Search results

1

In Vino Veritas/Communitas/Civilitas? O Cywilizującej Towarzyskości Konsumpcji Wina / In Vino Veritas/Communitas/Civilitas? On the Civilising Sociability of Wine Consumption

100%

Wyborski P.

Kultura i Społeczeństwo

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2012

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vol. 56

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issue 4

121-147

EN

The article refers to selected elements of the sociology of Georg Simmel. It accords in general with his theory in regards to the structure of social relations, and deals in particular with the idea of sociability and the meal. The author assumes that a collective embibing of wine is a specific form of culinary consumption constituting an area for manifesting sociability. Basing himself on interviews with wine consumers, the author’s aim is to reveal the manifestations of sociability during the common consumption of this drink and to indicate the elements determining the shape and order of the social interaction: for instance, common standards of taste. As the character of such an interaction is determined by the consumption of wine, which not only imposes a certain thematic framework, but also requires the participants’ mutual adaptation, the social value of drinking can be treated as one aspect of the possible civilising effects of wine.

2

Antonio Rafele, La Métropole. Benjamin et Simmel. (Metropolia. Benjamin i Simmel ). Wstęp Michel Mafessoli. Paris: CNRS Editions, 2010

100%

Walczak-Delanois D.

Rocznik Komparatystyczny

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2012

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vol. 3

p. 289-298

EN

Antonio Rafele, the author of the book presented here, contemplates the literature of a big city, as Georg Simmel and Walter Benjamin did before him. This book, published by CNRS (Centre national de la recherché scientifique) in France, is an attempt at a philosophical-literary essay; it is addressed to the world of academia, although the text is situated between an academic and a literary world. The two main parts are simply entitled LA METROPOLE. Simmel and LA PHOTOGRAPHIE. Benjamin. The richness and elegance of language, the depth of thought and the eclectic allusions are as surprising as are the ascetic form and the (occasional) laconic assertions. Rafele easily refers to global and universal Simmel’s perspective as well as to the detailed and individual Benjamin’s views. The center of attention is photography, the first medium of that new revolutionary world of media which would later utilize the television and the Internet. However, what interests Rafele in his reading of Benjamin is that photography, for the first time since the Renaissance, introduced new interpretation of the past. The author does not attempt to apply his considerations about the works of Simmel and of Benjamin to the contemporary, the futuristic, the avant-garde or the archaic model of the city. No other city except for Paris appears.

3

Simmlowska koncepcja mody a ubiór współczesnych seniorek i seniorów. Podejście badawcze

89%

Kramkowska E.

Kultura i Społeczeństwo

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2020

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vol. 64

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issue 4

153-180

PL

The purpose of this article is to draw attention to the undiscussed and yet very interesting issue of fashion and the clothing of senior citizens. The issue is analyzed here in relation to Georg Simmel’s concept of fashion and specifically his idea of imitation and distinctiveness inscribed in the fashion system. Simmel seems to indicate that the social order determined by fashion is more often respected by women than by men. Therefore, the issue of fashion and clothing is discussed in relation to the gender of the individual. Age is also important. In her own research among people aged 60 and over (a diagnostic survey and interviews), the author of the article sought answers to the following questions: what do seniors think about the clothing of today’s older people? Do they think they dress fashionably – in the sense of following the spirit of modern times, which promotes youth? What determines the way seniors dress in contemporary Poland? The respondents were aware of a change in how seniors dress today and view the change positively. The fashion behavior of seniors is more often approved by women than by men and by younger seniors rather than older ones.

4

Myśl ponad granicami: interdyscyplinarność i innowacyjność twórczości Georga Simmla

89%

Brzeziński D.

