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Krajobraz z rekwizytem w tle
No full textThis article introduces the idea of a landscape with a prop in the background, bridging the reflections on two main themes explored in previous issues: conceptualizing landscape research as a new transdiscipline, and the prop as an intertwining of object, word, and body. This relational approach to a landscape that “absorbs” the “other” justifies synthesising reflections on space with the role of the propThis article introduces the idea of a landscape with a prop in the background, bridging the reflections on two main themes explored in previous issues: conceptualizing landscape research as a new transdiscipline, and the prop as an intertwining of object, word, and body. This relational approach to a landscape that “absorbs” the “other” justifies synthesising reflections on space with the role of the pro
Między cywilizacją a naturą – przedmioty nie/codziennego użytku w powieści Marlen Haushofer Ściana
No full textMarlen Haushofer’s novel The Wall (1963) has been well received by readers and critics in Germanspeaking countries and beyond. Owing to a mysterious decree of fate, the heroine is separatedfrom the external world by an invisible barrier—the wall. From then on, her life is focused on it. She is forced to live in complete seclusion and adapt to an unusual everyday life in which items also play an important role. Some prove very useful, some utterly useless. Yet they allow the main character to put some order in the new reality and reassess her relationship to her own role in the world, both before and after the catastrophe.Marlen Haushofer’s novel The Wall (1963) has been well received by readers and critics in Germanspeaking countries and beyond. Owing to a mysterious decree of fate, the heroine is separatedfrom the external world by an invisible barrier—the wall. From then on, her life is focused on it. She is forced to live in complete seclusion and adapt to an unusual everyday life in which items also play an important role. Some prove very useful, some utterly useless. Yet they allow the main character to put some order in the new reality and reassess her relationship to her own role in the world, both before and after the catastrophe
Utracony raj. Krajobraz lasu w poezji Romek polskiego pochodzenia
No full textThe role of the article was to capture the importance of landscape and space as fundamental pillars in the consciousness of Roma women poets of Polish origin. The landscape in the poetic view was not only the backdrop of everyday life, but also participated in the difficult experiences of their lives such as: wandering, escaping death during World War II, and forced settlements. The poetry of Bronislawa Wajs, Izolda Kwiek and Teresa Mirga is an important part of Roma culture, which helps to know and understand their identity
Uczynić widocznym niewidoczne w krajobrazie (polikryzysu). O projektach artystycznych Richarda Mosse’a, Nicolasa Gouraulta i Jeremy’ego Kamala
No full textAlthough the artistic projects of Richard Mosse (Broken Spectre), Nicolas Gourault (Unknown Label) and Jeremy Kamal (Mojo: Da Floods) differ in form and subject matter, they all focus on the variously understood landscape and the complex network of relations between humans, nature and new technologies that emerges in it. These projects make visible what usually remains invisible, especially in the context of the sources of what we have recently called the polycrisis. They are also proof that contemporary art, through the use of new technologies, is able to confront us in an innovative way with the grim realities of the Anthropocene and Mortonian hyperobjects such as global warming, artificial intelligence and Western colonialism.Although the artistic projects of Richard Mosse (Broken Spectre), Nicolas Gourault (Unknown Label) and Jeremy Kamal (Mojo: Da Floods) differ in form and subject matter, they all focus on the variously understood landscape and the complex network of relations between humans, nature and new technologies that emerges in it. These projects make visible what usually remains invisible, especially in the context of the sources of what we have recently called the polycrisis. They are also proof that contemporary art, through the use of new technologies, is able to confront us in an innovative way with the grim realities of the Anthropocene and Mortonian hyperobjects such as global warming, artificial intelligence and Western colonialism
Krajobraz a nowoczesność. Teoria krajobrazu Karataniego Kōjina
No full textThe aim of this article is to present the concept of the discovery of landscape as formulated by Karatani Kōjin in his seminal work Origins of Modern Japanese Literature. Karatani’s theoretical proposal remains an important contribution to the debate on the historicity of the basic concepts used to describe the world. He points to the direct connection between modern subjectivity and the relationship to the outside world, arguing that the breakthrough in the epistemological constellation in Japan took place in the third decade of the Meiji era. I present his views against the background of the earlier observations of Shiga Shigetaka and Watsuji Tetsurō
Uberlandszaft bólu oczu. Wanna z kolumnadą. Reportaże o polskiej przestrzeni (2020) Filipa Springera
