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Tytuł:
Bangla Rock: exploring the counterculture and dissidence in post-colonial Bengali popular music
Autorzy:
Kamalini, Mukherjee,
Powiązania:
https://bibliotekanauki.pl/articles/890511.pdf
Data publikacji:
2018-02-27
Wydawca:
Akademia Pedagogiki Specjalnej im. Marii Grzegorzewskiej. Wydawnictwo APS
Tematy:
counterculture
alternative music
bangla rock
vernacular music
Opis:
This paper is an attempt to explore the politics and the poetics of vernacular music in modern Bengal. Drawn from extensive and in-depth research into the current “scene” (as popularly referred to in the musician and music lover circles), this paper delves into the living histories of musical and linguistic revolutions in a part of India where the vernacular literature has been historically rich, and vastly influenced by the post-colonial heritage. The popular music that grew from these political and cultural foundations reflected its own pathos, and consecutively inspired its own form of oral tradition. The linguistic and musical inspirations for Bangla Rock and the eventual establishment of this genre in a rigidly curated culture is not only a remarkable anthropological case study, but also crucial in creating discourse on the impact of this music in the creation of oral histories. This paper will discuss both the musical and the lyrical journey of Bengali counterculture in music, thus in turn exploring the scope of Bangla – as in the colloquial for Bengali, and Rock – the Western musical expression which began during the 50’s and the 60’s (also populist and political in its roots). The inception of this particular political populist narrative driven through songs and music, is rooted in the Civil Rights movement, and comparisons can be drawn in the ‘soul’ of the movements, though removed both geographically and by time. Thus this paper engages with the poetics of Bangla Rock, to understand the marginal political voices surfacing through alternative means of expression.
Źródło:
International Journal of Pedagogy, Innovation and New Technologies; 2017, 4(2); 35-47
2392-0092
Pojawia się w:
International Journal of Pedagogy, Innovation and New Technologies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dadaism (Re)activated. Artzins and Dada
Autorzy:
Lachman, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/649339.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
artzin
Polish counterculture in the 1980s and 1990s
Dadaism
Opis:
The article analyses in what way artzins (independent art and literary journals published in Poland in the 1980s and 1990s) drew inspiration from the Dada tradition, and how they made its philosophy live again. Artzins are seen here both as a medium of literature and art and as specific forms of artistic expression (press art). The article attempts to show why artzins and their authors were interested in reviving the avant-garde and Dada ideas. It also investigates how Dadaism functions today in the form of contemporary works and styles which are influenced by this avant-garde movement. What is more, the article tries to answer the question about the nature and definition of Dadaism shaped and reflected by today's artistic projects.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2017, 44, 6
1505-9057
2353-1908
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Polonica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
De- i re- mitologizacje
Autorzy:
Sławomir, Magala,
Powiązania:
https://bibliotekanauki.pl/articles/487856.pdf
Data publikacji:
2019-08-04
Wydawca:
Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
Tematy:
ART MYTH
ART PARADIGM
DE AND RE MYTHICIZATION OF ART
CULTURE
POPCULTURE
COUNTERCULTURE
MIT SZTUKI
PARADYGMAT SZTUKI
DE- I RE- MITOLOGIZACJE SZTUKI
KULTURA
POPKULTURA
KONTRKULTURA
Opis:
Not only light escapes our reflections, wandering about the term wave and the term particle. Also arts, which present the world as it if was mysteri- ous and worth living, escape our intellectual order. They bolt from subtle conceptual webs, wander between patterns of discoveries (a “discovery” of perspective in renaissance) and designs (drafts, projects) of inven- tions (“inventing” photography, and then putting it in motion and giving it sound). They bolt, wandering between myths, of which two are most important for arts – the myth of renaissance, i.e. resurrection (but at the same time, liberation), and myth of counterculture i.e. liberation (but at the same time, resurrection). Mythicization, demythologization and remy- thologization sail between two para-myths, i.e. paradigms, mothers of all performance art myths. It is about a discovery myth, which will inspire us to dream up plans for the future, and a myth of invention, which will save us from annoying slavery.
