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Abstract

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.

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Authors and Affiliations

Ernestyna Szpakowska-Loranc
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Abstract

Znaczenie w architekturze, a w szczególności zagadnienia związane ze strukturami symbolicznymi, należą niewątpliwie do najtrudniejszych tematów w teorii architektury. Problematyka ta wychodzi znacznie poza zakres zagadnień techniczno-użytkowych, stąd wymaga zastosowania specyficznych podejść badawczych, zbliżonych do tych, jakie stosowane są w naukach humanistycznych i społecznych. W ostatnich dekadach daje się zaobserwować wyraźne przesunięcie punktu ciężkości zainteresowań projektantów architektury z zagadnień techniczno-użytkowych ku problemom związanym z ekspresją artystyczną, a w związku z tym także ku symbolizmowi. Być może jest to rodzaj ucieczki od sfery nie dającej już projektantom tak rozległych możliwości samorealizacji, jaką oferuje sfera ekspresji symbolicznej. Zjawisko takie jest znamienne dla schyłkowych okresów w historii architektury i sztuki takich, jak np. manieryzm czy secesja, a wiele przesłanek wskazuje na to, że w podobnym okresie żyjemy.
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Authors and Affiliations

Andrzej Niezabitowski
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Abstract

Guidebooks are practical texts that accompany people in navigating through an unknown space. Along with guiding and helping in the logistic organisation of the trip, they narrate the story of the selected place, city or region. Due to this last function, guidebooks can be a valuable source in historical research. Referring to Moscow and Kyiv Soviet guidebooks, the paper discusses the connection between text composition and historical narrative. Using the methodology of semio-tics, the article shows that different elements of city space such as houses, streets, monuments, museums etc. communicate messages about history, society, and identity. Since the city space is a big “warehouse” of objects and meanings, not all of them will be incorporated into the tourist space. The article shows which places were included (but also excluded) in Moscow and Kyiv tourist routes and depicts their connection with the canon of historical events. The paper also looks more closely at the ideological and rhetorical features of guidebook texts and how they reflect the dominant historical narrative.
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Bibliography

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Barthes, Roland. „Dyskurs historii”, przeł. Adam Rysiewicz, Zbigniew Kloch. Pamiętnik Lite-racki LXXV (1984): 225–236.
Barthes, Roland. „Semiology and the Urban”. W Rethinking Architecture. A Reader in Cultural Theory, red. Neil Leach. London, New York: Routledge, 1997.
Chatman, Saymoure. Story and Discourse: Narrative Structure in Fiction and Film. Ithaca: Cornell University Press, 1978.
Cultural Memory Studies. An International and Interdisciplinary Handbook, red. Astrid Erll, Ansgar Nünning, Sara B. Young. Berlin, New York: De Gruyter, 2008.
Danto, Arthur. Analytical philosophy of history. Cambridge: University Press, 1965.
De Certeau, Michel. Wynaleźć codzienność: sztuki działania, przeł. Katarzyna Thiel‑Jańczuk. Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego, 2008.
Dlugach, Vladimi,. Petr Portugalov. Osmotr Moskvy. Moskva: Moskovskij rabochij, 1938.
Dvinskij, Emmanuil. Tri chasa v Moskve. Moskva: Moskovskij rabochij, 1978–1979.
Evstigneeva, Nadezhda, Oleg Oberemko. „Modeli analiza narrativa”. Chelovek. Soobshchestvo. Upravlenie 4 (2007): 95–107.
Hennaut, Benoît. „Building Stories around Contemporary Performing Arts: The Case of Romeo Castellucci’s Tragedia Endogonidia”. W Beyond Classical Narration: Transmedial and Unnatural Challenges, red. Jan Alber, Per Krogh Hansen, 97–117.
Berlin‑Boston: Walter de Gruyter GmbH & Co KG, 2014. Herman, David. Basic Elements of Narrative. Oxford: Wiley‑Blackwell, 2009.
Kaganskij, Vladimir. Kulturnyjlandshafti sovetskoeobitaemoeprostranstvo. Moskva: Novoe literaturnoe obozrenie, 2001.
Kovalenko, Olena. „Narracje historyczne w sowieckich przewodnikach turystycznych po Moskwie i Kijowie (1922–1991)”. Praca doktorska, Uniwersytet Papieski Jana Pawła II w Krakowie, 2019.
Kovecses, Zoltán. Język, umysł, kultura. Praktyczne wprowadzenie, przeł. Anna Kowalcze-Pawlik, Magdalena Buchta. Kraków: Universitas, 2011.
Kyjiv. Shcho? De? Jak?. Kyjiv: Mystectvo 1980. Lotman, Jurij. „Vnutri mysljashchikh mirov”. W Lotman, Jurij.Semiosfera. Kulturai vzryv. Vnutrimysljashchikhmirov, [zakres stron]. Sankt‑Peterburg: Isskusvo‑SPB, 2000.
Louvel, Liliane. Poetics of the Iconotext, red. Karen Jacobs, przeł. Laurence Petit. Ithaca: Cornell University Press, 2001.
Mosher, Harold F. „Towards a Poetics of «Descriptized» Narration”. Poetics Today 12, nr 3 (1991): 426–445.
Rucinskaja, Irina. „Putevoditel kak instrument konstruirovanija regionalnykh dostoprimecha-telnostej (vtoraja polovina XIX – nachalo KHKH v.)”. Vestnik Moskovskogouniversiteta. Lingvistikai mezhkulturnajakommunikacija 2 (2011): 53–63.
Rucinskaja, Irina. Putevoditelkakfenomenmassovojkultury. Obrazyrossijskikhregionov v provin-cialnykhputevoditeljakhvtorojpoloviny XIX – nachala XX veka. Moskva: Lenand, 2014.
Schmid, Wolf. Narratologija. Moskva: Jazyki slavjanskoj kultury, 2003.
Syrov, Vladimir. „Kakim byt istoricheskomu narrativu”. Narratorium 2 (4). http://narratorium.rggu.ru/article.html?id=2628915 (dostęp: 8.11.2018).
The Routledge Encyclopedia of Narrative Theory, red. David Herman, Manfred Jahn, Marie‑Laure Ryan. London, New York: Routledge, 2005.
Topolski, Jerzy. Jak się pisze i rozumie historię. Tajemnice narracji historycznej. Poznań: Wydawnictwo Poznańskie, 2008.
White, Hayden. The Content of the Form: Narrative Discourse and Historical Representation. Baltimore, London: The John Hopkins University Press, 1987.
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Authors and Affiliations

