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Kopiowanie miejsc pamięci. Przypadek Pomnika Poznańskiego Czerwca 1956

100%

Praczyk M.

Przegląd Zachodni

2014

issue 2(351)

273-286

The article discusses the phenomenon of the copying of Lieux de mémoire situated in the public space of the city of Poznań on the example of the Poznań 1956 Protests Memorial. The study is focused on the problem of the production of new meanings, which are generated in relation to the monument – prototype. The context of the reception of Poznań 1956 Protests Memorial and the meaning of the initial commemoration changes depending on the form and location of copies. The article also considers the problem of consolidation of identities of social groups which occurs by reference to the symbol (memorial) of the 1956 Protests. In her research the author makes use of such concepts as Andrzej Szpociński’s “monumental memory”, Jean Baudrillard’s “simulacra and simulation” and Pierre Nora’s lieux de mémoire.

Rosyjskie kinociała lat pięćdziesiątych – między „obcym” a „swoim”

67%

Bułgakowa O.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

2018

vol. 99

issue 1

13-28

The armicle analyses the changes of a Soviet man’s bodily language shown in the films of the late 1950s’ and early 1960s’. The author observes how foreign movies shown on Russian screens with great delay had been changing the bodily language of Russian film characters and the impact of a significant gender roles switch so vivid in post-war Western European and American cinemamic producmions. Getming rid of a might pattern of gesture in the world of cinema has become a phenomenon almost as important as the polimical thaw. This approach is parmicularly visible in the images of the workers’ bodies, working class people brought up in children’s homes and living in dormitories – the youth portrayed in films such as Under the Clouds, Girls, I am 20, Dima Gorin’s Career, Spring on Zarechnaya Street, Walking around Moscow. By observing the process of an on-screen change of bodily techniques one may assume that the body doesn’t have a memory of its own, and therefore imitates new techniques easily; the body keeps the memory of a gesture and acquires new habits with much dificulty. Soviet films subsequently suggest both approaches.

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1 Kultura Współczesna. Teoria. Interpretacje. Praktyka

1 Przegląd Zachodni

1 Bułgakowa O.

1 Praczyk M.

1 2018

1 2014

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Kopiowanie miejsc pamięci. Przypadek Pomnika Poznańskiego Czerwca 1956

Rosyjskie kinociała lat pięćdziesiątych – między „obcym” a „swoim”