Letteratura scientifica selezionata sul tema "Contemporary Polish culture"
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Articoli di riviste sul tema "Contemporary Polish culture"
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Nawroski, Alcione. "Emerging Polish Culture in Brazil". Revista Memorare 6, n. 1 (16 luglio 2019): 75. http://dx.doi.org/10.19177/memorare.v6e1201975-87.
Testo completoAbstract (sommario):
The article is part of a research study of Polish culture in Brazil in the scenario of immigration between the years 1869 and 1939. The research focuses on the concept of the structure of Raymond Williams characterized by residual, dominant and emerging to analyse the different moments of a transformation of the culture that Polish immigrants developed in Brazil. Thus, we present the formation of an emerging with roots from the late nineteenth and early twentieth centuries, and which shows few similarities with contemporary Poland, and much more with a rural Poland from a 100 years ago.
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Stawecka-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, n. 34(3) (2021): 46–58. http://dx.doi.org/10.15290/cr.2021.34.3.04.
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The unfolding hybridisation of cultures calls for a culture-oriented approach to translation that could respond to the needs and expectations of contemporary readership. The present paper is devoted to the concept of the cultural turn in translation studies and its practical implications on actual translations of contemporary literary works. To illustrate the complexities of translating cultural elements, the Polish translation of Fury reflecting the usual Rushdian blend of voices, plots, multi-cultural hybrid and culture references is used. The paper seeks to exemplify and discuss choices made by the translator striving to acquaint the target text reader with the complex universe of the novel to the similar extent as experienced by the source text reader. The principal strategy adopted by the Polish translator might be labelled as domesticated exoticism.
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Kramer, Eli. "Polish Philosophy of Culture Today: A Promising Route for Contemporary Philosophy". Eidos. A Journal for Philosophy of Culture 4, n. 4 (31 marzo 2021): 205–21. http://dx.doi.org/10.14394/eidos.jpc.2020.0048.
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Ramme, Jennifer. "Framing Solidarity. Feminist Patriots Opposing the Far Right in Contemporary Poland". Open Cultural Studies 3, n. 1 (1 gennaio 2019): 469–84. http://dx.doi.org/10.1515/culture-2019-0040.
Testo completoAbstract (sommario):
Abstract Due to the attempts to restrict the abortion law in Poland in 2016, we could observe a new broad-based feminist movement emerge. This successful movement became known worldwide through the Black Protests and the massive Polish Women’s Strike that took place in October 2016. While this new movement is impressive in its scope and can be described as one of the most successful opposition movements to the ethno-nationalist right wing and fundamentalist Catholicism, it also deploys a patriotic rhetoric and makes use of national symbols and categories of belonging. Feminism and nationalism in Poland are usually described as in opposition, although that relationship is much more complex and changing. Over decades, a general shift towards right-wing nationalism in Poland has occurred, which, in various ways, has also affected feminist actors and (counter)discourses. It seems that patriotism is used to combat nationalism, which has proved to be a successful strategy. Taking the example of feminist mobilizations and movements in Poland, this paper discusses the (im)possible link between patriotism, nationalism and feminism in order to ask what it means for feminist politics and female solidarity when belonging is framed in different ways.
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Hučková, Jadwiga. "Jarmo Jääskeläinen – „imigrant z polską duszą”". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, n. 29 (15 marzo 2017): 47–58. http://dx.doi.org/10.14746/i.2017.29.3.
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Polish topics occupy an important place in the work of the Finnish filmmaker Jarmo Jääskeläinen. Since the 70s he made his films outside censorship, and his penetrating gaze on the Polish reality allowed glimpse its dimensions closely invisible or ignored. While maintaining fidelity to the facts, he talks about the most important problems, stages the phenomena of contemporary Polish history, society, culture.
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Nowak, Maria Alicja. "Physical Culture Patterns in the Lifestyle of the Polish Society". Polish Journal of Sport and Tourism 20, n. 1 (1 marzo 2013): 3–7. http://dx.doi.org/10.2478/pjst-2013-0001.
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Abstract Society's lifestyles, influenced by the evolving preferences of values of subsequent generations, are subject to gradual changes. This variation in lifestyles requires a reflection on the patterns of physical culture and values amongst the youth, adults and the elderly. Patterns of physical culture shaped in the European tradition are also present in the contemporary lifestyles of all generations. People's choices concerning physical culture depend on the type and level of their physical activity, attitudes towards of the body, age, gender and education. In the classic physical types distinguished by Polish sociologists we can identify positive traits conducive to human development, traits inducing controversial attitude, and clearly negative ones that are health-threatening. In conclusion the paper puts forward a question about the direction of the development of physical culture patterns in future and the level of recognition of particular values by different generations. Some of the contemporary lifestyles arouse concerns of educators.
