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1

Wielkopolskie rolnictwo w latach poprzedzających III RP (1772–1989) – zmiany gospodarcze i administracyjne

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Kościelniak M.

Roczniki Ekonomiczne Kujawsko-Pomorskiej Szkoły Wyższej w Bydgoszczy

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2015

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issue 8

53-69

PL

Wielkopolska to obecnie znaczący region rolniczy w Polsce o dużych zasobach ziemi. Choć warunki naturalne nie odbiegają od przeciętnych w kraju, w dużej części poziom gospodarstw, mierzony wydajnością, wyposażeniem technicznym czy kulturą rolną dorównuje standardom europejskim. Zaawansowany stopień produkcji żywności ekologicznej i wysokie plony ziemiopłodów oraz optymalna wielkość pogłowia zwierząt hodowlanych, lokują region na czele województw. Zadaniem niniejszej pracy było prześledzenie zmian i przeobrażeń gospodarczych i administracyjnych w tej dziedzinie gospodarki na przestrzeni lat 1772–1989 oraz przedstawienie zmian zachodzących w rolnictwie tego regionu oraz w sposobie użytkowania ziemi w Wielkopolsce w okresie 1772–1989.

EN

Wielkopolska is now a major agricultural region in Poland with a large inventory of land. Although the natural conditions do not differ from the average in the country, in large part household level, measured performance, technical equipment or agricultural culture par with European standards. The advanced degree of organic food production and high yields of crops and the optimal size of livestock populations, invest region at the forefront provinces. The purpose of this study was to investigate changes and economic and administrative transformations in the field of economy for the years 1772–1989 and to present the changes taking place in the agriculture of the region and in land use in Wielkopolska over the years 1772–1989.

2

Stanowisko. Przeciw-historia

100%

Kościelniak M.

Didaskalia. Gazeta Teatralna

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2020

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issue 160

1-3

PL

Polemika z tekstem "Oświadczenie" Leszka Kolankiewicza

3

Odpowiedź

100%

Kościelniak M.

Didaskalia. Gazeta Teatralna

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2021

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issue 161

173-175

4

Publiczność nie/obecna

100%

Kościelniak M.

Didaskalia. Gazeta Teatralna

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2020

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issue 157-158

1-15

PL

Z Michałem Zadarą rozmawia Marcin Kościelniak

5

„Żadnej metafizyki. Idioci!” Teatr postdramatyczny – ateizm – polityka

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Kościelniak M.

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2017

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vol. 66

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issue 1-2(261-262)

199-208

EN

In the article “‘No Metaphysics. Idiots!’” Marcin Kościelniak undertakes a reading of Tadeusz Różewicz’s open theatre, particularly The Interrupted Act and The Card Index, in accordance with the sequence defined in the subtitle: postdramatic theatre, atheism, and politics. Following a suggestion put forth by Mateusz Borowski and Małgorzata Sugiera that we look at the theatrical project underlying The Interrupted Act from the perspective of postdramatic theatre, the author points out that Hans-Thiers Lehmann’s conception of the postdramatic is based not only on aesthetic but also on political criteria, and the latter are as important and fundamental as the former. This makes it possible to pose the question about the epistemological and axiological criteria underlying the decay of dramatic form in Różewicz’s open theatre. Citing passages from Różewicz’s poetry and referring to interpretations by Ryszard Nycz and Aleksander Fiut, the author proposes that we see the political grounds of Różewicz’s postdramatic theatre in his atheism. Following this lead, the author views the central aesthetic categories of both postdramatic theatre and Różewicz’s open theatre, i.e. “the here and now,” reality in place of an illusion, as political gestures as well (rejection of metaphysics, materialism). In this light, the “brutal realism” proclaimed by Różewicz is as much about drawing the theatrical spectacle closer to performance as it is about the lack of transcendence. The author seizes upon the opinions expressed by Jan Błoński and Małgorzata Dziewulska who accused Różewicz of being too fond of decay, as it is precisely the most valuable quality of his creative work. “Różewicz as an atheist, materialist, and realist—this is a stupendous source of his art,” Kościelniak states and proposes that we reclaim the subversive potential of Różewicz’s theatre, which consists in its being radically apart from the dominant Romantic and Christian tradition of Polish theatre.

6

W stronę archiwum-kłącza: Aneta Klassenberg

100%

Kościelniak M.

Pamiętnik Teatralny

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2020

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issue 3(275)

7-50

EN

This text discusses Katarzyna Kalwat’s project Maria Klassenberg, focusing on its most important part to date, Ekstazy (Ecstasies). Klassenberg represents women artists of the 1970s who have not been admitted to the canon. The author of the essay situates the project in the context of Kalwat’s output and other relevant works of the historiographical turn. He problematizes the shape of the female genealogy built by Kalwat by means of a counterfactual archive. His methodological basis is the concept of the archive understood as discursive practices (following Foucault and Derrida). If the archive produces and, at the same time, is a product of patriarchal culture, the author considers how and to what extent Kalwat’s counterfactual archive breaks the rules of utterability. The reflection is enabled and complicated by taking into account the Maria Klassenberg Archive 1970–1980, which comprises videos and photographs produced for the project by Aneta Grzeszykowska. According to the author, the chance to go beyond the patriarchal logic of the archive lies in the processual character of the project, developing between subsequent parts, from theatre to performance.

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6 Kościelniak M.

Wielkopolskie rolnictwo w latach poprzedzających III RP (1772–1989) – zmiany gospodarcze i administracyjne

Stanowisko. Przeciw-historia

Odpowiedź

Publiczność nie/obecna

„Żadnej metafizyki. Idioci!” Teatr postdramatyczny – ateizm – polityka

W stronę archiwum-kłącza: Aneta Klassenberg