CNS Czasopisma Naukowe w Sieci
Not a member yet
16863 research outputs found
Sort by
Kilka uwag o problemach dowodowych w procesach o czyny z art. 256 k.k.
No full textThe way in which a given conduct is normatively framed and the extent to which it is criminalized has a direct impact on the possibility of initiating and conducting criminal proceedings for the offence. The analysis of new types of offences related to the propagation of the Nazi and communist system and the punishment of the public propagation of Nazi, communist and fascist ideology, as well as the public propagation of an ideology inciting the use of violence with the aim of influencing political or social life into Article 256 of the Penal Code leads to the conclusion that, contrary to the intentions of the legislator, the amendment of the provision in question will not facilitate the prosecution of the perpetrators of such acts. What is more, the fact that a provision of a criminal law with vaguely formulated elements remains in legal circulation directly affects the possibility of establishing a factual basis in the case for the initiation of criminal proceedings, the bringing of charges, the prosecution and trial of the perpetrator of such acts
Pierwsze piętnaście lat działalności wrocławskiego DKF „Politechnika”
No full textFilm societies in communist Poland began to function at the end of Wladyslaw Gomulka’s era and gained popularity in the 1960s. One of them was DKF „Politechnika”, an organization created by scholars and students from Wrocław University of Science and Technology. Today, it is the oldest still-functioning film society in Wrocław and one of the oldest in Poland. The author, a contemporary member of this institution, presents its history from establishment in 1965 to the temporary suspension during the Martial Law in Poland. During that period, the most active member was Andrzej Solecki, who founded the club and served in its management until 1981. Solecki also collected a significant amount of historical documentation that serves as a source for this article. Following Solecki’s activities, the author presents the history of DKF „Politechnika” during its glory days. The text reveals a lot of obstacles that organizers had to overcome to present their audience original, thought-provoking, and often inconvenient for the communist authorities works of Polish and international cinema
Sudeten reinterpretations of memory
No full textThe obelisk, placed at the corner of today’s Kościuszki and Daszyńskiego streets in Kłodzko, originally commemorated Friedrich Wilhelm von Götzen, a Prussian general and hero of the Napo leonic Wars. After World War II, this monument was reinterpreted; Borussian symbols were removed from it, including the emblematic eagle taking flight and the visage of von Götzen himself, and replaced with a hammer and sickle and a red star. As a result, it became one of many socalled monu ments of gratitude to the Red Army. After the political changes in 1989, the dilapidated obelisk, with its red with the red paint already flaking off, was covered with sheets of bluish glass with the logo of Powszechny Zakład Ubezpieczeń (the oldestt surviving Polish insurance company) attached. And thus, in a second bout of this peculiar process of upcycling, the new ultracapitalist reality of the Third Polish Republic regurgitated the former Prussian symbol, repurposing it to fit its current needs.
The above example, although it comes from the foothill area, from the Nysa Kłodzka valley, flowing through the very centre of one of the most important Sudetes valleys, perfectly encapsulates the subject of this article. An attempt was made to discuss a number of examples of the appropriation of various objects from the mountains themselves and giving them new meanings. One of them is the former Bismarck Tower at the top of Wielka Sowa, which for some time was named after General Władysław Sikorski, and eventually gained the same patron as the Main Sudetes Trail, i.e. Dr. Mieczysław Orłowicz. The remaining examples come from the land of Silesian and Kłodzko—which at the present day translates to: Polish—Sudetes. They also include objects located in the Czech and Moravian parts of the mountains. Through them, the processes of appropriating and taming these “postGerman” mountains in the period of 1945–1989 were illustrated. The second part of the article points out the manifestations of rediscovery, processing, and assimilation of the German past of these lands that ap peared after 1989, and more strongly after the disastrous flood of the millennium in 1997
Landscape memory and gender discourses in selected works by Elsa Bernstein and Maria Waser
No full textThis article analyzes the mutual interpenetrations of different types of cultural memory in literary texts, in particular landscape memory, myth memory, and memory of gender stereotypes.
