Search results

1

Liminal Space in J. G. Ballard’s Concrete Island

100%

Tereszewski M.

Text Matters: A Journal of Literature, Theory and Culture

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2019

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issue 9

345-355

EN

This article explores the way in which surrealist techniques and assumptions underpin spatial representations in Ballard’s Concrete Island. With much of Ballard’s fiction using spatiality as an ideologically charged instrument to articulate a critique that underpins postcapitalist culture, it seems important to focus on exactly the kind of spaces that he creates. This paper will investigate the means by which spatiality is conceptualized in Ballard’s fiction, with special emphasis on places situated on the borders between realism and fantasy. Ballard’s spaces, often positioned on the edgelands of cities or centers of civilization, can be aligned with the surrealist project as presented not only by the Situationalist International, but of psychogeographical discourse in general. What the various Ballardian spaces-motorways, airports, high-rises, deserts, shopping malls, suburbs-have in common is a sense of existing outside stable definitions or what, following Marc Augé, we would call non-places, which by their definition are disconnected from a globalized image society, thus generating a revolutionary idea of freedom. As these places exist outside the cognitive map we impose on our environment, they present a potentially liberating force that resonates in Ballard’s fiction.

2

Metafora ruchu i jej urzeczywistnienie w muzyce przestrzennej XX wieku

88%

Dąbek K.

Kwartalnik Młodych Muzykologów UJ

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2020

|

issue 4(47)

177-196

EN

The article concerns the issue of experiencing spatial music. While discussing movement and space in music, Bohdan Pociej draws attention to two types of the spatiality of a musical work: the “inner” and “outer” spatiality.The first one comes from the nature of the sound material and the interaction of elements, it stays in the sphere of impressions, metaphors. The second one involves the physical parameters and the actual performance of the piece. The author notes that the works of composers of the 20th century tend to break through from the internal space, transforming it into the external one. The issue of the body as a centre is present in the works of Edmund Husserl, Yi-Fu Tuan, Edward Hall, and others. The metaphor of movement – concerning language and music – has become the subject of cognitive science. In the context of spatial music, the metaphorical level is combined with the physical level. During the performance of a composition, the listener may be have various relations with sound sources but always locates them concerning the location of their own body, which they treat as the centre. The two basic types of outer spatiality – the perspective of the observer and the perspective of the participant – correspond to the types of understanding of the metaphor of movement in music (internal spatiality) proposed by Steve Larson and Mark Johnson.

3

The Metaphor of Movement and Its Materialisation in Twentieth-Century Spatial Music

88%

Dąbek K.

Kwartalnik Młodych Muzykologów UJ

|

2020

|

issue 4(47) ENG

177-195

EN

The article concerns the issue of experiencing spatial music. While discussing movement and space in music, Bohdan Pociej draws attention to two types of spatiality in a music work: the ‘internal’ and ‘external’ spatiality. The former derives from the nature of the sound material and the interaction of elements; it remains in the sphere of impressions and metaphors. The latter involves the physical parameters and actual performance of the piece. I demonstrate that the works of twentieth-century composers tend to break through from the internal space, transforming it into the external one. The issue of the body as a centre is present in the works of Edmund Husserl, Yi-Fu Tuan, Edward Hall, and others. The metaphor of movement in language and music has become the subject of research in cognitive science. In the context of spatial music, the metaphorical level coexists with the physical level. During the performance of a composition, listeners may enter into various relations with sound sources but always locate them with reference to their own bodies, which they treat as the centre. The two basic types of external spatiality – the perspective of the observer and the perspective of the participant – correspond to the two ways of understanding the metaphor of movement in music (internal spatiality) proposed by Steve Larson and Mark Johnson.

4

“The Navigators”. Mediterranean Cities and Urban Spaces in the Passage from Late Antiquity to the Early Middle Ages (ca. 600 – ca. 850 CE)

88%

Zavagno L.