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Mitan-Gawryszewska, Zofia. "Comparative Studies of Contemporary Polish and Lithuanian Literature – Problems and Prospects". Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, n. 25 (4 marzo 2020): 202–11. http://dx.doi.org/10.37384/aplkp.2020.25.202.
Testo completoAbstract (sommario):
The aim of my article is to present the Polish perspective on the state of the art of comparative studies of contemporary Polish and Lithuanian literature. In my article, I discuss difficulties that contribute to the niche status of the field as well as phenomena that positively influence its development. First, I touch upon issues of hermeticity of the Lithuanian language and complicated relations between Poland and Lithuania. Then, I focus on the availability of Lithuanian literature in Poland and mention publications concerning it, written in Polish. I also emphasize the significance of translation endeavors. Next, I enumerate centers that conduct comparative studies of Polish and Lithuanian literature and introduce scholars-comparatists and their publications. I also present the accomplishments of some figures whose activity was significant for building Polish-Lithuanian dialogue on the level of literature and literary studies. I enumerate initiatives that provide new possibilities for the development of this field of studies and describe institutions which promote Lithuanian culture in Poland. In the end, I present possible directions for comparative studies of contemporary Polish and Lithuanian writings.
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Woźniewska-Działak, Magdalena. ""Gusła nasze moc straciły" Czy kultura współczesna stawia "Dziadom" ważkie pytania ?" Colloquia Litteraria 17, n. 2 (19 novembre 2014): 57. http://dx.doi.org/10.21697/cl.2014.2.04.
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‘Gusła nasze moc straciły’. Does contemporary culture ask Dziady serious questions?Review of a theatre spectacle: Adam Mickiewicz, Dziady, parts I, II and IV and the poem Upiór, directed by Michał Zadara, Teatr Polski in Wrocław, premiere on 14th February 2014.The review article discusses Dziady, część I, II i IV and the poem Upiór directed by Michał Zadara. The spectacle is part of a bigger project realised at Teatr Polski in Wrocław in 2014–2016. The article attempts to reconstruct the director’s idea of a stage version of Mickiewicz’s drama, which is regarded in Polish culture as a symbolic work constituting Polish identity. Furthermore, the author asks a number of questions about the condition of the contemporary culture that seems to be a culture of exhaustion, and also about this culture’s dispositions and capabilities employed when reinterpreting the romantic masterpiece.
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Kopczyński, 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, n. 39 (15 dicembre 2021): 139–55. http://dx.doi.org/10.14746/i.2021.39.07.
Testo completoAbstract (sommario):
The paper aims to present different ways of showing religious and quasi-religious attitudes in contemporary Polish documentaries. The discussion is based on four feature-length films: Kites by Beata Dzianowicz (2008), Communion by Anna Zamecka (2016), Who Will Write Our History by Roberta Grossman (2018), and Tell No One by Tomasz Sekielski (2019). The author evaluates the methodological usefulness of reflection in the documentary of the “religious film” category used in Polish research and the concept of “transcendent(al) style” taken from Paul Schrader’s book. Occasionally touching upon the question of the relationship with audiences, the author also mentions the paradigm of Polish Romanticism present in contemporary culture.
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Людмила, Обух. "TRACES OF WORKS OF STANISLAW MONIUSZKO IN CONTEMPORARY CULTURAL PROJECTS IN UKRAINE". УКРАЇНСЬКА КУЛЬТУРА : МИНУЛЕ, СУЧАСНЕ, ШЛЯХИ РОЗВИТКУ (НАПРЯМ: КУЛЬТУРОЛОГІЯ) 35 (6 febbraio 2021): 57–62. http://dx.doi.org/10.35619/ucpmk.v35i0.362.
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The article attempts to investigate the use of Stanislav Moniuszko’s multifaceted creative. Composer heritage can be clearly considered today in the light of strategic management in culture. a number of strategic projects on the occasion of official celebrations in Ukraine of such anniversaries as the 100 th anniversary of Poland’s independence or the 200 th anniversary of the birth of Polish music classic Stanislaw Moniuszko, organized with the assistance of Polish embassies and consulates and Polish organizations in Ukraine. This uniqueness of projects is the basis for the cultural policy between the Republic of Poland (RP) and Ukraine and the strategies of its development.
Tesi sul tema "Contemporary Polish culture"
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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.
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Bernard, 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.
