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The article deals with the Jewish Memory in Zakrzówek in the Lublin Voivodeship. Just prior to the Second World War, over 800 Jews lived there. The article is based on interviews with present inhabitants of the village and consists of five parts. The author makes an attempt to reconstruct the memories of interviewees about: landscape of the village before the war, Jews, Polish–Jewish relations, the Holocaust, hiding Jews and Jewish pits. This is a pretext for discussing distinctions between individual, cultural and collective memory, the notion used by Maurice Halbwachs.
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In this article the author argues that Route of Don Quixote is a mnemotope, which allows to examine the relations betwen landscape, literary trails and collective memory. The author suggests that the Mancha’s landscape can be considered as the first in the history of Western culture and this fact should be connected with the values of the Spanish community. Noticing that the Route of Don Quixote is the mnemotope clarifies why it was the first European Cultural Itinerary constructed on a literary figure, explains the political usage of the figure of Don Quixote, the reasons for passionate discussions on how to commemorate cervantine anniversaries or dispute about the true knight-errant wandering route. The author explores some of the contemporary cervantine place of memory (the date of III and IV Centenary of the edition of the first part of the novel, the famous Azorín’s journey, Quixotic street names, „true” novelistic places, landscape with windmills). The author characterizes various communities of memory (exiliados, readers, cervantists),that used the figure of Quixote. The author asks whether traveling in search of the knight’s footsteps is drifting the physical space or rather an imitation of his actions. From the perspective of memory research there are multiple routes of Don Quixote, because in different communities are cultivated different memories of true knight’s route. Using the Halbwachs’ concept the author shows the importance of location of Don Quixote’s adventures. Pondering the meaning of „death of cervantine landscape” the author concludes that the literary vision of The Mancha, „holy landscape” in which the community reaffirms its value, still exists.
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In his monograph, Franjo Likar (1928) decided to tell the story of his life by telling the story of his ten studios – from the first, in Morić’s Caravanserai in Sarajevo to the ones he uses now, in Dalmatian village Brela and in Klagenfurt, Austria. If one follows this story carefully, then he would notice that Franjo Likar refers mainly to people, places, atmosphere and spiritual states that have shaped him in those periods. The immediate motive for this interview with Franjo Likar done in his marvellous studio-house in Brela, where with his wife Heide, he was waiting for the month of February, the most interesting month at sea, as he puts it, was his recently published monograph (Sarajevo, 2007). However, the true reason for this encounter with Likar lies in the fact that he is always interesting, unexpected and modern. Since our entire history is nothing but a tale of „subsequent discoveries“, the story about his significance and his role in the artistic and cultural life in BiH in the second half of the 20th century remains to be told yet, with a certain temporal distance, just like it remains for us to recognise those many things he had anticipated that could not possibly be fully recognised and assessed in their own time. This artist, with his constant playfulness, consistently reminds us of Johan Huizinga’s thesis about those somewhat mysterious and exceptional places where one plays, removed from ordinary life and taken to a temporary sphere of activity that has its own rules and uncertainties and haphazard nature Likar embraces without hesitation. About himself, he says that he feels as “being on a part-time assignment, in between two journeys”. Curiosity, bewilderment and doubt are what he invokes as his eternal muses. Inadequacies and shortcomings of memory he recognises as an advantage. He tries to grasp life in its fullness: even when he contemplates the otherworldly, he never gives up its worldly dimension, always bridging the gap between the extremes – between “high” and “low” art. Thus, pieces of a coloured fabric and pieces of porcelain figures found at some flea markets can be used to make new and unexpected things, such as national flags or sacral boxes. Likar dismantles his own fears from transience and mortality and then assembles them into a transcendental dimension of eroticisms. Franjo Likar,both as a man and as an artist, listens to his own words attentively and responsibly - in constant quest for their potential meanings.
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Essay on the Saamian poet Valkelapää and his life work, the poetry chants called Joiks.
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The main aim of the study is to attempt an reinterpretation of the category of “lieux de mémoire” (Pierre Nora) in the context of digitalization process and the functions of the new media in the modern culture. The paper argues that symbolic and historical meaning of “lieux de mémoire” is changing today as a consequence of the strong development of the Internet. According to that fact the “places of memory” really often become a part of Internet, they are “networked”. The article focuses on the analysis of the selected examples of the “networked places of memory” (especially virtual cemeteries and virtual museums). The author discusses the differences between the classical “lieux de mémoire” and the networked ones and tries to show the main distinguishing marks of the new kind of the “places of memory”. The paper refers to the thesis of Andrzej Szpociński, Jan Assmann, Paul Connerton, Mizuko Ito and others.
