Search results

1

Miasto przetworzone – paryska fantasmagoria Waltera Benjamina

100%

Pilecka A.

Estetyka i Krytyka

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2012

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issue 1(24)

135-150

XX

In the Walter Benjamin's works the modern city is one of the most important and constantly present themes. Due to it's sudden metamorphosis brought by nearly total reconstruction in 19'th century, Paris was made a model on which and through which Benjamin has shown decay of totality once united by tradition, creation of a new form of experience as well as modern principles of living in the urban space. The New Paris is a city created for an appreciating eye; the town full of dreams. This dream-like, phantasmagoric aspect of Paris is represented in the arcades, those sensual and seducing streets defined by trade. The nineteenth century is a period when arcades bring about collectivity to dwell into the ever deeper dream. Arcades themselves are shown as an "objective materialization of phantasmagoria" – mythical and equivocal, simultaneously the street and home, where merchandise are shown like ornamental homewares, shining and seductive. Arcades are material dream.

2

Un regard sur la question d’identité ethnique des Chinois à Paris : différence entre les générations et entre les genres

100%

Deng D.

Language, Discourse & Society

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2019

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vol. 7

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issue 2

157-178

FR

En s’appuyant sur les données relevées des entretiens et des questionnaires auprès 40 Chinois de la première génération et 21 Français d’origine chinoise résidant à Paris, cet article exploite la question de l’identité ethnique chez les immigrants chinois de la première et de la deuxième génération à Paris tout en mettant l’accent sur la différence des femmes et des hommes ainsi que sur le rapport entre le genre et la langue. Nous avons constaté qu’à l’égard de la première génération, différent de ce qui est observé dans des études précédentes, la première génération ne semble pas unanime sur leur identité ethnique en tant que Chinois. On a vu que tandis que deux tiers des interviewés s’identifient comme purement Chinois, un tiers comme entre Chinois et Français, malgré le fait qu’ils tous possèdent la nationalité chinoise. Quant à la deuxième génération, tandis que la plupart s’identifient comme Français d’origine chinoise, certains renient toujours leur identité chinoise en s’identifiant exclusivement comme Français. Toutes les femmes utilisent à la fois le français et le chinois au foyer, tandis que les hommes le font beaucoup moins. En général, les femmes s’attachent beaucoup plus à leur identité chinoise par rapport aux hommes à travers les deux générations, qui sont susceptibles d’être lié aux rôles sociaux différents des deux genres.

3

Kolejowe transporty wojskowe z materiałem wojennym pozyskanym przez Polską Wojskową Misję Zakupów w Paryżu w latach 1919–1920

100%

Uwijała P.

Śląski Kwartalnik Historyczny Sobótka

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2022

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vol. 77

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issue 3

35-72

EN

The paper describes railroad military transports with war materials acquired by Polish Military Purchase Mission in Paris in 1919–1920. Until July 1920 railway was the most important and most efficient mode of transport which allowed Poland to maintain several independent supply chains for the army. The scale of those transport operations and the routes used were characterized.

4

Third time lucky: An analysis of Paris’ bids for the Olympic Games in 2008, 2012 and 2024

100%

Jastrząbek J.

Research Papers in Economics and Finance

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2022

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vol. 6

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issue 2

86-106

EN

The Olympic Games has become a unique occasion to implement several projects aimed at upgrading public infrastructure and improving the economic performance of the host city. Thus, some cities are so determined to host the Olympics that they decide to bid multiple times. One of the examples of such a city is Paris, which since the 2000s has submitted its bids three times, for 2008, 2012, and 2024, of which the last attempt turned out to be successful. Based on the above, the main aim of this article is to present the trajectory of changes and developments made by the three successive bid attempts, with an emphasis on the latest successful campaign. This study demonstrates that there are some recurrent ideas, projects, and plans shared by each bid with some modifications to emphasize their uniqueness, novelty, and up-to-date approach. In some aspects, the Paris 2024 bid builds on its previous candidature from 2012 in the field of long-term legacy effects and sustainability. Therefore, there is a consistent action taken by the bid managers and city authorities in terms of using the Olympic Games as a tool for urban regeneration and sports development.

5

Chełmoński w księgach handlowych Goupil & Cie

100%

Matuszczak T.