Źródło:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2019, 27; 88-107
1733-1528
Pojawia się w:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dla jakich dzieci Alicja? Alicja dla dzieci kwiatów! Muzyczne przetworzenia Alicji w Krainie Czarów przez kontrkulturę lat sześćdziesiątych
Is Alice Needed by Any Flowers? Alice Is Needed by Flower Power! Musical Transformations of Alice in Wonderland by the Counterculture of the 60s
Autorzy:
Koćma, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/1182980.pdf
Data publikacji:
2016-06-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Alice in Wonderland
flower power
counterculture
the 60s
music
Alicja w Krainie Czarów
dzieci kwiaty
kontrkultura
lata 60.
muzyka
Opis:
Niniejszy artykuł przedstawia muzyczne przetworzenia Alicji w Krainie Czarów Lewisa Carrolla przez kontrkulturę lat 60. Autorka pokazuje, jak psychodelia w sztuce i kulturze tamtego okresu sprawiła, że utwór zaczął być postrzegany jako zapis doświadczenia narkotycznego. Analizując, co w tekstach piosenek dzieje się z takimi bohaterami, jak – na przykład Alicja, Szalony Kapelusznik, Pan Gąsienica czy Biały Królik, autorka wskazuje na transformacje, jakiej uległy postaci w piosenkach The Beatles, Jefferson Airplane, The Incredible String Band, The Monkees czy Toma Northcotta. Piosenki podzielono na trzy części: Alicja – Ta, Która Wie, Alicja – Ta, Której Nie Ma i Mieszkańcy Krainy Czarów.
The paper presents musical development of Alice in Wonderland by Lewis Carroll from a perspective of the counterculture of the 60s. The authoress shows how the existence of psychodelia in arts and culture of that decade made Carroll’s work a kind of record of the so called “trip”. Trying to analyze what happens to the lyrics’ protagonists, for example Alice, Mad Hatter, Caterpillar or White Rabbit, the authoress indicates the transformations of them in songs of The Beatles, Jefferson Airplane, The Incredible String Band, The Monkees or Tom Northcott. The lyrics were divided into three parts: The Alice Who Knows, The Alice Who Is Gone and The Wonderland’s Inhabitants.
Źródło:
Porównania; 2016, 19; 183-199
1733-165X
Pojawia się w:
Porównania
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Doświadczanie Węgajt: Wielogłos
The Experience of Węgajty: A Polylogue
Autorzy:
Wiśniewska, Marzenna
Powiązania:
https://bibliotekanauki.pl/articles/35174464.pdf
Data publikacji:
2024
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
Węgajty Theatre
Erdmute Sobaszek
Wacław Sobaszek
anthropology of experience
polyphony
counterculture
Teatr Węgajty
antropologia doświadczenia
polifonia
kontrkultura
Opis:
Artykuł jest recenzją książki Polifonia: Rzecz o pracy twórczej Teatru Węgajty pod redakcją Katarzyny Kułakowskiej, wydanej przez Instytut Sztuki PAN w 2023. Autorka poddała analizie konsekwencje przyjętych metodologii badawczych, strukturę publikacji i układ tekstów w poszczególnych częściach tomu oraz omówiła wyłaniające się w toku lektury główne bloki tematyczne i zagadnienia, które są szczególnie interesujące w kontekście współczesnych postulatów tworzenia historii teatru i krytyki instytucjonalnej.
The article discusses the book Polifonie: Rzecz o pracy twórczej Teatru Węgajty (Polyphonies: The Creative Work of the Węgajty Theatre), edited by Katarzyna Kułakowska and published by the Institute of Art of the Polish Academy of Sciences in 2023. The reviewer analyses the implications of the volume’s research methodologies, structure, and the arrangement of contributions within its sections. She also discusses the main thematic areas and specific problems that come to the fore in the course of reading and are especially interesting in the context of contemporary postulates regarding the writing of the history of theatre and institutional critique.
