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From Research on the Musical “Trans-avant-garde”: A Contribution to the Discussion on the Terminology Concerning the Historiography of 20th Century Polish Music

100%

Karwaszewska M.

Avant

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2016

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tom 7

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nr 1

EN

he research article discusses the concept of “the trans-avant-garde” (a term coined by theItalian art critic Achille Bonito Oliva to describe certain phenomena in visual arts, espe- cially painting, which have appeared since the end of the 1970s) and attempts to adapt it for a discussion of twentieth century Polish music. The trans-avant-garde (Italian la transavanguardia) is an Italian form of expressionism in art (neo-expressionism), origi- nating as a rejection of modernism, formalism, innovation, originality, and stylistic coher- ence, which began to treat tradition in a new way, extensively referring to 16th century mannerisms, ambiguity, stylistic pluralism and polysemy.While, on the one hand, trans-avant-garde artists are fully aware of the crisis of the avant- garde experiment, on the other, they aim to create content-packed works of deeply expres- sive and romantic character. The trans-avant-garde is widely considered to be an early stage of postmodernism, or simply its synonym. There is a difference, though, between the trans-avant-garde and the postmodern. Oliva speaks of a journey from America to Eu- rope and back. My article discusses these differences, systematizes the most important stylistic aspects and aesthetic ideas, and applies these observations to the study of music-a discipline Oliva did not take into consideration.A key issue in the description of the trans-avant-garde in Polish music is analysis of the trends that precede it, are synchronous with it, and follow it in history. It is also important to trace borrowings and differences along this time axis. In order to offer an insight of thiskind, I first present the different concepts of “modernity” and “postmodernity” that haveappeared in music (and art) of the twentieth century, and I then juxtapose those with the Italian original idea of la transavanguardia.

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ARISTOTLE AND THE POSTMODERN WORLD

63%

Marcos A.

Studia Gilsoniana

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2012

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tom 1

65-73

EN

With the support of recent scholarship the author proposes an understanding of the Aristotelian Corpus inspired by the biological works. He points out that this understanding is bound up with other current philosophical discussions, especially on biology, rationality, realism, the knowledge of an individual, metaphor, and poetics. The author concludes that Aristotle offers the most promising ontological, epistemological and anthropological basis not only for undertaking a series of urgent reconciliations (of facts and values, of theoretical and practical reason, of understanding and sensation, and of intelligence and emotion), but also for solving many dualisms of modern times, in their Platonic or materialist varieties.

3

ZMIANA „TONU” W GILSONA POJĘCIU FILOZOFII CHRZEŚCIJAŃSKIEJ

51%

FAFARA R. J. , TARASIEWICZ P.

Studia Gilsoniana

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2012

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tom 1

15-28

EN

The author undertakes four points: (a) There was no major change in Gilson’s position on Christian philosophy as it was defined and justified in his 1931 Gifford Lectures and later developed in the sixties. (b) During the 1960s, Gilson’s Christian philosophy placed more emphasis on its Christian aspect, faith guiding reason. Earlier formulations emphasized philosophy searching within the faith for what can become rational. (c) During the 1960s Gilson emphasized faith and the Church as the guardian of Christian philosophy, expressed a relative indifference to the validity of rational proofs for the existence of God, and empathized with those accepting questionable philosophical approaches to understand the faith. (d) Gilson’s Christian philosophy fits into the framework of post-modernism.

4

From The Laboratory Of The 1990s To The Novel Of The 21st Century – Contemporary Bulgarian Literature In Highlights

51%

Dimitrova E.

Slavica Lodziensia

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2017

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tom 1

EN

The text presents the main trends in Bulgarian literary development from the 1990s to the present day through the highlights of the lyrical boom of the 1990s and the novel wave since 2001 on. Some lines of continuity are outlined, tracing back to the 1960s (regarding the literary experiment and dissident attitude), and the period before 1944 (the adoption/challenge of the modernist tradition in the 1990s). A separate research topic is the fi xation of the critical interest on certain writers’ personalities.

