Search results - CEJSH

1

Nature-related experience. Response to the questionnaire concerning human experience associated with nature

100%

Elzenbeg H.

Polish Journal of Landscape Studies

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2018

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vol. 1

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issue 1

21-32

EN

-

2

Ideologia w przyrodzie, ogrodzie i krajobrazie

80%

Rozmarynowska K.

Estetyka i Krytyka

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2009

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issue 15-16

143-169

EN

The author is attempting to follow the influence of various ideologies on the way nature, gardens and landscape are perceived. She discusses the 17th century, and the relationship of a geometrical garden to French absolutism (Versailles), the influence of the British liberal thought on the idea of a casual garden (J. Addison and the Whigs Party), dependence between the idea of freedom and the way the role of nature was understood in the times of the French Revolution (J.J. Rousseau), The Cult Of Nature (J.W. Goethe, A. Humboldt) and nationalistic and racist motifs in German nature (W.H. Rhiel and the wildlife conservation movement), in the gardens (W.P. Tuckermann, W. Lange) and in the landscape (Bismarck’s monuments and towers) in the 19th century and in the first half of the 20th century. The author refers to the connection between eugenics and the idea of garden city and the influence of the German neo-religious movements on the landscape (cemeteries in Seelefeld and Hilligenloh, The Sacred Grove of Saxons Sachsenhein).

3

Krajobraz w „Wierszach różnych” i w „Wierszach z listami” Ignacego Krasickiego

80%

Cieński M.

Pamiętnik Literacki

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2020

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vol. 111

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issue 1

51-68

PL

W twórczości Ignacego Krasickiego przedstawienia krajobrazu nie zajmują wiele miejsca i nie odgrywają pierwszoplanowej roli. Pojawiają się one jednak i w utworach prozą, i w wierszach, więc chociażby dlatego zasługują na zbadanie. Analiza pejzaży Krasickiego powinna pozwolić na stwierdzenie, jak są budowane, jaką pełnią funkcję, a także – w jaki sposób pisarz odwoływał się do znanych sobie krajobrazów. Artykuł dotyczy tej problematyki w dwóch zbiorach wierszy Krasickiego: w "Wierszach różnych" i w "Wierszach z listami". Przedstawienia pejzażu pojawiają się w mniejszości utworów należących do tych zbiorów, nie układają się według żadnego schematu. Do ich tworzenia wykorzystuje Krasicki przede wszystkim topikę arkadyjską, często modyfikowaną. Pejzaż w większości przypadków nie ma w tych wierszach samodzielnego znaczenia, lecz jest używany w rozważaniach dotyczących kwestii typowych dla refleksji poetyckiej Krasickiego. Najbardziej rozbudowane i mające złożone funkcje przywołania pejzażu pojawiają się w Liście imieniem brata do siostry (lokalny pejzaż Lidzbarka i rezydencji biskupiej Krasickiego) oraz w Opisaniu podróży z Warszawy do Biłgoraja, w którym zostały wykorzystane jako element gry (również autobiograficznej) z konwencjami opisu podróży.

EN

Landscape presentations in Ignacy Krasicki’s creativity are neither lengthy nor occupy the leading role. Since one finds them in both poetry and in prose, they deserve examination. The analysis of Krasicki’s landscapes is meant to reveal the way they are built, the function they perform and also the mode the writer made references to the landscapes he was familiar with. The article refers to those problems in two collections of Krasicki’s poems, namely "Wiersze różne" ("Various Poems") and "Wiersze z listami" ("Poems with Letters"). Images of landscapes are found in minority of the pieces from the collections and form no pattern. To produce them, Krasicki first and foremost employs the Arcadian topoi, often modified. The landscape in majority of instances has no separate meaning, but is used in considerations typical of Krasicki’s poetic reflection. Most developed and complex functions of recalling the landscape are found in List imieniem brata do siostry (Brother’s Letter to His Sister) (a local landscape of Lidzbark and bishop Krasicki’s mansion) and in Opisanie podróży z Warszawy do Biłgoraja (An Account of a Journey from Warsaw to Bilgoray) in which he uses elements of a play (also autobiographical) with the conventions of journey descriptions.

4

Post-industrial Cultural Heritage Sites in the Katowice conurbation, Poland

80%

Lamparska M.

