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EN
Contemporary artists on the declarative level try to remain outside the political domain, at times unaware of the fact that an established dislike for politicians is not equivalent to refraining from political actions. Theatre has not so much become politically vulgarised but rather it has gained a potential additional act in the form of a strictly political phenomenon. This results from the disrupted demarcation lines traditionally dividing the freedom of artistic expression and the right to its rejection by those who have different ideological (religious) motivations. This stems from the fact that the performative act has been extended beyond the theatre stage, thus allowing political opponents to refer to non-aesthetic categories, to which artists themselves have assigned formally political features. Invoking the right to critically assess reality, to which both sides are entitled, they understand freedom as a justified negation of a different perspective. In an ideal situation, art would not be subordinated to political ends, while adding to it non-artistic dimensions makes it an emergent phenomenon. However, in the reality we have access to, there has developed an asymmetry as the theatrical circles have started to desire not only to create art but also to be the ones holding the key to the rules of its interpretation or criticism, which leads to a discussion on the limits of freedom of artistic expression when seen as political.
EN
Politicisation of creative works (works of art, musical, literary and scientific works) may be understood in various ways. Firstly, it may be seen as a synonym of the political nature of such works, being a consequence and an expression of the intention of a politically committed author. Secondly, it may be read as attributing a political dimension and meaning to a work, by its audience. Thirdly, it may be understood as a situation where specific political groups instrumentally use the social reception and impact of a work in their political game, propaganda campaigns and indoctrination. Fourthly, it may be seen as the entanglement of a work (and its author) in political divisions and conflicts, due to the circumstances in which the work was created or became popular, or due to the author’s personal connections with political figures, institutions or circles. The notion of politicisation has often a negative overtone – as a synonym of a situation in which political actors interfere with the artistic or scientific process (by compromising its autonomy and creative freedom), and thus the essential criteria (aesthetic, artistic or methodological) are abandoned as a result of trivial programming driven by propaganda, indoctrination or pragmatic reasons.
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PL
W ostatnich latach w polskiej politologii dokonał się swoisty zwrot od polityki do polityczności. Oznacza on między innymi, że stosując instrumentarium właściwe dla nauk politycznych politolodzy zaczęli dostrzegać polityczne znaczenie różnych zjawisk – także poza takimi wymiarami tradycyjnie rozumianej polityki, jak władza, organy państwa, aktywność partii politycznych. W takim ujęciu, istotny okazuje się proces upolitycznienia zjawisk niepolitycznych, struktura interesów społecznych, a szczególnie role dominacji i podporządkowania stojące u podstaw tych zjawisk oraz skutki polityczne działań w sferach pozornie niepolitycznych. Optyka ta pozwoliła polskim politologom, bez względu na różnice w podejściach i perspektywach badawczych, zainteresować się zagadnieniami, które wcześniej badali reprezentanci innych dyscyplin naukowych. W ten sposób wzbogacony został nie tylko sposób oglądu takich zagadnień, ale i same nauki polityczne. Wszystkie opisane powyżej prawidłowości odnieść możemy bezsprzecznie do polityczności i upolitycznienia aktywności twórczej człowieka realizowanej w ramach sztuki – zarówno tradycyjnej (np. teatr, literatura, rzeźba, architektura, malarstwo), popularnej (film, muzyka rozrywkowa, kabaret, komiks, ale i popularne warianty sztuk tradycyjnych), czy awangardowej (np. instalacje, videoarty, bio-art itp.).
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