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Element dramowy w RPG: zarys projektu przemiany gracza

100%
Wałaszewski Z.
Literatura i Kultura Popularna
|
2011
|
vol. 17
59-68
EN
Role-Playing Game (RPG) has existed for 40 years and yet they are hardly recognized in Polish popular culture. The author points out the dual character of playing such games: an inherent tension between “playing a game” and “role-playing”, or between following the game system rules laid down in a book and trying to succeed in randomized situations on the one hand and assuming a role and entering into the character being played on the other. Next, attention is drawn to a certain similarity between entering into a role in an RPG and playing a role in a creative drama, especially an educational one. With reference to storytelling games, exemplified by the Vampire: The Masquerade system, an attempt is made to show that RPGs create great opportunities for generating strong emotions connected with moral choices and ethical assessment of the player’s own actions. In this, the author perceives potential for opening towards the Other, to a cultural (and other) variety of cognitive perspectives and hierarchies of values, which is consistent with postmodern philosophy.
2

FOLKSY MUSIC AS A PART OF ESTONIAN FOLK CULTURE (Rahvalik muusika eesti rahvuskultuuri osana)

88%
Jussufi G.
Mäetagused
|
2010
|
vol. 44
65-108
EN
In this text the author has attempted to mark the characteristics of the Estonian folksy music style and to outline the sequence connecting this style to the earlier folk music that is no longer in use. Reaching an undisputable result was not his goal, mostly due to the fact that he had to start from almost nothing. Musicologists work with folk music, while folksy music has been left for practitioners - artists and producers. In the context of culture in general, the lack of systematic overview of folksy music is a considerable gap. However, based on musicological methods alone, it is not possible to understand the impulses that have influenced the Estonians' preferred music style to develop exactly into what we hear nowadays. Researches by scientists of music, society and literature, carried out according to a unified research program, could fill this gap. It can be stated that in the broad sense the Estonian folksy music is a result of extensive cultural influences. At the same time the loans, still happening today, do not change the basic principles of folksy music. Foreign elements intertwine with elements already present and start to look familiar in the process. This asserts that nations do not create their culture in a vacuum; instead it is an uncontrollable process in which many temporary ties emerge between different nations and whose interim results can considerably change a nation's culture. Thus it happened that music of various origins blended into a folksy music style that is a mixture of mock songs, children's songs, game songs, patriotic songs, dance songs and schlagers from before the Second World War, folk music from all parts of Europe, country music, works by classical composers and Estonian composers. This colourful assemblage constitutes an inseparable and organic part of folk culture. Spontaneous circles of influence have been functioning always and everywhere, but nowadays the changes in culture come about with greater intensity and they are easier to recognise and to observe.
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