Wyniki wyszukiwania - Biblioteka Nauki

1

Oddziaływanie polityki kulturalnej na rozwój regionalny

100%

Kocurek K.

Zeszyty Naukowe Uniwersytetu Ekonomicznego w Krakowie

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2011

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nr 858

27-37

EN

The author believes it is essential that the potential of culture be looked at in a complex way. On the one hand, it is seen as valuable in and of itself, passed along from one generation to the next and defining a country’s identity. It is also a source of satisfaction and emotion, a field of creativity of outstanding personality. On the other hand, it is an area in which Poles may express their desires and expectations. This paper suggests looking at culture as the basis of society’s knowledge, the foundation of modernity, a catalogue of essential tools for the human race of the twenty-first century to meet the demands that lay ahead. Culture is constantly being changed by the passing of time. Tied to history while never remaining indifferent to modern changes, culture carries within itself an element of duration and one of change, and likewise a social factor integrating the two. In the social sciences the recurrence of certain regularities and phenomena, characteristic of the culture from earlier times, are observed and may be revived in new forms of modernity. The strengthening of creative environments allows for a fuller use of existing cultural and artistic potential, which is becoming a real factor in regional development, increasing the attractiveness of a region for its inhabitants, investors and tourists alike. The standard of cultural bases needs to be improved and the conditions for taking advantage of existing potential creative environments to be created. It is also important to promote the culture of a region within the country and beyond its borders. A developed cultural exchange will be an important area of intraregional, interregional and international cooperation.

2

MUZYKA I MORALNOŚĆ: „Szczególnie obdarowani przez Boga” – przyczynek do dziejów mecenatu nazistowskiego w dziejach muzyki niemieckiej

80%

Grzywacz M.

Miscellanea Anthropologica et Sociologica

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2015

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tom 16(3)

86-93

PL

Artykuł ukazuje proces kształtowania się polityki nazistowskiej w odniesieniu do szerokorozumianych środowisk twórczych związanych z muzyką. Wraz z postępującym wzmocnieniemrządów III Rzeszy i przygotowaniami wojennymi władze państwowe zaczęły tworzyćtzw. listy prewencyjne, których celem była szczególna ochrona artystów wpierającychbezpośrednio nazizm lub ważnych, z perspektywy władzy, dla kultury niemieckiej. Cieszącysię szczególnymi względami hitlerowskiego establishmentu niektórzy twórcy, jaknp. dyrygent Karl August Böhm (1894–1981), kontynuowali z sukcesem rozpoczętą podnazistowską opieką karierę, potem natomiast starali się przemilczeć ten wstydliwy etapswej artystycznej drogi. Tekst przedstawia najważniejsze postaci, które Adolf Hitler uznałza „wybranych przez Boga” artystów obdarzonych szczególną wartością i posłannictwemw służbie III Rzeszy.

3

MUSIC AND MORALITY: “Particularly protected” – a contribution to the history of Nazi patronage over German music

80%

Grzywacz M.

Miscellanea Anthropologica et Sociologica

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2015

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tom 16(3)

86-93

EN

The paper describes the process of the development of Nazi policy towards the artisticcircles related to music. The growth of the Third Reich and the rising power of the German army was accompanied with the protection of the artists who were directly supportingNazism or who were considered important for the German culture, as manifested in theso-called prevention lists. Certain artists particularly favored by the Nazi establishmenttried to hide that stage of their activity. One of them was the conductor Karl August Böhm(1894–1981) whose carrier, started under the Nazi auspices, continued successfully afterthe Second World War. The paper presents the most important of those people whomAdolf Hitler considered “chosen by God” and having a special mission to support theThird Reich.

4

Ideologische Voraussetzungen der Literatur des Dritten Reiches. Nationalsozialistische Literatur und Kulturpolitik

80%

Gołaszewski M. , Tomasi-Kapral E. , Institut für Germanistik an der AdamMickiewiczUniversität Poznań im Rahmen des Forschungsprojektes FUGA des Polnischen Forschungsnationalzentrums (NCN) P. , Universität Łódź P. F.