Environmental & Socio-economic Studies

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2013

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vol. 1

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issue 2

36-42

EN

The Katowice conurbation comprises of towns which have developed because of the mining of metal ores, coal and raw rock materials. The development of mining and industry which have lasted for centuries has resulted in the specific character of the landscape of the area with its typical indicators such as housing estates built for the working class, winding towers, chimneys of steelworks, coking plants, power stations, drifts, quarries, etc. The residents of mining communities, and local governments within the conurbation, which have developed owing to mining, are aware of the impending economic slowdown after liquidation of coal mines. Therefore, development of the service sector, including tourism, based on postindustrial facilities can become an important factor in restructuring the economy. This article presents a classification of post-industrial cultural heritage sites prepared for the purpose of geotourism. Several categories of such sites have been distinguished: 1) historic mining landscapes, 2) places adapted for recreation, 3) places documenting changes in the groundwater environment, 4) characteristic Silesian landscapes, places commemorating stages of development of the mining industry, 5) post-mining sites adapted for service, commercial or residential purposes, 6) mining museums and open-air museums. The described post-mining sites occur in different parts of the Katowice conurbation; therefore, linking them by a system of tourist trails and surrounding them by zones of protected landscape will be an important task for the future. Material remains of the industrial culture preserved within the Katowice conurbation, despite their diversity, form complexes of monuments complementary to those that can be found in the entire industrialized Europe. Therefore, the industrial heritage in the area of the Katowice conurbation is an important part of the European, supranational heritage.

5

Visual Impact Assessment of Free Standing Billboards in the Road Landscape near Elektrėnai (Lithuania)

80%

Kamičaitytė-Virbašienė J., Samuchovienė O., Radvilavičius R.

Architecture and Urban Planning

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2015

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vol. 10

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issue 1

6-12

EN

Free standing billboards (FSBs) have a significant negative visual impact on landscape. In majority of foreign countries the construction of FSBs is regulated by various legal instruments, guidelines, and control manuals. In Lithuania the construction of FSBs considering visual impact is poorly regulated by juridical and spatial planning means. Considering this situation methodological guidelines for regulation of FSB construction taking into account their visual impact were created. The guidelines are a part of the Landscape Guidelines for the Roads and Railways of National Significance [10] which is a manual set to fulfil the requirements of the European Landscape Convention [4] to broaden the knowledge on this subject and to integrate landscape issues into all matters that influence the state and the future of landscape. The aim of the article is to show the possibilities of application of the guidelines by performing visual impact assessment of FSBs in the road landscape near the town of Elektrėnai on one of the main highways of Lithuania: A1 Vilnius-Kaunas-Klaipėda. The proposed stages of FSB visual impact assessment are the following: analysis of landscape spatial structure designating visual spaces perceived from separate road sections; analysis of FSB layout possibilities designating visual spaces protected from FSB construction and visual spaces as FSB construction areas; establishment of possible visual contrast level of FSB, and establishment of FSB location in visual space and visual contrast character according to the Identity Index context (Similarity, Identity, Difference Index) theory and results of evaluation of aesthetic potential of the visual space. In the performed research we used the possibilities of spatial data management and analysis of geographic information systems (GIS) and basically implemented the first three stages of FSB visual impact assessment. The fourth stage was not implemented because it deals mainly with technical issues of FSBs. We tried to solve questions that are most important on the level of spatial planning when developing special plans for FSB construction.

6

Being in the woodlands: archaeological sensibility and landscapes as naturecultures

80%

Kobiałka D.

Polish Journal of Landscape Studies

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2018

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vol. 1

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issue 1

44-53

EN

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7

Layers of landscape-transdisciplinarity of contemporary landscape photography

80%

Michałowska M.

Polish Journal of Landscape Studies

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2018

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vol. 1

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issue 1

65-75

EN

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8

Landscape and the environment

80%

Wilkoszewska K.

Polish Journal of Landscape Studies

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2019

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vol. 2

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issue 4-5

5-12

EN

The paper analyzes the concept of landscape and its various embodiments in art and nature. On the one hand, one can claim that our understanding of the landscape is constituted by conceptual oppositions like human/non-human, artifactual/natural, culture/nature; on the other, one may notice that landscapes occur in the space “between” these oppositions. Furthering this observation, I lodge an objection to the approach of certain exponents of environmental aesthetics who opt for replacing the notion of landscape by that of environment because I would argue that the former is still informative.

9

A landscape embroiled: experience of nature through experience of art

80%

Milczarczyk P.

Polish Journal of Landscape Studies

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2019

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vol. 2

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issue 4-5

13-22

EN

The article sets out with the theory of “aesthetics of reality” (created by Maria Gołaszewska) and its related method of transferring artistic structures onto non-artistic reality. The resulting construct, which is dubbed a para-artistic structure, becomes the theoretical basis for the aesthetic experience of nature. The so-called “formalization”-a procedure which consists in inserting nature into artistic frameworks-makes natural phenomena acquire a pretense of artwork. Nature as a picture becomes a landscape, while terms connected with the aesthetics of nature gain artistic qualities, enabling use of such notions as picturesque or kitsch. The methodological proposal by Gołaszewska is subsequently compared with the critical perspective of environmental aesthetics.