Testo completoAbstract (sommario):
Cette thèse a pour objet l’étude de l’origine et de la création des fonds régionaux d’art contemporain (FRAC) entre 1981 et 1986. Le plan se divise en trois grandes parties. La première partie analyse les modes d’acquisitions et d’expositions qui, au cours du XX° siècle en France, ont été des modèles pour la constitution des FRAC. La seconde partie étudie l’engagement du ministère de la culture dans une politique ambitieuse qui aboutit à la création des FRAC après l’arrivée de la gauche au pouvoir en 1981. La troisième partie, à proprement parlée d’histoire de l’art, porte sur les collections des FRAC. Cette étude des collections a constitué l’essence de la recherche établie à partir de données informatiques de videomuseum qui a opéré un recensement de toutes les acquisitions. La thèse s’appuie également sur des documents d’archives, des travaux existants, une étude sur le terrain dans chaque collection de FRAC, d’entretiens et d’un dépouillement de la presse artistique. Issus des revendications politiques formulées dans le programme de la gauche1 pour les élections présidentielles de mai 1981, les FRAC, financés à parité par l’Etat et par les régions, constituent un exemple fort de la réussite d’une politique culturelle décentralisée. Entre 1983 (date des premières acquisitions) et mars 1986 (date de la défaite de la gauche aux élections législatives) les vingt et un FRAC en activité ont acquis un total de 5 438 oeuvres provenant de 1 377 artistes. Fonds d’exception dans le paysage culturel français, les FRAC sont l’aboutissement d’une volonté de démocratisation revendiquée depuis les années 60. Jusqu’en 1986, la croissance constante des crédits d’acquisition - autant du côté de l’Etat que des conseils régionaux - aurait pu conduire à l’établissement d’une esthétique officielle. Nous verrons qu’il y a eu tout au plus des « zones d’influence » qui sont apparues pour compenser de réelles absences dans les collections des musées en région. Toutefois, malgré cet incontestable investissement institutionnel, la puissance publique ne pouvait prétendre à devenir un acteur majeur dans l’histoire de l’artThis 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
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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.
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Schaab, 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.
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Bastoen, 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.
Testo completoAbstract (sommario):
Interrogeant les rapports entre l'État et le champ artistique en France entre 1848 et 1920, ce travail de recherche en histoire de l'architecture repose sur le postulat que la trajectoire architecturale du Musée du Luxembourg fut l'un des lieux privilégiés de la construction d'une représentation négative de l'intervention de l'État dans les affaires artistiques. Ce musée, dont les collections sont aujourd'hui atomisées dans différentes institutions parisiennes et provinciales, devint, en 1818, le premier musée d'art contemporain, par la volonté du roi Louis XVIII. Dès l'origine, il fut considéré comme la pépinière du Louvre. Cette relation de symbiose entre les deux institutions, basée sur le principe des vases communicants, servit de référence à l'émergence de nouveaux paradigmes muséaux en Europe et en Amérique du Nord, jusqu'au premier tiers du XXe siècle. La principale mission du Musée du Luxembourg était d'affirmer la supériorité de l'art français face à celui des autres puissances européennes. Si sa représentativité artistique fut pour le moins partielle, son exemplarité architecturale, elle, demeura un idéal jamais atteint. L'analyse de fonds d'archives, de revues de presse et de documents parlementaires, permet de vérifier l'hypothèse de la construction progressive d'un antagonisme, grâce à la mobilisation de différentes catégories d'acteurs appartenant ou non au champ artistique. Cette mobilisation s'effectue collectivement par le biais des journaux, au sein des sociétés artistiques, des sociétés de mécènes, de groupements de citoyens et de fédérations de commerçants, sous la forme de discours, de pétitions, d'enquêtes ou de campagnes de presse, ou bien individuellement, à l'initiative des artistes représentés au musée ou de journalistes influents. Toutefois, la remise en question la plus décisive du rôle de l'État provient des utilisateurs du musée eux-mêmes, souvent impuissants face à la pesanteur des rouages bureaucratiques, à la maigreur des budgets alloués aux musées nationaux, et à l'inadaptation des locaux avec lesquels ils doivent composer. La construction de cette représentation négative se structure autour de moments clés récurrents : vernissage d'un nouvel accrochage des collections, intégration des œuvres d'un legs ou d'une donation, dépôt et discussion d'un rapport sur le budget des Beaux-arts, Expositions universelles, incidents touchant les collections, rumeurs colportées par la presse. Néanmoins, les moments les plus critiques coïncident avec la remise en question de l'existence même du musée, avec la menace de son expulsion, ou avec l'officialisation et la mise en œuvre de projets de relogement, qu'il s'agisse du transfert du musée dans des bâtiments existants, d'extension de ses locaux, ou de leur reconstruction intégrale. Chacun de ces événements contribue à la cristallisation de thèmes et d'enjeux, qui vont polariser l'essentiel des critiques formulées à l'égard de l'action artistique publique. On peut ainsi dégager quatre thèmes récurrents dans les débats : l'absence d'exemplarité architecturale du musée, incompatible avec le rayonnement artistique de la France et de sa capitale ; l'impossibilité de mobiliser les fonds nécessaires à une résolution définitive de la question de l'exemplarité architecturale ; l'impossible consensus sur la question de localisation du musée dans l'hypothèse de son relogement ; le paradoxe entre la construction d'une expertise des conservateurs en matière de programmation architecturale et l'incapacité de l'État à leur donner les moyens de l'appliquer. En aucun cas, cependant, cette critique de l'action (ou de l'inaction) de l'État ne débouche, avant 1920, sur des projets de création de musées concurrents et indépendants ; la mobilisation du champ artistique est tournée vers une forme d'assistance à l'État, dans la résolution de la crise qui touche le Musée du LuxembourgThis 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
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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/.
