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The aim of this study is to determine the spatial perceptions of gifted and talented students studying in the Science and Art Center in Samsun in Turkey. The Cities Quiz method was applied to collect the data in this research. The study group of the research consisted of 32 gifted and talented students (8-14 years old) who were studying at the Art and Science Center in Samsun. In the first step of this method, students were asked to draw the places where they liked on the front page of the paper and to draw a picture of places they disliked on the back. Then the students were asked to write the reasons for their likes and dislikes. Finally, similar and common perceptions of the places where the students liked and disliked were stated. The results of the study showed that according to the spatial perceptions of the students towards Samsun city, while the students disliked hospitals, clothing stores, bank offices, the Russian Bazaar, shopping malls, narrow streets and the cemetery, they liked the parks, pools, shopping malls and their homes. It is pointed out that shopping malls were both liked and disliked.
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Celem artykułu jest prezentacja i omówienie wybranej twórczości Marii Sadowskiej. Są to utwory pochodzące z płyty Dzień kobiet oraz film o tym samym tytule, a także kompozycja „Rewolucja” zawarta w albumie Spis treści. W związku z charakterem przytoczonych materia-łów metodologią, którą wykorzystuję do ich interpretacji, jest krytyka feministyczna. Jednym z podstawowych powodów wyboru wymienionych dzieł i perspektywy badawczej jest to, że artystka inspiruje się matkami myśli feministycznej, takimi między innymi jak Susan Sontag, Barbara Kruger czy Simone de Beauvoir, a podniesione przez nią wątki zdecydowanie mieszczą się w obrębie zainteresowań krytyki feministycznej. Próbuję też określić, czy podjęcie kwestii feministycznych wynika jedynie z bieżących wydarzeń społeczno-politycznych, czy jest rezultatem wnikliwej refleksji.
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The aim of the article is to present Regina Wasiak-Taylor – a person of many talents, as a journalist, an efficient animator of the cultural life of the Polish diaspora in Great Britain, a president of the Union of Polish Writers Abroad [hereinafter: ZPPnO – Związek Pisarzy Polskich na Obczyźnie]. The following methods have been used: qualitative analysis of the press content, critical analysis of documents, heuristic analysis, interviews. We get to know Mrs Wasiak-Taylor’s scope of activity: involvement in the organisational life of the ZPPnO, in the Pamiętnik Literacki [Literary Memoir] edited in London, practicing socio-cultural journalism and literary criticism, writing scientific articles, popularisation of the emigration’s literary life and Polish ballet, organizing, among others, multimedia theatre and stage programmes – Poetic Scene [Scena Poetycka] at the Polish Social and Cultural Association [POSK – Polski Ośrodek Społeczno-Kulturalny] in London. Also: initiation of the Literary Parlour within the Polish Watchfire at the Exhibition Road, addressed to the Polish and international intelligentsia in London, active participation in international scientific conferences. Regina Wasiak-Taylor conducts editorial work on books. She is the author of readings, laudations, and her own publications: Dzieje Nagrody Literackiej ZPPnO 1951–2011 [The History of the Literary Award of the ZPPnO 1951–2011] (London 2011), Ojczyzna literatura [Literature Fatherland] (London 2013), Alfabet wspomnień Szymona Zaremby. II Rzeczpospolita, II wojna światowa, emigracja [Szymon Zaremba’s Alphabet of Memories, Second Polish Republic, World War II, emigration] (London 2015). She initiates and promotes books by Polish authors and moderates other meetings of literary and scientific circles at the Polish Embassy in London, at the International Book Fair in Warsaw and at literary events in various places.
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Ukraińska scena artystyczna, bardziej niż kiedykolwiek w dziejach postępowa i aktywna, może pomóc w budowaniu zaufania i kapitału społecznego, co jest szczególną wartością w sytuacji skrajnej wrogości i fragmentaryzacji wspólnoty.
