scholarly journals Alternatywy wobec jednowymiarowości. Fenomen polskiej kultury niezależnej w PRL

2021 ◽  
pp. 357-384
Author(s):  
Dobrochna Dabert
Keyword(s):  
Cultural Identity ◽  
Visual Arts ◽  
Cultural Policy ◽  
Intellectual Activity ◽  
Catholic Culture ◽  
Free Development ◽  
Artistic Values ◽  
Rich Spectrum ◽  
Weak Influence

In this article devoted to the independent culture in Polish People’s Republic, I put into dichotomic doubt the concept based on the clear division between the official and independent culture. The forms of creative activity that escaped the state censorship between 1976 and 1989 radically disrespected the directives of the state’s cultural policy, yet many years before the emergence of ‘the second circulation’, there were already numerous initiatives that sparked a rich spectrum of independent activity. The authors’ strategies to remain independent changed over time, to varying extent distanced the authors from the official artistic life and differed depending on the character of the authors’ intellectual activity. In the article, I attempt to prove the relatively weak influence of the ‘official dependent culture’ that fully respected the authorities’ instructions, and I propose a classification of creative strategies that also emerged in the official culture and allowed for a relatively free development of art and science. Using multiple examples from literature, cinema, visual arts, music and science, I discuss ‘controlled culture escaping the ideological instructions’, ‘official niche culture’, ‘culture confronting the limitations’, ‘licensed Catholic culture’, ‘second circulation culture’ and ‘third circulation culture.’ The practice of searching for a way out of the official one-dimensionality allowed Polish cultural identity to continue and save its most valuable intellectual and artistic values.

The Impact of Regulatory Competition on Measures to Promote Pluralism and Cultural Diversity in the Audiovisual Sector

2007 ◽  
Vol 9 ◽  
pp. 239-259
Author(s):  
Thomas Gibbons
Keyword(s):  
New Media ◽  
Cultural Identity ◽  
Digital Technology ◽  
Cultural Policy ◽  
Global Market ◽  
Regulatory Competition ◽  
Market Place ◽  
Global Media ◽  
Satellite Broadcasting ◽  
The Impact

Communications are being transformed by the combination of digital technology and a global media economy. There is increased convergence between traditional broadcasting, cable distribution, satellite broadcasting, telecommunications and the Internet, which has boosted the sheer volume of programming and information that can be conveyed, and extended its reach at both domestic and international levels. Many will see these developments as an opportunity to promote new media products and to rationalise their operations in a global market place. Others may be concerned that the need to compete successfully in that market place will threaten the survival of local and national cultural identity. In terms of policy and regulation, states may be tempted to emphasise trade and industrial policy, intended to improve transnational competitiveness, at the expense of media and cultural policy, aimed at protecting pluralism and diversity.

scholarly journals Changes in the themes, aesthetics and functions of public images in Kyiv due to the influence of socio-cultural processes in the society of 1990-2010

2021 ◽  
pp. 183-194
Author(s):  
Mariia Ospishcheva-Pavlyshyn
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Public Art ◽  
Visual Art ◽  
Rapid Development ◽  
Practical Aspect ◽  
Cultural Processes ◽  
The Impact ◽  
Theoretical Developments

On the back of the rapid development in public art in recent decades, and in particular graffiti and muralism, interest in them has grown significantly among cultural studies scholars, art critics, architects, sociologists, and urban planners. Numerous works that have appeared in the West and in Ukraine are devoted to various aspects of the visual public art existence. This theme continues to be one of the most relevant for contemporary visual art. This article complements the bunch of acquired knowledge with a detailed study of the impact of socio-cultural processes in society on the changes that took place in monumental painting, graffiti and muralism in Kyiv during 1990–2010, i.e. during the most important changes in politics and society in recent decades. The peculiarities of each historical stage of this influence are analysed and outlined in the study, and the theoretical analysis is displayed by the description of the most characteristic works. Most of them are researched in detail. In addition, the process of decline of monumental painting in the late 1980s and early 1990s is analysed, the factors of graffiti flourishing in the 1990s are identified and highlighted, and the origins of the rapid development of muralism after 2004 and especially after 2014 are explored. At each stage, changes in the themes, aesthetics and functions of public images are traced. The definitions, such as muralism and graffiti, are updated in this paper, taking into account changes in art and the latest achievements in its analysis. The manifestations of the national-patriotic themes in the contemporary art of muralism are considered in detail, the classification of art work on this subject is given, the corresponding examples are given. Such concepts as public art, synthesis of arts, monumental painting, graffiti, muralism are attentively aligned. The study of the nature of the socio-cultural processes and visual arts correlations is promising for further scientific and theoretical developments and the practical aspect for better understanding of the specific works