Testo completoAbstract (sommario):
The advent of overtly instrumental cultural policy making since the 1990s in Europe shows variations in both its articulation and implementation. Whilst discourses of globalisation and neo-liberalism are frequently cited to justify policy instrumentalism, a consistent explanation of how policy making in different countries is linked to localised outcomes is not apparent. This thesis aims to close this explanatory gap by investigating the institutional arrangements of policy making and implementation in two European countries with distinct traditions of cultural administration, i.e. the UK and Germany, using the contemporary dance sector in each country as a site of investigation. This thesis adopts a comparative-historical approach to examine firstly, the cultural policy and contemporary dance sectors of the UK and Germany, using key policy texts and initiatives to uncover the primary logics inherent in the texts. Secondly, we identify how these extrinsic logics are privileged at the expense of alternative, intrinsic logics using rhetorical strategies imported from other policy areas. Thirdly, we apply a moderated form of critical discourse analysis to examine how these strategies and logics are appropriated by actors and organizations in the dance fields of both countries using Bourdieuian concepts of capital to effect changes of identity and legitimacy as a means to gain access to scarce resources. Finally, we assess the impact of instrumental policies on organizational practices and identity using case examples from both Germany and the UK. The emphasis on discourses generated by both policy makers and dance practitioners and organizations reflects the social constructivist perspective inherent in the analysis of the thesis. Furthermore the underlying assumption that much of what is under investigation is dependent on the context in which it is situated, signifies that more than one interpretation of the observations is possible. We use embedded case study examples that are representative of the contemporary dance sector in the UK and Germany and intended as illumination rather than as a deductive source of material for theory building. Thus, we adhere to the particularist view of convergent and divergent discourses and practices, whereby both institutional arrangements and culture are key determinants in the explanation of variations in cultural policy and its outcomes between countries. We argue that variations in socio-political and historical trajectories, institutional structures and processes mediate the forms of compliance and resistance observed amongst dance practitioners in each country. This thesis contributes to the literature on institutional logics by examining the nature of power relationships between dance practitioners and cultural and political organizations in constructing identity and legitimacy for artistic practice.
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Simon, 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.
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Lübbe, 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.
Testo completoAbstract (sommario):
Ce projet de recherche se concentre sur les conditions generales de politique culturelle sous lesquelles se créent les nouvelles formes artistiques du theatre musical contemporain en Allemagne et en France.Le travail de recherche sur le présent thème est dédié aux tentatives d'innover et n'a pas pour objet de mettre la crise en évidence. L'intérêt de ce domaine de recherche réside dans la recherche de solutions en discutants des reformes et innovations tout en s'appuyant sur des études de cas tirées de la pratique actuelle du theatre musical en Allemagne et en France. Les pressants travaux reposent sur une étude des sept cas exemplaires. Les exemples choisis couvrent aussi bien le domaine des théâtres traditionnels en tant qu'institution que celui de la structure des collectifs. Il conviendra de montrer s'il existe un lien entre les libertés laissées par la politique culturelle et les innovations esthétiques, si l'on peut discerner des recoupements franco-allemands et si un intérêt pan-européen en matière de politique culturelle peut résider dans une reformeThis 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
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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.
