Auswahl der wissenschaftlichen Literatur zum Thema „Contemporary Polish culture“
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Zeitschriftenartikel zum Thema "Contemporary Polish culture"
Nawroski, Alcione. „Emerging Polish Culture in Brazil“. Revista Memorare 6, Nr. 1 (16.07.2019): 75. http://dx.doi.org/10.19177/memorare.v6e1201975-87.
Der volle Inhalt der QuelleStawecka-Kotuła, Agnieszka. „Disruptive strangeness or domesticated exoticism? Some challenges of cultural translation in the Polish rendition of Fury by Salman Rushdie“. Crossroads A Journal of English Studies, Nr. 34(3) (2021): 46–58. http://dx.doi.org/10.15290/cr.2021.34.3.04.
Der volle Inhalt der QuelleKramer, Eli. „Polish Philosophy of Culture Today: A Promising Route for Contemporary Philosophy“. Eidos. A Journal for Philosophy of Culture 4, Nr. 4 (31.03.2021): 205–21. http://dx.doi.org/10.14394/eidos.jpc.2020.0048.
Der volle Inhalt der QuelleRamme, Jennifer. „Framing Solidarity. Feminist Patriots Opposing the Far Right in Contemporary Poland“. Open Cultural Studies 3, Nr. 1 (01.01.2019): 469–84. http://dx.doi.org/10.1515/culture-2019-0040.
Der volle Inhalt der QuelleHučková, Jadwiga. „Jarmo Jääskeläinen – „imigrant z polską duszą”“. Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, Nr. 29 (15.03.2017): 47–58. http://dx.doi.org/10.14746/i.2017.29.3.
Der volle Inhalt der QuelleNowak, Maria Alicja. „Physical Culture Patterns in the Lifestyle of the Polish Society“. Polish Journal of Sport and Tourism 20, Nr. 1 (01.03.2013): 3–7. http://dx.doi.org/10.2478/pjst-2013-0001.
Der volle Inhalt der QuelleMitan-Gawryszewska, Zofia. „Comparative Studies of Contemporary Polish and Lithuanian Literature – Problems and Prospects“. Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, Nr. 25 (04.03.2020): 202–11. http://dx.doi.org/10.37384/aplkp.2020.25.202.
Der volle Inhalt der QuelleWoźniewska-Działak, Magdalena. „"Gusła nasze moc straciły" Czy kultura współczesna stawia "Dziadom" ważkie pytania ?“ Colloquia Litteraria 17, Nr. 2 (19.11.2014): 57. http://dx.doi.org/10.21697/cl.2014.2.04.
Der volle Inhalt der QuelleKopczyński, Krzysztof. „Religious and quasi-religious attitudes in four Polish documentaries from 2008–2019“. Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 30, Nr. 39 (15.12.2021): 139–55. http://dx.doi.org/10.14746/i.2021.39.07.
Der volle Inhalt der QuelleЛюдмила, Обух. „TRACES OF WORKS OF STANISLAW MONIUSZKO IN CONTEMPORARY CULTURAL PROJECTS IN UKRAINE“. УКРАЇНСЬКА КУЛЬТУРА : МИНУЛЕ, СУЧАСНЕ, ШЛЯХИ РОЗВИТКУ (НАПРЯМ: КУЛЬТУРОЛОГІЯ) 35 (06.02.2021): 57–62. http://dx.doi.org/10.35619/ucpmk.v35i0.362.
Der volle Inhalt der QuelleDissertationen zum Thema "Contemporary Polish culture"
Falicov, Tamara Leah. „The contemporary Argentine film industry, 1983-1998 : state cultural policy within a global market /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9956448.
Der volle Inhalt der QuelleBernard, Yves-Michel. „Origine et création des fonds régionaux d'art contemporain en France : 1981-1986, les années militantes“. Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30042.
