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EN
The article discusses the problem of recent changes in so-called “teenage culture”. Theoretical bases of the cultural anthropologic conception were provided by Margaret Mead. According to the author, “teenage culture” is different in each type of Mead’s culture types. Insignificant in the post-figurativstage, “teenage culture” is definitelydistinct in configurativetype in terms of separate aesthetics. This is exemplifiedby teenage subcultures, whose members contest dominant culture patterns (associated with adults). The main question concerns the role of “teenage culture” in the pre-figurativeculture – the modern world. Is the difference between the adults’ and young people’s perspectives evident in “teenage culture”? Moreover, is there a real “teenage culture” nowadays?
PL
Młodzież to szczególna grupa społeczna – kto już do niej nie należy wspomina ją z nostalgią, kto natomiast jest młody przechodzi przez okres pełen niepewności. Co jednak oznacza bycie młodym? Do jakich ram czasowych odnosi się to pojęcie? Artykuł ukazuje rytuały przejścia charakterystyczne dla młodych oraz zwraca uwagę na ich znaczenie w postmodernizmie. Omawiane zachowania znajdują swoje odbicie w powieściach takich autorów, jak Pier Vittorio Tondelli, Giuseppe Culicchia czy Isabella Santacroce. Szczególną uwagę poświęca się zagadnieniu konsumpcji wokół ciała, które jest znaczącym elementem kultury młodzieżowej. Widoczny staje się nacisk, jaki kładzie ponowoczesność na tożsamość młodych ludzi poprzez oddziaływanie w zakresie ubioru oraz dopasowania wyglądu do wymagań społeczeństwa konsumpcyjnego. Pełen sprzeczności, zmieniający się bagaż kulturowy młodych staje się sygnałem do podjęcia refleksji nad zmianami w społeczeństwie.
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Youth and the Cult of Youth?

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EN
This text deals with one of the neglected topics of contemporary social pedagogy which extends to developmental psychology and sociology. This topic is so-called cult of youth which is often mentioned in the academic literature, but has not been precisely conceptualized. This text was therefore focused on the definition of basic category, i.e. youth, and then discussed the relationship to the cult of youth and the individual elements that helps to form it. The cult of youth is associated with so called youth culture, which has been spread and produced by global media. The influence of the media has been already evident from the 60’s of the 20th century, when we often talk about American cultural hegemony which presents within its production the popular culture and youthful lifestyle, which is then presented in magazines, music media, fashion industry, etc. For contemporary capitalist society the concept of the cult of youth is a useful concept as only successful, young and efficient individuals can consume new and new products (as well as use the services) typical for this still-rising imaginary phase of human life. Therefore the cult of youth is the domain of successful people who do not want to lose their success. Only socially successful can try to be “forever young”.
EN
Internet memes represent a new vernacular genre, items of which are created and also distributed digitally. Every day, ever new information keeps flowing through the feeds of social media sites. Internet memes, unlike traditional folklore, are not meant to be conveyed from generation to generation, and rarely would one expect a recurrence of a meme that has already been seen and passed forward. New memes are being created constantly, representing every conceivable aspect of physical as well as virtual reality. The external world is represented through a seemingly anything-goes game of combining shapes and forms. Already in the current stage of development of the genre, we can notice that memes correspond to their users’ subcultural and other group-related preferences. Age-group specific meme use is also discernible. This paper focuses on the meme repertoire of schoolchildren in the Tartu region, which is published on special Facebook or Instagram pages. The empirical work consisted in observing the meme sites and interviewing those generating the memes. School memes are presented as depiction of the life in a particular school and used for generating a feeling of belonging within that school. By memeing, schoolchildren apply a certain kind of cultural knowledge, a memetic code, which is not necessarily accessible to adults – indeed, they might not even have encountered it. William Corsaro characterises peer group culture with keywords such as autonomy, control, conflict, and differentiation; the challenge is to make fun of the authority of adults. In school memes, we are witnessing not only a peer group counterculture, but also an endeavour by the group to create a certain distinct world of its own. The novel and youthful memetic form suits well for this project.
EN
Using social media Web sites is among the most common activities of today’s children and adolescents. Such sites offer today’s youth a portal for entertainment and communication, and have grown exponentially in recent years. Parents and teachers become aware of the nature of social media sites, thus they do not know that not all of them are healthy environments for children and adolescents. This field is important because pedagogists, psychologists and pediatrics need to understand how youth lives in a new, massive, and complex virtual universe, even as they carry on their lives in the real world. In the article I have presented a discussion of a few empirical research carried out by different authors to show various aspects of child and adolescent development in this virtual universe and to present the methodological implications of such types of studies.
EN
This article analyzes hiphop as a multicultural manifestation of the youth culture. The youth culture is understood as the content offered for the young generation by the popular culture. It is perceived as the result of complex processes that start with local youth groups, cultural innovations and various rituals. The author describes the beginning of hiphop culture in the urban ethnic dimension and goes on to analyze its core manifestations such as rap, graffiti, and break dance. The author traces ways in which rap, graffiti and break dance were created, interpreted, and assimilated according to the needs of multicultural exemplification of youth’s local identities. This article also indicates the possibility of using elements of hiphop youth culture in the prevention projects realized in multicultural environments.
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