Testo completoAbstract (sommario):
En France, après une longue période d'accumulation silencieuse dans les institutions publiques patrimoniales, la photographie fait l'objet de politiques d'enrichissement spécifiques, dans la seconde moitié du XXe siècle, qui influent sur l'évolution de son statut. Dès la fin des années 1930, les responsables du cabinet des Estampes de la Bibliothèque nationale engagent un processus de réévaluation où le médium photographique est enfin considéré comme objet de collection. S'engage alors un programme d'enrichissement audacieux selon une voie duale, documentaire et artistique, où la Bibliothèque nationale ambitionne de devenir un musée de la photographie, le premier en France. En plus de la photographie documentaire qui reste une priorité, l'intérêt des conservateurs se porte d'une part, sur les grands ensembles de photographies du XIXe siècle en vue d'initier une histoire de la photographie sur le modèle de l'histoire de l'art; et d'autre part, sur les auteurs contemporains. La démarche est pionnière et durable, mais elle n'est pas suffisante pour faire reconnaître la photographie comme un art à l'échelle nationale. Près de quarante ans plus tard, en 1976, le secrétariat aux Affaires culturelles s'empare enfin des questions photographiques, mais les quatre directions ministérielles concernées par la photographie réagissent de manière inégale. Dans un environnement photographique qui évolue vers une orientation culturelle, des collections nationales sont créées à la Fondation nationale de la Photographie à Lyon (FNP), au musée national d'Art moderne (MNAM), au Fonds national d'Art contemporain (FNAC) et au musée d'Orsay; et la photographie est enfin reconnue comme un art. Dans les années 1980, sous l'effet conjugué du «Mois de la Photo» de la Ville de Paris et de la politique en faveur de l'art contemporain développée par le ministère de Jack Lang, un des événements artistiques majeurs de la fin du XXe siècle prend forme : la photographie entre dans le champ des arts plastiquesPhotography 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
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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.
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Previous issue date: 2015-03-17Conselho 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
Libri sul tema "Contemporary Polish culture"
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Myślińska, Anna. Polska współczesna ikonosfera narodowa: The Polish contemporary national iconosphere. Kielce: Muzeum Narodowe w Kielcach, 2016.
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Janiak, Agnieszka. Stac sie jak dziecko: Proza polska wobec infantylizacji wspolczesnej kultury. Wrocław: Wydawn. Nauk. Dolnośla̜skiej Szkoły Wyższej, 2010.
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Sian, Reynolds, e Kidd William 1944-, a cura di. Contemporary French cultural studies. London: Arnold, 2000.
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1962-, Childs Peter, e Storry Mike 1943-, a cura di. Encyclopedia of contemporary British culture. London: Routledge, 1999.
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1954-, Davis Edward L., a cura di. Encyclopedia of contemporary Chinese culture. London: Routledge, 2005.
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Canada. Economic Council of Canada. Beyond culture: immigration in contemporary Quebec. Ottawa: Economic Council of Canada, 1991.
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W, Drummond Lisa B., e Thomas Mandy 1959-, a cura di. Consuming urban culture in contemporary Vietnam. London: Routledge Curzon, 2003.
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1948-, Charlton Mark William, e Barker Paul 1953-, a cura di. Crosscurrents: Contemporary political issues. 5a ed. Scarborough, Ont: Thomson Nelson, 2006.
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Sandra, Wallman, a cura di. Contemporary futures: Perspectives from social anthropology. London: Routledge, 1992.
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Bell, Morag. Contemporary Africa: Development, culture, and the state. New York, NY: Longman Scientific & Technical, 1987.
Cerca il testo completoCapitoli di libri sul tema "Contemporary Polish culture"
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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.
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Borowicz, 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.
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Kobielska, 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.
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Kludkiewicz, 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.
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In this article, Kamila Kudkiewicz is dedicated to the question of Polish national museums in the nineteenth century. At the end of the eighteenth century, the historical territory of Poland was divided among Russia, Austria, and Prussia. Each of these countries had its own laws and policies towards Poles: take, for example, the policies of Russification and Germanization implemented by the Russian and German authorities in their respective territories and, contrastingly, the autonomy granted to Polish Galicia in Austria-Hungary after 1860. Despite the differences between the regions, in the second half of the nineteenth century, Poles founded museums that were perceived to be 'national', whether on a de facto basis - as attested by publications and written sources from the period - or because they had the word 'national' in their very name. Although early initiatives to create museums with the designation 'national' were undertaken in Poland as early as the eighteenth century, actual national museums (or institutions considered to be such) only emerged after 1870. The latter consisted of : the Musee National Polonais (Polish National Museum) in Rapperswil, Switzerland (opened 1870), the Muzeum im. Mielzynskich w Poznaniu (Mielzynski Museum in Poznan, 1881), the Muzeum Narodowe w Krakowie (National Museum in Krakow, 1883), the Muzeum Narodowe im. Krola Jana III we Lwowie (King Jan III National Museum in Lviv, 1908), and the Muzeum Sztuk Pieknych w Warszawie (Museum of Fine Arts in Warsaw), which was called after 1916 the Muzeum Narodowe w Warszawie (National Museum in Warsaw). The most important Polish national museums were established in large urban centres, namely in regional capitals (i.e. Poznan, the capital of Greater Poland in the nineteenth century within the borders of Prussia, and Krakow, the main city of Galicia in the nineteenth century within Austria and later Austria-Hungary), but also in other nations (i.e. Rapperswil in Switzerland). They were founded by city authorities, learned societies, or private collectors. The fact that the museums were established and managed by various entities made their activities very diverse. However, one can observe two main areas of interest for Polish national museums in the nineteenth century: national (Polish) history, on the one hand, and Polish art, primarily contemporary painting, on the other. In some cases, like that of Rapperswil, the dominating elements of the collection were connected with historical elements that, at least initially, were also sentimental, nostalgic, and emotional in character. This sentimentality bespeaks the institution's intended influence on viewers. Elsewhere, the wish to exhibit and promote Polish art prevailed over the interest in objects related to national history (i.e. the Mielzynski Museum in Poznan). And certain museums underwent an evolution in their declared status, from that of a national gallery of painting to that of an institution attempting to show various aspects of Polish culture (National Museum in Krakow). The present analysis of the activity of these museums will focus on the discourse accompanying their creation, the goals set by their founders, and the curation of their exhibitions.
