scholarly journals Szekspirowskie przywołania w polskiej literaturze kryminalnej (rekonesans)

2021 ◽  
Vol 27 ◽  
pp. 167-189
Author(s):  
Adam Mazurkiewicz
Keyword(s):  
Crime Fiction ◽  
Polish Literature ◽  
Avant Garde ◽  
Crime And Punishment ◽  
The Past ◽  
European Culture ◽  
Reductio Ad Absurdum ◽  
The Everyday ◽  
Polish Language ◽  
Cultural Aesthetics

Taking into consideration the variety of Shakespearean elements both in world and Polish literature, it is hard to resist the impression that it is the phenomenon without which European culture would be impossible to imagine. At the same time, the writer — whose works not only constitute an important part of Western culture and determine its canon, but also have an influence on current, globalised culture — is perceived as a “dangerous trap”. The above-mentioned danger seems to derive, paradoxically, from the ubiquity of Shakespeare’s works, which are used as a point of reference for modern stories and sometimes treated instrumentally as the “culture brand”. However, it is important to determine if the reception of Shakespeare — present in the socio-cultural aesthetics as well as in the area of paratheatrical avant-garde — among Polish audience is followed by the pop-cultural assimilation of his works. The success on the market of crime fiction whose authors relate to Shakespeare’s works implies the reductio ad absurdum question: how much of Shakespeare remains in these Shakespearean inspirations? Are they really inspirations or is Shakespeare only the brand-author who, due to his name, elevates a given text on the cultural level? If that was the case, we would be experiencing the branding after the pattern of culturally imposed stereotypes. They are in turn assimilated by the popular culture and have a significant impact on the everyday behaviours of the readers — including their attitude towards the past. Thus, tracking the Shakespearean traces within this cultural circuit usually remains a “wishful thinking”, while countless Polish stories (or the ones that the readers know from translations into the Polish language) about “crime and punishment” are the exceptions that prove the rule.

scholarly journals The (Non)Presence of Julian Tuwim in Lithuania

2017 ◽  
Vol 36 (6) ◽  
pp. 153-160
Author(s):  
Teresa Dalecka
Keyword(s):  
National Literature ◽  
Soviet Period ◽  
Complex Phenomenon ◽  
Public Figure ◽  
Polish Literature ◽  
Avant Garde ◽  
Polish Version ◽  
Article Analysis ◽  
Long Time ◽  
Polish Language

The reception of Polish literature in Lithuania is a complex phenomenon. For a long time there was a dominant trend of expanding the area of Lithuanian literature by incorporating into it some of the Polish-language authors who maintained contacts with Lithuania. As a result, the horizons of national literature naturally broadened. However, the reception of Julian Tuwim’s writing belongs to a different category. It needs to be remembered that in the Soviet period Polish literature offered Lithuanian intellectuals a passage to the outside world. It was in the work of western poets, Tuwim’s work included, that Lithuanian authors sought ways of expanding their avant-garde forms and dictions. Tuwim’s poetry has been largely read in its original, Polish version; therefore, there are few books collecting his poems. However, the influence of Tuwim’s work is recognized by some experts in translations of his work. However, Tuwim was made publicly known in Lithuania thanks an argument over the naming one of the street in Vilnius after his name. The article analysis public reactions to this argument and shows how this non-literaryevent made Tuwim a public figure in the country.

scholarly journals Rok 1989 – wokół pojęcia modernizmu

2019 ◽  
pp. 415-428
Author(s):  
Wojciech Włodarczyk
Keyword(s):  
Art History ◽  
Modern Art ◽  
The Political ◽  
Past Century ◽  
Avant Garde ◽  
The Past ◽  
Clement Greenberg ◽  
Polish Language ◽  
Polish Art

The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde. In Mieczysław Porębski’s essay “Two Programs” [Dwa programy] (1949), and then, since the late 1960s, in Andrzej Turowski’s publications, the concept of the avant-garde was acknowledged as basic for understanding twentieth-century Polish art. The significance of the concept of the avant-garde in reference to the art of the past century in Poland changed after the publication of Piotr Piotrowski’s book of 1999, Meanings of Modernism [Znaczenia modernizmu]. Piotrowski challenged in it the key role of that concept – e.g., Władysław Strzemiński and Henryk Stażewski, usually called avant-gardists before, were considered by him modernists – in favor of a new term, “critical art,” referring to the developments in the 1990. In fact, critical art continued the political heritage of the avant-garde as the radical art of resistance. The author believes that such a set of terms and their meanings imposes on the concept of the avant-garde some limits, as well as suggests that scholars and critics use them rather inconsistently. He argues that concepts should not be treated as just label terms, but they must refer to deeper significance of tendencies in art. He mentions Elżbieta Grabska’s term “realism,” also present in the tradition of studies on modern Polish art, and concludes with a postulate of urgent revision of the relevant vocabulary of Polish art history.