Olena Kovalenko
1
ORCID: ORCID

  1. Uniwersytet Papieski Jana Pawła II w Krakowie
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Abstract

The word ‘narrative’ is used unusually often in the social sciences. The basic aim of this article is to draw the attention of social researchers, particularly sociologists, to problems with narrative theory. Narratology constitutes an important source of inspiration for sociologists. There are many perspectives and analytical approaches to the theory of the narrative. In this article, it is viewed from the perspective of sociological thought inspired by phenomenology and hermeneutics. Narration should certainly not be perceived as synonymous with other notions, as it has its own history and meaning. The author points, however, to the possibility of a link, on sociological grounds, between narrative and life history (biography) as two different but mutually interacting ideas.

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Authors and Affiliations

Piotr Kulas
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Abstract

The Author analyses tropes of historical narration in academic lectures on history underlining the need and usefulness of research on this topic.
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Authors and Affiliations

Monika Biesaga
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Abstract

The paper depicts the relations between historian person and history cognition, especially the influence of his mind inclinations to cognitive biases on narrative.
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Authors and Affiliations

Maciej Dymkowski
ORCID: ORCID
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Abstract

The article examines the rise of the postmodern Holocaust narrative in Polish literature taking as a case in point Leopold Buczkowski’s novel Pierwsza świetność (First Glory), published 1966, in the context of the musings of Edmond Jabés and the testimonial writings of Halina Birenbaum. In this study the postmodernization of the Holocaust is treated as an alternative to the traditional genre of the Holocaust testimonial. Contrary to the broadly-held view that the postmodern Holocaust narrative is a fairly recent phenomenon, the article claims that it made its appearance some time after the war, in the mid-1960s. Its emergence can be seen as an attempt to voice the aporias and doubts that resulted from the pressure to draw a line on the wartime experiences and move on. Many writers, including Leopold Buczkowski, were convinced that it was necessary to keep alive the memory of the Holocaust by encrusting the historic record with other plots, problems and metaphors. This article is the fi rst in a series of studies of this problem in the 1970s and the following decades of the 20th and the 21st century.
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Authors and Affiliations

Marta Tomczok
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Abstract

The aim of this text is to reflect upon Polish research on the art of women. The analysis focus on syntheses, published in book form, devoted to a group of female artists working at a specific time and place. This analysis shows the shape of research on women’s art in Poland, the consequences of it and the perspectives for the future.
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Authors and Affiliations

Karolina Rosiejka
1
ORCID: ORCID

  1. Uniwersytet Artystyczny im. Magdaleny Abakanowicz w Poznaniu
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Abstract