Studia Ceranea

|

2022

|

vol. 13

165-187

EN

The aim of the paper is to reassess urban trajectories in the Mediterranean during the passage from Late Antiquity to the early Middle Ages. This will be done by focusing on the sites of Amorium, Gortyn, Eleutherna, and Comacchio, places which transcend both the terrestrial and maritime, and the political and military frontiers of the Byzantine empire and the Umayyad Caliphate. Archaeology and material culture will be used – in a comparative perspective – to dissect urban bodies in terms of use of space and function of spatial relationship. This is in order to document the construction of urban models, structures, and infrastructures, which, although often stemming from diverse centralized political and administrative policies, nevertheless accommodated common, cross-cultural developments, including the creation of commercial and artisanal facilities, construction or restoration of religious buildings as foci of settlement, and resilience of local elites as a catalyst of patronage and levels of demand. Particular attention will be given to the role of public spaces as the frame of reference. Indeed, such spaces will be used to show how artistic and architectural displays operated, cultural assumptions could be (re-) discussed, and different types of buildings coexisted. In this respect, the paper will also explore the continuous importance of civic infrastructures and religious buildings as pillars of a yet coherent urban fabric, representatives of the power and wealth of local city-oriented elites, and conveyors of political, artistic, and spatial symbolism, as mutually recognized and experienced by the communities frequenting seventh-to-ninth century eastern Mediterranean urban spaces.

5

Abstrakcji przestrzeń wieloraka. Kategoria przestrzenności w twórczości Wojciecha Fangora, Jerzego Grabowskiego i Ryszarda Winiarskiego - studium porównawcze

87%

Rozmarynowski Ł.

Artium Quaestiones

|

2020

|

issue 1

401-436

EN

If one were to indicate some tendencies characteristic of the art of the 20th century, the pursuit of making artwork more spatial would certainly be one of them. This tendency manifests itself in the myriad of symptoms: an avant-garde redefinition of sculpture with its negative space; a proliferation of kinetic works enabling spectators to (re)shape artwork’s matter more actively; a dissemination of ephemeral forms, especially happening and performance; beginnings of installation art, to mention but a few. The present paper sets out to examine an artistic phenomenon which is not as spectacular as the aforementioned examples, but it could be somehow placed at the intersection of them. One can consider the particular type of abstract painting, embedded in a pictorial plane and slightly opening for surrounding space, but simultaneously reconceptualising the relation between the imagined and the physically present. The first part of the article deals with methodology. As far as research is concerned, the author assumes moderate scientism as the methodological perspective. It is based on the belief that mathematical sciences throughout history have developed notions and analytical methods allowing the observable and communicable features of things, including artworks and artistic phenomena, to be explained in an effective way, i.e. more faithfully and usefully. Because of the fact that mathematical truths are not absolute, the methodological perspective is called ‘moderate’. Taking into account these assumptions, the second part of the article defines the analytical category of spatiality, which expresses painting’s ability to evoke variously conceptualised spaces.The three subsequent sections of the article are devoted to some paintings by three Polish artists active in the second half of the 20th century, i.e. Wojciech Fangor, Jerzy Grabowski, Ryszard Winiarski. Each of them combined two differently understood spatial orders in their works: physical (related to phenomenological and sensual experience) and conceptual (related to notions and theories proposed by exact sciences). Having analysed a number of paintings by Fangor, Grabowski and Winiarski, one can define notions of cosmogonic, transcendence and probabilistic space, respectively. In summary, the specificity of works analysed in the context of ideas drawn from exact sciences is examined.

PL

If one were to indicate some tendencies characteristic of the art of the 20th century, the pursuit of making artwork more spatial would certainly be one of them. This tendency manifests itself in the myriad of symptoms: an avant-garde redefinition of sculpture with its negative space; a proliferation of kinetic works enabling spectators to (re)shape artwork’s matter more actively; a dissemination of ephemeral forms, especially happening and performance; beginnings of installation art, to mention but a few. The present paper sets out to examine an artistic phenomenon which is not as spectacular as the aforementioned examples, but it could be somehow placed at the intersection of them. One can consider the particular type of abstract painting, embedded in a pictorial plane and slightly opening for surrounding space, but simultaneously reconceptualising the relation between the imagined and the physically present. The first part of the article deals with methodology. As far as research is concerned, the author assumes moderate scientism as the methodological perspective. It is based on the belief that mathematical sciences throughout history have developed notions and analytical methods allowing the observable and communicable features of things, including artworks and artistic phenomena, to be explained in an effective way, i.e. more faithfully and usefully. Because of the fact that mathematical truths are not absolute, the methodological perspective is called ‘moderate’. Taking into account these assumptions, the second part of the article defines the analytical category of spatiality, which expresses painting’s ability to evoke variously conceptualised spaces. The three subsequent sections of the article are devoted to some paintings by three Polish artists active in the second half of the 20th century, i.e. Wojciech Fangor, Jerzy Grabowski, Ryszard Winiarski. Each of them combined two differently understood spatial orders in their works: physical (related to phenomenological and sensual experience) and conceptual (related to notions and theories proposed by exact sciences). Having analysed a number of paintings by Fangor, Grabowski and Winiarski, one can define notions of cosmogonic, transcendence and probabilistic space, respectively. In summary, the specificity of works analysed in the context of ideas drawn from exact sciences is examined.