Der volle Inhalt der QuelleThis thesis studies in depth, the origin and the creation of theRegional Contemporary Art Collection (FRAC) between 1981 and 1986. The plan is divided into three main parts. The first part analyses the patterns of acquisitions and eexhibitions, which were models for the formation of the FRAC during the twentieth century in France. The second part examines the commitment of the Ministry of Culture in an ambitious policy that led to the creation of the FRAC after the arrival of the labour party who came to power in 1981. The third part, strictly concerning the history of art, focuses on the collections of the FRAC. This study of the collections has been the core of the research, established from computer data created by Videomuseum, who made a census of all acquisitions. The thesis is also based on archival documents, existing works, an onsite study of each collection of the FRAC, interviews and a literature of artistic media. Included in the labour party’s political program for the presidential elections of May 1981, the FRAC, funded equally by the State and the Regions, is a strong example of the success of a decentralized cultural policy. Between 1983 and March 1986 twenty-one FRAC in activity acquired a total of 5,438 works of art from 1,377 artists.Since the 1960s, the FRAC is an exception in French cultural funding and the result of a desire for democratisation. Until 1986, the continued growth of acquisition loans - offered by the State and regional councils - could lead to the establishment of a formal aesthetic. “Zones of influence" emerged to compensate for absences in the museum collections in the region. However, despite this undeniable institutional investment, public power was not entitled to become a major player in the history of art
Shvanyukova, Polina [Verfasser]. „Exploring Italianness from the margins: linguistic, generic and cultural hybridisation in contemporary fictions of immigration / Polina Shvanyukova“. Gießen : Universitätsbibliothek, 2017. http://d-nb.info/1132058309/34.
Der volle Inhalt der QuelleSchaab, Katharine. „Threatening Immigrants: Cultural Depictions of Undocumented Mexican Immigrants in Contemporary US America“. Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1433459712.
Der volle Inhalt der QuelleBastoen, Julien. „L’Art contre l’État ? : la trajectoire architecturale du Musée du Luxembourg dans la construction de l’illégitimité de l’action artistique publique, 1848-1920“. Thesis, Paris Est, 2015. http://www.theses.fr/2015PEST1075/document.
Der volle Inhalt der QuelleThis dissertation in architectural history argues that the architectural trajectory of the Luxembourg Museum in Paris was one of the main reasons why the French public art policy was considered as unwarranted and illegitimate. The Luxembourg Museum, whose collections are now scattered in various Parisian and provincial institutions, became in 1818 the world's first museum of contemporary art, by the will of King Louis XVIII. From the beginning, its aim was to feed the Louvre with recent and national art. The symbiotic relationship between these two museums, which was based on the principle of communicating vessels, was a paradigm for new museums in Europe and North America, until the first third of the twentieth century. Although the main mission of the Luxembourg Museum was to assert the superiority of French art face to that of other European nations, it was long criticized not only because it did not reflect the diversity of artistic trends, but also because the conditions under which its collections were stored and exhibited were unworthy of Paris' attractiveness and influence. Through the analysis of primary sources, press reviews and parliamentary papers, we wanted to test the hypothesis that the mobilization of different categories of stakeholders within and outside the artistic field led to an increasing distrust of public art policy. Leading artists represented in the museum, influential journalists from daily and art newspapers, art and patrons societies, citizens and merchant associations, promoted mobilization against through speeches, petitions, surveys or media campaigns. Even the museum professionals themselves were powerless against complicated bureaucratic procedures, shoestring budgets for national museums, and unsuitable storage and exhibition spaces, and ended up questioning the role of the French state in art policy. The negative image of the role of the French state was shaped at key moments and recurring events: the re-hanging of the collection, the display of a new gift or bequest, discussions about the annual budget of the ministry of Fine-Arts, World Fairs, preventive conservation matters, and rumors. However, the most critical moments coincided with the questioning of the very existence of the museum, with the threat of its uprooting, or the formalization and implementation of resettlement, extension or reconstruction schemes. Each of these events crystallized themes and issues that polarized most of the criticisms aired at the public art policy. We identified four major topics in this debate: the shameful absence of a purpose-built museum of contemporary art in Paris; the Governement's inability to raise funds to finally resolve the architectural issue; the lack of consensus on the future museum's location issue; the contradiction between the recognition of the curators' skills in architectural design and the inability of their administration to give them the opportunity to apply them. The main paradox is that although the public art policy was more and more considered as inaccurate and illegitimate, most of the artistic field helped the Government to resolve the ‘Luxembourg issue' and build a monument worthy of the nation
Byrne, Tatjana. „Critical discourses of cultural policy and artistic practice : a comparative study of the contemporary dance fields in the UK and Germany“. Thesis, Birkbeck (University of London), 2014. http://bbktheses.da.ulcc.ac.uk/57/.
Der volle Inhalt der QuelleSimon, Lydia Noelle. „"Cultural Creative Industry Parks" and Chinese Contemporary Art—A Comparative Study of Beijing's 798 Arts District and Songzhuang Artist Village“. The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149265536987791.