An investigation into colour combination in paintings via graph theory

2019 ◽  
Vol 8 (4) ◽  
Author(s):  
Samaneh Jolany Vangah ◽  
Yousef Jamali ◽  
Mozaffar Jamali
Keyword(s):  
Image Processing ◽  
Graph Theory ◽  
Network Analysis ◽  
Visual Arts ◽  
Digital Image ◽  
Degree Distribution ◽  
Network Science ◽  
Node Centrality ◽  
Classification Of Images

Abstract In visual arts, painting is deeply reliant on the colour combination for its impact, depth and emotion. Recently, many studies have focused on image processing, regarding identification and classification of images, using some colour features such as saturation, hue, luminance and so forth. This study aims to delve into some of the painting styles from the perspective of graph theory and network science. We compared a number of famous paintings to find out the likely pattern that an artist uses for colour combination and juxtaposition. To achieve this aim, the digital image of a painting is converted to a graph where each vertex represents one of the painting’s colours. In this graph, two vertices would be adjacent if and only if the two relative colours could be found in at least two adjacent pixels in the digital image. Among the several tools for network analysis, clustering, node centrality and degree distribution are used. Outcomes showed that artists unconsciously are following subtle mathematical rules to reach harmony and coordination in their work.

Urban sculpture and cultural code of Volgograd in the context of branding the territory

2016 ◽  
Vol 10 (4) ◽  
pp. 89-97
Author(s):  
Антон Шипицин ◽  
Anton Shipitsin
Keyword(s):  
Cultural Policy ◽  
Field Studies ◽  
Common Denominator ◽  
Local Identity ◽  
Art Objects ◽  
Cultural Code ◽  
Social Advertising ◽  
The City ◽  
Real Assets

The sculpture and monuments of Volgograd are discussed in the article as cultural and symbolic objects expressing the local identity and the defining image of the city, and also as resources for branding areas. Field studies and analysis of publications in print and electronic media showed that in the period from 2006 to 2016. in Volgograd, it was installed about 50 different sculptural forms and art objects – sculptures, memorials, monuments, small architectural forms. The author carried out a content analysis of the sculptural text and made the classification of monuments installed over the last 10 years. There were identified dominant themes and motifs, proving the irreducibility of the identity of Volgograd to a common denominator with a predominance of heroic discourse of the Soviet past. Specific examples show that the development of object environment of Volgograd clarifies three main trends: the assertion of the identity of the city-hero, stream professional-corporate symbols, representation of the images of the pre-Soviet past, first of all, an appeal to the history and culture of Tsaritsyn. The empirical material of Volgograd highlights the key functions of modern urban sculptures and monuments: monumental, memorial, axiological, aesthetic, social, advertising, entertainment, cultural and educational. It’s stated that creation and promotion of a positive image of Volgograd as a modern city of cultural innovations is difficult in the absence of a developed strategy of cultural policy aimed at the use of intelligent, creative, real assets and the search for alterna- tive symbolic models.

scholarly journals Cultural policy and cultural identity of Hungarians in Vojvodina

2016 ◽  
pp. 463-474
Author(s):  
Klara Toth-Glemba
Keyword(s):  
Cultural Identity ◽  
Cultural Policy ◽  
Negative Trend ◽  
Identity Preservation ◽  
Cultural Elements ◽  
Interesting Topic ◽  
National Minorities ◽  
Maternal Language ◽  
Definition Of

In this work are presented studies of cultural policy, dilemmas about determination and definition of the concept, as well as the influence of cultural policy on identity preservation of Hungarians in Vojvodina, first of all their cultural identity. Review of this interesting topic was inspired by the fact that despite constant negative trend of birthrate, forced emigration and assimilation, Hungarians in Vojvodina have, in comparison with other national minorities, the widest circle of cultural, expert and interest associations. The number of various manifestations, diverse in content, is increasing year-on-year, and a growing devotion to identity and identification with Hungarian cultural elements such as maternal language, religion, and education, lead to the thinking about the causes of this trend. To begin with, some possible answers to this question are given. It is the matter of awakening of the identity of Hungarians in Vojvodina, or improvement of adequate cultural policy and socio-political circumstances in which they express their identity.

