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1

Atrakcyjność turystyczna parków na obszarach miejskich – zarys problemu

100%

Kowalczyk A.

Turystyka Kulturowa

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2016

|

issue 1

94-130

PL

Park należy rozumieć jako zaplanowaną przestrzeń pokrytą wprowadzoną przez cżłowieka, półnaturalną lub naturalną roślinnością. Zazwyczaj powstają one w celu zapewnienia rozrywki i wypoczynku, ale niektóre są zakładane w celu ochrony przyrody. Park i ogród odzwierciedla harmonię, jaka powinna istnieć między człowiekiem a przyrodą. Od czasów starożytnych ogrody były odwiedzane przez podróżników. Niektóre parki i ogrody, jak Central Park w Nowym Jorku, czy Parc Güell w Barcelonie, budzą duże zainteresowanie wśród turystów również obecnie, nie tylko z powodu walorów przyrodniczych, ale i walorów kulturowych. Parki na obszarach miejskich składają się nie tylko z trawników, drzew i skał, ale wiele z nich ma na swoim terenie budynki historyczne, pomniki, fontanny, a także infrastrukturę dla aktywnego wypoczynku – place zabaw, boiska, trasy piesze i rowerowe itp. Artykuł dotyczy atrakcyjności turystycznej parków na obszarach miejskich. Na początku autor przedstawia dane pochodzące z rankingów obejmujących czołowe parki miejskie na świecie. W drugiej części artykułu przedstawiono krótki opis czterech parków miejskich: w Pradze (Czechy), Madrycie (Hiszpania), Isfahanie (Iran) i Victorii (Hongkong).

2

Ogrody Stiftera

100%

Mazur A.

Prace Filologiczne. Literaturoznawstwo

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2011

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issue 1(4)

247-268

EN

The article deals with the motif of garden in the work of Adalbert Stifter (1805-1868), an eminent author of Austrian Biedermeier prose, but also an inheritor of German classicism. Pictorial garden space plays a very important role in the plot and characters’ configurations in several Stifter’s short stories and novels (among others: Colorful Stones, Brigitta, Two Sisters, The Wanderer in the Forest, Indian Summer). The Garden, natural border-space between nature and civilization, evocates the condition of mental and primary ethical order, which is typical of Biedermeier style. Three dimensions of the motif are to be discussed: garden as the icon of development and inner growth of an individual (Bildung tradition); garden as love scenery and place of decline (Bible allegory) and garden as oeconomia divina (i.e. divine order of natural wildness, which can be destroyed by man’s hybris − or human order of artificial wildness, which represents existential and metaphysical harmony of human life). There are plenty of classical, biblical, romantic and modern topoi that create poetical topography of Stifter’s garden, among them: Arcadia, locus amoenus, Eden, hortus conclusus, Rose’s Garden of Love, Utopia, idyll, pantheistic and contemplative vision of nature, “atmosphere” and impression, ecology idea. Due to this, the garden motif in Stifter’s work corresponds perfectly to his philosophical conception (known as Gentle Law, das sanfte Gesetz), which explains the world as a kind of natural and cultural unity.

3

Ignacy Krasicki w ogrodzie

100%

Doktór R.

Prace Filologiczne. Literaturoznawstwo

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2011

|

issue 1(4)

177-190

EN

Ignacy Krasicki was not merely the most distinguished writer of the Polish Enlightenment, but also “the prince of poets” − to use a phrase from the period. He occupied a prominent position in the hierarchy of the Catholic Church, as the bishop of the Warmia region in north-eastern Poland and archbishop of Gniezno. He was a passionate and highly competent art collector. His collection included numerous and diversified works of art: pieces of sculpture, painting, drawing and engraving. Moreover, Krasicki was a dedicated gardener. His episcopal residence at Lidzbark (Heilsberg) in Warmia was surrounded by an exquisite English garden. According to many of his contemporaries, it was the most beautiful garden in this part of Poland, if not in Europe. Krasicki’s passion for gardening was, in part, a result of his family roots in landed gentry. But, unquestionably, it was also due to the fashion of the period. His garden, surrounding what used to be a castle of the Teutonic Knights, was, in a certain measure, a retreat for Krasicki, an exile (after the first partition of Poland Krasicki became a Prussian subject). In Polish history he was one of the first spiritual predecessors of the great exiles and expatriates from the period of Romanticism. Last but not least, his Warmian garden was a realm of beauty which is created like a grand lyric.