10

On the experience of the urban landscape: A commentary on Siegfried Lenz’s "Von der Wirkung der Landschaft auf den Menschen"

80%

Szczepański P.

Polish Journal of Landscape Studies

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2019

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vol. 2

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issue 4-5

35-45

EN

The aim of this paper is to characterize the relation between the urban landscape (the image of the city) and the subject. The landscape is understood here in two ways: as something alien, excluding, and hostile, but also as something that gains new features when in contact with the Other. For it can be said, paraphrasing Siegfried Lenz’s famous statement on the relation between man and landscape, that the city is being created through us. The relationship between the residents and the urban landscape has a reciprocal character, in which “I” places itself in relation to a certain “you.”

11

Krajobraz i nacjonalizm. Baskijski pejzaż narodowy

80%

Mirgos K.

Studia Europaea Gnesnensia

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2011

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issue 4

275-292

PL

The article addresses the issue of ideological exploitation of the landscape, of mak-ing into an ethno-landscape, which is an important element of the nationalist thought. The authoress analyses the question on the example of the Basque culture, discussing the meaning or the territory and home in the Basque worldview, the most important elements of the Basque national landscape and the way in which they are created and preserved (art, literature).

12

Krajinný motiv na lidovém malovaném nábytku

80%

Mácha P., Krtička L.

Národopisný věstník

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2017

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vol. 34_(76)

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issue 2

36-62

EN

The article examines the possibility of using landscape motifs on folk furniture as a source for understanding the perception of landscape in Czech countryside in 1700s and 1800s. First, a brief overview of folk furniture is provided as a framework for understanding the importance and character of landscape paintings.Second, a detailed analysis of different landscape painting types and their regional differentiation is given. And finally, a critical reflection of the presented material regarding its potential use as a historical source for understanding landscape perception is offered. In conclusion, it is argued that folk furniture may be a useful source for historical studies but the landscape painting itself has severe limitations for the reconstruction of past landscapes.

13

Krajiny antropologie a antropologie krajiny

80%

Mácha P.

Český lid: etnologický časopis (Český lid: Ethnological journal)

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2010

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vol. 97

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issue 3

225-246

EN

While anthropologists have always studied spatial aspects of cultural practices, space, place and landscape were rarely the central topics of their research and writing. Space was considered as passive, secondary background to cultural processes rather than their integral component, shaping force and product. It may be argued that for a long time space was not taken sufficiently seriously as to inform thoroughly ethnographic research and theoretical debates about culture. This has changed and a new anthropology of space, place and landscape is forming, drawing inspiration from cultural geography’s advanced conceptualizations of space while retaining anthropology’s special interest in cultural processes and the evolution and dynamics of human behavior. Of the three widely used spatial concepts – space, place, and landscape – it is the last one that has turned out to be the most difficult to define and apply in systematic research. In this article we offer some suggestions about the possible ways of conceptualizing landscape in anthropology in order to make this concept of a real research value and theoretical utility.

14

Mezi pravěkem a industriálem: několik poznámek k antropologii krajiny

80%

Gibas P., Pauknerová K.

Český lid: etnologický časopis (Český lid: Ethnological journal)

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2009

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vol. 96

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issue 2

131-146

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.

15

The problem of cartographic representation in relation to the Polish cultural landscape

80%

Opach T., Kwiatkowska J. M.

Miscellanea Geographica. Regional Studies on Development

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2004

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vol. 11

301-310

EN

The problem of representing the Polish cultural landscape consists of two components. The first component is the choice of content. Wishing to define the breadth of the content of a cultural landscape map, one needs to remember that it is composed of two facets. The first facet, the material result of human activity, is easily discernable in the field and easily illustrated on a map. Elements included in this facet are: sacred and secular historical structures, the spatial layout of cities, archeological sites etc. The second facet of cultural landscape needs to be considered in immaterial terms. It is difficult to illustrate on a map, because its elements do not lend themselves to being topographically situated. One could mention, for example, religions, customs and traditions, a common historical past etc. Most often, one can only indirectly speculate about this facet of the cultural landscape, on the basis of the material characteristics of the cultural landscape. The second problem related to presenting cultural landscape on a map is the choice of graphic form for the map. The problem is to a large extent tied to difficulties stemming from the necessity of maintaining semantic correctness (the relation between “symbol” and “object”). In practice, during the graphic editing of a map representing the cultural landscape, one should remember to: a) choose a scale suitable for the representation, upon which depend the degree of detail and the generalization of the content; b) correctly depict the variation boundaries, taking into account sharp and fuzzy boundaries; c) make a well-designed symbol key.