scholarly journals The Formation of the Regulatory and Legal Basis for Monument and Heritage Preservation in Soviet Ukraine (1919–1926)

2020 ◽  
Keyword(s):  
Cultural Heritage ◽  
Cultural Policy ◽  
Legal Framework ◽  
Heritage Preservation ◽  
Natural Heritage ◽  
Before And After ◽  
Two Phases ◽  
Soviet Russia ◽  
Area Of Protection

The article examines the formation of the legal framework for the protection of monuments and landmarks in Soviet Ukraine in 1919–1926. The evolution of the approaches to preserving the heritage of the past during this period is outlined. Two phases in the development of this branch of legislation are distinguished: before and after 1922. During the first phase, representatives of the Bolshevik regime responsible for cultural policy paid very little attention to preservation. Crisis in the sphere of protection of historical and cultural heritage became especially noticeable during the campaign to confiscate church valuables (1922). During this period, monument preservation activities were regulated by legislation originating in Soviet Russia. The reception of Russian regulatory acts in the Soviet republics, including the Ukrainian SSR, usually took place with a lag and in the absence of clear implementation mechanisms. Special republican legislation first appeared in the area of protection of museum property and archival collections. After the transition to the policy of “indigenization” in Soviet Ukraine, local peculiarities in the sphere of monument preservation gradually emerged. The outcome of this process was the adoption of the regulation “On Cultural and Natural Heritage” (June 16, 1926). The article focuses in particular on funding issues, classification of monuments, and active public participation, which can be viewed as the republican specifics of Soviet Ukraine. It is noted that after the formation of regional inspectorates and committees for preservation of cultural and natural heritage in 1926, we can speak of a parallel existence of state and public heritage preservation bodies. The author concludes that the process of the formation of the legal framework for preservation of historical and cultural heritage in the USSR during 1919–1926 was not linear. The introduction of special republican norms regulating preservation activities became possible thanks to the experience and efforts of the republic’s professionals in the field.

scholarly journals Gdańskie instytucje kultury jako miejsca (jakiej?) pamięci

Porta Aurea ◽  
2018 ◽  
pp. 269-289
Author(s):  
Marta Wróblewska
Keyword(s):  
Cultural Identity ◽  
Cultural Policy ◽  
Cultural Institutions ◽  
Important Place ◽  
Local Memory ◽  
Cultural Image ◽  
Places Of Memory ◽  
Dominant Tendency ◽  
The City ◽  
New Museology

The article contains reflections on the cultural image of Gdańsk and its cultural institutions as they near the mark of thirty years of self-governance. On the basis of the analysis of aspects connected with some of the themes derived from permanent exhibitions presented at selected cultural institutions in Gdańsk, an attempt is undertaken to highlight the problems and phenomena which remain in close connection with the processes of constructing the post-communist cultural identity of the city. Among the crucial factors which are subject of the analysis first and foremost mention has to be made of the specificity of the local memory and identity which can be referred to as insertive, yet with the dominant tendency towards historicism. Those features, in turn, lead to describing some of the cultural institutions as places of memory, both with reference to their architecture, as well as to the narratives they present. An important place in the course of those deliberations is assigned to Gdańsk’s cultural policy and its role in programming the local memory and identity, presented on the basis of the analysis of the development strategies published by the city over the analysed period of time. The state of events in Gdańsk is finally juxtaposed with popular trends in the development of new museology in Europe, where tendencies towards increasing introspection, revision, and anthropological approach can be observed.

scholarly journals Pictures in the Soviet Northern discourse of the 30s (based on the materials of the newspaper «Khanty-Mansi Shop (Shoy) / Ostyako-Vogulskaya Pravda»)

2021 ◽  
Vol 11 (3) ◽  
pp. 584-597
Author(s):  
А. G. Kiselev ◽  
◽  
S. V Onina ◽  
Keyword(s):  
Visual Arts ◽  
The North ◽  
Academic History ◽  
Visual Approach ◽  
History Of ◽  
The Subject ◽  
History Of Journalism ◽  
Visual Range