Źródło:
Pamiętnik Teatralny; 2024, 73, 2; 229-244
0031-0522
2658-2899
Pojawia się w:
Pamiętnik Teatralny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Echa subkultury hipisowskiej w opowieści Iriny Bogatyriewej AutoSTOP
Hippie Subculture Echoes in Irina Bogatyreva’s Tale AutoSTOP
Autorzy:
Kowalska, Martyna
Powiązania:
https://bibliotekanauki.pl/articles/16501104.pdf
Data publikacji:
2022
Wydawca:
Polska Akademia Nauk. Czasopisma i Monografie PAN
Tematy:
hippies
Irina Bogatyreva
sistiema
counterculture
the open road
Opis:
The hippie subculture has created a large number of its own values, signs, symbols, ideas and folklore elements. The hippie movement in Russia, called sistiema, was a manifestation of mainstream‑rejecting activities comparable to the Western countercultural movements of the 1960s. With the dissolution of the Soviet Union, the subculture significantly modified itself, but the developed traditions, practices and behaviours are still present among certain youth groups. A contemporary take on the hippie culture was presented by Irina Bogatyreva in her debut novel AutoSTOP (2005). This article attempts to analyse its text from the perspective of a continuation of the hippie culture. It also focuses on the contemporary aspects of putting into practice a “hippie utopia”, considered as an alternative to the culture of consumption.
Źródło:
Slavia Orientalis; 2022, LXXI, 1; 117-132
0037-6744
Pojawia się w:
Slavia Orientalis
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ekonomiczne aspekty Internetu: powstanie komercyjnych fundamentów sieci
Autorzy:
Maciąg, Rafał
Powiązania:
https://bibliotekanauki.pl/articles/640284.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
Internet
Web
WWW
economics
counterculture
network business
ACTA
macroeconomics
Opis:
Economic Aspects of the Internet : the Rise of the Commercial Foundations of the WebThe article describes the Internet and the crucial conflict in expectations as regards common convictions which emphasize the social view of the Web. Such views are very popular and as a result they bring the great vision of the Internet as a new public space which demands democratic civil rights for example. In this situation inevitably a conflict emerges between this vision and the business which treats the Internet as its natural environment. The article describes the very beginnings of the Internet and the early phase of this conflict, which has existed from the very beginning mostly due to the counterculture of the sixties in USA. The article also describes the commercial sources of the Web which allowed its voluminous progress and the role of the third player in this game – the Government of the USA which has seen the Internet as a chance for potential economic growth. The article also emphasizes the great significance of the macroeconomic environment in the eighties, which also considerably enhanced the development of the Web. The article documents the predominance of the economic aspect of the Internet, which has become a fact already at the beginning of the nineties and describes incidents which confirm this situation, for example the rebellion of Jon Postel in 1998.
Źródło:
Zarządzanie w Kulturze; 2012, 13, 2
2084-3976
Pojawia się w:
Zarządzanie w Kulturze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Galeria jako zagadnienie artystyczne w sztuce konceptualnej
Gallery As An Artistic Concept In Conceptual Art
Autorzy:
Guzek, Łukasz
Powiązania:
https://bibliotekanauki.pl/articles/424714.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONCEPTUALISM
CONCEPTUAL ART
CONCEPTUAL GALLERY
GALLERY MOVEMENT
GALLERY NETWORK
COUNTERCULTURE
ANTI-INSTITUTION
ARTIST RUN INITIATIVES
ARI
LIVING GALLERY
ANDRZEJ KOSTOLOWSKI
JAROSLAW KOZLOWSKI
NET ART
PERFORMANCE ART
LIVE ART
ACTION ART
Opis:
The text announces a research program on the galleries that emerged in relation to conceptual art and introduces the scope and method of research. The general aim of the research is to set apart the issue of a conceptual gallery as an independent artistic phenomenon. A conceptual gallery is examined as a general artistic formula. The methodological scheme presented in the text aims at establishing a basic chronology and creating a typology of the trend. Historically, conceptual galleries emerged and were shaped in the frame of a broadly understood conceptual tendency (a leading tendency in the seventies) because at that time, there occurred a specific formal-artistic relationship between art and gallery. Until now, the conceptual gallery trend has been examined mainly in the context of the social, political and cultural conditions in which they were functioning. The research on conceptual galleries as an artistic project and a form of conceptual art causes the vector of the research to reverse. The artistic character of particular galleries could be graded into those which housed more or less radical projects. One may imagine a scale between limit points: a gallery as a work of art and a gallery as an art container and place all galleries from the seventies on it. The beginning of the conceptual gallery movement in Poland is marked by a project by Andrzej Kostolowski and Jaroslaw Kozlowski entitled NET (1971), based on a mail-art formula. It assumed not only collecting and exhibiting the works sent (which was each institution’s aim), but also creating their own specific points in the network of institutions. Thirty five galleries participated in an exhibition which summarised an activity of the BWA Gallery in Sopot in the summer of 1981. The galleries of this type functioned in the next decade, even during martial law. In the mid-nineties the gallery movement started to integrate again, however after 2000 the commercialisation of the art market caused their disappearance.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 123-131