Symbolic drama by Elsa Bernstein (pseudonym Ernst Rosmer, 1866–1949) Mutter Maria Totengedicht in fünf Wandlungen (1900) deals with the subject of the supplanting of old folk beliefs by the Christian religion, as well as the violent clash of the male and female worlds, symbolized here by the figures of alpine mythology as literary topoi (hunter and mountain goddess). The end of the drama—a combination of a mythical being after death with a sculpture of the Madonna carved in rock—is usually interpreted as the apotheosis of Christianity and the triumph of a new religion (and thus a new world order) over the pagan world. However, its subversive aspect should be emphasized because, in the cult of the Mother of God, one can find strong reminiscences of the cult of the Great Goddess and other ancient fertility deities. Therefore, old beliefs are not lost forever; they remain part of the cultural heritage and are waiting to be rediscovered.
An original reinterpretation of the stereotyped mountain landscape is proposed by Maria Waser (1878–1939) in her novel Die Geschichte der Anna Waser (1913). Here, the name of the mountain peak Jungfrau becomes a symbol of independence from the expectations of the environment and offers the possibility of identification. For the main character, the most important thing is the desire for self-realization as an artist (painter), which often encounters the reluctance of the environment, especially men jealous of her talent. This rather unusual way of perceiving Jungfrau in the context of building identity is intimate and personal, and at the same time explicitly feminine
“How the historians write the history of the world of rock and stone”: The shattered landscape of memory in Mieczysław Jastrun’s “A Season in the Alps”
No full textMieczysław Jastrun stayed with a group of Polish painters and writers in Switzerland for three winter months between 1946 and 1947. After his return, the poet published A Season in the Alps and Other Poems (1948). The unconventional and undescriptive mountain landscapes presented in it were influenced by fresh war memories and anxieties related to the new political situation in Europe. Jastrun’s lyrical works refer to the well-known mountain symbolism and play with topoi, but despite this, there is a clear distance from tradition, especially the Romantic one. The article analyses the image of mountain space evoked in the poem A Season in the Alps, in the context of Alpine literature and using the tools suggested by geopoetics. Particular attention is paid to the texture of place in which the archive of culture plays a dominant role. Numerous tropes and figures (e.g. the metaphors “chronicles of the earth” and “a book bound with stone snaps” referring to the mountains) and allusions to Słowacki’s poem In Switzerland make the Alps in Jastrun’s poem not only a “place touched by autobiography” (per M. Czermińska), discovered during a short stay. “The peaks of old Europe” evoke the past and is a landscape of memory built by intertextual references. However, the confrontation of cultural memory with reality reveals not a community but a conflict. It generates a sense of alienation and reluctance/resentment. The broken, decomposed Alpine landscape of memory evoked in A Season in the Alps morphs into a question about history and its meaning. It also expresses fears related to the fragility of human existence and simultaneously signals the need to search for a new poetic language, giving the poem a self-referential character
Strategie repertuarowe czytelników i widzów filmowych w kontekście badań nad zachowaniami cross-medialnymi współczesnych użytkowników mediów
No full textThis article presents the results of a comparative analysis of selected factors influencing the repertoire decisions of readers and film viewers. The degree of the use of the sources of knowledge about the publishing and film productions as well as of the similarities and differences in the determinants of the choice of both books and films are discussed. The important role of cross-media and transmedia connections in shaping individual repertoires is also taken into consideration. The aim of the analysis is to determine similarities and differences in the behaviour of media users towards the broadly understood choice of books and films. The choice of a book may involve purchasing or borrowing it. An equally broad scope is adopted in relation to films, which may be watched in a cinema or at home, using television or streaming platforms. The context for the analysis is the conceptual construct of “media user” and the cross-media perspective in the study of their behaviour. Selected reports and articles presenting research results of readers, film viewers or the generally understood media audience serve as research material. The results of the analysis show significant similarities in the strategies used in the process of selecting books and films. They support the idea that this type of cultural products may be perceived as immersive media. They also reveal the growing importance of cross-inspirations in media users’ repertoire searches, which result in their reaching for the titles previously discovered in a different media environment.Współcześni użytkownicy mediów. Cross-medialna perspektywa badań użytkowników mediów. Pojęcie wybór mediów i jego zakres. Informacja w procesie podejmowania decyzji repertuarowych. Wpływ powiązań między mediami na wybory dokonywane przez ich użytkowników. Strategie wyszukiwania informacji a preferencje czytelnicze i filmowe