6

Nineteenth Century Romanian Public Space: The Final Frontier for Women?

75%

Duţu C. B.

Gender Studies

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2012

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vol. 11

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issue Supplement

55-61

EN

“Far from being unitary or monolithic or autonomous things, cultures actually assume more elements, alterities, differences, than they consciously exclude.” (Said 15). Building on gender studies discourse, the present paper builds on Said’s view of cultural experiences at large as stated in the quotation above and attempts to illustrate what was at stake in the (trans)cultural relationship between space, place and textuality in the making of the Romanian romantic novel.

7

Mooring in the Homeless City. A Practice Theoretical Account of Homeless Urban Dwelling and Emplacement

75%

Martini N.

Qualitative Sociology Review

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2021

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vol. 17

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issue 3

56-75

EN

Taking a practice theoretical approach and building on the research conducted with a group of people who live their lives on the streets of two Polish cities, this paper provides an account of the homeless city dwellers’ mode of emplacement. It offers the terms licensed, invisible, motile, material, relational, affective, and ad hoc mooring to describe how homeless people establish a place of and for various activities that make up their everyday practice of inhabiting the city. While highlighting the accomplishments of homeless places, the paper also underscores their tentativeness and instability. It situates the homeless mode of emplacement within a wider landscape of normative urban geography, against which the ways homeless people establish themselves in place are often judged out-of-place. It attends to the role that this transgressive potential plays in limiting homeless dwellers’ capabilities for mooring and considers how they might be enhanced.

8

The embodied classroom - A phenomenological discussion of the body and the room

75%

Alerby E., Hagström E., Westman S.

Journal of Pedagogy

|

2014

|

vol. 5

|

issue 1

11-23

EN

A (Western) school is, among other things, a building with its own spatial formations and boundaries. In educational settings, the place for learning, as well as the human body in the place, is significant. In this paper, we explore the theory of the lived body as it was formulated by Maurice Merleau-Ponty and argue why we think this theory can be used fruitfully in educational research, and specifically in a study of learning places such as classrooms. We also discuss what a classroom is and can be drawing upon the work of Otto Friedrich Bollnow. As humans, we access the world through our bodies and the knowledge we develop is always embodied. The body and the world are two aspects of a reversibility, which Merleau-Ponty terms flesh. He also stresses that the body inhabits the world, and our corporeality can therefore be tied to the room-we are affected by and affect the room in a mutual interplay. In this paper, we develop this further and argue that teachers and students inhabit the classroom. Corporeality is therefore closely connected to spatiality and is understood as a prerequisite for being involved in relationships. We argue for the importance of exploring the notion of embodiment in educational settings with a special focus on the embodied classroom using the phenomenology of the life-world

9

Spatiality, Focalization and Temporality in Horror Games

75%

Jancsovics K.

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2022

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vol. 5

|

issue 2

72-85

EN

The horror genre can be found both in books and movies to shock and scare the audience. In digital games, players have to survive, they try to progress while they have to overcome frightening obstacles, otherwise they cannot be successful. The paper analyses three main topics: spatiality (where closed, open and looping spaces are in the centre), focalization (based on G. Genette’s term., We shows how the different angles could contribute to the narrative and what unique methods exist), and temporality (where traumatic experience and looping time is at the focal point, and E. Husserl’s protentions and retention terms will be important as well). We also argue that these games are unusual if we take a look at M. Csíkszentmihályi’s skills-challenges diagram and see if they fit in the flow zone. The paper aims to extend our understanding of horror games.

10

Пространственность как семантико-грамматическая особенность русского языка (в сравнении с болгарским языком)

63%

Карпенко Л.

