Search results

1

Programy rozwoju przedsiębiorczości miasta Koszalin

100%

Dajczak K., Rychły-Lipińska A.

Przedsiębiorczość - Edukacja

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2007

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vol. 3

88-93

EN

Work in economic sphere is the priority of Koszalin. The key to development of Koszalin is thefocus on economic sphere on attraction the investors and the development of enterprise. Principle task of the provincial government, obliged to support the economic activity and the increase ofworkplaces, is to favor these works. The local council of Koszalin creates favorable environmentfor development of enterprise by initiation different programs of support for citys enterprise.

2

Warsztaty millPOLstone w Koszalinie, 1–2 września 2021 r.

85%

Mosakowski Z.

Rocznik Skrzatuski

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2022

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vol. 10

298-300

3

Konwent cysterek w Koszalinie. Część 2. Badania archeologiczne na cmentarzysku przyklasztornym

71%

Abramów J., Bienias D., Borkowski J., Cymek L., Kuczkowski A., Rożnowski F.

Materiały Zachodniopomorskie

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2014

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vol. 10

191-235

EN

Abstract: The paper presents the results of excavations carried out on the Cistercian convent's cemetery in Koszalin. During rescue excavations, 16 inhumation burials were discovered. The dead were buried without any additional furnishings in wooden coffins. The burials were arranged in a regular row. Graves are dated to the 1280s - the first quarter of the 16th century.

4

Proces lokacji średniowiecznego Koszalina w świetle źródeł archeologicznych i historycznych

71%

Borkowski J., Kuczkowski A.

Materiały Zachodniopomorskie

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2014

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vol. 10

237-253

XX

Abstract: Based on the results of archaeological research carried out in the Old Town in Koszalin, confronted with written sources, the authors attempted to identify the nature of the pre-location settlement phase (open settlement and stronghold), and the development of structures in the quarters and urban plots of the charted town. They deal with the subject of the two main elements of the medieval town - the town hall and the parish church as well as the importance of the Cistercian convent in the town’s development.

5

Potencjał i możliwości rozwoju turystyki kulturowej w Koszalinie

71%

Marczak M., Szwichtenberg A.

Turystyka Kulturowa

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2013

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issue 12

25-35

EN

The main purpose of the present article is to depict the potential and developmental possibilities of cultural tourism in Koszalin. This article presents among others the cultural values of the town. The functioning was described of the most important cultural institutions that operate in Koszalin (including the 105 Centre of Culture, the Baltic Drama Theatre of J. Słowacki, the Koszalin Public Library of J. Lelewel, the Museum in Koszalin, the Koszalin Philharmonic of Stanisław Moniuszko). Furthermore, the most important cultural events that take place in the town were presented. In the article, the following research thesis was accepted in the form of the statement that Koszalin constitutes a very important cultural centre on the map of Poland, which attracts not only one-day visitors but also, to a large extent: tourists. Moreover, it possesses appropriate values and favourable conditions to pursue cultural tourism.

PL

Głównym celem artykułu jest ukazanie potencjału i możliwości rozwojowych turystyki kulturowej w Koszalinie. W artykule przedstawiono m.in. walory kulturowe miasta. Opisano również funkcjonowanie najważniejszych instytucji kulturalnych działających w Koszalinie (m.in. Centrum Kultury 105, Bałtycki Teatr Dramatyczny im. J. Słowackiego, Koszalińska Biblioteka Publiczna im. J. Lelewela, Muzeum w Koszalinie, Filharmonia Koszalińska im. Stanisława Moniuszki). Przedstawiono ponadto najważniejsze imprezy kulturalne odbywające się w mieście. W artykule przyjęto następującą tezę badawczą w postaci stwierdzenia, iż Koszalin jest bardzo ważnym centrum kulturowym na mapie Polski, przyciągającym nie tylko jednodniowych odwiedzających, ale także, w dużym stopniu – turystów. Posiada ponadto odpowiednie walory oraz sprzyjające warunki do uprawiania turystyki kulturowej.

6

Konwent cysterek w Koszalinie. Część 1. Zarys dziejów

71%

Brzustowicz G. J.