Stan Rzeczy

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2019

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issue 1(16) Intelektualiści totalni

287-304

PL

Georg Simmel jest znakomitym przykładem „intelektualisty totalnego”, to jest – zgodnie z rozumieniem Pierre’a Bourdieu – myśliciela swobodnie przekraczającego granice między dziedzinami i dyscyplinami nauki czy też dokonującego transferu wiedzy między różnymi polami twórczej aktywności. Autor "Filozofii pieniądza" swobodnie łączył socjologię, filozofię, ekonomię, naukę o sztuce, refleksje natury literaturoznawczej etc. Pozwalało mu to na dokonywanie wielu wyjątkowo innowacyjnych rozpoznań – w tym na zainicjowanie nowych ścieżek myślowych – ale też spotkało się z krytyką ze strony mu współczesnych. Pozostawanie „ponad granicami” dotyczyło nie tylko sposobu, w jaki prowadził swoje analizy, ale także języka, za pomocą którego je przedstawiał. Ulubioną formą wypowiedzi Simmla był esej, w którym stosował środki retoryczne właściwe językowi literackiemu. Tak sam charakter jego refleksji, jak i wyjątkowo innowacyjny sposób, w jaki je przedstawiał, przyczyniły się do tego, że do dziś pozostaje on intelektualistą, na którego twórczość powołują się przedstawiciele bardzo różnych dyscyplin społecznych i humanistycznych. W artykule zgłębiam ów fenomen, koncentrując się zarówno na samej myśli Simmla, jak i współczesnych sposobach jej odczytania.

EN

Georg Simmel is an excellent example of a “total intellectual”, in other words, according to Pierre Bourdieu, a thinker who crosses the boundaries between disciplines and fields of scholarship, or who transfers knowledge between various fields of activity. Simmel freely combined sociology, philosophy, economics, fine art studies, literary studies, and so forth. On the one hand, this attitude lay the foundation for his exceptionally innovative analyses and led to the establishment of new paths of thought. On the other hand, it was met with strong criticism from contemporary intellectuals. Simmel thought “beyond borders” not only in conducting his analyses but also in choosing the language in which to present them. His preferred form of expression was an essay in which he would use many rhetorical devices specific to literary language. Both the nature of Simmel’s analyses and the innovative way in which he presented them contributed to the fact that his works have continued to this day to inspire intellectuals in many different fields of the social sciences and humanities. In this article, the author explores the phenomenon, focusing on both Simmel’s thinking “beyond borders” and contemporary ways of interpreting those ideas.

5

Do czego może się przydać historykowi sztuki Filozofia mody Georga Simmla?

89%

Kazimierska-Jerzyk W.

TECHNE. Seria Nowa

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2021

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issue 7

173-200

EN

Philosophy of Fashion (1905) by Georg Simmel, while often noted in historical and artistic studies, was not paid much attention. It is not an essay on fashion artifacts, but in fact a critique of modern society profiled in terms of the phenomenon of fashion. The aim of this article is to reconstruct the dualisms on which the social phenomenon of fashion is founded, and then to draw attention to concepts that may, however, be of interest to an art historian. They are primarily the elementary terms “art”, “mimesis” and “style”, strongly rooted in tradition, which Simmel understood specifically, as well as other concepts, not obvious from the point of view of art history or even aesthetics, and useful from the perspective of philosophical aesthetics and performance e.g. tragedy, energy, mystery, jealousy, shame, thing, ornament. It seems that Simmel feels not only the social, but also the artistic and aesthetic (especially sensual) complexity of fashion, but his lack of interest in understanding fashion as art prevents him from fully exploring and using it.

