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Teoria w praktyce czy praktyka w teorii? O metodologicznych aspektach badań nad marketingiem politycznym

100%
Jeziński M.
Studia Politologiczne
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2012
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vol. 24
21-36
EN
discussed. The problems stem from both the variety of forms used by the political parties and candidates and the approach to the research question. Such diversity embraces definitions of the research field, its functions, and the social reception of political activity. They show the heterogeneity of the discussed phenomenon and diversity of interpretation of marketing activity in politics, which refers also to the methodological issues. Political marketing is a peculiar form of political communication, manifested mainly during the electoral campaign. Communication scheme, including sender – receiver model, is diversified because of the multiplicity of the roles performed by people in the process of communication.
2
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Idole – buntownicy – artyści. O rytualności i rolach artystycznych w muzyce rockowej

100%
Jeziński M.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
|
2021
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vol. 114
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issue 2
103-119
EN
This article discusses the rituality of rock music and stage images adopted by rock artists as an element of the anthropology of popular culture. Rituality in this music genre emerges at the interface between a performer and the audience, and is manifested through image strategies adopted by artists as an essential aspect of their offer in the music market. This issue proved to be particularly evident in the last decades of the 20th century, when rock became a dominant genre in popular music: the marketing offer aimed at young people was frequently accompanied by social and aesthetic values, allowing audiences to perceive this music as a manifestation of ideas typical of the young generation, placed in opposition to older generations. Rock ethos is often a culture of rebellion where an individual – in this case a rock idol – rises above mediocrity. The mythology of popular music has created several artistic images of which the roles of ‘a rebel’, ‘a sensitive artist’, and ‘an attitude advocate/ideologue’ are the most significant for rock musicians’ activities and their ritualisation. The rituals accompanying rock music perform numerous functions such as the expression of artistic values, the aesthetic function, communication, group integration, identification, and finally, the satisfaction of the need to be part of a group.
3
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Muzyka popularna jako forma pamięci kulturowej

100%
Jeziński M.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2017
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vol. 96
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issue 3
14-25
EN
The paper focuses on popular music as a particular kind of cultural memory. Music, as a form of cultural activity, is perceived as an vital element of everyday life which represents cultural practices that reproduces social ways of life, the understanding of the world disposed by people, and is imposes certain meanings upon daily activities. It also refers to the past as a special context which people tend to evoke frequently. Therefore, I discuss music as a special kind of memory site that highly influences the meanings individuals used to attach to their past experiences. Music, as cultural memory, is presented as a reflection about contemporary tendencies prevailing in society, that is, music is treated as a mirror in which society reflects itself. Music styles, the production of sounds, music or songs and artists popular at particular span of time are the indicators by which one can “read” broader contexts in relation to social changes occurring in societies. This phenomenon was epitomized by “rock music boom” that emerged in the first half of the 80. in Poland. More importantly, songs, artists, bands, music festivals, charts, and fandoms were interwoven with political events that took place in the country. It is argued that deep economic crisis, political struggles against the socialist authority, and the martial law were constantly orchestrated by Polish songs which were popular at that time. These songs and bands are still remembered and respected as the important part of Polish popular culture of the era, defining that particular sphere.
4
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Marketing through a Political Glass. Polish Experiences

100%
Jeziński M.
Polish Political Science Yearbook
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2007
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vol. 36
198-214
EN
In this paper, the issues concerning the relationship between political marketing and commercial marketing are presented. The main concern of the study is the usage of the commercial economic marketing categories in the political domain. As a result, phenomena coming from the economic field as market; a customer, profit, product brand, or advertising are presented as the elements of the marketing techniques employed in the public game played in the specific market of politics.
5
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W pogoni za nostalgicznym mitem rockowego boomu. Festiwal Muzyków Rockowych w Jarocinie jako miejsce pamięci