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tom 10

EN

National Socialism did not only constitute a political doctrine; it was also a kind of worldview that left its mark on German and pan-European culture of the 20th century. The drastic changes that were linked to Hitler’s takeover of power confronted writers and poets with a completely new reality and wholly new conditions of the creative process. Those who could not or would not emigrate had to submit themselves (voluntarily or involuntarily) to the policies and norms decreed by the National Socialists. National Socialism – a conglomerate of different ideologies and ideologemes – perverted certain middle-class values and ultimately aimed towards the total subjugation of all areas of life, culture being among them. The fact that the German middle-class partly shared the values propagated by the Nazis led to an overhasty and unjust assessment of the attitude of writers belonging to the so-called ‘Inner Emigration’. The article at hand outlines the principles of National Socialist cultural politics as well as its relationship to artists. The complicated creative situation of writers and poets in the Third Reich will be shown by representative examples.

5

Edukacja kulturowa z perspektywy animatorów i edukatorów kultury w województwie podlaskim

70%

Białous M.

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tom 31

EN

The publication aim is to familiarize the concept of education for culture and report how it is understood among cultural animators and educators in the Podlasie region, Poland. The article presents academic definitions of education for culture, similarities and differences between this concept and other terms, such as cultural education, intercultural education and multicultural education. Furthermore, it presents the ways of defining the concept of education for culture by people involved in the cultural activities in Podlasie region. Comparison of these perspectives shows the specifics of local cultural animators and educators – their ideas, aspirations and problems. Apparently, their definitions are varied by the type of institution they represent, still, the most common way of defining education for culture is conservative, close to the definition of cultural education.

6

„Wytwarzanie wiedzy” jako element polityki kulturowej. Casus wiedzy o języku kaszubskim jako peryferii językowej

70%

Kożyczkowska A.

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tom 30

EN

Knowledge of the Kashubian language is the result of geographical, political, historical location of Kashubian as community. “Natural proximity” of Kashubian to Polish leads to questions about the status of Kashubian language as a separate language or as a dialect of Polish. Knowledge of Kashubian language describes the political, social (including educational) condition. Changing knowledge of Kashubian modification the political condition of the Kashubian culture and identity.

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Etnicidade e formação de cidades: manifestação cultural polonesa em cidades brasileiras como possibilidade de fortalecimento de laços entre Brasil e Polônia pela economia criativa

51%

FREDER S. M. , PROCOPIUCK M. , VIANA K.

Revista del CESLA. International Latin American Studies Review

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2017

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nr 20

67-88

PT

A diversidade cultural é um componente comum em todos os níveis de integração da vida social, desde perspectivas de micro até de macroescalas, e a etnicidade tem se mostrado um elemento importante para a dinamização de diferentes dimensões das sociedades. Nesse contexto, o objetivo deste artigo é realizar um levantamento de elementos da cultura polonesa na confi-guração de seis cidades brasileiras, com foco em instrumentos de gestão urbana e de políticas públicas de incentivo e apoio às manifestações étnicas e à manutenção e/ou preservação de patrimônio histórico material e imaterial. Trata-se de um estudo qualitativo, pautado na análise de conteúdo para identificar elementos identitários da cultura polonesa expressos em portais da internet de instituições públicas municipais brasileiras. Como resultados, (i) foi possível delinear aspectos importantes da trajetória histórica do povo polonês para construção de realidades sociais locais, expressas por meio das artes, da arquitetura, de costumes etc.; (ii) avaliar políticas públicas destinadas à preservação cultural da etnia polonesa no âmbito dos municí-pios analisados; (iii) e aprofundar a compreensão da capacidade que uma cultura pode ter para influenciar na configuração de espaços urbanos e na gestão municipal brasileira. A conclusão é que, não obstante a falta de incentivo de instituições governamentais brasileiras e polonesas, ainda há a permanência de importantes traços da cultura polonesa manifestos no patrimônio material e imaterial de cidades brasileiras, que abrem possibilidades de aproximações entre esses dois países com base nas ideias de indústrias e da economia criativa.