PL

Filozofia mody (1905) Georga Simmla w opracowaniach historyczno-artystycznych jest wprawdzie często odnotowywana, ale nie poświęca się jej wiele uwagi. Nie jest to bowiem esej o artefaktach mody, a w istocie sprofilowana pod kątem zjawiska mody krytyka społeczeństwa nowoczesnego. Celem tego artykułu jest rekonstrukcja dualizmów, na których ufundowane jest społeczne zjawisko mody, a następnie zwrócenie uwagi na pojęcia mogące jednak zainteresować historyka sztuki. Są nimi przede wszystkim silnie zakorzenione w tradycji elementarne terminy „sztuka”, „mimesis” i „styl”, swoiście przez Simmla rozumiane, jak też inne pojęcia, nieoczywiste z punktu widzenia historii sztuki czy nawet estetyki, a przydatne z perspektywy estetyki filozoficznej i performatyki, np. tragedia, energia, tajemnica, zazdrość, wstyd, rzecz, ozdoba. Wydaje się, że Simmel czuje nie tylko społeczną, ale i artystyczno-estetyczną (zwłaszcza sensualną) złożoność mody, ale brak zainteresowania modą jako rodzajem sztuki nie pozwala mu tego w pełni wyeksplikować i wykorzystać.

6

Georg Simmel`s Concept of Religion and Religiosity

88%

Motak D.

Studia Religiologica

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2012

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vol. 45

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issue 2

109–115

EN

Religion was a recurrent theme in Georg Simmel’s thought. Despite this fact, and despite the current rediscovery of Simmel’s ideas, his insights into religion remain relatively neglected. The task of integrating Simmel’s legacy into the current study of religion remains a continuing challenge. This paper, based on an on-going study of Simmel’s work (involving a close reading of his writings in the original version), reflects on his conceptualisation of the relationship between religion understood as an objective, social and historical phenomenon and subjective religiosity. In Simmel’s view, the religious perspective – a “particular spiritual quality” or “attitude of the soul”, a way of looking at the world as a whole – constitutes a kind of pre-stage of religion. This particular perspective of a religion-like (religioid) character makes up an individual foundation for religion, but it can also express itself in other cultural pursuits, like science or art. It only becomes religion after it assumes a specific form in human interaction. Simmel claims that many human relations have a religious character; faith, which is regarded as the substance of religion, is first a relationship between individuals. Out of the subjective faith-process there develops an object for that faith: the idea of God, who is “the absolute object of human faith”. For Simmel, the idea of God (conceived of as the unity of existence, the coincidentia oppositorum) is constitutive for religion.

7

On Ernst Bloch’s Moral Theory

87%

Pelletier L.

Praktyka Teoretyczna

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2020

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vol. 35

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issue 1

35-50

PL

Artykuł ten omawia źródła filozofii moralnej Ernsta Blocha, sformułowanej częściowo jako odpowiedź na relatywizm moralny Simmela. Przedstawia on również teorię Blocha jako spójny przykład tego, co Charles Taylor nazwał „ekspresywizmem”: stanowiska filozoficznego kładącego nacisk na transgresywny charakter tworzenia wartości. W końcu, artykuł wskazuje na niedostatki ekspresywizmu Blocha, podkreślając konieczność uzupełnienia go normami zabezpieczającymi ludzką godność (której był świadomy sam Bloch).

EN

This article describes the origin of Bloch’s moral theory, which was formulated partly as a response to Simmel’s moral relativism. It also shows that Bloch’s theory is a coherent example of what Charles Taylor calls “expressivism,” a contemporary philosophical attitude which emphasizes the creation of values, with its transgressive character. Finally, the article addresses some shortcomings of Bloch’s expressivist moral theory, and emphasizes the necessity this author felt to complete it with norms ensuring human dignity.

8

Piękno według socjologów: socjologia estetyki i estetyka życia społecznego

75%

Dowgiałło B.

Estetyka i Krytyka

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2013

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issue 1(28)

43-57

EN

Although beauty has never been a mainstream sociological topic, it is not true that sociologists have not been interested in social aspects of aesthetics. Traditionally, however, sociological and philosophical approaches towards beauty have excluded each other. The article challenges the assumption made by Pierre Bourdieu that sociologists should reject philosophical concepts of beauty. On the contrary, it searches for sociological implications of philosophy. The article presents the thoughts of Theorstain Veblen, Herbert, Blumer and Georg Simmel and stresses the similarities between their theories and the philosophical concepts of beauty as clarity, beauty as integrity, and beauty as harmony.