scholarly journals Methodological basis of the «Entertainment» phenomenon within the postmodern discourse

2020 ◽  
Author(s):  
Olena Chumachenko
Keyword(s):  
Visual Culture ◽  
Analytical Method ◽  
Cultural Context ◽  
Semantic Content ◽  
Avant Garde ◽  
Methodological Basis ◽  
The Past ◽  
European Culture ◽  
First Time

The purpose of the article consists of the determination of the methodological basis of the phenomenon of "Entertainment" in the discourse of postmodernism. The research methodology consists in the application of the analytical method - to determine the theoretical and methodological foundations of the study of the phenomenon of "Entertainment" in the discourse of postmodernism; the hermeneutic method - for the interpretation of the semantic content of the phenomenon of "Entertainment" in the context of the theories of post-structuralists and post-Freudians in the discourse of postmodernism; we use the historical and cultural method to investigate holistic images-concepts of the phenomenon of "Entertainment" in Western European culture in the discourse of postmodernism. The scientific novelty of the work is that for the first time the essence of the phenomenon of «Entertainment» in the theories of post-structuralists and post-Freudians in the discourse of postmodernism. Conclusions. The phenomenon of "Entertainment" begins to be seen as a form of manifestation of visual culture in the discourse of postmodernism, this phenomenon does not reflect reality but simulates this reality through experiments with artificial reality. Each context has exhaustive possibilities for its reading and interpretation, any element of artistic language can be used in another - social, political and cultural - context, or it can be influenced outside the framework of any context, which in a vivid way became the basis of the phenomenon of "Entertainment" (J. Derrida); «Entertainment» is a form of ironic rethinking in the aspect of the response to postmodernism to the avant-garde, on the recognition of the impossibility of destroying the heritage of the past and a call for an ironic rethinking of this past (R. Rorty); the essence of «Entertainment» is the process of combining already existing art forms (J. Baudrillard); - all aspects vividly prove that the philosophical concepts of R. Barthes, J. Baudrillard, J. Delioz, F. Guattari, F. Jameson were the methodological basis of the phenomenon of «Entertainment» in the discourse of postmodernism.

Britain versus Modernism

2019 ◽  
Vol 52 (1) ◽  
pp. 8-13
Author(s):  
Sara Crangle
Keyword(s):  
Past Century ◽  
English Studies ◽  
Short Article ◽  
Avant Garde ◽  
The Past ◽  
European Culture ◽  
History Of ◽  
Primary Relationship

Written against the backdrop of Brexit, this short article examines the long history of British disregard for modernist and experimental avant-garde aesthetics, one frequently commented upon by critics and artists over the past century. In What Ever Happened to Modernism? Josipovici added his voice to this chorus, but his focus on British insularity went unremarked by reviewers. In addition to considering this more recent text, the article lingers over Josipovici’s ‘English Studies and European Culture’, an essay written in the 1970s that presciently explores the symbiotic and primary relationship between England and the continent.

scholarly journals 1989. On the Concept of Modernism

2019 ◽  
pp. 257-270
Author(s):  
Wojciech Włodarczyk
Keyword(s):  
Art History ◽  
Modern Art ◽  
The Political ◽  
Past Century ◽  
Avant Garde ◽  
The Past ◽  
Clement Greenberg ◽  
Polish Language ◽  
Polish Art

The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde. In Mieczysław Porębski’s essay “Two Programs” [Dwa programy] (1949), and then, since the late 1960s, in Andrzej Turowski’s publications, the concept of the avant-garde was acknowledged as basic for understanding twentieth-century Polish art. The significance of the concept of the avant-garde in reference to the art of the past century in Poland changed after the publication of Piotr Piotrowski’s book of 1999, Meanings of Modernism [Znaczenia modernizmu]. Piotrowski challenged in it the key role of that concept – e.g., Władysław Strzemiński and Henryk Stażewski, usually called avant-gardists before, were considered by him modernists – in favor of a new term, “critical art,” referring to the developments in the 1990. In fact, critical art continued the political heritage of the avant-garde as the radical art of resistance. The author believes that such a set of terms and their meanings imposes on the concept of the avant-garde some limits, as well as suggests that scholars and critics use them rather inconsistently. He argues that concepts should not be treated as just label terms, but they must refer to deeper significance of tendencies in art. He mentions Elżbieta Grabska’s term “realism,” also present in the tradition of studies on modern Polish art, and concludes with a postulate of urgent revision of the relevant vocabulary of Polish art history.