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Aly, 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.
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Juzwa, Nina, e Jakub Świerzawski. "Cultural Facilities". In Polish Architecture in Contemporary Innovation, 125–31. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003413561-8.
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Eling, 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.
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Oman, 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.
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AbstractThis chapter looks at the relationship between culture and well-being. It introduces how the ‘the culture-well-being relationship’ is invoked in advocacy for culture’s role in social policy, resting on a philosophical lineage. It demonstrates how this relationship has been theorised, naturalised and popularised to become ‘common sense’ for some, while its use in policy has seen it institutionalised, operationalised, metricised and monetised. This chapter reviews this process through a brief survey of cultural policy, asking who decides which—or whose—culture is good for society from Victorian to contemporary cultural value debates. This chapter presents the increasing presence of well-being data in this story, as well as the role of cultural measures in national well-being data from the UK to Bhutan.
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Rosenstein, Carole. "Contemporary Issues in Cultural Policy". In Understanding Cultural Policy, 334–53. 2a ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003356066-9.
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Charman, 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.
Testo completoAtti di convegni sul tema "Contemporary Polish culture"
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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.
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The boundaries of modernism are fluid, not only in purely temporal terms but also in sociological terms. The famous Polish sociologist Zygmund Bauman speaks about the very notion of fluid society, and according to him, fluid modernism has changed the way we think and experience the modern world. In his masterpiece Fluid Times, Bauman explores, examines, and attempts to explain the sources and causes of the endemic uncertainty that shapes life in a globalized world. This is primarily due to the speed and depth of change that has taken place over the past decades. These changes concern the fall of communism, the block division of the world, but also the enlargement of the European integration or the increase in the number of new nation-states and conflicts. Consequently, modern social interactions and processes create new sociological issues in society, which significantly change the direction of action of sociology itself. For this goal, modern sociology emphasizes focuses on citizenship and civil rights and responsibilities, an ideology that guides societies, collective action and social movements, culture and globalization. That is why today it is very difficult to systematize all sociological works or to include all theorists. Within this text, the emphasis is placed on public policy and its importance in contemporary sociology. The challenges that contemporary sociology faces in solving contemporary sociological issues were analyzed through the differentiation of three separate but related aspects (civic partnership, culture, and globalization) within the complexity of public policy. Keywords: sociology, public policy, culture, globalization, civil partnership
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Lomonosova, Marina, e 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.
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In the contemporary era, the intersection of history, technology, and the politics of memory has grown increasingly vital. Nations with technological prowess wield history as a potent tool to shape present ideologies. This dynamic has intensified ideological battles in the digital domain, where virtual policies can diverge from reality. Memory institutions, governmental and private, have harnessed digital platforms to disseminate their interpretations of history, often linked to political agendas. While these institutions hold significant sway, they remain underexplored in Russian academia. Developing post-Soviet states have established institutions such as the Polish Institute of National Remembrance and the Hungarian Historical Service to shape historical narratives. These entities emerged after the USSR's dissolution or the EU's formation, infusing an anti-Soviet stance into the politics of memory. This has led to the rise of "post-truth" journalism, distorting historical truths for narrative purposes. However, the need for similar institutions in Russia remains an underexplored topic in academic circles. Visual documents play a crucial role in sociological exploration, offering glimpses into historical realities. While often overlooked within Russia, they have been used abroad for political and ideological purposes. Addressing this void, the State Archive Service of the Samara Region published a two-volume documentary collection on the 1921-22 famine, providing a crucial resource for scholars. Russian researchers possess a distinct advantage in accessing archival materials, enabling them to counter myths and influence memory politics. Their engagement safeguards historical memory and shapes societal values. Western researchers, despite challenges, employ digital platforms extensively, influencing narratives disproportionately.
