Paweł Próchniak Lublin: a Contribution to the Topology of a
Palimpsest
This sketch is an attempt at a description and semiotic
interpretation of a structure created by mutually permeating texts
in the spirit of a palimpsest, with a keystone in the form of the
Seer from Lublin and the town of Lublin as such. The overlapping
texts include, i.a. Chassidic stories about the Seer, the “Chassidic
chronicle” Gog and Magog by Martin Buber, the essay Oko
cadyka by Władysław Panas, poetic identifications by Józef
Czechowicz, the topography of the non-existant Jewish district in
Lublin, figures of absence in the town’s substance, curious
manifestations of non-existence, traces of the touch of radical
evil. The texts constitute a story that emerges in an empty space in
the wake of another space (replacing silent emptiness), filling it
with the real presence of “writing” and ensuing reading (a form of
reading the world and a lesson of existence). The semiotic potential
of this tale – focused especially in Oko cadyka – is the
prime object and canvas of reflections about Lublin, presented in
the sketch as a semiotic continuum spanning from a concrete place in
the topography of the town to domains indicated by the mystic
intuitions of the Seer.
Zbigniew Benedyktowicz Aleja Róż and its Environs
Jan Gondowicz The Locative Case
The sphere of memory encompasses several streets in Mokotów, a
peripheral district of Warsaw. The range of reminiscences dating
back to 1954 stretches from the author’s house and embraces the slow
transformations of the district’s villa character due to its
gentrification. This is what happens when someone’s domesticated
space turns into a commodity.
Piotr Jakub Fereński Breslau Central.
Train Station Scenes
The author postulates the need for pursing within the humanities
something that Gaston Bachelard described as “topoanalysis”,
deliberating on the imagery and ways of experiencing transit space.
He delved into this problem within the context of recurring theses
about non-enrootment, the deprivation of identity, and the
uniformisation of places (or non-places) in the era of modernity.
Take the example of the Wrocław train station, its distant past and
contemporary history.
Walentyna Krupowies Two Opinions about Wilno. The Town of Miłosz
and Venclova
The axis of the article is an interpretation of a conversation about
Wilno (Vilnius) conducted by Czesław Miłosz and Tomas Venclova,
subsequently published in “Kultura” in 1979. Two aspects of this
dialogue are particularly interesting and clearly outline the
co-dependence of subject and space. There occurs an
autobiographisation of Wilno: the participants perceived the town
via their lives marked by twentieth-century history. The subject
becomes localised: the space of the town co-shaped his identity.
Wilno is seen as endowed with a great conflict-prone potential. The
way of speaking about Wilno proposed by both poets turns it into an
agora, i.e. a place suitable for an exchange of thoughts, views and
ideas.
Beata Kopacka The Zoological Garden. Topics and Significance
An article about the zoological garden as a cultural fact
(historically moulded and with characteristic semiotic features) –
an element of urban space reproducing mythical motifs and contents.
Magdalena Zych Allotments, the Edges of the Landscape
The edges of European towns are often filled with conspicuously
present allotments. The text draws attention to their extreme
character in the geographical, aesthetic and existential meaning of
the term. By evoking examples from Marseilles, London, Vienna and
Cracow the author discussed allotments as a manner of residing in
the landscape in contrast to its common visual consumption. The
conclusions presented in the article were preceded by research
conducted at the Ethnographic Museum in Cracow in 2009-2012 by a
team of twenty researchers (including anthropologists, sociologists,
historians of art, and ethnobotanists) in Cracow, Katowice, and
Wrocław. The research project, known as “work-allotment”, ended with
an exhibition and a publication of the out-come of the work
performed by the team: a copious book bearing the same title.
Kuba Szpilka Peripheral Centre. Panoramas of the Tatra Mts.