4

Ogrody (i parki) Tadeusza Różewicza. Przemiany zdegradowanego toposu

75%

Wójcik T.

Prace Filologiczne. Literaturoznawstwo

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2011

|

issue 1(4)

283-296

EN

The subject of the article is the topos of garden (over time replaced more and more with that of a park) as presented in the broadly viewed poetry of Tadeusz Różewicz. The comparative context for the description of manifold meanings and functions of this topos is composed of references to the poetry of garden lyric masters i.e. Leopold Staff, Bolesław Leśmian, Jarosław Iwaszkiewicz. The reconstruction of the complexity of garden topos allows seeing it as one of the most important figures in Tadeusz Różewicz’s poetry, as it is the figure of reflection on the condition of spirit and the state of culture in the 20th century.

5

Róże dla osłów. Topika ogrodowa w „Hortulus elegantiarum” Wawrzyńca Korwina

75%

Buszewicz E.

Prace Filologiczne. Literaturoznawstwo

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2011

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issue 1(4)

13-25

EN

Lorenz Rabe, a 15/16th century Silesian humanist and teacher known by his Latin name, Laurentius Corvinus, wrote a number of poems and schoolbooks in Latin. Among his works was Hortulus elegantiarum, containing a collection of hints on elegant Latin style and its examples. The manual, whose editio princeps appeared in 1502, was dedicated to the students of the Jagiellonian University. It had around 25 editions. The main purpose of this paper is to discuss the preface and the afterword to the Hortulus in the context of loci communes concerning the garden metaphor. In Corvinus’ Hortulus the metaphor may be read in different ways: as a book, a pupil’s mind or author’s creative invention. The first way is used in Corvinus’ afterword and preface, whose palimpsest structure (evoking Apuleius’ Metamorphoses) emerges from the analysis included in the main part of the article. Two other ways of application of the metaphor are connected with Corvinus’ dedicatory poem to Cracow students. The dedication is briefly discussed at the end of the paper.

6

Ogrody Charosa. Ogród i Śmierć w wybranych utworach poezji nowogreckiej

75%

Borowska M.

Prace Filologiczne. Literaturoznawstwo

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2011

|

issue 1(4)

119-134

EN

The author concentrates upon the symbolic connection between the Garden and the Death in Modern Greek culture and literature beginning with the real garden of Empress Sissy, Achilleion, which after the tragic death of her son prince Rudolph underwent a sudden change from locus amoenus to a cemetery-like hermitage. Then the author passes on to Missolunghi Heroon to analyse Kostis Palamas’s poem Young Girl on the tomb of Marcus Botsaris (He Pedoula) full of motifs and allusions both to the ancient learned tradition and to the Modern Greek folk-songs. The traditional popular image of the Other World is clearly akin to the one known from the Homeric epic, a Medieval Byzantine poem Digenis Akritas or a Cretan Renaissance katabasis poem Apokopos by Bergadis. It finds its most original realization in the Greek folk songs −moirologia, where the popular imagination has created highly emotional descriptions of the horrible garden of Charos − Death, where deceased children “grow” as flowers, dead youths as trees and elders serve as its fence.

7

Wołyński raj techniczny. Tymon Zaborowski i „ogród przedziwny” ruskiego czarownika Jamedyka Bluda bohatera poematu bohaterskiego „Zdobycie Kijowa”

75%

Stankiewicz-Kopeć M.

