Russia: No Loyalty, No Cargo
Russia’s transport strategy for the Baltic Sea rests on two pillars: better ports and a tougher line with trading partners.
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Russia’s transport strategy for the Baltic Sea rests on two pillars: better ports and a tougher line with trading partners.
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For some countries, adopting Europe's single currency might seem like curing a healthy patient. But delaying it will lead to aches and pains down the road.
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Europe is seen as a leader on environmental issues. In reality, there’s more talk than substance.
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A Romanian community center offers disabled people both camaraderie and independence, and it also devotes plenty of time to fun and games.
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Scarce work opportunities and discrimination are prompting Slovak Roma to head for the isles.
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Post-Yugoslav prose published in Poland after the year 1990, despite its simplistic reception by Poles, complicates the simple, nationalistic image of political divisions that had followed the collapse of Yugoslavia. Literary representations of Sarajevo conceived of as a space that is complex both ethnically and culturally becomes a perfect symbol of multi-cultural and trans-cultural dependencies. Consequently, the city shown in disseminational contexts violates the iconic image of the Balkans that is over-represented in mainstream Polish reception and supported by ethno-national categories overused by the media and popular magazines.
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The article presents the image of Podlasie and Bialystok in three comic books: Tymczasem by Grzegorz Janusz and Przemysław Truściński, Pocztówki z Białegostoku by Joanna Karpowicz, and Siedem + dwa by Paulina Drobnikowska and Andrzej Bajguz. The spaces analysed are fragmentary in character, while Joanna Karpowicz's comic reveals especially clearly the relationship between metaphorical narrative and fragmentary nature of the comic and the image of Bialystok which is a palimpsest of things, with its contemporary architecture enriched with images from the city's cultural and ethnic past. The comic books analysed represent various means of describing space, while their shared characteristic is the subject matter of multi-culturalism, ethnicity, memory, identity, history and youth.
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The analysis attempts a definition of the lines of dependency which the work by Jacek Podsiadło (the leading poet of the „bruLion” generation) shares with the tradition of the broadly understood American culture. The abovementioned "network of influences" shows how strongly the poet's imagination is inspired and led by what may be called his permanent fascination with the American way of life and, also, the "spiritual" and "pop" versions of American heritage.
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The article is devoted interpreting Tadeusz Różewicz's poem Gdzie jest pies pogrzebany. The focus is on the contexts of the poem: contemporary experience (and experiencing) of old age, a critical outlook on the rules of communication, and the modes and aims of taking up the tradition of satiric writing.
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The article is a critical review of the book Conrad a Polska comprising analyses devoted to Conrad's Polish heritage by academics of various nationalities. The author emphasises the fact that a variety of theoretical and methodological perspectives and research points of view from which the writer's biography and work are shown allows the refreshing of Conrad's portrayal as a man torn between various identities and worlds. In her opinion, the Polish reader can also be interested in using the Conradian prism for showing the particular characteristics of the external reception of our culture, emphasising those of its features and elements which form the image of Polishness abroad.
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The article is devoted to the possible inspirations for analysis and interpretation of literary descriptions of space and landscape of history and theory of cartography after its critical turn. One example of such an application is exemplified by landscapes-maps found in Mariusz Wilk's Wilczy notes (The journals of a white sea wolf).
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The analysis juxtaposes Fotografie ze Śląska by Jarosław Iwaszkiewicz with Andrzej Stasiuk's brief literary sketch I tak to się kiedyś wszystko skończy. By comparing such dissimilar texts, the author draws attention to the modes of representing industrial and postindustrial space when seen from a certain distance by writers who are unconnected to the region described. The comparative analysis reveals, however, not only differences but also surprising similarities. The texts interpreted share the conviction of a particular "photogenity" and melancholy of Silesian landscapes.
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The essay deals with Miłosz's early poetic works. The author emphasises the dark tone of his images from this period, suffused with fragments of brutal events and negative associations. She emphasises that the poet's contrastive juxtapositions of beautiful and revolting (or ironical) forms in his descriptions of the world highlights the tragic destruction of harmony in it. This disharmony in young Miłosz's images seems to be a trace of his experience of evil history and times of war, whose memory gives rise to the autobiographical current in his poetry. Simultaneously, besides images dark in tone, the poet also drives towards images which are hymnic in nature, a dream to create in poetry a hymnic praise of beauty, to encapsulate in poetic art the epiphanic entirety of the world's beauty which would erase the earthly stain of transience and obscurity. The author analyses the motif of "the light of the blue ceiling" with its symbolic dimension in Miłosz's poetry and its function as the poet's inspiration and as a revelation by which artistic creation is set in motion.
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The book reviewed is a post-conference monograph bringing methodological findings, re-interpretations, and analyses of domestic prose in the area of postcolonial research now developing in Poland. The thematic keystone of the articles collected is the issue of migration as a response to oppressive experiences of Polish history and culture of the 20th and 21st centuries.
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The author presents the main rules of cultural policy introduced by André Malraux, who ran the French Ministry of culture in the years 1959-1969. Malraux, who aimed to "give to the largest possible number of citizens access to the great works of culture (particularly French culture)", assigned to his department a special role in popularising culture and bridging differences between the province and the capital. Even though later the writer met with the accusation of designing a model based on an excessive interference of the state into the realm of culture, one cannot overestimate his insights into the special place of culture and art in social life.
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The article deals with the writings of Sokrat Janowicz approaching them as a kind of identity narrative characterised by a twofold, complimentary function: consolidating the subject and maintaining the Belarussian ethnos. It is revealed that the narrative's cohesion and continuity, which writer confirms with his personal signature, become guarantees of the survival of Belarussian identity. The narrative space emphasises the places (Białystok, Krynki) that hierarchise and evaluate its constitutive elements.
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The article constitutes a report on the Uniwersytet Zielonogórski conference (11-12 October 2012) initiating a several years-long project devoted to the new take on regionalism in Poland – both in the research in the field of literature and culture, and in lite¬ra¬ry criticism. Analysing the problems dealt with in the papers presented, the author points to the influence on reflection on regionalism of topographic turn, geopoetics, the model of autobiographical place, and post-colonial research.
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The article constitutes an analysis of the concept of satire as a discursive practice proposed by Paul Simpson. What the author considers the main forte of Simpson's model is its definition of the nature of satire without references to the categories of “satirical intent” and the “ideology” of the satirist. The author claims that such an approach allows a new perspective on the way literary satire is perceived.
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The article deals with the issue of immigrants' assimilation into an urban space which is for them at once alien and their own. Stefania Kossowska's collection of essays from London allows just such a look at the so-called Polish London. It also allows an initiation of a discussion of numerous important issues related to the interaction between the city, history, and cultures of its inhabitants.
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Stanisław Brzozowski sent his Mocarz to the Henryk Sienkiewicz drama contest, organised on the occasion of the opening in 1901 of the Teatr Wielki [The Grand Theater] in Lodz. His drama, awarded third prize, deals with the most difficult events in his life: the embezzlement of monetary contributions collected by the student members of Bratniak, reprehensible testimonies given in 1898 in the Warsaw Citadel, and accusations of collaboration and intelligence with the Tsarist Okhrana. A hundred years after the writer's death, "the Brzozowski case" remains a sensitive question in the history of literature. I do not intend to defuse this taboo, stating at my own risk Brzozowski's guilt or innocence. I attempt, instead, to reveal the mechanisms of stigmatization current in the tense political situation of the Kingdom of Poland at the break of centuries, and to understand and interpret the Mocarz as an attempt at actively resisting social exclusion that deprives one of one's means of life.
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