EN

Cultural diversity is a common component at all levels of social life’s integration, from micro perspectives to macro scales, and ethnicity has been shown to be an important element for the societies’ promotion in different dimensions. In this context, the objective of this article is to carry out a survey of Polish culture’s elements to contribute in the configuration of six Brazi-lian cities, focusing on urban management tools and public policies to encourage and support ethnic manifestations and for the maintenance and / or material and immaterial historical patri-mony preservation. This is a qualitative study based on content analysis to identify elements of Polish culture expressed in Brazilian municipal public institutions internet portals. As a re-sult, (I) it was possible to delineate important aspects of the Polish people’s historical trajec-tory at local social realities of construction expressed through the arts, architecture, customs etc.; (II) to evaluate public policies aimed at the cultural preservation of the Polish ethnic group within the cities analyzed; (III) and to intensify the understanding of a culture capability to influence the configuration of the urban spaces and Brazilian’s municipal management. The conclusion is that, despite the lack of incentive of Brazilian and Polish governmental institutions, there are still important features of Polish culture manifested in the material and immateri-al patrimony of Brazilian cities, which open possibilities of approximation between these two countries based on the ideas of industries and the creative economy.

8

Próba przejścia do rynkowego modelu zarządzania publiczną instytucją kultury na przykładzie Teatru Muzycznego w Poznaniu

51%

Kieliszewski P.

Prakseologia

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2015

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tom 157/2

271-301

PL

Zmiana modelu zarządzania instytucją kultury – Teatrem Muzycznym w Poznaniu bazuje na założeniu, że nowoczesny musical zalicza się do przemysłów kultury, którymi w znacznej mierze kierują prawa rynku. Przemysły kultury, angażując ogromne rzesze widzów, mają znaczący wpływ na rozwój miast i mogą stanowić ważny element ich polityki kulturalnej. Przy czym ryzyko finansowe, podobnie jak w branży filmowej, jest niwelowane przez dotacje ze środków publicznych. Przekształcenie działającej w starych strukturach instytucji kultury w nowoczesny teatr muzyczny nie jest łatwe. Niestety nie jest wsparte właściwymi rozwiązaniami prawnymi w zakresie np. elastycznych kontraktów pracowniczych, posiada więc wrogów w postaci choćby związków zawodowych. Tym bardziej zmiana taka wymaga umiejętnego zarządzania. Winna zmierzać do dopasowania metod działania instytucji publicznej do warunków konkurencji rynkowej i zakładanych, spektakularnych efektów.

EN

The change of the management model of a cultural institution, i.e. Teatr Muzyczny [Musical Theatre] in Poznań, stems from the assumption that the modern musical belongs to the realm of cultural industries, which, to a large degree are governed by the rules of the market. Engaging vast groups of spectators, cultural industries play a significant role in the process of town development, and can constitute an important element of their cultural policies. The example of Teatr Muzyczny „Roma” lets one conclude that in Poland this cultural industry sector has entered a path of dynamic development. Greatest musical productions, whose budgets run into millions of zlotys and are comparable to those in the film industry, can yield return, while public subsidies, similarly to the film sector, alleviate financial risk. Transformation of a cultural institution still operating within the old structural framework into a modern musical theatre is not an easy task. Unfortunately, the process lacks support in the form of appropriate legal solutions concerning flexible contracts of employment, and thus it is invariably opposed by various groups, e.g. trade unions. All this steps up managerial skill requirements even more. The process of transformation should be aimed at adjusting the methods of operation of a public institution to the conditions of market competition, as well as the expected results. To achieve this, a convenient location of the theatrical venue is necessary, as is modern infrastructure to provide technical effects able to arrest spectators, as well as a flexible team of talented, enthusiastic people determined to simultaneously pursue their own individual careers and follow the vision of the leader. The vision also opposes wasting public resources, as well as the potential of public institutions of culture, which, in their organisational aspect, have moved away in recent years from the rest of the dynamically developing competitive economy.

9

Współpraca międzysektorowa w finansowaniu przedsięwzięć kulturalnych na przykładzie Teatru Muzycznego w Poznaniu

51%

Kieliszewski P.