Acta Universitatis Lodziensis. Folia Linguistica Rossica

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2022

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issue 21

69-79

EN

The article deals with the linguistic conceptualization of space in the Russian language. The relevance of the article is due to the importance of studying the specific features of the Russian language. The aim of the article is to trace the degree of expressiveness of locality in comparison with the Bulgarian language. The material used comes from the National Corpus of the Russian language, the Bulgarian National Corpus, translated texts, and dictionaries. Spatiality in the Russian language is considered a semantic-grammatical dominant, revealed at different linguistic levels. The study uses systemic, comparative, and functional methods. The effectiveness and relevance of the named methods is connected with the possibility to present the specific features of the Russian language in the expression of spatiality in a comprehensive approach, to show this category as a semantic-grammatical dominant of the Russian language, which is manifested both in the language system at different levels, and in speech. Its more explicit manifestation in comparison with the Bulgarian language is traced in the comparative analysis at the levels of phraseology, grammar, and text. It is demonstrated that the Russian language in the totality of its expressive means draws attention to the spatial picture of the world with maximum explication and detailing of real object-spatial relations contained in the situation. The differences in the linguistic interpretation of space, revealed in the Russian and Bulgarian material, are due to both extra-linguistic and linguistic factors – the peculiarities of the system properties of the languages, their lexico-grammatical resources, and typological characteristics. The significance of the study for the theory and practice of teaching Russian as a foreign language is noted.

RU

В статье рассматривается языковая концептуализация пространства в русском языке. Актуальность статьи обусловлена важностью сопоставительного изучения специфических черт русского языка. Цель статьи – проследить степень выраженности локальности в сравнении с болгарским языком. Привлекается материал Национального корпуса русского языка и Болгарского национального корпуса, переводных текстов и словарей. Пространственность русского языка рассматривается как семантико-грамматическая доминанта, выявляемая на разных языковых уровнях. В исследовании использованы системный, сопоставительный и функциональный методы. Эффективность и актуальность названных методов связана с возможностью предметно представить при комплексном подходе специфические черты русского языка в выражении пространственности, показать данную категорию как семантико-грамматическую доминанту русского языка, которая проявляется как в системе языка на разных уровнях, так и в речи. Более явная выраженность ее в сравнении с болгарским языком прослеживается при сопоставительном анализе на уровнях фразеологии, грамматики и текста. Показано, что русский язык в совокупности своих выразительных средств фиксирует внимание на пространственной картине мира с максимальной экспликацией и детализацией реальных предметно-пространственных отношений, содержащихся в ситуации. Выявленные на русском и болгарском материале различия в языковой интерпретации пространства обусловлены как внеязыковыми, так и собственно языковыми факторами – особенностями системных свойств языков, их лексико-грамматическими ресурсами и типологическими характеристиками. Отмечено значение проведенного исследования для теории и практики преподавания русского языка как иностранного.

11

Poverty and Social Exclusion in the Rural Areas of Hungary

63%

Jász K.

Eastern European Countryside

|

2010

|

vol. 16

157-174

EN

The study analyses the role of - two so-called collective factors - spatiality and ethnicity in social exclusion in Hungary. Furthermore, it highlights the unfavourable effects of incorrect political decisions concerning regional development on rural poverty and exclusion in Hungary's history since the end of World War II. It suggests the need for a new practice of monitoring and focused reporting at micro-regional level, close cooperation of regional development and social policy actors in regional planning, as well as a definite commitment of local decision makers in order to reduce spatial inequalities and avoid further escalation of exclusion.

12

Przygody miast. Charakterystyka wirtualnych odpowiedników miast w grach wideo

63%

Berezowska L.

Media i Społeczeństwo

|

2021

|

issue 16

246-260

EN

This exploratory work aims to indicate that virtual cities in video games owe their popularity to the efficient use of architectural means, the integral spatiality of the medium and immersive experience. This subject exploration references selected urban spaces of virtual cities based on existing counterparts, such as: New York, Los Angeles, Chicago, Hong Kong or Venice. It is worth emphasizing here that the goal of the paper is not an exhaustive analysis or an in-depth case study, but an indication of the possibility of looking at virtual cities from an interdisciplinary perspective.

PL

Niniejsza praca o charakterze eksploracyjnym ma na celu wskazanie, że wirtualne miasta w grach wideo zawdzięczają swoją popularność sprawnemu wykorzystaniu środków architektonicznych, integralnej przestrzenności medium jak i imersyjnego doświadczenia. Za ilustrację posłużą wybrane przestrzenie miejskie miast wirtualnych opartych na istniejących w rzeczywistości odpowiednikach, takich jak: Nowy Jork, Los Angeles, Chicago, Hongkong czy Wenecja. Warto w tym miejscu podkreślić, że celem pracy nie jest wyczerpująca analiza lub budowanie pogłębionych case study poszczególnych miast wirtualnych, ale wskazanie na możliwość spojrzenia na miasta wirtualne z perspektywy interdyscyplinarnej.