100%
Jeziński M.
Athenaeum. Polskie Studia Politologiczne
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2018
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vol. 57
124-140
EN
In the paper the boom of Polish rock music of the 1980s is interpreted as a sphere of nostalgic mythology, and the phenomenon of the “Jarocin generation” and the Rock Musicians’ Festival in Jarocin is considered the realm of memory (lieux de mémoire, according to the definition of Pierre Nora) of political nature. The Jarocin Festival (from the first half of the 1980s) can now be seen as a kind of presence of the past in today’s activities, aimed at the presentation and reproduction of several values important for the Polish society. Such a realm of memory consists of Jarocin rituals, a community created by musicians and the audience of the Festival, events, people and places related to Jarocin. More importantly, the Festival has become a formative experience for the generation of young people, interacting in a grouping fashion for many (mostly subcultural) communities, and simultaneously, it has become one of the important factors leading to the erosion of the non-democratic political system in Poland.
PL
W artykule boom polskiego rocka lat 80. XX wieku interpretuję jako sferę nostalgicznej mitologii, a zjawisko „pokolenia Jarocina” i Festiwal Muzyków Rockowych w Jarocinie traktuję jako miejsca pamięci (lieux de memoire, zgodnie z definicją Pierre’a Nory) o naturze politycznej. Festiwal w Jarocinie (z okresu z pierwszej połowy lat 80.) rozpatrywać obecnie można jako swoistą formę obecności przeszłości w działaniach podejmowanych współcześnie, mających na celu uobecnienie i reprodukcję ważkich dla społeczeństwa polskiego wartości. Za istotne dla tak rozumianego miejsca pamięci uznać należy jarocińskie rytuały, wspólnotę tworzoną przez muzyków i publiczność Festiwalu, wydarzenia, ludzi i miejsca, które wiążą się z Jarocinem. Co istotne, Festiwal stał się doświadczeniem formacyjnym dla generacji młodych ludzi, artyoddziałującym w sposób grupotwórczy dla wielu środowisk (przede wszystkim subkulturowych) i jednocześnie okazał się jednym z istotnych czynników prowadzących do erozji niedemokratycz nego systemu politycznego w Polsce.
6
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A book review of Duchologia polska. Rzeczy i ludzie w latach transformacji by Olga Drenda

100%
Jeziński M.
Avant
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2017
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vol. 8
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issue 2
EN
The book by Olga Drenda Duchologia polska. Rzeczy i ludzie w latach transformacji, whose title can be rendered in English as Polish Hauntology: Things and People in the Transformation Period, is a kind of anthropological travel in time: to the past that is not too distant, that is still remembered, and still visible in Polish streets. The work covers the “haunted time” between 1987 and 1994, when Polish society underwent significant social, cultural, economic and political changes, joining liberal democracies and liberal free market economies. Drenda depicts several phases of the transition, related to the ineffectiveness of the socialist system, political changes towards democracy (with the Round Table Agreements and semi-free elections of 1989 as the landmarks of this process), and the gradual adaptation to a new social system.
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Sejsmologia mitologiczna jako metoda badań kultury materialnej / Mythological seismology as a research method applied to material culture

100%
Jeziński M.
Annales Universitatis Mariae Curie-Skłodowska, sectio K – Politologia
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2012
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vol. 19
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issue 1
115-131
PL
Podstawowym celem artykułu jest wskazanie założeń sejsmologii mitologicznej jako techniki badawczej używanej w paradygmacie studiów kulturowych. Zakłada ona rekonstruowanie i interpretowanie przez badacza tropów kulturowych zawartych w tekstach generowanych w danym momencie historycznym określonego społeczeństwa. Najistotniejszym aspektem w kontekście tego podejścia jest badanie mitów typowych dla danego społeczeństwa - kreowanych, podtrzymywanych, reprodukowanych i funkcjonujących społecznie, a widzialnych w sektorach społecznym, ekonomicznym, politycznym, czy kulturowym. Mają one zasadniczy wpływ przede wszystkim na życie codzienne danej społeczności i wyrażają się w rutynowych nawykowych działaniach. W perspektywie przedstawionej w niniejszym studium akcent badania położony jest kategorie takie jak „tekst”, „mit”, „mitologia”, „tkanka mitologiczna”. Oddziałują one w substancjalny sposób na wzorce i normy każdej grupy ludzkiej i determinują myślenie o rzeczywistości.
8
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Janusz Skoczylas, Marek Żyromski, Symbolika kamienia jako element procesu legitymizacji władzy w cywilizacji europejskiej, Wyd. Naukowe UAM, Poznań, 2005, ss. 178

100%
Jeziński M.
Athenaeum. Polskie Studia Politologiczne
|
2007
|
vol. 17
241-243
9
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O wybranych aspektach politycznego oblicza muzyki popularnej

100%
Jeziński M.
Studia Politologiczne
|
2018
|
vol. 50
202-216
EN
The article analyses the use of popular culture in political contexts, as a means of expressing and managing conflictual views in the public discourse. Music as a type of art is a way in which public actors mark their presence in the public space, and in which they articulate the interests of a given group in relation to other groups, while social inequalities translate into artistic activities. From this perspective, popular music may be then seen as a manner of expressing subjective needs in the social struggle for recognition. An example of a political attitude manifested by musicians discussed in the article are the musical representations connected with the Polish ‘black protest’ and with the issue of women being excluded from public discourse, presented in selected songs by the Polish bands. The issue of abortion became a starting point for criticising the Polish government and the culture that accepts unequal treatment of women in public and private space. The discussed artists who recorded songs referring to this issue are stylistically varied: El Banda, Girls on Fire and Żelazne Waginy.
10
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Badanie ankietowe jako element ewaluacji jakości kształcenia na uczelniach wyższych

