Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "counterculture" wg kryterium: Temat

  Lista filtrów
Wyrównaj
Wyświetlanie 1-15 z 26
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:
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:
Sztuka w pociągu relacji Łódź – Koszalin
Art on the Train from Łódź to Koszalin and Back
Autorzy:
Ciesielski, Wojciech
Powiązania:
https://bibliotekanauki.pl/articles/424651.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:
The term ‘Pitch-In Culture’ first showed up in Łódź, in the middle of 1984, during an artistic-social meeting. The text describes the problems and controversies associated with research on this phenomenon. Problematic issues refer to both the scope and the time frame within which it acted, and the list of the participants. The author states, that maybe with time it grew so much that it started to function independently of its primary source. He pays attention to achievements that apparently existed on the margin of Polish art, but when considered with regard to the perspective of the Pitch-In Culture, they can show the whole phenomenon in a new light. The text describes a few selected events, that took place in Koszalin or were undertaken as initiatives of artists from Koszalin in the eighties. The author points to a few important elements that in his opinion are characteristic of activities within the Pitch-In Culture. He points to the modernist intellectual heritage and the post-modern approach to problems within the art of that period. Following Janusz Zagrodzki, the author of the term ‘Private Art’, the author focuses the functioning of the Pitch-In Culture within the private and unofficial sphere and following Józef Robakowski he focuses on keeping an individual and independent attitude as an element that is essential for making art. The author further states, that in the way Pitch-In Culture or ‘Private Art’ functioned, there are four important elements: the personal relationships and contacts of the participants, the spaces – enclaves that allowed for the organisation of events and confront attitudes, activating and annexing the activities of people from outside of so-called art community, as well as self-publishing. According to the author, probably the greatest manifestation of the Pitch- In Culture and ‘Private Art’ was the Artist Pilgrimage organised in September 1983 in Łódź. As part of the Pilgrimage there were exhibitions, concerts, film screenings, actions, performances and theoretical appearances that were presented on an equal basis and always ended with long discussions. The Christmas call event entitled NO SLOGAN [BEZ HASŁA] organised in Koszalin between the 10th and 12th of February 1984 was an event in return for inviting the artists from Koszalin to the Pilgrimage that happened a year earlier. The organisers were the people who participated in the event in Łódź: Ewa Kowalska, Grażyna Bogusz- Wolska, Andrzej Ciesielski and Stanisław Wolski. They invited 85 artists from the whole country, plus there also came many artists who were not formally invited but associated with the Pitch-In Culture movement. The next initiative by artists from Koszalin was a cyclical event, organised between 1982 and 1988every year in mid-December, AFTER A YEAR organised by Andrzej Ciesielski and Andrzej Słowik. Artists from the whole of Poland presented their current art practice. For the Koszalin community open-air workshops were an important activity, that were in fact connected with the tradition of the Osieki workshops organised since 1963 and ended after the imposition of martial law in 1981. The situation was changed by a series of workshops organised under a name “We invite you to work” between 1987-1989 in Karlino and in 1990 in Darłowo. The initiators and first artistic curators were Andrzej Słowik and Maria Idziak who in 1989 entrusted the function to Wojciech Zamiara and in 1990 to Andrzej Ciesielski. Also important for the functioning of the Koszalin community within the Polandwide circuit was the Presbitery (Na Plebanii) Gallery run by an artist Andrzej Ciesielski and between 1986 and 1990 there were 35 meetings organised in it. As the author states, the Pitch-In Culture was born out of the need for a totally different way of presenting one’s own artistic practice, the exchange of information and joint action. Without friendship, knowing one another, a willingness to work and even without some personal antagonisms, the whole movement would not have had a chance to spread so broadly around the country and accept so many versatile artists as for example as it happened in Koszalin.
Źródło:
Sztuka i Dokumentacja; 2012, 7; 70-75
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
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:
Some preliminary conjunctural thoughts on countercultures
Autorzy:
Grossberg, Lawrence
Powiązania:
https://bibliotekanauki.pl/articles/438015.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
counterculture
hegemony
left
right
popular culture
american modernity
Opis:
The article is devoted to analysis of various countercultures aspects. The Author hypothesizes that the forms of contemporary politics are the result of two fundamentally interrelated strategic vectors. First is built upon a politics of ressentiment, setting “ordinary” folks against the socio-cultural elite which constututed to the "new right" movement. Second vector is originated of counterculture of the 1960s. The author states that counterculture exist without a singular identity. It is a space of hybridity and heterogenity. On the other hand counterculture is related to the concept of contemporary ambivalence as well it transforms of affective experience of everyday life. Another feature of counterculture is connected with the conviction that counterculture stands against of dominant culture. Also the author puts counterculture movements against various aspects of new american modernity including reconstruction of the practice of the hegemony, as well as through popular culture and reconstruction of the "left" and "right" idelogy and practice.
