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1

The Idea Is for Us to Work Here In The Workshop!: The Re-functionalization Of Artisans’ Economic and Cultural Circuits In Florianopolis, South Brazil

100%
de Oliveira Corrêa R., Rial C., Queluz G. L.
International Review of Social Research
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2012
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vol. 2
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issue 1
47-64
EN
The purpose of the paper is to present and interpret strategies used by urban artisans to (re)functionalize their workshops into showcases where their performances are (re)organized and exhibited. The workshop is presented here as a privileged space where different aesthetic and political, economic and historic experiences (re)construct performances, as well as other systems of artifacts and spatialities. The atelier is understood as architectural space that performatizes globalized scenographies of desire and their fragmentations and overlappings. We conducted an ethnography impregnated by the random relation of events, encounters and exchanges (whether symbolic or economic) in urban contexts. As a result, we present various devices that trigger expression and updating found in both the artisans’ biographical trajectories and in the systems of artifacts and spaces in a recent urban society.
2

‘Catalanism Only Will Win by the Force of Songs’, Revisited 100 Years After. The Role of Catalan(ist) Pop-Rock Music in Socially Sanitizing Working-Class Neighborhoods of Barcelona (1976–2000)

88%
Nofre J.
International Review of Social Research
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2012
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vol. 2
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issue 2
1-20
EN
During the last years of the Spanish fascist regime, two politically contrary music scenes emerged in Barcelona. While Catalanist folk music emerged for political freedom, Spanished rock’n’roll, punk, and heavy scenes emerged in the working-class suburbs of Barcelona, denouncing bad conditions of everyday urban life. The great success of this last music scene in Barcelona in the 1980s led to the then nationalist, conservative government of Catalonia to promote a new socially and politically sanitized music scene in response to such class-based contestation. This study aims to explore how a new Catalan(ist) pop-rock scene was created to socially and culturally sanitize the working-class suburbs of Barcelona along the decades of the 1980s and 1990s.
3

Alternative Spaces of Cultural Consumption. An Analysis of Bucharest Urban Culture

88%
Becuţ A. G.
International Review of Social Research
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2016
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vol. 6
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issue 2
73-79
EN
In the last years, many pubs, bars and restaurants began to include in their offer cultural activities. Some cultural institutions also began to attract the public by offering a „leisure” space in the proximity, by association with private firms. This relatively recent phenomenon raised several specific questions about the identity of these spaces, the profile of their audience and the relation between artist, public and space, but also general questions about the emergent relation between economic and artistic sectors. The aim of this article is mapping the independent cultural urban spaces in Bucharest. On one hand we shall highlight the specificity of these hybrid spaces. On the other hand, the article analyses the customers’ attributes depending on age, education and occupation. At last, the manner of negotiating the culture-business relation between the participants, the established limits and the tensions and strategic alliances give more information on how economic and cultural spheres are and can be integrated.
4

A Cosmopolitan Perspective of Globalization: Cultural and Aesthetic Consumption Among Young People

88%
Cicchelli V., Octobre S.
Studies of Changing Societies
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2014
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vol. 2013
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issue 3
3-23
EN
Author's focuses on understanding in which way people relate with globalization and what kind of imaginative process they engage in to do so in their everyday life. Article deals with the emerging cosmopolitan consciousness and practices that derive from young people's experiences of a globalized world. The paper is based on two different researches of young people, the rationale for such a choice being to understand the impact of emerging transformations on young people - who are often the barometers of societal change from both generational and life cycle perspectives.
5
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Eliminacja lamerstwa. O społecznym użytkowaniu muzyki: Z Adamem Czechem rozmawia Anna Zawadzka [Eliminating cheesiness. The social use of music: Adam Czech interviewed by Anna Zawadzka]