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Theater and dance have been complementary arts since the 17th century. In time, this connection between the two arts diminished, each evolving on its own way. In Romania, it was Miriam Răducanu that started working dance with the actors before the `90s, but it was not at large scale.Gigi Căciuleanu was born in Bucharest, in a family of refugees from Bessarabia. He took ballet lessons since the age of 4 and studied at the National Coreography School. The turning point in his life and his career was meeting his teacher, Miriam Răducanu; seeing her dance was like an „almost religious” revelation to him.Gigi Căciuleanu has received many important awards and distinctions throughout his career and he has worked all around the world, including Tîrgu Mureş.
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The artistic diploma project of Jana Shostak, a Polish student from Belarus, assumed the introduction of the word “nowak” (newcomer) into the Polish language as an alternative to the negative term “refugee.” This initiative becomes particularly important in the context of the migration crisis, going beyond the safe sphere of art. The methods of presenting it, both by the artist and by the media, in the form of interviews, press articles and comments on internet forums, were analyzed. The article is an attempt to make a meta-interpretation of this artistic proposal from the perspective of critical cultural studies, emphasizing two main areas: culture as a battlefield and language as a tool of constructing meaning. Methodologically, it is also supported by relativistic linguistic theories, the paradigm of symbolic interactionism, ethnomethodology, the concept of engaged aesthetics and critical theory.
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Demokratyzacja stała się bezwiednie akceptowanym ideałem moralnym polityki kulturalnej. Mniej lub bardziej świadomie opiera się ona na wyrażonym przez Pierre’a Bourdieu postulacie zniesienia Kantowskiego rozróżnienia na gust czysty i gust barbarzyński. Bliższa analiza założeń teoretycznych oraz praktyki kulturalnej pokazuje, że ideał wyrażony i stosowany w tej formie jest wewnętrznie sprzeczny, a z pewnością nie może być uniwersalnie stosowany we wszystkich dziedzinach kultury. Poprawna artykulacja ideału demokratyzacji nie może opierać się na negowaniu estetyki Kantowskiej, lecz – przeciwnie – wymaga jej rehabilitacji w kierunku, który wytyczył m.in. Herbert Marcuse. Artykuł przedstawia niedogmatyczne argumenty na rzecz utrzymania elitarnego charakteru działalności prawomocnych instytucji kultury artystycznej. Jeśli demokratyzacja ma stanowić rzeczywisty (zgodny ze swym poję-ciem) ideał moralny, to autonomia kultury wysokiej działa na jej korzyść.
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The relational experiments of one-to-one performance make the promise of offering a psycho-emotional intimate encounter, understood as unique and ephemeral. The theoretical discourse about intimacy in per-formance art usually is determined by the dramaturgical and ethical principles of an (a)“live”, co-presence, and authenticity in the performer-public dialogue.The paper analyses the work The Artist is Pre-sent by Marina Abramović and Mădălina Dan’s performance The Agency of Touch, questioning a perspec-tive of understanding these principles as essentialist aspects of one-to-one performance.These works are analysed starting from the dramaturgical dimension of the principles of co-presence and authenticity – coordinates that would be constitutive for a present-oriented ontology of performance art (Phelan, Gomme, Zerihan). I also discuss the two works, based on the ethical dimension of co-presence and authenticity – using Emmanuel Levinas’ and Martin Buber’s dialogical philosophy. I demonstrate how the performer’s authenticity is constituted in these performances as a self-reflective and not an interrela-tional process, as it is claimed by the artists. Moreover, the co-presence does not function as a symmet-rical one-to-one affective dialogue, but as a hierarchical positioning of the performer. Finally, I argue that, based on these principles, the model of relating in both of these performances might create an experience of collective participation.
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The TIMVAL project was carried out during the first term of the academic year 2020-2021. It consisted of a virtual exchange between students from the West Univesity of Timisoara (Romania) and the Universitat de València (Spain) in times of pandemic.
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Classical music and the film industry began collaborating from the beginning of the 20th century in a very interesting way that gave birth to controversies, debates and influenced the rise of film music, as it is known today. Which role did classical music play in the development of film music and how was classical music used by some of the most famous movie directors? How did this collaboration between the two arts evolve and who are the most renowned classical music composers that also choose to compose for movies? These are just few questions that will be addressed in the following article.