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
India in the Imagination of 20th and 21st Century Croatian Literature
Autorzy:
Molvarec, Lana
Powiązania:
https://bibliotekanauki.pl/articles/15582250.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
India
Croatian literature
historical novel
travel
counterculture
Opis:
The purpose of this paper is to study perceptions of India in three literary works, from the 20th and 21st century. The first part looks into the tenets of postcolonial theory and literary imagology as a possible methodological framework. Subsequently, premodern perceptions of India in the Croatian literary and cultural space are summarised. The central analysis focuses on the historical novelJaša Dalmatin (Jaša Dalmatin, Viceroy of Gujarat) by Ivana Brlić-Mažuranić, the travelogue U potrazi za staklenim gradom (In Search of the Glass City) by Željko Malnar and Borna Bebek, and the short story Indija (India) by Bekim Sejranović. The analysis demonstrates that each of these writings reconstructs premodern perceptions to some extent, but primarily introduces new perceptions that are linked to the specific social, cultural and ideological context in which these works were written. This indicates that literary perceptions are at the same time always acts of literary fiction as well as a socially and culturally construed production of meaning.
Źródło:
Poznańskie Studia Slawistyczne; 2022, 23; 93-110
2084-3011
Pojawia się w:
Poznańskie Studia Slawistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kultura Zrzuty, suplement do tematu
The Pitch-In Culture – an Annex
Autorzy:
Sobota, Adam
Powiązania:
https://bibliotekanauki.pl/articles/424355.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
Kultura Zrzuty
The Pitch-In Culture
counterculture
Łódź
Koszalin
stan wojenny
martial low in Poland
artist run initiatives
Opis:
An artistic phenomenon called the ‘Pitch-In Culture’ distinguished the Łódź artistic scene, although it actually reflected the situation in the whole country during the eighties and that is the reason why it attracted artists from different towns and various generations. The most radical arts programme emerged across the entire spectrum of independent artistic activities in Poland after martial law and it was different from art directly connected with political opposition or religious motives. I observed some ‘Pitch- In culture’ actions in Łódź, however I prefer to talk about the way the phenomenon was situated in the broader context of the situation for the arts communities in Poland. Since the mid fifties the art circuit had become stronger and stronger, becoming an alternative to official culture. The totalitarian system was conducive to bureaucratic stagnation, so young artists, who were interested in new media and a non-conventional means of expression, created their own network of artistic groups, galleries and events, most often associated with so called ‘student culture’. In the seventies these artistic communities was numerous and multi-generational. Their basic need was selfeducation and generating a network of private contacts in the country and abroad as well as mutual support within art groups and collective shows. The situation after martial law strongly underlined the need to continue to communicate, deepen the knowledge and keep contact with the essence of modern art. The fight for an artistic awareness ran parallel to the fight for political freedom and historical truth. It was not about randomly adding whatever, but moreover about adding something that was considered valuable to the culture that was practiced at the time. For me, as an art historian it was important to broaden the knowledge and preserve the facts about modern art history. Independently of my work in the museum, I participated in a team directed by Professor Aleksander Wojciechowski, who worked on the history of the neoavant- garde in Lower Silesia. Jerzy Busza also appointed me a member of the editorial board of the Obscura bulletin (1982-1990), in which we published important texts that had not been published before in Poland and which explained the sense of modernist and post-modernist ideas. The monthly edition was published as the Federation of Amateur Photography Associations allowed us to publish it as their bulletin. This may all be described as progressive activities in the face of the lack of institutional support at the time for various forms of culture.
