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EN
The performances staged by the author consist of motionless poses, lasting from an hour to several hours and described by their author as 'still performance'. Their characteristic features include the use of painted overalls as costumes which serve the purposes of mimicry and make it possible to conceal oneself. Mimesis and motionlessness create a connection between the performances and painting. The author refers to living sculptures by Gilbert and George or the performance pieces by Chris Burden from the 1960s. The published text is a record of one of the still performances entitled 'Sciana' (The Wall), featured in 2003 as part of the 'Neighbours for neighbours' festival.
EN
During his stay in France the author ironically observed daily reality and its representations. The point of departure for his reflections is the word 'greve' and its toponym and, simultaneously, alternation: 'Grave'. Both words are a mere pretext for describing two cultural phenomena, i. e. the strike and mountain tourism, which have very little in common, although it is possible to discern certain joint elements, such as time. Evidently, the author did not want to impose his own approach to the phenomena in question, being aware of their complexity. This is the reason why many questions remain without an answer. By demonstrating assorted possibilities of examining reality, the texts refers to, e. g. phenomenological, semiological or structural reflection. By way of example, in a fragment about the strike the author recalls the omnipresent Bourdieu legacy in French sociology, while in a part about the mountains he indicates that their phenomenological version is just as invisible as the town of Calvino but does not possess the character of the non-places devised by Marc Augé.
EN
Stadion X-lecia (the 10th Anniversary Stadium) is no longer, and its sole trace is a hole in the ground...This text, a commentary to the book Stadion X: Miejsce, którego nie bylo (ed. J. Warsza), delves into the symbolic presence/absence of the Stadium in an attempt at conceptualising the tension between its modernist, monumental architecture and disintegration (which could be perceived as a form of entropy - a phenomenon which stirred the interest of artists (R. Smithson) and philosophers (G. Bataille)).
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