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The paper problematizes roles and positions of women artists and women consumers through the complex processes of spectacle. The question of women’s body is related to the questioning of the gender roles on the performative level, with the aim to emphasize existing paradigms (as sexuality, dimorphism, dominations and subordinations, phalogocentric spaces), but also to make complex constructive options in the sphere of popular music and subculture (ambivalence, equivalence, variable qualities, subject representationalism, subject intentionality). The most noticeable examples stem from rock and roll culture and rock scenes where feminist resistances to male hegemonies are created, especially in the zones of power of management and fabrication of women’s body.
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The article discusses the early stages in the activity of industrial museums founded in Kraków and Lviv. The issue is analyzed as an example of creative adaptation of models and blueprints developed in the erstwhile European capitals to the reality of provincial imperial centers. The article puts emphasis on the civic character of both institutions and their role in shaping urban, regional, and national identities. Both of the discussed museums followed European models, having particularly close connections to the South Kensington Museum and the Imperial-Royal Museum of Art and Industry in Vienna and referring to it in their statutes and program activi- ties; they also engaged in vibrant scientific exchange with institutions in the capital and other cities of the Empire and formed part of the imperial net- work of industrial museums. Nonetheless, the museum in Kraków and Lviv displayed uniquely local elements, developed thanks to the involvement of municipal associations, institutions, and residents.
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The aim of this article is to present body extensions that serve to strengthen hearing and thus increase the range of hearing. This concept seems to be an interesting example of how, thanks to various technical devices, the human body is transformed to strengthen or “repair” its functions. The starting point for our considerations is Marshall McLuhan’s media theory, and especially his concept of body extensions. As examples of such activities, we want to present the artistic projects of Stelarc and Neil Harbisson, which, entering the field of medicine and engineering, expand the meaning of what we mean by extending the sense of hearing.
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Conceptualizing auditory experiences requires the use of metaphors. This paper proposes to analyze those metaphors in audio media messages, including both lexical and acoustic patterns. The category of synaesthetic metaphor is used and the concept of auditory metaphor specific to auditory media is introduced. The interpretative context for metaphorical representations of silence is the COVID-19 pandemic. The absence of noise becomes synonymous with loneliness, danger, death but also has positive connotations: peace or appreciation of everyday life. The use of non-verbal sounds enriches the media narrative of the pandemic in phonemic and semantic layers. The presented treatment of metaphor incorporates perspectives from media studies, sound studies, and cognitive linguistics.
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The aim of the article is to present the theoretical assumptions of the phenomenon that can be described as a “social poster”. In the first part of the work, I describe the origins, sources and historical context of the creation and functioning of the so-called Polish School of Posters. It is a school which, at the turn of several decades of the last century, built the significance of the poster, not only as an artistic work (with a clearly visible aesthetic function), but also as a product with a strong social impact. The second part of the text is definitely more personal. In it, I present the subject of my posters as well as the events and impulses that prompted me to undertake it. For me, the decisive elements in the selection of topics are society and the changes taking place in it. And the poster is, in my opinion, the most human form of conveying thoughts in urban space, and at the same time an important voice in the “street fight”.
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The article concerns Florian Znaniecki’s thought inspiration in Victor Turner’s concept of communitas. The first part presents the concept of community by Victor Turner. The second one deals with Znaniecki’s concept of communion to which Turner referred. The last part shows the relationship between the two ideas and indicates the possibility of continuing the reflection started by both concepts.
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The article highlights the sociological context of creating one of the most famous cartoon characters – Asterix the Gaul. The authors’ origins and their creative works are presented, embodying their life path, decisions and worldview. The issue of migration and relating to one’s own biographical fate is of great importance here. The fate of the creator of Asterix is therefore a kind of example of the richness and complexity of cultures that can ultimately bring very good results in creating universal works, understandable to everyone and enjoying great popularity. Asterix the Gaul is an invented character who has been successful in mass culture, so it is extremely important to try to explain its phenomenon by analyzing the life and social relations of its creator.
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