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    Wyświetlanie 1-5 z 5
    Tytuł:
    Tektoniczne napięcia, rowy, wypiętrzenia: materialność pamięci w „Festung Warschau” Elżbiety Janickiej
    Tectonic tensions, trenches, piles: materiality of memory in “Festung Warschau” by Elżbieta Janicka
    Autorzy:
    Korczyńska-Partyka, Dobrosława
    Powiązania:
    https://bibliotekanauki.pl/articles/545542.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Gdański. Wydział Filologiczny
    Tematy:
    politics of memory
    Holocaust
    conflicts of memory
    urban space
    Opis:
    The presented text is an analysis of materiality of memory in Elżbieta Janicka's book Festung Warschau. The text presents two approaches of defying the relation between space and memory. The first approach is related to searching for past signs, while the second approach uncovers past traces. In the studied book each approach is bonded to a different narration style. Furthermore, the presented text conceptualizes the city space of Warsaw, created by Janicka, as a space of memory (S. Kapralski's term).
    Źródło:
    Jednak Książki. Gdańskie Czasopismo Humanistyczne; 2015, 3; 51-68
    2353-4699
    Pojawia się w:
    Jednak Książki. Gdańskie Czasopismo Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Auto/bio/géo/graphies : les enjeux spatiaux de la mémoire dans les récits autobiographiques et testimoniaux du temps de la guerre chez Durocher, Langfus, Rawicz
    Auto/bio/geo/graphies: spatial aspects of memory in autobiographical and testimonial narratives of wartime. Durocher, Langfus, Rawicz
    Autorzy:
    Bodzińska-Bobkowska, Jadwiga
    Powiązania:
    https://bibliotekanauki.pl/articles/24200754.pdf
    Data publikacji:
    2022-12-30
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Wydawnictwo Werset
    Tematy:
    espace
    territoire
    Holocauste
    mémoire
    Bruno Durocher
    Anna Langfus
    Piotr Rawicz
    space
    territory
    Holocaust
    memory
    Opis:
    L’objectif de l’article est de questionner, dans une approche comparative, le lien entre la mémoire et l’espace dans les récits autobiographiques et testimoniaux d’Anna Langfus, Bruno Durocher et Piotr Rawicz. Dans leurs textes, l’espace s’érige en un des moyens de faire travailler la mémoire et aborder le passé. Il s’agit d’un côté d’une dimension extérieure, dépendante des décisions épistémiques du sujet parlant. Avec ses frontières bien délimitées, l’espace prend soit la forme d’un refuge, d’un « chez moi », soit, au contraire, il devient hostile et menaçant. La deuxième dimension n’opère ni frontières, ni topologies, mais résulte de la découverte de l’animalité de l’homme. Poussée à l’extrême, elle aboutit à une symbiose parfaite ou à une « indiscernabilité » entre le sujet et le lieu. Ainsi, combinant les approches autobiographiques/testimoniales et les perspectives spatiales/territoriales, l’article démontre-t-il le caractère spatial de l’expérience humaine et de la mémoire.
    The paper aims at describing and interpreting in comparative approach the works of three Polish‐French writers: Anna Langfus, Bruno Durocher et Piotr Rawicz. I follow the authors of What Is Philosophy in believing that “thinking takes place in the relationship of territory and the earth”. Therefore, my analysis is structured with the Deleuzian notion of territory and demonstrates how memory of wartime is anchored in the geographical and imaginary spaces. On the one hand, it is an external dimension which depends on the epistemic decisions of the subject. With its well-defined borders, the space is represented as a refuge, an “at home”, or, on the contrary, it becomes hostile and threatening. On the other hand, the space is represented as a territory and results from the discovery of the animal nature of man. Combining autobiographical/testimonial approaches and spatial/territorial perspectives, the article demonstrates the spatial character of human experience and memory.