Biuletyn Historii Sztuki

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2014

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vol. 76

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issue 4

637-653

EN

Contrary to the so-far generally shared scholars’ view that the Paris dealer Adolphe Goupil bought a large number of paintings from Chełmoński during his stay in Paris in 1875-87, on the grounds of Goupil and successors’ inventory books it has been possible to ascertain that over the period: 9 September 1876 - 7 June 1881, the actual figure in question stood at 23. The 15-volume Goupil & Cie / Boussod, Valadon & Cie Stock Books from 1846-1919 contain ca. 43,700 inventory entries (box 1-15, ID no.: 1379-912), forming a portfolio titled The Dieterle Family Records of French Art Galleries, 1846-1986 and featured at The Getty Research Institute. Research Library. Special Collections and Visual Resources. Los Angeles, California. (Accession No. 900239). They have also allowed to verify the sums of money paid to Chełmoński for his paintings by Goupil, which actually proved to be lower than previously expected.

6

Brandel i sztuka europejska jego epoki

100%

Szczepińska-Tramer J.

Biuletyn Historii Sztuki

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2010

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vol. 72

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issue 4

403-426

EN

This article contains a series of new proposals as well as corrections that its authoress, occupying herself for a period of over forty years with the art of this Polish painter and graphic artist (1880-1970) who lived in Paris on a permanent basis from 1903 onwards, wishes to contribute to the current state of research into this artist. The first part of this article comprises a critical assessment of the most recent proposals for dating graphic works by Brandel together with the handwritten catalogues compiled by the artist himself. The second part of the article comprises a discussion on the place Konstanty Brandel’s creative work occupies among the main currents in European art during the period he was active. Here, specific attention is given to the painting and graphic art of German Expressionism, this being an area of Brandel’s artistry thus far ignored by specialists which the authoress wishes to point out while postulating the necessity of detailed research in the future.

7

Pocztówki z piekła. Stanisław Ignacy Witkiewicz w Paryżu 1908

100%

Sztaba W.

Pamiętnik Teatralny

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2016

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vol. 65

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issue 4(260)

55-70

EN

We know little about Stanisław Ignacy Witkiewicz’s stay in Paris in the spring of 1908; we do not know the letters to his father where he probably reported what he experienced there, and the correspondent letters by his father contain few traces of such reports. Traces of the stay have, however, made their way to his literary creations: he recounted his impressions of his encounter with the new painting in The 622 Downfalls of Bungo, whereas The Beelzebub Sonata contains evidence of his visits to Paris cabarets, particularly to L’Enfer and Le Néant. The playwright suggests that the Hell of Acts 2 and 3 is to resemble a cabaret in Paris—and a little Budapestian—or in Rio (Salon di Gioja), but mostly Parisian, which he repeats in the play on numerous occasions, including the opening-scene stage directions where he emphasises, importantly, the general atmosphere of demonic tackiness of such entertainment establishments. Reading contemporary reports and looking at old postcards and photographs of the cabarets’ interiors one can see just what Witkacy meant by tackiness. And one can imagine an atmosphere he strove for in the stage setting for The Beelzebub Sonata. Knowing Witkacy’s penchant for the macabre, one can guess that he visited the Grand-Guignol Theatre. And probably the Musée Grévin, too. While Witkacy stayed in Paris, a theatrical event of great importance—the greatest importance, indeed, from today’s point of view—took place. The Antoine Theatre gave two performances of Ubu Roi by Jarry with Firmin Gémier. They were only afternoon performances, but they were widely publicised. Did Witkacy take notice? Twenty years later, Ubu Roi cropped up, perhaps as a reminiscence from Paris, in his letter to Edmund Wierciński, where he recommended some plays for the repertory: “By the French, Roi Ubu, I don’t recall the author’s name.”

8

O miejskiej przestrzeni autobiograficznej i literackim praktykowaniu Paryża w twórczości Patricka Modiano

88%

Zgoła C.

Białostockie Studia Literaturoznawcze

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2015

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vol. 6

EN

The article interprets the urban and, at the same time, literary techniques of Patrick Modiano, a contemporary writer who explores the theme of individual and collective memory. On the one hand, by invoking the writer’s material, cultural and socio-historical context as well as his topographic imagery the text recognizes the position of Modiano poetry in the recent cultural landscape of France, and especially Paris. On the other hand, however, it confronts his narrative tactics with selected strategies of contemporary urban literature and visual arts in order to distinguish the writer’s auto/bio/geo/graphical characteristics.

9

To tu był początek… Paryż 1939 roku

88%

Czubińska G.