Materiały Zachodniopomorskie

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2014

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vol. 10

159-189

EN

Abstract: Cistercian nuns were brought to Koszalin in the years 1277-1278. Their abbey was dedicated to the Blessed Virgin Mary. The source material for the history of Koszalin convent reflects its complex structure. It enables us to list the heading provisors, abbesses and convent elders, common nuns as well as knights subordinate to the abbey and townspeople renting land. The basis of the Koszalin convent’s economy was real estate, land scattered in many places mainly in the Koszalin and Kołobrzeg areas. The convent’s estate became the property of the dukes of Pomerania in the 16th century, while the convent building served as the residence of the dukes of Pomerania and the bishops of Kamień Pomorski.

7

Strategia rozwoju transportu w Koszalinie jako element strategii rozwoju miasta

70%

Wiskulski T.

Zeszyty Studenckie Wydziału Ekonomicznego „Nasze Studia”

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2011

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issue 5

79-90

PL

Program zrównoważonego rozwoju transportu jest zjawiskiem coraz częściej spotykanym w największych miastach w Polsce. Koszalin, pomimo utraty statusu miasta wojewódzkiego, w dalszym ciągu pełni ważne funkcje administracyjne i transportowe. Jako miasto powiatowe o liczbie ludności ponad 100 tys. mieszkańców znajduje się na skrzyżowaniu dwóch dróg krajowych oraz posiada węzeł kolejowy. Zmusza to władze samorządowe do szukania rozwiązań w transporcie pozwalających na zrównoważony rozwój regionu. Głównym celem pracy jest przedstawienie realizacji strategii rozwoju transportu w latach 2001 – 2010 wraz z potencjalnymi wariantami rozwoju na lata 2010 – 2015.

EN

The program of sustainable transport is a more often common phenomenon in major cities in Poland. Koszalin, despite losing the status of capital of voivodeship still performs important administrative and transportation functions. As a district town with a population of over 100 thousand of residents is located at the crossroads of two national roads with a railway hub. This prompts local authorities to seek solutions for transport to develop sustainable development of the region. The main aim of this paperwork is an introduction of realisation strategy about transportation development in years 2001-2010 with potencial ways of development in years 2010-2015.

8

Komunikacja miejska w Koszalinie w latach 1945–1989

70%

Juszczak E.

Przegląd Zachodniopomorski

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2016

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issue 4

105-138

EN

The article presents the history of a public transport company in Koszalin in the years 1945–1989. After the Second World War the German means of public transport were completely destroyed. It was not until 1948 that the City Council of Koszalin made up 12 motions concerning the inclusion of municipal investments into the State Investment Plan for 1949. There were four million zlotys allotted to the Koszalin public transport. It was decided to buy three buses. The funds were supposed to come from a four-million credit taken out from the Communal Credit Bank. In 1949 two buses (needing a repair) were bought: one Büssing, and the other Chevrolet. In August 1949 the City Council appointed Jerzy Czechowicz to the organisation of the Public Road Transport in Koszalin. The Public Road Transport in Koszalin was put into motion on October 15, 1949. In 1954 the Urban Road Transport (MKS) received from the Ministry of Municipal Economy three ‘Mavag’ buses, which were destroyed in 50%. The company was financed with a state subsidy, and its fleet came from the Transport Department of the Ministry of Communal Economy. In 1955 for the first time three new buses (Star 52) appeared; also a new service station was created, with six service bays. The working conditions of the mechanics were rather poor. Koszalin, the capital of the region since 1950, was developing rapidly; and the urban transport company did not keep up with the growing transport needs of the inhabitants. In the subsequent years the number of new buses (San and Autosan) was increasing, but they kept breaking and there were too few of them. A big change took place in the 1970s, after the central harvest festival in Koszalin, among other things, thanks to Cezary Stankiewicz, manager of the Koszalin urban transport. In the years 1970–1977 the number of passengers was doubled. In the morning rush hours the buses carried 22,000 passengers. New bus lines were created, for example to Mielno. In 1977 a new company was born, the Urban Transport Company of the Koszalin Voivodeship; since 1975 it has been one of the biggest companies of that type in the country. In 1989 the rules of its functioning were changed, its fleet was modernised, but in spite of the state subsidies, the prices of the tickets were not low.

9

Historical Sanatoriums in West Pomeranian Voivodeship– 100 years ago. Part 1 – Sanatoriums for Tuberculosis, Scrofula and Rickets

57%

Juttemann A., Strugała N.

