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EN
The conceptual debate on recently quite a fashionable topic of landscape is, at least within Czech academia, deeply influenced by the concepts and imagery of natural sciences. In this article, we advocate an alternative concept of landscape, that developed by anthropology of landscape. We understand landscape to be a widely conceived "way of seeing", way of grasping, experiencing and understanding the world, rather than simply a piece of reality out there. In the first part of the paper we present, how anthropology of landscape theorize its subject. In the second we offer two applied examples – analyses of prehistoric and (post)industrial landscape. The main aim of the article is to balance otherwise natural science driven debate about landscape and to return to the concept of landscape what it lacks – human experience.
EN
The objective of this paper is an outline of the activity of art curators, modern art representatives and theatre directors in selected examples of post-industrial space in Southern Poland – and Upper Silesia in particular. Industrial facilities provide them with both inspiration and attractive exhibition spaces. Historical buildings and their surroundings are granted new aesthetic and conceptual meanings based on the study of their history and the remembrance of their former users. They also often contribute to the revitalisation of industrial heritage
EN
This paper examines industrial landscapes in Polish Cinema in the 60s. Upper Silesian scenery is considered not as a mere background but an essential element that constructs the cinematographic narration. Historic, economic, and socio-cultural context is brought up to draw attention to the propagandizing role of cinema in the 60s. The category of “iconic sites” proposed by Tim Edensor is introduced to analyze cinematographic depictions of Upper Silesia. Movies show the processes of industrialization framed by the strict artistic rules proposed by the Polish People Republic’s officials. The analyzed examples show the adoption of a distanced outsider’s perspective that is based on geographical and cultural orientation points. The propaganda images seen as “iconic sites” are confronted with another interpretative category proposed by Edensor, “quotidian worlds,” constituted by products of grassroots practices, focused on capturing the space of everyday experiences (surroundings) from the perspective of a citizen.
EN
The presented text aims to describe the transformation of the place of memory – the cave and the church of St. Prokop in the Prokop Valley – from the Middle Ages to the present with emphasis on the modernization processes of Czech history (Industrialization, secularization, urbanization, nationalization). The work traces the period from the beginning of the “artificial” creation of the pilgrimage’s place in connection with the legend of St. Procopius, through the weaking of the religious feast in connection with new national-patriotic ideological program, to the desacralization of the landscape and gradual loss of identity of the place due to limestone mining. “The creation of image” of this place of memory in the topographical (ie. proper) sense is documented primarily on “narrative” sources of an artistic nature (literature, painting).
EN
Industrial-era heritage ofpolish citiesis a space ofcomprehensive changes that occur after 1989. Among these transitions we can indicate degradation and abandonment, but also conservation, adaptations of buildings to new functions and increasing tourist role of technical heritage. Valuable and differentiated heritage ofthis kind in Cracow was also significantly affected in last 20 years. Numerous examples of adaptations and renewals not only contributed to preservation of industrial landscape elements, but also raised attractiveness of urban space. 1 was achieved by creating new commercial, tourist, cultural and museum offer utilizing technical heritage.
PL
Przemysłowe dziedzictwo ery polskich miast jest miejscem wszechstronnych zmian po 1989 r. Wśród nich możemywskazywać degradację, ale także ochronę, adaptację budowli do nowych funkcji i powiększającą rolę turystyczną technicznego dziedzictwa. Przykład Krakowa pokazuje, że odpowiednie zagospodarowanie czy podjęcie działań konserwatorskich względem tego rodzaju zabytków może znacznie podnieść atrakcyjność przestrzeni miejskiej. Atrakcyjność ta rozumiana może być na wiele sposobów, dziedzictwo to można bowiem wykorzystać nie tylko do tworzenia nowej oferty turystycznej i muzealnej, lecz także nietypowej oferty usług, kultury, a nawet (w przyszłości) mieszkalnictwa. Nie ulega również wątpliwości, że rewitalizacja zabytków techniki może znacznie wpływać na atrakcyjność wizualnej i estetycznej strony przestrzeni miejskiej. Celem rozważań jest uchwycenie przemian w zagospodarowaniu krakowskich zabytków techniki i ich otoczenia oraz towarzyszących temu zmian krajobrazu miejskiego. Szczególnie ostatnie lata (po 1989 r„ a zwłaszcza po 2000 r.) przyniosły szereg inicjatyw związanych nie tylko z zagospodarowaniem obiektów i terenów poprzemysłowych, lecz także konserwacją mniej znaczących obiektów inżynierskich. Równie interesujące są dalsze perspektywy i wyzwania związane m.in. z budową pierwszych w Krakowie „loftów” czy rozwojem Muzeum Inżynierii Miejskiej.  
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