scholarly journals Długie trwanie wieku XIX – (pop)kulturowe rekonstrukcje przeszłości w najnowszej fantastyce

2021 ◽  
Vol 52 (3) ◽  
pp. 243-258
Author(s):  
Dariusz Piechota
Keyword(s):  
Nineteenth Century ◽  
Popular Culture ◽  
Pop Culture ◽  
History Of

Contemporary popular culture eagerly returns to the era of steam and electricity. The pop-culture imagery of the nineteenth century functions in two variants (realistic and fantastic) and takes the form of intertextual games, providing material for postmodern collages and remixes. New genres, such as steampunk and mashup, were quickly adapted and modified by Polish writers. Victorians were replaced by positivists who saw modern inventions as an effective weapon in the fight against the invaders. In addition to works presenting an alternative history of the January Uprising, fantasy authors eagerly refer to the works of Bolesław Prus. The further fate of The Doll appears both in the steampunk and mashup conventions. An interesting realization of the mashup is also the anthology Other worlds, inspired by the works of Jakub Różalski, which combine fantasy with realistic poetics straight from the paintings of Józef Chełmoński. In the alternative world of Polish graphics there appear monstrous machines, characters from another dimension (like dwarfs). 

scholarly journals Repackaging Popular Culture: Commentary and Critique in Community

2012 ◽  
Vol 5 (2) ◽  
Author(s):  
Tully Barnett ◽  
Ben Kooyman
Keyword(s):  
Popular Culture ◽  
Science Fiction ◽  
Everyday Life ◽  
Pop Culture ◽  
Big Bang ◽  
Fan Culture ◽  
High Stakes ◽  
History Of ◽  
Nerd Culture ◽  
The Big Bang

Contemporaneous with the collision of Science Fiction/Fantasy with the mainstream evident in the success of nerd culture show The Big Bang Theory (2007- ), Joss Whedon’s The Avengers (2012), the growth of Comic Con audiences and so on, Dan Harmon developed Community (2009- ), a sitcom depicting a study group at a second-rate community college. The show exemplifies a recent gravitation away from the multi-camera, laugh-track driven sitcom formula, alternating between “straight” episodes dealing with traditional sitcom premises, though always inflected with self-aware acumen, and more ambitious, unconventional episodes featuring outlandish premises, often infused with the trappings of genre and geek fandom. The show presents apocalyptic action- and Western-style paintball wars, epidemics that evoke zombie cinema, a Yahtzee game that spirals into alternate timelines, and a high-stakes Dungeons and Dragons game that blurs the boundaries between reality and fantasy.  Both the straight and the unconventional episodes ultimately serve the same purpose, examining the intersection between nerd culture and everyday life. This essay discusses a number of episodes which exemplify Community’s intersections between everyday life and popular culture, charting the show’s evolving preoccupation with pop culture and intertwining of reality and fantasy. It discusses Community’s self-referentiality as a sitcom, its ambitious and elaborate recreations of and homages to pop culture artefacts, and its explicit gravitation towards Science Fiction and Telefantasy in its third season. Through its various homages to popular culture and ongoing depiction of fan culture, we posit that the show is both a work of fandom and a work about fandom, advocating for the pivotal role of fandom in everyday life and for popular culture as a tool for interpreting, comprehending and navigating life. In this respect, the show contributes to the long history of both the sitcom and Telefantasy as vehicles for cultural commentary.

scholarly journals Historia, problematyka i związki studiów postkolonialnych z badaniami kultury popularnej

2021 ◽  
Vol 27 ◽  
pp. 355-374
Author(s):  
Izabela Poręba
Keyword(s):  
Popular Culture ◽  
Cultural Studies ◽  
Postcolonial Studies ◽  
Pop Culture ◽  
Research Field ◽  
Culture Studies ◽  
Stuart Hall ◽  
History Of

