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SPECYFIKA POLSKO-IZRAELSKICH STOSUNKÓW KULTURALNYCH PO 1990 ROKU

100%
Łapaj J.
Polityka i Społeczeństwo
|
2013
|
issue 2(11)
101-113 (13)
EN
The resumption of Polish-Israeli diplomatic relations have begun the process of rebuilding broken relationships and building new areas in political and economic co- operation. One of the most important and specific areas of elationships are cultural rela-tions between the countries, which allows direct contact between the society of those two nations. In the history of Polish-Jewish relations this area is one of the most important because without grassroots initiatives and an open mind atmosphere, the official agreements, which are both necessary and beneficial, remain insufficient. This article presents the activities of the cultural relations after 1990. The author discusses the complexity of the actions, which on one hand take into consideration the history, and on the other hand, not overestimating its significance in current relationships, they concentrate on cultural, educational and scientific cooperation which support the openness for a new dialog. In spite numerous difficulties and burdens which are current in the Polish-Jewish relations the states and the societies of both countries have taken great strides to improve the relationship.
2
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The EU and Japan in the Process of Building Creative/Progressive Cultural Relations

100%
Gierat-Bieroń B.
Studia Europejskie-Studies in European Affairs
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2021
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vol. 25
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issue 4
133-152
EN
The EU is promoting cultural relations with Asian countries. While building interpersonal and institutional connections, the EU pays special attention to Japan. The image of the EU and its mutual relations with Japan are generally recognised as predominantly good and trustworthy. This paper will examine the process of building creative/progressive cultural relations between the EU and Japan based on two hypotheses; first: despite the fact that the EU tried to develop cultural relations within Japan, the embassies of the EU Member States are far more active in cultural programs than the EU Delegation; and secondly: the reception of the EU as a historic and cultural project is rather fragmented (as opposed to being holistic) in Japan. The aim of this research is to analyse, compare, and evaluate both the effort and achievements made by the EU and Japan in the process of building creative cultural relations. The research will demonstrate an analytical approach in the political sciences discipline.
3
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Sposób podejścia do sfery kultury w stanowiskach Rady Unii Europejskiej

100%
Burgoński P.
Studia Europejskie-Studies in European Affairs
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2017
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issue 1
159-176
EN
This article attempts to explain the understanding of culture which form the basis of the EU’s cultural policy as well as to present changes in that regard occurring along with the development of this policy. The research material consisted of common positions of the EU member states adopted during meetings of the Council of the European Union. The research was done using qualitative content anal sis. The most general conclusion from the research is that the basis of the EU’s cultural policy since the beginning of the researched period have consisted of two different approaches to culture in the EU: cultural unity and cultural diversity. Moreover, the creators of the EU’s cultural policy understood the role of culture in the integration process in four ways: as a non-instrumental value, a sociocreative factor, an economic factor as well as a factor enhancing the external relations of the EU. During the researched period we observed certain changes regarding the approach towards culture. They involved either changes within the already existing ideas or creating new concepts concerning the cultural sphere.
4
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SOUTH KOREA CULTURAL HISTORY BETWEEN 1960S AND 2012

100%
PARK M. S.
International Journal of Korean Humanities and Social Sciences
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2015
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vol. 1
71-118
KO
본 논문은 1970 년부터 현재까지 한국의 문화정책에 관해 분석하였다. 국가발전주의 입장에서 문화정책이 어떻게 실행, 적용되었는지를 각 정권별로 문화정책과 기관을 통해 살펴 보았다. 이런 결과 문화정책은 박정희 정부에서부터 새마을 운동과 같은 근대화 운동을 비롯해 아시아 금융위기 이후 새로운 경제성장의 동력으로 연계되어 있는 것을 나타났다.
EN
This paper examines the development of South Korean cultural policy from the 1970s to the present. It contextualises South Korean state, culture and its cultural policy within the framework of state developmentalism, so as to understand their dynamics and relationships. A detailed analysis of how the national cultural policy is interpreted and implemented through institutional practices, historically and in its contemporary context shall be made.
5