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Isidori, Emanuele, Iosif Sandor e 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.
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Play and game are two activities which allow us to be and develop as human beings, and they represent two basic components of education conceived of as a practice of teaching and learning. The importance of these activities which belong both to human nature and culture has been stressed by many modern and contemporary philosophers and educationists (Schiller, Huizinga, Simon, etc.). In recent years, the Polish sociologist and philosopher Zygmunt Baumann, father of so-called "liquid theory" of society, has discussed the role and function of play and game within postmodern society. Pedagogy as a theoretical and practical science of education highlights the importance of examining and studying all human games in order to identify those that can be better used as a means to promote education and its values in the context of leisure. Sort pedagogy as a science of physical and leisure activity is interested in this topic. To be clear, this science is interested in studying sport as a recreational activity which always implies body actions, movement, and play/game. For this reason, among the points of view of the sciences dealing with the study of human games, that of sport pedagogy can be seen as one of the most capable of explaining, comprehending and understanding what play and game really are and their meaning for the person and her/his education. The digital revolution and the advent of virtual reality in all its forms (mainly 3D) we experience in our everyday life have created new scenarios for developing new educational games and virtual ways to play the sports. All these scenarios frame and mark a new digital era in which communication technologies give rise to new trends in education, and edutainment (a concept expressing both education and entertainment) plays a fundamental role and function. For this reason, starting from this cultural analysis and utilizing a hermeneutical methodological approach, our study will classify, first all, the different types of educational games, and show their implications from a theoretical point of view. Secondly, it will stress the importance of sport pedagogy in studying the issues dealing with this specific research field. Our aim is to show that digital and virtual games are emerging tools capable of fostering leisure along with health, exercise, and sport. We want to demonstrate that this kind of games allows pupils and children as digital natives to learn and to be educated in a true educational way, that is playing. In conclusion, because of their being wonderful tools to improve learning skills and to promote educational values and the sports in their different aspects, educational and virtual reality-based games have not to be considered with suspicion by educators and (physical education) teachers but a great opportunity to teach and learn.
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Mikielewicz, 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.
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The urbanized space mirrors the way the society works. We have on one side the commercialization of the space and on the other side attempts to make the space more human through the social engagement of architects and urban planners. The yearning for authenticity is confronted with different forms of standardization of urban space and the domination of global brands. The space of a city core’s streets is full of brands, which symbolize the progress. The researchers concentrate mostly on this most visible aspect of globalization phenomenon when describing the urban processes, which are visible in the space. At the same time the strategies based on the idea of ‘the creative city’ for rather many of the cities, also polish towns, became an element of specific survival strategy in the time of profound changes in social and economic areas, caused by globalization. The author analyzes some of these contradicted? or/and consistent? types of nowadays urban culture trying to answer the question about the role of urban design in the context of contemporary trends shaping the locality and the global aspects of the city and its structure and concentrates on different examples of contemporary cities. The search for possible solutions based on sustainable development and the confrontation with the real urban development strategies (examples include the case study for the city of Lodz) are the starting points for the author to find answers how to re-shape the urban space into a user friendly city.
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Urbanska, 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.
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Oral, 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.
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Thepermanence of the countries acguired by the sword can only be ensured through the pen. Babur Shah managed to establish a lasting empire in India, which had been conquered twice before but couldn't be held. The works he left us, primarily Baburnama, as well as Divan, Aruz Risalesi, a treatise in which he demonstrated a tactic using a verse with 504 metrics, Mübeyyen, and the translation of Risale-i Validiyye, provide us with insights into Babur Shah's utilization of the Turkish language, his mastery of Turkish culture, his understanding of state governance, his surroundings, emotions, genealogy, contemporary artists, and much more. In this article, we examined how the pen that ensured the empire's permanence turned the geography into homeland, how he stamped this place with Turkish language and culture through its architecture and demographic structure, and his cultural policy applied in state governance, all through his own works.
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Byrne, 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.
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The purpose of the National Sculpture Factory, which speaks to our artistic policy and remit, is to support and nurture the production of art and the role of culture in society. We work to be the leading institution for identifying, nurturing and activating talent; for ambitious and fearless commissioning; promoting discourse on contemporary visual culture through public engagement activities; and engaging diverse audiences, driving more inclusion and accessibility. Primarily we are a factory of innovation in new technologies and artistic production in the expanded practice of sculpture.
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Gavriel, 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.
