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1

Popular Author of Popular Art

100%
Jaworski M.
Creativity. Theories – Research - Applications
|
2016
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vol. 3
|
issue 1
118-126
EN
The article provides a report on research conducted on the creative activity of Jerzy Wróblewski, a Polish author of comics published in the book „Urodzony, żeby rysować”. Twórczość komiksowa Jerzego Wróblewskiego, “Born to Draw.” Jerzy Wróblewski’s Comic Art (Jaworski, 2015). It is the first study of this kind in Poland. From this point of view, it contains not only a body of knowledge in the form of a monograph of the comic writer’s artistic creativity, but it also includes a developed research model. The structure of this model, combining traditional monographic narrative with broad historical, political and social context, can be used in the analyses of artistic accomplishments of other authors of Polish comics. The presented study addresses the need for scientific explorations in this field, but also for raising the value of those parts of Polish modern culture which were marginalised as ‘worse’ for many years, first for political reasons, then for cultural ones. It appears that the time has come to examine critically the artistic creativity of important figures of Polish popular culture (in this case of comics) objectively and without ideological prejudice, and recognise them as full authors of Polish culture. Jerzy Wróblewski is among them and that is why the book is about him.
2

Pop Culture for Children

75%
Malíček J.
Journal of Pedagogy
|
2011
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vol. 2
|
issue 1
60-72
3
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Popular Lived Culture in Communist Romania (1945–1989) as Retraced in Life Histories: How People Appropriated or Resisted Products, Practices, Trends, and Elements of Lifestyle

75%
Rodat S.
Prague Papers on the History of International Relations
|
2020
|
issue 1
59-85
EN
Due to its character of totalitarian regime and through the major changes imposed in the society, the communist regime in Romania between 1945 and 1989 represents a distinct period in the history of the country. A series of inflicted macrosocial processes, such as the strictly centralized economy, collectivization and nationalization, as well as some phenomena such as the control of citizens’ lives, the impossibility of free expression, censorship of the press and culture, the lack of consumer goods, restrictions on utilities, and so on, negatively marked the fate of many Romanians during this period. However, many people remember this period with nostalgia. The present paper deals with the popular culture in Romania during the communist period (1945–1989), as seen, considered, and remembered by people who lived in that era, or at least in a period of it. The research was based on the method of life histories and focussed on the viewings of the subjects regarding the practices, rituals, artefacts, and products of popular culture in the communist time. Both folk culture and mass culture are discussed and analysed, as well as the elements of lifestyle, as described by the subjects. Moreover, the influences on the popular culture in that period are outlined, such as those of some large-scale phenomena like industrialisation and urbanisation, Western trends, Soviet propaganda, or the different impositions of the Romanian authorities, according to the various stages the communist regime has been going through in this period. The gathered data show that, while many memories of people are sorrowful and bitter, other recalls and considerations regarding the cultural practices of that time, and especially the human relations built by the means of these practices, are full of nostalgia. These aspects concerning popular culture in a particular historical period and nostalgia related to it are discussed in detail in the paper.
4
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Moda na grunge i grunge w modzie. Od Cobaina do Pattinsona - przejawy konsumpcjonizmu subkulturowego

51%
Bruszewska D.
Warmińsko-Mazurski Kwartalnik Naukowy, Nauki Społeczne
|
2012
|
issue 3
71-86
PL
Pod koniec lat osiemdziesiątych XX wieku w Stanach Zjednoczonych Ameryki w dorosłość wkroczyło pokolenie okrzyknięte mianem Pokolenia X. W tym samym czasie popularność zyskały zespoły grające muzykę grunge’ową, a wokół nich utworzyła się nowa subkultura. To ona, za sprawą światowego sukcesu grunge’u, stała się przedmiotem zainteresowań nie tylko fanów, ale też specjalistów od marketingu. Celem artykułu jest wskazanie przykładów będących dowodem istnienia mody na grunge oraz scharakteryzowanie i zaprezentowanie przejawów konsumpcjonizmu subkulturowego. Rozważaniom towarzyszy refleksja nad uwarunkowaniami powstawania subkultur oraz funkcjonowaniem idoli w przestrzeni kultury popularnej i „zawłaszczaniu” ich przez przemysł reklamowy.
EN
At the end of the eighties the USA experienced the coming of age of a generation later on to be tagged as Generation X. It happened at this particular time that bands playing a brand of music referred to as „grunge“ gained increasing popularity. Out of this environment a new subculture originated. The global success of grunge was not restricted to a limited fan community only, but aroused the interest of marketing experts. Issue of this paper is an exemplary presentation of phenomena being evidence of an actual fashion for grunge as well as the characterization and presentation of how subcultural consumerism manifests itself. Some general considerations on the circumstances favouring the emergence of subcultures in general, the role idols of the public assume in popular culture as well as their „appropriation“ by the marketing industry round out this study.
5
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Między odtwórczością a oryginalnością. Kino po Matriksie i moda na ciągłe przetwarzanie

51%
Przytuła P.
Warmińsko-Mazurski Kwartalnik Naukowy, Nauki Społeczne
|
2012
|
issue 3
103-116
PL
Celem artykułu jest wskazanie bogactwa intertekstualnych nawiązań kina popularnego i tendencji jego twórców do uciekania się do poważnej refleksji społeczno-kulturowej. Ważna wydaje się w tym kontekście także kwestia kultury uczestnictwa, w której odbiorcy są aktywnymi uczestnikami obiegu kulturalnego. Dwoma najbardziej reprezentowanymi obszarami odniesień X muzy są sfery religii i psychoanalizy. Pierwszy paradygmat tworzą dzieła zawierające parafrazy i nowe realizacje motywów związanych z religią chrześcijańską. Pojawiają się tutaj także obrazy generujące pewne zachowania religijne, na przykład religia Jedi utworzona pod wpływem „Gwiezdnych Wojen”. Drugi paradygmat to filmy dające się odczytać się poprzez freudowską bądź lacanowską psychoanalizę. Stanowią one też często współczesne realizacje jungowskich archetypów i schematu wędrówki bohatera mitycznego.
EN
This paper attempts to demonstrate the abundance of intertextual conjunctions between popular cinematographic productions appealing to a large audience and the tendency of their producers to resort to serious socio-cultural issues. Of considerable importance within this context is the culture of public participation, where the audience assume the dual capacity of consumer and participator in the cultural process. The religious and psychoanalytic spheres constitute the xmuse‘s outstanding domains of reference. The first paradigm establish productions abounding in paraphrases and novel interpretations of topics rooted in or connected with the Christian creed. On the screen appear pictures that generate certain religious rites and behavior, i.e. the Jedi religion developing under the influence of „Star Wars“. The second paradigm constitute films that may be interpreted by application of Freudian or Lacanian psychoanalysys. They render more often than not a contemporary vision of Jungian archetypes and the rote model of the mythical „quester hero“.
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