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tom 62
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nr 3-4(282-283)
31-39
EN
'Le Livre des passages' is strange work and must be read in an equally unusual manner: this is a book which opens itself on a page of its own choice and compels the eye of the reader-flâneur to delve into a certain fragment, particle or voice. A Book of Passages written by a tramp calls for a reader who is a vagabond, a brigand, and an assailant. For Benjamin, just as for Balzac, Nerval and Baudelaire, Paris was a book of signs endowed with an inexhaustible narration potential, resembling a generator of the senses, working incessantly and at top speed. The task of the poet-flâneur consists, therefore, of indicating the multi-voice, ungrasped and ungraspable richness of simultaneously transpiring narrations.
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tom 62
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nr 3-4(282-283)
149-169
EN
This anthropological story deals with Sarajevo, a town submerged in war, where contrary to all odds life continues to follow its course; daily events are salvaged thank to human ingenuity and 'the texts of culture'. The authoress paid special attention to analysing the topos of the 'closed town', with its logic of a 'world turned upside down', a characteristic suspension of 'normal' time, and a special comprehension of space. In doing so, she shows the similarity between the descriptions of time and space of wartime Sarajevo and Leningrad under siege.
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nr 1-2(284-285)
297-303
EN
A record of a conversation conducted with the directors of four Praga theatres: Roman Wozniak - The Academia Theatre, Alina Galazka - The Otwock Commune, Katarzyna Kazimierczuk - The Remus Theatre, and Piotr Borowski and Gianna Bienvenuto - The Theatrical Study.
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nr 1-2(284-285)
226-235
EN
The authoress describes the art projects and undertakings carried out in Praga, as well as their tourist consequences, relevant for the revitalisation of this neglected part of town, additionally known for its ill repute. The text is a contribution to the experiencing and construction of urban space.
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Content available remote 63 TARGOWA STREET (Targowa 63)
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tom 62
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nr 3-4(282-283)
268-282
EN
The authoress, who lived in Targowa Street (the district of Praga) for 15 years, from 1948 to 1963, presents the reality of the district from that period as seen by a child and a girl. A confrontation of feelings originating in an intelligentsia home and the reality encountered on a daily basis in her closest surrounding.
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Content available remote JERUSALEM: A QUESTION OF LIFE AND DEATH (Jerozolima: na smierc i zycie)
63%
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tom 62
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nr 3-4(282-283)
81-85
EN
The presented text is a subjective and by no means analytical portrait of a city. In several scenes from the life of Jerusalem, the authoress stresses the tension between the cultural compulsion of 'sacred behaviour' in the city and her own incapability to perform such exalted gestures. She also emphasizes the tension between Jerusalem (with its pressure of Holy History) and Tel Aviv (with its youth and unhampered freedom).
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Content available remote FRAGMENTS OF A VENETIAN DISCOURSE (Fragmenty dyskursu weneckiego)
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tom 62
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nr 3-4(282-283)
125-148
EN
This text is part of a book (in print) on the ways of portraying Venice in imagery and word. Upon the basis of a number of selected examples (including an essay by E. Bien kowska: 'Co mówia kamienie Wenecji?' (What Do the Stones of Venice Say?), a sketch by G. Simmel:'Venedig', a novel by J. Andruchowycz: 'Perwersja' (Perversion) the author demonstrates various possible strategies of representing the town in linguistic discourses. By appling the semiotic concepts of a town's Text (in order to designate a holistic corpus of individual texts about Venice), he accentuates the motifs that organise them, searches for their enrolment in narration schemes, and follows the game, conflict and tension involving contradictory likenesses of the town.
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Content available remote THE TOWNS OF WALTER BENJAMIN (Miasta Waltera Benjamina)
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tom 62
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nr 3-4(282-283)
40-46
EN
Throughout his whole life Walter Benjamin created mini-portraits of towns, synthetic 'images of thought', sometimes no larger than the text on a postcard. They mark the places in which the life of the author of 'Le Livre des passages' merges, as closely as possible, with writing and the text. This is the place where that which is theoretical and that which is experienced are already inseparable and undistinguishable. Benjamin's images of cities are never a journalistic 'capturing of life': following the example of the poet Stefan George, he introduced the concept of 'denkbilder', which contains tension between the past and the present, between recollection and experience. Benjamin believed in the cabalistic power of the word. Just as Proust treated names, so he conceived the names of towns as symbols: Berlin, Jerusalem, Marseilles, Moscow, Naples, New York, Paris, Riga, San Indignant...
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tom 62
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nr 3-4(282-283)
115-124
EN
The dialogue Timaeus by Plato remarks that we should direct our thoughts towards the realm of the eternal stars, and that our spirit is not at home here, on Earth. Its true homeland is the heavens: '(...) we are a plant not of an earthly but of a heavenly growth'. Is it possible to live differently than on Earth? Fantasies of celestial cities were pursued by Jonathan Swift, Georgiy Krutikov, and Wenzel Hablik. Subsequently, the era of space flights led to dreams of discovering a Promised Land in the universe. The Stanford Torus inter-stellar colony conceived by NASA inspired Jaroslaw Kozakiewicz, the author of Satopticon, which instead of being a New Atlantis turns out to be a penal colony.