9

“A work of art is an object that necessitates contemplation”. Latency of visual studies within the Vienna School of Art History?

75%

Murár T.

Ikonotheka

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2020

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vol. 30

9-29

EN

This article investigates a research method of the so-called Vienna School of Art History, mainly its transformation by Max Dvořák around the First World War. The article suggests the possible influence of Georg Simmel’s philosophy on Dvořák in this time, evident mainly in Dvořák’s interpretation of Pieter Bruegel the Elder’s art, written by Dvořák in 1920 and published posthumously in 1921. This another view on the Vienna School of Art History is then researched in writings on Pieter Bruegel the Elder by Dvořák’s students Hans Sedlmayr and Charles de Tolnay when Tolnay extended Dvořák’s thinking and Sedlmayr challenged its premises – both Tolnay and Sedlmayr thus in the same time interpreted Bruegel’s art differently, even though they were both Dvořák’s students. The article then suggests a possible interpretative relationship of the Vienna School of Art History after its transformation by Max Dvořák with today’s approaches to art (history), mainly with the so-called visual studies.

10

Georg Simmel’s The Philosophy of Money and the Modernization Paradigm

75%

Karalus A.

Polish Sociological Review

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2018

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vol. 204

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issue 4

429-445

EN

This article examines Georg Simmel’s contribution to the understanding of how money functions in modern society, mainly scrutinizing his most important work on that topic,The Philosophy of Money, in the con-text of modernization theories. Modernization theories, as developed (most notably) by Marx, Weber, Durkheim,and Elias, attempted to explain the transition from feudalism and a closed agrarian economy to capitalism andindustrial society, as well as to understand and predict the avenues, consequences, and dangers of that transfor-mation. The author argues that Simmel’s work and his theoretical framework fit neatly into the “modernizationparadigm” template and, in fact, constitute one of its finest articulations. The conclusion points at those aspectsof Simmel’s sociology that transcend the boundaries of modernization discourse and make him a forerunner ofthe postmodernist structure of “feeling.”

11

Georg Simmel i flakonik perfum

71%

Hoffmann B.

Przegląd Socjologiczny

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2019

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vol. LXVIII (68)

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issue 1

137-156

PL

Zmysły odgrywają kluczową rolę w życiu człowieka. Dzięki pionierskiemu w socjologii podejściu do zmysłów jako bytów społecznych, a nie jedynie fizjologicznych, Georg Simmel zmienił nie tylko perspektywę postrzegania zjawisk zmysłowych, ale zwrócił uwagę na istotę poznania wielozmysłowego zjawisk społecznych. Zwrócenie uwagi na rolę sensoryki w konstruowaniu rzeczywistości społecznej przyczyniło się niewątpliwie do stworzenia przez niego podstaw dla rozwoju wąskiej specjalizacji zwanej socjologią zmysłów. Zapach jest elementem doświadczenia prawie wszystkich ludzi. Proces uspołecznienia, któremu człowiek podlega, jest również procesem socjalizacji zapachowej. Zapach ma istotne znaczenie przy nabywaniu bądź zmianie ról społecznych; oddziałuje na nas w wymiarach fizycznym, psychicznym i społecznym.

EN

Senses play a key role in human life. Thanks to the pioneering approach to the senses as social beings and not only physiological ones, Georg Simmel changed not only the perspective of perception of sensory phenomena but also drew attention to the essence of multi-sensory cognition of social phenomena. Paying attention to the role of sensors in the construction of social reality, contributed undoubtedly to the creation of a basis for development of a narrow specialization called sociology of senses. The fragrance is a part of experience of almost all people. The process of socialization to which a man falls, is also a process of fragrance socialization. Odor is important when acquiring or changing social roles. It affects us in physical, mental and social dimensions.

12

Rodin, czyli świat. Dwie kosmogonie – Rainera Marii Rilkego i Georga Simmla

65%

Popiel M.