5

Od subkultury do postsubkultury. Zmiany w obszarze dzisiejszej kultury alternatywnej

51%

Adamowicz K.

Estetyka i Krytyka

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2013

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nr 2(29)

15-25

EN

The purpose of my article is to show the changes taking place in today’s alternative culture. As a result of these changes, the old, traditional terms, such as ‘subculture’or ‘counterculture’ lose their topicality and therefore should be replaced with new ones that would better reflect the current reality. New terms, which I define in this article postsubcultures and neo-tribes show the spectrum of contemporary alternative culture. The concept of post-subcultures refers to the fragmentation and fluidity of their nature, goals, and members’identities. On the other hand, the concept of neo-tribes highlights the continued existence of the community, whose importance has not declined in spite of all the changes and the significance of individualism. This article adopts a mainly theoretical approach, but at the same time reveals the essence of the actual changes in contemporary alternative culture

6

Heterotopia on Screen- Blue Velvet (1986)

51%

Filimon E. C.

Romanian Journal of English Studies

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2014

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tom 11

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nr 1

158-166

EN

Based on a framework consisting of postmodern theories of heterotopias, spatial pastiche, schizophrenic temporality and postmodern speed, this paper seeks to identify cinematic features in the works of the American director David Lynch, which exemplify time and space in postmodernism. Michel Foucault's theory of space will trigger the whole problematic of the time-space relation. This is followed by a discussion of Fredric Jameson's concepts of spatial pastiche and schizophrenic temporality and of the involute interaction between the two

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Casus kiczu we współczesnych sztukach plastycznych

51%

Bacińska M.

Estetyka i Krytyka

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2011

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nr 2(21)

9-24

EN

The purpose of the paper is to answer the question: “Does the post art exist an art after the „end of art‟?” and if an answer is positive to ask the second question: “what is its character”. The author redefines the term “kitsch” and tries to rehabilitate it in relation to the principals of the postmodernism. “Concious kitsching” is the notion proposed in the text, which means that the kitsch creation in the contemporary plastic arts may be a result of an intent artistic decision. The goal of the thesis is to show the complexity of the kitsch, which paradoxically may prove the high artistic value of today's works of art. In this respect the figurative painting of Lisa Yuskavage and John Currin has been interpreted and analysed.

8

Social responsibility of science

51%

Kobylarek A.

Journal of Education Culture and Society

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2019

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tom 10

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nr 2

5-11

EN

This article tackles the problem of social involvement by academics and researchers. The author defines social responsibility widely as the involvement of knowledge, academics and educational institutions in solving the problems of the local community. The concept predicts that this can come about not only by disseminating research results, but also by involvement in pro-social activity without loss of autonomy. The author shows that this can be a way of building trust in science, as well as being a tool in opposing the anti-science culture. It can also be a means of rebuilding the status of science in a world of information bubbles and fake news.

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Модель «расщепленного мозга» в романе Виктора Пелевина Ампир В

51%

Safronowa L.

Slavica Wratislaviensia

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2013

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tom 157

71 - 82

EN

The article, from the perspective of cognitive literature, describes the mechanisms of postmodernist thinking and associated elements of poetics — in particular, the technique of artistic writing, associated with the left hemisphere of the brain.

10

Truth in Religion, Science, and Postmodernism

51%

Bubnov E.

Dialogue and Universalism

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2014

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nr 3

94-98

EN

In this paper different approaches to the concept of truth are compared. Many changes in the concept of truth result in making it a zero notion. Similar processes are described in Max Müller’s conception of the genesis of religion. In this respect we sug-gest that postmodern philosophy should be treated as a new mythology.

11

Bohater naszych czasów? Uwagi o prozie Máriusa Kopcsaya

51%

Majerek R.