Zeszyty Naukowe PUNO

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2020

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vol. 8

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issue 1

15-91

EN

Initial discussions on the project of creating the Polish University Abroad were held as early as September 1939 in Switzerland. Decision was made to establish such an entity in Paris, with its headquarters at the Polish Library. Even before its inauguration, the University had been gathering information about Professors, Associate Professors and Assistant Professors from the Polish universities, who managed to escape from occupied Poland, as well as those ones remaining in Poland. A list of 150 names of Professors and Associate Professors and about 80 Assistant Professors was created. In that academic year about 80 Professors and Associate Professors and 60 Assistant Professors from the Polish universities were in France. Documents le¡ by them show today all goals and tasks, of which present Polish University Abroad in London is the successor. e historical continuity of the university exists on three levels: sta, ideas and structure. Summarising and emphasising the words quoted by the Rector: „e founders of the Parisian university, who participated in further formation of PUNO in 1947, led their research and teaching activities both in Paris and then in London”. The ideological goals and ethos of the Polish University Abroad in Paris were closely related to the educational mission, which is even now: to represent all Polish universities and to maintain the continuity of the Polish higher education in the world. A¡er the Second World War it allowed Polish soldiers, their families, refugees and emigrants to continue or commence higher education in Polish outside of Poland as well as to develop scientific research and publish the results worldwide. PUNO mission now is to serve all generations of Poles who, outside their mother country or the land of their forebears, wish to continue their academic studies, broaden their knowledge of the contemporary world and maintain contact with Polish science and culture. The University’s aim is also to promote Polish science and culture in the UK and even further – worldwide, thanks to participation in global research projects. The Polish University Abroad in Paris had the Humanities, the Legal and the Economic Department. The first department established at the Polish University Abroad in London was the Humanities Department, followed by the Legal and the Economic ones. The Humanities Department was a leading department in Paris and remained such at the Polish University Abroad in London.

10

« Le spectacle est dans la rue » L’art de l’affiche dans le Paris du tournant du XXe siècle

88%

Skibicki M.

Annales Neophilologiarum

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2012

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issue 6

5-18

EN

The main aim of this paper is to present the blooming of the French poster in Paris since the second half of the 19* century until the thirties. The paper includes the work of Chéret, father of the French contemporary poster, crosses the poster of Cappiello and stops on the work of Loupot of the thirties. This short article recalls the most beautiful moments of the history of the poster in the sociological context relating to the Parisian spirit: the author examines how much the Parisian’s tastes of La Belle Epoąue (Beauti¬ful Era) and Roaring Twenties determine the vectors of the rise of the poster.

PL

Niniejszy artykuł ma na celu przybliżenie rozkwitu francuskiego plakatu re-klamowego przypadającego na druga połowę XIX wieku aż do lat trzydziestych (począwszy od dzieła Chéreta, ojca współczesnego plakatu francuskiego, poprzez plakat Cappiello z końca XIX wieku, a skończywszy na twórczości Loupot z lat trzydziestych ubiegłego wieku). Autor przywołuje najpiękniejsze momenty historii plakatu z perspek¬tywy socjologicznych odniesień przesiąkniętych duchem paryskim i analizuje sposób, w jaki upodobania paryżan z czasów „Belle Epoąue” i szalonych lat dwudziestych wpłynęły na kierunki rozwoju plakatu.

11

Measures of social segregation in the context of Warsaw, Berlin and Paris metropolitan areas

88%

Grzegorczyk A., Jaczewska B.

Miscellanea Geographica. Regional Studies on Development

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2015

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vol. 19

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issue 3

EN

Social segregation is a subject common in contemporary studies of metropolitan areas. Until recently, studies of segregation focused on the distribution of ethnic groups, immigrants, and the poor. Today, they also cover additional indicators such as demographic properties, education, and affiliation with social and professional categories, which can also serve to determine the causes of the segregation (including the selfsegregation of the rich). This article aims to point out the measures of segregation that present the segregation levels in the most complete manner, along with their application in the context of three European metropolitan areas: Warsaw, Berlin, and Paris. The first part of the article is a review of the existing approaches to segregation measures, followed by the selection of research method, presentation of the analysis' results, and evaluation of the applied methods; presenting the opportunities and limitations in research of the social segregation phenomenon.

12

Bioclimatic conditions of Paris, Rome and Budapest on the basis of the universal thermal climate index

88%

Idzikowska D.

Miscellanea Geographica. Regional Studies on Development

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2010

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vol. 14

103-109

EN

The aim of this study was to examine the main features of the bioclimatic conditions of three European cities using a new Universal Thermal Climate Index. Daily values of meteorological variables for 12 UTC for the cities for 1990-2001 were used in the study. Using the frequency of UTCI and one-way Anova, the results showed that in all the three cities “no thermal stress” dominated throughout the year. “Extreme” values of heat as well as “cold stress” were observed but in none of the cities “extreme cold stress” occurred. The values of UTCI differed for all the three cities in each studied year. The cities differed from each other in each month during the whole year with the exception of spring - March and April.