Źródło:
Sztuka i Dokumentacja; 2012, 7; 60-65
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kultura Zrzuty trzydzieści lat później
The Pitch-In Culture Thirty Years Later
Autorzy:
Dziamski, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/424591.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
Jacek Kryszkowski
Józef Robakowski
Łódź Kaliska
relational aesthetics
Nicolas Bourriaud
Kultura Zrzuty
The Pitch-In Culture
counterculture
Łódź
Koszalin
stan wojenny
martial low in Poland
artist run initiatives
Opis:
The “Pitch-In Culture” began functioning at the end of 1981 within a circle of people connected with the Łódź Kaliska group, but very soon its strongest presence was reflected by the Artist pilgrimage, Long live art! (Łódź 2-4.09.1983). This was when two meanings of the term “Pitch-In Culture” emerged: a narrow one, meaning people connected with the Łódź Kaliska group and those whose concept of art was closely associated with the group and broader intrepretation – meaning the way the artists acted who wanted to keep their independence during the martial law. Józef Robakowski on the occasion of an exhibition organised in Belgium entitled The Polish avant-garde wrote that the Pitch-In Culture was “independent of politicians, police, church, administration and artists themselves”, it expresses in gestures and slogans, “that is why it may be everywhere, in our homes, streets, forest, bar, park, tram, queue at the butchers shop and even on the train from Łódź to Koszalin and back”. Martial law forced artists to search for new forms for their activities, but this did not blur the previous personal and artistic differences. For Józef Robakowski the Pitch-In Culture was a new form for the activities of independent artists; for Łódź Kaliska it was a new artistic form. In the first case the ‘Pitch-In Culture’ was only a means; in the second – it was an aim. Of course, the second is more interesting but it requires us to answer a question: what was the art form about? Some critics thought of Jacek Kryszkowski as one of the Pitch-In Culture leaders, although he considered that the Pitch-In Culture was supposed to break with the production model of art. Kryszkowski never explained how this post-production art shall look. Today, even though Kryszkowski would not have been happy about this, since many times he attacked the dependence of Polish criticism upon art terminology and theories worked out in the West, we could say that post-production art actually resembles the relational aesthetics of Nicolas Bourriaud.
Źródło:
Sztuka i Dokumentacja; 2012, 7; 66-69
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Między Kommune 1 a „niedzielną pieczenią”. Krautrock w świetle koncepcji komunizmu kwasowego
Between Kommune 1 and Sonntagsbraten. Krautrock and Acid Communism
Autorzy:
Idzikowski, Kamil
Powiązania:
https://bibliotekanauki.pl/articles/15602677.pdf
Data publikacji:
2021-07-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
counterculture
acid communism
krautrock
popular music
social movements
komunizm kwasowy
kontrkultura
muzyka popularna
ruchy społeczne
Opis:
The article examines selected phenomena of the so-called krautrock, i.e. West German rock music of the late 1960s and the 1970s. The analysis is based on Mark Fisher's concept of acid communism and the related issue of collective subjectivity. The author distinguishes two opposing tendencies in the music discussed, the first one being the fascination with the collective that goes back to the student protests of 1967–1968, and the second one being the (re)appreciation of individual perspective, which manifested itself e.g. in an increased interest in spirituality and a certain kind of social criticism performed from a distanced position. Focusing on the relationship between the individual and the group, the article analyzes a number of songs and albums that have received little or no attention from researchers up to now.
Źródło:
Praktyka Teoretyczna; 2021, 40, 2; 95-122
2081-8130
Pojawia się w:
Praktyka Teoretyczna
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Obrzeża subkultury czy ruch religijny? Satanizm młodzieżowy w Polsce w latach osiemdziesiątych XX wieku
Fringes of the Subculture or a Religious Movement? Youth Satanism in Poland in the 1980s
Autorzy:
Tracz, Bogusław
Powiązania:
https://bibliotekanauki.pl/articles/2019229.pdf
Data publikacji:
2022-01-14
Wydawca:
Polska Akademia Nauk. Instytut Historii im. Tadeusza Manteuffla PAN w Warszawie
Tematy:
Satanism
religions and confessions in Poland
informal religious movements
counterculture
heavy metal
metal subculture
youth subculture
youth in People’s Poland
1980s
satanizm
religie i wyznania w Polsce
nieformalne ruchy religijne
kontrkultura
subkultura metalowa
subkultura młodzieżowa
młodzież w PRL
lata osiemdziesiąte XX w.