Prace Filologiczne. Literaturoznawstwo

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2011

|

issue 1(4)

205-217

EN

A heroic poem The Capture of Kiev (1818) by Mickiewicz’s contemporary, Tymon Zaborowski, the graduate of the Volhynian Gimnasium (based on Boleslaw the Valiant’s Kiev expedition) appears to be an interesting record of literary imagination as well as aesthetic and cultural awareness of the author of the transitional period. This reflection primarily refers to these fragments of the poem which concern the Ruthenian sorcerer Jamedyk Blud − the teacher of Vladimir the Great’s sons and an ally of Yaroslav in the battle with Polish people, as well as his extraordinary island-garden. Jamedyk Blud’s island presented in The Capture of Kiev is not only an idyllic depiction of a paradise on earth, another mythological vision of the Fortunate Isles, or a Volhynian Arcadia −poetically realized according to the principles of the contemporary art of gardening. Blud’s extraordinary island created by Zaborowski has another nature since it is also the “garden of experiments”, the “garden of technical tests”. This kind of vision results from technical, mechanical and physical fascinations held by Zaborowski and his friends from Kremenets. From today’s perspective, it is this technical aspect of Jamedyk Blud’s residence that appears to be a particularly interesting record of Zaborowski’s wide-ranging fascinations as for the author of the transitional period.

8

O warszawskich ogrodach Bolesława Prusa uwag kilka

75%

Bachórz J.

Prace Filologiczne. Literaturoznawstwo

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2011

|

issue 1(4)

269-281

EN

Prus always liked and appreciated natural landscapes. He considered them to be a part of the miracle of life. Repeatedly in his writings Prus expressed his admiration for every living creature and fought against wanton cruelty of people towards animals and plants. Prus’ attitude to nature could be compared to the stand ecologists take nowadays, but he was aware of the fact that when defending nature compromise solutions must be taken into account. Warsaw parks were the subject of his interest both in his journalistic work and in his novels. In the second half of his life he willingly visited the health resort in Nałęczów to rest and recruit his health in the parks. Warsaw Saski Garden was the subject of Prus’ early work, a scenic draft which belongs to the already forgotten so called “physiologies” i.e. reporter monographs of places and professions. Saski Garden together with the biggest park of Warsaw city centre, Łazienki, were also often described by Prus in weekly chronicles. Some of the main motifs in The Doll are set in Łazienki Park. Prus’ descriptions of gardens are full of humour e.g. the water in Saski Garden pond is often so murky “as if European politics has been bathed in it”. Prus notes down amusing behaviours as well as hooligans’ actions and even, once, the presence of muggers. However, in the picture of reality painted by Prus, which is often marked with bitterness and covered with sadness, the parks of the city belong to the area of desired peace from the troubles of everyday life.

9

Literackie ogrody Karla Hynka Máchy na tle ogrodowej koncepcji kultury czeskiej w dobie odrodzenia narodowego

75%

Pająk P.

Prace Filologiczne. Literaturoznawstwo

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2011

|

issue 1(4)

97-117

EN

In the period of national revival Czechs popularize the garden conception of native culture in two variants: noble and middle-class. Representatives of the Czech patriotic nobility build in their estates sentimental parks in English style. These parks are the live monuments of great mediaeval tradition of the Czech Kingdom which is considered by noblemen to be the core of their identity. Patriotic middle-class men do not build gardens, they only use the garden metaphors to describe the peculiarity of Czech culture, especially literature. They want the culture to resemble the Biedermeier garden which joins aesthetical and pragmatic values. In both conceptions the national culture is idealized and its main task is to promote patriotism. The picture of a garden, created by Karel Hynek Mácha in several of his prose works, differs from the noble as well as the middle-class pattern of national Arcadia. Mácha passes for the only consistent Czech romantic writer and he demythologizes the revival gardens in a romantic way. In his interpretation nature is a variable, unforeseeable as well as internally conflicting phenomenon. It attracts as a source of life and freedom, but at a time it equally strongly repels because it puts to death and captivates. Human nature is the best example of this ambiguity which excludes the basis of the garden conception of culture that is the possibility of achieving the harmony between human beings as well as between human being and the nature. Therefore Mácha ironically contests the myth of garden, opposing it to the truth of nature. He transfers the attention from the garden, as the man’s seemingly perfect work, to the man, as the imperfect component of his own work.