The article depicts the connectivity of popular culture studies in the field of cultural studies with issues of postcolonial studies. The aim of the work is to answer the question about a possibility to transplant Western cultural studies research to postcolonial popular culture analysis and interpretation. The study begins with a brief reconstruction of the history of pop culture research in the scope of postcolonial methodology — the most important works, conferences, and thematic issues initiating an interest in a research field new to postcolonialism around the 1990s and at the beginning of the following millennium. In the next part of the article, the author points out two main definitions of popular culture (“the popular”) in the scope of indicated optics — by Stuart Hall and John Fiske; the author also considers terminological issues with “the popular” and its non-existent equivalent in Polish. An ambiguous movement written in popular culture was considered as its most important feature (as Hall and Fiske claimed) — at the same time, a dominant system is contained (incorporation) and meets with resistance of people who revolt by the means of the system itself (exportation). Nonetheless, the author shows why believing in the possibility of resistance can be an illusion. Next, the author comments on the stand of Kwame Anthony Appiah, who problematized the relation of postcolonialism and pop culture. The analysis of connections between these two phenomena is followed by a few examples of intertextuality in Alain Mabanckou’s novels.

The British Superhero

2017 ◽  
Author(s):  
Chris Murray
Keyword(s):  
Nineteenth Century ◽  
Popular Culture ◽  
Science Fiction ◽  
Film Production ◽  
Cultural Hegemony ◽  
Fiction Writing ◽  
History Of ◽  
The Relationship

This book reveals the largely unknown and rather surprising history of the British superhero. It is often thought that Britain did not have its own superheroes, yet this book demonstrates that there were a great many in Britain and that they were often used as a way to comment on the relationship between Britain and America. Sometimes they emulated the style of American comics, but they also frequently became sites of resistance to perceived American political and cultural hegemony, drawing upon satire and parody as a means of critique. The book illustrates that the superhero genre is a blend of several influences, and that in British comics these influences were quite different from those in America, resulting in some contrasting approaches to the figure of the superhero. It identifies the origins of the superhero and supervillain in nineteenth-century popular culture such as the penny dreadfuls and boys' weeklies and in science fiction writing of the 1920s and 1930s. The book traces the emergence of British superheroes in the 1940s, the advent of “fake” American comics, and the reformatting of reprinted material. It then chronicles the British Invasion of the 1980s and the pivotal roles in American superhero comics and film production held by British artists today. This book will challenge views about British superheroes and the comics creators who fashioned them.

scholarly journals Book Review: Freedom of Speech: Reflections in Art and Popular Culture

2018 ◽  
Vol 57 (3) ◽  
pp. 226
Author(s):  
Edward Whatley
Keyword(s):  
United States ◽  
Popular Culture ◽  
Pop Culture ◽  
Freedom Of Speech ◽  
The United States ◽  
The Arts ◽  
Private Citizens ◽  
History Of ◽  
Creative Products

For a country that prides itself on the freedoms it bestows on its citizens, the United States has a surprisingly extensive history of censorship. As Patricia L. Dooley’s Freedom of Speech: Reflections in Art and Popular Culture demonstrates, the arts and pop culture have long been favored targets of censors. Sometimes the censors are private citizens or organizations acting as self-appointed guardians of morality. More ominously, they sometimes are government entities intent on controlling the dissemination and consumption of creative products.

George P. Knauff's Virginia Reels and the History of American Fiddling

2017 ◽  
Author(s):  
Chris Goertzen
Keyword(s):  
Nineteenth Century ◽  
Popular Culture ◽  
West Virginia ◽  
Oral Tradition ◽  
Early Nineteenth Century ◽  
Music Publishing ◽  
Blackface Minstrelsy ◽  
History Of ◽  
Upper South ◽  
Fiddle Tunes

George P. Knauff's Virginia Reels (1839) was the first collection of southern fiddle tunes and the only substantial one published in the nineteenth century. Knauff's activity could not anticipate our modern contest-driven fiddle subcultures. But the fate of the Virginia Reels pointed in that direction, suggesting that southern fiddling, after his time, would happen outside of commercial popular culture even though it would sporadically engage that culture. This book uses this seminal collection as the springboard for a fresh exploration of fiddling in America, past and present. It first discusses the life of the arranger. Then it explains how this collection was meant to fit into the broad stream of early nineteenth-century music publishing. The book describes the character of these fiddle tunes' names (and such titles in general), what we can learn about antebellum oral tradition from this collection, and how fiddling relates to blackface minstrelsy. Throughout, the book connects the evidence concerning both repertoire and practice found in the Virginia Reels with current southern fiddling, encompassing styles ranging from straightforward to fancy—old-time styles of the Upper South, exuberant West Virginia styles, and the melodic improvisations of modern contest fiddling. Twenty-six song sheets assist in this discovery. The book incorporates performance descriptions and music terminology into his accessible, engaging prose. The book presents an extended look at the history of southern fiddling and a close examination of current practices.

