The article connects two issues: the city as text and neoclassical trends in urban design in the second half of the 20th century. These issues are presented on the examples of ideal cities: Washington 2000 – a design of Leon Krier, Nowa Huta and the residential complex of Ricardo Bofill in Saint-Quentin-en-Yvelines. As a continuation of the ideal European city Shanghainese Lingang is presented designed by GMP.
The article aims to prove that the narrative structure of The Stormy Life of Lasik Roitschwantz by Ilya Ehrenburg can be viewed as a starting point for understanding the overriding idea of the novel. In the material for interpretation among other things analysed what follows: the similarity between the narrative of the fi rst few chapters and the skaz narrative (Russian oral form of narrative) based on the defi nition of formal mimesis, the introduction to a “foreign word” narrative (the protagonist using reported speech and free indirect speech), the restriction of the storyteller’s role (which is the overriding element of the skaz narrative) and simultaneously putting the protagonist at the forefront, the language markers used in order to mask the convergence between the storyteller’s and the protagonist’s points of view. As a result, the article implies that the presence of a skaz storyteller allows analysing the fi gure of Lasik Roitschwantz not as a character from a book or of a certain type, but rather as a human being in a universal sense.
After leaving a GDR prison, in the 60s, Erich Loest started to write crime stories under the pseudonym Hans Walldorf. His series of only a few novels finishes with the short story collection entitled Oakins macht Karriere. In his stories, presenting the investigations by a London detective Pat Oakins, Loest did a specific kind of travesty of a classic genre convention, going away from a socialistic-didactic character of crime stories in Eastern Germany.
Some consider the multiculturality of Wrocław to be its obvious and socially legitimised “property”, whereas others view it as controversial and refutable construct. In the paper, we would like to investigate the multiculturality of the Lower Silesia’s capital taking into account its internal differentiation, which is mostly due to the adjudicating authorities – city authorities, its citizens and researchers — as well as observable dynamics. Hence, we propose to inspect the following: firstly, the real differentiation of the social structure of Wrocław’s inhabitants and its transformations related mostly to the influx of Ukrainians, who change the ethnic cityscape; secondly, the politics of municipal authorities regarding the promotion and strengthening of the city’s image as the multicultural, open and tolerant “meeting place”, as well as initiatives inscribed therein and other observable, contradictory events; thirdly, the evaluation of Wrocław’s multiculturality and its selected aspects performed by the city’s inhabitants and revealed in the research on this phenomenon in 2011 and in two editions of Social Diagnosis of Wrocław (2014 and 2017).
The author asks about the applicability of postcolonial criticism to the study of the culture of Central and Eastern Europe, especially Galicia. She presents the voices of Polish and Ukrainian proponents of this method, as well as those who are sceptical about the possibility of adapting it to the analysis of Central European culture. She indicates the factors which complicate transferring the theory of postcolonial studies to the Habsburg monarchy and the peoples living there, and defines the conditions that should be taken into account for the use of postcolonial theory to be persuasive. She presents the benefits of postcolonial criticism as applied to the analysis of literature created in Galicia, noting the hegemonic historiography contained in the literature and the narrative forms establishing the hierarchy of cultures, and protecting the value and superiority of one’s own culture – a phenomenon that has not been investigated.
This article combines a general introduction to the crime fi ction of Walery Przyborowski with a study of the structure of the plot of his novels. The analyses of ten of his novels conclude with a typology of their narrative schemes, shown in the context of certain invariant patterns and the conventions of related literary genres. While the main objective of this study is to outline the structure of crime story and the social issues depicted in Przyborowski’s crime fi ction, it also pays some attention to the ways in which it refl ects his concerns about contemporary life and the condition of Poland under foreign rule. Basically, Przyborowski’s formula is to make use of the staples of the genre – mystery, adventure, romance – and the techniques of the popular novel. Moreover, his novels, like all of the 19th-century crime fi ctions, are clearly indebted to the conventions of the historical novel.
In post-humanist studies of identity, otherness and exclusion – conducted within the de-anthropocentrism of the humanities – questions arise about the condition of non-human subjects (animals, plants, things) that gain the cultural and social status of Others. As non-human entities, they have a socializing value, cement interpersonal relations, attract people to certain places. They have performative, integrative and co-creating abilities. The posthumanistic “turn towards things” opens the room for the construction of their social (auto) biographies, a development which already has been taking place in contemporary children’s literature. The problem of the creation of (auto)biographies of non-human subjects is presented in this article on the example of the picture book Otto: The Autobiography of a Teddy Bear by Tomi Ungerer. The artist gives the non-anthropomorphized plush toy the status of a non-human subject and an active actor of social life as a medium of unoffi cial memory of the Holocaust. Ungerer consciously and innovatively uses the key determinants of the posthuman discourse, including intimate childhood experiences.
This article deals with the rise in the Polish literature of 1970s of a new type of biographical novel, associated with the fi rst post-war generation of writers like Bohdan Zadura, Julian Kornhauser, Adam Zagajewski, Henryk Lothamer, Stanisław Piskor and Donat Kirsch. Their work is subsumed here under the label ‘new fi ction’ primarily because of its literary context, i.e. the late-modern fears and uncertainties culminating in the assumption that literature reached the state of exhaustion. The article argues that the ‘new fi ction’ acquired its distinctive character from a preoccupation with the biographical narrative and a sense of generational identity. The writers who defi ned themselves in these generational terms saw their prospect of following their aspirations and building up authentic lives weighed down by the constricting realities, and, as the article claims, resigned themselves – at best not entirely – to this sad conclusion.