10

Nowy Eden. Wpływ ogrodnika i jego dzieła – ogrodu na proces zmian klimatycznych

75%

Grzelak E.

Porównania

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2022

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vol. 31

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issue 1

63-77

EN

On the 21st of May 2019 the Anthropocene Working Group has concluded that a new geological era in Earth’s history has begun-the Anthropocene. The author of the article has deduced that an interdisciplinary discourse regarding climate change should not omit human gardening activity. The Anthropocene is called an epoch of repression, short-sightedness and irreversible loss, which is shown in the work of many modern amateur gardeners. The author presents a vision of two gardens: one that has been made in a harmony of human and nature and one that is dominated solely by humans. In her article she contrasts the information from gardening guidebooks with the knowledge of amateur gardeners found in social media. The point of the article is to show the direction of modern gardening. By analysing selected texts, the author seeks an answer to the following question: are the gardeners, who see climate change, able to break out of their apathy and start to work for the environment or will they rather just continue doing what they are doing now?

PL

21 maja 2019 roku Anthropocene Working Group uznała, że rozpoczęła się już nowa epoka geologiczna w historii Ziemi – antropocen. Autorka artykułu uznała, że interdyscyplinarny dyskurs dotyczący zmian klimatycznych nie może pominąć ogrodniczej działalności człowieka. Antropocen określany jest mianem epoki wyparcia, krótkowzroczności i nieodwracalnych strat, co znajduje odzwierciedlenie także w działaniach wielu współczesnych ogrodników amatorów. Autorka prezentuje dwie wizje ogrodów: powstałego w zgodnej koegzystencji człowieka i natury oraz zdominowanego przez człowieka. Konfrontuje w swoim artykule informacje zawarte w poradnikach ogrodniczych z wiedzą obecnych na portalach społecznościowych ogrodników amatorów. Celem artykułu jest pokazanie, w jakim kierunku rozwija się współczesne ogrodnictwo. Analizując wybrane teksty, autorka poszukuje odpowiedzi na pytanie, czy ogrodnicy, widząc zmiany klimatyczne, są w stanie wyrwać się z marazmu i zacząć pracować na rzecz środowiska, czy też nadal pozostaną w sferze dotychczasowych działań.

11

Przekształcenia ogrodów przy klasztorze oo. bernardynów w Piotrkowie Trybunalskim

63%

Milecka M.

Architectus

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2018

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issue 4(56)

31-42

PL

Artykuł poświęcono prezentacji reliktu dawnego ogrodu bernardynów w Piotrkowie Trybunalskim. W oparciu o przeanalizowany materiał źródłowy autorka przedstawiła losy ogrodu w kontekście historii klasztoru. Ukazała zasób współczesny dawnego ogrodu bernardynów i określiła stan zachowania historycznego układu. To pozwoliło na zrekonstruowanie ewolucji założenia i wyprowadzenie wniosków na temat ochrony dziedzictwa ogrodowego, a następnie sformułowanie zaleceń dotyczących kształtowania krajobrazu historycznego centrum Piotrkowa. W wyniku analiz dowiedziono, że wartości historyczne i artystyczne piotrkowskiego zespołu bernardyńskiego są duże. Historia tego zespołu zieleni, jego kompozycja i ranga dla współczesnego układu urbanistycznego zasługują na bliższą prezentację, co uczyniono w artykule. Założenie jest interesującym przykładem ewolucji układów zieleni i świadectwem wielkiego wpływu zgromadzeń zakonnych na kształtowanie krajobrazu miasta.