Pamiętnik Słowiański

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2010

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tom 60

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nr 1

21-34

EN

The article concerns prose of the Slovak contemporary writer, Márius Kopcsay and it focuses on the analysis of the type of protagonist created in his books. Kopcsay draws on the ironic, demitologising line in Slovak literature and records everyday life of ordinary, worthless, often physically and mentally distorted character. The typical protagonist of his short-stories collections (A Critical Day, 1998, A Lost Years, 2004, Useless life, 2006) and the novel Home (2005) has problems with adaptation, he is not able to build good relationships in his work, he can’t communicate with his family. Specific creation of main character in Kopcsay’s prose can be interpreted in a context of postmodern philosophy, although his texts are traditional and realistic; the second important aspect is new cultural and social situation in post-communistic countries and its influence on people’s identity.

12

O pojęciu „muzycznego postmodernizmu”

51%

Krajewski M.

Aspekty Muzyki

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2017

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tom 7

15-32

EN

The usual way of characterising the notion of “musical postmodernism” is set out by the following claims: (1) a postmodern musical work corresponds to the postmodern worldview; the notion in question is closely connected with the etymology of its name (“postmodern” means, in any case, “of an era after a modern one”); (3) the characterisation of the postmodern worldview (and, thus, of a postmodern piece of music) ought to conform to the beliefs of the classics of the postmodern thought; (4) the postmodern repertoire includes mainly the works created after about 1970; (5) the most important features of these compositions are euphony, aleatoric indetermination, polistylistics, and repetitiveness. The notion governed by the claims (1) – (5) is highly unclear and provides little help for understanding musical phenomena. In order to make it more precise, the basis of its definition should be modified and the three following claims accepted: (A) a postmodern musical work is a musical representation of the postmodern worldview; (B) the existing musical repertoire contains some postmodern works; (C) a correct definition of musical postmodernism should enable to qualify at least some of the given composi-tions as postmodern or not. The conditions (A ) – (C) and the analysis of the postmodern worldview seem to suggest that a postmodern musical work is such of a precariously integrated structure. A postmodern work represents the undermining (“deconstruction”) of the crucial idea of the com-posing practice: the piece of music arises from the integration of sounds, not of a simple aggregation of them. The musical “deconstruction” can emerge when some of the important portions a work or certain aspects of it exhibit larger degree of integration than the work as a whole. It seems that some compositions by Ives and the final movement of Chopin’s Sonata in B minor Op. 35 are postmodern in the sense pointed above.

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Procesualność postpamięci i jej reprezentacje w literaturze oraz sztuce współczesnej

51%

Chruściel M.

Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego

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2017

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nr 47

73-84

EN

The text is an attempt to analyze literary postmemory representation in three scenes confronted with the language of art. The subject matter are novels: Zagłada (Extinction) by Piotr Szewc, Tworki by Marek Bieńczyk and Pensjonat (Pension) by Piotr Paziński and an exhibition: Poland – Israel – Germany. Auschwitz Experience at the Museum of Contemporary Art MOCAK in Krakow. These books had their premieres at intervals of at least ten years, becoming marks of consecutive decades of duration of the concept of postmemory. Zagłada (1987), Tworki (1999) and Pensjonat (2009) could be read as another mainstream views of the postmemory and building a horizon of contemporary Polish literature. In dialogue with these novels an exhibition open on the 15th of May, 2015 in MOCAK has been submitted to analysis. The intention of the text is to point transformations in postmemory in different fields of artistic activity.

14

Moral dilemmas of the development of postmodern societies

51%

Płachciak A.

Annales. Etyka w Życiu Gospodarczym

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2017

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tom 20

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nr 8

53-60

EN

The aim of the article is to present tensions that occur in social, cultural, political, and technological spheres as a result of the development of postmodern societies. The changes that have been taking place in those areas involve, along with unquestionable benefits, a type of risk which, without any moral reflection, can cause a serious global crisis. The postmodern times should be understood as a continuation of the modern formation where all typical features of modernism take a more radical form. The postmodern specific style of life is characterised by uncertainty, the unpredictability of the future, as well as a decline of traditional values and morals. Moreover, the present postmodern tendencies in the area of morals can hinder the right course of development of society, economy and ecology.