Acta Medicorum Polonorum

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2020

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vol. 10

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issue 1

5-13

EN

In the early 1900s, European citizens, especially from the working class, suffered from diseases caused by nutrient deficiencies. In addition to tuberculosis, which was spreading in poor city quarters, so called skrofula (a lymphadenitis of the cervical lymph nodes associated with tuberculosis) and rickets were also spread. Houses for weakened and malnourished residents were built on the Baltic coast for preventive or rehabilitation purposes. That is why these spas were called "Seehospiz" or "Heilstätte" in German. The article presents the most important objects that existed about 100-125 years ago in the territory of the present West Pomeranian Voivodeship.

PL

Na początku XX wieku obywatele europejscy, zwłaszcza ci z klasy robotniczej, cierpieli choroby spowodowane niedoborami substancji odżywczych. Oprócz gruźlicy, która szerzyła się w biednych dzielnicach miast, rozpowszechniły się także skrofuloza (tak zwana gruźlica węzłów chłonnych) i krzywica. W celach profilaktycznych lub rehabilitacyjnych wzdłuż wybrzeża Bałtyku na Pomorzu Zachodnim budowano domy dla osłabionych i niedożywionych mieszkańców. Dlatego też sanatoria te nazywano w języku niemieckim "Seehospiz" lub "Heilstätte". Poniżej przedstawiamy najważniejsze obiekty, które istniały około 100-125 lat temu na terenie obecnego województwa zachodniopomorskiego.

10

Kardynał Stefan Wyszyński jako inspirator i protektor rozwoju życia religijnego na Pomorzu Zachodnim

57%

Wiązowski E. G.

Studia Koszalińsko-Kołobrzeskie

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2013

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issue 20

331-351

PL

Prymas Polski kard. Stefan Wyszyński troszcząc się o Ziemie Zachodnie i Północne był inspiratorem i protektorem rozwoju życia religijnego na Pomorzu Zachodnim. Długoletnie zabiegi oraz starania kard. Wyszyńskiego w Stolicy Apostolskiej zostały uwieńczone sukcesem, bowiem w 1972 r. obok innych diecezji polskich na Ziemiach Zachodnich i Północnych powstały diecezje: gorzowska, szczecińsko-kamieńska i obejmująca Pomorze Środkowe oraz na-wiązująca do tradycji dawnego biskupstwa kołobrzeskiego diecezja koszalińsko-kołobrzeska z siedzibą w Koszalinie. Włączono ją w granice metropolii gnieźnieńskiej. Prymas Polski dwukrotnie odwiedził Koszalin, Kołobrzeg oraz Słupsk głosząc kazania, które nacechowane były zachętą do zachowania wiary i wierności Kościołowi katolickiemu oraz chrześcijańskim tradycjom narodu polskiego.

EN

Poland’s Primate Cardinal. Stefan Wyszynski caring for the western and northern areas was the initiator and protector of the development of religious life in Western Pomerania. Cardinal Wyszynski’s long-term endeavours and efforts in the Holy See were indeed successful, as in 1972, along with other Polish dioceses in the western and northern dioceses the following ones were created: Gorzów, Szczecin-Kamiensk, another one covering Central Pomerania and the Diocese of Koszalin-Kolobrzeg, based in Koszalin, which referred to the tradition of the former bishopric of Kolobrzeg. This was included in the boundaries of the Gniezno metropolis. The primate of Poland visited Koszalin, Kolobrzeg, and Slupsk twice. During his trips, he preached, sparing no efforts to encourage people to keep the faith and fidelity to the Catholic Church and the Christian traditions of the Polish nation.

11

Kultura Zrzuty, suplement do tematu

51%

Sobota A.

Sztuka i Dokumentacja

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2012

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issue 7

60-65

EN

An artistic phenomenon called the ‘Pitch-In Culture’ distinguished the Łódź artistic scene, although it actually reflected the situation in the whole country during the eighties and that is the reason why it attracted artists from different towns and various generations. The most radical arts programme emerged across the entire spectrum of independent artistic activities in Poland after martial law and it was different from art directly connected with political opposition or religious motives. I observed some ‘Pitch- In culture’ actions in Łódź, however I prefer to talk about the way the phenomenon was situated in the broader context of the situation for the arts communities in Poland. Since the mid fifties the art circuit had become stronger and stronger, becoming an alternative to official culture. The totalitarian system was conducive to bureaucratic stagnation, so young artists, who were interested in new media and a non-conventional means of expression, created their own network of artistic groups, galleries and events, most often associated with so called ‘student culture’. In the seventies these artistic communities was numerous and multi-generational. Their basic need was selfeducation and generating a network of private contacts in the country and abroad as well as mutual support within art groups and collective shows. The situation after martial law strongly underlined the need to continue to communicate, deepen the knowledge and keep contact with the essence of modern art. The fight for an artistic awareness ran parallel to the fight for political freedom and historical truth. It was not about randomly adding whatever, but moreover about adding something that was considered valuable to the culture that was practiced at the time. For me, as an art historian it was important to broaden the knowledge and preserve the facts about modern art history. Independently of my work in the museum, I participated in a team directed by Professor Aleksander Wojciechowski, who worked on the history of the neoavant- garde in Lower Silesia. Jerzy Busza also appointed me a member of the editorial board of the Obscura bulletin (1982-1990), in which we published important texts that had not been published before in Poland and which explained the sense of modernist and post-modernist ideas. The monthly edition was published as the Federation of Amateur Photography Associations allowed us to publish it as their bulletin. This may all be described as progressive activities in the face of the lack of institutional support at the time for various forms of culture.