Roczniki Kulturoznawcze

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2015

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tom 6

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nr 2

137-151

PL

Współpraca międzysektorowa jest skutecznym sposobem budowania koalicji na rzecz finansowania przedsięwzięć kulturalnych. Można tak skonstatować, analizując działania publicznej instytucji kultury – Teatru Muzycznego w Poznaniu. Otwarcie na współpracę wynika również ze zmiany modelu zarządzania instytucją, która w swej działalności nie tylko zaczyna uwzględniać prawa rynku, ale wykorzystywać je na swoją korzyść. Staje się to nieuniknione z uwagi na finansalizację każdej niemal sfery życia oraz ograniczoną możliwość zwiększania dotacji ze środków publicznych. Przykład zorganizowania przez Teatr koncertu najwybitniejszego śpiewaka naszych czasów, Placido Domingo, pomimo posiadania przez instytucję zaledwie 10% wartości projektu, pokazuję siłę możliwości płynącą z podejmowania współpracy z podmiotami, w tym również z innych sektorów gospodarki. Przy tak skomplikowanym przedsięwzięciu jest ona wskazana, a wręcz nieodzowna z uwagi na uzupełniające się kompetencje, cechy i właściwości działania organizacji w różnych sektorach gospodarki (instytucja publiczna, firma, stowarzyszenie), które wpływają na uzyskiwany efekt synergii. Przykładową cechę stanowi zdolność do podejmowania dużego ryzyka finansowego, charakterystyczna dla podmiotów gospodarczych, a które jedynie w ograniczonym zakresie może podjąć instytucja publiczna, bazująca na dotacji z budżetu samorządu. Jednak dotacja publiczna stabilizuje projekt, podobnie jak obecność w projekcie instytucji publicznych skłania do współpracy podmioty z sektora prywatnego. W wielu zakresach publiczna instytucja kultury może się wiele nauczyć od partnerów biznesowych i społecznych. Przykładem tego jest też wykorzystanie crowdfundingu w celu wydania przez Teatr płyty CD z musicalu Jekyll&Hyde. Priorytet współpracy międzysektorowej oraz korzystania z rozwiązań stosowanych w innych sektorach stanowi również asumpt do lepszego wykorzystania potencjału publicznych instytucji kultury, które po 1989 roku nie potrafiły uwzględnić w odpowiednim wymiarze zmian ustrojowych, społecznych i gospodarczych.

EN

Cross-sector collaboration is an effective way of building coalitions to promote financing cultural undertakings. Such is the conclusion one could draw having analysed the operation of a public institution of culture, i.e. Teatr Muzyczny in Poznań. A change in the institution’s management model not only brought openness to collaboration in its operation, but also made the theatre begin to take market considerations into account, and even use them to its advantage. As financialization of almost every sphere of life continues, and possibilities to increase public subsidies remain limited, such attitude becomes unavoidable. The example of concert by the most outstanding singer of our time, Placido Domingo, which was organised by the Teatr, even though the resources held by the institution only accounted for 10% of the project value, shows the potential inherent in collaboration with different entities, incl. ones from other sectors of economy. In case of an undertaking of such complexity, it is advisable, nay indispensable. Complementary competences, qualities and properties associated with operation of various organisations (a public institution, a company, an association) in different sectors of economy, exert influence upon the synergy effect acquired. One such model quality is the ability to take substantial financial risk, which is typical of economic entities, and which can be taken only to a limited degree by a public institution reliant on subsidies from the self-government budget. However, a public subsidy stabilises a project, just like presence of public institutions on a project becomes a stimulus for private sector entities to join. In a number of ways, a public institution of culture can learn a lot from business and social partners. The use of crowdfunding for the purpose of producing a CD of Jekyll & Hyde musical by the Teatr is also an example of this phenomenon. Priority given to cross-sector collaboration and to adopting solutions employed in other sectors is also an impulse to put to good use the potential of public institutions of culture, which, after the 1989 system change, have not been able to adequately take political, social, and economic changes into account.

10

Instytucje publiczne i dyplomacja kulturalna. Potencjały i wyzwania

51%

Kieliszewski P. , Poprawski M.