15

Narcyzm przekłuty kołkiem ironii. Czyli co stało się w Fabryce muchołapek

51%

Tomczok M.

Zagadnienia Rodzajów Literackich

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2018

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tom 61

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nr 3(127)

53-70

EN

This article is the first attempt at the psychoanalytical interpretation of Flytrap Factory by Andrzej Bart. The author refers to such issues as Holocaust, postmodernism and culture of narcissism. Marta Tomczok compares the novel written by Bart in 2008 with the documentary Radegast by Borys Lankosz and Bart’s screenplay. In Tomczok’s interpretation judgement over Chaim Mordechai Rumkowski is not the main theme of the Bart’s novel. The researcher supposes that the main topic could be the contemporary story of the writer Andrew working on the novel entitled Flytrap Factory and screenplay of the film similar to Radegast. The author bases on the theory of narcissism of J. Lacan and the concept of postmodernist history of H. White.

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WPŁYW MALARSTWA SURREALISTYCZNEGO NA REKLAMĘ WSPÓŁCZESNĄ

51%

Bednarska S.

Studia Humanistyczne AGH

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2012

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tom 11

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nr 1

EN

The purpose of this article is to examine the influence of surrealistic painting on contemporary advertising, taking into consideration the differences in use of surrealistic references on three levels of literalness: advertisement citing specific, surrealistic images, advertisement made of mosaic of various borrowings from surrealistic painting, finally advertisement created in a surrealistic manner, considered as a type of post-surrealistic masterpiece. To begin with theoretical issues connected with postmodern culture of image, the phenomena of contemporary advertisement and its intertextual relations with art, author tries to find answers on following questions: Why surrealism became so attractive material for advertisement? Is it possible, to acknowledge advertisement profiting from surrealistic painting, as an example of postmodern statement? Is it valid, basing on its example, to treat about the type of transgression in contemporary advertisement? The conclusions of this analysis include: purpose and function of use of surrealism in advertisement, the role of visual layer, disappearance of persuasive function to the benefit of strengthening the esthetic function and inscribing advertisement into postmodern paradigm of culture.

17

Foucault w oczach polskiej socjologii. Mediocentryczny punkt widzenia

51%

Bytniewski P.

Rocznik Lubuski

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2011

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tom 37

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nr 1

83-92

EN

The paper deals with the reception of the topics connected with Foucault (well known French philosopher) oeuvre in Polish sociological literature. My point of view was inspired by sociology of knowledge and mixed with genology - the science of the genres of literature. What types of sociological literature focus mainly on acquisition of Foucauldian themes, concepts and strategies on the sociological ground? Encyclopedias, textbooks, treatises or secondary literature - reviews or contributions to other issues? What are the principal domains of circulation of the Foucault’s ideas? The reputation of a postmodern thinker made them an ambiguous figure, being at the same time a classical and marginal thinker, a member of international scholar community and an "impossible" or "dangerous" thinker. What is the intellectual benefit of Foucault in sociology? And finally, what barriers separate him from sociology?

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Ciało jako ponowoczesny „projekt estetyczny”

51%

Maj A.

Estetyka i Krytyka

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2013

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nr 1(28)

83-92

EN

The article shows the ways in which the process of aesthetization of everyday life affects our perception of the human body in postmodern societies. The beauty of the body is no longer defined with reference to the objective aesthetic norms shared by all the members of the society, but it is rather defined individually. The body is shaped according to it, thus becoming an “aesthetic project”

19

Postmodernismus jako nekonečná rozmanitost : k Jamesonově knize „Postmodernismus neboli kulturní logika pozdního kapitalismu

51%

Rakowski R.