13

Reanimując neoliberalizm: procesualne geografie neoliberalizacji

62%

Peck J., Theodore N.

Praktyka Teoretyczna

|

2012

|

vol. 6

349-365

EN

The article is a direct response to the previous voices in the debatededicated to historicity of the neoliberal state. Facing with Loïc Wacquant’s andMathieu Hilgers’ contributions, the authors try to complement them with the oftenneglected dimension of spatiality. This procedure allows one to treat neoliberalisation,distinguished from the more static and above all discursive concept of neoliberalism,as a variegated and context-dependent process. The concept of “reanimation” ofneoliberalism serves here to capture its mobile character and different varietiesconceptualized in opposition to the unified vision of inevitable project of neoliberalrestructuring. It is grounded in the methodological via media that leads us “betweenparadigmatic truth spots on the one hand, and spaces of exception on the other,towards an understanding of the complex spatiality of actually existing neoliberalismand its co-evolution with neoliberal doctrines”.

PL

Artykuł stanowi bezpośrednią odpowiedź na wcześniejsze głosy w debacie na temat historyczności państwa neoliberalnego. Mierząc się z propozycjami Loïca Wacquanta i Mathieu Hilgersa, autorzy uzupełniają je o lekceważony, nie tylko w tym przypadku, wymiar przestrzenności. Zabieg ten pozwala na traktowanie neoliberalizacji, odróżnionej od bardziej statycznego i nade wszystko dyskursywnego konceptu neoliberalizmu, jako wielobarwnego i uzależnionego od kontekstu (społecznego, geograficznego, politycznego itp.) procesu. Proponowana tu „reanimacja” neoliberalizmu ma na uwadze uchwycenie go w ruchu i w zróżnicowanych odmianach, w przeciwieństwie do ujednoliconej wizji nieuchronnie jednokierunkowego (i prowadzącego do wycofania państwa) projektu neoliberalnej restrukturyzacji. Ogląd tak niejednoznacznej rzeczywistości umożliwia, zdaniem autorów, metodologiczna droga pośrednia, która wiedzie ich „pomiędzy paradygmatycznymi miejscami prawdy [truth spots] oraz przestrzeniami wyjątku, w kierunku zrozumienia złożonej przestrzenności faktycznie istniejącego neoliberalizmu oraz jego koewolucji z doktrynami neoliberalnymi”.

14

ФІЛОСОФСЬКІ ЗАСАДИ РИТМІКИ ЕМІЛЯ ЖАК-ДАЛЬКРОЗА

51%

Ключко В.

Педагогічні науки: теорія, історія, інноваційні технології

|

2015

|

issue 9(53)

252-259

EN

The article reveals the philosophical foundations of the system of rhythmic education of Emile Jacques-Dalcroze, in its context the universal philosophical categories of "movement", "time" and "space" as fine motor skills, temporality and spatiality are concretized. The fundamental philosophical concept of rhythmic, which is a category of corporality that defines the sensual nature of human existence, is defined. The origins of rhythmic in ancient philosophical thought, in particular in the works of Plato, who outlined the epistemological and hedonic potential of human movement, through which he/she perceives the rhythm and harmony of the universe are found. The main aspects that bring together the thoughts and activities of Dalcroze with the ideals of the ancient Greeks are highlighted: musical-rhythmic activity in the group which is similar to the functioning of the choir in ancient Greek tragedy; its main goal is a balanced and harmonious development of man, his aesthetic and physical education; a gesture and a plastic movement are the means of expression, when the expressive value of dance in the ancient tragedy, inextricably connected to the music and poetry of a single rhythm, is similar to rhythm-plastic of Dalcroze. The consonance of ideas of the teacher-musician Dalcroze and philosopher M. Merleau-Ponty on the need to establish communication between mind (imagination, emotions, soul) and matter (body, feelings, action) are identified. The influence of praxeology, aesthetics and philosophy of art education on the theoretical justification of rhythm as an effective means of harmonization of the personality through the music-motional activities was found out. It is proposed to shift the focus from the aesthetic and intellectual perception of music on procedural. In order to justify ideas of Dalcroze in the native discourse the ideas Valeriy Kosiak about philosophical interpretation of man and his physicality in various forms of culture are highlighted. Special attention deserves the scientist’s interpretation of rhythm as rhythm-plastic and definition of dance by the language in which a sense of life as an incarnated rhythm is expressed.