Opis:
Artykuł jest próbą przedstawienia dziejów satanizmu młodzieżowego, który pojawił się w Polsce u progu lat osiemdziesiątych XX w., wraz napływem mody na heavy metal i ukształtowaniem się subkultury młodzieżowej zgromadzonej wokół tej muzyki oraz jej podgatunków. Przedstawione zostało kulturowe tło powstania i rozwoju współczesnego satanizmu w USA i na zachodzie Europy, a następnie jego recepcja w Polsce lat osiemdziesiątych XX w., która następowała z jednej strony w oderwaniu od amerykańskich i zachodnioeuropejskich źródeł tego zjawiska, z drugiej zaś była próbą jego skopiowania w warunkach społeczeństwa niedemokratycznego i jednocześnie w dużej mierze tradycyjnego. Przedstawiono rolę muzyki i jej wykonawców, a także oficjalnych mediów w rozpropagowaniu satanizmu, reakcje społeczne na jego pojawienie się i działania mające na celu jego zwalczanie. W oparciu o nowe, niewykorzystane dotychczas źródła, autor weryfikuje niektóre twierdzenia funkcjonujące w literaturze przedmiotu i stawia nowe pytania badawcze.
This article presents the history of youth Satanism, which appeared in Poland in the early 1980s. It was brought up by the fashion for heavy metal music, and the formation of a youth subculture gathered around this music and its subgenres. First, the author outlines the cultural background of the emergence and development of contemporary Satanism in the USA and Western Europe. Next, he describes its reception in Poland of the eighties, which, on the one hand, took place in isolation from the American and Western European sources of this phenomenon, while, on the other, it was an attempt to copy it, under the conditions of a non-democratic and largely traditional society. He also presents the role of music and its performers, as well as that played by official media in propagating Satanism, together with social reactions to its appearance and activities aimed at combating it. Based on new, unused sources, the author verifies some claims formulated in the literature on the subject and poses further research questions.
Źródło:
Polska 1944/45-1989. Studia i Materiały; 2022, 19; 233-262
2450-8365
Pojawia się w:
Polska 1944/45-1989. Studia i Materiały
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Od kontrkultury do konformizmu. Ewolucja relacji jednostka – internetowa wspólnota działań na przykładzie Wikipedii
From counterculture to conformity. The evolution of the relationship: the individual – an online community of practice based on the case of Wikipedia
Autorzy:
Skolik, Sebastian
Powiązania:
https://bibliotekanauki.pl/articles/548282.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Rzeszowski. Wydawnictwo Uniwersytetu Rzeszowskiego
Tematy:
 internetowa wspólnota działań
kontrkultura
konformizm
analiza treści
 online community of practice
counterculture
conformity
content analysis
Opis:
Gdy w 2001 roku powstawał projekt internetowej encyklopedii – Wikipedii, jego twórcy za-kładali pełną inkluzywność. Początkowy okres rozwoju Wikipedii to przede wszystkim tworzenie się społeczności o cechach kontrkultury, która wzrastała na bazie ruchu wolnej treści, zapoczątkowanego tworzeniem wolnego oprogramowania w latach 90. XX wieku. Szybki rozwój wspólnot działań w wielu wersjach językowych tejże encyklopedii miał swoje istotne konsekwencje społeczne. Ponieważ między najbardziej aktywnymi jednostkami kształtowały się coraz silniejsze więzi, relacje wobec nowych użytkowników, wcześniej serdeczne i nieoficjalne, stawały się chłodniejsze i zdystansowane. W efekcie samo środowisko społeczne poprzez zmiany tychże relacji zaczęło się zmieniać. Do projektu trafiało więcej osób, gotowych na konformistyczne przyjęcie istniejących form relacji interpersonalnych. W artykule autor bazując na analizie treści wybranych deklaracji światopoglądowych użytkowników oraz na kilkuletniej obserwacji uczestniczącej, opisuje trendy w zmieniającym się systemie aksjonormatywnym oraz w wynikającym z niego podejściu społeczności do nowych użytkowników. W szczególności podkreśla zwiększa-nie liczby edytorów przyjmujących wartości konserwatywne i co za tym idzie – postawy konfor-mistyczne wobec edytorów włączających się do działań z wartościami liberalnymi i postawami nonkonformistycznymi.