Fantastyczne zwierzęta i jak je... stworzyć. Konstrukcja fantastycznych gatunków w kulturze popularnej
No full textWorks of fantasy-based popular culture, including movies, comic books and novels, are inhabited by myriads of imagined, fictional species. Many of them are not properly constructed and as such may cause a feeling similar of ludonarrational dissonance. To make fictional species believable it has to be thought out with adherence to physical and biological laws, especially evolutionary processes. Specific features of said species should be presented as adaptations its native climate and geography or/and products of the evolutionary ‘race’ between different species. Predators have certain evolutionary features utilized for effective hunting, while other species adapt for efficient defense against predation. Such adaptations may be features of anatomy (morphology), physiology or behavior. If no additional explanation to the species’ specific (environmental etc.) circumstances is given, it should be created according to geological actualism, i.e. the same laws that govern life on Earth should be applied, regardless of the place and time of action (even if it does not take place on Earth). This article discusses some basic evolutionary laws and the means of using them in worldbuilding. It also provides examples of properly and improperly constructed fictional species
Romantyczne pejzaże dźwiękowe — „Ballady i romanse” Adama Mickiewicza
No full textThe main assumption of the article is the thesis that Adam Mickiewicz’s Ballades and Romances is a poetic cycle that played a fundamental role in reorienting the ways of exploring the world in the aesthetics of hearing in Polish literature. It is a work that initiated a new way of presenting sound in Polish poetry, ultimately breaking the Enlightenment-rationalist paradigm of domination of the perspective of the eye in culture for the sake of the emancipation of a new audio culture. The audiosphere of the cycle, i.e. all the sounds used in this cycle, are analyzed in this article using the appropriate categories (anatomy of the sound- scape according to B. Krause) and finally interpreted through the prism of their literary function. The terms used for description and interpretation in the article are the soundscape, as well as its essential elements, such as geophony, biophony and anthropophony. The dominant sonic quality in the cycle, having compositional significance, is a part of anthropophony called the phonosphere: voice, speech, singing, shouting, etc., and the accompanying qualities are both geophony and biophony, as well as incidental sounds of various origins. Sounds appear most often when fantastic threads and motifs are activated.Głównym założeniem artykułu jest teza, że Ballady i romanse Adama Mickiewicza to cykl poetycki, który odegrał fundamentalną rolę w reorientacji sposobów poznawania świata w planie estetyki słuchu w literaturze polskiej. Jest to dzieło, które zapoczątkowało nowy sposób prezentacji dźwięku w polskiej poezji, przełamując ostatecznie oświeceniowo-racjonalistyczny paradygmat dominacji perspektywy oka w kulturze na rzecz emancypacji nowej kultury audialnej. Audiosfera cyklu, to znaczy wszystkie zastosowane w tym cyklu dźwięki, są w niniejszym artykule poddane analizie za pomocą właściwych kategorii (anatomia pejzażu dźwiękowego wg B. Krause’a) i ostatecznie zinterpretowane przez pryzmat ich literackiej funkcji. Pojęciami służącymi do opisu i interpretacji w artykule są pejzaż dźwiękowy, a także jego zasadnicze elementy: geofonia, biofonia oraz antropofonia. Dominującą jakością soniczną w cyklu, mającą znaczenie kompozycyjne, jest część antropofonii zwana fonosferą: głos, mowa, śpiew, krzyk itd., a jakościami towarzyszącymi są zarówno geofonia i biofonia, jak i różnego pochodzenia dźwięki incydentalne. Dźwięki pojawiają się najczęściej, gdy dochodzi do aktywizacji wątków i motywów fantastycznych
Fotografia chłopska w zakładach fotograficznych w okresie transformacji. Na podstawie książki „Dworki i pałace” oraz czasopisma branżowego „Twoje Studio”
No full textWithin the artist residency in Zamek Culture Centre in Poznań, and my artistic research The Photo Parlour (2018), I made an inventory of equipment and paraphernalia of photo parlours in the Greater Poland region, mainly backdrops made by painters-craftspeople and props. The collected material let me build a photographic archive, on which my photography book Dworki i Pałace [Manors and Palaces]—prepared in tandem with the self-publishing collective Ostrøv—is based.
