The Polish Shakespearean stage in the post-transformational era

2021 ◽  
Vol 14 (1) ◽  
pp. 11-29 ◽  
Author(s):  
Urszula Kizelbach
Keyword(s):  
Popular Music ◽  
Digital Media ◽  
Mass Culture ◽  
Pop Culture ◽  
New Approach ◽  
Economic Changes ◽  
Short Overview ◽  
New Meanings ◽  
Canonical Texts ◽  
The Doors

The Shakespearean stage productions after 1989 reflected social, political and economic changes in the rapidly transforming Polish reality, which gave rise to a modern type of audience whose sensitivity was shaped by popular music, cinema, digital media and the mass culture. Contemporary Polish directors (Jan Klata, Maja Kleczewska, Grzegorz Jarzyna, Krzysztof Warlikowski) recognized that modernity and tradition can (and should) be combined onstage and that canonical texts can express new meanings in new forms. The new approach to the audience and the canon led to the development of the new aesthetics representing the ‘postdramatic theatre’. The new aesthetics gave new rights to the directors; for example, Maja Kleczewska set her Macbeth in a criminal underworld of the Polish mafia in the 1990s, imbuing her production with kitschy costumes and pop culture symbols. For the same reason, Jan Klata located his H. in the Gdansk shipyard, the birthplace of ‘Solidarity’, infusing his adaptation with the music of The Doors, Metallica and U2. In my analysis of the Polish Shakespearean stage in the post-transformational era, I offer a short overview of some key trends in dramaturgical aesthetics and the directors’ approaches to the adaptation of Shakespeare’s drama to the stage in the 1990s and 2000s. Next, I discuss in more detail the ‘postdramatic’ aesthetics of the modern Shakespeare adaptations based on the examples of two chosen artists, Maja Kleczewska and Jan Klata.

scholarly journals Camp and Pop: David Bowie, Oskar Schlemmer, Madonna and Janelle Monáe

Text Matters ◽  
2020 ◽  
pp. 79-92
Author(s):  
Kathrin Dreckmann
Keyword(s):  
Mass Culture ◽  
Pop Culture ◽  
Structural Similarity ◽  
Second Order ◽  
Susan Sontag ◽  
New Meanings ◽  
And Performance

While contemporary pop culture is nowadays considered part of the cultural mainstream, its practices of codification and its use and circulation of signifiers are still shaped by its roots in counterculture. This leads to a second order esthetic that reflects upon mass culture and subverts it by means of transgression and rearrangement. This essay argues that this subversive logic of reference is closely linked to what Susan Sontag has described as “camp.” While doing so it not only sheds light on the aspect of subversion and identity building, but also on the aspect of performance and staging that plays an important role for camp, as well as pop culture and its play with artificiality and authenticity. As a consequence the concept of camp is used to examine the practice and performance of artists like David Bowie, Madonna, Christina Aguilera and Janelle Monáe, and finding structural similarity in their practice and production, which uncovers a tendency towards apersonal self-historization which is typical for pop and is closely linked to its ability to generate new meanings out of materials that stem from other contexts originally.

Fortuna

2018 ◽  
Author(s):  
Daniele Miano
Keyword(s):  
Middle Ages ◽  
Historical Development ◽  
Conceptual Analysis ◽  
Dominant Role ◽  
Age Groups ◽  
New Approach ◽  
Good Fortune ◽  
Gender And Age ◽  
New Meanings ◽  
And Gender

This book focuses on the Latin goddess Fortuna, one of the better known deities in ancient Italy. The earliest forms of her worship can be traced back to archaic Latium, and she was still a widely recognized allegorical figure during the Middle Ages and the Renaissance. The main reason for her longevity is that she was a conceptual deity, and had strong associations with chance and good fortune. When they were interacting with the goddess, communities, individuals, and gender and age groups were inevitably also interacting with the concept. These relations were not neutral: they allowed people to renegotiate the concept, enriching it with new meanings and challenging established ones. The geographical and chronological scope of this book is Italy from the archaic age to the late Republic. In this period Italy was a fragmented, multicultural and multilinguistic environment, characterized by a wide circulation of people, customs, and ideas, in which Rome played an increasingly dominant role. All available sources on Fortuna have been used: literary, epigraphic, and archaeological. The study of the goddess based on conceptual analysis will serve to construct a radically new picture of the historical development of this deity in the context of the cultural interactions taking place in ancient Italy. The book also aims at experimenting with a new approach to polytheism, based on the connection between gods and goddesses and concepts.

scholarly journals Paradigms of the Religious Network Society

2015 ◽  
Vol 7 (1) ◽  
pp. 9-15
Author(s):  
Adam Bajan
Keyword(s):  
Digital Media ◽  
Mass Culture ◽  
Exponential Growth ◽  
Religious Beliefs ◽  
Information Technologies ◽  
Media Use ◽  
Hierarchical Structures ◽  
Network Society ◽  
The Media ◽  
Individual Self

