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MYSTERIOUS POLISHB TOWNS (Tajemnicze miasta polskie)

100%
Kulas J.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 3-4(282-283)
65-70
EN
The presented essay contains a historical-literary outline of Polish adaptations of 'Les mysteres de Paris' by Eugene Sue during the second half of the nineteenth century. The authoress analysed 'Tajemnice Warszawy' (The Mysteries of Warsaw, 1908) by A. W. Koszutski, 'Tajemnice Krakowa' (The Mysteries of Cracow, 1870) by Michal Balucki, 'Tajemnice Nalewek' (The Mysteries of Nalewki, 1889) by Henryk Nagiel and 'Tajemnice Warszawy' (The Mysteries of Warsaw, 1887) by Bojomir Boncza within the context of the development of popular literature. The article indicates the fundamental elements of the genre: the fairy-tale structure with a morally satisfying end, the one-dimensional protagonists, the didactic commentaries and frequent passages addressed to the reader, the motif of love and money as the prime motor forces of the plot, the expanded dialogues and, first and foremost, the specific feature of mystery in the depiction of the city, the protagonist and their past. By resorting to the instruments used by the sociology of literature, the authoress proposes a critique of the assessment of the Polish mystery novel undertaken by Józef Abhors, and sketches the mechanism of the functioning of this genre of popular literature. In doing so, she shows the method of involving the reader into the course of the narration by means of a created illusion of reality, and thus discloses its persuasive strategy.
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THE URBAN IMAGINARY AND THE SPACE OF THE CITY (Wyobrazenie miasta i jego przestrzen)

100%
Harding D.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 3-4(282-283)
5-20
EN
In recent decades new theories and practices of urbanism and city planning have coalesced to form a highly visible domain of transdisciplinary discourses for studying cities as both distinct socio-cultural spaces as well as componential parts of wider networked systems, regional and global. One consequence of this development is an increasing awareness on the part of urban scholars that social processes are informed as much by symbolic and discursive practices as they are grounded in capitalist political economic practices. The Urban Imaginary and the Space of the City examines the ways in which the empirical city and its subjectively perceived image in Western culture endures as a complex and discontinuous site of convergent interests rather than a logically or conceptually clarified idea.
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URBAN ANTHROPOLOGY - AN AREA OF THE CONCENTRATION OF ANTHROPOLOGICAL PROBLEMS (Antropologia miasta - obszar koncentracji problemów antropologicznych)

100%
Kuczynska A.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 3-4(282-283)
253-266
EN
A proposal of a synthetic presentation of an urban anthropology project, which could constitute a conceptual framework for assorted empirical urban studies sufficiently extensive to encompass an anthropological interpretation of the 'world of the life' of a man of letters. The reflections are preceded by an outline of assorted stages in the moulding of the concept of urban anthropology, both in Poland and in Western science, which the authoress treats as a 'self-reflection' motif in urban anthropology (starting with the conception of 'expanding the object of ethnography' up to a change in the paradigm of anthropology). In a further part of her text the authoress seeks structures 'merging' numerous and divergent urban themes. The fundamental category of being - place, and in the dimension of the humanities - space and place, is a point of departure for anthropological motifs: the multiplicity of the senses and meanings of places in the town in their social, philosophical (the experiencing of 'being in space') and artistic dimension. The second keystone is time. The statement, recurring in 'town planning' literature in the manner of an axiom, namely, that the town is a permanent and complex temporal structure, creates a framework for an interpretation of a considerable part of urban experiences, collective conceptions and social practices: individual and collective memory, commemoration and annulment, revitalisation, nostalgia, etc. The temporal dimension discloses the connection between the town and culture, expressed in an ideological and literary discourse. Yet another fundamental concept of anthropology, i. e. the identity due to people and places, also refers to the past.
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WANDERING WRITING. PARIS AS A BOOK OF SIGNS (Wlóczegopisanie. Paryz jako ksiega znaków)

100%
Rutkowski K.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 3-4(282-283)
31-39
EN
'Le Livre des passages' is strange work and must be read in an equally unusual manner: this is a book which opens itself on a page of its own choice and compels the eye of the reader-flâneur to delve into a certain fragment, particle or voice. A Book of Passages written by a tramp calls for a reader who is a vagabond, a brigand, and an assailant. For Benjamin, just as for Balzac, Nerval and Baudelaire, Paris was a book of signs endowed with an inexhaustible narration potential, resembling a generator of the senses, working incessantly and at top speed. The task of the poet-flâneur consists, therefore, of indicating the multi-voice, ungrasped and ungraspable richness of simultaneously transpiring narrations.
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FROM THE TOWN GENIUS LOCI TO TOWN OLIGOPTICONS (Od miejskiego genius loci do miejskich oligopticonów)