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Pagrindinis straipsnio tikslas yra išskirti Lietuvos gyventojų nacionalinio identiteto, reprezentuojamo virtualioje erdvėje, pokyčius etninio kitoniškumo atžvilgiu. Šiam tikslui pasiekti buvo nagrinėjama „W2.0“ virtualios bendruomenės socialinė refleksija peržvelgus 2006–2008 ir 2013 m. interneto naujienų portale „Delfi“ skelbiamus straipsnius apie kinų įsikūrimą ir veiklą Lietuvoje. Šalutinis, bet ne mažiau reikšmingas klausimas yra virtualios erdvės supratimas kaip viešosios erdvės analoginės išraiškos ir, atitinkamai, virtualios erdvės galimybių panaudojimo identitetui ir jo raiškai formuoti bei atkurti, taip pat jam tirti. Tai savo ruožtu leidžia išplėsti žinias apie demokratizacijos procesus Lietuvoje. Tyrimo rezultatai suteikia pagrindo manyti, kad pastarojo laikotarpio kinų invazijos į Lietuvą temos deaktualizavimas ir bendras nacionalinės virtualios erdvės kontrolės teisinis stiprinimas turi įtakos ne tiek sinofobinių nuotaikų kaitai, kiek jų viešam slopinimui bendrame politinio korektiškumo virtualioje viešoje erdvėje plėtros kontekste. The main idea of the article is to define and detect the changes in Lithuanian identity construction in relation to ethnic Other. For this reason, users’ generated content, i.e. readers’ comments as a polyphonic text created by the Lithuanian W2.0 community in response to the publications about Chinatowns and Chinese activities in Lithuania published in the popular national internet-portal DELFI.lt during 2006-2008 and 2013, is analyzed. The concept of orientalism that refers to a set of cultural practices and discourses usually defined as ethnocentrism, prejudicial stereotyping etc., is used for the interpretation of data. The main outcome of the research suggests that Lithuanian orientalism appears mainly as sinophobia which is not related to the actual number of Chinese settled in Lithuania. It may be also said that by actualizing Chinese “invasion” in Lithuania the mass media provoke the publicity of sinophobic sentiments. At present, de-actualization of the Chinese topic in the Lithuanian on-line mass media, on the one hand, and strengthening of the total legal control of the users’ generated content, on the other hand, can be observed. In the context of the forced spread of political correctness in the (W2.0) public sphere both processes influenced a suppression of sinophobic sentiments in public more than actual changes in the national identity. Finally, it is possible to presume that the Lithuanian W2.0 public sphere is similar to the W2.0 public sphere of other democratic countries. It is closer to Mediterranean countries in its democratic quality of users’ generated content, i.e. the national community mainly uses the W2.0 public sphere to reproduce hegemonic attitudes and express its frustration with the authorities instead of leading argumentative debates.
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“Wezwanie” was the first underground socio-cultural magazine published during martial law. The individual who had the greatest influence on “Wezwanie” was Tomasz Jastr un – the magazine’s founder, and an editor and author. Thanks to his determination, the publication appeared continuously for nearly eight years. It was published until June 1989, and was printed, in turn, by the following publishing houses: Copyright, Przedświt and Oficyna Wydawnicza Pokolenie. There were 15 issues of the magazine printed, each havi ng 100 –200 pages, with ci rculat ions of 1000 –2000 copies. “Wezwanie” mai nly published literary works, including all types of testimonies: diaries, descriptions of police suppression, relations of persecution. An important place in the magazine was occupied by poetry. This included poems written by many well-known poets, such as Herbert, Krynicki, Zagajewski, Szar uga, and Jastr un. Furthermore, the magazine featured stories (e.g. Marek Nowakowski and Kazimierz Orłoś), interviews (e.g. with Kazimierz Brandys, Vladimir Bukowski and Janusz Głowacki), editorial discussions, reviews of events, reviews of press, lists of new books, and reviews.
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The author analyzes articles published in Gazeta Polska after the plane crash that caused death of President Lech Kaczynski and other senior Polish officials in Smolensk in 2010. The Smolensk discourse in Gazeta Polska is structured with specific rhetoric strategies and anthropological categories. It is based on an antinomy of “every-man” versus “elites.” Furthermore, it brings some light to the importance and meaning of the rituals and symbolic sphere in public life. In reference to the traditions of the Polish 19th century approaches, it affects a reader with consistent interpretations and world-views. The Smolensk discourse is so persuasive also due to certain literary techniques as well as creating a sense of continuity that replaces the cultural rupture. Cultural rupture, however, is a fundamental category that organizes the Smolensk narration in Gazeta Polska and, to some extent, a Polish conservative discourse in general.