No full textThe author discusses the second edition of Filip Springer’s collection of reportage-essays Wanna z kolumnadą. Reportaże o polskiej przestrzeni [Bathtub with a colonnade. Reportages on Polish space] from the perspective of the poetics of photographic experience. Springer’s work (the author of Miedzianka) is often reduced to the statement that he points out the paradoxes of space. However, in the case of Wanna z kolumnadą, the landscape turns out to be a multi-level, palimpsest experience, discovered and described by means of photographs and statistics, legal texts and residents’ accounts. As a result, space becomes not so much an object of analysis, but rather evidence in a case against Polish law and Polish reality.The author discusses the second edition of Filip Springer’s collection of reportage-essays Wanna z kolumnadą. Reportaże o polskiej przestrzeni [Bathtub with a colonnade. Reportages on Polish space] from the perspective of the poetics of photographic experience. Springer’s work (the author of Miedzianka) is often reduced to the statement that he points out the paradoxes of space. However, in the case of Wanna z kolumnadą, the landscape turns out to be a multi-level, palimpsest experience, discovered and described by means of photographs and statistics, legal texts and residents’ accounts. As a result, space becomes not so much an object of analysis, but rather evidence in a case against Polish law and Polish reality
Piekielne figle mego kija… Rozrywkowy rekwizyt w opowiadaniu Pan Wesołowski i jego kij Bolesława Prusa
No full textThe article analyses the function performed by a prop (specifically a man’s cane) in Bolesław Prus’s story. The analysis leads to the conclusion that the prop is an unrecognizable substitute for a person. It plays the role of a so-called double authority: it is what the owner would like to be and sets new objects of desire for him.The article analyses the function performed by a prop (specifically a man’s cane) in Bolesław Prus’s story. The analysis leads to the conclusion that the prop is an unrecognizable substitute for a person. It plays the role of a so-called double authority: it is what the owner would like to be and sets new objects of desire for him
List otwarty w sprawie artykułu prof. Anny Chęćki
No full textA letter to Prof. Anna Chęćka contains its author’s commentary on her impartiality-free and deprecating evaluation of Prof. Zbigniew Skowron’s translation of Roger Scruton’s Aesthetics of Music, published by the Polish Music Publishing House in 2024. The ethical nature of this assessment is called into question by the fact that Prof. Anna Chęćka was herself the scientific editor of this translation.A letter to Prof. Anna Chęćka contains its author’s commentary on her impartiality-free and deprecating evaluation of Prof. Zbigniew Skowron’s translation of Roger Scruton’s Aesthetics of Music, published by the Polish Music Publishing House in 2024. The ethical nature of this assessment is called into question by the fact that Prof. Anna Chęćka was herself the scientific editor of this translation
„Odnotować to, co znika bezpowrotnie”. Pejzaże w serialach Stanisława Jędryki
No full textThis article analyses the role of landscape in Stanisław Jędryka’s television series, showing how his works document spaces that are gradually disappearing from the urban environment. This phenomenon is particularly evident in the series 0:1 Before the Interval (1969), which shows images of the Warsaw Wild West, and the series I Bet on Tolek Banan (1973), which depicts the landscape of Warsaw’s Praga district and the area of its ‘10th Anniversary Stadium’. By evoking the reflections of filmmakers, critics and viewers, it is possible to uncover a particular cultural phenomenon: the longing for places that no longer exist; this longing is generated or provoked by the film images.This article analyses the role of landscape in Stanisław Jędryka’s television series, showing how his works document spaces that are gradually disappearing from the urban environment. This phenomenon is particularly evident in the series 0:1 Before the Interval (1969), which shows images of the Warsaw Wild West, and the series I Bet on Tolek Banan (1973), which depicts the landscape of Warsaw’s Praga district and the area of its ‘10th Anniversary Stadium’. By evoking the reflections of filmmakers, critics and viewers, it is possible to uncover a particular cultural phenomenon: the longing for places that no longer exist; this longing is generated or provoked by the film images
Pamięć miasta. Filmowy palimpsest Patricka Keillera
No full textPatrick Keiller, in his essay entitled The Poetic Experience of Townscape and Landscape, notes that the “desire to transform the world is not uncommon, and there are a number of ways of fulfilling it. One of these is by adopting a certain subjectivity, aggressive or passive, deliberately sought or simply the result of a mood, which alters experience of the world, and so transforms it”. For the British director, the way to transform the world is filmmaking. The English landscapes shown in his films, and especially urban areas, are dazzling with the almost complete absence of human figures. The (a)synchrony of image and sound shapes a kind of “third dimension” in the viewer’s mind, a kind of “space in between”. This, in turn, becomes a mental landscape structured by the logic of associations and understatements that can be read like a palimpsest. The article focuses on this way of reading urban space, using the example of the film London