Der volle Inhalt der QuelleLübbe, Dorothea. „Europera : innovation artistique et politique culturelle de théâtre musical contemporain en Allemagne et en France“. Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0315.
Der volle Inhalt der QuelleThis research project is concentrated to focus the general conditions of cultural policy which are responsible for the creation of new artistic forms of contemporary music theatre in Germany and France. For this the research is focussed on innovations and not on the analysis of the crisis. The aim is to find solution and discus different reforms in the artistic practices. The field work include the analysis of 7 case studies, traditional institutions and structures of the free landscape of contemporary music theatre in Germany and France. It will be shown in the analysis that there is a link between cultural policy and innovation of arts
Figini-Véron, Véronique. „L'Etat et le patrimoine photographique : des collectes aléatoires aux politiques spécifiques, les enrichissements des collections publiques et leur rôle dans la valorisation du statut de la photographie : France, seconde moitié du XXe siècle“. Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010733.
Der volle Inhalt der QuellePhotography in France, after a long period of silent accumulation in public cultural institutions, became the object of specific collecting in the second half of the twentieth century. This had a bearing on its status. From the late 1930s onwards, curators in the print cabinet of the Bibliothèque Nationale in a process of re-evaluation at last came to consider the photograph as an object for collection. They set out therefore on a daring collection program with a double focus: documentation and artistic quality. With this the BN declared its ambition to become the leading museum of photography in France. Alongside documentary photographs, which remain a priority, conservatorial interest centered on both large groups of 19th century photographs intended to inaugurate a history of photography modeled on art history, and on contemporary creators. This was a pioneering, and durable approach, but insufficient for a recognition of photography as a national art. Some forty years later, in 1976, the secretariat of Cultural Affairs took over questions concerning photography. But the four ministerial branches concerned by photography reacted in an unequal manner. In a photographic environment evolving towards a cultural orientation, national collections were initiated at the Fondation National de la Photographie, Lyon (FNP), in the Musée National de I' Art Contemporain (MNAM), at the Fonds National d'Art Contemporain (FNAC) and at the Musée d'Orsay. At last photography was recognized as an art. During the 1980s, thanks to the combined effect of the City of Paris, 'Month of the photo', and the favorable policy towards contemporary art of Jack Lang's ministry, one of the major artistic events of the late 20th century took place: photography entered the realm of the plastic arts
Cerqueira, Joana dos Santos Egypto de. „Forças em luta para invenção de uma dança: política cultural e dança contemporânea em São Paulo“. Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/3622.
Der volle Inhalt der QuelleConselho Nacional de Desenvolvimento Científico e Tecnológico
This work presents three different movements characterized by disjunctive series interweaved around the genealogy of forces in struggle, composing the invention of a dance. It is especially inspired in the writings of Friedrich Nietzsche, Michel Foucault, Gilles Deleuze and Félix Guattari. Traces of what is considered as contemporary dance‟ are situated through the discussions around dance‟s execution by history and becomings that are installed on it. Therefore, the emergence of the Programa Municipal de Fomento à Dança (Municipal Dance Foster Programme) for the city of São Paulo is investigated, from ways of conducts taken out by performance artists during the passage of the 20th to the 21st century. The Vocational Programme (Programa Vocacional) is analised as one of the most important complementary political program related to the activity of artists from different fields. In this way, the research concentrates on the historical analysis of the cultural policies investments in Brazil that reflects in adjustments over the production of the so-called intangible materials‟ and controls related to the recent field of the creative economy . The government of conducts affects the life of artists and dancers in São Paulo, while the sophistication of power technologies develop calculations and create forms of selectivity around the current artistic creations in contemporary dance by means of governmental notices and tenders. Different ideas of culture‟ are presented based especially on nietzschean lectures about cultivation of social and ethical practices. A path of the development of cultures of the self through the experimentation of dances produced in São Paulo between the final decades of the 20th century and the beginning of the 21st raising mixes with a distant archipelago: Japan. That meeting is considered as one of the possible links that calls our attention for the political condition of the contemporary dance in São Paulo
