Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 5

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  aesthetization
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Droga samuraja

100%
Hańderek J.
Estetyka i Krytyka
|
2013
|
issue 2(29)
59-77
EN
In this paper I shall analyze the phenomenon of popular culture and its reception in its narrow meaning as well as in the wider one. Popular culture – as it has been shown by Jocke Hermes, one of its researchers by reaching for simple means of communication and by relying on simplified stylistics, can explain reality and change attitudes of its receivers towards the world. Film is a crucial element of popular culture, and Jim Jarmusch’s “Ghost Dog. The Way of the Samurai” makes for a very interesting example. On the one hand, it shows violence and fighting in an aestheticized way, on the other, however, it also shows how culture incorporates elements of other cultures. What I shall focus on in the present paper is especially this second aspect. The tale about an African American who lives by the Samurai code, faithfully reconstructing the attitudes described in a textbook and gradually adopting the mentality of “the East,” becomes a perfect illustration of cultural influence and interaction between cultures. The man portrayed by Jarmusch relies on a textbook: “The Way of the Samurai,” and is thus able to choose cultural paradigmata on his own, drawing from the possibilities that the modern, open form of multiculturalism presents to him. At the same time, he is authentic, almost primary in his actions. By remaining faithful to his master and to the Samurai virtues, he returns to the world of Japanese culture and tradition. The fact of him being an African American, a man rooted in both African and Western culture (he lives, was born and brought up in the United States) is being treated as a parallel. He completes his existential development through contact with a different culture and its values.The essence of the story are gangster fights, therefore fighting and its canons are contrasted with cultural requirements. The fact that Jarmusch’s film is based on violence, and that only through this violence can the cultural determinants be shown, may have a double meaning. On the one hand, the contrast between modern aggression of Western people (simple and based only on physical violence) and the Samurai code (requiring one not only to comply with given virtues, but also to be in control of oneself) can show the relation between Eastern and Western culture, as well as provide a modern take on many traditions and their meaning. On the other hand, this martial art, as the art of being in control of oneself, becomes a way for the hero of Jarmusch’s film to seize the authenticity of his life.
2

Sport and Globalisation: Homogenization and Differentiation

63%
Gomez R.
Physical Culture and Sport. Studies and Research
|
2009
|
vol. 47
|
issue 1
20-27
EN
The development of the worldwide market has motivated long-ranging consequences, not only at the level of growing economic interdependencies, but also in the globalization of cultures and lifestyles. At any of these dimensions, sport plays a role and contributes in its own particular way to globalization. Transnational organizations, worldwide events, transnational communities and transnational structures organised around the central theme of Sport provide good evidence of that phenomenon. However, the way these dimensions interrelate at a time of unorganised capitalism is based on disjuncture. Following this thesis, Appadurai (1996) has proposed an elementary scheme for the analysis of the disjuncture between the several dimensions of globalization, suggesting the notion of landscapes to underline the fluid and irregular shape of the capital flow, pertaining to both communications and lifestyles. By emphasising that globalization is intensively perceived according to, and influenced by the historical, linguistic and political contexts of the intervening players, the author deliberately focuses on the imagined worlds that help us construct those landscapes. In this paper, we will retrieve some of those theoretical leads and analyse three types of landscape in the leisure and sports contexts, in an attempt to demonstrate how their interrelation is one of disjuncture, where some dimensions promote sports homogenization while others push towards increasing differentiation. We will analyse the mediascapes (Sport as global spectacle), the technoscapes (the role of the new media and velocity in the creation of decontextualised global cognitive maps), and the ideoscapes (the role of images and the aesthetisation of the leisure sports experiences)
3
Publication available in full text mode
Content available

Praktyki designu a doświadczenie estetyczne

63%
Głutkowska-Polniak A.
Ars inter Culturas
|
2020
|
issue 9
373-385
EN
The study of design practices in aesthetic terms (aesthetization and aesthetic experience) may appear, seemingly, trivial and irrelevant. However, the human environment today is in such a fundamental transition that failure to take account of this aspect is unfounded. The aim of design is primarily to produce artefacts, to transform them into a natural environment, but also, perhaps even above all, to maintain a balanced relationship between the ecosphere and the “artificial” human world, created and orchestrated for him. It is not just about designing an object, a system, an interaction or relationship that guarantees simplicity and efficiency, that is, a defined utility, but a deeper reflection on how a particular person experiences it and what the consequences this experience brings. Therefore, the purpose of design in this article will be expanded to include an aesthetic aspect, because isolation from the aesthetic criterion (regardless of how we understand it) in contemporary design practices seems to be difficult to maintain.
4
Publication available in full text mode
Content available