16

Mała forma, wielkie znaczenie. Miejsca i obiekty świadczące o szczególnej identyfikacji ludzi z krajobrazem

80%

Krug D.

Studia Etnologiczne i Antropologiczne

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2017

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vol. 17

86-102

EN

The article deals with ways of expressing identification of people with the residential environment and their attachment to the place. The research has shown that in the space there are present objects voluntarily produced by the inhabitants. Public spaces are “decorated” or “adapted” to the residents’ own tastes and needs, which may be a sign of their growing into or identifying with the landscape. The inventoried items have been denominated as objects and places of special identification of people with the landscape. The impact of the elements on the environment is so enormous, despite their different character and often small size, that they constitute details enriching the landscape reception and thus should be taken into account during landscape research.

17

Topografie w wybranych późnych utworach Elizy Orzeszkowej

80%

Pastuszek K.

Postscriptum Polonistyczne

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2017

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issue 2 (20) Oblicza kobiecości

223-231

EN

The aim of the article is to reinterpret the landscapes created by Eliza Orzeszkowa with the use of the tools offered by geocritics and geopoetics. It enables treating topography as the main element of the literary landscape, which – in the case of Orzeszkowa – creates the landscape itself. Topography/’topographic experience’ contains the landscape and makes it visible. Using some selected examples, the author of the article explains how space has been created and which senses it evokes.

18

Invisible Violence: Drone Warfare and Landscape after 9/11

80%

Kolenda K.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione

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2018

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vol. 13

5-18

EN

The paper investigates representations of landscape in selected examples of contemporary artworks that were produced in the aftermath of and in direct response to the 9/11 terrorist attacks and the subsequent war on terror. Focused on the work of Hito Steyerl, Trevor Paglen, and Simon Norfolk, the paper seeks to examine how the development in military technology, primarily the increasing reliance on computerised vision, as manifested by the use of drones, has generated new ways in which landscape is perceived and represented, experienced and mediated. In the text, discussed artworks are shown to confront the mechanised vision of landscape with aesthetic concepts such as the sublime in order to account for the changes in human experience of space in the 21st century.

19

The Aesthetics of landscape

80%

Elzenberg H.

Polish Journal of Landscape Studies

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2018

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vol. 1

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issue 1

17-19

EN

-

20

Wyspa jako „landscape“ i „Landschaft“. Fenomenologiczne próby odczytania krajobrazu w „Duchach Inisherin”

71%

Boguska A.

Kwartalnik Filmowy

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2023

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issue 122 Krajobrazy, panoramy, terytoria

86-106

PL

Krajobraz w filmie oddawany jest nie tylko w obrazie, ale i w dźwięku. Autor ukazał jego kreację na przykładzie dziesięciu filmów science fiction, zrealizowanych na przestrzeni blisko 70 lat, pokazujących pozaziemskie planety. W opisie ich fonosfery wykorzystał teorię pejzażu dźwiękowego R. Murraya Schafera oraz analizę audio-wizualną Michela Chiona. W pionierskich filmach z przełomu lat 50. i 60. użycie eksperymentalnych efektów elektroakustycznych zamazuje rozróżnienie między dźwiękiem a muzyką i jest jednym z elementów wywołujących wrażenie niesamowitości. W środkowej części artykułu autor porównał adaptacje dwóch kanonicznych utworów gatunku – Solaris Stanisława Lema i Diuny Franka Herberta – które wprowadzają kontrastujące planety. Zestawienie to pokazało, jak żywioły przekładają się na dźwięki i jaką funkcję owe dźwięki mogą pełnić. W ostatnim rozdziale zostały opisane dwa seriale będące najnowszymi odsłonami fantastycznych sag: Star Trek i Gwiezdnych wojen. W pierwszym powraca wątek żyjącej planety, a w drugim toniki dźwiękowej opartej na materiale.

EN

In cinema, the landscape is reflected not only in the image, but in the sound as well. The article discusses the creation of the latter based on ten science-fiction films, dating from a period of nearly 70 years, that show extraterrestrial planets. Their soundscapes are described in terms of R. Murray Schafer’s theory and Michel Chion’s audio-visual analysis. In pioneering titles from the late 1950s and early 1960s, the use of experimental electro-acoustic effects blurs the distinction between sound and music, creating an impression of the uncanny. In the middle part of the article, adaptations of two canonical texts of the genre are compared – Stanisław Lem’s Solaris and Frank Herbert’s Dune – which introduce contrasting planets. Thanks to the juxtaposition, it turns out how their elements translate into sounds and what function these sounds can take. The last section describes two series that are the latest spin-offs of the fantastic sagas: Star Trek and Star Wars. In the first, the motif of a living planet returns, and in the second, the material-based keynote sound.

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