Introduction: a notable phenomenon of modern historiography is the visual turn, which presupposes the study of history as the history of images. The subject of the research is the images published in the newspaper «Khanty-Mansi Shop (Shoy). Ostyako-Vogulskaya Pravda» in 1931–1939. Objective: presentation of the ethno-cultural segment of the visual range of the newspaper and on this basis the determination of its communicative capabilities in relations with the viewer-reader from among the indigenous peoples of the North. Research materials: newspaper images, works of theorists and practitioners of the photo department, party documents of the pre-war period. Results and novelty of the research: the classification of ethno-images is given; the connection between the dynamics of their publication and the socio-political trends in the country’s development has been clarified. As a common feature of ethno-images, their conventionality and simplicity are shown, which correlates with the peculiarities of the «northern style» in the visual arts of the Ob Ugrians. The weakness of the visual range is shown, which hindered the transformation of the newspaper into a mass, nationally oriented publication. The scientific novelty is determined both by the visual approach itself, and by the introduction into scientific circulation of a complex of images of the Ostyako-Vogul newspaper; observations and conclusions can be used in the preparation of the corresponding section of the academic history of Yugra, as well as special courses on the history of journalism.

Historical memory in the management of cultural security system of Russian society

2020 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Konstantin Vodenko ◽  
Valentina I. Rodionova ◽  
Lyudmila A. Shvachkina ◽  
Maria P. Tikhonovskova
Keyword(s):  
Cultural Identity ◽  
Cultural Policy ◽  
Historical Memory ◽  
Security System ◽  
Russian Society ◽  
Content Type ◽  
Cultural Intervention ◽  
Methodological Foundation ◽  
The People ◽  
Model Of Management

PurposeThe purpose of this paper is to develop a model of management of cultural security of Russian society.Design/methodology/approachThe methodological foundation of this research consists in comprehensive approach and activity approach, which make it possible to comprehend specific aspects of cultural security management as an element of the national security system. The research uses a riskologic approach, which reveals the nature of modern risks and threats to cultural security in the information society. A constructivist approach is used, from the perspective of which the interaction between cultural identity and historical memory of society is analyzed.FindingsIt has been found that historical memory is one of the factors that are able to ensure cultural security of society in the context of threats associated with the processes of cultural intervention, current geopolitical confrontation, during which information and psychological methods of destructive influence on the cultural identity of peoples are abundantly used. Therefore, in the system for managing cultural security of society, one should use a historical memory resource aimed at preserving the cultural identity of the people and transmitting it to the coming generations.Originality/valueIt has been substantiated that the growing geopolitical confrontation in the world and the crisis state of the spiritual realm of Russian society bring up the question of state responsibility for the cultural situation and the need to implement an effective national cultural policy. It has been established that only through the reliance on the cultural factor, crisis phenomena can be overcome and social stability and civil society consolidation can be achieved. The role of historical memory in the preservation of cultural identity of the people and ensuring cultural security of Russian society in the context of external and internal threats has been identified. In order to preserve and transmit historical memory, one should use all the structures responsible for the process of socialization of an individual: family, educational system, mass media, cultural establishments and leisure industry.

Kemal Atuturk in the art of republican Turkey

2021 ◽  
pp. 79
Author(s):  
Nikolay P. Goroshkov
Keyword(s):  
Ottoman Empire ◽  
Visual Arts ◽  
Cultural Policy ◽  
Turkish Republic ◽  
History Of ◽  
The Republic ◽  
Political Economic ◽  
The Military ◽  
Republic Of Turkey ◽  
Kemal Ataturk

The article analyzes how the personality of the first president of the Turkish Republic, Mustafa Kemal Ataturk, is reflected in contemporary Turkish art. This year marks exactly 140 years since his birth. To his achievements in the military and political arenas, cultural figures have dedicated many works in the visual arts, architecture, literature and cinema.  The trace of the first president of the Republic of Turkey remained in the works of both his contemporaries and in the works of authors today. Creativity is multifaceted, inspiration has no boundaries, along with them, culture was freed from prohibitions with the beginning of a new page in the history of the country. Her achievements became available to more people, the opportunity to touch the spiritual life and create it opened up along with the reforms of Mustafa Kemal Pasha to wide layers of the population. Immortal works have preserved for posterity the image of the father of the Turkish nation, and a characteristic feature of these works is the author's personal admiration for the deeds of Gazi. This undoubtedly leaves its mark on the work and the way in which a person is shown in the context of history, who took fate and the entire people into his own hands, mired in political, economic, cultural crises. But before giving an answer to the question "Who are you, Father of the Turks?", it is important, in our opinion, briefly to draw attention to the historical retrospective of the development of Turkish culture under the influence of the policy of two states that appeared, flourished and fell into decay on the peninsula of Asia Minor. The article briefly examines some of the features of the cultural policy of the last years of the Ottoman Empire and the first years of the republic.

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