In recent time the phenomenon of memory has become a popular issue in historiography and social studies. Probably the most interesting concept comes from the French historian Pierre Nora who wrote about „places of memory“. This text discusses the use of this concept in toponomastics. All examples are chosen from the Prague urbanonyms.
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The aim of the article is to present figures of Ukrainian legendary bard Wernyhora and the Ukrainian Steppe as Polish places of memory according to the concept of French historian Pierre Nora. In this concept a place or figure can act as a transmitter of national common values or a center around which visions of the past can be formed. Places of memory (lieux de mémoire) are also special kinds of symbols because of their visual character. In the article I try to highlight this based on (mainly) literature of Polish romanticism. A visual character of both figures and its connection with Polish identity and historical discussions make them vital and important motif of Polish past and imaginary.
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The article looks at the question of the renaming of cities in the Kaliningrad region, i.e. the northern part of former East Prussia. After World War II, this territory underwent profound changes as it was annexed to the Soviet Union and the German population was expelled to make way for the Soviet settlers. The first part of the analysis covers the renaming of the cities and other geographical entities. It is understood as an element of the Soviet historical policy and a way of making this culturally unknown environment more familiar to newcomers. City names are understood as places of memory (lieux de memoire), which undoubtedly play a crucial role in creating identities and collective memory. In the second part, the author addresses the discussion on the proposals for changing once again the name of the city of Kaliningrad, as this issue emerged when the Soviet Union collapsed.
The aim of the article is to present figures of Ukrainian legendary bard Wernyhora and the Ukrainian Steppe as Polish places of memory according to the concept of French historian Pierre Nora. In this concept a place or figure can act as a transmitter of national common values or a center around which visions of the past can be formed. Places of memory (lieux de mémoire) are also special kinds of symbols because of their visual character. In the article I try to highlight this based on (mainly) literature of Polish romanticism. A visual character of both figures and its connection with Polish identity and historical discussions make them vital and important motif of Polish past and imaginary.
The article is devoted to occasional poetry related to the Poznań 1956 protests. The survery was conducted within the framework of memory studies, assuming that this type of verse is mostly involved in the literary discourse of memory, and can be treated as one of the forms of forgetting. This approach is supported by theory of collective memory, with notions proposed by Pierre Nora, Jan Assmann, Marcin Kula, Andrzej Szpociński and Michel Foucault.
Intercultural learning requires learners not only to acquire knowledge about everyday life in other countries but also to explore the history of those countries. History is not just a collection of facts about the past. Instead, history is a way of viewing and interpreting those facts. Thus, exploring history must involve people reflecting about the relevance of certain items or events for cotemporary individuals and communities. The aim of this paper is to discuss possible ways to involve learners personally and actively in the process of reflecting on places of memory (Pierre Nora) as well as ways to use film as a pedagogical starting point.
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For the inhabitants of the town of Mysłowic acquires special importance the place called „Triangle of the Three Emperors“, where in the years 1845–1918 intersected the borders of three empires – Russia, Austria and Prussia. The threefold boundary represented for many decades the sphere of constant economic, cultural and social exchange and cultural and civilisational interpenetration. Thanks to the „triangle“ was Mysłowice known all over Europe as well as on other continents and attracted thousands of tourists. The surroundings of the „Triangle of the Three Emperors“ were endowed with excellent touristic and recreational infrastructure. Nowadays this legendary place is neglected and does not remind of its former importance. However, it is still being visited by groups of tourists and hosts occasional meetings and historical commemorations. Within the town there are numerous symbolic references to the „Triangle of the Three Emperors“. The municipal council recently devised a plan to transform the „Triangle“ into a showroom of the town and constituent part of its advertising campaign. The „Triangle of the Three Emperors“ instigates emotions and acquires a prominent place in the social memory of the inhabitants of Mysłowic, as it is part of the local historical tradition. On the background of the European history it acquires its historical importance and local relevance. Through its intimate relation to local history it evokes the images of the past glory of the town. The „Triangle of the Three Emperors“ surpasses in importance the remaining parts of the town and corroborates positively the social integrity of its inhabitants. Its symbolic importance can in a crucial way influence the processes of change and creation of social consciousness, responding to the unified vision of the future, and at the same time the creation of contemporary identity of the town, relieved from existing stigma of industrialization.
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The presented text aims to describe the transformation of the place of memory – the cave and the church of St. Prokop in the Prokop Valley – from the Middle Ages to the present with emphasis on the modernization processes of Czech history (Industrialization, secularization, urbanization, nationalization). The work traces the period from the beginning of the “artificial” creation of the pilgrimage’s place in connection with the legend of St. Procopius, through the weaking of the religious feast in connection with new national-patriotic ideological program, to the desacralization of the landscape and gradual loss of identity of the place due to limestone mining. “The creation of image” of this place of memory in the topographical (ie. proper) sense is documented primarily on “narrative” sources of an artistic nature (literature, painting).
Dyskusja dotycząca włączenia idei miejsc pamięci we współczesną teorię konserwatorską, a co za tym idzie także w działania praktyczne oraz tworzenie długoterminowych polityk konserwatorskich, jest istotna dla przyszłości ochrony dziedzictwa.
