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Wyszukujesz frazę "contestation" wg kryterium: Temat

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    Tytuł:
    Kontestacja à rebours. O pisarstwie i nie-pisarstwie Karla Michala
    Contestation à rebours. On Writing and Non-Writing of Karel Michal
    Autorzy:
    Czernikow, Olga
    Powiązania:
    https://bibliotekanauki.pl/articles/635377.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Karel Michal
    exile literature
    censorship
    contestation
    negation
    identity
    Opis:
    The problem of transfer from the official to the unofficial culture is one of the most significant phenomena in the post-war Czech literature history. Resistance against the limitations on creative autonomy set by the government led to the emergence of particular contestation attitudes and to the creation of counterculture, understood as a dissident and exile culture, as well as the underground. In this landscape, Karel Michal’s position is peculiar and difficult to classify; his contestation is total, as it is pointed at not only the subordination of literature to norms set by the regime, but also at the expectations put on it by the dissident community. In texts which appeared during his exile, he presents an uncompromising approach to the issue of the engagement of literature and roles assumed by a writer arbitrarily. A consequence of his radical position is the growing imperative to not write, which leads to his complete withdrawal from literary life.
    Źródło:
    Poznańskie Studia Slawistyczne; 2014, 6
    2084-3011
    Pojawia się w:
    Poznańskie Studia Slawistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Uwagi na marginesie lektury literackich kontestacji Dubravki Ugrešić
    Parenthetical Remarks on Literary Contestations by Dubravka Ugrešić
    Autorzy:
    Czapik-Lityńska, Barbara
    Powiązania:
    https://bibliotekanauki.pl/articles/635364.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Dubravka Ugrešić
    literary contestation
    Miroslav Krleža
    intellectual revolt
    postmodern aesthetics
    Opis:
    In the article, the literary texts of the Croatian authoress are considered, since they present a critical comportment that is to remain in opposition to the crisis of the contemporary culture. The article makes an attempt to describe a specificity of the writer’s literary contestations, derived from a stance of the avant-garde and modern rebellion, adopted among others by Miroslav Krleža, and from an intellectual revolt, expressed by the postmodern aesthetics and philosophy. The growing on both contestation traditions determines a manner of thinking, perceptiveness of interpretation regarding the depicted world and life. The literary contestations of Ugrešić focus on problems of the postmodern aesthetics, ethics, sociopolitical and cultural transformations.
    In the article, the literary texts of the Croatian authoress are considered, since they present a critical comportment that is to remain in opposition to the crisis of the contemporary culture. The article makes an attempt to describe a specificity of the writer’s literary contestations, derived from a stance of the avant-garde and modern rebellion, adopted among others by Miroslav Krleža, and from an intellectual revolt, expressed by the postmodern aesthetics and philosophy. The growing on both contestation traditions determines a manner of thinking, perceptiveness of interpretation regarding the depicted world and life. The literary contestations of Ugrešić focus on problems of the postmodern aesthetics, ethics, sociopolitical and cultural transformations.
    Źródło:
    Poznańskie Studia Slawistyczne; 2014, 6
    2084-3011
    Pojawia się w:
    Poznańskie Studia Slawistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    From aspiring saint to disillusioned rebel. Explaining change in the Polish narrative of European integration
    Od ambitnego świętoszka do rozczarowanego buntownika. Jak wyjaśnić zmianę polskiej narracji o integracji europejskiej
    Autorzy:
    Cianciara, Agnieszka K.
    Powiązania:
    https://bibliotekanauki.pl/articles/625823.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Polska
    European Union
    narrative
    adaptation
    contestation
    Polska
    Unia Europejska
    narracja
    adaptacja
    kontestacja
    Opis:
    W wymiarze koncepcyjnym artykuł czerpie z teorii pola Bourdieu i teorii stygmatyzacji Goffmana w celu wyjaśnienia ewolucji oficjalnej narracji polskiego rządu w odniesieniu do integracji europejskiej. Analiza produkcji narracji przez rząd RP ukazuje znaczące przesunięcie w zakresie strategii radzenia sobie ze stygmatyzacją (faktyczną lub wyobrażoną), która określa pozycję Polski w unijnym polu władzy: od strategii adaptacyjnej (korekcyjnej) do strategii kontestacyjnej, gdzie stygmatyzowany atrybut ulega przekształceniu w cnotę. W wymiarze empirycznym owo przesunięcie zilustrowano 3 przykładami produkcji narracji w warunkach kryzysu: 1) kryzys strefy euro (Polska adaptuje się do dominującej w UE narracji i promuje własne doświadczenie polityki oszczędności, sprzymierzając się ze “świętymi” z Północy przeciwko “grzesznikom” z Południa); 2) kryzys migracyjny (Polska przechodzi od adaptacji do kontestacji, przekształcając stygmatyzowany “brak solidarności” w odpowiedzialną “normalność”); 3) kryzys rządów prawa (Polska konsoliduje strategię kontestacji, konstruując zaistniały konflikt w kategoriach kontrataku niedemokratycznego unijnego centrum na “prawdziwych” demokratów z peryferii UE). Narracja ewoluuje zatem od kontestacji konkretnego rozwiązania politycznego (kwoty migrantów) do podważenia normatywnych podstaw procesu integracji europejskiej.