In this article, the authors confront the thesis found in historical discourse about the dominance of male figures in historical narratives present in the public sphere. In order to do so, they analyse the new research field that is the social networking site YouTube and the most popular channels on historical topics contained therein. The main research question is whether women are marginalised in the narratives contained in the sources discussed, in which contexts they appear and what is the reception of the films in which they appear. In addition, the authors look at the question of the form of historical narratives. The study combines quantitative methods (descriptive statistics, correspondence analysis) as well as qualitative methods (Northrop Frye’s typology of story motifs. For this purpose, 551 films were analysed, which were then annotated using seven groups of tags corresponding to the content of the sources ‑ concerning the func-tioning of female characters and the subject matter of the films. As a result of the analyses carried out, it was observed that the thesis of the absolute dominance of male characters in historical narratives does not fully hold true under the conditions of Web 2.0 sources in terms of quantity, while in terms of content it cannot be accepted unreservedly in the context of the very diverse use of female themes in social media resources.
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Authors and Affiliations

Wiktor Werner
1
ORCID: ORCID
Nell Sypniewska
1
ORCID: ORCID
Zuzanna Szymczak
1
ORCID: ORCID
Maciej Stachura
1
ORCID: ORCID
Adam Stryjakowski
1
ORCID: ORCID
Borys Staszak
1
ORCID: ORCID
Adrian Trzoss
1
ORCID: ORCID
Cyprian Kleist
1

  1. Uniwersytet im. Adama Mickiewicza w Poznaniu
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Abstract

The main goal of this paper is to present a fully developed concept of Paul A. Roth’s philosophy of history to the Polish reader. Of course, it is just an introduction, but with the interview it should be a good starting point for further analysis. These seem desirable given Roth’s very ambitious programme, which in addition is based on “old facts”; that is, an analytical philosophy of history and science. The rapprochement between the two “visions” is not only a philosophical consideration, but also responds to the often-raised voices of practitioners. This introduction refers primarily to Roth’s latest book, indicating a possible interpretation. This “reading” is conducted by indicating the historical context, recalling philosophical analyses and determining the validity of the proposed solutions in order to decide how much science there is in history and vice versa.

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Authors and Affiliations

Piotr Kowalewski Jahromi
ORCID: ORCID
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Abstract

Whereas Ingarden’s studies on the strata of the literary work of art have attracted considerable critical attention, it is not the case with the other building-block of his theory, the concept of the literary work’s temporal phases. It was ignored by the French structuralists and the American pragmatists, and, more recently, by neuroscience, although the latter is founded on insights that are similar to Ingarden’s. A comparison of the two approaches shows that his concept of temporality remains as relevant as ever. It is an analytical tool of remarkable precision that can be used to examine schemas of understanding conditioned by the sequential nature of language, especially in case complex schemas elicited by utterances with many themes and hardly any temporal or causal links. Ingarden’s analyses shed light on the analogically-functioning memory mechanisms that generate cognitive schemas responsible for the integration of the experienced objects. Drawing on Edmund Husserl, Henri Bergson and philosophers of the Lvov-Warsaw School, Ingarden assigned the key role in that process to foreshortening and the retention-protention mechanism. After identifying these sources of inspiration it is possible to suggest an alternative solution to the problem of the cognitive value of neuroscience narrative protocols and to situate current developments in narratology in a broader conceptual framework.
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Authors and Affiliations

Danuta Ulicka
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Abstract

The Heptachor (Гептахор) studio was a leading early 20 th-century Russian modern dance school committed to a revival of the art of dance and the development of new forms of musical movement and new concepts of artistic creation. In the years 1914–1934, it was the centre of the Musical Movement dance school, experimenting with a wide range of artistic, educational and therapeutic practices. The aim of the article is, first, to present the history of the Heptachor studio on the basis of the recollections and memoirs of its co-founder Stephanida Rudneva, contemporary documents and archive materials, and, second, to analyze the typical creative process narratives included in those sources.
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Authors and Affiliations

Anastasia Nabokina
1
ORCID: ORCID

  1. Katedra Antropologii Literatury i Badań Kulturowych UJ
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Abstract

This article is an attempt at a narrowly-focused application of a critical approach labelled ‘a history of the history of creativity’, formulated by Magdalena Popiel in her study The World of the Artist: Modernist Aesthetics of Creativity (2017). The article highlights the domain of autopoietic narratives – stories told by artists about their own creative performance, which involves projecting one’s own somatic identity and positioning one-self in a given socio-cultural context (community) – and examines the discursive dimen-sions of the creative process in the metanarrations of Tadeusz Peiper and Józef Czecho-wicz, two major poets of the Polish interwar avant-garde. The resulting model of the creative process is then set into the context of contemporary philosophical, anthropo-logical and psychological theories of creativity.
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Authors and Affiliations

Mateusz Antoniuk
1
ORCID: ORCID

  1. Mateusz Antoniuk – Wydział Polonistyki UJ
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Abstract

This article explores the significance of James Hillman's archetypal psychology for the autothematic reflection and the fiction of Olga Tokarczuk. An analysis of her 2020 collection of essays Czuły narrator ( The Tender Narrator), and the psychological dimension of two novels, Ostatnie historie ( Final Stories) and Bieguni ( Flights) published in 2004 and 2007 respectively, shows that she abandoned her former intellectual master Carl Gustav Jung for Jungian revisionists, most notably James Hillman. His ideas helped her to clarify her own philosophical approach, and, for her critics, they offer a useful interpretative key to the works in which she moved beyond the bounds of orthodox Jungianism.
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Authors and Affiliations

Tomasz Mizerkiewicz
1
ORCID: ORCID

  1. Wydział Filologii Polskiej i Klasycznej, Uniwersytet im. Adama Mickiewicza w Poznaniu
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Abstract

This article deals with the role of empathy in the work of Olga Tokarczuk. It begins with an examination of the autocritical reflections in her essays, most notably her view of literature and its functions. This is followed by a discussion of the range of emotional involvement presented in her fiction and the role of empathy in her narrative strategy. The article argues that empathy is at the heart of her creativity and her understanding of literature.
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Authors and Affiliations

Anna Łebkowska
1
ORCID: ORCID

  1. Wydział Polonistyki Uniwersytetu Jagiellońskiego
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Abstract

Don Quichotte, an opera by Jules Massenet to a French libretto by Henri Cain first performed in 1910, is one of the most suggestive examples of a transposition of a literary theme to musical theatre and of a creative adaptation of a literary source-text into an operatic libretto. This article explores the manner in which the opera creates a musical portrait of the main character and presents an interpretation of the opera’s narrative. The analysis is conducted on two levels, textual (the libretto) and musical (the score). The conclusion, apart from its summarizing function, offers an answer to the question about the attractiveness of the Don Quixote theme for musical adaptations.
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Authors and Affiliations

Małgorzata Sokalska
1
ORCID: ORCID
Ryszard Daniel Golianek
2
ORCID: ORCID

  1. Wydział Polonistyki, Uniwersytet Jagielloński, Kraków
  2. Wydział Nauk o Sztuce, Instytut Muzykologii, Uniwersytet im. Adama Mickiewicza, Poznań
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Abstract

Orhan Pamuk, the winner of the Nobel Prize in Literature in 2006, is one of the most interesting and versatile of contemporary writers whose prose contributes to the understanding of the cultural background of the Orient and the Occident forged out of the juxtaposition of Islam and Christianity. As a might-have-been artist, who is currently an amateur photographer, the author, in an uncommon way, visualizes the continual wonder towards colors in the surrounding reality featuring in his fictional and non-fictional texts. The most important aspects of Pamuk’s works, however, are the journeys near and far and those within oneself, as well as the wanderings through cities, especially those of his native Istanbul. Aside from the returns home and to the motherland, Pamuk contrasts the inspiring voyages out with the voyages into the collective and individual past, in all their historical and political complexity. The present paper is an overview of Orhan Pamuk’s works from the perspective of colors and the aforesaid passages, which remind his readers of travelling as a basic topos of the course of human existence.
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Authors and Affiliations

Liliana Sikorska
1

  1. Wydział Anglistyki, Uniwersytet im. AdamaMickiewicza w Poznaniu
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Abstract

In recent years, some authors have departed from the classical presentation of World War 2. This article analyses selected alternative and revisionist narratives present in the works of Tymoteusz Pawłowski, Rafał Ziemkiewicz and Piotr Zychowicz in terms of historical and ahistorical thinking, presents the authors' attitude towards the achievements of historiography, and presents the way in which they create their narratives, the content of those narratives, and evaluates them in terms of their correctness from the point of view of compliance with historical facts.
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Authors and Affiliations

Dawid Gralik
1
ORCID: ORCID

  1. Uniwersytet im. Adama Mickiewicza w Poznaniu, Wydział Historii
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Abstract