Poland: A Dark Side of Church Cultural Policy

88%
Szocik K., Szyja A.
Studia Humana
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2015
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vol. 4
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issue 4
13-22
EN
The cultural policy of the Roman Catholic Church in Poland is incorporated into state-run cultural policies. The organs of public authority enforce the objectives of Church regardless of Church’s actual ability to influence the society. It should be pointed out that the secularization of religion in Poland is frequently misinterpreted and usually equated with its deprivatization. It is worth mentioning that Catholicism is the dominant religion of the country and the Roman Catholic Church has hold a special position in Poland and play a major role in the country’s social and political life. In practice, however, Polish society appears to be religiously indifferent. This paper proves that the official, state-run cultural policy in Poland is based on favoritism of the Roman Catholic Church, regardless of Church’s actual ability to wield influence on society. Thus, there is a variety of implicit and explicit cultural policies implemented by the authorities to support Church. This work also aims at addressing the question of social attitudes to women, especially the one concerning the UN and EU law embracing women’s rights, until recently still not implemented in Poland. This paper further explores some peculiarities of this topic as an example of a specific outcome of Church cultural policy and its impact on both the past and present-day society.
6
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Urzędnik kontra menadżer – przemiany roli kierownika instytucji kultury

75%
Kruczkowska P.
Przegląd Socjologii Jakościowej
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2016
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vol. 12
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issue 2
192-212
PL
Artykuł prezentuje sylwetki dyrektorów jednej instytucji kultury – zatrudnionego w latach 80. organizatora placówki i jego następcy – wyłaniające się z ustrukturyzowanych wywiadów. Ich wypowiedzi szkicują obraz przemian, jakie dotknęły tego typu placówki w wyniku transformacji ustrojowej i gospodarczej, związanych między innymi z reformą samorządową i decentralizacją polityki kulturalnej po 1989 roku. Pierwsza część artykułu zawiera opis założeń i metodologii projektu, z którego pochodzą omawiane wywiady oraz opis materiału empirycznego. Porównawcze zestawienie wypowiedzi obu dyrektorów poprzedzają krótkie metryki. Prezentacja mikro-narracji podzielona jest na 4 obszary tematyczne: analizę przebiegu karier zawodowych obu narratorów (droga do instytucji), wizję instytucji rekonstruującą sposób ujmowania przez badanych roli ośrodków kultury i przypisanych im zadań, funkcjonowanie instytucji i potencjalne przeszkody w jej działalności oraz obraz odbiorców kulturalnej oferty. Całość zamyka analiza zestawiająca najbardziej interesujące wątki, które pojawiły się w wypowiedziach obu dyrektorów, pomagające odpowiedzieć na pytania związane z charakterem transformacji instytucji kultury. Jednym z ważniejszych jest to, w jaki sposób obecny kształt tego typu ośrodków jest wypadkową istniejących już struktur zderzonych z nowymi wymaganiami stawianymi przed zinstytucjonalizowaną kulturą, a związanymi z takimi obszarami, jak funkcjonowanie społeczeństwa obywatelskiego czy nastawienie na rozwój przemysłów kreatywnych.
EN
The article presents the silhouettes of directors of one cultural institution—its organizer and his successor. Their statements reflect the changes that have affected this type of facilities and resulted from political and economic transformation. These changes were related to the reform of local government and decentralization of cultural policy after 1989. The first part of the article contains a description of the assumptions and methodology of the project from which the interviews at hand derive, as well as a description of empirical material. A comparative summary of both directors’ statements is preceded by their short metrics. The presentation of micro-narratives is divided into four thematic areas: the careers of both narrators, the vision of the institution (the role of cultural centers and their assigned tasks in respondents’ opinions), the principles of operation and potential obstacles to institutional activities, anticipated recipients of the cultural offer. Overall, the analysis of the most interesting topics that appeared in the statements of the two directors, which may be helpful to answer questions related to the nature of the transformation of cultural institutions, closes the whole study. One of the most important points is how the current shape of the centers of this type results from the clash of existing structures with new requirements posed to institutionalized culture, and the functioning of civil society, as well as the development of creative industries, related to the areas at hand.
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