Beginning in the early 1970’s with the invention of the microprocessor, mass use of information technologies worldwide coincided with the appearance of a nodally-linked network of digital interconnectivity, or ‘network society’ (Castells, 1996). The network society’s exponential growth correlates with a rise in use of digital networking media by various sects and denominations of the Christian religion. Today, growing numbers of Christian organizations integrate digital media into both their approach to worship and the dissemination of the Holy Scriptures. This paper argues that the use of digital media by these organizations is indicative of the creation of a “religious network society” exhibiting identical structural paradigms to Castells’ (1996) network society. By virtue of the media deployed within it, the ‘religious network society’ fosters a mass culture of digital participation characterized by a rapid fragmentation of religious messaging and an over-sharing of personal religious beliefs. However, the religious network society also erodes Christianity’s hierarchical structures of authority (Turner, 2007). It is argued that these structures are being replaced with a banal form of religion emphasizing spirituality and individual self-expression at the expense of tradition (Campbell, 2012; Hjarvard, 2013). Moreover, purpose alterations to Christianity’s authority structures and approach to worship are indicative of a much larger shift in the religion, in which rising digital media use may in fact imply a decline in Christianity’s societal influence.

scholarly journals “Music for millions”. Janos Marothy and academic research on popular music in socialist Hungary

Muzikologija ◽  
2017 ◽  
pp. 117-125
Author(s):  
Adam Ignacz
Keyword(s):  
Popular Music ◽  
Mass Culture ◽  
Media Coverage ◽  
Political Attitudes ◽  
Academic Research ◽  
Socialist Realism ◽  
Archival Data ◽  
Considerable Influence ◽  
Musical Institutions ◽  
The 1950S

In this paper I demonstrate the changes in Janos Marothy?s aesthetic and political attitudes towards popular music. Being an internationally acknowledged Marxist musicologist, Marothy found employment in many important musical institutions, in the framework of which he not only had an overview of the events of Hungarian popular music, but with his presentations and articles, in the 1950s and early 1960s he also exerted a considerable influence on them. Using archival data and media coverage, I examine Marothy?s key texts which demanded a revision in the matter of ?socialist realism? and which announced a growing attention and tolerance towards the musical products of Western ?mass culture?: jazz and pop-rock. His work shows how popular music became a part of academic research in Socialist Hungary.

Personally Engaged with Retail Clients

2014 ◽  
pp. 219-237 ◽  
Author(s):  
Ana Isabel Jiménez-Zarco ◽  
María Pilar Martínez-Ruiz ◽  
Alicia Izquierdo-Yusta
Keyword(s):  
Daily Activities ◽  
Marketing Concept ◽  
Purchasing Behavior ◽  
New Approach ◽  
Economic Changes ◽  
Distribution Sector ◽  
New Consumer

This chapter examines how social and economic changes of recent years have led to a new consumer profile. Furthermore, it explores how current responsible concerns regarding consumption, as well as a greater concern for welfare sustainability and the environment, are affecting purchasing behavior. With these ideas in mind, this chapter analyses how organizations have to evolve towards a new marketing paradigm in order to link to their customers emotionally. In this regard, the evolution of the marketing concept is reviewed—departing from a Marketing 1.0 paradigm, passing through a Marketing 2.0 paradigm—in order to understand how the so-called Marketing 3.0 emerged. The chapter concludes by analyzing the different rules that guide this new approach and how companies in the distribution sector are applying them in their daily activities.

Personally Engaged with Retail Clients

2015 ◽  
pp. 2060-2078
Author(s):  
Ana Isabel Jiménez-Zarco ◽  
María Pilar Martínez-Ruiz ◽  
Alicia Izquierdo-Yusta
Keyword(s):  
Daily Activities ◽  
Marketing Concept ◽  
Purchasing Behavior ◽  
New Approach ◽  
Economic Changes ◽  
Distribution Sector ◽  
New Consumer

This chapter examines how social and economic changes of recent years have led to a new consumer profile. Furthermore, it explores how current responsible concerns regarding consumption, as well as a greater concern for welfare sustainability and the environment, are affecting purchasing behavior. With these ideas in mind, this chapter analyses how organizations have to evolve towards a new marketing paradigm in order to link to their customers emotionally. In this regard, the evolution of the marketing concept is reviewed—departing from a Marketing 1.0 paradigm, passing through a Marketing 2.0 paradigm—in order to understand how the so-called Marketing 3.0 emerged. The chapter concludes by analyzing the different rules that guide this new approach and how companies in the distribution sector are applying them in their daily activities.

