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.
In the 19th and in the first half of the 20th century numerous parks were built all over Europe, which, though different in many aspects, still show certain similarities in space structure and composition. The question is, whether late modern public parks, built in the second half on the 20th century follow the classical design and composition „rules”? How did the extremely functionalist design approach of the era after WW2 influence park design? The answer is the result of a detailed analysis on space structure and composition principles of the parks built in these times. In this research I analyzed according to specific criteria the Jubileum Park in Budapest, one of the most prominent work of the late modern period in Hungary. The 12 ha Jubileum Park (built in 1965) is located in the heart of Budapest, on the top of Gellért Hill, next to river Danube. Laying high above the city on an exposed hillside, the park offers a broad view of the whole city. The structure of the park is basically determined by the extreme topography, and one of the great value of the park is the natural looking grading, which determines the space structure and fits to the natural terrain very nicely, and the walkway system, which fits to the contour lines and explores the whole site. Fitting to the windy and exposed hilltop position, in space division the terrain in the most appealing, the plantation is only secondary. From formal point an interesting feature is the dominance of two dimensional elements with characteristic shape, like flowerbeds or ornamental pools and the curves of the walkway system. Though the main function of the park is to underline the fantastic visual potential with providing viewpoints, there are some playgrounds as well. For the visitor of today the specialty of the park celebrating the 50th anniversary this year, is, that – disregarding some minor changes – there were no alterations since it exists. As a first step I analyzed the space structure of the park, putting an extra emphasis on the existence or lack of any axis, on the accentuation of the park entrances, on the space organization inside the park and on the existence/lack of hierarchy. Important aspect of analysis was the connection of the park to connecting urban fabric and green surfaces nearby. The next step was to compare the results with other parks built in former times, but having similar natural setting. The goal of the research is to determine, how much the spatial composition of Jubileum Park is different from the spatial composition of classical parks. The results might help to realize, what kind of spatial composition and space structure is typical of late modern parks. It would be important to preserve these space structural specialties of the Jubileum Park during a more and more urgent renovation.
This article examines the analogies, and more specifically the historical 'theatre of the imagination', between Tytus Czyżewski's Robespierre/Rhapsody (1927) and Stanisław Wyspiański's poetic dramas Rhapsodies (Kazimierz the Great and Bolesław the Bold). Each of those poems foregrounds its principal historical character. Wyspiański's dramatic poems, commonly known as Rhapsodies, focus on Kazimierz the Great, Bolesław the Bold, and Piast. kings of pivotal significance in his vision of Poland's historical destiny. Twenty years later Tytus Czyżewski, an acclaimed avant-garde painter and poet, composed a poetic-essayistic salmagundi, in which he sought to render in a similarly elevated style and condensed dialogue the drama of the leaders of the French Revolution, Robespierre and Danton. While Robespierre has to face, apart from some common people, God, the Spirit and Judges that sit in judgment on him, the final section of Rhapsody evokes Juliusz Słowacki. A monologue, mimicking his lofty verse, establishes a metaphorical common thread in Polish history – from the days of mail-clad knights to the wretched everyday life in the trenches – set against a broad background of wars, destruction and the French Revolution. For Czyżewski the French Revolution was a ground-breaking event, the first act of a great historical process that ushered in the Modern Age with its ideas of progress, reason, freedom, social justice, the elimination of poverty. It continues to inspire mankind with the hope that even a most ambitious change is possible. For Wyspiański, on the other hand, the grand project of human emancipation does give rise to doubts whether a wholesale obliteration of the Old is justified and to questions about God, free will, theodicy and destiny, and the 'tyranny of reason'. The differences between the two philosophies of history – Wyspiański's, from the turn of the 19th century, and Czyżewski's, representative of the artistic and intellectual climate of the late 1920s – are no doubt profound, and yet, what both of them seem to share is a deep concern with the relevance of history for the present and for designing the future.
An interesting fact in the intellectual history of the fin-de-siècle and first three decades of the 20th century is that the crisis of modernity was understood in categories of sex and gender. In spite of the differences dividing the German intellectual trend of cultural pessimism, the conservative revolution, and Fascist thinking, all these paradigms are linked by the characteristic conviction that ‘modernity’, being the consequence of the French Revolution, was ruled by the ‘feminine principle’. This principle was supposed to represent what is anti-military, anti-state, and anti-cultural at the same time. Variations on the theory of male bonding (Männerbund) were the intellectual reaction to that ‘feminine principle’. The intellectual patterns described here find their continuation in contemporary conservative thought.
Shaping a space shouldn’t be an endless expansion of the built environemnt. New districts and new cities should be more than collections of houses, quickly produced and placed without any overarching concept. They should present streets, squares, axes, directions, as features of the area's composition. An ordered space is a sign of true modernity.
One of the main traits of a society of reflexive modernity is the critical analysis of categories that in the past appeared unquestionable. Socio-cultural gender and health or illness/mental disorders are categories of this type. Above all, they are socially constructed, that is, they are dependent on culture and on political, economic, and religious factors. The author undertakes to analyse the relations between the diagnostic criteria used in the international system of classifying mental diseases (DSM-IV and ICD-10) and traditional schemas of masculinity and femininity. Confirmation of the incidence of particular diseases in connection with gender is the author’s entry point for seeking answers to why individuals suffering from certain illnesses/mental disorders display behaviour corresponding to traditional gender roles, even though contemporary gender roles are fluid in many respects, and hypotheses about biological differences as causes of incidence of disease in men and women have not been empirically confirmed.