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nr 1-2(284-285)
236-251
EN
The study was written upon the basis of material collected in the course of studies conducted in the Praga district in 2006-2008 as part of the Urban Anthropology: The Myth of Praga. Contemporary Praga. Artists in Praga laboratory group supervised by Dr Zbigniew Benedyktowicz. The presented monograph is a portrait of the Saturator Club - one of those new places in Praga which testify to the changes taking place in the district as well as one of the most interesting venues of its sort in Warsaw. The author - a young anthropologist - focused his attention on the fact that Saturator attracts people representing an above-the-average openness, tolerance and interest in others. The club itself is provocative and controversial, frequently difficult to bear, but many of its clients seem to feel best here. The author tried to view Saturator from assorted perspectives: as a club, a site and an organisation. In doing so he wondered what makes the club exceptional and considered the impact it has on the perception of Praga. The collected material shows a willingness to flee the general current of club culture and clubbing patterns, and the need to feel at home. This observation comprises the prime thesis of the study, whose author, by basing himself on anthropological theories and publications, attempted to place the examined phenomena within a wider context and propose their interpretation.
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nr 1-2(284-285)
252-266
EN
The activity of artists recently working in the Praga district comprises a unique cultural phenomenon. The authoress discusses various theatrical groups and is interested predominantly in overlapping artistic and social initiatives. The article shows that the socio-cultural animation conducted in the district is part of a current described as 'the theatre infected with anthropology'.
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Content available remote STADION BAZAR (Stadion Bazar)
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nr 1-2(284-285)
135-149
EN
The Warsaw open-air market in the 'abandoned' Tenth Anniversary Sports Stadium is described as a cognitive figure of essential diagnostic value and not as an ethnographic oddity. According to the accepted interpretation, Stadion Bazar (the Stadium Bazaar) is a figure not of a relic, vanishing after the closure of the almost twenty-years old Europe Fair (Jarmark Europa), but of that which is emerging and anticipated in the form of intensifying trans-cultural processes. Stadion Bazar is a Polish localization of the well-known 'ethno-landscapes' by Arjun Appadurai, a sui generis laboratory of the forms and styles of Polish postmodernity. An important part is played by a recognition of the 'borderland syndrome' (the frontier between the East and the West) and the 'revolutionary' role (in relation to the central systems) performed by an informal and, simultaneously, powerful 'parallel economy' conducted in the open-air stalls of the bazaar. The author analyses the cultural consequences of the presence of Stadion Bazar in a capital city, and its influence on the transformations of the semantics of urban space and the dynamics of the styles of Polish pop-culture and consumption models.
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Content available remote THE ARCHIVE OF A PRESS PHOTOGRAPHER (Archiwum fotoreportera)
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EN
'I spent several weeks gazing at the presented photographs. Obviously, someone one might be inclined to describe them as ordinary. But the uniqueness of these small photos produce an awareness of the significance of the work performed by Jacek Sielski, artist and excellent press photographer. (...) Jacek Sielski is familiar with the Praga district. In this case, he chose as his leitmotif a single street with an adjoining area, namely, Brzeska Street and the Rózycki Bazaar. In doing so, he demonstrated, to put it in plain terms, a lot of courage. Not all the residents of Brzeska Street were willing to pose for a photographer. (...) The photos were taken in the 1970s, the difficult years of the People's Republic of Poland. (...) The proverbial stench and filth discernible in the photographs, the highly suspicious looking men and woman, and the omnipresent poverty are the symbols of those bad old days. It was also then that Brzeska Street became known as a 'mean street', dangerous, and full of thugs and prostitutes, an image which Jacek Sielski captured perfectly. Looking at his photos let us keep in mind that this is an image of a past epoch and inimitable situations, similar to those captured in the now rapidly vanishing Rózycki market'.
EN
Contemporary African borderland is an area of intensive urban life concentrating people within the cities, as well as creating origins of semi-urban culture. Borderness does not only have literal dimension, but it can also be understood metaphorically - as a feeling of liminality, discontinuity, temporality, thus resembling the middle stage of van Gennep's rites of passage. Both general dimensions are equally responsible for unique cultural reality. In this article I will look into different manifestations of borderlandness in modern reality of Juba town - not only dynamic urban centre of African borderland, but also a capital of semi-independent country - Southern Sudan. In addition, I will present a specificity of local urbanism influenced by multi-dimensional borderlandness. Finally, I shall expose how useful the concept of borderland may be in an analysis of modern African urbanization. Presented phenomenon was an object of my ethnographic investigation during three field studies in Juba in 2007-2008. Conducted research project called 'Juba - centre of cultures and conflicts' was financially supported by the Ministry of Science and Higher Education of the Republic of Poland.
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