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    Wyświetlanie 1-5 z 5
    Tytuł:
    Post–Yugoslav Collective Memory: Between National and Transnational Myths
    Autorzy:
    Rekść, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/594705.pdf
    Data publikacji:
    2016
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    collective memory
    Yugoslavia
    myth
    collective identity
    Yugo–nostalgia
    Opis:
    The aim of this paper is to analyse the image of Yugoslavia in the collective memories of the post–Yugoslav societies. The author of this text, basing on an assumption that every society has a great number of collective memories, highlights the fact that among the Balkan nations one can find both supporters and opponents not only of the SFRY but also of the idea of the cooperation among the Southern Slavs. Both positive and negative opinions of Yugoslavia in the collective memories are based not on the sober assessment of the historical facts but on collective emotions and historical and political myths. The anti–Yugoslav discourse in primarily based on the national mythology. The discourse of the supporters of the Yugoslav tradition one the other hand, goes back in a large extend to the transnational myths. By discussing these two types of ideas about Yugoslavia, the author of this text tries to show their impact on the current political decisions.
    Źródło:
    Polish Political Science Yearbook; 2016, 45; 73-84
    0208-7375
    Pojawia się w:
    Polish Political Science Yearbook
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Nostalgia za dawnymi laty. Przypadek muzyki popularnej
    Autorzy:
    Jeziński, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/2050234.pdf
    Data publikacji:
    2014-06-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    Nostalgia
    popular culture
    popular music
    mass media
    cultural studies
    Opis:
    The category of nostalgia is the element of artistic message frequently used in popular music, which influences the reception of a particular song. In their activity musicians refer to the musical past by employing cultural references and utilise fashions present in a certain environment for their own benefit. This category is present in lyrics and music, in the stage shows (performing live, festivals, TV shows) and promotional activities (interviews, promotional video clips for the songs). Such referring to tradition became a constant element of artistic communication, anchoring the music in the past and taking into account the cultural specificities. Definitional capturing of nostalgia is not entirely possible: research into this category require approaches which take into account the aspects of context important for decoding the cultural content. Interpretive tools used by semiology or cultural studies allow to depict the elements included in the form and content of music and lyrics. They indicate the presence of nostalgia as a category determining the reception of artistic work.
    Źródło:
    Kultura i Edukacja; 2014, 3(103); 248-262
    1230-266X
    Pojawia się w:
    Kultura i Edukacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Specyfika imperializmu rosyjskiego w XXI wieku
    Autorzy:
    Pajor, Olga
    Powiązania:
    https://bibliotekanauki.pl/articles/2003732.pdf
    Data publikacji:
    2017-12-31
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    Russian imperialism
    Russian mentality
    imperial nostalgia
    the uniqueness of Russian imperialism
    strong-arm régime
    Opis:
    Imperialism is the foundation of the Russian mentality and nation. Researchers are considering if the Russian Federation is a continuation of the imperial traditions of previous forms of Russian state. There is no unambiguous assessment whether the Russian Federation can be described as an empire. The aim of the article is to answer the question about the imperiality of modern Russia, through the use of the analysis of sources, history and social environment. The result of the analysis is a cross-sectional view of the issue of the Federation’s superpower. The imperial tradition, the ideological expansion of the Soviet Union, the Russian mentality and imperial nostalgia, and now foreign policy and the need for a strong leader, speak for recognizing Russia as a kind of empire. At the same time, economic weakness, declining influence in post-Soviet areas and the uncertain situation on the international arena prove that imperialism is only the past of the Russian nation. The evaluation of Russian imperialism depends on the perspective, because taking into account the determination to be perceived as in the time of the Russian Empire, their mentality and the fact that the “empire” is one of the few common elements for the entire nation – despite the undisputed weaknesses – The Russian Federation is a specific form of the modern empire.
    Źródło:
    Krakowskie Studia Małopolskie; 2017, 22; 114-130
    1643-6911
    Pojawia się w:
    Krakowskie Studia Małopolskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Jaruzelonostalgia? Wizerunek lat osiemdziesiątych w polskim kinie najnowszym (2007-2017)
    Autorzy:
    Lewicki, Arkadiusz
    Powiązania:
    https://bibliotekanauki.pl/articles/1967928.pdf
    Data publikacji:
    2019-09-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    lata osiemdziesiąte
    historia
    postaci historyczne
    film polski
    nostalgia
    eighties
    history
    historical figures
    Polish film
    Opis:
    Artykuł dotyczy sposobów ukazywania dekady lat osiemdziesiątych w polskim kinie najnowszym (w okresie 2007-2017). Autor wskazuje na cztery podstawowe kategorie filmów dotyczących ostatniej dekady PRL-u: „wielkie biografie” dotyczące kluczowych postaci historycznych, takich jak: Lech Wałęsa, Jerzy Popiełuszko czy Ryszard Kukliński; „małe biografie”, odnoszące się do losów osób powszechnie znanych, ale działających poza sferą polityczną, takich jak Zbigniew Religa czy rodzina Beksińskich; „filmy rozrachunkowe”, w których dekada stanu wojennego jest ukazana jako okres przede wszystkich różnego typu wyborów o charakterze polityczno-etycznym, które w taki czy inny sposób oddziałują na czasy współczesne. Ostatnią grupę można nazwać „filmami o codzienności”, odnoszą się one bowiem do „dekady Jaruzelskiego”, jednak pokazują ją nie od strony uwikłania w procesy historyczno-polityczne (choć w większości filmów odgrywają one rolę w życiu bohaterów), ale od strony problemów dnia codziennego.