100%
Jeziński M.
Kultura i Edukacja
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2016
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issue 3(113)
213-227
EN
The paper concerns on advantages and disadvantages of survey researches used as tools in the process of evaluation of education quality in contemporary Poland. Education quality is usually surveyed by using questionnaires accessible in electronic internet form as a part of the USOS system. It is implied that survey, as a research method, is an effective means applicable to measure opinions, attitudes and expectations of the students. Moreover, the internet form of survey takes the most of advantages of the traditional forms of research, which makes it an efficient tool in the process of evaluation in the higher education. This way of research prevail at Polish universities.
11
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Nostalgia za dawnymi laty. Przypadek muzyki popularnej

100%
Jeziński M.
Kultura i Edukacja
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2014
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issue 3(103)
248-262
EN
The category of nostalgia is the element of artistic message frequently used in popular music, which influences the reception of a particular song. In their activity musicians refer to the musical past by employing cultural references and utilise fashions present in a certain environment for their own benefit. This category is present in lyrics and music, in the stage shows (performing live, festivals, TV shows) and promotional activities (interviews, promotional video clips for the songs). Such referring to tradition became a constant element of artistic communication, anchoring the music in the past and taking into account the cultural specificities. Definitional capturing of nostalgia is not entirely possible: research into this category require approaches which take into account the aspects of context important for decoding the cultural content. Interpretive tools used by semiology or cultural studies allow to depict the elements included in the form and content of music and lyrics. They indicate the presence of nostalgia as a category determining the reception of artistic work.
12
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A book review of Duchologia polska. Rzeczy i ludzie w latach transformacji by Olga Drenda

100%
Jeziński M.
Avant
|
2017
|
vol. 8
|
issue 2
EN
The book by Olga Drenda Duchologia polska. Rzeczy i ludzie w latach transformacji, whose title can be rendered in English as Polish Hauntology: Things and People in the Transformation Period, is a kind of anthropological travel in time: to the past that is not too distant, that is still remembered, and still visible in Polish streets. The work covers the “haunted time” between 1987 and 1994, when Polish society underwent significant social, cultural, economic and political changes, joining liberal democracies and liberal free market economies. Drenda depicts several phases of the transition, related to the ineffectiveness of the socialist system, political changes towards democracy (with the Round Table Agreements and semi-free elections of 1989 as the landmarks of this process), and the gradual adaptation to a new social system.
13
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„Jestem sobie przedszkolaczek, nie grymaszę i nie płaczę” – pasowanie na przedszkolaka jako rytuał przejścia

100%
Jeziński M.
Kultura i Edukacja
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2013
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issue 1(94)
82-100
EN
Anthropological concept of rites the passage in the sphere of pre-school education was applied in the paper. In the case of the ritual of appointing as preschool child one faces specific ritual as regards the place in which it takes place (kindergarten institution) and persons to which it is applied (children at the age of 3 and 4). The aim of a ceremony is socialization of an individual and integration with a group in the first place. Rites of passage share with the analyzed preschool ritual such features as rigid role scheme, structure of a ceremony of ritual actions, functions of a ritual, and the fact that by this ritual integration and cohesion of a group is maintained and the children’s bound with kindergarten workers is augmented. Although the ceremony of appointing as preschool child does not change the status of an individual, it performs important role related to role playing, international functions and the functions set on auto-identification of a child (that stem from group activity). Moreover, by the ceremony the youngest children can show their parents that they learn new abilities, partly different than the ones they experience at their homes. Methodological approach used in the study can be labeled as participant secret observation, close to the “participant-as-observer” category. The ceremony was observed in one of kindergartens in Toruń, in 26 children group, labeled as “Ladybirds”. Field observation was completed, firstly, by the photographic documentation (done during the ritual), secondly, by the ritual scenario (written by the kindergarten teachers), and thirdly, by the interview with the tutor of the observed group of children.
14
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Mitologia artystyczna na kontrkulturowych ścieżkach: Roy Harper

100%
Jeziński M.
Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes
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2017
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vol. 15
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issue 2
PL
W artykule niniejszym przedstawiam polityczny wymiar muzyki popularnej w kontekście działań mitologizacji własnej twórczości przejawianych przez politycznie i społecznie zaangażowanych wykonawców z kręgu miejskiego folku i rocka, na przykładzie brytyjskiego artysty Roy’a HarperaArtistic Mythology on Counterculture Paths: Roy HarperSUMMARYThe article presents the political dimension of popular music in the context of actions meant to mythologize their own musical works by politically and socially engaged urban folk and rock performers, as exemplified by a British artist Roy Harper. The case of this performer shows that artistic mythology can be gradually constructed strictly according to the patterns taken from mythical narratives that function in all cultures in the world. It serves the specifically understood process of mythologizing the activities of an artist and the personality created by the performer. Harper’s biography is a contemporary version of the heroic myth transmitted to the public through the mass media and complemented with themes originating from folkloristic stories such as the magic fairy story. A myth like that is a certain pivot around which a mythological narrative is developed, consisting of diverse elements essential to a specific artist.
15
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Autorska audycja radiowa jako forma rytuału

