Wyniki wyszukiwania - Biblioteka Nauki

1

Awans symboliczny mimochodem. Liderzy polskiego greenpointu wobec gentryfikacji dzielnicy

100%

Sosnowska A.

Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego

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2014

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nr 1(27)

179-207

XX

The text presents an interpretation of the Greenpoint (Brooklyn, New York City) Polish immigrant community leaders’ benevolent attitude toward gentrification of the neighborhood. Referring to the evidence from the fieldwork in the neighborhood in 2006 and 2010, including 50 leaders’ oral histories, it is argued here that this benevolence can be explained by the fact that gentrification brings to the leaders – as individuals, and members of families and ethnic group – both material and symbolic upward mobility. This is ‘upward mobility without moving’, without leaders’ agency and despite the fact they have done nothing to have it happened. It is indicated that, contrary to the dominant trend in gentrification studies that expects lower class’ resistance to gentrification, the lower classes members might welcome gentrification because they perceive it as an advantage to their social status and mobility. Additionally, the article points out to immigrants – omitted in gentrification studies – as individuals who are highly achievement oriented and at the same time uncertain about their status in receiving society, and therefore perceiving gentrification as an occasion for personal, their children’s and ethnic group’s social mobility into the mainstream.

2

Modern architecture of public use in New York City

86%

Kapecki T.

Czasopismo Techniczne. Architektura

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2014

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tom R. 111, z. 3-A

57--76

EN

New York is a City of endless changes which are visible on every step; numerous of cranes visibe in the panorama shows that the economical crisis is a history. A lot is being built but the most spectacular architecture comes from the public utility creations. What is modern public utility architecture of New York City? What defines that architecture? Towards which direction does it tend? What is the mainstream function? Do buildings designed by leading architects set trends or maybe it is only demonstration of power and abilities? Does the confrontation of buildings from other parts of the world with New York City architecture give characteristics of resemblance or dissimilarity?

PL

Nowy Jork jest miastem bezustannych przemian, zmienia swoje oblicze, co widoczne jest na każdym kroku. Dziesiątki dźwigów widocznych w panoramie miasta świadczą o tym, że kryzys gospodarczy to już historia. Buduje się dużo, jednak najbardziej spektakularna architektura to ta związana z użytecznością publiczną. Jaka jest współczesna architektura użyteczności publicznej Nowego Jorku? Co ją cechuje, w jakim kierunku zmierza? Jaka funkcja jest dominująca? Czy obiekty projektowane przez czołowych architektów na świecie wyznaczają nowe trendy? A może to „pokaz sił” i umiejętności? Czy w konfrontacji z obiektami poznanymi w innych częściach świata architekturę Nowego Jorku cechuje odmienność czy raczej podobieństwo w jej kształtowaniu?

3

Manhattan Woody'ego Allena. Poetyka Introdukcji

62%

Hendrykowski M.

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tom 12

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nr 21

17-31

EN

Marek Hendrykowski’s innovative study on the four-minute opening sequence to Manhattan analyses one of the most beautiful introductions in the history of world cinema. Its subtle simultaneous construction based on European and American traditions and key canonical texts of 20th-century art: Walther Ruttmann’s Berlin: Symphony of the City, John Dos Passos’s Manhattan Transfer and George Gershwin’s Blue Rapsody. A semiotic apparatus has been included, along with deep explanatory commentaries and close-readings that identify step-by-step the details of its content, contradictory fiction-nonfiction relationships, and the roles of visual image, word and music, narrative, personal point of view, and stream of consciousness technique in the film. The suggestive film overture to Manhattan composed by Woody Allen represents continuities as well as disruptions, sustained between avant-garde artistic tradition and film art of the 1970s.

PL

Woody Allen’s Manhattan. Poetics of the Introduction Marek Hendrykowski’s innovative study on the four-minute opening sequence to Manhattan analyses one of the most beautiful introductions in the history of world cinema. Its subtle simultaneous construction based on European and American traditions and key canonical texts of 20th-century art: Walther Ruttmann’s Berlin: Symphony of the City, John Dos Passos’s Manhattan Transfer and George Gershwin’s Blue Rapsody. A semiotic apparatus has been included, along with deep explanatory commentaries and close-readings that identify step-by-step the details of its content, contradictory fiction-nonfiction relationships, and the roles of visual image, word and music, narrative, personal point of view, and stream of consciousness technique in the film. The suggestive film overture to Manhattan composed by Woody Allen represents continuities as well as disruptions, sustained between avant-garde artistic tradition and film art of the 1970s.

4

Między kulturą wysoką a kulturą popularną. O muzyce George'a Gershwina w „Manhattanie” Woody'ego Allena

62%

Pomostowski P.

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tom 12

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nr 21

243-255

EN

The article focuses on the relationships between high culture and popular culture in relation to film music. To this end, the author conducted a thorough analysis of the works of George Gershwin used in Woody Allen’s film Manhattan. The article consists of two parts and a conclusion. In the first part, the author presents a brief history of the continuous grinding together of high and popular culture in music, resulting in symphonic jazz, which came about in the 1920s, and whose precursor was George Gershwin. The second part is a cinematic and musicological analysis of all the works of Gershwin appearing on the soundtrack of Manhattan, and an attempt to find associations between the director and composer. In conclusion, the author notes that the phenomenon of mixing of popular culture and mass culture (both on the music, as well as its use in the work of the film) is subordinated in both George Gershwin and Woody Allen’s work to attempts to find their own identity, and one of the sources of inspiration of both artists is the same New York City, which is a city-myth.

PL

Between high culture and popular culture. The music of George Gershwin in Manhattan by Woody Allen The article focuses on the relationships between high culture and popular culture in relation to film music. To this end, the author conducted a thorough analysis of the works of George Gershwin used in Woody Allen’s film Manhattan. The article consists of two parts and a conclusion. In the first part, the author presents a brief history of the continuous grinding together of high and popular culture in music, resulting in symphonic jazz, which came about in the 1920s, and whose precursor was George Gershwin. The second part is a cinematic and musicological analysis of all the works of Gershwin appearing on the soundtrack of Manhattan, and an attempt to find associations between the director and composer. In conclusion, the author notes that the phenomenon of mixing of popular culture and mass culture (both on the music, as well as its use in the work of the film) is subordinated in both George Gershwin and Woody Allen’s work to attempts to find their own identity, and one of the sources of inspiration of both artists is the same New York City, which is a city-myth.