Suchergebnisse

In einem ihrer letzten Artikel analysiert Patricia Meilán Jácome zwei Ikonographien, in denen Dionysos/Bacchus in Verbindung mit Tigern, Löwen und Panthern dargestellt wird. Die Forscherin analysiert eine Gruppe von Darstellungen, zwischen der Zeit Augustus und dem späten Altertum, in denen Dionysos/Bacchus auf einem von Wildkatzen gezogenem Wagen steht oder er diese selber reitet. In der Römischen Kultur drücken beide Darstellungen einerseits die starke Verbindung von Dionysos zum fernen Osten, andererseits die Bindung des Gottes zur weiblichen Figur aus, welche als Wildkatzen dargestellt werden. Das Ziel dieses Beitrages ist, die Beziehung zwischen Dionysos und den Wildkatzen zu erweitern und zu vertiefen, um das kulturelle und politische Gewicht dieser Darstellungen von der archaischen Epoche bis zur Spätantike zu bewerten um die Entwicklung dieser Beziehung in der Römischen Zeit besser zu behandeln.

Artiklen formidler resultater fra en kvalitativ interviewundersøgelse med teenagere, der har en alvorligt somatisk syg forælder. Analysen er foretaget på baggrund af kultur-historisk udviklingspsykologi og eksistensfænomenlogi mhp. at afdække betydningen af livet med sygdom for de unges hverdagsliv, oplevelsesverden og sociale udviklingssituation. Undersøgelsens hovedresultat er, at de unges liv forandres eksistentielt, praktisk, emotionelt og socialt, fordi de lever med uvished om forælderens overlevelse og sygdommens forløb. Det betyder, at de udvikler strategier, der kan hjælpe dem med at øge kontrollen med konfrontationer med sygdommen og fastholde et engagement i ungelivets aktiviteter og projekter. Strategierne er at skabe sig hvilepauser og lave skarpe opsplitninger mellem privat og social væren og livet ude og hjemme i familien. Det mulige tab af forælderen ændrer de unges eksistentielle horisont og afslører, at vi i almindelighed lever med forestillingen om en fremtid sammen med vores nærmeste i sammenvævede livstider. Denne forventning mister de unge pårørende, hvilket påvirker deres motiver således, at motivet mod deltagelse i ungelivets aktiviteter ledsages af et konkurrerende motiv om at være hjemme ved den syge forælder og støtte familien og eller opnå samhørighed med den syge forælder. Deres ny eksistentielle, emotionelle, praktiske og sociale virkelighed betyder, at de befinder sig i et anstrengende pres, som skaber afstand til de jævnaldrende. Der argumenteres for, at de unge pårørende af disse grunde befinder sig i en anden social udviklingssituation end deres jævnaldrende med raske forældre.

Aus sowjetischer Sicht

Indigene Kulturen und indigene Kunst unterliegen in der Betrachtung von "Weltkunst" vielen Klischees. Vor allem die Bezeichnungen "primitiv" als Attribut für Werke außerhalb der europäischen Kunstgeschichte und "naiv" (wie das englische Wort native vom Lateinischen nativus, 'angeboren, natürlich, ungekünstelt' abgeleitet) erschweren unvoreingenommene Denkweisen. Faszination gegenüber der Ästhetik des "exotischen" Objekts überlagerte oft die Wahrnehmung der Komplexität indigener Kunst, Künstlerpersönlichkeiten verschwanden in einer anonymen Vergangenheit. Mit dem politischen Umbruch nach dem zweiten Weltkrieg und den nachfolgenden gesellschaftlichen Veränderungen in vielen Kontinenten erfolgte auch im indigenen Nordamerika ein Wandel im Bewusstsein gegenüber der eigenen Kultur (R. Hill, Gesprächsprotokoll 2002). Nicht länger waren es nur Wissenschaftler euroamerikanischer Herkunft, die forschende Betrachtungen von außen vornahmen. Indigene Positionierungen entwickelten sich im internen Diskurs mit stammeseigenen Medien und Kultureinrichtungen. Identitätsstiftende Traditionen wurden reanimiert oder neu gebildet, um kulturelle Kontinuität zu wahren; künstlerische und wissenschaftliche Ausbildung erweiterte die Lebensperspektiven der jungen Generationen. Im Kontakt mit Studenten anderer Nationen und Kulturen entwickelte sich so eine eigenständige indigene Kunst, die mit verschiedenen Genres, Formen und Inhalten westlicher Kunstauffassung korreliert und im soziokulturellen Umfeld der spezifischen Bevölkerungsgruppen zu betrachten ist. .