Este trabalho apresenta três movimentos caracterizados por séries disjuntivas que se entrelaçam em torno da genealogia das forças em luta componentes da invenção de uma dança, a partir principalmente das leituras de Friedrich Nietzsche, Michel Foucault, Gilles Deleuze e Félix Guattari. Situa-se vestígios daquilo que veio a ser considerado como dança contemporânea em meio à discussão entre efetuações da dança pela história e devires que nela se instalam. Discute-se, por conseguinte, como se deu a emergência do Programa Municipal de Fomento à Dança para a cidade de São Paulo, a partir de modos de condutas efetuados por artistas da cena, durante a virada do século XXI. Analisa-se, contudo, um dos atuais programas políticos municipais complementares à condição do campo de trabalho que envolve a vida de artistas de diferentes campos: o Programa Vocacional. Nesse sentido, a pesquisa debruçou-se na análise histórica dos investimentos em políticas culturais, no Brasil, que desaguam em adequações sobre a produção dos considerados materiais intangíveis e controles relacionados ao recente campo da economia criativa . O governo das condutas atravessa a vida de artistas e dançarinos, na cidade, em meio também à sofisticação de tecnologias de poder que condicionam cálculos e atestam seletividades sobre as atuais elaborações voltadas às artes e à dança contemporânea, por meio do funcionamento dos editais. Noções de cultura são apresentadas principalmente a partir de leituras nietzschianas enquanto cultivo de práticas sociais e de si. Delineia-se, entre as décadas finais do século XX e a entrada do XXI, um percurso da elaboração de culturas de si pela experimentação de danças experimentadas e produzidas em São Paulo, que suscitam misturas e contágios com um longínquo arquipélago: o Japão. Esse encontro apresenta-se como um dos possíveis fios que chamam a atenção para uma escuta relacionada à condição política presente sobre a dança contemporânea, na cidade de São Paulo
Bücher zum Thema "Contemporary Polish culture"
Myślińska, Anna. Polska współczesna ikonosfera narodowa: The Polish contemporary national iconosphere. Kielce: Muzeum Narodowe w Kielcach, 2016.
Den vollen Inhalt der Quelle findenJaniak, Agnieszka. Stac sie jak dziecko: Proza polska wobec infantylizacji wspolczesnej kultury. Wrocław: Wydawn. Nauk. Dolnośla̜skiej Szkoły Wyższej, 2010.
Den vollen Inhalt der Quelle findenSian, Reynolds, und Kidd William 1944-, Hrsg. Contemporary French cultural studies. London: Arnold, 2000.
Den vollen Inhalt der Quelle finden1962-, Childs Peter, und Storry Mike 1943-, Hrsg. Encyclopedia of contemporary British culture. London: Routledge, 1999.
Den vollen Inhalt der Quelle finden1954-, Davis Edward L., Hrsg. Encyclopedia of contemporary Chinese culture. London: Routledge, 2005.
Den vollen Inhalt der Quelle findenCanada. Economic Council of Canada. Beyond culture: immigration in contemporary Quebec. Ottawa: Economic Council of Canada, 1991.
Den vollen Inhalt der Quelle findenW, Drummond Lisa B., und Thomas Mandy 1959-, Hrsg. Consuming urban culture in contemporary Vietnam. London: Routledge Curzon, 2003.
Den vollen Inhalt der Quelle finden1948-, Charlton Mark William, und Barker Paul 1953-, Hrsg. Crosscurrents: Contemporary political issues. 5. Aufl. Scarborough, Ont: Thomson Nelson, 2006.
Den vollen Inhalt der Quelle findenSandra, Wallman, Hrsg. Contemporary futures: Perspectives from social anthropology. London: Routledge, 1992.
Den vollen Inhalt der Quelle findenBell, Morag. Contemporary Africa: Development, culture, and the state. New York, NY: Longman Scientific & Technical, 1987.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Contemporary Polish culture"
Młodzik, Lilla. „Public sector organizational culture in achieving security objectives“. In Designing and Implementing Public Policy of Contemporary Polish Society, 195–208. Göttingen: V&R unipress, 2021. http://dx.doi.org/10.14220/9783737013697.195.
Der volle Inhalt der QuelleBorowicz, Jan. „Holocaust Zombies: Mourning and Memory in Polish Contemporary Culture“. In Revisiting Holocaust Representation in the Post-Witness Era, 132–48. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137530424_9.
Der volle Inhalt der QuelleKobielska, Maria. „Endless aftershock. The Katyń Massacre in Contemporary Polish Culture“. In Traumatic Memories of the Second World War and After, 197–219. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-33470-7_9.
Der volle Inhalt der QuelleKludkiewicz, Kamila. „Museums of a Stateless Nation, between History and Art“. In Spaces for Shaping the Nation, 131–52. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839466940-007.
