The democratization of the world according to Samuel Huntington.

Akademickie rozważania dotyczące twórczości i statusu twórcy w XXI wieku nie mogą ominąć tak istotnego pola rozważań, jak internet i pokrewne mu nowe technologie. Celem niniejszego artykułu jest prześledzenie przemian społecznych w zakresie twórczości, przyczyn i przejawów tych przemian. Autorzy przywołują najnowsze koncepcje teoretyczne związane z twórczością, wskazując na ich podstawie nowe formacje społeczne korzystające z (re)demokratyzacji procesu twórczego dzięki upowszechnieniu dostępu do Internetu. W pracy omówione zostały takie zagadnienia, jak demokratyzacja twórczości w sieci, twórczość oddolna i partycypacyjna nierówność. (...) Autorzy wskazują, dlaczego sieciowi twórcy – elita użytkowników Internetu, nazywana digitariuszami, prosumentami bądź netokratami – są grupą o specjalnym znaczeniu i godną szczególnej uwagi. (shrink)

The aim of the work is to present the conservative views of the journalist and historian Henryk Lisicki and the role he played in the community with which he collaborated, i.e. the Krakow conservatives called the Stańczyk Circle. The source of the article are monographs, brochures, dissertations, essays and articles published in „Przegląd Polski“ by Lisicki. In order to evaluate to what extent Lisicki’s political thought was original, and to what extent it was in conformity with the Stańczyk Circle, the (...) publications of Walerian Kalinka, Stanisław Tarnowski, Michał Bobczyński, Józef Szujski and Stanisław Koźmian were also used. While working on the topic, the author made use of the works specializing in the history of Polish and Western conservative thought published by Ryszard Ludwikowski, Bogdan Szlachta, Jacek Bartyzel, Józef Szacki and the views expressed by the members of the Stańczyk Circle such as Michał Jaskólski, Wojciech Dutka, Stanisław Filipowicz, Henryk Michalak. When examining the above issues, a comparative method was used, tracing both the similarities and differences in the ideas of Lisicki and his colleagues from the Stańczyk Circle. The main thesis formulated in the work is that although Lisicki did not belong to the group of leaders, his close intellectual ties with Stanisław Koźmian gave him a respected position among Krakow conservatives. The analysis of his works confirmed that he was also capable of original reflections which focused on the attitude of the conservatives to the nineteenth-century democratization processes, the evolution of Western absolute monarchies towards the constitution democracies and the expansion of electoral rights. Hence, it was symptomatic for Lisicki and his community to argue, inter alia, for the necessity of rapprochement with moderate liberals, the aim of which was to weaken the danger coming from the revolted masses which were being under the influence of radicals. (shrink)

The article deals with the problem of ideological principles applied to the space of art as a specific framework for the creative process and the work itself. The author also considers the phenomenon of democratization of art. Do democratic values penetrate into contemporary art and to what extent, to what extent do they shape it and how should this phenomenon be assessed? In her considerations, the author refers, among others, to the reflections of Ortega y Gasset or Chantal Mouffe. The (...) context of the apology of democratic values that permeate the sphere of art is also worth analyzing. The deliberations are interdisciplinary in nature, they constitute only an outline of the title issue, oscillate around the issues of several philosophical sub-disciplines, with particular emphasis on the history of ideas, philosophy of culture, social philosophy and aesthetics. The author considers it worth considering the answer to the question: Is contemporary art democratic and what would it mean? (shrink)