Implications for Security
This book addresses the issues of radicalism and terrorism, which are of exceptional importance and relevance in contemporary society. Each of the two phenomena are analyzed from a multidisciplinary perspective. The book contains articles which explore legal, political, psychological, economic and social aspects of radicalism and terrorism. A portion of the contributions are of a theoretical nature, they constitute an attempt at constructing analytical frameworks for studies on the two phenomena. There are also studies of particular cases, such as radicalism in Poland and in Spain, as well as within the European Union as a whole. This collective work is a response to the need for analyses of two issues which are increasingly responsible for determining the level of security which characterizes the contemporary world.
Theme of Terrorism in Art of the 21st Century (Daniel Przastek / Elżbieta Borowska)
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Daniel Przastek and Elżbieta Borowska
Theme of Terrorism in Art of the 21st Century
1. Introduction: Terrorism as a form of Political Theatre
Contemporary art is a reflection of reality, of the world outside our window. The phenomena of contemporary culture are meaningful only when they relate and refer to the issues, which are current and relevant to us, issues which demonstrate that the substance of art is not detached from the life of society. Artists themselves tend to avoid topics that are not connected with the present-day world. An artistic creation has more to it than only offering entertainment, with greater goals than purely portrayal of beauty or presentation of artistic skills. The main aim of artistic works is to refer to social phenomena that affect the life of both the local and global community. Artists, being part of these communities, react to their maladies and in their artwork they depict the world as they see it. Referring to the life of other citizens as well as topicality constitute important elements of artistic life. Thus, the notion of political theatre should be mentioned here. It is commonly believed that political theatre was first introduced by Erwin Piscator,1 a German stage artist and producer, one of the exponents of the great transformation of theatre that took place at the beginning of the twentieth century – the Great Reform of Theatre. It was then that the stage producer became the key...
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