Search results

1

MIEJSCE I PAMIĘĆ W PÓŹNEJ TWÓRCZOŚCI MARKA NOWAKOWSKIEGO. PROLEGOMENA

100%

Kudyba W.

Colloquia Litteraria

|

2015

|

vol. 19

|

issue 2

117-131

PL

Since 1990s Marek Nowakowski has systematically expanded the sphere of memoir-writing prose, which he built himself. In this prose it is spatial elements that first and foremost evoke images of the past, and a flâneur often becomes narrator. Gazing at architectural and urbanistic changes, he gives himself to memoirs. Various gastronomic establishments, understood as places of freedom, are particularly important goals of his journey to the past. Nowakowski also eagerly mentions specific individuals as well as types of their professions, which allowed for independence from the totalitarian rule of the Polish People’s Republic.

2

O flâneura spojrzeniu w przeszłość albo o antyturyście (na marginesie cyklu Szary Paryż Bogdana Konopki)

88%

Szalewska K.

Panoptikum

|

2009

|

issue 8(15)

45-60

EN

The paper concerns the relationship between the flâneur (a category common in the contemporary anthropological discourse) and the past. The Baudelaire’s and Benjamin’s figure of flâneur is defined as opposite to the conception of tourist (in the meaning Zygmunt Bauman attaches to it), and flâneur’s gaze is compared to the one of photographer’s, while taking sophisticated pictures of the city (as the subject of the paper are the shots of Paris taken by Bogdan Konopka, gathered in the cycle Paris en gris). Flâneur can be seen as a kind of historian-amateur, who – doing his stroll – ‘reads’ the city’s pastwritten in the architectural monuments, in the maze of the streets and courtyards, and seeks the ‘passages’ into the past (in this special meaning ‘passage’ – the term commonly referring to the arcades – is a metaphor naming a process of meeting the past, as well as a unique place in the space of the city, that makes this meeting possible). But the past is never there. It is gone and the only way to make it present again is to read its traces as allegory (according to Paul de Man, allegory – unlike the symbol – refers to the emptiness left after its referent’s disappearance).

3

Autobusem i tramwajem w przeszłość. Berlińskie zaszłości w twórczości Annett Gröschner

76%

Pytel-Bartnik E.

Przestrzenie Teorii

|

2015

|

issue 24

125-143

EN

This paper concentrates on the strategies of reconstructing the past as inscribed into the urban space of Berlin and discussed within the literary field. Developed by the German writer Annett Gröschner, they have been used to reexamine the history of the city – only dimly reflected in the present urban landscape. Her perspective emphasizes the distinctive spatial and architectural organization of the city, particularly after the fall of the Berlin Wall. In order to harness her dialec-tical composition of the spacing of-the-past, Gröschner uses the map of various routes on the Berlin public transport network, some inner-city artefacts set along those lines, and also the city map with its constant modifications to create appropriate landmarks through which she [re]constructs Berlin's past-present.

Refine search results

1 Colloquia Litteraria

1 Panoptikum

1 Przestrzenie Teorii

1 Kudyba W.

1 Pytel-Bartnik E.

1 Szalewska K.

2 2015

1 2009

MIEJSCE I PAMIĘĆ W PÓŹNEJ TWÓRCZOŚCI MARKA NOWAKOWSKIEGO. PROLEGOMENA

O flâneura spojrzeniu w przeszłość albo o antyturyście (na marginesie cyklu Szary Paryż Bogdana Konopki)

Autobusem i tramwajem w przeszłość. Berlińskie zaszłości w twórczości Annett Gröschner