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The Polish Journal of the Arts and Culture. New Series

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21 (1/2025)

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Publication date: 29.06.2026

Description
Excellence Initiative logotypeThe publication has been supported by a grant from the Faculty of Philosophy under the Strategic Programme Excellence Initiative at Jagiellonian University.


Cover design: Karolina Witecka

Licence: CC BY 4.0 licence icon

Editorial team

Editor-in-Chief Dr Renata Iwicka

V-ce Editor-in-Chief Dr Karolina Kotkowska

Secretary Mgr Patrycja Idzikowska

Additional redactors Dr Anna Kuchta, Dr Magdalena Stempin

Issue content

Renata Iwicka, Anna Kuchta, Magdalena Stempin

The Polish Journal of the Arts and Culture. New Series, 21 (1/2025), 2025, pp. 7-8

https://doi.org/10.4467/24506249PJ.25.012.23412
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Robert Erdei

The Polish Journal of the Arts and Culture. New Series, 21 (1/2025), 2025, pp. 9-28

https://doi.org/10.4467/24506249PJ.25.013.23413
This study started from the empirical puzzle related to the Romanian diaspora’s vote for AUR in the 2020 parliamentary elections. Although the literature on AUR offers a variety of explanations for its success both in the country and in the diaspora, my study proposes a further explanation inspired by the concept of fantasy developed in Lacanian psychoanalysis and later translated into nationalism studies. The method of data collection used in this study was social media ethnography. My dataset is a collection of 25 primary sources from the party’s online campaign for the 2024 European elections. Based on this dataset, this study argues that AUR produces a political fantasy through its discourse, which is structured around three components: a golden-age nostalgia, which is a metaphor for different historical periods of Romania; a set of two villains, which embody the current Romanian political establishment and the Brussels neo ‑Marxists; and an identification mechanism, namely the concept of “AUR militia” (or oaste, in Romanian), which refers to all those who support the idea of a sovereign Romania. This study contributes to the literature from a theoretical perspective by presenting a hypothesis on the 20% that the AUR obtained in the diaspora in the 2020 parliamentary elections, as well as the result that it obtained in the 2024 European elections. From an empirical perspective, this is the first academic analysis of the AUR’s campaign for the 2024 European elections, although my research does not examine the entire campaign, but only its online component.
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Svetlana Yefimenko

The Polish Journal of the Arts and Culture. New Series, 21 (1/2025), 2025, pp. 29-50

https://doi.org/10.4467/24506249PJ.25.014.23414
Using conceptual frameworks from classical reception and fascism studies, this paper presents a case study of how the ultranationalist, Orthodox organization, the Russian Imperial Movement (RIM), uses elements of Greco‑Roman and late antiquity to reinterpret the ‘Russia is the Third Rome’ trope to construct a palingenetic ultranationalist myth that grounds the group’s quasi‑mystical political ideology to attract supporters and recruit fighters to the war in Ukraine. After an overview of how the Kremlin refigures Greek and Roman material for the purposes of expansionist nation‑building and to legitimize its control of Crimea, as well as a brief consideration of Moscow’s adversarial relationship with its military proxies, this paper will undertake a critical reading of selections of RIM’s digital content, symbols, and language to consider how the group refigures, resignifies, and reenacts aspects of Greco‑Roman culture, focusing particularly on its reception of Christian Rome, and the ideological purposes each new appropriation serves.
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Julia Golachowska

The Polish Journal of the Arts and Culture. New Series, 21 (1/2025), 2025, pp. 51-68

https://doi.org/10.4467/24506249PJ.25.015.23415
The paper’s aim is to describe and analyse the phenomenon of patriotic fashion that occurred in Poland in the second decade of the twenty - first century. A visual and discourse analysis of the brand s’ collections is conducted, while also examining materials from their websites and interviews from that time. Two main concepts are used here: devices for remembering (Kobielska 2017) and banal nationalism (Billig 1995). I also refer to the concepts of neoconservative herstoric turn (Grzebalska 2015) and consumer ethnocentrism (Shimp and Sharma 1987). I focus on three aspects that I believe to be significant for understanding this phenomen on – aesthetics, gender and the economy.
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Şahin Yaldız

The Polish Journal of the Arts and Culture. New Series, 21 (1/2025), 2025, pp. 69-89

https://doi.org/10.4467/24506249PJ.25.016.23416
Since the 1960s, Germany has received millions of Gastarbeiter (guest ‑ workers), with Turkish migrants being the largest and most culturally distinct group. The persistence and transformation of Turkish practices reflect processes of collective memory and identity negotiation, especially among second-, third-, and fourth ‑generation Turks. After the Berlin Wall fell, the Turkish minority faced more xenophobic violence, heightening identity crises among youth. In the 1990s, Turkish ‘gangsta’ rap expressed and negotiated identity in response to racism. Since the early 2000s, Turkish folk dance has resurged among the youth, becoming a central means of cultural remembrance and endurance. However, a significant gap remains in understanding how traditional practices like Zeibek dancing transcend their origins to become national identity symbols across generations in a foreign land. This study addresses this gap by analysing intersections of homeland, memory, and identity in folk dance. It examines how Zeibek dance functions as a mechanism of banal nationalism and as a site for diasporic identity construction. The spiritual and affective aspects of Zeibek dance, along with its role as cultural resistance during identity crises, are explored through the experiences of dancers at Egetanz Ulm and Ravensburg. Thus, this study positions folk dance as both a repository of memory and an active site for renegotiating and performing Turkishness within the German diaspora.
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Bartłomiej Małczyński

The Polish Journal of the Arts and Culture. New Series, 21 (1/2025), 2025, pp. 91-96

https://doi.org/10.4467/24506249PJ.25.017.23417
The CEMORY project explores Holocaust memory through education, art, and debate to foster empathy, critical reflection, and civic values. Launched in April 2025, it includes deliberative events engaging experts and citizens. Speakers discussed ethical challenges in Holocaust education, emotional engagement, and the risks of depoliticising memory. The project promotes inclusive dialogue on genocide and European remembrance.
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Anna Kuchta

The Polish Journal of the Arts and Culture. New Series, 21 (1/2025), 2025, pp. 97-103

https://doi.org/10.4467/24506249PJ.25.018.23418
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Dickson Adom, Kwame Baah Owusu Panin, Babaaradio Kombui

The Polish Journal of the Arts and Culture. New Series, 21 (1/2025), 2025, pp. 105-120

https://doi.org/10.4467/24506249PJ.25.019.23419
The early forebears of the Asantes of Ghana have used artistic creation as a medium for recording their rich cultural values, worldviews, and history. The Akuaba doll is one of the historic sculptural figures that offer great insight into the rich historical cultural heritage of the Asantes. This sculptural figure provides comprehensive enlightenment on the worldviews of the Asantes regarding fertility and procreation, as well as their values and judgments on aesthetics. Each aspect of the sculptural creation shows the great ingenuity and philosophy of the Asante people, as well as their sharp taste in speaking eloquently in artistic language. The functionality of the doll in the religious and social life of the Asantes speaks volumes about the history of the arts and culture of the Asante people. This essay takes the art historical writing approach from the perspective of iconography and contextual analysis in explaining the Akuaba doll from its historical context and worldview, material culture, production processes, formal qualities, functions and their relation to the overall rich history and culture of the Asante people.
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Funding information

Excellence Initiative logotype
The publication has been supported by a grant from the Faculty of Philosophy under the Strategic Programme Excellence Initiative at Jagiellonian University.