Disposable Music

2016 ◽  
Vol 40 (1) ◽  
pp. 25-34 ◽  
Author(s):  
Georg Hajdu
Keyword(s):  
Real Time ◽  
Digital Media ◽  
Economic Changes ◽  
Special Software ◽  
The Creation ◽  
Heterogeneous Ensemble ◽  
Cultural Developments ◽  
Musical Forms

This article introduces the concept of real-time composition and composition as a “dispositif” in the sense of Foucault and Deleuze, defining it as a heterogeneous ensemble of pieces that together form an apparatus. The introduction situates the dispositif in the context of cultural developments, most notably its slow but steady shift away from textualization in digital media. As musicians are adapting to ensuing cultural and, above all, economic changes, new musical forms emerge that rely to a lesser degree on fully notated scores, such as “comprovisation” or laptop performance. Antithetically, the computer also allows the creation of “authorless” notated scores in real time to be sight-read by capable musicians—a practice for which special software has been developed in recent years. Because these scores are not meant to be kept and distributed, they are ephemeral and, therefore, disposable. Three examples by the author are given to illustrate the interwovenness of this approach, where carefully selected narratives and dramaturgies make up for the inherent unpredictability of the outcome.

scholarly journals Screenomics: A New Approach for Observing and Studying Individuals’ Digital Lives

2019 ◽  
Vol 35 (1) ◽  
pp. 16-50 ◽  
Author(s):  
Nilam Ram ◽  
Xiao Yang ◽  
Mu-Jung Cho ◽  
Miriam Brinberg ◽  
Fiona Muirhead ◽  
...  
Keyword(s):  
Digital Media ◽  
Low Income ◽  
Qualitative Inquiry ◽  
Machine Learning Algorithms ◽  
Hispanic Youth ◽  
Digital Environment ◽  
Daily Lives ◽  
New Approach ◽  
Different Content ◽  
Racial Ethnic

This study describes when and how adolescents engage with their fast-moving and dynamic digital environment as they go about their daily lives. We illustrate a new approach— screenomics—for capturing, visualizing, and analyzing screenomes, the record of individuals’ day-to-day digital experiences. Sample includes over 500,000 smartphone screenshots provided by four Latino/Hispanic youth, age 14 to 15 years, from low-income, racial/ethnic minority neighborhoods. Screenomes collected from smartphones for 1 to 3 months, as sequences of smartphone screenshots obtained every 5 seconds that the device is activated, are analyzed using computational machinery for processing images and text, machine learning algorithms, human labeling, and qualitative inquiry. Adolescents’ digital lives differ substantially across persons, days, hours, and minutes. Screenomes highlight the extent of switching among multiple applications, and how each adolescent is exposed to different content at different times for different durations—with apps, food-related content, and sentiment as illustrative examples. We propose that the screenome provides the fine granularity of data needed to study individuals’ digital lives, for testing existing theories about media use, and for generation of new theory about the interplay between digital media and development.

scholarly journals Nation-states, transnational corporations and cosmopolitans in the global popular music economy

2019 ◽  
Vol 4 (4) ◽  
pp. 403-418
Author(s):  
Keith Negus
Keyword(s):  
Popular Music ◽  
Digital Media ◽  
Transnational Corporations ◽  
Nation State ◽  
State Control ◽  
Nation States ◽  
Bounded State ◽  
Financial Power ◽  
National Boundaries ◽  
Alternative Spaces

This article assesses changing debates about globalisation in light of the growth of digital media. It stresses how popular music is shaped by enduring tensions between nation-state attempts to control territorial borders, the power of transnational corporations aiming to operate across these borders and emergent cosmopolitan practices that offer a cultural challenge to these borders. It outlines how popular music is influenced by physical place and highlights the cultural and political importance of the nation-state for understanding the context within which musical creativity occurs. It explains how transnational corporations use financial power to work across and to gain entry to national boundaries, and assesses claims that cosmopolitanism musical encounters offer more inclusive and alternative spaces to that of bounded state control and unbounded capitalist competition. It concludes by arguing for a more music-centred approach to the powers and pluralisms through which popular music moves at the meeting of states, corporations and cosmopolitans.

Understanding the Pleasures of War’s Audiovision

2013 ◽  
pp. 309-324 ◽  
Author(s):  
Matthew Sumera
Keyword(s):  
Popular Music ◽  
Digital Media ◽  
Music Videos ◽  
Close Analysis

This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. This chapter seeks to explain the potency and appeal of music in contemporary war representations. Through the close analysis of war music videos—amateur productions, set to some form of popular music and posted online—the chapter addresses the ways in which music has become a generative, affective force in countless war depictions. In examining the ways in which such videos circulate, including how soldiers create, discuss, and use them, the chapter ultimately argues that these contemporary audiovisions are not about war as much as they are part of it.

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