12

Sztuka w pociągu relacji Łódź – Koszalin

51%

Ciesielski W.

Sztuka i Dokumentacja

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2012

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issue 7

70-75

EN

The term ‘Pitch-In Culture’ first showed up in Łódź, in the middle of 1984, during an artistic-social meeting. The text describes the problems and controversies associated with research on this phenomenon. Problematic issues refer to both the scope and the time frame within which it acted, and the list of the participants. The author states, that maybe with time it grew so much that it started to function independently of its primary source. He pays attention to achievements that apparently existed on the margin of Polish art, but when considered with regard to the perspective of the Pitch-In Culture, they can show the whole phenomenon in a new light. The text describes a few selected events, that took place in Koszalin or were undertaken as initiatives of artists from Koszalin in the eighties. The author points to a few important elements that in his opinion are characteristic of activities within the Pitch-In Culture. He points to the modernist intellectual heritage and the post-modern approach to problems within the art of that period. Following Janusz Zagrodzki, the author of the term ‘Private Art’, the author focuses the functioning of the Pitch-In Culture within the private and unofficial sphere and following Józef Robakowski he focuses on keeping an individual and independent attitude as an element that is essential for making art. The author further states, that in the way Pitch-In Culture or ‘Private Art’ functioned, there are four important elements: the personal relationships and contacts of the participants, the spaces – enclaves that allowed for the organisation of events and confront attitudes, activating and annexing the activities of people from outside of so-called art community, as well as self-publishing. According to the author, probably the greatest manifestation of the Pitch- In Culture and ‘Private Art’ was the Artist Pilgrimage organised in September 1983 in Łódź. As part of the Pilgrimage there were exhibitions, concerts, film screenings, actions, performances and theoretical appearances that were presented on an equal basis and always ended with long discussions. The Christmas call event entitled NO SLOGAN [BEZ HASŁA] organised in Koszalin between the 10th and 12th of February 1984 was an event in return for inviting the artists from Koszalin to the Pilgrimage that happened a year earlier. The organisers were the people who participated in the event in Łódź: Ewa Kowalska, Grażyna Bogusz- Wolska, Andrzej Ciesielski and Stanisław Wolski. They invited 85 artists from the whole country, plus there also came many artists who were not formally invited but associated with the Pitch-In Culture movement. The next initiative by artists from Koszalin was a cyclical event, organised between 1982 and 1988every year in mid-December, AFTER A YEAR organised by Andrzej Ciesielski and Andrzej Słowik. Artists from the whole of Poland presented their current art practice. For the Koszalin community open-air workshops were an important activity, that were in fact connected with the tradition of the Osieki workshops organised since 1963 and ended after the imposition of martial law in 1981. The situation was changed by a series of workshops organised under a name “We invite you to work” between 1987-1989 in Karlino and in 1990 in Darłowo. The initiators and first artistic curators were Andrzej Słowik and Maria Idziak who in 1989 entrusted the function to Wojciech Zamiara and in 1990 to Andrzej Ciesielski. Also important for the functioning of the Koszalin community within the Polandwide circuit was the Presbitery (Na Plebanii) Gallery run by an artist Andrzej Ciesielski and between 1986 and 1990 there were 35 meetings organised in it. As the author states, the Pitch-In Culture was born out of the need for a totally different way of presenting one’s own artistic practice, the exchange of information and joint action. Without friendship, knowing one another, a willingness to work and even without some personal antagonisms, the whole movement would not have had a chance to spread so broadly around the country and accept so many versatile artists as for example as it happened in Koszalin.