In 2001 when the online encyclopedia – Wikipedia was created, its editors received full in-clusiveness. The initial period of the development of Wikipedia is mostly forming the countercul-ture community. That movement was started by hackers who created free software projects such as GNU/Linux in the 90s of the XX century. The fast development of community of that encyclopedia has caused fundamental social consequences. Increasingly strong ties have developed among the most active users. Relationships with new users, previously cordial and informal, became cooler and distanced. As a result, the same social environment through changes in these relationships began to change. More people ready to accept existing forms of interpersonal relationships arrived to the project. In this article the author, based on the content analysis of selected philosophical statements of users and several years of participant observation, describes the changing trends in the value system and changes in treatment of new users by the community of Wikipedia. The author emphasizes increasing number of editors taking conservative values and conformist attitudes to editors taking liberal values and nonconformist attitudes.
Źródło:
Nierówności Społeczne a Wzrost Gospodarczy; 2013, 36; 216-227
1898-5084
2658-0780
Pojawia się w:
Nierówności Społeczne a Wzrost Gospodarczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Of the Transavant-Garde in Ukrainian and Polish Artistic Traditions
Autorzy:
Soliarska-Komarchuk, Iryna
Powiązania:
https://bibliotekanauki.pl/articles/23050990.pdf
Data publikacji:
2023-12-31
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
ethnomentalism
archetype
artistic thinking
counterculture
non-conformism
expressionism
new expression in Poland and Ukraine
Opis:
The article analyzes the artistic processes that emerged in the world in the second half of the twentieth century, after the Second World War. One of the most striking phenomena of that period was the transavant-garde, and the reasons for its emergence in many European countries and the United States are determined - Arte Cifra or la transavanguardia in Italy, Figuration Libre in France, New Image Painting in the United States, Neue Wilde in Germany, Nowa Expression in Poland. This diversity of transavant-garde manifestations in the context of national artistic systems is explained by the peculiarities of ethnomentalities that were formed on the basis of certain archetypes and universals. An important feature of the world transavant-garde is the artists’ appeal to expressionism. There is a rethinking and renewed interpretation of expressionism, which actually gave it the name «neo-expressionism». Considering the reasons why artists from different countries turned to expressionism, it is concluded that it was the analysis of inner experiences and the desire to express them as vividly as possible that caused such a «global» commitment. Closely related to this is the process of creating individual mythologies, which, through certain images (the use of linearism, dissonant color juxtapositions, deviations from the true image, the use of different techniques and materials in one art object), encouraged the viewer to experience certain affects. At the same time, the Ukrainian and Polish artistic systems of the time, as well as social and political life, were closely controlled by the Soviet system. The situation was especially difficult in Ukraine, where alternative views on art could be paid for with imprisonment or even life. However, in both Poland and Ukraine, there were artists who were engaged in aesthetic resistance and belonged to opposition movements such as counterculture and non-conformism. It is under these conditions that neo-expressionism gets its unique forms of development in both Polish and Ukrainian art. The New Expression movement has been developing in Poland since the early 1980s. Artists, turning away from official cultural institutions, spontaneously created alternative structures. The Polish New Expression, which officially declared itself and kept in touch with foreign colleagues, was a legitimate part of the global movement, and martial law did not allow Polish artists to enter the international scene. Using the creative methods of neoexpressionism, the artists fought for political freedom with inspiration. The artists, ridiculing the absurd world around them with the help of grotesque, used simplified composition and strong contrasting colors. Aesthetic resistance in Ukraine was deeply underground. Nonconformist artists could not organize exhibitions or communicate with their foreign colleagues. Therefore, the names of Ukrainian artists were not known to the world, as well as to most of their fellow citizens. Tight control by the authorities influenced the maximum reflection of opposition artists and determined the symbolic and metaphorical language of their works. After all, expressionism was despised and not supported within Soviet art.
Źródło:
Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe; 2023, 8(1); 57-62
2543-9227
Pojawia się w:
Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe
Dostawca treści:
Biblioteka Nauki
Artykuł
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