Źródło:
Journal of Gender and Power; 2014, 1; 13-23
2391-8187
Pojawia się w:
Journal of Gender and Power
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:
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:
Park Ludowy w Berkeley. Polityczny konflikt o przestrzeń publiczną w Kalifornii w maju 1969 roku
Autorzy:
Batóg, Włodzimierz
Powiązania:
https://bibliotekanauki.pl/articles/608701.pdf
Data publikacji:
2017
Wydawca:
Polska Akademia Nauk. Instytut Historii im. Tadeusza Manteuffla PAN w Warszawie
Tematy:
Berkeley
protest
kontrkultura
Reagan
przestrzeń publiczna
Kalifornia
counterculture
public space
California
Opis:
Lata sześćdziesiąte XX w. w USA to moment aktywności społecznej i politycznej młodego pokolenia. Ich przejawem było m.in. ekspresyjne podkreślanie własnej odrębności. Ich symbolem stał się spór o niewielką działkę w Berkeley w maju 1969 r. W gorącej atmosferze politycznej Kalifornii i końca dekady gwałtowność kontrowersji wokół Parku Ludowego doprowadziła do nieudanej próby ich rozwiązania przy pomocy sił porządkowych, a śmierć jednego z uczestników demonstracji nadała im charakter znaczenie szerszy niż nieporozumienia wokół wykorzystania nieużywanej działki.The 1960s in the US were marked by social and political activity of a young generation. It was evident in, among other things, expressive stressing of their own distinctiveness. The controversy over a small plot of land in Berkeley in May 1969 became their symbol. In the hot political atmosphere of California at the end of the 1960s the dispute about the People’s Park led to a failed attempt to resolve it by force with the use of law enforcement services, and the death of one of the protesters gave the conflict much broader character than a local controversy over an unused plot of land.
Źródło:
Dzieje Najnowsze; 2017, 49, 3
0419-8824
Pojawia się w:
Dzieje Najnowsze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Słowiańszczyzna w podręcznikach. Studium socjologiczne nad możliwością budowania alternatywnych narracji historycznych o początkach państwa polskiego
Slavism in Coursebooks. A Sociological Study Into the Possibility of Building Alternative Historical Narrations on the Beginning of the Polish State
Autorzy:
Kasperek, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/1071296.pdf
Data publikacji:
2017-03-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Slavism
counterculture
history
memory sites
textbooks
curricula
baptism of Poland
pagan reaction
Opis:
What has been undertaken in this study is the problem of narrations, alternative to the predominant historical discourse, about the beginning of Polish statehood. The considerations on the existence of such narrations are situated in the perspective “dominant culture – counterculture”. Some references are made to the research concerning the presentation in history course books and curricula of two events in the history of Poland: the christening of Mieszko I and the so called pagan reaction. What is suggested here is enriching the research conclusions with the issues of Romantic “revelation” and introducing Slavism into the 19th century culture as well as viewing the early state of the Piast dynasty in the Ciril-Methodius tradition. The author formulates the thesis that in the analysed coursebooks and curricula the narration about the early Polish statehood is subordinated to the evolutionaryrevolutionary model of interpreting history.
Źródło:
Studia Edukacyjne; 2017, 43; 315-334
1233-6688
Pojawia się w:
Studia Edukacyjne
Dostawca treści:
Biblioteka Nauki
Artykuł
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:
The Symbolic Imaginary of Counterculture
Autorzy:
Maślanka, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/451437.pdf
Data publikacji:
2018-11-08
Wydawca:
Uniwersytet Warszawski. Wydział Filozofii
Tematy:
counterculture
imaginary
multiculturalism
Marxism
radicalism
Opis:
The symbolic imaginary of counterculture was fostered by dissent towards the cultural roots of the Western world, by a challenge to traditional norms, values and symbols, and by the rejection of historical identity and national sovereignty. This article aims to discuss some of the aftermaths of the counterculture of the 1960s as resulting from the transformations of its symbolic imaginary. The transformation of the symbolic imaginary of the counterculture is reflected in specific historical changes which had a profound impact on social relations, manners of perceiving or experiencing the world, and the shape of the public sphere within modern society. The dissent of the 1960s is framed in terms of its ability to take over and impose symbolic power, along with transformations of a given cultural model, a process which has roots in the concept of historicity and a new symbolic universe. Special attention is given to the institutionalization of multiculturalism, one of the most important outcomes of the transformation of the symbolic imaginary of counterculture and the normalization of countercultural radicalism. The aftermaths of the radicalism of the 1960s, when presented against the background of the transformation of the symbolic imaginary, underscore a ubiquitous and profound transformation of the entire culture and ideological dynamics in Western societies.
