scholarly journals Anthropological Studies of Popular Culture

2010 ◽  
Vol 5 (2) ◽  
pp. 17-39
Author(s):  
Bojan Žikić

One of the questions raised at the symposium "Our World, Other Worlds. Anthropology, Science Fiction and Cultural Identity", held in Belgrade in December 2009, is how anthropology is to study contemporary art forms: how research issues are to be defined and approached; how research is to be organized in a specific semantic area, which cannot always and with absolute certainty be said not to be an anthropological construction; whether the subject of research can be said to have the shared nature of cultural communication; whether the anthropologist is to interpret the author/artist’s intention, or that which is produced as a result of that intention, etc. The aim of this paper is to suggest some answers to these questions, from the point of view of a researcher focused on cultural communication.

2017 ◽  
Vol 5 (5) ◽  
pp. 0-0
Author(s):  
Marta Zambrzycka

The subject of the article are images of death and human corps in the Ukrainian contemporary art as exemplifi ed by two Ukrainian representatives of contemporary art: Vasily Cagolov and Arsen Savadov. Savadov uses a dead body as a metaphor of a political and social situation. Vasyl Cagolow analyzes the subject of death and violence in popular culture, presenting it as a show that is kitsch and detached from reality.


Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 102
Author(s):  
Sławomir Gawroński ◽  
Kinga Bajorek

A series of novels about a witcher, written by Andrzej Sapkowski almost thirty years ago, has now become an inspiration for the creation of mass productions of mainstream popular culture—film and multimedia adaptations for use in computer games. It is one of the few examples of global messages of mass culture being based on Polish creativity. The recognition of “The Witcher”, due to the Netflix production, soon contributed to building the national pride of Polish people, and at the same time sparked a discussion in Central and Eastern European countries on the consequences of the multimedia adaptation of Andrzej Sapkowski’s prose. Questions about the dissonance between the Slavic and universal dimensions of “The Witcher” in relation to the original novels and their adaptations are a part of the traditional discourse on the adaptability of literature and its consequences for the reception by the audience. This article tries to capture the specific character of the adaptations of Andrzej Sapkowski’s literature from the point of view of typology, known from the literature of the subject, as well as to answer the question about the consequences of the discrepancy between the original book and its adaptations in the form of a film, a TV series, and computer games. The considerations in the article were based on the literature analysis and the research based on the existing sources.


2017 ◽  
Vol 12 (2) ◽  
pp. 415
Author(s):  
Bojan Žikić

The cultural communication attempted by this film in the context of science fiction as part of popular culture is analyzed. The message of the film pertains to the inexistence of a solution to the instability of the relationship between the normative order and human behaviour - which is the description of human social existence in the film, and is interpreted as a pessimist view of this existence. The message is arrived at through a string of binary oppositions.


2017 ◽  
Vol 16 (04) ◽  
pp. C06
Author(s):  
Erik Stengler ◽  
Jimena Escudero Pérez

Studying fictional depictions of robots and artificial intelligence in cinematographic science fiction narratives acquires a new level of relevance as legislators' approaches to the subject seem to be strongly influenced by popular culture. This panel of Science in Public 2017 presented various on-going investigations of this kind, showing that the critical mass in this area of research is growing


Author(s):  
Francesco Ragazzi

What kind of entities are works of art from an ontological point of view? This question has become canonical in the framework of analytic philosophy. One way of answering the puzzle seemed to be conclusive. It is the hypothesis that all, or the majority of artworks can be identified with types embedded into tokens. To begin with, I will survey how the type-token distinction transitioned from semiotics to ontology. Secondly, I will consider how some contemporary art forms contributed to questioning this approach to the ontology of artworks. Lastly, I will suggest how the nature of types and tokens should be reassessed in order to properly describe artworks in their historical and socially construed nature.


2021 ◽  
Vol 16 (1) ◽  
Author(s):  
Bojan Žikić

The vampire in Serbian traditional culture and the vampire in popular culture are two different beings. The former is virtually identical to people in his community, does not undergo a change of character after death, and getting rid of him is the task of the whole community. He is linked to his socio-cultural environment and his existence is not linked to physiological needs and possibilities, but is circumscribed by the ability of the living members of his community to oppose him. The latter is a distinct being with supernatural abilities, whose character changes after death in the sense that he becomes a predator, a physical and ontological threat to man, and can be opposed by those who know his characteristics and weaknesses. He is not territorially restricted in his actions, but from the author's point of view he is always depicted as an interloper. He is a simulation of man insofar as he has to sustain himself in the afterlife by feeding himself, and has the ability to reproduce, i.e. to produce new beings of his kind. They have the following in common: 1) they continue to exist after death in their own physical body; 2) they are representations of the revived dead body of a concrete person, whose behavior has in the case of both models been altered precisely to the extent that this alteration can be ascribed to the notion of physical existence after death. The given malevolence, as the fundamental characteristic of the vampire's relationship to people, in both cases stems more from the meaning of the existence of these models than from a concept of an afterlife, that is, from the need to resolve the internal problems of the traditional community conceived as the local environment, and the need for self-determination towards that which is different, alien and foreign in societies of the new type, based on transcending socio-cultural locality and establishing global cultural communication.


2020 ◽  
Vol 13 ◽  
pp. 13-25
Author(s):  
Adam Regiewicz

In Poland, a discourse on the relationship between the canon and pop culture has been going on for almost thirty years. It is dominated by the belief that these methods of cultural communication are completely divergent. The canon is understood as a bastion of tradition and values and as such is in contradiction with popular culture. This conflict has educational consequences. Creates a resonance in the relationships and teachers, who more and more often show greater knowledge of pop culture phenomena than the so-called cultural canon. The impasse that the school is currently ex-periencing requires a reaction, and this seems to be possible by drawing attention to the subject of education and turning to the “here and now”. In order to explain the possibility of breaking the “cold war” situation between the canon and pop culture, the article cites the transitive principle as a method of building a dialogue between both sides of the dispute.