Zarządzanie Publiczne / Public Governance

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2009

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nr 3(9)

19-32

PL

Celem artykułu jest zarysowanie najbardziej istotnych problemów i niespójności, względnie potencjałów i wyzwań polskiej dyplomacji kulturalnej. Jest ona jednym z kluczowych narzędzi polityki państwa, czymś więcej niż tylko promocją polskiej kultury. To w kulturze odnajdujemy najlepszy nośnik szeroko akceptowanych, integrujących wartości ludzkich, środki służące do zrozumienia innych. Kultura skupia aspekty życia, którym przypisujemy szczególną wartość i trwałość, których znaczenia poszukujemy. Kultura symboliczna stwarza narracje pozwalające eksponować silne strony naszego państwa i społeczeństwa, uniwersalność, ale i odmienność postaw, hierarchii wartości. Przestrzeń problemów kultury jest zatem poligonem polityk tożsamości i ich kształtowania, stanowi oczywiste krytyczne forum negocjacji i komunikowania wartości. Przedstawiane w artykule krytyczne wnioski i racjonalizacje dotyczące praktyk sektora publicznego w zakresie polskiej dyplomacji kulturalnej oparte są na jednym z pierwszych badań jakościowych w tej dziedzinie przeprowadzonych wśród ekspertów i praktyków, artystów i menadżerów kultury. Zachęca ono do kolejnych działań zmierzających do stworzenia i stałego korzystania z systemowych rozwiązań przy ocenianiu działalności instytucji publicznych odpowiedzialnych za kształtowanie wizerunku Polski poza jej granicami. Określenie deficytów i potencjału tej złożonej dziedziny, jaką jest promocja kultury polskiej i marki polskiej za granicą, są pierwszym krokiem na tej drodze.

EN

The article describes problems and inconsistencies as well as possibilities and challenges of Polish cultural diplomacy. Cultural diplomacy is much more than just a promotion of culture; it is one of the key state policy tools. Culture constitutes the best medium of broader, integrative human values and a means of understanding others. It encompasses the most valuable, lasting and meaningful aspects of our lives. The symbolic culture formulates narrations which allow us to present the best characteristics of our nations and societies, universal behaviours or different attitudes, varied hierarchies of values. Culture is a laboratory of identity policies and their construction, a critical forum for negotiations and communication of values. Critical remarks and rationalizations presented in the paper concern operations in the domain of cultural diplomacy in the Polish public sector. The article is based on one of the first qualitative studies in the field, prepared by experts, practitioners, artists and cultural managers. The authors encourage to undertake new activities in order to supply and apply systemic and transparent solutions for evaluation of public institutions which promote Polish culture abroad. Defining deficits and potentials of a complex domain that is the promotion of Polish culture and the Polish brand is only the first step.

11

W stronę systemu ochrony dziedzictwa kulturowego w Polsce

51%

Purchla J.

Zarządzanie Publiczne / Public Governance

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2010

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nr 2(12)

69-82

PL

Transformacja postawiła przed dziedzictwem kulturowym w Polsce nowe wyzwania i nowe zagrożenia. Szerokiej i kompleksowej analizie systemu ochrony dziedzictwa kulturowego w Polsce po roku 1989 zosta! poświęcony raport przygotowany na Kongres Kultury Polskiej, który odbył się w Krakowie we wrześniu 2009 r. Wskazano w nim trzy zjawiska, które znacząco wpłyną na stan zabytków w przyszłości. Są to: narastający z dużym przyspieszeniem proces przekształceń całego zasobu budowlanego, powodujący zwiększanie presji funkcji ekonomicznych na kształt krajobrazu kulturowego; rosnący popyt na dziedzictwo jako konsekwencję ujednolicających skutków globalizacji i ogromnego wzrostu znaczenia gospodarczego turystyki; przeniesienie punktu ciężkości z wartości dziedzictwa na potrzeby społeczeństwa. Tę zmianę sposobu traktowania dziedzictwa można by określić jako zmianę statusu ontologicznego dziedzictwa. Dotychczasowe narzędzia prawne i finansowe przystosowane do "obsługi" systemu statycznego realizowanego w warunkach centralnego sterowania i ekonomii nakazowo-rozdzielczej tworzyły system ochrony zabytków. Dzisiaj stajemy przed pilną koniecznością stworzenia w Polsce systemu efektywnego zarządzania dziedzictwem, który byłby przekonujący dla społeczności lokalnych, stanowiących - wraz z właścicielami i użytkownikami zabytków - podstawowe ogniwa opieki nad dziedzictwem.