Źródło:
Eidos. A Journal for Philosophy of Culture; 2018, 2, 3(5); 42-50
2544-302X
Pojawia się w:
Eidos. A Journal for Philosophy of Culture
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zen na poddaszu. Przyczynek do recepcji buddyzmu w Polsce
Autorzy:
Tracz, Bogusław
Powiązania:
https://bibliotekanauki.pl/articles/689920.pdf
Data publikacji:
2018
Wydawca:
Polska Akademia Nauk. Instytut Historii im. Tadeusza Manteuffla PAN w Warszawie
Tematy:
Buddhism
Zen Buddhism
Buddhism in Poland
religions and denominations in Poland
non-Christian religions in Poland
denomination policy
informal religious movements
drugs
counterculture
buddyzm
buddyzm zen
buddyzm w Polsce
religie i wyznania w Polsce
religie niechrześcijańskie w Polsce
polityka wyznaniowa
nieformalne ruchy religijne
narkotyki
kontrkultura
Opis:
Artykuł jest próbą przedstawienia dziejów recepcji buddyzmu w powojennej Polsce, jako elementu przenikania nad Wisłę zjawisk charakterystycznych dla cywilizacji zachodniej (atlantyckiej) w drugiej połowie XX w. Przedstawione zostały główne, pozauniwersyteckie ośrodki i grupy, w których podejmowano próby praktyk buddyjskich, oraz osoby, które przyczyniły się do popularyzacji różnych odmian buddyzmu, ze szczególnym uwzględnieniem nurtu zen i roli, jaką w jego rozpowszechnianiu w Polsce odegrał amerykański nauczyciel buddyzmu zen, Philip Kapleau. Przedstawiono również działania prowadzone przeciwko polskim buddystom przez policję polityczną oraz drogę prowadzącą do rejestracji i tym samym zalegalizowania działalności pierwszej wspólnoty buddyjskiej w Polsce, co nastąpiło dopiero w 1981 r. Zen in the attic. A contribution to the reception of Buddhism in PolandThe reception of Buddhism, which in Europe began already in the nineteenth century, did not pass over Poland. Initially limited to scientific milieus and small social circles, in time Buddhism became more widely present, especially in artistic communities and youth subculture groups. After the World War Second, despite of being cut off by the Iron Curtain from main cultural changes, Poland was permeated by fashions and phenomena characteristic of the Atlantic civilisation, including the fascination for Oriental religiosity, especially Buddhism. Oriental studies were carried out at universities, while individuals and groups of enthusiasts tried on their own to study Buddha’s writings and teachings. There were among those people Władysław Misiewicz from Radom and Piotr Boniński from Gliwice. Their interest, however, was limited to intellectual reflection and they did not practice Buddhism. One of the first groups to practice Buddhist meditation was the circle of artist Andrzej Urbanowicz, who in 1967, together with his friends established an artistic group called “Oneiron”. Texts and intellectual quest led them towards Zen Buddhism, and Urbanowicz’s atelier became the first place in Poland where meditation was practiced. Meetings were also held at Mąchocice Kapitulne near Kielce. Activities of the still unformal group of Buddhists were kept under surveillance by the secret police. In 1975 Philip Kapleau, an American teacher of Buddhism, answered the group’s invitation, and from that time on, he visited Poland many a time. After Urbanowicz left Poland, in 1978, architect Andrzej Korbel became the leader of the group; in time, the Warsaw circle took the lead, with psychotherapist Wojciech Eichelberger. In the meantime, however, efforts to legalise the group encountered obstacles and it was not until 1981 that the first Zen Buddhist Community in Poland was established. Later on, next groups were organised but, despite the fact that a real breakthrough took place after 1989, already in the 1980s there were four officially registered Buddhist communities, with branches and circles in different towns and cities.
Źródło:
Polska 1944/45-1989. Studia i Materiały; 2018, 16
2450-8365
Pojawia się w:
Polska 1944/45-1989. Studia i Materiały
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
Wyświetlanie 1-15 z 26

Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies