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Turyzm – sztuka poczty w wersji 2.0

100%
Wójtowicz E.
Panoptikum
|
2009
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issue 8(15)
276-286
EN
Tourism was an important though not very well recognized episode in mail art movement. Initiated by Hans Rudi Fricker and Günther Ruch in 1986, it encouraged mail artists to meet each other in a series of more than 80 congresses which were arranged within the International Mailart Congress. The idea of tourism was based on the need for establishing personal contacts between mail artists, dispersed all over the world. The paper analyzes the impact of tourism and its current reception. Is tourism a utopian idea or is it a forecast of the need for interactivity, expressed today in Web 2.0 numerous applications? Is it also a coincidence that the call for tourism was in mid-eighties, when the fall of Iron Curtain was soon to happen and the urgency of global communication was in the air. The first mail art congress, where the idea of tourism was presented, was at the same time, the last “analogue” one. The next one involved the emerging medium of the Internet, which has changed the relation between art and communication. The most important features of mail art, which was in 70s, described as correspondence art, have shifted from correspondence and a distant contact, to networking, which meant a closer alliance and a different structure. The change from mail art to networking had profound consequences for all the movement, based on communication and collaboration within a postal system. They may be compared to the current change from Web 1.0 as a social phenomenon, to the 2.0 version, with its possibilities of instant interaction and a unique balance between dispersal and unity.
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Podróży ślady - fotografie niecodzienne oraz zerwana narracja Les Météorites de l’amour Géralda Minkoffa i Muriel Olesen1

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Cielątkowska Z. M.
Panoptikum
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2009
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issue 8(15)
253-258
EN
Travel traces – unusual photography of broken narration Les Météorites de l’amour Gérarda Minkoffa oraz Muriel Olesen The text broadly speaking is about narration. It goes trough reflection on narrative situation which occurs between spectator and piece of art, differences in that situation coming out from painting or photography. An inspiration for this article was the cycle of photography by Gérard Minkoff and Muriel Olesen - Les Météorites de l’amour (Meteorites of love).
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Podróż włoska, czyli zobaczyć Neapol i umrzeć

100%
Szymański W.
Panoptikum
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2009
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issue 8(15)
210-220
EN
The article entitled Italian Trip. See Naples and Die concerns gay and homosexual voyages to the Apennine peninsula. The author tries to construct a typology of these trips using Georg Simmel’s analysis of ruins presented by the German philosopher in his essay entitled The Ruin. The ruins are metaphor of such organized trips in the modern and postmodern era as well. On the one hand their monumental scale and age may be an alleged reason for a trip (like for Winckelmann were) and their antiquity and Greco-Roman affiliation are the most important point of reference for all of the travelers mentioned in the text (Winckelmann, Thomas Mann and Wilhelm von Gloeden for instance). On the other hand, the sorry state of the ruins is their symbolic power connected with such categories as: decomposition, breakdown, impermanence, and death. This ambiguity is characteristic not only for the ruins but for the trips as well.
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Semiotyka turyzmu

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Culler J., Baczewska H.
Panoptikum
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2009
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issue 8(15)
11-23
EN
Jonathan Culler’s classic semiotic analysis of tourism observes that tourism seems to have an inferior position as a subject of research for cultural critics, while it is one of the most interesting and informative phenomena of contemporary culture and as such demands the unbiased semiotic approach. Grounding his reflections in Dean McCannell’s study The Tourist, Culler discusses differences between traveler and tourist, the authentic and the inauthentic, the natural and the touristy. He also explores the sight/marker relation in the sign structure of the touristic attraction and the complex interconnections between tourism and the world system of multinational capitalism.
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Na tropach kanibali i o uwięzieniu w metonimii anatoma, czyli Apetyt turysty Anny Wieczorkiewicz

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Maćkowiak A.
Panoptikum
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2009
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issue 8(15)
289-298
EN
„You can try to conceive the phenomenon of contemporary tourism in various ways, although I do not intend to enclose it in one definition.” (p. 7) – explains Anna Wieczorkiewicz in introduction to her new book. After the reading of “Apetyt turysty. O doświadczeniu świata w podróży”, which refers to a wide range of the latest anthropological theories, and treats all contemporary phenomena of tourism, one can resume that every explicit and univocal estimation of tourism appears to be a pure naivety. What is most important in this research is that the author does not evaluate or estimate univocally any mode o life or experiencing. As she states in the introduction, she does not aim to “explain”, but to “understand” the contemporary phenomena of tourism by applying different, suitable anthropological methods. This is why this book can be perceived as an itinerary on the latest theoretical grasps on this phenomenon, and the variety of anthropological and philosophical methods applied to it.
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Multimedialne podróżopisarstwo czyli narodziny travelebrity

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Koturbasz B.
Panoptikum
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2009
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issue 8(15)
117-124
EN
Based on the BA thesis Traveler in the Land of Mass Media. Modern Polish Travelebrities and Their Travelogues, the article focuses on current phenomena related to travel writing and introduces the term and idea of travelebrity, i.e. a person who is well-known because of his or her travel stories. The text indicates significant changes within forms and meanings of travel writing which have appeared since the birth of mass society and the invention of motion picture, radio and the Internet.
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Obce nie-miejsca i obcy nie-na-miejscu. O pracach Juliana Opie i Ingrid Pollard

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Kolenda K.
Panoptikum
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2009
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issue 8(15)
237-243
EN
The article discusses representations of English rural landscape in the works of two British artists: Julian Opie and Ingrid Pollard. The analysis of Opie’s work entitled Imagine That You Are Moving (2001) employs the term of non-places, coined by Marc Auge. According to Auge’s definition, non-places are characterized by the lack of any link with history or identity. Opie’s set of light-boxes presenting stylized images of English low-land landscape, inserted in transfer zones of London’s Heathrow Airport, transforms the typical non-place of an airport into a place, which is characterized by a clear reference to a given context and identity. What is interesting is that for a representation of a typical English view Opie chose a rural low-land landscape, which is stereotypically perceived as quintessentially English.
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„Obce” i ubikacje

80%
Marciniak K.
Panoptikum
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2009
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issue 8(15)
61-82
EN
This article considers representations of migrant women who work as domestic help and probes the abjecting logic of cleaning practices vis-a`-vis current issues of legality, illegality, immigration, transcultural difference, and rage. I survey diverse media depictions of foreign women and cleaning scenes in transnational settings: Fear and Trembling (2003), Maid in America (2004), The Ukrainian Cleaning Lady (2002), Dirt (2003), and Friends with Money (2006). I examine the formation and apprehension of female “foreign” subjectivity in relation to cleaning for others, in relation to dirt. The visual analysis discusses ways in which removing other people’s dirt by an immigrant, migrant, or a guest worker intertwines with gendered and racialized processes of social abjection. Privileging images of toilets and expressions of rage, my analysis inquires into a conceptual correspondence between garbage and the cultural renditions of foreign others; into ways in which the concept of “dirt” gets transposed onto the cleaners suggesting that those who clean dirt are themselves disposable bodies, only useful and tolerable as long as they cohere the messy lives of “legitimate” and properly “clean” natives.
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Wenders w imperium znaków

80%
Zając B.
Panoptikum
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2009
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issue 8(15)
193-200
EN
Making use of the convention of diary film (Ein gefilmtes Tagebuch) Wim Wenders seeks for the sacred images of the past, images of the city captured by another director, Yasujiro Ozu. Wenders’ perspective is quiet ambivalent; at the same time he tries to remain open minded in order to find other artist’s images and transfers his European perspective – sorrow – on Tokio’s landscapes. Paradoxically, instead of travelling he stays at home, in Germany, projecting “the well-known” rather than seeking for the new.
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Wokół Kazimierza Nowaka. Od podróży po koloniach do postkolonizowania Polski

80%
Grądzka N.
Panoptikum
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2009
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issue 8(15)
221-234
EN
The author outlines a story of Kazimierz Nowak, Polish traveler who crossed over Africa on a bicycle in 1930s. The article aims to describe the role of the photography and the bicycle in his journey. It also tries to describe Kazimierz Nowak as a flâneur and as a tourist. Furthermore, the text outlines the history of Polish colonial pretensions and the activity of Liga Morska i Kolonialna, the official Polish institution who fought unsuccessfully for the Polish colonies through the thirties.
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Turyści, podróżnicy i współczesne europejskie kino transnarodowe

80%
Mazierska E., Rascaroli L.
Panoptikum
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2009
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issue 8(15)
126-145
EN
We focus first on the portmanteau film, and especially the recent example, Paris, Jet’aime (France/Liechtenstein/Switzerland 2006). By situating it in a number of contexts, including earlier films on Paris such as Paris vu par…(1965) and Paris vu par… vingt ans après (1984), and by discussing its productive, artistic, and thematic features, we test the assumption that Paris, Je t’aime is a quintessential transnational film, and discuss those elements of national identity that were either transcended or preserved by the filmmakers. Then we ask what happens when a European film travels beyond the national borders, and goes on the road at the specific purpose of testing the limits of national and cultural identities. Our examples are Robert Guédiguian’s Le Voyage en Arménie (France 2006) and Ismaël Ferroukhi’s Le Grand Voyage (France/Morocco 2004) – two recent road movies that depart from the heart of Old Europe and travel to or beyond its margins.
12
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Nawigacja a labirynt. Teoria multimediów w kontekście potrzeby podróżowania

80%
Bromboszcz R.
Panoptikum
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2009
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issue 8(15)
261-275
EN
I introduce category of maze to describe experience of new media art and experience of contact with the Internet. I setup a point of departure in the field of theory of multimedia of Ryszard W. Kluszczyński. I analyze and criticize this scientific approach and confront it with two opponents Marshall McLuhan and Lev Manovich. Finally I present my own theory which is stem from them.
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Cztery odyseje Ermanno Olmiego

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Miller A.
Panoptikum
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2009
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issue 8(15)
201-209
EN
This essay is dedicated to Ermanno Olmi’s oeuvre. Miller analyzes four of his feature films (The Job, The Engagement, Long Live the Lady! and The Legend of the Holy Drinker), pointing out that the main motif that connects them is travel. It could be considered literally (all main characters of Olmi’s films are emigrants) or in a metaphorical way – as a psychological journey. Miller concludes her essay with the analysis of The Legend of the Holy Drinker. According to her, this movie sums up Olmi’s views on life regarded as travel from birth to the “earthly death” – here the homo viator figure is replaced by homo peregrinus. Therefore, it could be claimed that Olmi’s cinema focuses on “coming back home” scheme, which enables the protagonists to sustain their self-identities.
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The Chinati Foundation. Model muzeum sztuki funkcjonującego w kontekście drogi

80%
Łączyńska E.
Panoptikum
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2009
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issue 8(15)
244-252
EN
Donald Judd created the Chinati Foundation in Marfa, Texas, as a very sophisticated space for art far away from NYC and other art centers. The artist was interested in placing his work in a more permanent manner than was possible in gallery or museum shows. This would later lead him to push for permanent installations for his work and that of others, as he believed that temporary exhibitions, being designed by curators for the public, placed the art itself in the background, ultimately degrading it due to incompetency or incomprehension. The specific intention of Chinati is to preserve and present to the public permanent large-scale installations by a limited number of artists. The emphasis is on works in which art and the surrounding landscape are inextricably linked. The Chinati Foundation is located in the middle of the Chihuahuan Desert, which is the most important background for it. Driving to the place is a common experience for visitors.
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Uwikłana w mitologię opowieść o zwykłym spotkaniu

80%
Furtak A. E.
Panoptikum
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2009
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issue 8(15)
146-155
EN
Road movie is considered to be an American film convention typical for ’70. However, their plots are based on an old motive known from legends, myths and parables, from the stories about saving the world. The road movie main character is usually a person in the street, not very beautiful, not very talented and not very interesting. The character is usually introduced while in trouble and because of it must start on a journey during which he or she will become a hero. Sometimes the main character is rich and happy, someone who leads a calm life and because of some very important reason he or she has to leave it and start a journey which will change him and make his past life impossible. Generally, there are 4 kinds of the road movie’s characters: hikers, escapers, travelers and wanderers. In one story there are usually two or more characters, because the most important moment of the plot is a meeting. The meeting of two different people establishes opportunity to get to know their life stories, to confront two different worlds and to change the world-view of main characters.
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Spojrzenie turysty jako strategiczne narzędzie przedstawienia architektonicznego: starówka tallińska a sowiecki marketing turystyczny w latach sześćdziesiątych i siedemdziesiątych XX wieku

80%
Näripea E.
Panoptikum
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2009
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issue 8(15)
108-116
EN
This essay looks at a series of touristic shorts, the so-called scenics released during the 1960s and 1970s by the two Soviet Estonian film studios, Tallinnfilm and Eesti Telefilm (Estonian Television Film). The films concentrate on the picturesque environment of Tallinn’s Old Town – the oldest part of the city presenting a well-preserved medieval milieu. The representations of the Old Town, as well as its architectural features, has always been an important arena for negotiations between conflicting ideologies and (national) identities, evoking complex issues of power, resistance and adaptation.
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Podróż przez Bałkany: amatorskie filmy z podróży a turystyka śródziemnomorska w okresie międzywojennym

80%
Norris Nicholson H.
Panoptikum
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2009
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issue 8(15)
85-107
EN
Newly available lightweight cine camera equipment provided affluent British holiday- makers with an innovative travel accessory in the mid 1920s. Travel narratives produced by early camera-touting enthusiasts may be likened to preceding forms of travel experience depicted in art and written form, but important differences occur too. This discussion explores issues of place representation, ethnography and perceptions of regional identities, cultures, and histories through reference to amateur holiday footage filmed in the Balkans in 1934. Analysis of rural and urban scenes, traditions, and itinerary, as well as the cinematic processes found within this filmic travelogue, are related toearlier outsiders’ responses and contemporary travel texts including guides, diaries and other genres of travel literature. Contemporary debates on post-conflict identity in the Balkan region and tourism history within the Mediterranean, as well as socio-cultural and aesthetic aspects of non-professional film making form a wider context for this focus upon Balkan imagery.
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O zakresach niektórych podstawowych pojęć nauki o turystyce i turyzmie

80%
Bartkowski T., Uniwersytet Adama Mickiewicza w Poznaniu
Turyzm
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1986
|
vol. 2
FR
En partant du développem ent historique du tourisme, de sa forme d'élite dans le passé, l'auteur passe au tourisme en masse de nos jours et analyse ce phénomène à l'aspect des notions: „temps libre" et „mouvement des étrangers" (Fremdenverkehr). Il aborde aussi le phénomène de la récréation en motivant la nécessité de différencier les notions: „repos " (arrêt du travail), c. à d. récréation en in activité et „activité ", c. à d. récréation par action. Cette dernière se manifeste comme l'activité et le développement physique ou l'activité et le développement intellectuel. L’auteur tire parti de cette division pour présenter les formes fondamentales de la récréation; telles sont: le repos propre et le tourisme lié à l'approfondissement de la connaissance du pays, c. à d. le repos „élargi". Selon l’auteur le tourisme signifie plus que le déplacement; il embrasse l'ensemble des activités liées au déplacement des touristes, l'ensemble des phénomènes économiques et sociaux qui découlent du comportement récréatif de l'homme.
EN
Touring and tourism represent two phenomena, which have appeared in connection with appearance of leisure time problem in the life of societies. The concept of leisure time includes: unlimited leisure time (outside time expended on sleeping and other life „im ponderables" such as e.g. meals, toilet) and lim ited leisure time. The former is a privilege of people who are not working, the latter is available for working people. Touring is one of the forms of utilizing or filling in leisure time, and unlimited leisure time produced a historically determined form of touring, the so-called elité touring, also called aristocratic touring, the latter — the so-called mass (democratic) touring typical for contemporary times. Mass touring is developing and preserved owing to a phenomenon of elongation of leisure tim e possessed by working people, and it is „signum temporis" of the present stage in development of human societies (in highly developed countries).
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Les formations supérieures en tourisme et en hôtellerie à l'Université d'Angers

80%
Bonneau M., de l'Université d'Angers
Turyzm
|
1990
|
vol. 7
PL
Uniwersytet w Angers, począwszy od 1972 r. prowadzi wiele kierunków wyższego szczebla nauczania, które kończą się dyplomem na poziomie krajowym (licence, mairise, MST, DESS). W 1982 г. w uczelni tej utworzono wyższy cykl kształcenia w zakresie turyzmu na poziomie "licence" i "maîtrise". Kształcenie to ukierunkowane jest głównie na zagospodarowanie turystyczne, rozwój lokalny i promocję terenu. W 1986 r. Ministerstwo Edukacji Narodowej utworzyło kolejny cykl kształcenia 3-letnie studia magisterskie przeznaczone dla osób po pierwszym cyklu kształcenia (Deng lub ВTS). Studia te są bardziej zorientowane na zarządzanie i menadżerstwo przedsiębiorstw hotelowych, kongresy i turyzm handlowy. W artykule autor zamieszcza programy pedagogiczne dla 3 stopni kształcenia (licence, maîtrise, 3-letnie studia magisterskie), obowiązujące w roku akademickim 1987/1988.
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Sustainable Development Of Tourism – EU Ecolabel Standards Illustrated Using The Example Of Poland

71%
Dziuba R.
Comparative Economic Research. Central and Eastern Europe
|
2016
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vol. 19
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issue 2
111-128
PL
Turystyka jako jedna z największych oraz najszybciej rozwijających się branż na świecie ma ogromny wpływ na osiągnięcia strategii rozwoju Europa 2020. Głównym czynnikiem wpływającym na efektywność osiągnięcia wskaźników strategii jest infrastruktura turystyczna rozumiana jako baza hotelowa oraz gastronomiczna, która służy przyjeżdżającym na dany obszar turystom w zaspokajaniu ich potrzeb związanych z bierną oraz aktywną turystyką. W celu osiągnięcia jak najwyższej skuteczności w tym zakresie Unia Europejska opracowała system norm Ecolabel wdrażanych w poszczególnych państwach poprzez niezależną certyfikację, których spełnianie pozwala efektywnie realizować założenia strategii. Zdaniem ekspertów prowadzenie obiektu zgodnie z normami Ecolabel jest dziś przykładem innowacyjnego zarządzania hotelem. Poza korzyściami wynikającymi z dbałości o środowisko naturalne certyfikacja pozwala również na obniżenie kosztów funkcjonowania obiektu. Poniższy artykuł ma na celu zweryfikowanie poprzez model ekonometryczny hipotezy badawczej dotyczącej obniżenia kosztów funkcjonowania obiektu spełniającego normy certyfikacji ekologicznej.
EN
Tourism, as one of the biggest and fastest growing industries in the world, has an enormous impact on the achievements of the Europe 2020 growth strategy. The main factor influencing its effectiveness, based on achievement of strategy indicators, is tourist infrastructure, which is understood as hotel and restaurant facilities used by tourists coming to a particular area to meet their needs associated with passive and active tourism. To achieve the highest effectiveness in this regard, the European Union has established the scheme of Ecolabel standards, implemented in individual countries through independent certification, compliance with which means that the strategy’s assumptions can be effectively implemented. According to experts, managing a facility in compliance with Ecolabel standards today is an example of innovative hotel management. In addition to the benefits resulting from taking care of the environment, the certification also allows for a reduction of the operating costs of a facility. This paper aims at verifying – through an econometric model – research hypotheses related to the reduction in operating costs of a facility that complies with the certification standards.
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