13

Maria z Mikułowskich Chlebowska Madeyska - malarka orientalistka

88%

Wójcik A.

Biuletyn Historii Sztuki

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2012

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vol. 74

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issue 3-4

641-652

EN

The article aims at presenting the figure of the painter Maria first married name Chlebowska second married name Madeyska née Mikułowska (1864-1936). Maria attended the Adrian Baraniecki Higher Courses for Women. Her artistic interests would have most likely remained but a maiden’s hobby, had she not met Stanisław Chlebowski in 1876. The painter noticed her talent, encouraged her to continue her education in this direction, and even supported her financially. In 1880, Maria married Stanisław, and then left with him for Paris where he had been living for several years. Under her husband’s guidance, the young painter created works showing Oriental genre scenes and still lifes. In Paris, Chlebowska’s works were appreciated and purchased, among others, by representatives of New York art dealers, the Knoedlers. Maria’s oeuvre was also noticed by the Polish press. Her promising painter’s career was, however, interrupted by her husband’s sudden disease which forced them to leave Paris. After Chlebowski’s death (1884). No traces have been found of her artistic output after 1894.

14

Ivana Kobilca – a Career in the Context of Nineteenth-Century Women’s Painting

88%

Žerovc B.

Biuletyn Historii Sztuki

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2014

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vol. 76

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issue 3

509-534

EN

The article published in English presents biography and ouvre of Slovene painter Ivana Kobilca (1861-1926).

15

The Pathogenesis of the Public Sphere in Exile: Anarchy and Unity in the Political Thought and Mentality of the Great Polish Emigration

88%

Kuligowski P.

Kwartalnik Historyczny

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2019

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vol. 126

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issue 3

PL

The post-1831 Great Emigration created conditions that were particularly favourable for the development of Polish political thought. This development, however, would have progressed at a considerably slower tempo without the deepening of ideopolitical differences, which put paid to any belief that the émigrés would reach unity. Paradoxically, successive rifts were often justified exactly by the aspiration to implement the concept of ‘unity’. The present article focuses on an issue-based analysis of the tensions between the categories of ‘unity’ and ‘anarchy’, and discusses the mechanism which led to the emergence of the public sphere in exile.

16

With an orchestra or solo? Norwid in the Paris studio of Juliusz Kossak

88%

Chlebowska E.

Studia Norwidiana

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2020

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vol. 38 English Version

217-234

EN

The article discusses the relationship between Cyprian Norwid and the circle of Polish painters gathered around Juliusz Kossak’s Paris studio in the mid-nineteenth century. The starting point is Kossak’s humorous drawing titled Orkiestra artystów [An Orchestra of Artists], which portrays Norwid with his back turned to the viewer and a lyre at his side, depicted among other painters, members of the orchestra, who are playing various musical instruments. On the basis of this composition, which illustrates an anecdote from the life of the exile community of Polish artists, and drawing on other accounts from the period, the article outlines the social situation of the painters, placing Norwid against this background. Emphasising the community of emigration experiences, it is thus also possible to indicate the distinctness of Norwid’s situation, resulting both from his personal traits and the profile of his work, which combines literature and fine arts and is strongly rooted in theoretical reflection.

17

The Paris Ramuz

87%

Arouimi M.

Lublin Studies in Modern Languages and Literature

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2015

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vol. 39

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issue 2

DE

Der Band enthält die Abstracts ausschließlich in englischer Sprache.

EN

Ramuz presented his vision of literary art in diverse works, paying special attention to the diversity of the external world, whose mystery both a poet and a painter attempt to capture into a synthetic reflection, which is not just a mere copy of the reality. If Ramuz as a young poet, before he became a novelist, recognised his own poetic mission in Paris, then Paris itself, as later described in a short essay Paris (notes d’un Vaudois), appears to be the urban metaphor of his poetic ideal.This phenomenon testifies to the auto-analytical value of works by Ramuz. In particular, the Paris evoked in the essay mentioned above reveals the metaphysical vision of the poet, fascinated with the principle of unity, reflected in his works as well as the external world.

FR

Le numéro contient uniquement les résumés en anglais.

RU

Том не содержит аннотаций на английском языке.

18

Flâneur widziany oczyma flâneura. Próba przeanalizowania obrazu obserwatora tłumu kreowanego przez Waltera Benjamina

87%

Szurgot-Prus E.

Studia Europaea Gnesnensia

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2015

|

issue 12

141-162

EN

This paper discusses the figure of flâneur , the urban observer. By way of the perspective adopted by Walter Benjamin, I attempt to identify all aspects of flâneurism. What is more, I try to ascertain the existence of correlations between the writer (Walter Benjamin) and the flâneur he described.