EN

The article is devoted to the presentation of a relic of the former Bernardine garden in Piotrków Trybunalski. Based on the analyzed source material, the author presented the fate of the garden in the context of the history of the monastery. She showed the contemporary resource of the former Bernardine garden and described the state of preservation of the historical system. This allowed us to reconstruct the evolution of the assumption and draw conclusions about the protection of the garden heritage, and then formulate recommendations for shaping the historical landscape of the center of Piotrków. As a result of the analysis, it was proved that the historical and artistic values of the Piotrków Bernardine complex are large. The history of this complex of greenery, its composition and rank for the contemporary urban layout deserve closer presentation, as was done in the article. The assumption is an interesting example of the evolution of green areas and a testimony of the great influence of religious congregations on shaping the city landscape.

12

Ogród - miejsce spełnienia i schronienia artystów

63%

Hubeny-Żukowska A.

inAW Journal – Multidisciplinary Academic magazine

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2021

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vol. 2

|

issue 1

6-18

PL

Są na świecie miejsca, które swym pięknem i atmosferą potrafią przenieść widza/uczestnika w inny wymiar. Są ludzie niezwykli, którzy potrafią stworzyć takie przestrzenie wokół swoich domów. Magia ogrodu uczynionego z pasji, miłości, pragnienia zobrazowania filozofii, z chęci zapomnienia lub ucieczki przed rzeczywistością sprawia, że stają się one kapsułami wyodrębnionymi z czasu i przestrzeni. Co łączy Claude’a Moneta, Fridę Kahlo, epidemię cholery i grypy oraz COVID-19? Jak myśl projektowa i przestrzeń ogrodu, miejsca ekspresji, zmieniają się pod wpływem różnych zdarzeń i emocji? Czy w rzeczywistości postpandemicznej ogród może stać się piątym pokojem, nawiązującym do wcześniejszych salonów i gabinetów ogrodowych – współczesnym, bezpiecznym miejscem pracy, samorealizacji, wypoczynku oraz bytowania z przyrodą i pięknem?

13

The Garden Cities of Katowice: A Study of Cityholia

63%

Petri P.

Art Inquiry. Recherches sur les arts

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2016

|

vol. XVIII (XXVII)

127-143

EN

Today we are witnessing some sudden changes concerning the perception of the urban space in Poland. The social and spatial consequences of the processes of rapid and chaotic development and transformation of the cities during the last two decades have been thoroughly investigated and criticized by the specialists from the fields of architecture, sociology and philosophy, and even covered in some recent popular bestseller books. It is thus not an exaggeration to state that the quality of the urban space is becoming an increasingly important issue for many Poles. It is striking, however, that the mentioned scholarly work offers more criticism than positive, innovative solutions for the future. It seems to be concentrated more on the defense of the modernist architectural heritage, the preservation of modernist urban developments and inventing new functions for old modernist buildings than creating ideas for the urban spaces of the future. The local Silesian context seems to fit perfectly into this pattern.

PL

Jesteśmy współcześnie świadkami burzliwej debaty poświęconej przestrzeni miejskiej w naszym kraju. Jej efektem jest zarówno szeroka zmiana społeczna dotycząca postrzegania roli planowania miejskiego w codziennym życiu jak i intensywny rozkwit wyspecjalizowanego dyskursu w tej kwestii. Jakkolwiek, ten ostatni zdaje się zaskakująco często rozwijać w kierunku obrony modernistycznego dziedzictwa w architekturze i planowaniu miejskim przy równoczesnej krytyce rozwiązań współczesnych. Kontekst śląski nie jest w tej mierze odosobniony. Celem niniejszego artykułu jest ukazanie roli jaką pełnią pre-modernistyczne i modernistyczne modele urbanistyczne w powstaniu i realizacji idei Katowic jako miasta – ogrodów.

