• Publicationsclose
• Research softwareclose
• Other research productsclose
• 2013-2022close
• FR close
• Polish close

International audience

Twórczość literacka publikujących we Francji pisarzy żydowskich pochodzenia maghrebskiego, której początki sięgają lat 50. XX wieku, rozwija się szczególnie dynamicznie począwszy od lat 80. Spełnia ona następujące funkcje społeczne: wspomnieniową, historiograficzną i adaptacyjną. Migracja wywołuje zachodzące w nowym środowisku procesy wspominania oraz upamiętniania, pozwalając ewentualnie walczyć z doświadczoną traumą i dostarczając grupie migrantów punktów odniesienia. Twórczość literacka pozwala snuć narrację o przeszłości, bez konieczności poddawania się rygorom naukowości. Procesy te zapośredniczają relacje między migrantami a wspólnotą przyjmującą, w której literatura wychodzi poza rzeczywistość społeczną, jaka ukształtowała jednostki. Literary production by Jewish writers from North Africa in France reaches back to the 1950s and has been gaining momentum since the 1980s. These works function as vectors of memory, ‘historiography’ and adaptation. In a new environment, exile leads to recollection and memorialization processes, enabling the subject to fight against trauma and providing the migrant group with a framework of reference. Literature, which does not require a scientific framework, is able immediately to take over the narration of the past. These processes mediate between the exiled group and the host community, in which the exile literary work transcends the social realities that help construct the individual.

Document disponible en ligne :http://docplayer.pl/11817173-Wies-i-rolnictwo-1-1-2015-kwartalnik-166-1-instytut-rozwoju-wsi-i-rolnictwa-polska-akademia-nauk.html; International audience; Family farming is the dominant form of agricultural production in the contemporary world. It fulfills various important economic (food security, employment, etc.) as well as other (social, environmental, etc.) functions. It is an extremely differentiated phenomenon resulting from various interrelationships among such factors, as: access to resources, investment potential, self-consumption, relations between farms and the market, families’ vocational activities, differentiation and specialization of production, substitution of family work-force by capital, the goals for the functioning of the farm as well as results of actions. Modern and intensive family farms in highly developed countries (Western Europe, North America, Australia) are a result of a so-called conventional (classic) way of modernization and account for only 2% of all family farms existing in the contemporary world. This implies that the result of a so-called “industrial revolution” in agriculture is not observed all over the world. It also means that the repetition of this “classic” way of modernization resulting in the growing level of productivity and a structural diversification in agricultural economy seems to be a impossible goal in the coming decades. This can be attributed, to the effects of demographic pressure, food shortages and a lack of financial resources especially in Asia and Africa. Basing on such a diagnosis the author suggests a re-definition of global policies focused on family farming. There should be a more integrative and multi-sector approach taking into consideration such issue as: diversity of the family farming phenomenon, multi-functionality of family farms, treating them as an important type of a public good, control of market mechanisms and speculation issues, strengthening of cooperation and risk reduction activities in agriculture as well as the relation between the family and the farm. Such an approach requires new institutional frameworks for family farming and for agricultural policies to take into consideration territorial and regional differences.

International audience

traduction en polonais d’Elzbieta Koziolkiewicztraduction du titre de l'ouvrage en français : Rencontre de la polonistique des Trois Pays — Chine, Corée, Japon; Colloque international, Université de Canton Chine; International audience; Europe meets Asia in Siberia through W ludzkiej i leśnej kniei by Ferdynand Ossendowski (1923)Ferdynand Ossendowski (1876 – 1945) traveled through Mongolia and Siberia . He was a Polish scientist, a geologist, who was doing some research with a Russsian team. His book, Man and Mystery in Asia, relates his scientific missions and his adventures between 1898 and 1905 in the Iénissei region, the Sakhaline Island, the Altaï Mountains, Mongolia and Sinkiang. The first part of this study deals with the representation of the Asian peoples in this text. The traveler meets Mongolians, Chinese, Corean and Japanese people. The diversity of the population (there were also Europeans : Russians, Cossacks, Poles,) is explained by the historical, political and economic situation of the region at the time. The analysis is not limited to portraits and descriptions. The aim is also to understand the interactions between these different populations. From a literary point of view, does the writer relate his own experience of otherness ? Or is it ethnocentrism that prevails ? In fact, his testimony is as close to an adventure story as to the narration of a scientific mission, a travel narrative or a report. The Far West - like atmosphere that reigns over the steppe and in town, in Vladivostok for example, reminds the readers of the North American adventure stories that were very popular between World War I and World War II in Poland as well as in western Europe. And the specialists of this writer have already underlined the influence of this genre (Sienkiewicz, but also Karl May and Jack London) as well as that of the first westerns, on Ossendowski's fiction. The second part of this article therefore aims to show that Ossendowski has written an anticolonial western, where the local people play the role of the Indians and the Russians that of the settlers. This model contributes to the “westernization” of the reality of Central Asia and the Russian Far East that is described. It unveils a short-lived and exciting time, that of the birth of capitalism, very much like what the United States had experienced just before the Chinese (1912, 1949), Russian (1917) and Mongolian (1920-21) revolutions burst out and made Ossendowski a fugitive under the threat of death penalty by the bolcheviks.

