Piotr Marecki

The author of the article analyzes the spheres of film, independent cinema, new models of production and distribution, and new technology. The author puts particular emphasis on studying the socalled principles of the reverse economy. The term ‘reverse economy’ has originated from Pierre Bourdieu’s sociological concept of fields of cultural production. It signifies the inversely proportional principle of culture management: according to this rule, investing relatively little real capital generates a large capital of symbolic value. The main difference between fields of cultural production and any kind of economically-oriented field is based on the fact, that symbolic capital is – as opposed to the ‘real’ one – financially incalculable. In the fields of cultural production the greatest importance is attached to experimental and innovative projects designed to disturb the cultural status quo, whose constitution is always a fatal threat to culture itself. The article also proves that low budgets lead to the creation of new production models, and their influence on the autonomy of creativity in film.

Niniejszy tekst jest zapisem rozmowy z Józefem Żukiem Piwkowskim, fotografem, filmowcem, artystą wizulanym pracującym obecnie w polu mediów cyfrowych, twórcą Warszatu Nowych Mediów w Szkole Filmowej w Łodzi.

Borrowing tools from Pierre Bourdieu's theory of class struggle, the authors of the article analyze strategies of declassation on the example of the biography of the writer Jan Krasnowolski, and study the effects of this decision on both his texts and the construction of his image. The process of class change, of going from the privileged position of intelligentsia to the position of the working class, is presented as a kind of conscious (in a way also esthetic) choice, motivated by factors like the will to acquire new experience that is inaccessible to the higher classes. The authors of the article analyze literary texts by Krasnowolski (consistent minimalism as opposed to sublime excess; masculine, stereotypically presented topics), their adherence to genres (lad lit, a kind of literature for men), as well as the author's interviews and statements, and paratexts like biographical notes on the covers of books. Other tools used for the analysis of the phenomenon of declassation include the findings of the empirical research on classes in Polish society after 1989 conducted by Maciej Gdula.

The purpose of this study is to show the basic semantic as well syntactic similarities and differences of predicates of psych verbs in Spanish and Polish.

The author describes the dynamics of change and rules of innovation in the Polish post-1989 literary field, applying tools from Pierre Bourdieu’s sociology of art. The starting point is the work of the first generation of Polish writers born after 1989, raised as European citizens with no memory of communism (e.g. Dominika Ożarowska, Dominika Dymińska, Daniel Kot). Their projects are shown as innovative and distinct from the previous literary movements, established and consecrated in the 1990s and early 2000s.

The computer is not a tool to help us do whatever we do, it is what we do, it is the medium on which we work

Dene Grigar in conversation with Piotr Marecki

Transcribed and edited by Martyna Chmielińska

This report is part of a larger research project entitled Polish literature after 1989 in light of Pierre Bourdieu’s theory led by a team of sociologists, experts in culture studies and literary scholars. The authors use Bourdieu’s theoretical tools to describe a segment of the Polish literary field, focusing on different aspects of the production, distribution and sales of books. Based on collected materials (353 interviews with individuals from the analyzed field – publishers, distributors, booksellers, government workers – published by Biblioteka Analiz in the series Rozmowy o rynku książki [pl. Conversations about the Book Market] in the years 2001–2012), the authors aim to describe the process of the emergence of a professional publishing industry from the ephemeral and chaotic publishing movement of the 1990s. The authors analyze a number of aspects of the transition from publishing movement to book market – from book design and the editorial level through print run planning, marketing the book, displaying and selling it, to issues such as printing the price on the cover and the introduction of VAT on books. Using the definition of the term “book market” proposed by Marek Tobera and Bogdan Klukowski, the authors argue that in the first years after the political transformation in Poland a professional book market did not exist, due to the lack of a professionalized system of information exchange between the sectors of production, distribution and sales. It was only with the advent of computerization that the evolution of a professional book market gained momentum.