14

Logika spojrzenia w "Ogrodzie Saskim" Bolesława Prusa

63%

Wietecha A.

Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej

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2014

|

issue 20

121-137

EN

Article is an interpretation of Bolesław Prus’s short story "Ogród Saski". It’s spine consists in motive of visibility, and it’s background – sensuality in general, or sensual feelings considered by author as vitally important in the urban space of the second half of the nineteenth century. Gaze has its stigmatizing character and can be used as an instrument of oppression, while other senses widen the range of Prus’s heroes experiences and allow for seeking in text an antidote for “sight-concentrated” nature of urban space (here – the space of Warsaw).

15

Niewiasta w rajskim ogrodzie. Kilka uwag o godności kobiecej (na podstawie traktatu „O ślachetności a zacności płci niewieściej”, 1575)

63%

Wojtkowska-Maksymik M.

Prace Filologiczne. Literaturoznawstwo

|

2011

|

issue 1(4)

27-37

EN

In 1575 Maciej Wirzbięta, a printer from Cracow, published a translation of the work De nobilitate et praecellentia feminei sexus eiusdemque supra virilem eminentia libellus titled Treatise on dignity and respectability of female sex. The author of the original text was Heinrich Cornelius Agrippa von Nettesheim. Agrippa together with Wirzbięta took part in a century-long debate on women’s dignity, proving the legitimacy of the thesis which puts women over men. Arguments used in the discussion de hominis dignitate were supported by a particular interpretation of the Book of Genesis, which presents women as a better kind of men.

16

Ogród i opowieść. Przyczynek do teorii narracyjności ogrodów

63%

Kaczmarczyk K.

Prace Filologiczne. Literaturoznawstwo

|

2011

|

issue 1(4)

41-58

EN

The author considers diverse connections between the garden and narrative i.e. Numerous possibilities of constructing narrative in a garden or about a garden. Subsequently, two models of garden narrative are distinguished: sequential and situational narrative. These are further analyzed with the use of specific examples: Japanese Pure Land gardens, European Kalvarian gardens and 18th century English gardens, such as Stowe and Stourhead.

17

Wtajemniczenia w ogrodzie dzieciństwa

63%

Kalinowski D.

Prace Filologiczne. Literaturoznawstwo

|

2011

|

issue 1(4)

233-245

EN

The article in question is about one of the fragments of Novalis’s prose found in The Novices of Sais (the original title: Die Lehrlinge zu Sais), which is commonly categorised as a fairy-tale about Hyacinth and Rose Petal. The main interpretative aim of the article was to identify the Novalis’s project of human cognition and achievement of ever deeper levels of consciousness. Within the framework of the deepening of such a mode of analysis, the problem of creating the events setting and the characters of the literary piece are highlighted and become situated in the terms of symbolic imagination. In the light of this type of conduct, the topos of garden in Novalis’s work becomes a figure beyond the image of order and wealth created in the culture of the Enlightenment or the space of security and moderateness as shaped by the Sentimentalism. The Novalis’s early Romantic understanding of the garden (and more broadly of nature) was associated with the belief that it is the space of constant and infinite existential and spiritual initiations for a sensitive individual.

18

Ogród Wallenroda i tajemnica Wajdeloty

63%

Fiećko J.

Prace Filologiczne. Literaturoznawstwo

|

2011

|

issue 1(4)