    Źródło:
    Quêtes littéraires; 2022, 12; 85-97
    2084-8099
    2657-487X
    Pojawia się w:
    Quêtes littéraires
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „I will survive” – reprezentacja Holocaustu w sztuce współczesnej
    „I will survive” – Representation of the Holocaust in Contemporary Art
    Autorzy:
    Maciudzińska-Kamczycka, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/919851.pdf
    Data publikacji:
    2011-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Holocaust
    (critical) art
    memory
    public space
    Christian Boltanski
    Shimon Attie
    Rafał Jakubowicz
    Rafał Betlejewski
    Opis:
     Jane Korman, a Jewish artist, filmed the video „Dancing Auschwitz” on a trip to former concentration camps with her three children and her father, Adolek Kohn, who is a Holocaust survivor. The film shows three generations of an Jewish family dancing to the Gloria Gaynor song “I Will Survive” in front of Holocaust land marks in Poland, including infamous rail tracks and “Arbeit Macht Frei” sign and a memorial in Łódź, where Adolek Kohn and his wife spent most of his youth during World War II. This video is a demonstration of the will to survive. Moreover, Korman’film shows other places in Poland like The Main Market Square in Kraków, a Polish synagogue or one of the bus station from eastern Poland. These places may represent the sites and the traces of the History in the contemporary Polish reality which has been radically transformed after Auschwitz. Memories are a way to remain connected to the past. The great power of the images, the clichés of the unimaginable trauma of the Holocaust, is still in our imagination and in the landscape of Polish cities. In my presentation I will not only try to explain the abovementioned case but I will focus also on some others examples of the idea. One of the Polish projects that bring about associations with the Holocaust and the memory of Nazi camps is „Swimming Pool” („Pływalnia”, 2003) by Rafał Jakubowicz (projection, two videos, postcard). By projecting the Hebrew equivalent of the word „swimming pool” on the wall of the former synagogue (in 1940 the Nazis converted synagogue into a swimming pool for the Wehrmacht), the artist managed to reactivate this place, to revive its memory and transform it into a living monument. In his video, entitled „Swimming Pool”(13 min.), Jakubowicz is showing the interior of the building that provokes the associations with the concentration camps.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2011, 9, 17-18; 83-105
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Narrative- and Space-Making in the City on the Example of Lublin
    Stworzyć miasto i jego przestrzenie w opowiadaniu – przypadek Lublina
    Autorzy:
    Hudzik, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/2013714.pdf
    Data publikacji:
    2019-07-04
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    pamięć
    przestrzeń miejska
    Holocaust
    mistycyzm żydowski
    historia polsko-żydowska
    memory
    urban space
    Jewish mysticism
    Polish-Jewish history
    Opis:
    This paper discusses the literary, artistic, scientific, and educational narratives that are (re)created to facilitate the city’s recovery of memory in the wake of the Holocaust.This is the case with Lublin.The story of the complete destruction of its Jewish quarter in the Second World War is a tragically familiar one in Central Europe, even though it had been silenced and forgotten for decades during the communist period. I would like to analyze an essayistic project that searches for a new language about a place left empty. How could one fill the void by making it mean something to new people, becoming their own narrative, and preserving the presence of the city’s former inhabitants? How is it possible to create a new mythology of a place? I assume that such questions must have been the starting point for essays on Lublin byWładysław Panas (1947–2005), related to the commemoration in the context of urban space. My text comes in four parts. I begin with general information and historical background, as well as an introduction to the analysis of Panas’s essay Oko Cadyka (The Eye of the Tzaddik) − the main subject of my paper − which exemplifies the reflection on the creation of narrative and urban space in contemporary humanities. In the second part, I focus on and contextualize the relationship between text and city that the essay postulates. The third part deals with theoretical approaches to interpretation. The fourth part underlines the scientific and critical aspects of Panas’s text, which questions the language of science − the humanities, historiography, and theory in general. I end with a look at some artistic projects inspired by his images.
    Źródło:
    Prace Filologiczne. Literaturoznawstwo; 2019, 9(12) cz.1; 81-95
    2084-6045
    2658-2503
    Pojawia się w:
    Prace Filologiczne. Literaturoznawstwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Miejsce pamięci versus symulacja przeszłości - druga wojna światowa na wystawach historycznych
    Memorial versus Simulation of the Past — World War II in Historical Exhibitions
    Autorzy:
    Bogumił, Zuzanna
    Powiązania:
    https://bibliotekanauki.pl/articles/1373648.pdf
    Data publikacji:
    2011-11-22
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    memory
    museum
    authenticity
    museum artefacts
    space
    Holocaust
    Warsaw Uprising
    Warsaw Ghetto
    occupation of Krakow
    pamięć
    muzeum
    autentyczność
    przedmioty muzealne
    przestrzeń
    Zagłada
    powstanie warszawskie
    getto warszawskie
    okupacja Krakowa
    Opis:
    The Author examines the presentation of the German occupation at the Warsaw Rising Museum and in Oskar Schindler’s Enamel Factory in Krakow. Initially, she studies the space of these exhibitions and demonstrates that the Warsaw Rising Museum has some characteristics of reflective space, while the exhibition at the Schindler’s Factory is primarily a projective one. Then, she points out that both museums treat artefacts as illustrations of their stories, as a consequence of which they are simulations of the past rather than material testimonies of what had happened. Finally, the Author argues that the Warsaw Rising Museum primarily tells the story of glory of the Polish nation, while the Schindler Factory focuses on the social history. In conclusion the Author points out that none of the exhibitions breaks the existing taboos or offers a new approach to the past. Both museum stories perfectly reflect the shape of the Polish social memory of World War II. Differences in the way they present the past are a result of rooting each of the stories in different public debates that were conducted in Poland after 1989.
    Źródło:
    Kultura i Społeczeństwo; 2011, 55, 4; 149-170
    2300-195X
    Pojawia się w:
    Kultura i Społeczeństwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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