Przestrzenie Teorii

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2018

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issue 29

15-29

EN

The article is a comparative analysis of the modernist aesthetics of creation. It describes how Rilke and Georg Simmel discovered August Rodin’s rules of modern perception, sensitivity and creative imagination. In the work of both writers we see them striving to interpret works of art as a creative process that is the effect of their astute diagnosis of contemporary culture. A new approach to aisthesis restores value to aesthetic experience and opens up broader learning opportunities.

13

Sweet Melancholia: The Melancholic “I”— Between Inspiration Source and Ailment

63%

Kuczyńska A.

Dialogue and Universalism

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2018

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issue 1

9-22

EN

The paper examines the phenomenon of melancholia, taking into account views on it by Emil Cioran, Joseph Campbell, Jerzy Kosiński, Georg Simmel and Maurice Merleau- Ponty. Regardless of its commonly known clinical variant—which is not the subject of the presented reflections—melancholia has no clear philosophical definition, because its status usually resembles a clinging plant affixed to and “fed” by more concise thought constructs. It is demonstrated that the self-disclosure imperative is an essential aspect of melancholia and that a typical and frequent symptom of melancholia is rejection of others and immersion in indifference, desperation, silent apathy and loneliness.

14

The Hughesian Legacy: William Shaffir-A Principal Interpreter of the Chicago School Diaspora in Canada

63%

Low J.

Qualitative Sociology Review

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2020

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vol. 16

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issue 2

14-26

EN

In this paper, I discuss the invaluable role played by William Shaffir, my mentor and doctoral supervisor, who shaped my approach to interpretive fieldwork and deepened my understanding of symbolic interactionist theory. Known affectionately as Billy to his colleagues and students, Shaffir is a gifted educator and one of the finest ethnographic researchers of his generation. My focus is on how the scholarly tradition that flows from Georg Simmel through Robert Park, Herbert Blumer, and Everett C. Hughes, passed from Billy on to me, is illustrative of what Low and Bowden (2013) conceptualize as the Chicago School Diaspora. This concept does not refer to the scattering of a people, but rather to how key ideas and symbolic representations of key figures associated with the Chicago School have been taken up by those who themselves are not directly affiliated with the University of Chicago. In this regard, while not a key figure of the Chicago School himself, Shaffir stands at the boundary between the Chicago School of sociology and scholars with no official relationship to the School. As such he is a principal interpreter of the Chicago School Diaspora in Canadian Sociology.

15

Myśl społeczna Georga Simmla w perspektywie współczesnej teorii i socjologii kultury

62%

Brzeziński D.

Przegląd Socjologiczny

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2019

|

vol. LXVIII (68)

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issue 1

119-136

PL

Refleksje Georga Simmla poświęcone kulturze są dziś bardzo często przywoływane na gruncie nauk społecznych i humanistycznych. Wiele z tych sądów uważa się za wyjątkowo innowacyjne, a wręcz prorocze względem rozpoznań wypracowywanych przez intelektualistów pod koniec XX i na początku XXI wieku. Biorąc to pod uwagę, dokonuję w niniejszym artykule zestawienia analiz autora Filozofii pieniądza ze współczesnymi pracami z dziedziny teorii i socjologii kultury. W pierwszej części tekstu zwracam uwagę na to, w jaki sposób refleksje Simmla dotyczące zależności między kulturą obiektywną i subiektywną, a także transcendowania jako immanentnej cechy jednostki, wpisują się w aktualne debaty poświęcone relacji między strukturą a sprawstwem. W kolejnej części odnoszę się do rozpoznań Simmla poświęconych fragmentaryzacji i indywidualizacji kultury oraz coraz większemu znaczeniu konsumpcjonizmu w życiu społecznym, wskazując na ich przydatność w analizach kultury współczesnej. W zakończeniu artykułu zamieszczam – obok podsumowania – ogólniejsze refleksje na temat znaczenia rozwiązań przyjętych przez Simmla w radzeniu sobie z wyzwaniami stojącymi przed teorią i socjologia kultury w XXI wieku.