The Tatra Mts. and their world at the onset of the twenty first
century comprise a dense and vital net-work between the dimensions
of historical existence (described by the French historian Fernand
Braudel as longue durée structures, upturns and events). It is
difficult to find on a map of Polish culture a place equally
provincial and short-lived, about which so much has been written and
which possesses such a copious iconography. The belles letrres,
scientific writings, re-collections, the visual arts, architectural
visions and realisations, photography, the cinema and music have
recorded an intensive phenomenon endowed with extraordinary
magnetism – the Tatra Mts., the town of Zakopane, and people
circulating within Nature and Civilisation, comprehending,
interpreting and designing. This event emerged unexpectedly in the
last decades of the nineteenth century and is rapidly gaining
assorted meanings.
Piotr Mazik Traces of Atlantis
Quite possibly the number of recollections concerning the Tatra Mts.
is simply too large. Their over-whelming majority is based on the
obvious convention of presenting universally familiar landscapes
captured decades ago or a documentation of elements of essential
importance for our space, such as the opening of a hostel, sports
competitions, a cultural event. The Tatra Mts. Atlantis is the
outcome of an excess of observations of such depictions, which
result in compressing the portrayals of the Tatra Mts. and Zakopane.
An attempt at taking a look from the outside makes it possible to
arrange unexpected collections, whose examination may come as a
surprise. A non-extant ski lift on Mt. Łopata Kondracka, a tiny hut
on Miętusi Saddle, a miniature meteorological observatory on Żółta
Pass, the first hostel in Wielicka Valley, Mt. Giewont without the
cross, Goryczkowy Cirque without the ski lift and featuring only
traces of skis, the disassembled “Chatka Ascety” climbers’
wintertime camp on Włosienica Glade, a valley deprived of trees… A
lost land – the Tatra Mts. Atlantis.
Monika Sznajderman Memory Gaps. A Family History
By taking a careful look at a series of pre-war photographs the
author conducted a fragmentary albeit emotionally condensed
reconstruction of the history of her father’s family. As a
representative of the Holocaust second generation she is a carrier
of post-memory – incomplete, intermediated, “full of holes”. The
point of departure for the history of the Sznajderman family is a
villa in Miedzeszyn – once the vibrant “Zacisze” guesthouse and
today a non-place overgrown with trees, forgotten, and in no way
betraying its history.
Aleksandra Janus The Filling of Emptiness. A Museum and the
Paradox of Remembrance
The Jewish Museum in Berlin designed by Daniel Libeskind is
sometimes treated as an example of counter-memorial architecture.
According to James E. Young, the author of the term, the
counter-monument is to be an answer to the challenge of creating
memorial representations of the Holocaust: its task is chiefly to
commemorate the absence of the victims and the void left behind by
them in such a way so that obliteration would become impossible.
More, the counter--monument is to become a space of remembrance
de-signed so as to challenge the very idea of a monument and
well-worn strategies of remembrance. The negative field of reference
for the conception of the counter-monument consists predominantly of
all monuments erected to commemorate the events of both world wars.
The Jewish Museum in Berlin certainly eradicates boundaries between
the traditionally comprehended museum and the monument although the
monumental building designed by Libeskind appears to be at odds with
numerous postulates of the counter-monument qualities defined by
Young. By referring to other examples of counter-memorial
architecture, the conception proposed by Young and texts criticising
it, the presented article attempts to demonstrate that by creating a
monumental representation of the plight of the German Jews and by
trying to include emptiness, silence and absence in the
architectural construction of the building Libeskind produced a
closed, complete, and finite museum monument rather than a
counter-monument.
Roma Sendyka Robinson in the Non-places of Memory
Non-places of memory are objects from the “margins of the Holocaust”
and, more extensively, places potentially typical for Central
Europe, connected with the massacre, burial, and disrupted lives of
the victims of twentieth-century genocide; indicated by Claude
Lanzmann as empty and unmarked spaces calling for commemoration they
do not have a typology or a stabilised name of their own.