13

Wpływ wyboru papieża Jana Pawła II na stosunek władz państwowych do Kościoła katolickiego na Pomorzu Zachodnim. Metody i przykłady

43%

Śmierzchalski-Wachocz D.

Studia Koszalińsko-Kołobrzeskie

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2020

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issue 27

501–523

PL

16 października 1978 roku wybór papieża Polaka – Jana Pawła II przebudził Kościół katolicki w Polsce i samo społeczeństwo. Natomiast pierwsza pielgrzymka do Ojczyzny w 1979 roku, do której nie mogło dojść w 1966 roku w osobie papieża Pawła VI, ośmieliły Polaków, w tym także ludzi Kościoła. Wybór papieża Polaka przełożył się na prawdziwy bum powołaniowy w Polsce, w tym w seminarium paradyskim, nad którym nie były w stanie zapanować władze komunistyczne. Natomiast pierwsza pielgrzymka Jana Pawła II do Ojczyzny i kolejne dwie przebudziły sumienia Polaków, jak to podkreśla George Weigel w swoich publikacjach. Owocem pielgrzymki były narodziny „Solidarności”. Przez kolejne lata 80. Kościół oraz społeczeństwo w Polsce, a tym bardziej na tzw. Ziemiach Odzyskanych, żyło w klimacie i duchu pielgrzymek papieskich oraz peregrynacji obrazu MB Częstochowskiej. Jednak system komunistyczny nie zamierzał dać za wygraną. Nasilił na ogromną skalę działania operacyjne Służby Bezpieczeństwa, czego wyrazem były skrytobójcze mordy ludzi z opozycji. Przykładem jest rodzina Mariana Jurczyka oraz ludzi Kościoła katolickiego, w tym ks. Jerzego Popiełuszki. Jednak takie działania jedynie wzmagały w społeczeństwie i osobach duchownych wolę walki z systemem. Stąd dni systemu komunistycznego w Polsce, w tym na Pomorzu Zachodnim, były policzone. Kontraktowe wybory z czerwca 1989 roku jedynie potwierdziły ten fakt. Niestety, nie udało się w 1990 roku ostatecznie odciąć ludzi minionego sytemu i jego mentalności. Czego konsekwencje kraj przeżywał i niestety, nadal przeżywa na różnych płaszczyznach życia politycznego, społecznego, a zwłaszcza w przekazach mediów prywatnych, pozostających w rękach ludzi związanych z minionym systemem.

EN

On December 16, in 1978, the election of the Polish Pope John Paul II awakened the Catholic Church in Poland and the society itself. The first pilgrimage of the Pope to Poland in 1979, that couldn’t be realized in 1966 as a pilgrimage of the Pope Paul VI, encouraged Polish people as well as the Church. The election of the Polish cardinal as a pope caused in Poland the beginning of a real “boom” of vocations to priesthood, also in Paradyz (Paradyż) Seminary. Even communist authorities were not able to control it. The first pilgrimage of Pope John Paul II to His homeland and the next, awakened the conscience of Polish nation, as G. Weigel emphasizes in his publications. “The birth” of “Solidarity” was the fruit of this first pilgrimage. Over the following 1980s, the Church and the society in Poland, and especially on the so-called Regained Territories, lived in the spirit and atmosphere of both – papal pilgrimages and the peregrination of the miraculous image of Our Lady of Czestochowa (Częstochowa). However, the communist system was not going to give up. It intensified on the large scale the operations of the Security Service, expressed in treacherous murders of people of opposition. The example of such oppression was the family of Marian Jurczyk, also people and priests of the Catholic Church, like priest Jerzy Popiełuszko, murdered treacherously. However, such action only intensified in society and in clergy the spirit of fighting with the system. Hence the days of the communists were numbered. The regulatory election in June 1989 only confirmed this fact. Unfortunately, in 1990 it was not possible to finally cut off the people of the passing system and its mentality; it have caused the consequences, which were and still are in various areas of political and social life, and especially in the media, remaining in the hands of people of the passing system.

14

Kultura Zrzuty trzydzieści lat później

41%

Dziamski G.

