Ogród Karkonosza Josefa i Karela Čapków jako miejsce autobiograficzne a współczesne sposoby konstruowania tej przestrzeni

The aim of the article is to analyze the autobiographical places called Krakonoš’s Garden (Krako- nošovazahrada) in the essays of the brothers Josef and Karel Čapek (from the books: O sobě and Krakonošova zahrada) in the context of Małgorzata Czermińska’s concept of the remembered- and lost-sites. The analysis is confronted with the current perception of the famous siblings’ region of childhood, which is characterized as a site of memory. The description includes document analysis (photos, tourist routes, museums) and one project in particular: the map of a region, that is based on Čapek’s autobiographical places, with the subtitle: Cestujte s náminamísta, kde Karel, Josef a Helena žili a tvořili (Travel with us to the places, where Karel Josef and Helena lived and created). The juxtaposition of these two points of view aims to discover the operation of data memory as the main determinant of the importance of this place.Cílem článku je analýza autobiografického místa zvaného Krakonošova zahrada v esejích a dílech bratří Josefa a Karla Čapků (ze sbírek O sobě a Krakonošova zahrada) v kontextu koncepci míst vzpomínaných a ztracených Małgorzaty Czermińské. Tato analýza je pak konfrontována se současným vnímáním míst dospívání slavných sourozenců, které můžeme charakterizovat jako místa paměti. Popis je podpořen analýzou dokumentů (fotografií, turistických tras, muzeí), a zejména jednoho projektu — mapování prostoru na základě Mapy Čapek, kterého podtitul zní: Cestujte s námi na místě, kde Karel, Josef a Helena žili a tvořili. Srovnání těchto dvou hledisek má za cíl odhalit fungování mechanismů paměti jako hlavního nositele významu tohoto místa

Podróż dziewczynki a podróż nastolatki. Anička skřítek a Slaměný Hubert oraz Valerie a týden divů Vítězslava Nezvala jako dwa przykłady tego, co ukryte w podświadomości człowieka

Journey of a child and a teenager. Anička skřítek a Slaměný Hubert and Valerie a týden divů as two examples of what is hidden in human subconscious. The article presents two texts of Vítězslav Nezval Anička skřítek a Slaměný Hubert and Valerie a týden divů, both from 3rd decade of 20th century. The aim is to compare two types of journeys: taken by a little girl and by the teenage girl. These two stories are very different: little Anička travels to her own imagination, and the young women Valerie travels inside herself. The author of this paper compares those two trips in reference to the developmental psychology and psychoanalysis. Analysis of initiation novels to gives us the conclusion, that Nezval was fascinated in human subconscious

Kilka uwag o typografii Josefa Čapka w kontekście wspomnień z dzieciństwa spędzonego u stóp Karkonoszy

The aim of the article is to present the figure of Josef Čapek in the context of his childhood spent at the foot of the Giant Mountains on the basis of his memoirs included in the collections of essays O sobě and Krakonošova zahrada. The author of the analysis seeks to demonstrate how the artist constructed his autobiographical place, which he called “Krakonošova zahrada” (Karkonosz’s garden) and whether it has any references to his later oeuvre, in particular his typographic work, namely book cover design.The aim of the article is to present the figure of Josef Čapek in the context of his childhood spent at the foot of the Giant Mountains on the basis of his memoirs included in the collections of essays O sobě and Krakonošova zahrada. The author of the analysis seeks to demonstrate how the artist constructed his autobiographical place, which he called “Krakonošova zahrada” (Karkonosz’s garden) and whether it has any references to his later oeuvre, in particular his typographic work, namely book cover design

