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Rozważania przestawione w tym artykule sytuują się na pograniczu socjologii sztuki i socjologii emocji. Analizowana jest problematyka emocji związanych z istnieniem dzieła sztuki i pojawianiem się jego nowych wersji, pastiszów, adaptacji, co wymaga, zgodnie z koncepcją Pierre’a Bourdieu, odwołania się do miejsca w polu dóbr symbolicznych (awangarda, klasyka, kultura masowa) oraz podmiotów w tym polu (twórców, krytyków, odbiorców). Stosowane jest wielokrotne studium przypadku; w tym tekście przedmiotem analiz jest Mona Liza Leonarda da Vinci oraz jej wersje awangardowe i rozrywkowe, poczynając od Marcela Duchampa i Salvadora Dali, Fernanda Botero, Jerzego Dudy-Gracza (ujęcia artystów awangardowych) aż do licznych ujęć twórców nieznanych, ukazujących Monę Lizę jako kulturystkę, rugbystkę, łysą, utrefioną, małpę, kocicę lub wcielenie wielkich uczonych, polityków, gwiazd popkultury. Mona Liza Leonarda da Vinci sytuowała się zawsze w polu kultury prawomocnej, stanowiąc idealny przejaw wartości uznawanych, odczuwanych i realizowanych – według terminologii Stanisława Ossowskiego. Tysiące pastiszów, o różnej wartości artystycznej, usytuowanych w trzech różnych subpolach dóbr symbolicznych, świadczy o żywotności dzieła i „grach z kanonem”, choć budzi zróżnicowane emocje odbiorców współczesnych. // The consideration is a borderline case combining sociology of art and sociology of emotions. The problems concerning emotions associated with a piece of art as such, its new versions, pastiches, and adaptations have been analyzed in the paper. The analysis involves reference to the position in the field of symbolic goods (the avant-garde, classic, mass culture) and the subjects in this field (creative artists, critics, recipients). A multiple case study has been applied and it is essential to use the reproductions of the pieces of art that have been discussed (Mona Liza by Leonardo da Vinci, Marcel Duchamp, Salvador Dali, Fernando Botero placed in avant-garde field, and numerous versions done by unknown creators from mass culture field).

The present book “Poland – History, Culture and Society. Selected Readings” is the third edition of a collection of academic texts written with the intention to accompany the module by providing incoming students with teaching materials that will assist them in their studies of the course module and encourage further search for relevant information and data. The papers collected in the book have been authored by academic teachers from the University of Łódź, specialists in such fields as history, geography, literature, sociology, ethnology, cultural studies, and political science. Each author presents one chapter related to a topic included in the module or extending its contents. The book contains the extensive bibliography.

This article presents a few theoretical terms of the famous French sociologist Pierre Bourdieu concerning sociology of art. Some of them describe an individual - agent (fr. agent), habitus (fr. habitus), and others his social status - capital (fr. capital) and field (fr. champ). Habitus - An interior principle generating practices, it is „to have” transformed into „to be”. Habitus is linked with the process o f socialisation permitting to distinguish a primary habitus and the secondary one, as well as identifying educational, professional and social class, old and new habitus. They correlate with class structure, social mobility and trajectory. They also dictate preferences, tastes and styles of life. Capital is an economic term meaning possession of special kinds of goods, both material and symbolic, so, an economical, social, cultural and symbolic capital can be identified. All social classes and groups possess more or less of the specific types of capital distinguishing their different positions and behaviours in political and artistic fields. Nevertheless, a conversion of different capitals is possible. Field or rather fields are social areas possessing specific structure, agents and stakes; they have a dynamic character. Specific forms of capital are linked to different fields; for example economic capital is very important in political field, but cultural in artistic and scientific ones. Spectators’ attitudes and behaviors depend on their social status and not only on their cultural competences. Constructing typology of spectators, on one hand, Pierre Bourdieu distinguished non educated receivers, educated, and highly educated ones, on the other hand- devotees and prophets as well as mass and elitist public. Sociological characteristics of spectators performed by Pierre Bourdieu were different to descriptions of aesthetics discourse. Zadanie pt. „Digitalizacja i udostępnienie w Cyfrowym Repozytorium Uniwersytetu Łódzkiego kolekcji czasopism naukowych wydawanych przez Uniwersytet Łódzki” nr 885/P-DUN/2014 dofinansowane zostało ze środków MNiSW w ramach działalności upowszechniającej naukę.