100%
Jeziński M.
Athenaeum. Polskie Studia Politologiczne
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2017
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vol. 53
139-153
EN
The objective of the paper is the interpretation of an author’s radio broadcast in the anthropological context of ritual. I imply that radio broadcast, especially led by a charismatic journalist enjoying the authority status, can be presented as a special kind of media ritual. Its structure and course bear the features of ritual activity, determined by the specific character of the medium in which such a ritual is held. The ritual activity runs in the context of the mass media and is characterized by multi-code features and multitude of parameters, which stem from the fact that in the process of communication the contextual meanings are generated between the journalists and the radio listeners. The category of media ritual will be illustrated in the text by the examples of the selected author’s broadcasts led by Piotr Kaczkowski and Marek Niedźwiecki held in the Programme Three of the Polish Radio in the Eighties of the 20th century.
PL
Celem artykułu jest interpretacja radiowej audycji autorskiej w antropologicznych kategoriach rytuału. Zakładam, że audycja radiowa, zwłaszcza prowadzona przez charyzmatycznego i obdarzonego autorytetem dziennikarza, jest swoistym rytuałem medialnym. Jego struktura i przebieg noszą znamiona działania rytualnego, determinowanego przez specyfikę medium, w jakim do rytuału dochodzi. Działanie rytualne przebiega w kontekście mediów masowych i charakteryzuje się wielokodowością i wielością parametrów, co wynika z faktu, że w procesie komunikacji tworzone są kontekstowe znaczenia na linii radiowi dziennikarze–słuchacze. Kategoria rytuału medialnego zostanie w tekście zilustrowana przykładami z audycji autorskich prowadzonych w Programie Trzecim Polskiego Radia przez Piotra Kaczkowskiego i Marka Niedźwieckiego w latach 80. XX wieku.
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Narcyzm hipsterski

63%
Jeziński M., Wojtkowski Ł.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
|
2020
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vol. 108
|
issue 1
29-42
EN
This article discusses the topic of narcissism on hipster visual blogs where the identity constructed by their authors has a narcissistic dimension defined primarily by the medium they use: photos, texts, short videos and sounds, whereby the former prevail. People who publish such blogs have created a specific code and manner in which they present their real identity by means of visual representations which they borrow from other members of this post-subculture. It is a result of a tendency to disguise oneself by using certain methods of self-presentation. They include self-defining photos of modern hipsters, which however are out of focus or accordingly filtered, show selected cultural practices from a distance or only parts of the body and clothing, a set of gadgets and environments recognised as hipster. As such they reveal conformist inclinations that are in line with the reference group and what is expected from it. This means that cultural practices that create the identity of a digital hipster are associated with generating a symbolic universe of meanings, where nostalgia, symbolism, iconography of selected elements of life are among frequently posted motives (cups of coffee, a bicycle, a collection of vinyl records, hipster clothes, specific urban spaces, nature, etc.). This kind of narcissism is about looking at one’s own reflection; however, not so much in the mirror as in symbolic visual representations characteristic of the entire digital hipster culture. Using netnography and based on their content analysis of 48 blogs, the authors argue that the development of one’s hipster narcissistic identity is part of a media practice that revolves around building the ‘self’ by referring to cultural codes shared by members of the hipster post-subculture (‘I’ and ‘us’). As a result, the hipster narcissism studied here seems to take the form and cultural identity of bricolage, and as such is subject to commodification.
17
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Hipsterzy jako post-wspólnota cyfrowa. Uwagi o post-subkulturowym internetowym folklorze

63%
Jeziński M., Wojtkowski Ł.
Przegląd Kulturoznawczy
|
2017
|
issue 2 (32)
176-190
EN
The field of theoretical analysis presented in the paper is the hipster digital culture and its visual representations. We perceive hipsters’ digital formation as post-subculture and post-community that shapes specific cultural patterns with fragmented identity, inconstant group membership or high cultural mobility. Yet they form stabile connections with other members of post-community with strong emphasis on the common meaning of codes they use and circulate in visual communication. Moreover, we argue that hipsterism operates on two levels: (1) communicative acts of hipsters that are apparent ‘visual reflections’ of their desirable lifestyles. In other words, participants of digital post-community operate with codes created by other members, but relatively more often taken from dominant culture, and incorporated into hipster-like set of meanings; (2) hipsters and their visual representations are strongly mediatized even though there is no media mechanism of legitimization of this digital post-community, therefore the media are not able to seize a dynamic of codes’ circulation within culture.
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