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Ироническое начало в фельетоне Киев-город Михаила Булгакова

100%
Bortnowski A.
Studia Rossica Posnaniensia
|
2021
|
vol. 46
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issue 2
125-134
EN
The subject of the article is the analysis of the image of Kiev, presented in Mikhail Bulgakov’s feuilleton Kiev, the City. This work has rarely been the subject of in-depth analysis, despite the fact that it is one of the few texts in which the writer presents the image of his hometown. A characteristic element of the description of Kiev’s past and present is the irony. It is noticeable in the title of the feuilleton, as well as in the names of its parts. The ironic image of Soviet Kiev stands in stark contrast to the vision of the city captured in the novel The White Guard. The analysis of the techniques used by the writer in the text of Kiev, the City (e.g. the naive narrator’s mask, a combination of pompous style and colloquial speech) is carried out in order to prove that the feuilleton, in its style and ideas expressed, also shows the author’s rejection of post-revolutionary reality and his attempt to overcome the trauma of the past through laughter. The ironic image of the Soviet reality on the background of eternal spiritual values makes Kiev, the City a harbinger of the problems covered inMikhail Bulgakov’s later works.
2
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O uwarunkowaniach rozwoju Sankt Petersburga – wybrane aspekty

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Mosin W., Niestierow W., Solomin W., Suchorukow J.
Studia Miejskie
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2011
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vol. 4
181-189
EN
This paper describes the origin of the foundation of St. Petersburg and the course of construction, emphasizing participation in this endeavor, the representatives of various nationalities from the Russian, as well as foreigners. Brought to the attention of the nature and origin of building materials including Polish.
PL
W artykule przedstawiono genezę założenia Petersburga i przebieg budowy miasta, podkreślając udział w tym przedsięwzięciu przedstawicieli różnych narodowości ówczesnej Rosji, a  także cudzoziemców. Zwrócona została uwaga na charakter i pochodzenie materiałów budowlanych, w tym i tych sprowadzonych z Polski.
3
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Odczytując palimpsest miejski. Na przykładzie Katowic

94%
Węgrzynek K.
Z Teorii i Praktyki Dydaktycznej Języka Polskiego
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2020
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vol. 29
41-55
EN
The article invites the readers to approach the city itself as a text of culture. We are to read it alongside other narratives/narrations (literary, artistic, and cinematic) devoted to it. The author traces how Katowice’s space has been transmuted into politically- and culturally-charged places, by distinguishing consecutive layers of the palimpsest (Polish village, building patterns of German and Polish times: the old and the new). The foregoing examples allow the author to indicate the traces of conceptions and ideologies reflected by architecture. He also includes some methodological recommendations/tips pertaining to reading the space.
4
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Dyskursy (nie)pamięci w przestrzeni miasta

67%
Krzyżanowska N.
Studia Socjologiczne
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2016
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issue 1(220)
127-154
PL
W artykule chciałabym zastanowić się nad tym, czy są możliwe (i jak) we współczesnej przestrzeni miejskiej wizualizacje znaków (nie)pamięci. Zagadnienie to zostanie omówione w świetle socjologicznej refleksji nad znaczeniem przestrzeni i miasta oraz na przykładzie szkicu ewolucji pomników: od tradycyjnie rozumianych, wznoszonych w przestrzeni publicznej po to, by upamiętnić jakieś wydarzenia lub wybitną, ważną dla zbiorowości osobę ku antypomnikom/antymonumentom jako współczesnej, krytycznej reakcji artystów na to, czym jest historia, pamięć zbiorowa, ze szczególnym uwzględnieniem tego, co z nich wypierane. Jako przykład możliwej, wielorakiej interpretacji antypomników w przestrzeni miejskiej analizie poddana zostanie idea upamiętnienia realizowana przez Guntera Demniga zatytułowana „Stolpersteine”.
EN
The article discusses the possibilities of deploying multi-semiotic tools of (non) remembrance in contemporary urban spaces. The challenges of such deployment are discussed in the context of sociological and social-theoretical reflection on the urban human condition and the urban space as well as on the role of monuments in traditional pathways of urban remembering. Departing from the latter, I argue for new forms of commemoration and remembrance, especially via the so-called counter-monuments that constitute contemporary artists’ discursive response towards hegemonic narratives and practices of memory-making. As an example of countermonumental remembrance in contemporary urban spaces, I analyse Gunter Demnig’s famous Stolpersteine (stumbling-block) installations. Commemorating the Holocaust and placed across several major European cities, the Stolpersteine constitute a very prominent example of counter-monuments that both undermine the long lasting narrations of the urban history as well as propose new, ‘lived’ as well as dialogic format of dealing with the urban’s problematic pasts.
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