Sztuka i Dokumentacja

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2012

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issue 7

66-69

EN

The “Pitch-In Culture” began functioning at the end of 1981 within a circle of people connected with the Łódź Kaliska group, but very soon its strongest presence was reflected by the Artist pilgrimage, Long live art! (Łódź 2-4.09.1983). This was when two meanings of the term “Pitch-In Culture” emerged: a narrow one, meaning people connected with the Łódź Kaliska group and those whose concept of art was closely associated with the group and broader intrepretation – meaning the way the artists acted who wanted to keep their independence during the martial law. Józef Robakowski on the occasion of an exhibition organised in Belgium entitled The Polish avant-garde wrote that the Pitch-In Culture was “independent of politicians, police, church, administration and artists themselves”, it expresses in gestures and slogans, “that is why it may be everywhere, in our homes, streets, forest, bar, park, tram, queue at the butchers shop and even on the train from Łódź to Koszalin and back”. Martial law forced artists to search for new forms for their activities, but this did not blur the previous personal and artistic differences. For Józef Robakowski the Pitch-In Culture was a new form for the activities of independent artists; for Łódź Kaliska it was a new artistic form. In the first case the ‘Pitch-In Culture’ was only a means; in the second – it was an aim. Of course, the second is more interesting but it requires us to answer a question: what was the art form about? Some critics thought of Jacek Kryszkowski as one of the Pitch-In Culture leaders, although he considered that the Pitch-In Culture was supposed to break with the production model of art. Kryszkowski never explained how this post-production art shall look. Today, even though Kryszkowski would not have been happy about this, since many times he attacked the dependence of Polish criticism upon art terminology and theories worked out in the West, we could say that post-production art actually resembles the relational aesthetics of Nicolas Bourriaud.

15

Ludność autochtoniczna województwa koszalińskiego w taśmotece Polskiego Radia Koszalin z lat 1957-1975. Przegląd zawartości taśm magnetycznych

36%

Pencarski K.

Przegląd Zachodniopomorski

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2017

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issue 3

237-258

EN

The article is devoted to the audio-visual collections created in the years 1957–1975 which reflect the life and activities of the native populace of Koszalin voivodeship. The collections, stored in the tape archives of the Polish Radio Broadcast Centre in Koszalin, constitute for interesting research material, although not free of propaganda. Koszalin voivodeship was, until the second half of the 1970s, within the range of the Polish Radio Broadcast Centre in Koszalin, thus the recording of the audio material, as well as processing and broadcasting were all conducted within a single administrative unit and territorial property of the broadcast centre, as it was in the case of the other 16 broadcast centres of the Polish Radio. The paper emphasises on the role of the Polish Radio in creating the regional identity of the eastern part of West Pomerania, as well as the relations of this region with the rest of the Polish territories. The article provides an overview of the contents of the magnetic tapes along with technical data and the persons responsible for the production and processing of the audio material.

PL

Artykuł poświęcono zbiorom audiowizualnym, które odzwierciedlają życie i działalność ludności rodzimej województwa koszalińskiego, a które powstały w latach 1957–1975. Zbiory te, przechowywane w taśmotece Rozgłośni Polskiego Radia w Koszalinie, stanowią interesujący materiał badawczy, niepozbawiony jednakże akcentów propagandowych. Województwo koszalińskie do połowy lat siedemdziesiątych XX wieku objęte było zasięgiem Rozgłośni Polskiego Radia w Koszalinie, toteż rejestracja materiału dźwiękowego, jego obróbka (montaż) i emisja odbywała się w ramach jednej jednostki administracyjnej i właściwości terytorialnej rozgłośni, na wzór pozostałych 16 rozgłośni Polskiego Radia. Zaakcentowano rolę Polskiego Radia w kształtowaniu tożsamości regionalnej wschodniej części Pomorza Zachodniego, jak i powiązania tego obszaru z pozostałymi ziemiami polskimi. W artykule dokonano przeglądu zawartości taśm magnetycznych wraz z danymi technicznymi oraz osobami odpowiedzialnymi za produkcję materiału dźwiękowego oraz jego montaż.

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Programy rozwoju przedsiębiorczości miasta Koszalin

Warsztaty millPOLstone w Koszalinie, 1–2 września 2021 r.

Konwent cysterek w Koszalinie. Część 2. Badania archeologiczne na cmentarzysku przyklasztornym

Proces lokacji średniowiecznego Koszalina w świetle źródeł archeologicznych i historycznych

Potencjał i możliwości rozwoju turystyki kulturowej w Koszalinie

Konwent cysterek w Koszalinie. Część 1. Zarys dziejów

Strategia rozwoju transportu w Koszalinie jako element strategii rozwoju miasta

Komunikacja miejska w Koszalinie w latach 1945–1989

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