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Radio Opole is one of the few radio stations (apart from those based in Katowice and Białystok) that have maintained the radio concert of compliments) on the air. The programme, which still enjoys high popularity with listeners (up to 200 thousand listeners per one million of the inhabitants of the province), testifies to the changes going on in the sphere of customs in Opole Silesia and to intertwining of the traditional culture with the mass culture. The programme under analysis appeared on the air in 1952 and since then has not undergone any greater alterations. Initially, it was a twenty-minute live programme, which on the turn of the 20th and the 21st century came to last four hours. During the programme the readers in the studio read out a series of wishes and compliments connected with birthdays, weddings, anniversaries and the like, which are followed by a song selected by senders of the wishes. Initially, that concerned mainly „round” anniversaries, whereas in recent decades there have dominated wishes on the occasion of the 18th birthday. A relatively big change has been observed as regards the repertoire of songs, which used to be dominated by the style of pop music. Recent years have seen more and more songs performed in the German language.
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„We're all postmodernists these days” An interview with Professor Andrzej Szahaj
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Wydawnictwo seryjne „Z Problemów Bibliotek Naukowych Wrocławia” ukazuje się od 2003 roku. Recenzentem naukowym wszystkich dotychczasowych numerów jest dr hab. Maria Pidłypczak- Majerowicz. Początkowo inicjatywa tworzenia cyklu rozwijana była w ramach dwóch uczelni: Uniwersytetu Wrocławskiego oraz Politechniki Wrocławskiej, w kolejnych latach dołączali przedstawiciele innych dolnośląskich placówek naukowych: Uniwersytetu Ekonomicznego, Uniwersytetu Przyrodniczego, a następnie kolejnych uczelni. W jednym z większych w kraju ośrodków akademickich działa kilkadziesiąt bibliotek naukowych szkół wyższych, bibliotek instytutów badawczych Polskiej Akademii Nauk i Zakładu Narodowego im. Ossolińskich, dlatego ważne jest, aby pracujący w nich bibliotekarze mieli możliwość dzielenia się swoją wiedzą i doświadczeniem w lokalnym środowisku bibliotecznym.
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The authors of the aesthetics in the Victorines’ school are its most famous members: Hugh and his disciple Richard. Hugh was the first one who devoted a substantial part of his work to theory of aesthetics, which he included in the seventh book of the encyclopaedic work Didascalion de studio legendi. He refers there to the Neoplatonic theory of aesthetics following the Dionysian-Eriugenian theory of symbolism. In the first two parts he develops ontological foundations of aesthetics and its psychological determinants. In the ontological aspect Hugh is an objectivist and treats beauty as a constitutive property of beings. In the part concerning psychological foundations of aesthetics he introduces a specific power which combines two aspects of aesthetic experiences — spiritual and sensual. It is the so called affectio imaginaria, incorporated into the theory of psychophysical unity of human being. The issues related to the role of beauty in human life and aesthetic experience as a path leading to mystical life Hugh supplements with ethical considerations. He devotes a large part of his work to discussion of the definition of beauty. The most original part of Hugh’s aesthetics is the one in which he distinguishes formal categories of beauty: placement (situs), motion (motus), quality grasped by sight (species) and qualities experienced by other senses (qualitas). The theory of mystical contemplation of beauty understood as a process of the soul’s climbing to God analogous to Plotinian conception of ‘epistrophe’ can be considered a peculiar crowning of Hugh’s aesthetics.
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Who was Bianca and what is this dusk which falls inevitably whenever she starts talking about something most important? This is the basic question to which Joseph tries to find an answer. She was an Infant Queen and the Messiah at the same time. And both aspects Joseph almost managed to prove or at least acquire faith in their existence realized in terms of abduction and suffering. But Bianca was also a Woman who realized “fully” only her female aspect. That aspect of her Joseph could neither predict or fully understand. He could not bear it or defeat it in the realms “above and beneath” Bianca’s flesh. The Woman won in her and that victory liberated a Demon which brought Joseph to madness, his highest idea to total bankruptcy, andhis love to incessantly falling dusk. Joseph never experienced the erotic womanhood ofBianca, but he experienced its demonism. He failed to revive in her the Infant Queen and the Messiah – she made her own choice.
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The article aims to show how the popularity of video recorders and satellite television in the Polish People’s Republic in the late 80s has become the subject of debate on the social role of media and the socialist cultural apparatus. Cultural magazines of the era criticized satellite TV programs and hugely popular Western movies available on video cassettes as productions that promoted “brazen Americanism” and posed a threat of “satellite colonialism”. The author reveals that such debates on the new media and popular culture were part of a broader discussion on the negative “imaginary West”. Articles in question described in great detail the triviality and cruelty of action movies and pornographic content that the new media provided access to. The article also argues that texts of that kind functioned as a legitimization of socialism as a system where the development of culture was not to be tied to profit, as it was in the West. The socialist system of cultural production and distribution was to constitute a better alternative by providing access to cultural education. Instead of primitive contents of popular culture, the socialist cultural project was to provide the citizens with valuable culture representing “universal values”.
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