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The discussion on the applicability of the idea of places of memory in the contemporary theory of conservation, and by extension, in practice and in establishing long-term conservation policies, is vital for the future of heritage protection. The aim of this article is to present the evolving understanding of memory by the authors of conservation theories and doctrines. The first part is concerned with the results of linguistic analyses which suggest that thinking in terms of signs and places of memory is deeply linked to the emergence of conservation attitudes in the history of European culture. What follows is an overview of the transformations of the cultural status of monuments from the Enlightenment to the present day, focused on the concept of historical monuments (Voltaire, J. J. Winckelmann), on the problem of the intentionality of monuments and relativisation of the criteria used for their assessment (A. Riegl), as well as on the influence of the idea of lieux de mémoire by P. Nora on the contemporary understanding of heritage and the principles of protecting it.
Maria Danilewicz Zielińska była pisarką pochodzącą z Kujaw, ale całe dorosłe życie spędziła na emigracji. Jej autobiograficzne opowiadania pod tytułem Biurko Konopnickiej są przykładem konstruowania tożsamości narracyjnej, której podstawę stanowią ludzie zakorzenieni w małych ojczyznach i związane z nimi zdarzenia. Pierwsza z lokalnych ojczyzn to Kujawy – autorka urodziła się i przez pierwsze dwadzieścia jeden lat żyła w Aleksandrowie Pogranicznym (dziś: Kujawskim). Druga – Kresy północne dawnej Rzeczypospolitej; Danilewicz łączyły z nimi ścisłe więzy rodzinne, a także żywa pamięć o ludziach pióra stamtąd. Paralele rodzinne, historyczne i literackie, łączące, ale i dzielące oba obszary geograficzno-kulturowe, układają się w pary: pierwsza to Kujawy z ich miasteczkami, przyrodą oraz mieszkańcami i ich obyczajami, a z drugiej strony Wileńszczyzna i Nowogródczyzna, związani z nią poeci, tacy jak A. Mickiewicz i W. Syrokomla, oraz zwykli ludzie z ich dramatycznymi losami przesiedleńców. Drugą parę stanowią rzeki i związane z nimi historie: Wisła i Niemen. Te wszystkie komponenty są miejscami pamięci konstytuującymi hybrydyczną tożsamość emigracyjnej autorki z pogranicza historyczno-kulturowego, budowaną przez pamięć autobiograficzną. Snując owe paralele, nadawała im znamię swojskości, unikając patosu i mitologizacji, niemniej dojmująca tęsknota za utraconą ojczyzną ewokowała jej idealizację, widoczną zwłaszcza w opisach przyrody.
EN
Maria Danilewicz Zielińska was a writer from the region of Kujawy, but she spent her entire adult life in exile. Her autobiographical stories collected in the volume entitled Biurko Konopnickiej [Konopnicka’s Desk] are an example of constructing a narrative identity based on people rooted in their homelands and related events. The first of the local homelands is Kujawy: the author was born in Aleksandrów Pograniczny (today: Aleksandrów Kujawski) and lived there for the first twenty-one years of her life; the second one is the northern Borderland (Kresy) of the former Polish Lithuanian Commonwealth. Danilewicz had close family ties with the latter, as well as a living memory of its poets and writers. The family, historical and literary parallels connecting but also separating both geographical and cultural areas form pairs. The first one is Kujawy with its towns, nature, inhabitants and their customs, and, on the other hand, the Vilnius and Navahrudak regions, their poets, such as Adam Mickiewicz and Władysław Syrokomla, and ordinary people with their dramatic fate of being displaced. The second pair are rivers and stories related to them: the Vistula and the Nemunas. All these components are places of memory which constitute a hybrid identity of the émigré author from a historical and cultural borderland, an identity constructed by autobiographical memory. Weaving these parallels, she endows them with familiarity, avoiding pathos and mythologisation. Nevertheless, the overwhelming longing for the lost homeland is coupled with its idealisation, especially apparent in the descriptions of nature.
Historyczne pola bitwy stanowią niewątpliwie ważny komponent narodowego dziedzictwa, a pamięć wydarzeń, które reprezentują, wpływa w pewnym stopniu na kształt pamięci zbiorowej w konsekwencji zaś − tożsamości narodowej. Jednakże po czasie pamięć wydarzenia militarnego rzadko materializuje się we współczesnym krajobrazie pobojowiska, wymaga więc specjalnych form unaocznienia. Autorka w prezentowanym artykule podkreśla potrzebę stworzenia inwentarza polskich pól bitewnych o znaczeniu narodowym, zarówno jako narzędzia ochrony historycznego dziedzictwa, jak i turystycznej popularyzacji.
EN
Historical battlefields are undoubtedly significant components of national heritage and memory of past events, which they represent, influences in a sense on a shape of collective memory and as a result – national identity. However after years and ages a memory of historical military episode rarely materializes in current landscape of a battlefield so it requires special forms of visualization. In the presented paper the author underlines a need of creation of an inventory of historical battlefields with a great national significance, simultaneously as a tool of historical heritage protection and tourist popularization.
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