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np. 10.4467/16890027AP.16.022.6009
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Tom 18, Numer 3

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2017 Następne

Data publikacji: 18.12.2017

Licencja: CC BY-NC-ND ikona licencji

Redakcja

Redaktor naczelny Ewa Kocój

Zastępca redaktora naczelnego Joanna Szulborska-Łukaszewicz

Sekretarz redakcji Alicja Kędziora

Redaktorzy numeru Marzena Barańska, Joanna Dziadowiec, Ewa Kocój

Zawartość numeru

Zarządzanie kulturą

Marcin Laberschek

Zarządzanie w Kulturze, Tom 18, Numer 3, 2017, s. 283 - 305

https://doi.org/10.4467/20843976ZK.17.019.7469
When we analyse some products, we could take into consideration not only their physical side. What is more, we could reach their incorporeal level, in other words the subjective value that is born in the consciousness and unconsciousness of customers. In this article, we take into account the cultural products and indicate what symbolic values are responsible for the fact that these products are appreciated by customers. To do this, we create and use an analytical tool: fields of the product value. Moreover, the tool could be also useful when it comes to conducting marketing research, both by researchers and manufacturers, who are trying to understand hidden mechanisms, which are responsible for choices not only of cultural market participants, but also other markets. 
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Katarzyna Plebańczyk

Zarządzanie w Kulturze, Tom 18, Numer 3, 2017, s. 307 - 325

https://doi.org/10.4467/20843976ZK.17.020.7470
The concept of sustainable development and the strategies of implementing sustainable development at the country, region and city level are not just empty words commonly used by politicians, public administration, or the media. The paper presents a long-standing global discussion on the concept itself and its main components. It also unfolds the increasingly intense attempts to devise strategies premised on sustainable development and to consider culture (in the very broad sense of the word) as the key determinant of development. This is illustrated by the description of the use of one of the tools of social participation – participatory engagement – based on case studies from the domain of culture.
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Agata Lizak

Zarządzanie w Kulturze, Tom 18, Numer 3, 2017, s. 327 - 342

https://doi.org/10.4467/20843976ZK.17.021.7471
The problem of fees that are collected in museums is multidimensional. It is essential to analyze a lot of acts in order to entirely understand this issue. Some regulations that are important as far as this theme is concerned may be found even in the Constitution, but study of other legal acts including museum act, consumer rights act or intellectual property act together with some executive acts is a base. Not only an issue of entrance fees and allowances or exemptions was presented, but also an interpretation of regulations related to collecting fees for e.g. lending, copying or photographing museum pieces was shown. This problem is important also in the context of museum management – owing to sensible configuration of fees policy it is possible to make a museum more attractive for visitors. 
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Świat muzyki - świat zarządzania

Alicja Kędziora, Anna Kościelna

Zarządzanie w Kulturze, Tom 18, Numer 3, 2017, s. 343 - 358

https://doi.org/10.4467/20843976ZK.17.022.7472
The Polish Sinfonia Iuventus Orchestra (POSI) is a unique artistic music institution with an educational profile. Its main goal is to prepare young musicians – graduates of master studies – to enter the labour market well-geared both artistically and organizationally. This paper describes the specific nature of working at POSI, highlights its main objectives and tasks, illustrates difficulties that arise in fulfilling the facility’s mission with the project-based work style (prevailing in such institutions), and portrays a profile of an artist/musician educated at POSI, based on the conducted quantitative and qualitative research.
The purpose of this paper is to present a musical institution in which the organization of artistic work should be carried out at the highest possible level, being a source of great satisfaction to all external and internal stakeholders. Unfortunately, as it turns out, concentrating solely on projects and forgetting about the reasons why the institution was established in the first place can be a major threat. Constant care for the implementation of the adopted strategies with the focus only on individual projects and their goals is the challenge the musical institutions of culture are facing now. As indicated by Heraclitus of Ephesus, the only constant thing in life is change.
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Małgorzata Sternal

Zarządzanie w Kulturze, Tom 18, Numer 3, 2017, s. 359 - 371

https://doi.org/10.4467/20843976ZK.17.023.7473

This article focuses on selected aspects of entrepreneurial intentions in the arts entrepreneurship. Referring to the specifics of cultural industries seen from the point of view of the cultural ecology rather than the cultural economy, some views on value in culture are presented, complemented by opinions of professional musicians active as entrepreneurs. The co-existence of the economic and cultural values is seen as an advantage enriching the context in which entrepreneurial intentions appear and develop.

