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Wyszukujesz frazę "culture of war" wg kryterium: Temat

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    Wyświetlanie 1-2 z 2
    Tytuł:
    Chcą nas zmienić w reliefy i rzeźby...
    Autorzy:
    Patrycja, Cembrzyńska,
    Powiązania:
    https://bibliotekanauki.pl/articles/897480.pdf
    Data publikacji:
    2017-09-08
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    war memorial
    anti-monument
    collective memory
    the uncanny (das Unheimliche)
    Poles and their vampires
    demilitarizing of culture /non-war memorials
    memetics
    Opis:
    They Want to Change Us into Reliefs and Sculptures... This article discusses a role of war memorials in popularizing militarism, war bravery and the idea of dying for the homeland. Following Krzysztof Varga (a writer) and Krzysztof Wodiczko (a visual artist), the monumental structures of national memory become here a subject of critical reflection. They both show the deadly hypnotizing power of memorials over people. To this end, they create an oneiric reality, in which the sacred objects of national tradition come to life and “vampirize” the would-be patriots. The task of the hypnotic and critical style of interpreting memorials is, as it is proved, “to demilitarize” (“disarm”) our culture.
    Źródło:
    Przegląd Humanistyczny; 2017, 61(2 (457)); 23-33
    0033-2194
    Pojawia się w:
    Przegląd Humanistyczny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kina warszawskie: wrzesień–grudzień 1939 roku
    Autorzy:
    Karol, Szymański,
    Powiązania:
    https://bibliotekanauki.pl/articles/896997.pdf
    Data publikacji:
    2017-09-11
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    Warsaw during World War II
    September 1939 campaign
    culture under German occupation
    history of cinemas
    film distribution
    cinema audience
    film as a propaganda tool
    Opis:
    Karol Szymański depicts the history of the Warsaw cinemas and analyzes the cinema repertoire in the particular time from September to December 1939 (that is from the outbreak of World War II, through the defense and the siege of Warsaw, until the first months of the German occupation) taking into account a wider context of living conditions in the capital as well as a changing front and political situation. The author draws attention, among other things, to the rapid decrease in the cinema audience in the first week of September. As a consequence cinemas ceased to work, which made them unable to fulfill their informational or propaganda role and provide the inhabitants of the fighting city with the escapist or uplifting entertainment. During the siege of Warsaw some cinemas changed their functions and became a shelter for several thousand fire victims and refugees, while others were irretrievably destroyed in bombings and fires. In turn, after the capitulation and takeover of the city by the Germans, some of the most representative cinemas which survived (they were entirely expropriated by the administration of the General Government) began to gradually resume their activity from the beginning of November. By the end of 1939 there were already eight reactivated cinemas in Warsaw, including one (Helgoland, former Palladium) intended only for the Germans. These cinemas showed only German films – they were entertaining productions which were well-executed, devoid of explicit propaganda or ideological elements, with the greatest stars of the Third Reich cinema. However, December 1939 brought also the first action of the Polish resistance against German cinemas and cinema audience in Warsaw, which in the years to come developed and became an important element of the civilian fight against the occupant.
    Źródło:
    Przegląd Humanistyczny; 2017, 61(2 (457)); 161-179
    0033-2194
    Pojawia się w:
    Przegląd Humanistyczny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-2 z 2

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