The purpose of this article is to draw attention to the undiscussed and yet very interesting issue of fashion and the clothing of senior citizens. The issue is analyzed here in relation to Georg Simmel's concept of fashion and specifically his idea of imitation and distinctiveness inscribed in the fashion system. Simmel seems to indicate that the social order determined by fashion is more often respected by women than by men. Therefore, the issue of fashion and clothing is discussed in relation to the gender of the individual. Age is also important. In her own research among people aged 60 and over (a diagnostic survey and interviews), the author of the article sought answers to the following questions: what do seniors think about the clothing of today's older people? Do they think they dress fashionably – in the sense of following the spirit of modern times, which promotes youth? What determines the way seniors dress in contemporary Poland? The respondents were aware of a change in how seniors dress today and view the change positively. The fashion behavior of seniors is more often approved by women than by men and by younger seniors rather than older ones.

The author takes Jonathan Haidt's The Righteous Mind: Why Good People Are Divided by Politics and Religion as her departure point. She presents Haidt's ideas and relates them to Polish social and political divisions and Polish "worldview wars." In her opinion, Haidt's book is a treatise on human nature and the nature of interhuman divisions. It is also the personal story of a researcher seeking answers to the question of whether moral thinking differs from other kinds of thought. Haidt reaches his conclusions by overcoming the cognitive boundaries resulting from the liberal worldview. In the end he states that worldview disputes and culture wars have not disappeared and will not disappear in systems of liberal democracy due to their moral foundations and lack of agreement as to what is and is not subject to moral judgment. The author of the review provides an optimistic conclusion though: understanding the mechanisms behind the culture wars provides an opportunity to understand the people who conduct those wars, including in Poland.

The author addresses the question of how a collective consciousness is shaped, using the example of KOD (Komitet Obrony Demokracji — the Committee for the Defense of Democracy), a social movement that emerged in Poland to protest the activities of the government installed after the parliamentary elections of 2015. As collective identity is to a high degree defined by the characteristics of an "other," the statements of activists and followers of the KOD movement are analyzed. These statements come from voluntary interviews whose aim was to obtain a characterization of the opposing side. On the basis of this analysis, the author provides a portrait of the current political scene and essential parts of the political discourse.

The aim of this article is to analyze the interdependence between the processes of forming mass markets and the processes of rationalizing emotion and the shaping of modern hedonism. The author uses the perspective of Norbert Elias's process sociology, in which the monopolization of resources results in the growth of dependence between all the inhabitants of the territory encompassed by the monopoly, and this is accompanied by a civilizing process, or the rationalization of the behaviours of individuals. The author presents the idea that the integration process at the level of humanity, as survival unit on the platform of the global market and consumption culture, is ongoing. As an example, the author analyzes the first stage in the consumer revolution in Poland after the Second World War, where fashion was shaped on one side by the socialist ideology of progress, and on the other by the romantic ethic present in communications from the West. Individual emotion as a factor guiding behaviour corresponds to the logic of the market, and fashion is the process of mediating between the market and the individual.

The first aim of the article is to show the Elias perspective on phenomena connected with the musical life of society and to consider the figuration processes connected with human practices directed at music. The author reflects on the dual feedback of the activities of individuals and the structural determinants conditioning those activities. As an example, she discusses Elias's case study of the socio-cultural and historical-economic background of Wolfgang Amadeus Mozart's creativity. The second aim of the article is to show the possibility of applying socio-musical figuration to various areas of human life associated with music, beginning with the question of the role of professional musicians and gender questions, through the political factors connected with musical creativity, and ending with the presence of music in the religious sphere and the rules governing the sacral context. Her reflections are premised on the idea that socio-musical life based on social norms and rules established during the civilization process is simultaneously undergoing a constant modification and transformation on account of the subjective activities of individuals.