19

Analyse onomastique des pseudonymes de prostituées parisiennes du XVIIIe au début du XXe siècle

87%

Hardy S.

Acta Universitatis Lodziensis. Folia Litteraria Romanica

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2021

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issue 16

183-194

EN

This article is dedicated to the research context of onomastics, more specifically to studies on anthroponymy, or even pseudonymy, and focuses on the current need for onomastic analyses in Romance Studies. Indeed, the use of pseudonyms has received comparatively little linguistic investigation. We have submitted to our analysis a corpus of pseudonyms of prostitutes practising their profession in Paris. This corpus includes 357 pseudonyms and covers a period between the 18th century and the beginning of the 20th century. The data was collected from police reports (archival work) as well as from sociological studies dealing with prostitution in Paris in the 18th and 19th centuries. According to morphosyntactic as well as semantic criteria, we will attempt to apply a taxonomy developed previously to the pseudonyms of prostitutes distinguishing several types of procedures for the formation of pseudonyms of German criminals in the 19th century.

FR

Le présent article s’inscrit dans le contexte des recherches scientifiques dédiées à l’onomastique, plus particulièrement aux études sur l’anthroponymie, voire sur la pseudonymie, et répond au besoin actuel d’analyses onomastiques en romanistique. L’usage du pseudonyme a longtemps été considéré comme une pratique marginale, et, de ce fait, a été peu étudié jusqu’à présent. Nous avons soumis à notre analyse un corpus de pseudonymes de prostituées exerçant leur métier à Paris. Ce corpus regroupe 357 pseudonymes et couvre une période comprise entre le XVIIIe siècle et le début du XXe siècle. Les données ont été recueillies dans des rapports de police (travail dans le cadre d’archives) ainsi que dans des ouvrages sociologiques traitant de la prostitution parisienne aux XVIIIe et XIXe siècles. Selon plusieurs critères, à savoir morphosyntaxiques et sémantiques, nous tenterons d’appliquer aux pseudonymes de prostituées une taxonomie développée précédemment distinguant plusieurs types de procédés de formation des pseudonymes de criminels allemands au XIXe siècle.

20

Exil et migration dans le roman algérien d’expression arabe: Le corps des brûlures, La cendre des corps brûlés (Ğasad al-Harā’iq, Nitār al-aǧsād al-mahrūqa) et Les balcons de la mer du Nord (Šurufāt Bahr al-Šamāl) de Waciny Laredj

75%

NAOUEL A.

Planeta Literatur. Journal of Global Literary Studies

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2014

|

issue 1. Europe - Maghreb: exchanged glances / L'Europe et le Maghreb: les regards croisés

149-164

FR

Waciny Laredj semble bien conscient de la différence sémantique qui sépare des deux termes « immigration » et « exil ». Son regard sur les deux concepts est proche de celui de Myriam Hachimi Alaoui. Il emploie le premier terme pour désigner la situation d’un intellectuel algérien réfugié à l’étranger et le deuxième pour désigner celle des travailleurs algériens. C’est sur cette distinction que s’appuiera le travail, en se donnant pour tâche d’étudier la représentation de ces deux concepts (exil, manfā et migration, hiǧra) dans Le corps des brûlures et Les balcons de la mer du Nord. Nous avons choisi d’étudier ces deux ouvrages, car ils permettent de voir comment le même auteur traite ces deux thématiques différentes. Dans les Les balcons de la mer du Nord, Waciny Laredj accorde une place importante à la question de l’espace, particulièrement urbain. Dans Le corps des brûlures, c’est la représentation du corps migrant qui est mise en avant. Nous allons essayer de démontrer dans un premier temps comment le corps est représenté dans l’espace parisien. La deuxième partie sera consacrée à la représentation de l’espace géographique de l’exil, soit la ville d’Amsterdam dans Les balcons de la mer du Nord. Avant d’entamer notre analyse, nous allons présenter brièvement le contenu des deux romans en question.

Refine search results

Miasto przetworzone – paryska fantasmagoria Waltera Benjamina

Un regard sur la question d’identité ethnique des Chinois à Paris : différence entre les générations et entre les genres

Kolejowe transporty wojskowe z materiałem wojennym pozyskanym przez Polską Wojskową Misję Zakupów w Paryżu w latach 1919–1920

Third time lucky: An analysis of Paris’ bids for the Olympic Games in 2008, 2012 and 2024

Chełmoński w księgach handlowych Goupil & Cie

Brandel i sztuka europejska jego epoki

Pocztówki z piekła. Stanisław Ignacy Witkiewicz w Paryżu 1908