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Wyobrażone, przedstawione, postrzegane. Polityczny kicz i jego polskie przykłady

100%

Mikołajczyk M.

Studia Politologiczne

2018

vol. 50

137-155

The dialectic of the impact of art and politics is based, among other things, on the fact that politics can be treated as a refined form of human thought and social activity (the art of politics) while art is interested in the political. Both these fields have the structure of a discourse. They use material and symbolical resources and in their domains there is a never-ending festival of distribution, reconfiguration and transformation of ideas (energy) into action or presentation. Political kitsch, just as kitsch in art, is about copying an effect which has been considered attractive. It is presented as a spontaneous act while in fact it is an imitation, performed according to a scenario. In art, kitsch is a result of copying others, it is associated with inauthenticity, whereas in politics it is also a manner of interpreting the events presented by the media. This is influenced by the logic of the media activity (simplified message, tabloidization, appealing to the audience’s emotions). In studying political kitsch it is worth referring to the methodology used in research into visual culture. A particularly significant question, and one which requires in-depth research, is whether politics is also judged through aesthetic categories, and whether such manner of its perception may contribute to withdrawal from civic activities. It is also worth considering the thesis whether currently the systems of representation are undergoing transformation, taking into account the various meanings of this word.

Kicz i marzenia. O „słodyczy” przestrzeni w prozie Joanny Bator

72%

Górecka E.

Prace Literaturoznawcze

2017

issue 5

169–179

In the novels of Joanna Bator we can find the aesthetics of kitsch, which remains closely associated with the creation of the portrayed reality. The author does not limit herself to just making a note of it, but she takes into account contradictions that underlie it – desire for beauty and tastelessness, changeability and stability. There are irony and satire behind those images, but we find no sarcasm. Where only the aesthetic kitsch (mostly in the sweet version) is accentuated, the vision of post-war Poland is devoid of any signs of grotesque. Joanna Bator notices the shallowness of such aesthetics, but, at the same time, she is aware of its association with people’s dreams. The situation is different in the case of political, national or religious kitsch, which is treated with greater respect, where behind the aesthetic there are convolutions of people’s thinking and axiology. Therefore, kitsch may be the result of innocent fantasising about happiness, but also an expression of aggression and ideologization, which inevitably lead to conflict.

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Wyobrażone, przedstawione, postrzegane. Polityczny kicz i jego polskie przykłady

Kicz i marzenia. O „słodyczy” przestrzeni w prozie Joanny Bator