100%
Rewers E.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 3-4(282-283)
21-30
EN
It is becoming increasingly difficult to describe towns while using historical categories, terms or ontological metaphors such as genius loci. Secular, fragmentary, and anomic post-industrial towns subjected to communication and information do not enroot us 'here', in our places, but change us into moving images of the consumer, the tourist, the passerby, the demonstrator, and the hardworking resident, and together with the images of the streets and squares transfer us 'elsewhere'. Despite the fact that today it is rather the product of marketing strategies than a live metaphor, genius loci continues to inspire researchers. What can be done so that its sense-creating force would not vanish while imprisoned in an historical costume? A proposal formulated in this text leads to a confrontation of the town genius loci with another metaphor - the oligopticon - with whose assistance B. Latour described Paris at the end of the twentieth century. Between genius loci and oligopticon there exists a bond based on a common meaning: both are known as the 'tireless guard'. By blending the social and technological aspects of life in the city, oligopticon, similarly to genius loci, extracts from urban space an endless number of sites (the multiple versions of Paris in Paris, Poznan in Poznan, Gdansk in Gdan sk), which together create a certain entity; true, it remains inaccessible for the sort of perception which has not been subjugated to the media, but it does not resemble anything else, and is mysterious and undefined.
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GENIUS LOCI AND THE SPATIAL BEHAVIOUR AND LIFESTYLE OF THE RESIDENTS OF SZMULKI (Genius loci a zachowania przestrzenne i style zycia mieszkanców Szmulek)

63%
Oliwinska I. A.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 3-4(282-283)
237-249
EN
The district of Praga and Szmulowizna had been treated for four centuries as a distinctive and inferior part of town. Nonetheless, this fragment of Warsaw possesses its own genius loci. It served as a haven for people not welcome on the left bank of the Vistula (such as runaway servants, thieves, bigamists, the poor and the homeless, petty artisans and shopkeepers, and the Jews). It was also chosen by representatives of the gentry, who treated the quarter as a sui generis hinterland, and used their residences only when they came to meet the king. Today, Praga is the destination not only by people evicted from the other bank of the Vistula, but the place of residence of artists and young university graduates. In the past, it was also chosen for industrial enterprises not fit for the elegant capital (charnel houses, tanneries, joiners' and dye shops, wire works, steel mills, etc.). For centuries, Praga was the site of flourishing trade and crafts. It was, and still is, full of street bazaars, open-air stalls, assorted small shops and workshops, where one could purchase or repair everything. Here, time seems to run a less hurried course, almost resembling that of a small provincial town. This particular section of Praga North also features a different architecture, whose development and form were influenced by the owners of Praga and Szmulowizna and the partitioning and local authorities. For hundreds of years, attention had not been paid to the well-balanced progress and development of Praga and Szmulowizna, regarded as an unattractive part of Warsaw of little interest to investors. Not until the 1990s was the appeal of the district, with its pre-war houses and a so-called ambiance, actually noticed. This was the period of the revitalisation of the old and neglected town houses (although only in select quarters). The history, folklore and brogue of Praga were promoted. The authorities of the district created opportunities for the newly settled artists, transforming industrial space into its cultural counterpart, and approving cooperation with local social partners.
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ILF'S TWO DAYS IN WARSAW (Dwa dni Ilfa w Warszawie)

63%
Gondowicz J.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 1-2(284-285)
52-53
EN
A fragment, selected and commented on by the author, of the diaries kept by the Ilya Ilf, the author of 'Twelve Chairs and Golden Calf', describing two days spent in Warsaw in September 1935.
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STADION X - A PLACE THAT NEVER EXISTED. ON PERFORMATIVE PROJECTS WITHIN THE SPACE OF THE 10TH ANNIVERSARY STADIUM (Podroz do Azji)