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How should public policies respond to the dynamics of the multicultural setting? This chapter illustrates how cross-cultural psychology was used to provide tangible intellectual support to help develop and frame a policy response in the multicultural setting. Over the past twenty years, New Zealand has changed from a bicultural to multicultural society competing in the global economy. This chapter identifies policy issues and challenges the transition to a diverse, multicultural society has created, the type of response that was developed and its outcome. These are informed by the author’s personal reflections in developing and promoting Ethnic Perspectives in Policy, a government policy framework and resource guide for public servants. A survey of all departments after two years has indicated that Ethnic Perspectives in Policy affected positive institutional change and provided an impetus to develop more specific policies to address the intercultural setting. The potential for further applied research is discussed in the context of contemporary social policy issues related to settlement, social cohesion and national identity.
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Iordache, Silvia, e 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.
Testo completoAbstract (sommario):
Family-friendly policy in companies in the Republic of Moldova is extremely important as it can have a significant impact on employee satisfaction and organizational performance. By implementing such policies, companies can create a work environment that provides support and flexibility for employees' family needs. Implementing family-friendly policies in Moldovan companies can be beneficial for both employees and the organization. These policies can improve organizational performance and contribute to a healthier and more family-friendly society. These policies can include benefits such as paid maternity and paternity leave, leave to care for children or elderly family members, flexible working or telecommuting schedules, financial assistance for family-related expenses, and other social benefits. A family-friendly policy can increase employee engagement and loyalty, thereby improving employee retention and reducing the costs of recruiting and training new employees. It can also improve employees' work-life balance, which can lead to higher productivity and job satisfaction
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Badrajan, Svetlana, e 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.
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The article deals with a topical problem regarding the safeguarding of the intangible musical heritage. In the context of the contemporary tendencies, international conventions, the UNESCO and Governments’ policy referring to this huge cultural layer, the protection, valorization and study of the heritage become a priority. The contemporary technologies represent an important mechanism that can realize these directives. The Folklore Archive of the Academy of Music, Theatre and Fine Arts from Chisinau, Republic of Moldova contains valuable factual materials referring to the Romanian Folklore and the Folklore of different cohabiting ethnic groups such as Ukrainians, Bulgarians, Gagauz, Gypsies and others. These Folklore audio materials amount to about 16000 expressions and elements recorded on magnetic tape, as a result of field investigations starting with 1964 on the current territory of the Republic of Moldova and in some regions populated by Romanians from Ukraine and Russia. The digitization of these materials offers real solutions for the preservation and further valorization, through editing Folklore collections, scientific research both at national and international level, interpretation and academic composition treatment, jazz, pop-rock, etc.
Rapporti di organizzazioni sul tema "Contemporary Polish culture"
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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena e Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, dicembre 2022. http://dx.doi.org/10.5204/rep.eprints.227800.
Testo completoAbstract (sommario):
The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.
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Bergsen, Pepijn, Leah Downey, Max Krahé, Hans Kundnani, Manuela Moschella e Quinn Slobodian. The economic basis of democracy in Europe: structural economic change, inequality and the depoliticization of economic policymaking. Royal Institute of International Affairs, settembre 2022. http://dx.doi.org/10.55317/9781784135362.
Testo completoAbstract (sommario):
- To understand contemporary challenges to European democracy, it is crucial to look beyond the surface of politics and consider the deeper relationship between democracy and the economy. Instead of focusing exclusively on the rise of ‘populism’, it is necessary to acknowledge the multiplicity of threats to European democracy, in particular those arising from the structure of European economies and economic policymaking. - Understanding these weaknesses in the functioning of European democracies is crucial to an effective approach to future economic transformations, in particular the green transition, but also for dealing effectively and equitably with challenges such as higher inflation. It is important that the relevant policy changes and responses are democratically legitimate and do not foster the kind of political backlash that previous economic transformations did. - Over the past 40 years, economic inequality – ranging from income inequality to discrepancies in wealth and economic security – has widened throughout developed economies. In turn, these developments have generated increasing political inequality, as economic policymaking has served the interests of the well-off. - Democratic systems have also been made less responsive to electorates through the ‘depoliticization’ of policymaking, in particular economic policy, as a result of its insulation from national-level democratic scrutiny. The expansion of technocratic modes of governance – notably through independent central banks and EU-level institutions – has in many cases entrenched the policy preferences of specific groups in institutions removed from direct democratic control. - As this depoliticization has to a large extent made democratic contestation over economic policy redundant, politics has increasingly been polarized around ‘cultural’ questions. But such a focus on culture is unlikely to address the inequalities behind the dysfunction of democracies in Europe. - Strengthening European democracy requires a ‘repoliticization’ of economic policymaking, including both fiscal and monetary policymaking. In the specific context of the EU, this would mean opening up more policy space for national decision-makers and parliaments – in particular by giving them a more influential role in fiscal policy, and by making monetary policy more democratic.