The article is devoted to the visual culture of photo parlours and the identity they have built, a common imaginarium of a phantom middle class—rooted in its peasant ancestry, but nonetheless aspiring to live a “better life.” This process of coallescing into a new social group was spurred by visual norms prevalent during the transformation period—with imitation chief among them. In the field, I have investigated the role of playing dress-up, playing so called “scenes sessions,” inspired by cultural norms of the aristocracy and the gentry. The images created with backdrops, props, choreographies and gestures legitimized new social positions, which were then applied by social climbers during their ascent.
Using theoretical tools of a “radical program of visual sociology” and the category of looking “behind the image” I argue that the visual culture of photo parlours can be classified as peasant photography. One of the features of peasant photography is its inability to deny someone’s existence. Peasant photograph, one of the major characteristics of which was commemoration, served as a means of a collective “unremembering,” or intentional forgetting—of one’s peasant origins.W ramach rezydencji w Centrum Kultury Zamek w Poznaniu i projektu Zakład Fotograficzny (2018) przeprowadziłam inwentaryzację wyposażenia wielkopolskich zakładów fotograficznych: przede wszystkim teł wykonywanych przez malarzy rzemieślników oraz rekwizytów. Na jej podstawie, wspólnie z kolektywem wydawniczym Ostrøv opracowałam książkę fotograficzną Dworki i pałace.
Artykuł poświęcony jest kulturze wizualnej odwiedzonych przeze mnie zakładów fotograficznych, czasopismu branżowemu „Twoje Studio”, a także sesjom scenkowym, w których brały udział tła i rekwizyty. Badam wytwarzaną za ich pomocą tożsamość — szlacheckie imaginarium posiadającej chłopskie korzenie i aspirującej do lepszego życia fantomowej klasy średniej. Wcielanie się do nowej grupy społecznej odbywało się zgodnie z panującymi wówczas normami widzialności — na drodze naśladowania, gdzie rolę tak zwanej konwencji przebieranki odgrywały między innymi sesje scenkowe inspirowane kulturą arystokratyczno-ziemiańską. Wizerunki wytwarzane za pomocą teł, rekwizytów, choreografii i gestów miały legitymizować nową pozycję społeczną, pomagać w pięciu się w górę po drabinie społecznej.
Korzystając z narzędzi radykalnego programu socjologii wizualnej — kategorii patrzenia „przez” oraz „za” zdjęcie — pokazuję, że fotografię związaną z kulturą wizualną zakładów fotograficznych można zaliczyć do fotografii chłopskiej. Jedną z jej cech jest niemożliwość zaprzeczenia, że czegoś nie było, że ktoś nie istniał. Fotografia chłopska, której najważniejszą cechą było upamiętnienie, służyła, jak udowadniam, silnemu zapominaniu: wspólnych korzeni — chłopskiej genealogii