88%
Zawadzka A.
Studia Litteraria et Historica
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2017
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issue 6
EN
Eliminating cheesiness. The social use of music: Adam Czech interviewed by Anna ZawadzkaThe interview with Doctor Adam Czech deals with various forms of distinctions made with the use of music, in the circles of both its authors and recipients. The conversation addresses, among other things, the current status of contemporary classical, folk, and popular music in Poland, and the status of different manners of music consumption. Another issue under discussion concerns the prevailing artistic categories of music evaluations, such as being original and abstract, and the ways of validating and delegitimizing different musical genres. Eliminacja lamerstwa. O społecznym użytkowaniu muzyki: Z Adamem Czechem rozmawia Anna ZawadzkaWywiad z dr. Adamem Czechem dotyczy różnych form dystynkcji dokonywanych za pomocą muzyki zarówno w środowisku jej twórców/twórczyń, jak i odbiorców/odbiorczyń. Przedmiotem rozmowy jest m.in. obecny status muzyki poważnej, muzyki ludowej i muzyki popularnej w Polsce, jak również status poszczególnych sposobów muzycznej konsumpcji, czyli słuchania. Rozmowa dotyczy także dominujących w sztuce kategorii oceniania muzyki, takich jak oryginalność i abstrakcyjność, oraz sposobów uprawomocniania i delegitymizacji poszczególnych gatunków muzycznych.
6

Fluxus Spaces as Alternative Cultural Spaces. A social cartography of the urban cultural scenery

75%
Manta A.
International Review of Social Research
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2016
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vol. 6
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issue 2
80-90
EN
There is a growing research interest in cultural spaces and their urban regeneration potential. Discussions about these spaces can be found in the literature under concepts such as: art spaces (Grodach, 2011), cultural spaces (Alexander, 2003), creative spaces (Becker et al, 2009), cultural laboratories, free spaces (Polleta, 1999), yet little research examines them from a dynamic perspective which integrates approaches from different disciplines. Through the methodological lens of bricolage and by mixing methods from mental geography, psychology and sociology, this study explores the alternative cultural spaces in terms of its pluralism, managing to identify a new conceptual framework, the fluxus space. Fluxus spaces are cultural spaces situated at the intersection of public-private, old-new, informal-formal, legal-illegal expressions, playing an important role in artistic development and in the urban and community regeneration processes.
7
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SOCREALIZM SKONSUMOWANY. WYKORZYSTANIE DYSKURSU SOCREALIZMU W POP-ARCIE I WSPÓŁCZESNEJ KULTURZE POPULARNEJ*

51%
Kal E.
Ars inter Culturas
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2016
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issue 5
209-240
EN
The article is an attempt to analyse how the code of social realism was used in two areas not necessarily but rather intertwined: in the artistic area, in the iconography of pop-art in its strategy of transforming pop-culture and industrial signs as well as in the commercial area, in the advertisement, mass entertainment and activity of places uniting consumption with play. In her analysis the author reminds J. Baudrillard theory of cultural consumption “as a practise of manipulating signs” and Ch. Pierce “unlimited semiosis” and U. Eco as well as various different concepts of memory (including that of J. Baudrillard). The text ex-plains the essence and features of Social realism reigning in the arbitrary way in Poland in the period 1949-1955 often wrongly associated with the full period of Polish Peoples Republic existence (1949-1989). The use of social realistic elements in pop-culture can be seen as a final defeat of communist doctrine that included contempt for commercial-ism and banal entertainment identified as bourgeois Western culture features. The con-tradiction results from the idea that social realistic works were supposed to appeal to the masses yet should also have easily readable form and also very high artistic quality. In the text there are examples of social realistic slogans and motives from the paintings, sculptures and posters in the modern promotional campaigns of cosmetics, in computer games, in advertisement as well as in the gadgets, restaurants and entertainment venues etc. From the earlier artistic inspirations and transformations (consumptions) of social re-alism the text includes several examples of pop-art artists’ works: A. Warhol, T. Wessel-mann or R. Lichtenstein, and also examples of the works of the artist from the German movement called capitalistic realism like K. Lueg, G. Richter, S. Polke and others. Mod-ern popular culture and commercial mass entertainment exploit art on its own terms and both social realism and pop-art nurture popular and mass culture.
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