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.
The concept of city has got broad analytical perspectives, one of them are: the structural perspective, sociological, psychological, political, cultural, industrial and also the pedagogical perspective. In opposition to the concept of city is the concept of countryside, within which the concept of nature is regarded as an idyllic place, it is the place of childhood, the place of longing, it is the lost place that has been starting to go under the knife of time since the 20s of the last century. The apotheosis of the concept of city, that is being practiced by many artists, embracing the symbolics of the concept of city by mass culture and later by popular culture, causes the necessity to take the initiative of conducting the research that would attempt to establish the identity of the concept of city in modern culture. The article attempts to specify how the concept of city functions in popular culture through the analysis of chosen texts in popular music, starting from the 50s of the XX century until the XXI century.
In this article I try to think about the terms “stories” and “ontologies” in Ewa Domańska’s works: Mikrohistorie. Spotkania w międzyświatach (1999; 2005), Historie niekonwencjonalne (2006), Historia egzystencjonalna (2012), Historia ratownicza (2014) and I try to compare my conclusions with her latest publication. I am interested in the turning point in her thoughts, giving up the theory and methodology of history and switching to the ontology of the dead body. In order to do this I look through these publications and indicate which threads could help work out the excellent, innovative, and fresh conception of Nekros. The main part of the article is a detailed discussion of this. In the other part, I consider how to interpret more traditionally a past description like “cultural memory” and whether Domańska’s works accidentally invalidate them. I suggest a short statement of Marcin Napiórkowski’s and Stephen Marks’ works to show closer (Marks) and further (Napiórkowski) parallels or completely different presentations of similar problems.
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.
Architecture created in Poland of 21st C. is somewhere a mode of selfpresentation, in another cases is a method of shouting down the others. It is also aomwhere talking without any thesis, instead with a large dose of a badly understood assertiveness. Whe should to built a clear architectural activity, more objectified, and tied with a contemporaneity. We should begin from the most basic rules, from the certain architectural grammar. The identity can be understood as a set of features, which e.g. let to distinguish architecture growing out in Poland, in contrary to architecture rooted somewhere elsewhere. Those are not always any formal features. In order to understand what a spirit of the place really is, e.g. in ancient Rome there was an idea of the watchman spirit. This spirit gives life to the people and to the places, accompany them since they a born until they are dead. It determines their character or the content.
In this article, we wish to address the potential of cities and built environments as important sites for international education. We will introduce Urban Labs Central Europe, methodological concept that frames our pedagogies, which we practice in the context of international education, more specifically, American University study abroad programs in Poland and Central Europe. We will begin by considering several dimensions in which cities are important for international education and how they are central to our pedagogies. We will then explain our concept of Urban Labs and give some examples from our work with students.
This article is an attempt to identify the main themes in the literary work of Zygmunt Haupt, a Polish writer, journalist and painter, who emigrated to the United States in the aftermath of World War II. His writings show a keen awareness of the issue of absence/presence and the related problems of memory traits, identity and literary representation. Drawing on the psychoanalytical criticism of Jacques Lacan and Julia Kristeva and the philosophy of Jacques Derrida, this reading of Haupt’s fi ction, especially his short stories (whose collected edition was published in 2007 under the title The Basque Devil), is a critical reassessment of his work. As a storyteller he excels in the depiction of scenes of terror, desire and the uncanny. The article argues Haupt’s work represents not only a remarkable literary achievement but also offers an interesting study case for critics whose approach is founded on literary theory, psychoanalysis and anthropology.
The article presents reflections on the intergenerational educational-research project entitled “Restoring the Memory of the City”. This project was carried out by the University of the Third Age in Toruń in partnership with the Faculty of Education of the Nicolaus Copernicus University in Toruń within the “Patriotism of Tomorrow” framework announced by the Polish History Museum and financed by the Ministry of Culture and National Heritage. This project was based on Pierre Nora’s concept of memorial sites and modern vision of patriotism. In didactic and methodological layer it was embedded within the framework of action research, thereby allowing to combine historical contents with pedagogical method of their modern transfer. The text shows the objectives and results of the project. Also, it describes its course and activities undertaken throughout its duration. Presenting the results of this project focused on the multidimensionality of related with them intergenerational process of learning