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Teatr i zarządzanie teatrem

Joanna Szulborska-Łukaszewicz

Zarządzanie w Kulturze, Tom 18, Numer 3, 2017, s. 373 - 394

https://doi.org/10.4467/20843976ZK.17.024.7474
In Europe, the role of artists in the process of developing culture and creative industries was recognized as early as the 1970s, as evidenced by different resolutions of international organizations or later the European Parliament. These documents stated that art can be a profession. In order to practice art at the highest level, it is important to develop an interest in art in childhood. The profession of an artist is a continuous one, and covers not only the time of presenting the final effect but also the time of preparation for work, which should be factored in when calculating retirement benefits. The most urgent issues artists have to deal with include: protecting the profession of an artist/performer with social security (health and pension benefits); uncertain and unsteady employment; and low and irregular income dependent on the repertoire and staffing policy established by institution management.
In the case of freelancers: long periods without any income, tax regulations related to the work performed by artists, copyright revenue, irregular working hours, lack of incentives for producers to hire professional artists and creators instead of cheaper amateurs. Lack of systematic solutions which would guarantee at least minimal social security.
The above-mentioned documents were not followed up by any changes in Poland to expand the tools which secure artists’ social rights. Neither the status of artists has been clarified nor has their social and financial situation improved.
Out of the few studies on the economic condition of an artist/performer, my paper quotes the one endorsed by ZASP (Association of Polish Stage Artists) entitled “Artysto scen polskich, po­wiedz nam, za co żyjesz?” (“Polish Stage Artists, Tell Us How You Make a Living”), which 
involved 599 respondents.
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Karolina Prykowska-Michalak

Zarządzanie w Kulturze, Tom 18, Numer 3, 2017, s. 395 - 403

https://doi.org/10.4467/20843976ZK.17.025.7475
The system of theatre organization in Poland should have basically changed after the political transformation in 1989. This year marked the break up with the central leadership of the Communist Party, followed by introduction of the Act on organizing and conducting cultural activities in 1991. Although the new system of public theatres attributed to appropriate levels of local government seemed fair, it was also deemed quite rigid. After more than twenty-five years, there are several elements that are more changeable than sustainable.
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Kamila Lewandowska

Zarządzanie w Kulturze, Tom 18, Numer 3, 2017, s. 405 - 421

https://doi.org/10.4467/20843976ZK.17.026.7476
According to many researchers, the cultural policy model based on the arm’s length principle gives public institutions more autonomy than the so-called bureaucratic model. In line with the typology by Hillman-Chartrand and McCaughey (1989), the former is called the “patron model” and implemented in the Anglo-Saxon countries. The latter, dubbed the “architect model,” prevails in continental Europe, including Poland. The aim of this paper is to question the popular belief that the continental model, by definition, has a greater bureaucratic and political influence than the Anglo-Saxon model. For this purpose, the author has analyzed the literature describing the British practice and conducted empirical research in Poland among officials responsible for theaters and directors of public theaters. The results suggest that the difference between the two models in terms of institutional autonomy is not as clear as one could infer from the typology contained in the literature.
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Paweł Płoski

Zarządzanie w Kulturze, Tom 18, Numer 3, 2017, s. 423 - 441

https://doi.org/10.4467/20843976ZK.17.027.7477
In journalistic publications about cultural policy, there is a prevailing conviction that the system change of 1989 put an end to the prosperity and carefreeness of Polish theaters and made managers of these institutions face many new problems, unknown in the days of communism. In this paper, based on the study of community efforts to strengthen the position of theater managers in relations with authorities, I argue that this view is overly simplistic and idealizes the situation of culture in the communist Poland.
The prolonged and complex efforts to determine the rules of theater manager’s work – which took more than fifty years (1958–2011) – are like a television “soap opera.” Hence the paper’s title (loosely) alluding to the Polish TV show Dyrektorzy, popular in 1970s, which portrays managers of the socialist industry, although the paper does not contain as many dramatic turns of events.
The analysis of the sources shows the unchanging ills of the Polish theatre life, which moved from socialism to capitalism, from dictatorship to democracy. Theatre managers are still forced to negotiate with authorities.
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Joanna Kasza