Places-phantoms? Places-utopias? Simply – evil places? In an
analysis conducted by Georges Didi-Huberman they become places of
essential meaning, malgré tout, which could be deciphered as a call
for an in-depth analysis of those small, scattered objects whose
space today combines death and life, the human and the inhuman,
memory and oblivion, the past and the present.
Maciej Krupa “Pepita”, “Łada”, “Palace”.
Salon, Torture Cell, Spa
An attempted examination of a single concrete place/non-place in
Zakopane, whose history depicts the structure of the town as a
palimpsest. Once upon a time this was the site of the “Łada” villa
belonging to the Żuławski family, a salon important not only on a
local scale but also on a national one. “Łada” was consumed by fire
and replaced by the “Palace” modern guest house, which during the
occupation was the seat of the Gestapo and became known as the
“torture cell of the Podhale region”. Today, the building, bearing
the same name, is advertised as a “sport, spa & wellness” centre.
Site, memory and identity, and in the background: Symphony No. 3 by
Henryk Mikołaj Górecki.
Magdalena Barbaruk Another La Mancha? The Toponimics of La Mancha
Reflections on assorted embodiments of La Mancha led the author to
defining it as a “place of the wanderer” and determining the reasons
for transition and the assumption of new names as cultural. The
article draws attention predominantly to geographical and historical
indeterminism in describing a given place as the course of the
wanderings of Don Quixote. The “mobility” of La Mancha is associated
with treating it as axiotic space associated with Don
Quixote-derived values. The article considers assorted domains of
the “otherness” of La Mancha.
Dariusz Czaja Rovigo – Venice. Tectonics of a Non-place
Rovigo and Venice are two localities in the Italian region of
Veneto, situated several score kilometres apart. Rovigo does not
feature tourist attractions and is absent on the map of travellers,
while Venice, the town-monument, is an archetypical “place to
visit”, described in detail in every guidebook. It would appear that
Rovigo is a typical non-place on the borderline of non-existence,
while Venice is a “place” firmly ensconced in the mythical geography
of Italy and Europe. The author diametrically reversed all signs and
demonstrated the non-obvious nature of such routine classification.
By referring to texts about the two towns (Herbert – Rovigo; Agamben
– Venice) he disclosed their unknown aspects and the dialectical
place-non-place dimension. Rovigo turns out to be a genuine place,
while Venice is phantom reality.
Justyna Chmielewska Istanbul and Its Wounds
The autor focuses on two neighborhoods: Tarlabasi and Sulukule, some
of the poorest, most obsolete and entropic spaces in Istanbul. Both
areas have recently undergone a process of a somewhat brutal urban
transformation, during which those slums and ethnic minority ghettos
(first inhabited predominantly by Gypsies, second by Kurds) have
been transformed into luxurious upper-middle-class residencial
areas. This process of rapid and forced gentrification is
interpreted as a way of “curing” a specific urban “disease”, that
has long ago infected the “body” of the centuries-old metropolis.
Tomasz Szerszeń Genex – the History of a Certain Non-place
Architecture as a form of repression, a non-place, a place of
self-alienation and experiencing the extraordinary – this is the
nature of contact with the brutalist architecture of post-communist
countries. Or perhaps with its remnants: such buildings as the Genex
in Belgrade are becoming a metaphor of the end of History, a reverse
of the processes of modernity. Today, they come alive within yet
another context: that of contemporary art.
Marta Miskowiec It Is / It Is Not
The text is about Galicia, with the author asking whether talking
about Galicia is exclusively part of nostalgic reminiscences?
Absence on a map does not denote absence as such. The myth of
Galicia is maintained and exploited mainly by reminiscences of the
Eastern Borderlands. Legends about Emperor Franz Joseph and stories
about the imperial army appear to be facing extinction but nothing
seems to threaten family sagas. The eulogists of the Borderlands or
the “empire” have created a distinctive likeness of Galicia and have
their mythologised pilgrimage designations, but not all is obvious
and closed once and for all.