Jan Švankmajer's Kunstkamer. Everything means everything

Teza. Kunstkamera Jana Švankmajera to projekt o skomplikowanym układzie znaczeń, którego nie można jednoznacznie przyporządkować do jednej kategorii w kontekście teorii Krzysztofa Pomiana o semioforach. Omówione koncepcje. Artykuł opisuje artystyczny projekt kunstkamery czeskiego surrealisty Jana Švankmajera w kontekście teorii semioforów Krzysztofa Pomiana oraz porównuje ją do jej tradycyjnych i historycznych odpowiedników odwołując się do koncepcji mikro- i makrokosmosu, teatru świata, hermetyzmu i alchemii. Wyniki i wnioski. Kunstkamerę Jana Švankmajera powinno analizować się w kontekście nie tylko społecznym, ale przede wszystkim indywidualnym i subiektywnym. Oryginalność/wartość poznawcza podejścia. Krzysztof Pomian opisywał różne przykłady tradycyjnych kunstkamer, tymczasem istnieje kilka współczesnych przykładów tego typu kolekcji, wcześniej nieopisanych w publikacjach w języku polskim.Thesis. Jan Švankmajer's Kunstkamera is a project with a complex arrangement of meanings that can not be unambiguously assigned to one category in the context of Krzysztof Pomian's theory of semiophores. Concepts discussed. The article describes the artistic project of the Czech surrealist Jan Švankmajer in the context of the semiophore theory of Krzysztof Pomian and compares it to its traditional and historical counterparts referring to the concept of micro and macrocosm, the theater of the world, hermetism and alchemy. Results and conclusions. Jan Švankmajer's Kunstkamer should be analyzed in a context that is not only social, but above all individual and subjective. Originality/cognitive value of the approach. Krzysztof Pomian described various examples of traditional kunstkamer, while there are several contemporary examples of this type of collection, previously unwritten in Polish publications

Book review: Piotr Szwedo, Cross-border Water Trade: Legal and Interdisciplinary Perspectives, Brill Nijhoff, Leiden, Boston: 2018

Review of a book: Piotr Szwedo, Cross-border Water Trade: Legal and Interdisciplinary Perspectives, Brill Nijhoff, Leiden, Boston: 201

#ZostańWDomu — kronika czasów pandemii

2020, ending the second decade of the twenty-first century, is going down in history as the year of a global pandemic caused by the rapid spread of a virus labelled as SARS-CoV-2 (COVID-19). The dramatic consequences of the pandemic are still felt all over the world. One of the early methods for fighting the pandemic and aimed at stopping the transmission of the virus was a decision made by governments of most countries to close down the economy and restrict social contacts as much as possible, a state described as lockdown. Bans on travel and participation in public life have kept most people locked in their homes. In Poland the lockdown began on 12 March 2020. At its height even outdoor activities were banned – it was impossible to go for an ordinary walk in a forest, let alone venture on tourist trails or go rock climbing. Life moved online and the internet became a “lifebelt” enabling people to maintain their social contacts and fill their excess leisure time in an attractive manner. To support the fight against the pandemic, the media initiated a solidarity cam-paign, #StayAtHome, which was to help people survive the difficult days of home isolation. Those who actively joined the campaign included members of the Laboratory of Humanistic Research into the Mountains, who published richly illustrated short essays (under the hashtag #StayAtHome) on mountain-related themes on the fan page of Góry-Literatura-Kultura (www.facebook.pl/glkuwr). Although the material is still available on Facebook, we are publishing it in the present volume in its entirety as a sign of the times. Hoping that the world will be able to overcome the pandemic, we dedicate these articles to all healthcare professionals who have fought the SARS-CoV-2 virus on the front line with such dedication.2020, ending the second decade of the twenty-first century, is going down in history as the year of a global pandemic caused by the rapid spread of a virus labelled as SARS-CoV-2 (COVID-19). The dramatic consequences of the pandemic are still felt all over the world. One of the early methods for fighting the pandemic and aimed at stopping the transmission of the virus was a decision made by governments of most countries to close down the economy and restrict social contacts as much as possible, a state described as lockdown. Bans on travel and participation in public life have kept most people locked in their homes. In Poland the lockdown began on 12 March 2020. At its height even outdoor activities were banned – it was impossible to go for an ordinary walk in a forest, let alone venture on tourist trails or go rock climbing. Life moved online and the internet became a “lifebelt” enabling people to maintain their social contacts and fill their excess leisure time in an attractive manner. To support the fight against the pandemic, the media initiated a solidarity cam-paign, #StayAtHome, which was to help people survive the difficult days of home isolation. Those who actively joined the campaign included members of the Laboratory of Humanistic Research into the Mountains, who published richly illustrated short essays (under the hashtag #StayAtHome) on mountain-related themes on the fan page of Góry-Literatura-Kultura (www.facebook.pl/glkuwr). Although the material is still available on Facebook, we are publishing it in the present volume in its entirety as a sign of the times. Hoping that the world will be able to overcome the pandemic, we dedicate these articles to all healthcare professionals who have fought the SARS-CoV-2 virus on the front line with such dedication