In 1994-1995, within the frame of investigations on the social actors’ transformation in post-communist countries carried out by CADiS CNRS center in Paris, Dr. Anna Matuchniak- Krasuska (University of Łódź) and Dr. Wojciech Pawlik (Warsaw University) made researches on feminist and women’s movements in Poland, applying the methodology of sociological intervention. The researches displayed the activity of the feminism movement in the fields of politics and ideology, where also potential conflicts emerge. Furthermore, on the economical-social area where co-operation and integration of women’s action is more likely to expect. The various levels of the movement’s activity: local and global (nationwide), were diagnosed. An analysis of attitudes of women’s movement supporters and antagonists, i.e. political parties, the Catholic church, the state administration, and other women’s and social organizations, show theirs relative character, as the advocates in one field might turn up into enemies in the others. Besides, there are no apparent and consistent women’s or feminist’ identity as the universal sone. It emerges as one of the strongly particularized characteristic, political or professional alike. In spite of the women’s and feminism movement in Poland seems genuine one, there are no prospects for its notable integration so far. Zadanie pt. „Digitalizacja i udostępnienie w Cyfrowym Repozytorium Uniwersytetu Łódzkiego kolekcji czasopism naukowych wydawanych przez Uniwersytet Łódzki” nr 885/P-DUN/2014 dofinansowane zostało ze środków MNiSW w ramach działalności upowszechniającej naukę.

For the audience of the 1980s in Poland, the social satire of Jerzy Duda-Gracz was a tool of psychological compensation and vicarious communication. It was blatant in the face of censorship. Those editions of Polish dialogues and Polish topics were extremely popular due to the fact that the ideal viewer as conceived by the artist coincided precisely with the actual viewers of the painting at that time. While the painting’s aesthetic value was of little importance, the artistic communication was very efficient in expressing political and social content. To the painting’s viewers, the Polish subject matter was its most important aspect. Zadanie pt. „Digitalizacja i udostępnienie w Cyfrowym Repozytorium Uniwersytetu Łódzkiego kolekcji czasopism naukowych wydawanych przez Uniwersytet Łódzki” nr 885/P-DUN/2014 dofinansowane zostało ze środków MNiSW w ramach działalności upowszechniającej naukę.

According to P. Francastel, the sociology of the arts should deal with the comparative analyses of topics and artistic paradigms. This is the main thesis of the study of the reception of The Rustic Hamlet by Jerzy Duda-Gracz. Of course Polish viewers remember Shakespeare’s Hamlet; moreover they recall Hamlet by Wyspiański, Stańczyk by Matejko, and other Polish representations of the thinking or „hamletized” man. The average observer with no education in the arts, who makes a naive presentday interpretation, places The Rustic Hamlet in the context of nature rather than of culture. In such an interpretation Hamlet may be a Polish farmer or a genuine Polish citizen. However, the incongruous preiconic level of the painting complicates any attempt at interpretation. More erudite and sophisticated iconologies can be used to compare Shakespeare’s character and Duda-Gracz’s representation. Educated viewers recall the famous question „to be or not to be”. Such observers are able to consider hamletizing in more abstract terms and are thus able to reconstruct the metaphor. Zadanie pt. „Digitalizacja i udostępnienie w Cyfrowym Repozytorium Uniwersytetu Łódzkiego kolekcji czasopism naukowych wydawanych przez Uniwersytet Łódzki” nr 885/P-DUN/2014 dofinansowane zostało ze środków MNiSW w ramach działalności upowszechniającej naukę.