    The article concerns the ways of displaying the decade of the eighties in the Polish newest cinema (in the period 2007-2017). The author points to four basic categories of films about the last decade of the PRL: “great biographies” on key historical figures such as Lech Wałęsa, Jerzy Popiełuszko or Ryszard Kukliński; “Small biographies” referring to the history of wellknown people but operating outside the political sphere, such as Zbigniew Religa or the Beksiński family; “Settlement films”, in which the decade of martial law is shown as a period of, above all, various types of political and ethical choices that in one way or another affect modern times. The last group can be called “films about everyday life”, because they refer to the “Jaruzelski’s decade”, but they show it not from the side of entanglement in historical-political processes (although in most films they play a role in the characters’ lives), but from the everyday problems.
    Źródło:
    Kultura i Edukacja; 2019, 3(125); 22-35
    1230-266X
    Pojawia się w:
    Kultura i Edukacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    La patria perduta nei romanzi degli autori maghrebini: Amara Lakhous e Amor Dekhis
    The Lost Motherland in Maghrebian Authors’ Novels: Amara Lakhous and Amor Dekhis
    Autorzy:
    Figarska-Bączyk, Iga
    Powiązania:
    https://bibliotekanauki.pl/articles/446534.pdf
    Data publikacji:
    2015-12-31
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    crime fiction
    Italian speaking
    migrant literature
    homesickness
    Maghreb
    giallo
    italofono
    letteratura della migrazione
    nostalgia
    Opis:
    Currently, in Italy, the migration of individuals from the Maghreb has increased so dramatically that it is impossible to ignore. Accordingly, there has been an increase in the number of migrant writers originating from these countries. Researchers distinguish three stages of migrant literature, which are described in this article. This study offers a look at the writings of two Italian-speaking writers of Algerian origin: Amara Lakhous and Amor Dekhis. Both of these writers represent the third stage of Italian migrant literature, that is, the main feature of their writings is that they are fictional, rather than covering topics intensely connected to autobiography, which is typical of the first phrase of migrant literature. The decision to study these two authors in particular is due not only to their choice to write in the same genre (crime fiction) or to their ethnic origin, but, rather, it is due to the recurring theme in their works of the loss of their homeland. This article attempts to find similarities in the writings of Lakhous and Dekhis, such as their having chosen a new language in which to write; the modification of names; the personalisation of the women’s names and the meaning of this personalisation (Algyida, Ilaria, Bagià). Finally, this study explores the topic of homesickness, which is found in the books of both writers. Using Lakhous and Dekhis as examples, this article emphasises the fact that Italian migrant literature is not detached from contemporary Italian literature; indeed, it is an inseparable part of it.
    Oggigiorno il fenomeno della migrazione in Italia di persone provenienti dai Paesi del Maghreb ha raggiunto dimensioni tali da non poter essere ignorate. Conseguentemente è aumentato anche il numero di scrittori originari di tali Paesi. La critica ha individuato tre fasi in cui si articola la letteratura della migrazione, fasi che sono descritte in questo contributo. L’articolo si concentra su due autori in lingua italiana di origine algerina (Amara Lakhous, Amor Dekhis). entrambi rappresentanti della terza fase della letteratura della migrazione in lingua italiana: la caratteristica saliente delle loro opere è quella di essere opere di narrativa piuttosto che autobiografiche, caratteristica - quella autobiografica - propria della prima fase di tale letteratura. La scelta è caduta su questi due autori non solo per il genere in cui si cimentano (il romanzo giallo) o per la loro provenienza geografica, ma anche e soprattutto per il tema ricorrente della “perdita della Patria”. Questo articolo tenta d’individuare affinità tra la scrittura di Lakhous e Dekhis, quali ad esempio la scelta di una nuova lingua, il cambio - da parte degli autori - del proprio stesso nome, la “personalizzazione” dei nomi femminili e il significato di tale operazione (Algyida, Ilaria, Bagià). Infine l’articolo si concentra sulla nostalgia per la madrepatria, ciò che possiamo riscontrare in entrambi gli scrittori. Impiegando Lakhous e Dekhis come esempio questo articolo si sforza anche di sottolineare che la letteratura della migrazione in lingua italiana non è qualcosa di separato dalla lettaratura italiana contemporanea ma anzi, ne è una parte inseparabile.
    Źródło:
    Italica Wratislaviensia; 2015, 6; 49-60
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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