Filosofický časopis (Philosophical Journal)

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2019

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tom 67

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nr 2

227-240

EN

This review study analyses the Czech translation (Postmodernismus neboli kulturní logika pozdního kapitalismu) of the work Postmodernism, or, The Cultural Logic of Late Capitalism, by the American philosopher and cultural critic Fredric Jameson, with the aim of placing this work into the wider context of the theoretical development of the author. In the first part, Jameson’s methodology, which he terms ‘dialectical criticism’, is analysed. Next, the text The Political Unconscious: Narrative as a Socially Symbolic Act is subjected to analysis. Jameson here interprets art as a symbolic act and, for this reason, he directs his attention, above all, to the context in which the artistic work (cultural artefact) emerged (his so-called historicism). Postmodernism is analysed as late-capitalism, which is characterised by a loss of historicity, schizophrenia and a fragmented society. In postmodernism a certain change in the cultural artefact has come about: it can now no longer be interpreted as a symbolic act because one can hardly discern in it any temporal context. These postmodern symptoms then lead to the naturalisation of late capitalism as the only viable system.

DE

In der vorliegenden Rezensionsstudie wird die tschechische Übersetzung (Postmodernismus neboli kulturní logika pozdního kapitalismu) des Werks Postmoderne – zur Logik der Kultur im Spätkapitalismus (Postmodernism, or, The Cultural Logic of Late Capitalism) des US-Philosophen und Kulturkritikers Fredric Jameson mit dem Ziel analysiert, dieses Werk in den Kontext der Entwicklung dieses Autors im Bereich der Theorie einzubetten. Im ersten Teil wird Jamesons Methodologie unter dem Stichwort dialektischer Kritizismus analysiert. Anschließend wird der Text Das politische Unbewußte (The Political Unconscious: Narrative as a Socially Symbolic Act) analysiert, in dem Jameson die Kunst als symbolischen Akt interpretiert, weshalb er sich vornehmlich auf den historischen Kontext bezieht, aus dem heraus das Kunstwerk (Kulturartfakt) entstand (sog. Historisierung). Des Weiteren wird die Postmoderne als Spätkapitalismus analysiert, der durch Verlust der Geschichtlichkeit, durch Schizophrenie und durch eine fragmentierte Gesellschaft gekennzeichnet ist. In der Postmoderne kam es zu einer gewissen Veränderung des Wesens des Kulturartefakts: Das Kulturartefakt kann nicht mehr als symbolischer Akt interpretiert werden, da der zeitliche Kontext in ihm kaum noch auffindbar ist. Diese Symptome der Postmoderne führen zu einer Naturalisierung des Spätkapitalismus als einzigem lebensfähigen System.

20

Prawda w mediach

51%

Zanussi K.

Annales. Etyka w Życiu Gospodarczym

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2008

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tom 11

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nr 2

191-193

EN

It used to be that if some message came from an oral source, its weight depended on reliability of the one who had transmitted it and on the one who had heard it. If, on the other hand, something was printed it intrinsically became credible. Democratization of access to print and similar democratization of media, apart from its undoubtedly positive side, brings also a negative novum – it encourages everyone to speak freely. It is impossible to talk about truth in media, or truth in any other sense, and not relate to the fashionable nowadays in the humanities the vanquisher of Marxism – called postmodernism. This very movement in its popular form sows the seeds of fear of all who proclaim the existence of objective truth or, what is worse, absolute truth. They caution that the supporters of this truth will introduce it by force, so we are in danger of facing totalitarianism, fundamentalism and dark dictatorship. It is uncertainty that drives people to violence. Those who have something to hold on to are more unaffected by despair. The fanatics are often recruited from those who are adrift. Less often from those with a questing mind. But in order to seek one needs to believe that truth exists. Even if it were always incomplete and imperfect in the form in which we are able to assimilate it. To the charges that every certainty leads to violence, I reply that most frequently it is the opposite. It is fear and feeling adrift that drive people to the false certainty. Whoever believes that truth exists will easier accept that he will never grasp it. In the very important debate that was conducted some years ago, the fear of fundamentalism was juxtaposed with the fear of nihilism. I see the latter as a greater threat.