International audience

International audience

Wśród wielu rzeczy, których możemy dowiedzieć się od Williama Blake’a, angielskiego mistyka, poety i malarza z przełomu XVIII i XIX wieku, na szczególną uwagę zasługuje jego wizja artysty w działaniu. Dla Blake’a pisanie i wszelka twórczość to akt łaski, efekt kontaktu z czymś większym od nas, z wizjami, które jednocześnie rozjaśniają i upajają.

Najważniejsze wyniki europejskiego sondażu praktyk badawczych oraz potrzeb cyfrowych w humanistyce i naukach o sztuce, przeprowadzonego przez grupę roboczą DARIAH Digital Methods and Practices Observatory (DiMPO). Badanie jest efektem współpracy europejskich badaczy z różnych krajów w ramach Grupy Roboczej DiMPO. Badanie zostało pomyślana jako ponadregionalny sondaż podłużny, przeprowadzany co kilka lat online w krajach europejskich. Jego celem jest dostarczenie opartego na danych przeglądu praktyk badawczych, potrzeb i postaw europejskich badaczy z nauk humanistycznych wobec zasobów cyfrowych, metod i narzędzi, w perspektywie przestrzennej i czasowej. Wyniki pierwszego sondażu (zakończonego w marcu 2015) zostaną zaprezentowane w wieloautorskim raporcie, który zawiera analizy zbiorcze i porównawcze oraz pięć raportów narodowych. Kolejne badanie planowane jest na 2017-2018. Więcej informacji: bit.ly/scholarlypracticesPrzekład na polski: Maciej Maryl (Centrum Humanistyki Cyfrowej Instytutu Badań Literackich PAN)

International audience; Simon Hantai, Allen Ruppersberg, Bruno Di Rosa, Gérard Collin-Thiébaut, Sherrie Levine copied the Bible, philosophical and literary texts, (Walden, Henry David Thoreau, Flaubert’s Madame Bovary, Journal Amiel ...). Following existing texts, these artists work looks like ‘banal, humble and mindless’ copyist work. Although in some cases copying is part of the painting – as in Peinture (Écriture rose) by Simon Hantai – produced mostly with a ballpoint pen on plain paper – as if the artists wanted to emphasize the trivial, time-consuming and monotonous nature of his/her effort and evoke the atmosphere of the school classroom of distant times. Allen Ruppersberg and Bruno Di Rosa indeed refer to school experience, when they declare that rewriting allowed them to ‘learn how to write’, just as copying masters allow beginners to learn to paint. But while copying allows us to establish organic relationship with the text, then the process of copying the text is not about maintaining certain tradition: it is rather about the role that language plays in the field of visual arts starting from the sixties. It contributes to the revaluation of values usually connected with art-pieces, such as originality, expression of subjectivity, etc. In numerous comments provoked by the copyist who appears in literature (Bouvard et Pécuchet, Bartleby ...), there is a subversive nature of this labor-intensive and mechanical actions – when it is practiced in art. Copying is a long-term job; successive lines of letters fill the pages of notebooks, creating a ‘full-bodied’ art-piece in the literal sense of the word. The quantitative aspect is carried out in various ways. If the point is to visualize the copy of an entire novel, and in order to embed the importance of work for systematic and ‘mandatory’ implementation, or in order to reach make more opportunity than necessity – copying allows us to experience the passage of time: the time that is spent on this completely anachronistic act ; time spent without any justification.