2019 ◽  
Vol 11 (1) ◽  
pp. 85-94
Author(s):  
Karol Juszka ◽  
Kazimiera Juszka

The aim of the article is to present the views of a classic forensic scientist prof. zw. dr hab. Tadeusz Hanausek, the founder of Cracow school of forensic science, who has shaped the Polish foundations of forensic tactics, which is currently one of the disciplines of forensic science. The presentation of professor Hanausek has been reflected in the implementation of his dogmatic point of view in the practice of law enforcement agencies and the justice system both during his life and after his death. Professor Tadeusz Hanausek determined the reasons for the initial underestimation of the role of forensic tactics despite the acceptance of this term, built a definition of forensic tactics and developed scientific research that allowed him to indicate a growing role of forensic tactics in the implementation of the functions of forensic science and the criminal procedure. The article presents the fundamental issues of Tadeusz Hanausek’s creative scientific interests, which he first defined and then consistently pursued and developed in his scientific and research activities. The pioneering scientific and research issues in question were passed on by professor Tadeusz Hanausek to the representatives of his Cracow school of forensic tactics and then developed, presented and widely discussed on the national, European and international forum. The subject matter of the article is also focused on the examples of practical application of the professor’s ideas in an effective detection of perpetrators of crime. In addition, the publication is based on the research findings of the judicial and prosecutorial records of one of the authors of this article, who is an active representative, popularizer and, above all, a continuator of professor Hanausek’s Cracow school of forensic tactics.


2010 ◽  
Vol 22 ◽  
pp. 211-227
Author(s):  
Tuomas Hovi

This article is about Dracula tourism in Romania and how it may be seen as pilgrimage. The author approaches this connection especially through the place myth of Transylvania and through the status Transylvania has in Western popular culture. The subject is approached purely from a ‘Western’ point of view, that is, in this article Romania, although a member of the EU and NATO, is treated not as part of the West but part of the East. This is due to the fact that in Western popular culture Romania and especially Transylvania have always been portrayed as the Other in relation to the West. Western popular culture plays a significant role in Dracula tourism.


1989 ◽  
Vol 21 (62) ◽  
pp. 67-91
Author(s):  
Samuel M. Cabanchick

Traditionally, the skeptic has been considered as a threat to our claims to true and justified knowledge. Also, certainty appears to be as the highest possible degree of knowledge. Knowledge and certainty are thus opposed to skepticism. This paper wants to show that 'certainty' and knowledge are, probably, incompatible notions, and that the possibility of a doubt about the assumed certainty is a necessary condition to distinguish between belief and knowledge, and to construe any kind of knowledge. Its starting point is Moore's notion of cerfainty, Moore demands that the expression of certainty (and, consequently, its formalization) should assume certain basic intuitions. One of them is the non-transmissibility of certainty; another intuition, fundamental to its Proof of the Existence of the World, is that certainty should be implied by knowledge. The claim of certainty: (1) "1 know with absolute certainty that p" can be considered as a 'residusl meaning' ofthe followingformal expression in the epistemic logic of Hintikka: (2) "SySyp", where 'S' is the epistemic operator which stands for knowledge, 'y' is the personal pronoun 'I', and 'p' refers to the proposition claimed to be known. In other words, we would claim to know that we know a given proposition. This proposal has some disadvantages: in Hintikka's view, it is virtually equivalent to 'Syp', that is, to 'I know that p', and, even if Hintikka went astray, because knowledge is transmissible, certainty would be transmissible too, and this contradicts Moore's intuition concerning the nontransmissibility of certainty. Another interpretation of (1) is (3) "N Sy p" ("I necessarily know that p") where 'N' is the necessity operator. But this interpretation fails because it also contradicts the non-transmissibility, and intuitively it is very hard to believe that "Sy p → N Sy p", that is to say, it is very hard to believe that it matches the intuition that knowledge implies certainty. An alternative would consist on relating certainty and belief. If 'C' is the belief operator in epistemic Iogic, the following theorem by Galván comes close to Moore's demands: (4) "Cy(Cyp - p)", that is, "I believe that I believe only truths", It can also be put as: (5) "Cyp - CSyp" ("If I believe that p, therefore I believe that I know that p"). Unfortunately, neither (4)1nor (s) are warrants of truth, but warrants of the imposeibility of doubt. This is opposed to Moore's claim that we know that the premises of the Proof of the Extemal World are undebatably true. Luis Villoro has pointed out the necessity of taking into consideration the epistemic communities when we speak of knowledge. This requirement is stated thus: (6) (Syp) → Cy(∃x)(P(-SxP. -Sx - p) . (x ≠ Y))), which can be read as: "If I know that p, therefore I believe that there is an x such that it is possible for him not to know that p and not to know that no-p, and x is not identical with me". This can be generalized thus: (7) (z)((Sxp) → Cx(∃x)(P(-SxP. -Sx - p) . (x ≠ z))) Moreover,from this formalization it followsthat a subject should be able to doubt about the truth ofhis belief: he must admit the possibility of error, and this conflicts with certainty. In order to be able to get knowledge I must abandon a strictly subjective warranty of truth, such as certainty, and this is possible when I accept the existence of a point of view which differs from mine, a point of view which lets undecided the truth or falsity of a proposition. In this way it is p088ible to distinguish between believing and knowing, because knowledge still demanda the possibility of error. So, there is a certain interpretation of skepticism that can see it not as a threat to the claims to justified knowledge, but as the position that truly offers the poesibility of knowledge, because it fights the solipsistic assurance of the subject of certainty. [Francisco Hernández]


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