    This article conceptually draws on Bourdieu’s field theory and Goffman’s stigma theory to explain the evolution of Polish government’s official narrative on European integration. Narrative production by Polish authorities reveals a marked shift in strategy adopted to deal with the stigma (real or imagined) that structures Poland’s position in the EU field of power: from adaptive (corrective) to contesting strategy where stigma is embraced and transformed into a virtue. Empirically, this shift is illustrated with 3 examples of narrative production under crisis: 1) euro-zone crisis (Poland adapts to the dominant EU narrative and promotes its own austerity experience, while allying itself with the northern “saints” against the southern “sinners”); 2) migration crisis (Poland moves from adaptation to contestation, while narrating the “lack of solidarity” stigma as the responsible “normal”); 3) rule of law crisis (Poland consolidates its contestation strategy, while framing the dispute as a counter-measure from undemocratic EU centre to discipline “real” democrats in the periphery). Thus the narrative moves from contestation of a particular policy solution (migration quotas) to undermining normative bases of the European integration process.
    Źródło:
    Rocznik Integracji Europejskiej; 2019, 13; 295-309
    1899-6256
    Pojawia się w:
    Rocznik Integracji Europejskiej
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    L’Imagination au pouvoir: historia sztuki w czasach kryzysu lat 60./70
    Autorzy:
    Turowski, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/909504.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    art history in Poznań
    art history
    theory and methodology
    avant-garde
    1968
    contestation
    Opis:
    The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a wide panorama of intellectual stimuli which contributed to an epistemic and methodological turn, first in his own scholarly work and then in the work of some other art historians in Poznań. Those turns opened art history at the University of Poznań to critical reading of artistic practices approached in relation to other social practices and subjects of power. As a result, four key problems were addressed: (1) the position of contemporary art in research and teaching, (2) the necessity to combine detailed historical studies with critical theoretical reflection, (3) the questioning of genre boundaries and ontological statuses of the objects of study and the semantic frames of the work of art, and finally, in connection to the rise of an interdisciplinary perspective, (4) the subversion of the boundaries and identity of art history as an academic discipline. Then the author reconstructs the theoretical background of the “new art history” that emerged some time later, drawing from the writings of Walter Benjamin, the French structuralism, Theodor Adorno’s aesthetic theory, and Louis Althusser’s interpretation of the concept of ideology. Another important problematic was the avant-garde art of Poland and other East-Central European countries, studiedin terms of artistic geography and the relations between the center and periphery. The conclusion of the paper presents a framework marked with the names of Aby Warburg and Max Dvořák, which connected the tradition of art history with new developments, took under consideration the seminal element of crisis, and allowed art historians to address a complex network of relations among the artist’s studio, the curator’s practice, the scholar’s study, and the university seminar, as well as the West, the Center, and the East. At last, the author remembers the revolutionary, rebellious spirit and the lesson of imagination that the Poznań art history took from March and May, 1968.
    Źródło:
    Artium Quaestiones; 2019, 30; 399-413
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    L’Imagination au pouvoir: Art History in the Times of Crisis, 1960s – 1970s
    Autorzy:
    Turowski, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/909518.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    art history in Poznań
    art history
    theory and methodology
    avant-garde
    1968
    contestation
    Opis:
    The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a wide panorama of intellectual stimuli which contributed to an epistemic and methodological turn, first in his own scholarly work and then in the work of some other art historians in Poznań. Those turns opened art history at the University of Poznań to critical reading of artistic practices approached in relation to other social practices and subjects of power. As a result, four key problems were addressed: (1) the position of contemporary art in research and teaching, (2) the necessity to combine detailed historical studies with critical theoretical reflection, (3) the questioning of genre boundaries and ontological statuses of the objects of study and the semantic frames of the work of art, and finally, in connection to the rise of an interdisciplinary perspective, (4) the subversion of the boundaries and identity of art history as an academic discipline. Then the author reconstructs the theoretical background of the “new art history” that emerged some time later, drawing from the writings of Walter Benjamin, the French structuralism, Theodor Adorno’s aesthetic theory, and Louis Althusser’s interpretation of the concept of ideology. Another important problematic was the avant-garde art of Poland and other East-Central European countries, studied in terms of artistic geography and the relations between the center and periphery. The conclusion of the paper presents a framework marked with the names of Aby Warburg and Max Dvořák, which connected the tradition of art history with new developments, took under consideration the seminal element of crisis, and allowed art historians to address a complex network of relations among the artist’s studio, the curator’s practice, the scholar’s study, and the university seminar, as well as the West, the Center, and the East. At last, the author remembers the revolutionary, rebellious spirit and the lesson of imagination that the Poznań art history took from March and May, 1968.
    Źródło:
    Artium Quaestiones; 2019, 30; 243-256
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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