For the Culture

2021 ◽  
pp. 196-216
Author(s):  
William Visco
Keyword(s):  
Popular Culture ◽  
Learning Environments ◽  
Positive Impact ◽  
Pop Culture ◽  
Emotional Learning ◽  
Positive Relationships ◽  
Classroom Experience ◽  
Critical Friends ◽  
School Aged Children ◽  
History Of

Socio-emotional learning researchers acknowledge the positive impact technology has on school aged children. Popular culture is one way to support and extend such learning environments while helping build positive relationships within the classroom. This chapter will focus on the history of pop culture in the classroom, the importance of merging students' primary and secondary discourses, using pop culture to build positive relationships, and provide engaging practitioner examples for a more fulfilling socio-emotional classroom experience. The author believes that when shared within a group of critical friends who own varied perspectives and experiences, creative spaces for learning are opened and activity can abound.

A history of some fruit models in wax and other materials: scientific teaching aids and courtly table decorations

2003 ◽  
Vol 30 (2) ◽  
pp. 299-316 ◽  
Author(s):  
Hans-JüRgen Lechtreck
Keyword(s):  
Nineteenth Century ◽  
Fruit Trees ◽  
Visual Aids ◽  
Early Nineteenth Century ◽  
Teaching Aids ◽  
Scientific Teaching ◽  
Glass Marble ◽  
History Of ◽  
By Products ◽  
Wax Models

Two early nineteenth century texts treating the production and use of wax models of fruit reveal the history of these objects in the context of courtly decoration. Both sources emphasise the models' decorative qualities and their suitability for display, properties which were not simply by-products of the realism that the use of wax allowed. Thus, such models were not regarded merely as visual aids for educational purposes. The artists who created them sought to entice collectors of art and natural history objects, as well as teachers and scientists. Wax models of fruits are known to have been collected and displayed as early as the seventeenth century, although only one such collection is extant. Before the early nineteenth century models of fruits made from wax or other materials (glass, marble, faience) were considered worthy of display because contemporaries attached great importance to mastery of the cultivation and grafting of fruit trees. This skill could only be demonstrated by actually showing the fruits themselves. Therefore, wax models made before the early nineteenth century may also be regarded as attempts to preserve natural products beyond the point of decay.

Adam Zalužanský’s “De sexu plantarum” (1592): an early pioneering chapter on plant sexuality

2013 ◽  
Vol 40 (2) ◽  
pp. 244-256 ◽  
Author(s):  
Holger Funk
Keyword(s):  
Nineteenth Century ◽  
English Translation ◽  
History Of Botany ◽  
Main Work ◽  
Botanical History ◽  
History Of ◽  
The University ◽  
First Time

In the history of botany, Adam Zalužanský (d. 1613), a Bohemian physician, apothecary, botanist and professor at the University of Prague, is a little-known personality. Linnaeus's first biographers, for example, only knew Zalužanský from hearsay and suspected he was a native of Poland. This ignorance still pervades botanical history. Zalužanský is mentioned only peripherally or not at all. As late as the nineteenth century, a researcher would be unaware that Zalužanský’s main work Methodi herbariae libri tres actually existed in two editions from two different publishers (1592, Prague; 1604, Frankfurt). This paper introduces the life and work of Zalužanský. Special attention is paid to the chapter “De sexu plantarum” of Zalužanský’s Methodus, in which, more than one hundred years before the well-known De sexu plantarum epistola of R. J. Camerarius, the sexuality of plants is suggested. Additionally, for the first time, an English translation of Zalužanský’s chapter on plant sexuality is provided.

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