Badanie kategorii estetycznych w dyskursie telewizyjnym. Analiza logocentryczna

63%
Loewe I.
Res Rhetorica
|
2023
|
vol. 10
|
issue 1
145-162
EN
The article's material consists of language layers of fairy tales, fables and reportages broadcast on Polish television. Genres are selected based on differentiation in terms of structure, functionality and style, so it is easy to demonstrate the implementation of rhetorical strategies. Aestheticisation, anaesthesia and anti-aestheticisation should appear in these various texts and be motivated. The author considers from the perspective of medialinguistics, uses the tools of stylistics and draws on the findings of axiolinguistics. The stylistic analysis showed that aesthetic categories serve as a tool in the study of multimodal television text, which is not primarily designed for aesthetic experiences.
PL
Materiał artykułu stanowią warstwy językowe emitowanych w telewizji polskiej bajek, programów fabularnych i reportaży. Gatunki są dobrane na zasadzie zróżnicowania pod względem struktury, funkcjonalności i stylu, by łatwo dało się wykazać realizacje strategii estetycznych, które mają cel retoryczny. Estetyzacja oraz anestetyzacja i antyestetyzacja powinny się w tych zróżnicowanych tekstach pojawić i być umotywowane. Autorka prowadzi rozważania z perspektywy mediolingwistyki, używa narzędzi stylistyki i posiłkuje się ustaleniami aksjolingwistyki. Analiza stylistyczna wykazała, że kategorie estetyczne mogą służyć jako narzędzie w badaniu multimodalnego tekstu telewizyjnego, który prymarnie nie jest przeznaczony do analizy przeżyć estetycznych.  
5

Dlaczego jedzenie musi być piękne?

51%
Zagrodzka D.
Prace Kulturoznawcze
|
2017
|
vol. 21
|
issue 2
69-85
PL
W artykule omawiam problem estetyzacji jedzenia. Analizuję dwudziestojednowieczne manifesty napisane przez szefów kuchni, takie jak Open Letter to the Chefs of Tomorrow i Statement on the ʻnew cookeryʼ. Szczególnie interesuje mnie język, jakiego używają, mówiąc o jedzeniu i gotowaniu. Często jest on podobny do języka używanego do opisu sztuki i procesu twórczego. Przykładowo, jednym z najpopularniejszych terminów jest termin „interpretacja”, dotyczący zarówno działań kucharzy, jak i jedzących. Podkreśla się, że akt jedzenia powinien być całościowym doświadczeniem i dostarczać emocji zarezerwowanych dla sztuki. Czy rzeczywiście możemy mówić o podobieństwie jedzenia do dzieła sztuki i gotowania do tworzenia? Odwołując się między innymi do rezultatów wstępnych badań, jakie prowadziłam, chcę pokazać, jak koncepcja estetyzacji codzienności Wolfganga Welscha koresponduje z ideą Georga Simmla o estetycznej sile wspólnego stołu. Okazuje się, że chodzi nie tylko o podawanie pięknych dań. Aby osiągnąć satysfakcję estetyczną z posiłku, szczególnie ważne jest, z kim i w jakim otoczeniu jemy. Wspólnota jest czymś nadbudowanym nad jednostkową satysfakcją. Roland Barthes zaznaczał także, że reguły i zakazy obowiązujące podczas jedzenia zostały stworzone, aby ukryć erotyczny, indywidualny aspekt jedzenia.
EN
In my article I discuss the problem of the anesthetization of food. I analyzed the 21st century manifestos written by the chefs, including Open Letter to the Chefs of Tomorrow and Statement on the »new cookery«. I am particularly interested in the language they use talking about food and cooking. It is often similar to the language which is used to describe the work of art and the creative process. For example, the most popular term is ‘interpretation’ concerning the activities of cooks and eaters. It is emphasized that the act of eating is supposed to be holistic experience and should provide feelings reserved for art. But how much can you actually talk about the similarity of food to the pieces of art and about the similarity of cooking to creating something? Referring to the results of the preliminary research that I conducted, I want to show how to combine Wolfgang Welsch’s concepts about everyday aesthetisation and Georg Simmel’s ideas about the aesthetic power of a community table. It turns out that it is not just about to serve beautiful plates. To be satisfied with the meal it is also important who we eat with and in what setting. The community is something appearing over the individual satisfaction. Roland Barthes admitted that the rules and prohibitions are designed also to cover the erotic aspects of feasting.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.