This article draws on the refined techniques of literary interpretation brought to the Cervantes studies by John J. Allen's Don Quixote: Hero or Fool (1969), but refocuses its attention from the problem of Quixote's character to ‘bizarreness’ – an aesthetic category that can be found at the root of the confused, incongruous perception of reality in the fictions of Cervantes and the contemporary Polish author Olga Tokarczuk. In Chapter 18 of Part Two of Don Quixote Don Lorenzo calls the knight errant ‘ loco bizarro’. The translations of this phrase reveal a striking polyvalence of the Spanish adjective bizarro when compared to bizzarro (in Italian) and bizarre (in both French and English). A close analysis of the following chapter shows that the author contextualizes the preceding events within a narrative perspective marked by empathy and understanding rather than authoritative categorization, i.e. a type of narration discussed by Olga Tokarczuk in her 2019 Nobel Lecture “The Tender Narrator” and identified as ‘bizarreness’ in her Opowiadania bizarne [ Bizarre Stories].
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Authors and Affiliations

Beata Baczyńska
1

  1. Uniwersytet Wrocławski
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Abstract

This article deals with recent Polish herstory narrations, i.e. works of fiction that, while relying on distinctly literary techniques and devices, foreground the feminine experience of history, and moreover, may be associated with the so-called Herstory Turn in Polish humanities and cultural studies. This category of fictions includes also novels in which the herstory narration belongs to a female subject created by a male author, notably Jacek Dehnel’s Abbess Macryna (Matka Makryna), Ignacy Karpowicz’s Little Sonya (Sońka) and Jarosław Kamiński’s Just Lola (Tylko Lola). These three novels are analyzed with the aim of showing how their narrative strategy foregrounds the women narrators/main characters (acting as history’s true subjects), identifying the marks of authorial imitation of the feminine discourse, and, finally, asking the question about man’s status in an ostensibly feminine text. It seems that one way of answering it would be to point to the male author’s validating the feminine experience of history and ensuring that it can be heard.

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Authors and Affiliations

Joanna Szewczyk
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Abstract

The possibility and the ways of articulating subjectivity is the main theme of both the philosophical books and essays of Dobrosław Kot as well as his fiction, written under the pseudonym Wit Szostak. His approach is grounded in ‘the relational subject’, a notion which has been developed in numerous philosophical treaties and in literature. This article examines the ways and means of the constituting the textual subject in Kot's philosophical books, Subjectivity and Loss (2009), Dramatic Thinking (2016), and Odyssseus' Raft: An essay about migrants (2020) and tries to position his thought with regard to similar studies of the relational subject in contemporary humanities. The discussion ranges from second-person narration and the semantics of personal pronouns in the structure of literary works (i.e. points of contact between philosophy and literary discourse) to the functioning of implied and thematized information in literary narratives. Crucially, the tensions between these two forms of communication offer the textual subject an opportunity to articulate his position. Finally, all the analyses point to the conclusion that loss is indeed at the heart Dobrosław Kot’s work.
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Authors and Affiliations

Ilona Siwak
1
ORCID: ORCID

  1. mgr, Wydział Polonistyki Uniwersytetu Warszawskiego
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Abstract

Architektura modernistyczna w ślad za rozwojem sztuki (malarstwo) wprowadziła dynamikę do kompozycji przestrzennej: neoplastycyzm oparty na rytmie jednostajnym i kompozycji otwartej; funkcjonalizm oparty na komunikacji, czyli sposobie w jaki poruszając się postrzegamy geometrię przestrzeni. W latach 30. XX w. model percepcji przestrzeni zgodny z zasadami fi zjologii (rytm jednostajny) zastąpił model percepcji zgodny z zasadami psychologii (teoria bodźców) i bazujący na tworzeniu subiektywnej narracji psychologicznej. Subiektywne wrażenie, niedookreślone, aby umożliwić zróżnicowaną interpretację stworzyło nowy kanon podstawowych elementów kompozycji architektonicznej (Norberg-Schulz): centrum, kierunek, obszar – tym charakterystycznych, że nie defi niują granicy formy. Wieloznaczność, czyli swoboda interpretacji przestrzeni dopuszcza (jako opcję zaproponowaną, a nie narzuconą przez architekta) przekaz wartości. Przykładem jest pawilon na światową wystawę w Paryżu w 1937 roku projektu Romualda Gutta, gdzie narracja psychologiczna mimo „formy otwartej” kulminuje się w geometrii konkretnej – czaszy muszli koncertowej. To przekaz architekta, który w 1936 roku uznał, że największą wartością ówczesnej Polski na forum światowym jest jej wartość kulturowa – tu symbolicznie reprezentowana przez koncerty muzyki Chopina.
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Authors and Affiliations

Anna Dybczyńska-Bułyszko

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