Historical Crime Fiction as Popular Historiography

2020 ◽  
Vol 1 (2) ◽  
pp. 203-220
Author(s):  
Dorothea Flothow
Keyword(s):  
Crime Fiction ◽  
Special Focus ◽  
Historical Novels ◽  
Historical Romances ◽  
The Past ◽  
The Everyday ◽  
Historical Fact ◽  
The Mean ◽  
The Uk ◽  
Visitor Numbers

Due to the current history boom in the UK, which manifests itself in the conspicuous popularity of historical novels, costume dramas, and in rising visitor numbers to museums, the study of popular historiography has become a growing and vibrant field. Popular historiography formats such as costume dramas, historical romances, and re-enactments have been recognised as a key influence on the public's knowledge of the past. Consumed informally and voluntarily, entertaining and easily accessible, popular histories are often more significant for the public's perception of ‘historical fact’ than ‘academic’ forms of historiography. This article examines historical crime fiction as a genre of popular historiography with a special focus on recent novels set in the late seventeenth century, a period that has lately been the focus of a number of exciting crime series. As a genre mostly written to a formula, concentrating on a narrow theme (i.e. crime and violence), and typically showing the life of ‘the mean streets’, crime fiction has a genre-specific view of the past. Due to its focus on the everyday, it shows aspects of history which are particularly popular with a wider public. Additionally, as it is frequently preoccupied with history's dark secrets, crime fiction is especially suited to re-writing established images of the past.

The Art of Waste

2017 ◽  
Author(s):  
Toby Miller
Keyword(s):  
Popular Culture ◽  
Public Interest ◽  
Critical Study ◽  
Avant Garde ◽  
The Past ◽  
Sustainable Environment ◽  
The Everyday

This chapter addresses macrolevel environmental and resource questions that underpin the critical study of media infrastructures. It examines the “art of waste” and brings a discussion of e-waste. Electronic or e-waste artists use the freedom of art to demand secure labor and a sustainable environment. They translate scientific and activist ideas and found or invented materials, encouraging people to think of the imminent, not just the past and present. This engages popular culture in an avant-garde way that can feed back into the everyday and in turn be made sense of by public-interest intermediaries as well as opportunistic commerce. Ultimately, e-waste artists' creative reuse of waste as art challenges the upgrade society's culture of built-in obsolescence, while the curating of such work by museums can be part of a wider commitment against e-waste.

Introduction: Crime Fiction and the Past

2020 ◽  
Vol 1 (2) ◽  
pp. 153-156
Author(s):  
Eric Sandberg
Keyword(s):  
Crime Fiction ◽  
The Past

Crime and Punishment

2017 ◽  
Author(s):  
Richard Adelstein
Keyword(s):  
Criminal Liability ◽  
Court Case ◽  
Efficient Allocation ◽  
Two Stage ◽  
Crime And Punishment ◽  
The Past ◽  
Ex Post ◽  
Ex Ante ◽  
Supreme Court Case

This chapter elaborates the operation of criminal liability by closely considering efficient crimes and the law’s stance toward them, shows how its commitment to proportional punishment prevents the probability scaling that systemically efficient allocation requires, and discusses the procedures that determine the actual liability prices imposed on offenders. Efficient crimes are effectively encouraged by proportional punishment, and their nature and implications are examined. But proportional punishment precludes probability scaling, and induces far more than the systemically efficient number of crimes. Liability prices that match the specific costs imposed by the offender at bar are sought through a two-stage procedure of legislative determination of punishment ranges ex ante and judicial determination of exact prices ex post, which creates a dilemma: whether to price crimes accurately in the past or deter them accurately in the future. An illustrative Supreme Court case bringing all these themes together is discussed in conclusion.

scholarly journals Asexuals negotiate the ‘onslaught of the heteronormative’

Sexualities ◽  
2021 ◽  
pp. 136346072199338
Author(s):  
Tiina Vares
Keyword(s):  
New Zealand ◽  
Everyday Life ◽  
Cultural Context ◽  
Emotional Responses ◽  
Emotional Impact ◽  
Individual Interviews ◽  
The Past ◽  
Aotearoa New Zealand ◽  
The Everyday ◽  
Research Gap

Although theorizing and research about asexuality have increased in the past decade, there has been minimal attention given to the emotional impact that living in a hetero- and amato-normative cultural context has on those who identify as asexual. In this paper, I address this research gap through an exploration of the ‘work that emotions do’ (Sara Ahmed) in the everyday lives of asexuals. The study is based on 15 individual interviews with self-identified asexuals living in Aotearoa New Zealand. One participant in the study used the phrase, ‘the onslaught of the heteronormative’ to describe how he experienced living as an aromantic identified asexual in a hetero- and amato-normative society. In this paper I consider what it means and feels like to experience aspects of everyday life as an ‘onslaught’. In particular, I look at some participants’ talk about experiencing sadness, loss, anger and/or shame as responses to/effects of hetero- and amato-normativity. However, I suggest that these are not only ‘negative’ emotional responses but that they might also be productive in terms of rethinking and disrupting hetero- and amato-normativity.

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