Zarządzanie w Kulturze, Tom 18, Numer 3, 2017, s. 443 - 466

https://doi.org/10.4467/20843976ZK.17.028.7478
Usually when we talk about culture management, whether in the context of the object (reflection on what we manage in the sphere of culture: the definition of culture or/and culture goods), as well as in the context of the subject (reflection on the actors involved in this process, i.e. artists, intermediating institutions and receivers), we should be prepare for a certain ambivalence of contrasting discourses or narrations, both within theoretical scientific discourses (discrepancies between the humanities and economic) as well as pragmatic approach resulting from the individual experience of management in culture. Presented case study of the conflict in Studio Theatre in Warsaw is the perfect example, that illustrates in practice this collision (short circuit in refers to S. Žižek’ favourite metaphor) of completely different paradigms, narration, or discourses, as well as individual values, expectations and experiences, which regardless of the attempts of exit from the impasse or negotiations on both side, is still escalating and rising in power.
Evoked conflict, referring both to ideological issues (different values), as well as political (different interests), is at the same time personal conflict as well as substantive one: collision between artistic vision or management strategy for the artistic theatre (repertory’s theatre) and economic vision or management strategy of project theatre (event’s theatre). In refers to difference in epistemological and axiological assumptions, creation of a common space (conceptual, analytical and research) is of the particular importance, this requires a multidisciplinary approach/discourse (scientific, public, environmental), which takes into account relationships of both sides/disciplines/ environments, while assuming both: the critical approach or competition as well as common space and cooperation, underlying their mutual diffusion within the contemporary world of „liquid modernity”.
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Galia Simeonova-Konach

Zarządzanie w Kulturze, Tom 18, Numer 3, 2017, s. 467 - 478

https://doi.org/10.4467/20843976ZK.17.029.7479
The article is dedicated to the problems of historical drama, one of the ways of interpreting the past. The study is placed in the context of the sociology of culture and the historical memory of society, with a focus on the transposition and the symbolical representation of the history of Byzantium and the Second Bulgarian Kingdom (1181–1396) in literature. The subject of the analysis are the works of the Bulgarian poet and playwright Radko Radkov (1940–2009), above all his play Theophano, written in the convention of classical drama in verse and the so-called ritual drama, according to the title of the author, a synthesis of text borrowed from Old Bulgarian Literature, and Byzantine hymnography, inspired visually by the images of the Middle Age Miniatures included in Manassij’s Chronicle (Codex Vaticanus Slav II) – Praise of Turnovgrad and In Praise of the Word. The historical theme in the work of Radko Radkov is substantially different from the interpretation of the Bulgarian history of other Bulgarian writers of the second half of the 20th Century, by which the author is opposing the ideological constructs of the official authorities during this period. Within the discourse of the relations between creator and authorities, attention is paid to some events surrounding the 1300 anniversary of the creation of the Bulgarian state (celebrated in 1981), when, thanks to the benevolence of Lyudmila Zhivkova and the open culture policy that she, as Chairperson of the Committee of Arts and Culture, had introduced, the plays of Radko Radkov were allowed to be staged in the theatres. The playwright has found semiotic and stylistic devices that recreate the classical past of the people, the orthodox Christianity and culture in the universal perspective of the Byzantine Commonwealth, and artistically voice his historiosophic views concerning Bulgarian national history and the Byzantine-Bulgarian cultural community. The paper analyses the tribulations of the performance of Theophano, staged in Bulgaria by the French Director Pierre Della Torre, who sees in the poetic world of Radko Radkov “the monumental force of the masters of French theatre, Racine and Corneille”.
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Varia: artykuły recenzyjne, polemiki, sprawozdania, doniesienia

Zofia Smolarska

Zarządzanie w Kulturze, Tom 18, Numer 3, 2017, s. 479 - 492

https://doi.org/10.4467/20843976ZK.17.030.7480
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Pliki do pobrania

Pobierz PDF Informacja o autorach i redaktorach naukowych czasopisma PDF Pobierz PDF Spis treści PDF

Słowa kluczowe: produkt kultury, zarządzanie produktem kultury, pola wartości produktu, wyobraźnia w zarządzaniu, wyobrażenie produktu, symboliczne znaczenie produktu, konsument produktu kultury, jakościowe badania marketigowe, partycypacja społeczna, kultura w zrównoważonym rozwoju, kultura, dobrobyt społeczno-ekonomiczny, muzeum, opłata, zarządzenie muzeum, ulga, zwolnienie z opłat, Polska Orkiestra Sinfonia Iuventus, zarządzanie projektem, strategia, profil zawodowy muzyka, efekty kształcenia, przedsiębiorstwo muzyczne, przedsiębiorczość, status artysty, aktor, teatr, badania, ZASP, ZZAP, system organizacji teatrów, teatr w Polsce, polityka kulturalna, polityka kulturalna, zasada przedłużonego ramienia, instytucja kultury, rada sztuki, instytucja artystyczna, zarządzanie publiczną instytucją kultury, dyrektor, konkurs na dyrektora instytucji kultury, teatr, opera, sztuki widowiskowe, zarządzanie w kulturze, kulturowa ekonomia polityczna, konflikt w Teatrze Studio w Warszawie, Teatr bułgarski (wiek XX), Radko Radkov, Theophano, Byzantine Commonwealth, pamięć historyczna, jubileusz 1300 lat państwa bułgarskiego (1981)