EN

After its political transformation, Poland had to face new challenges and threats concerning its cultural heritage. The Congress of Polish Culture, organised in Cracow in September 2009, prepared a comprehensive report on the cultural heritage preservation system in Poland after 1989. The authors of the report indicate three phenomena that can have a significant impact on the future of Polish historical monuments: an accelerating process of transformation of building stock, leading to stronger pressures of economic factors on the cultural landscape; a growing demand for heritage as a backlash against the homogenising effects of globalisation and a result of the increasingly important economic role of tourism; a shift in focus from the value of heritage to the needs of society. This new approach to heritage can be described as a change in its ontological status. The existing legal and financial tools of monument protection were adapted to a static situation typical of a centrally- planned economy and a command-and-quota system. Today, we need to create a new effective programme of heritage management that would satisfy local communities who, together with the owners and users of monuments, are crucial for heritage protection.

12

Kultury powojenne. Sztuka i komunizm w Krakowie i Lipsku

41%

Kunakhovich K.

Pamięć i Sprawiedliwość

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2015

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nr 1(25)

163-184

EN

Postwar Cultures: Art and Communism in Krakow and Leipzig On the morning of January 19, 1945, Dr. Bolesław Drobner arrived as the first representative of Poland’ s postwar government, charged with a special mission: to resurrect the city’ s arts scene and build a new, democratic culture. Six months later a music teacher named Rudolf Hartig took up his new post in Leipzig’ s bullet-riddled City Hall. Hartig was a lifelong communist who took over the city’ s Culture Department after the Nazi collapse. Drobner and Hartig became local agents in a transnational project that spanned Eastern Europe: the search for a distinctive socialist culture. This paper investigates what they did at the city level in the first half-decade after World War II. For the East European regimes that came to power after WWII, culture was not a form of entertainment but a tool of governance. Both Drobner and Hartig viewed art as a foundation of the postwar order, capable of bridging social divisions, eradicating fascist residues, and promoting a Marxist worldview. At the same time, the two officials could not simply impose their vision from above: they also had to contend with Soviet advisors and local artists, two groups that had their own notions of what art should look like. The struggle for socialist culture thus reflected broader struggles over political and social control in Eastern Europe. This paper compares cultural reconstruction in Krakow and Leipzig, two of EasternEurope’s major cities. Looking at them side by side allows us to assess the role Soviet officials played in local affairs and to refine our notion of Sovietization. The postwar program of socialist culture was not just a Soviet imposition but rather had deep native roots. Lacking concrete models or instructions, both Drobner and Hartig relied on prewar conventions, national traditions, and even fascist practice. They pursued policies that seemed to uphold the status quo and therefore provoked little opposition – even from those who opposed leftist parties. Yet these policies also expanded the authority of the state, paving the way for a radical restructuring of the cultural sphere in the years 1949/50. It was widely accepted principles like democratization that enabled the Stalinization of Polish and German culture. The policies that Drobner and Hartig developed proved to have a lasting impact on the Soviet Bloc: they prepared the ground for the Stalinist system, but also preserved local traditions that reemerged when that system collapsed.

13

Prawo do kultury w warunkach wolności gospodarczej

41%

Wytrążek W.

Roczniki Kulturoznawcze

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2015

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tom 6

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nr 2

123-135

XX

Między gospodarką i kulturą istnieje silny związek, który można określić jako sprzężenie zwrotne – wzrost gospodarczy powoduje rozwój przemysłów kultury, a rozwój życia kulturalnego stymuluje dziedziny gospodarki bezpośrednio lub pośrednio związane z sektorem kultury. Nie należy jednak ograniczać się do takiego uproszczenia, ponieważ wolność gospodarcza prowadzi również do upowszechniania wzorców kultury masowej i powszechnej eksploatacji produktów wytwarzanych przez globalny przemysł kultury, przez co kultura narodowa poszczególnych państw bywa marginalizowana. Celem artykułu jest nakreślenie relacji wolności gospodarczej do życia kulturalnego w kontekście prawa do kultury. Rozważania mają służyć poszukiwaniu odpowiedzi na pytanie, w jakim stopniu rozwija się dzięki działaniom wolnego rynku, a z drugiej strony, z jakimi negatywnymi zjawiskami wywołanymi nadużyciami wolności gospodarczej musi sobie obecnie radzić Polska. Prawo do kultury, jak i sama kultura są przez polskie państwo traktowane marginalnie. Świadczy o tym nie tylko wysokość środków z przeznaczanych na kulturę, które nie przekraczają 1% budżetu państwa, ale również polityka kulturalna, która nie wydaje się przystawać do sytuacji, w jakiej znajduje się Polska. Biorąc pod uwagę przytoczone wyżej fakty, nasuwa się pytanie o kierunek i sposób realizacji polityki kulturalnej. Powinna ona być zintegrowana z polityką edukacyjną, gospodarczą i fiskalną.