Piotr Seweryn Rosół Imprisoned on a Journey to No-where. Idiotic
Stories by Andrzej Stasiuk
The Slavonic “on the road” by Andrzej Stasiuk does not end in
Babadag or some forgotten but desired “elsewhere”, while chaotic
wanderings confront the protagonist with the incomprehensible and
the unpredictable, and the text does not aim at any sort of a
legible finale; more, it remains imprisoned, just like its subject,
on a journey to nowhere, a nonsensical roving, an incessant
va-et-vient from signifiant to signifié (and back again), an eternal
“between”, on the road. It does not seduce with invisible excess but
disturbs with a visible lack. The titular On the road
instantly reveals the pornographic and not hermeneutic character of
the travelogue, and right way – and after the dispersion of the
grand narratives this appears to be totally comprehensible – prefers
the Road, the Process, and Motion to Destination, Realisation and
the Finale, and thus intimate reading to programmed deciphering,
geography to work performed by memory, and memory as such to the
construction of history, the haphazard and non-continuous event to a
fact associated with others and, finally, life to existence. In the
case of Stasiuk’s On the road one cannot actually get
anywhere, while the narration runs a course of monotonous
enumeration and boring repetition rather than following some sort of
a closed, exceptional and definite route, since “the same” is more
interesting than any sort of a “difference”. I regard such a
travelogue to be an idiotic story.
Szymon Uliasz The Lowlands of Hungarian Melancholy. Harmony and
Entropy
This text endeavours to take a closer look at the sources of
melancholy in the novel by László Krasznahorkai: The Melancholy
of Resistance, by presenting historical and philosophical
contexts, while the interpretation key involves categories of
harmony and entropy. From a description of the main protagonists of
the story and its adaptation – Béla Tarr’s film: Werckmeister’s
Harmonies – there emerges a more expansive image of the
condition of a person suffering from melancholy.
Czesław Robotycki Indigenous and Metropolitan Artistic and
Intellectual Milieus. The Example of “Piwnica pod Baranami”
Krystian Darmach The Lisbon Pastelaria as the Third Place
A semi-journalistic and semi-literary description of Lisbon
pastelarias – coffeehouses that act as the centre of a neighbourhood.
Referring to the conception launched by Ray Oldenburg the author
treats pastelarias as third places, i.e. spaces intended for
leisure, the creation and retention of social bonds, and arenas of
informal public life.
Michalina Lubaszewska The Photograph as the Object-relic. The
Motif of the “Altar” in Literature and Cinema
This text is an attempt at presenting the photograph as a material
object. In doing so the author portrayed the photograph as an item
changing into a relic thanks to the cult with which it is surrounded
by its recipients. Owing to their connotations and functions,
objects-relics, even those conspicuous for their frequently hybrid
states, are differentiated from the fetishes and souvenirs with
which they are commonly identified. The photograph-relic, worshipped
and displayed on sui generis altars, is also a literary and film
motif, here subjected to detailed analysis. Despite the fact that an
interpretation of selected examples of photographs-relics refers
predominantly to their material dimension (showing the reification
of the object of reference, as if concealed by the material
qualities of the photograph subjected to cult practices) this does
not mean that the psychic and transcendent sphere ceases to exist.
In the case of the photograph-relic and the photograph in general
material and spiritual spheres appear to be inextricable and
indivisible. The described photographs-relics testify to a certain
paradox: when they are worshipped and become the object of a cult,
they reveal, first and foremost, their material properties through
which, with redoubled force, the photographed person speaks.
Magdalena Stopa A Little Great Story
A review of a book by Piotr Korduba about Poznań districts and their
residents: Sołacz.
Domy i ludzie
and Piotr Korduba’s and Aleksandra Paradowska’s: Na starym
Grunwaldzie.
Domy i ich mieszkańcy.
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