63%
Warsza J.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 1-2(284-285)
166-171
EN
Stadion X-lecia (the 10th Anniversary Stadium) was erected in 1955 with the wartime rubble of the destroyed capital. For forty years its purpose was to protect the good name of communism, but paradoxically the best known events from that period was the tragic self-immolation of Ryszard Siwiec in 1968, the papal Mass celebrated in 1983, and the concert given by Stevie Wonder in 1989. In the mid-1980s it ceased fulfilling sports functions, slowly turned into a ruin, and became a post-communist phantom. During the 1990s it was 'enlivened' by the Vietnamese intelligentsia and Russian traders - the pioneers of capitalism, who placed on the top tier of the Stadium camp beds full of commodities. Suddenly, the 'Jarmark Europa' market proved to be the only multi-cultural place in town, a storehouse of biographies, appliances, and history, as well as one of the greatest tourist attractions. A place which theoretically did not exist could be interpreted in numerous, often contradictory, ways: as an Asian suburb, a wild forest, a kingdom of the provisional, controlled chaos and cheap shopping, a declining sports club, a ruin of socialist realistic architecture, an archaeological site suitable for field work conducted by botanists, a seat of Jehovah's Witnesses, and many others. Performative projects within the space of the Stadium and the market emerged in response to the heterogeneous character of the site, its years-long (non-) presence in the middle of a post-communist city, and the invisibility of the Vietnamese minority. A Journey to Asia - an Acoustic Walk in the Vietnamese Sector of the 10th Anniversary Stadium (2006) and six other actions in the 2007/2008 season (Boniek!, A Scene-of-crime Inspection, The Liquidation of 'Jarmark Europa', Radio Stadium Calling, Truncheoning and Schengen) were subjective expeditions made by artists, sportsmen and activists to the reality of the 'already non-existent Stadium, but also indicated its controversial existence. Participation and para-documentary projects (a stroll, a sports match, a spectacle given on a construction site, an exhibition featuring live people) considered questions of memory, degradation, the force of the imagination, ambiguity, and the future or the challenging exotic qualities of the site.
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A PRAGA BALLADE (Praska Ballada)

63%
Lojko A.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 1-2(284-285)
81
EN
The author, a photographer working in the Warsaw district of Praga, discusses the works of Jacek Sielski - a press photographer documenting the life of the district from the 1970s on. 'Just as old love is recalled fondly even if it never had a happy end, so the photographs by Jacek Sielski, in the manner of an old ballad, lead us along the streets and lanes of Praga, producing tears of nostalgia', wrote the author, recalling the long lost world of his youth.
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'ON THE OTHER SIDE OF THE VISTULA' ('Z tamtej strony Wisly')

63%
Rozalski M.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 1-2(284-285)
334-337
EN
The author analyses the myth of Warsaw's artistic district of Praga. He compares the run of the mill opinions disseminated in the media with the mundane reality of the local art studios. Praga has been proclaimed an artistic quarter comparable with those functioning in, i. a. West Berlin. It turns out that the everyday life of the town house in Lubelska Street and other similar ones in Praga requires much effort and multiple organisational solutions, making it possible for this emergent artistic quarter to survive and develop.
11
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78 TARGOWA STREET. THE HISTORY OF A PHOTOGRAPHER'S STUDIO (Targowa 78. Historia zakladu fotograficznego)

63%
Sujecki J.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 3-4(282-283)
250-252
EN
A brief introduction to the history of a photographer's studio, once working in 78 Targowa Street.
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'NEIGHBOURS FOR NEIGHBOURS' ('Sasiedzi dla sasiadów')

63%
Lojko A.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 1-2(284-285)
94-105
EN
This text accompanied 'Sasiedzi' (Neighbours), an exhibition of photographs by the author, shown as part of the 'Neighbours for neighbours' show, describing the milieu of artists representing assorted disciplines and working in Praga (especially in 3 Inzynierska Street).
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THE ACTIVITY OF ARTISTS AND ANIMATORS OF CULTURE IN THE PRAGA DISTRICT OF WARSAW (Dzialalnosc artystów teatru i animatorów kultury na warszawskiej Pradze)

63%
Rozga M.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 1-2(284-285)
252-266
EN
The activity of artists recently working in the Praga district comprises a unique cultural phenomenon. The authoress discusses various theatrical groups and is interested predominantly in overlapping artistic and social initiatives. The article shows that the socio-cultural animation conducted in the district is part of a current described as 'the theatre infected with anthropology'.
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63 TARGOWA STREET (Targowa 63)

63%
Kroh M.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 3-4(282-283)
268-282
EN
The authoress, who lived in Targowa Street (the district of Praga) for 15 years, from 1948 to 1963, presents the reality of the district from that period as seen by a child and a girl. A confrontation of feelings originating in an intelligentsia home and the reality encountered on a daily basis in her closest surrounding.
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THE CURIOSITIES OF VIENNA (Osobliwosci Wiednia. Opowiesc historyczno-antropologiczna)

63%
Ferenski P. J.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 3-4(282-283)
60-64
EN
In his 'Eine Reise in das Innere von Wien', Gerhard Roth accepted a historical perspective and combined two types of reflectiveness. By focusing on symbols, values and ideas, he filled his essays with a concentrated mixture of data, dates, figures and statistics. At the same time, he proposed a rather untypical journey to the innermost recesses of the Austrian capital. In its course, Roth reaches out for that which is concealed (in the subconscious) and thus creates a 'different' portrait of the city as a silent (although by no means mute) witness of tumultuous history. The past and the present assume the form of quarters, streets, squares and assorted buildings that house institutions, brimming with law and violence, war and festivities, amusement and malady. At the same time, Roth does not shy from maligning the history of the state, the authorities, the Church, etc. An in-depth reflection on history and culture is accompanied by demystification tendencies not devoid of political demonstration.
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LITERATURE AND BANANAS. THE REALITY OF A CITY IN THE 'BOOK OF DISQUIET' BY FERNANDO PESSOA (Literatura i banany. Realnosc miasta w 'Ksiedze niepokoju' Fernanda Pessoi)