219-232

EN

In his article Wallenrod’s Garden and the Mystery of Wajdelota the author analyses the role of the motif of garden in Adam Mickiewicz’s epic poem Konrad Wallenrod. The conventionality of the use of the term ‘garden’ is emphasized by pointing to the fact that there were some changes introduced to the order of the valley near the Neman River, which were conducive to his amorous meetings with his Ladylove. The manner in which the picture of ‘the garden’ is outlined in the poem is confronted by the author with the classical and romantic gardening styles. It is stressed that the poet distances himself from the two schools, which results from, among other things, the emphasis on the beauty of the valley, a garden created by Nature herself. The motif of the garden played an important role in Konrad’s last conversation with Aldona, when the main hero of the poem tried in vain to persuade his wife to escape to Lithuania. He tempted her with a mirage of regained happiness, appealed to their mutual memories, in which this old and still existing garden, a witness of their love, occupied the central place. While analyzing the strategy of insistence used by Wallenrod in this situation, the author of the article referred to the conception of memory proposed by a German researcher, Jan Assmann. In the last part of the essay the character of the relationship between Wallenrod and Halban is considered along with the attempt to unravel the mystery hidden in the words “my son!”, which the old Lithuanian bard, the patron of Konrad’s spy mission, used in their last conversation.

19

Cypriana Norwida ogród świata − symbolika kwiatów w perspektywie europejskiego modernizmu

63%

Samsel K.

Prace Filologiczne. Literaturoznawstwo

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2011

|

issue 1(4)

157-174

EN

The author attempts to present the garden motif, especially − the flower motif, in the writings of one of the most original Polish poets of the 19th century. In France, as an inheritor of romanticists, Norwid continuously participated in the forming of modernist poetics with their distinctive features like ethical naturalism, prophetism and also negative ontology. In this frame, the garden as a motif seems to be not only infinite space, but also a manufactory, an area of absence and oblivion, and at last − a place of illumination.

20

Gdzie leżą „ogrody ziemskich rozkoszy”? Topika ogrodowa w perspektywie geopoetyki

63%

Rybicka E.

Prace Filologiczne. Literaturoznawstwo

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2011

|

issue 1(4)

59-71

EN

The subject of this article is the problem of relations between the literary topics of the garden and geography. As the method of analysis applied here, geopoetics pays special attention to the traces of geographical location in literature, to territorial imagology and imaginary geographies. This article investigates the way in which literary conventions and cultural frames transform the genius loci. This problem is analyzed on the basis of selected texts of Polish literature (by S. Trembecki, S. Goszczyński, J. Stempowski, J. Iwaszkiewicz).

Refine search results

Atrakcyjność turystyczna parków na obszarach miejskich – zarys problemu

Ogrody Stiftera

Ignacy Krasicki w ogrodzie

Ogrody (i parki) Tadeusza Różewicza. Przemiany zdegradowanego toposu

Róże dla osłów. Topika ogrodowa w „Hortulus elegantiarum” Wawrzyńca Korwina

Ogrody Charosa. Ogród i Śmierć w wybranych utworach poezji nowogreckiej

Wołyński raj techniczny. Tymon Zaborowski i „ogród przedziwny” ruskiego czarownika Jamedyka Bluda bohatera poematu bohaterskiego „Zdobycie Kijowa”

O warszawskich ogrodach Bolesława Prusa uwag kilka

Literackie ogrody Karla Hynka Máchy na tle ogrodowej koncepcji kultury czeskiej w dobie odrodzenia narodowego

Nowy Eden. Wpływ ogrodnika i jego dzieła – ogrodu na proces zmian klimatycznych

Przekształcenia ogrodów przy klasztorze oo. bernardynów w Piotrkowie Trybunalskim

Ogród - miejsce spełnienia i schronienia artystów

The Garden Cities of Katowice: A Study of Cityholia

Logika spojrzenia w "Ogrodzie Saskim" Bolesława Prusa

Niewiasta w rajskim ogrodzie. Kilka uwag o godności kobiecej (na podstawie traktatu „O ślachetności a zacności płci niewieściej”, 1575)

Ogród i opowieść. Przyczynek do teorii narracyjności ogrodów

Wtajemniczenia w ogrodzie dzieciństwa

Ogród Wallenroda i tajemnica Wajdeloty

Cypriana Norwida ogród świata − symbolika kwiatów w perspektywie europejskiego modernizmu

Gdzie leżą „ogrody ziemskich rozkoszy”? Topika ogrodowa w perspektywie geopoetyki