akademia im. Jana Długosza w Częstochowie I. N. P.

Acta Universitatis Lodziensis. Folia Oeconomica

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2013

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vol. 291

EN

The concept and assumptions of this paper arise from theoretical and empirical statements which regard activity as a factor having impact on psycho-physical fitness of an elderly person and their satisfaction with life. An elderly person’s activity can manifest itself in different forms and in different fields. The paper is focused on cultural activity because it is one of important types of human activity which, pursued in free time, brightens life up and makes it more attractive. The writer’s attention in the paper is concentrated on presentation of senior women’s contacts with popular culture. On the basis of the author’s own research the role of mass media in the life of senior women has been presented. Frequency of and reasons for watching television, listening to the radio, reading newspapers and magazines as well as connecting to and using the Internet have been discussed. The research has shown that contacts with different forms of popular culture have a beneficial influence of the life of elderly women. Television was the most willingly and most frequently selected form. It also has to be emphasized that despite the growing familiarity with computers and the Internet, still a significant proportion of senior women does not use tchem.

15

U źródeł sporu o wartości edukacyjne muzyki popularnej

80%

Michalak M.

Colloquium Wydziału Nauk Humanistycznych i Społecznych AMW

|

2014

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issue 1

89-112

EN

The aim of the article is to present theoretical sources of the dispute concerning the educational values of popular music that has been going on since the sixties of the 20th century in the sphere of American as well as European pedagogy. Despite the essential role that popular musical genres such as rock, hip-hop and techno, have played (and have been still playing) in the process of shaping the cultural identity of many generations of youth, they have long been pushed outside school premises, or, at best, they have been placed on the margin of educational influences. The reasons for that were partially embedded in the exclusively aesthetic look on the part of pedagogues at popular pieces, deprived of references to their wider functions which they fulfill in the sphere of recipients` everyday lives. The author does not present the course of the very dispute. While outlining the main stands (aesthetic and sociocultural ones), he seeks roots of the mutually clashing convictions from philosophical, aesthetic, anthropological, sociological and psychosocial perspectives of the mass/popular culture which have been providing arguments for and against the presence of the up-to-date youth music in school curricula. The somewhat superficial (on account of the complexity of problematic aspects) overview of theories and outlooks, on the basis of which the controversy about educational values of popular music originated, opens up new areas of pedagogical activities, addressing various aspects of the contemporary complex and multidimensional culture.

16

Can Islam be Cool? Emerging Islamic Consumer Culture

80%

Górak-Sosnowska K.

Warsaw Forum of Economic Sociology

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2012

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vol. 3

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issue 6

93-109

EN

In the paper the author challenges the stereotypical image of Islamic culture as being repressive and hostile to consumerism. Using variety of examples, the author describes the multifold process of consumer culture formation in the Islamic world. Modern Islamic consumer culture is not homogenous. On the one hand, it is shaped by pressures of aggressively marketed global popular culture of Western provenance and reactions (often escalating into resistance) to that influence by the recipients, but on the other, it is deeply embedded in the traditional values of the local communities.

17

Kleopatra VII we współczesnej kulturze popularnej: przekaz źródeł czy stereotyp postrzegania Egiptu?

80%

Kulpa K.

Studia Europaea Gnesnensia

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2010

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issue 1-2

163-181

PL

For more than two thousand years Cleopatra has been an inspiration of artists. At the turn of the 20th and 21st century she became one of the icons of our (European) perception of Egypt. She is certainly better known than the builders of pyramids or Ramesses the Great, and she is remembered better than the names of ancient rulers. One may even venture to claim that although little is known, she is a familiar, not to say clichéd figure. One needs to consider what hides behind the representations of Cleopatra we encounter everyday in various aspects of popular culture-advertising, products of daily use, television. In my opinion, we only perceive the picture contrived by Octavian and the writers devoted to him-a femme fatale of the antiquity, an ambitious and ruthless temptress. Horace, Propertius, Florus and Pliny conveyed in their works an image of Cleopatra which met Octavian Augustus’ expectations: of a woman defeated in the eyes of the victor. A cursory read of their works in the 18th century, in the wake of renewed interest in antiquity following the discovery of Pompeii and Herculanum, led to uncritical repetition of Cleopatra’s depiction-first, in the historiography, and then in popular culture. Stereotypes concerning Egypt developed, reinforced by the descriptions of travelers. In the light of the latter, the country appears a quintessence of the Orient, with all its riches and delights. The figure of the last queen of ancient Egypt suited such notion perfectly. The most interesting issue is that today, when through archeological and historical research Cleopatra’s life became known in greater detail, the popular culture, advertising and cinematography in particular, keeps on perpetuating the stereotypical representation of this extraordinary woman. I incline towards the views of M. Krajewski, who claims that popular culture has become a lens sifting reality, and in striving to become an integral element of reality, it selects whatever is helpful (discarding the rest). The answer to the question of whether the image of Cleopatra originates from sources or stems from our stereotypes of Egypt, is, I think, a complex one. It was precisely the superficial reading of sources rediscovered, as it were, in the 18th century, that brought forth the stereotypes, whose reverberations in popular culture of the 20th and the 21st century created a specific picture of the last Egyptian queen. The “present–day” picture of Cleopatra is in a way a remote echo of Augustian propaganda, whose charm still holds sway over us. I wished to demonstrate this dependence by showing various aspects of popular culture, from press to cosmetics. Popular culture adopted those features of Cleopatra that help sell merchandise-youth, amorous intrigue, alleged beauty and murder. We cannot escape the influence she exerts on us and our lives, yet what lies beneath the facade of a pretty face with a ureus-adorned temples deserves consideration. In the case of Cleopatra VII it is a fascinating history of life and death of one of the most influential women of her times.

18

The Stratifying and Socializing Role of Popular Culture in Shaping the Identity of Young Generation

80%

Piechaczek-Ogierman G.

Kultura i Edukacja

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2018

|

issue 2(120)

192-202

EN

Popular culture creates trends, shapes the world view, is a source of inspiration and identification of the young. The research results presented in this study show that youth in the final stage of adolescence judge the reality in a critical way. A significant number of the examined learners implement the model of identity shaped in the ‘down top’ direction. They reject media authorities and aim at creating their own concept of themselves. At the same time, a large percentage of the respondents respect media models associated with appearance and the consumerist lifestyle.

19

Dziesięć opowieści na czas przepływającej kultury popularnej (która nie jest kulturą masową)

80%

Bruszewska D.

Media – Kultura – Komunikacja Społeczna

|

2013

|

issue 9

241-246

20

More than just Iron Man: A Brief History of Comic Books and Graphic Novels

80%

Karczewski K.

Crossroads. A Journal of English Studies

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2013

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issue 3

47-51

EN

Comic books and graphic novels are a significant part of today’s culture. Popularity of blockbuster movies about superheroes such as "Iron Man" or "The Dark Knight" clearly indicates that stories created for the comic medium can captivate large audiences. Unfortunately, such stories are often considered to be lacking in substance and are often perceived as a very simple form of entertainment. The aim of this article is to briefly show how comic books and graphic novels developed throughout history. While observing how this form evolved, it is much easier to notice that this medium can actually be used to tackle serious subject matter and, contrary to popular belief, even superhero stories can have a significant level of depth.

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