Der volle Inhalt der QuelleAly, Ramy M. K. „The culture police“. In Routledge Handbook on Contemporary Egypt, 401–11. London; New York, NY: Routledge/Taylor & Francis Group, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429058370-37.
Der volle Inhalt der QuelleJuzwa, Nina, und Jakub Świerzawski. „Cultural Facilities“. In Polish Architecture in Contemporary Innovation, 125–31. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003413561-8.
Der volle Inhalt der QuelleEling, Kim. „Contemporary Music Policy“. In The Politics of Cultural Policy in France, 62–82. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1057/9780333982365_4.
Der volle Inhalt der QuelleOman, Susan. „Well-being, Values, Culture and Society“. In New Directions in Cultural Policy Research, 229–63. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72937-0_6.
Der volle Inhalt der QuelleRosenstein, Carole. „Contemporary Issues in Cultural Policy“. In Understanding Cultural Policy, 334–53. 2. Aufl. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003356066-9.
Der volle Inhalt der QuelleCharman, Sarah. „Qualitative Findings III: Contemporary Policing Challenges“. In Police Socialisation, Identity and Culture, 289–316. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63070-0_11.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Contemporary Polish culture"
Damovski, Andon. „CONTEMPORARY SOCIOLOGICAL ISSUES THROUGH THE PRISM OF PUBLIC POLICY“. In SECURITY HORIZONS. Faculty of Security- Skopje, 2021. http://dx.doi.org/10.20544/icp.2.5.21.p25.
Der volle Inhalt der QuelleLomonosova, Marina, und Aleksandr Bykov. „UNDERSTANDING FAMINE THROUGH VISUAL AND DIGITAL MEDIA: WESTERN PERSPECTIVES ON THE 1921-22 FAMINE IN RUSSIA“. In 4th International Conference Modern Culture and Communication. Institute for Peace and Conflict Research, 2024. http://dx.doi.org/10.31312/978-5-6048848-7-4-01.
Der volle Inhalt der QuelleIsidori, Emanuele, Iosif Sandor und Alessandra Fazio. „VIRTUAL REALITY, EDUCATIONAL GAMES AND LEISURE IN CONTEMPORARY SOCIETY: THE SPORT PEDAGOGY POINT OF VIEW“. In eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-195.
Der volle Inhalt der QuelleMikielewicz, Renata. „The difference in lifestyle: "a shopping list" and social engagement as urban process stimulator“. In Virtual City and Territory. Barcelona: Centre de Política de Sòl i Valoracions, 2016. http://dx.doi.org/10.5821/ctv.8076.
Der volle Inhalt der QuelleUrbanska, Marta. „POLISH CONTEMPORARY ARCHITECTURE VS. CULTURAL HERITAGE - 21ST CENTURY PRESERVATION THROUGH SUBDUED CREATION“. In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocialf2018/6.3/s15.036.
Der volle Inhalt der QuelleOral, Tanju. „THE PLACE OF THE TURKİSH LANGUAGE AND LİTERATURE İN BABUR SHAH AND HİS CULTURAL POLİCY“. In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/zzrk4261.
Der volle Inhalt der QuelleByrne, Valerie. „National Sculpture Factory“. In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.39.
Der volle Inhalt der QuelleGavriel, Vassos. „Developing Social Policy in a Multi-Cultural Setting: the Role of Applied Cross-Cultural Psychology“. In International Association of Cross Cultural Psychology Congress. International Association for Cross-Cultural Psychology, 2009. http://dx.doi.org/10.4087/tllm6076.
Der volle Inhalt der QuelleIordache, Silvia, und Roman Livandovschi. „Family friendly policies - new trends in business culture in the Republic of Moldova“. In The 8th International Conference "Management Strategies and Policies in the Contemporary Economy". Academy of Economic Studies of Moldova, 2023. http://dx.doi.org/10.53486/icspm2023.38.
Der volle Inhalt der QuelleBadrajan, Svetlana, und Diana Bunea. „Safeguarding and researching the intangible musical heritage in the context of contemporary digital technologies“. In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.02.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Contemporary Polish culture"
Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena und Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, Dezember 2022. http://dx.doi.org/10.5204/rep.eprints.227800.
Der volle Inhalt der QuelleBergsen, Pepijn, Leah Downey, Max Krahé, Hans Kundnani, Manuela Moschella und Quinn Slobodian. The economic basis of democracy in Europe: structural economic change, inequality and the depoliticization of economic policymaking. Royal Institute of International Affairs, September 2022. http://dx.doi.org/10.55317/9781784135362.
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