15

Temporalne i przestrzenne dylematy karier menedżerów i przedsiębiorców. Rekonstrukcja praktyk neutralizacyjnych

32%

Dymarczyk W.

Przegląd Socjologii Jakościowej

|

2020

|

vol. 16

|

issue 1

144-161

EN

Having a managerial position or being a business owner usually comes with assuming an omnipotent attitude, which is what is socially expected. Among other things, this implies the expectation that the potential role conflicts do not occur or they will not impinge on the effectiveness of the decision-maker. Permanent pressure (both external and internal) induces the organizational actor to use such self-presentation strategies which will satisfy social expectations with regard to their job requirements. Organizational leaders’ narratives indicate that other aspects of life are ancillary to – not to say incorporated into – the aspect connected with business activities. The most dominating strategy involves introducing oneself as a self-driven individual, one that builds their career autonomously (‘self-made person’). At the same time, such an attitude results in ‘tensions’ between unsuitable roles or activities undertaken in various aspects of life. In this paper, these tensions are reconstructed by means of presenting different kinds of neutralization practices that are used by organizational leaders (managers and entrepreneurs) to overcome and reduce the impact of the tensions on the leaders’ careers.

PL

Sprawowanie funkcji zarządczych i/lub właścicielskich w przedsiębiorstwie oznacza zazwyczaj przyjęcie (oczekiwanej społecznie) postawy omnipotenta. Oznacza to, między innymi, oczekiwanie, że potencjalne konflikty ról nie wystąpią lub nie będą rzutowały na skuteczność i efektywność decydenta. Presja (zewnętrzna i wewnętrzna) skłania zatem aktora organizacyjnego do stosowania takich strategii autoprezentacyjnych, które będą czyniły zadość społecznym oczekiwaniom. Podporządkowanie, by nie rzec inkorporacja, innych sfer życia sferze działań biznesowych, widoczne jest w narracjach liderów organizacyjnych. Dominującą strategią jest ukazywanie siebie jako jednostek wewnątrzsterownych i względnie autonomicznie konstruujących własną karierę (‘self-made person’), a jednocześnie taka postawa skutkuje pojawianiem się „napięć” pomiędzy nieprzystającymi rolami czy podejmowanymi aktywnościami. Autor zrekonstruował owe napięcia poprzez ukazanie różnego rodzaju neutralizacji, stosowanych przez menedżerów i przedsiębiorców, a mających służyć ich (tych napięć) rozwiązaniu lub złagodzeniu.

Refine search results

Liminal Space in J. G. Ballard’s Concrete Island

Metafora ruchu i jej urzeczywistnienie w muzyce przestrzennej XX wieku

The Metaphor of Movement and Its Materialisation in Twentieth-Century Spatial Music

“The Navigators”. Mediterranean Cities and Urban Spaces in the Passage from Late Antiquity to the Early Middle Ages (ca. 600 – ca. 850 CE)

Abstrakcji przestrzeń wieloraka. Kategoria przestrzenności w twórczości Wojciecha Fangora, Jerzego Grabowskiego i Ryszarda Winiarskiego - studium porównawcze

Nineteenth Century Romanian Public Space: The Final Frontier for Women?

Mooring in the Homeless City. A Practice Theoretical Account of Homeless Urban Dwelling and Emplacement

The embodied classroom - A phenomenological discussion of the body and the room

Spatiality, Focalization and Temporality in Horror Games

Пространственность как семантико-грамматическая особенность русского языка (в сравнении с болгарским языком)

Poverty and Social Exclusion in the Rural Areas of Hungary

Przygody miast. Charakterystyka wirtualnych odpowiedników miast w grach wideo

Reanimując neoliberalizm: procesualne geografie neoliberalizacji

ФІЛОСОФСЬКІ ЗАСАДИ РИТМІКИ ЕМІЛЯ ЖАК-ДАЛЬКРОЗА

Temporalne i przestrzenne dylematy karier menedżerów i przedsiębiorców. Rekonstrukcja praktyk neutralizacyjnych