63%
Krol Z.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 3-4(282-283)
101-103
EN
The titular 'disquiet' is the outcome of an opposition to outside reality, unattainable and highly desirable. Life - symbolised by unpurchased bananas - follows its course outside the windows, in the streets of Lisbon. The civil servant trapped in an office is much too mired in self-reflections and absorbed in revelling in his misery to be able to overcome disquiet and experience the presence of the world...
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PORTRAITS OF PRAGA. ON THE ETHNOGRAPHIC QUALITIES OF CERTAIN PHOTOGRAPHS (Praskie portrety. O etnograficznosci pewnych fotografii)

63%
Dudek D.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 1-2(284-285)
205-225
EN
The transposition of certain aspects of culture calls for the application of such measures of expression, which possess the power to evoke and reflect a certain ambiguity. The photograph, conceived as a record of culture, is precisely such an instrument, which makes their exploration possible. By acting in this way, it constitutes an interesting source for the anthropologist. The authoress describes photographs by Zelda Klimkowska and Jacek Sielski, whose selection was published in the album 'Praga. Prawa strona Warszawy' (Praga. The Right Bank of Warsaw) as well as works by Krzysztof Mich in the album 'Moje miasto Praga' (My Town of Praga). On the one hand, she tries to solve a question about the essence of the anthropological dimension of the described photographs, while on the other hand she attempts to record the selected narrations to which the analysed photographs refer. These narrations make it possible to examine the world of the described protagonists. Anthropology, whose very core is 'anthropos', is by no means compelled to deal with man as such, a representative of a community or a group. Why can the anthropologist not focus on a person and his unique history? This is the task attempted by the authoress. The recorded histories comprise a certain retrospection and reflection.
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'JARMARK EUROPA' - A CONVERSATION ('Jarmatrk Europa' - zapis rozmowy)

63%
Paradowska J., Davies N., Olszanski T., Paczkowski A.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 1-2(284-285)
131-134
EN
A registered discussion about Stadion X-lecia (the 10th Anniversary Stadium), the 'Jarmark Europa' market and a symbolic boundary between the East and the West, held on 12 December 2007 at the Powszechny Theatre in Warsaw.
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STADION BAZAR (Stadion Bazar)

63%
Sulima R.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 1-2(284-285)
135-149
EN
The Warsaw open-air market in the 'abandoned' Tenth Anniversary Sports Stadium is described as a cognitive figure of essential diagnostic value and not as an ethnographic oddity. According to the accepted interpretation, Stadion Bazar (the Stadium Bazaar) is a figure not of a relic, vanishing after the closure of the almost twenty-years old Europe Fair (Jarmark Europa), but of that which is emerging and anticipated in the form of intensifying trans-cultural processes. Stadion Bazar is a Polish localization of the well-known 'ethno-landscapes' by Arjun Appadurai, a sui generis laboratory of the forms and styles of Polish postmodernity. An important part is played by a recognition of the 'borderland syndrome' (the frontier between the East and the West) and the 'revolutionary' role (in relation to the central systems) performed by an informal and, simultaneously, powerful 'parallel economy' conducted in the open-air stalls of the bazaar. The author analyses the cultural consequences of the presence of Stadion Bazar in a capital city, and its influence on the transformations of the semantics of urban space and the dynamics of the styles of Polish pop-culture and consumption models.
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IN SEARCH OF A CELESTIAL HAVEN - A COSMIC ODYSSEY (W poszukiwaniu podniebnej przystani - odyseja kosmiczna)

63%
Cembrzynska P.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 3-4(282-283)
115-124
EN
The dialogue Timaeus by Plato remarks that we should direct our thoughts towards the realm of the eternal stars, and that our spirit is not at home here, on Earth. Its true homeland is the heavens: '(...) we are a plant not of an earthly but of a heavenly growth'. Is it possible to live differently than on Earth? Fantasies of celestial cities were pursued by Jonathan Swift, Georgiy Krutikov, and Wenzel Hablik. Subsequently, the era of space flights led to dreams of discovering a Promised Land in the universe. The Stanford Torus inter-stellar colony conceived by NASA inspired Jaroslaw Kozakiewicz, the author of Satopticon, which instead of being a New Atlantis turns out to be a penal colony.
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