EN

There is a strong relationship between economy and culture. It can be described as a feedback —economic growth leads to the development of cultural industries and cultural development to stimulate economic activities directly or indirectly related to the cultural sector. Should not be limited to such a simplification, because economic freedom also leads to dissemination patterns of mass culture and universal life products manufactured by the global culture industry, which the national culture of individual states may marginalized. The aim of this article is to outline the relationship between economic freedom and cultural life in the context of the right to culture. Considerations are designed to search for answers to the question to what extent is growing thanks to the actions of the free market, on the other hand, with which the negative phenomena caused by misuse of economic freedom has to now deal Poland. The right to culture and the culture itself, are treated by the Polish State marginally. This is evidenced not only the amount of resources devoted to the culture of which do not exceed 1% of the state budget, but also the cultural policy, which does not seem to be conformed to the current situation of the country. Considering the above facts, the question arises about the direction and performance of the cultural policy which should be integrated with educational policies, economic and fiscal policy.

14

O stereotypach w recepcji literatury chorwackiej w Polsce w latach 1944—1956

41%

Małczak L.

Przekłady Literatur Słowiańskich

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2013

|

tom 4

|

nr 1

253-268

HR

U članku se govori o dvama stereotipima u recepciji hrvatske književnosti u razdoblju od 1944. do 1956. g. Najprije je Jugoslavija politički saveznik, srodan po slavenskom porijeklu, poslije postaje najveći neprijatelj. Ovo se razdoblje sastoji od dva dijela. U prvom od 1944. do 1948. autori iz Jugoslavije prikazuju književnost kao jedinstvenu, jugoslavensku, dok poljski autori instistiraju na razlikama. Tematski književnost se svodi na književnost o ratnoj tematici, a pisci su vrednovani na temelju njihovih političkih opredjeljenja. Oni koji su bili skloni partizanima jesu napredni, socijalistički, oni koji su živjeli u okupiranim zemljama ostaju pod štetnim uticajem zapadne kulture, buržoazijskih principa. U drugom razdoblju od 1949. do 1956., poslije rezolucije Informbiroa, književnost Jugoslavije u Poljskoj prikazuje se kao jedinstvena, prekinuta je svaka vrsta suradnje i komunikacije, govori se da u književnom stvaralaštvu dolazi do niza negativnih pojava koje se opisuju pomoću ratne retorike i najčešće imenuju kao fašizacija, amerikanizacija kulture.

EN

There are two stereotypes in the reception of Croatian literature in the period of 1944—1956. Yugoslavia was a political ally for Comunist and Slavic countries in the begining. After 1948, after the Cominform Resolution of June 28th, it became one of their worst enemies. In the first period from 1944 to 1948 the Yugoslav authors present literature as coherent Yugoslav literature, with Polish reviewers insisting on the diffrences between the Yugoslav republics. Yugoslav literature in this period was about war, and writers are judged according to their political profiles and attitude during the World War II. The ones who symphatized with Partisans were progressive, the ones who lived in the occupied coutries were under the harmful infulence of Western culture, with its bourgeois values. After the Cominform Resolution, the literatures of the various Yugoslav republics are presented as homogeneous with no cultural differences. Every type of communication between Yugoslavia and Poland is broken down at that time. There is war rethoric in extremely negative Polish presentations of literary production in Yugoslavia in the second period.

15

„in der Geschichte des tschechischen Buches ein beispielloser moralischer Erfolg“.

41%

Kasten T.

Slovo a smysl - Word & Sense

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2015

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tom 12

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nr 24

126-154

EN

The 1918 founding of the independent Czechoslovak Republic completely changed the political and social framework of the mutual Czech-German literary transfer. In lieu of the multi-national state of the Habsburg monarchy, the discursive and institutional field of the mediating of Czech literature to the German readership was delineated by the issue of ethnic minorities, as a new instrument of foreign cultural policy. Against this historical background, the paper follows the genesis of the German translation of Jaroslav Durych’s Bloudění, brought out in 1933 as Friedland by Piper Publishing in Munich, and maps the particular mediating processes and networks and the thus incited debates regarding the direction of Czechoslovak foreign policy.