EN

Georg Simmel’s reflections on culture are very often invoked in the contemporary social sciences and humanities. Many of his thoughts are considered to be exceptionally innovative, and even prophetic towards analyses that have been developing since the end of the 20th century. Taking this into consideration, in this article I compare Simmel’s works with contemporary papers on the theory and sociology of culture. In the first part of the article, I draw attention to the way in which Simmel’s reflections on such topics as: the relationship between objective and subjective culture and transcendence as an immanent feature of an individual resemble current debates devoted to the relationship between structure and agency. In the second part, I refer to Simmel’s analyses of the fragmentation and individualization of culture and the growing importance of consumerism in social life. I emphasise that they may be used as an analytic frame for reflections on contemporary culture. In the closing part, I include – along with the summary – more general reflections on the importance of Simmel’s thoughts in coping with the challenges facing the theory and sociology of culture in the 21st century.

16

Czy sztuka partycypacyjna może zaistnieć w internecie?

28%

Fausek-Kaczanowska A.

inAW Journal – Multidisciplinary Academic magazine

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2020

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vol. 1

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issue 1

EN

The article presents the objectives, concepts, methods and characteristics of the artistic and social action known as “#givethanksfor”, pursued through social media, based on the assumptions of participatory art. The article describes the components of the action, how it was created and importance of the artistic work done, which is the finale of the action. The artist asks questions: “Can participatory art exist online?” and “Will the artist’s actions based on participatory art allow to awaken and show a feeling of gratitude in a group of people?” Answers were attempted based on considerations of participatory art, gratitude and online artistic activity.

PL

Artykuł przedstawia cele, koncepcje i metody działania oraz charakterystykę przebiegu akcji artystyczno-społecznej „#dziękujza” w mediach społecznościowych w oparciu o założenia sztuki partycypacyjnej. Opisuje jej elementy składowe, sposób powstania i znaczenie wykonanej pracy artystycznej będącej finałem akcji. Artysta stawia pytania: „Czy sztuka partycypacyjna może zaistnieć w internecie?” i „Czy działania artysty oparte na sztuce partycypacyjnej pozwolą rozbudzić i unaocznić uczucie wdzięczności w grupie ludzi?”. Odpowiedzi próbowano uzyskać na podstawie rozważań o sztuce partycypacyjnej, wdzięczności oraz przeprowadzonego działania artystycznego w internecie.

Refine search results

In Vino Veritas/Communitas/Civilitas? O Cywilizującej Towarzyskości Konsumpcji Wina / In Vino Veritas/Communitas/Civilitas? On the Civilising Sociability of Wine Consumption

Antonio Rafele, La Métropole. Benjamin et Simmel. (Metropolia. Benjamin i Simmel ). Wstęp Michel Mafessoli. Paris: CNRS Editions, 2010

Simmlowska koncepcja mody a ubiór współczesnych seniorek i seniorów. Podejście badawcze

Myśl ponad granicami: interdyscyplinarność i innowacyjność twórczości Georga Simmla

Do czego może się przydać historykowi sztuki Filozofia mody Georga Simmla?

Georg Simmel`s Concept of Religion and Religiosity

On Ernst Bloch’s Moral Theory

Piękno według socjologów: socjologia estetyki i estetyka życia społecznego

“A work of art is an object that necessitates contemplation”. Latency of visual studies within the Vienna School of Art History?

Georg Simmel’s The Philosophy of Money and the Modernization Paradigm

Georg Simmel i flakonik perfum

Rodin, czyli świat. Dwie kosmogonie – Rainera Marii Rilkego i Georga Simmla

Sweet Melancholia: The Melancholic “I”— Between Inspiration Source and Ailment

The Hughesian Legacy: William Shaffir-A Principal Interpreter of the Chicago School Diaspora in Canada

Myśl społeczna Georga Simmla w perspektywie współczesnej teorii i socjologii kultury

Czy sztuka partycypacyjna może zaistnieć w internecie?