CS

Založením první československé republiky se česko-německý literární transfer ocitl v naprosto novém politickém a společenském kontextu. Diskurzivním a institucionálním rámcem prostředkování české literatury německému čtenářstvu již nebyl mnohonárodnostní stát habsburské monarchie, tvořila jej problematika menšin jako tehdy nový nástroj zahraniční kulturní politiky. Na tomto historickém pozadí je v předloženém článku sledován vznik německého překladu románu Jaroslava Durycha Bloudění, který roku 1933 vyšel pod názvem Friedland v mnichovském nakladatelství Piper. V té souvislosti jsou analyzovány konkrétní procesy zprostředkování a zprostředkovatelské sítě a také s nimi související diskuze o směřování československé zahraniční kulturní politiky.

16

Skutki członkostwa w Unii Europejskiej dla suwerenności i tożsamości kulturowej Polski

41%

Fiszer J. M.

Myśl Ekonomiczna i Polityczna

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2011

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nr 1-2(32-33)

170-197

EN

State’s sovereignty is its extraordinary value and also an international legal characteristic feature that distinguishes it from other states because it proves its independence. A sovereign state is one that carries out its own unlimited internal and foreign policy, except for limitations made by law and international treaties. However, the cultural identity, which is an essential part of national identity, is the second most important designatum of state, i.e. what distinguishes it from other nations and states. In the past, e.g. during the 123 years of the Partitions of Poland the invaders not only deprived our country of its sovereignty but also made attempts to deprive it of its cultural identity, i.e. to eliminate the use of the mother tongue via Germanization and Russification of the Polish nation and to deprive it of any national cultural achievements, including religion. The present article is an attempt to show the influence of the Polish membership to the European Union on our national sovereignty and cultural identity. The author asks many interesting questions, proposes theses and hypotheses and tries to show that our – voluntary – accession to the European Union was necessary and inevitable and strengthens our state’s sovereignty, serves the Polish reason of state and poses no threat to the cultural identity of Poland. Moreover, the author proves a thesis that, after the accession of Poland to the European Union, Poland not only gained new opportunities of political and economic co-operation, but also possibilities to participate in various cultural programs and use funds for the protection of spiritual and material goods of the national culture, and in this way to strengthen Polish cultural identity and national sovereignty.

17

Polityka kulturalna Lublina w świetle starań o tytuł Europejskiej Stolicy Kultury 2016

41%

Scherer A.

Roczniki Kulturoznawcze

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2013

|

tom 4

|

nr 1

035-058

EN

Cultural Policy of Lublin in the Light of Efforts for the Title of European Capital of Culture 2016

18

Z mého života: když má film právo na všechny postavy dějin

36%

Kupková M.

Slovo a smysl - Word & Sense

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2015

|

tom 12

|

nr 24

155-170

EN

Biographical film is a genre that acquired specific importance within the Czech film industry at the beginning of 1950s. It combined local particularity of Czech film culture, spontaneous and politically controlled inclination towards the revivalist tradition, authoritarianism of Zdeněk Nejedlý, the cultural ideologist, as much as Soviet cultural influence. The article focuses on a specific example of such type of film production, a film called Z mého života (From my life, Václav Krška, 1955) about Bedřich Smetana, a significant Czech composer of the 19th century. The initial research aim is to cover various factors that influenced the final style of the film. The text examines its connections to outer social and historical discourse, and proceeds from a summary of development in contemporary biographical film production, to changes within the cult of Bedřich Smetana during the first half of the 20th century, to the ideological nature of the given film. The article studies the way these long-term and current factors influenced the style and narrative of the film. Through one of the direct participants — Jiří Mařánek as the author of subject matter and script — it also reconstructs rival interests of power of both generational, professional and political character. This focus mediates partial but authentic insight into the nature and processes within Czech culture in its post-February stage. The research is based primarily on archive documents of film production, Jiří Mařánekʼs personal resources and media reception of the period.