nr 6/2020 ISSN 2657-327X Publikacja wydana ze środków grantu 0059/NPRH4/H2b/83/2016 Publisher: Instytut Kultury Europejskiej Uniwersytetu im. Adama Mickiewicza Instytut Filozofii Uniwersytetu Warszawskiego Editorial Board: Dorota Angutek (Uniwersytet Zielonogórski, Poland) Timothy Edensor (Manchester Metropolitan University, United Kingdom) Arto Hapaala (University of Helsinki, Finland) Marcus Köhler (Technische Universität Dresden, Germany) Iwona Lorenc (Uniwersytet Warszawski, Poland) Urszula Myga-Piątek (Uniwersytet Śląski, Poland) Ewa Rewers (Uniwersytet im. Adama Mickiewicza, Poland) Anna Zeidler-Janiszewska Editorial Team: Beata Frydryczak (Editor-in-Chief) — Adam Mickiewicz University Mateusz Salwa (Deputy Editor-in-Chief) — University of Warsaw Magdalena Gimbut (Thematic Editor) — Polish Language and Culture Centre, ZJUNIT, China Monika Stobiecka (Liaison Associate) — University of Warsaw Editor of the volume Magdalena Gimbut Proof reading: Kamil Lemanek Graphic Design: Ewa Mikuła, Katarzyna Turkowska Typesetting: Monika Rawska / Legut 6/2020 Table of Contents 5 Editorial. Landscape narrated I. Memory 9 Green Wrocław: Urban narratives of three post-war generations of Wrocław’s inhabitants Kamilla Biskupska 27 “It’s scary here.” Haunted landscape as a research tool to look into post- -expulsion landscapes Karolina Ćwiek-Rogalska 49 Urban landscape as biographical experience: Pre-war Lublin in the oral testimonies of its inhabitants Marta Kubiszyn, Stephanie Weismann II. Tourism and museums 69 Experience of the cultural route in the space of the tourist landscape Natalie Moreno-Kamińska 83 Extracting limestone: How to interpret the city through ammonites and belemnites Monika Sadowska 97 Musealized landscapes and petrified landscapes Monika Stobiecka III. Film and photography 109 Photogenic qualities of aquatic landscapes in the works of Roman Polański Barbara Kita 121 Beneath the surface: On the significance of the underground and underwater landscapes in selected documentaries by Werner Herzog Magdalena Kempna-Pieniążek 131 Rok wędrującego życia [A Year of a Wandering Life], 2017—2019 Sławomir Brzoska IV. Book Review 143 Sławomir Brzoska, [A Year of a Wandering Life], 2 vols., Uniwersytet Artystyczny, Poznań 2017-2019 Beata Frydryczak ISSN 2657-327X Editorial Landscape narrated “Beauty is in the eye of the beholder” To paraphrase the old Greek proverb, we may say, that the landscape is in the eye, or mind, of the beholder. It is the sum of people’s experiences existing somewhere on the border between people and the environment they live in. The landscape is apprehended and judged by people who experience it aesthetically, according to its utilitarian purposes, the comfort or the labor and trouble it brings. Quite often it is evaluated according to values which people believe are important, cultural fac- tors, imagination, or associations with childhood. When people talk about places, they say more about their fears, loves, and worldviews. This way, the landscape becomes a kind of story people live in. This story is crucially important for people’s identity; it co-creates it; it emphasizes their social position and reflects the picture of themselves they keep in their minds. The landscape says more about those who narrate it than the narration says about the people and places which are included in it. The landscape is a phenomenon which is reconstructed through a medium. This medium can take the shape of memory, tourist tracks, museums, photography, movies, etc. All of them, one way or another, using their specific narration, cre- ate reality. Wittingly or unwittingly, those narrations take their inspirations from politics, religion, ideology, or simply entertainment. This is why we may also say that the landscape is invented through narration. The presented volume is divided into three parts—Memory, Tourism and muse- ums and Film and photography—reflecting the ideas described above and different ways people may use them to create their mental and physical landscapes. The first part,Memory , includes texts by Kamilla Biskupska, by Karolina Ćwiek- Rogalska, and by Marta Kubiszyn and Stephanie Weismann. The first one presents the landscapes and greenery of Wrocław as they appear in the memoirs of city inhabitants. Karolina Ćwiek-Rogalska’s paper deals with the problem of post- expulsion landscapes in the context of post-war resettlements, as they appear in the narrations of people living in houses belonging to Germans before the Second World War. The pre-war Lublin landscape reflected in the memories and memoirs of its inhabitants is the topic of Marta Kubiszyn and Stephanie Weissman’s text. All three texts show how deeply what people see depends on their worldview, their style of living, the concept of what is theirs and belongs to them and what is alien and belongs to others. The second part of the volume, Tourism and museums, is opened by Natalie Moreno-Kamińska paper on the cultural route as a tourist experience. It may not occur to us too often that tourism and cultural routes can be treated as a kind of narration, but it seems they can. By telling stories about history, historical memory, and heritage, they teach us why some fragments of the landscape are meaningful to local people and how to protect them. The second article, by Monika Sadowska, shows how the stories narrated by stones with fossilized ammonites and belem- nites are used as decorations in old and contemporary buildings. She states that the limestone elements in architecture could be treated as unique displays of cul- tural and natural history. The text by Monika Stobiecka presents the landscape as a kind of exhibition taking part in the process of the “musealization of archaeo- logical heritage.” The phenomenon, as the author suggests, builds archaeological narratives beyond museums. The third part of the volume, Film and photography, is dedicated to movies treated as a kind of narration and contains two papers on two directors: Roman Polański and Werner Herzog. Barbara Kita, the author of the first text, writes about the way Roman Polański uses aquatic landscapes to strengthen the intel- lectual and moral dimensions of his stories. Magdalena Kempna-Pieniążek, in her paper on Werner Herzog’s movies, goes even one step further when she states, that “Werner Herzog’s films grow out of landscapes.” The author demonstrates how Herzog treats the landscape in his documentaries as a medium through which we can reach “poetic” or “ecstatic” truth. In order to close the volume we are publishing a selection of photographs taken by a contemporary Polish artist and photographer, Sławomir Brzoska (b. 1967) included in his project Rok wędrującego życia [A Year of Wandering Life]. The “photo-essay” is followed by Beata Frydryczak’s review of Brzoska’s project and book. Magdalena Gimbut 6 I. Memory ISSN 2657-327X DOI 10.14746/pls.2020.6.1 Green Wrocław: Urban narratives of three post-war generations of Wrocław’s inhabitants Kamilla Biskupska (University of Opole, Faculty of Social Sciences) ORCID 0000-0002-6120-3405 Abstract This study is an invitation to reflect on issues that fall within the area of ​​collective memory, an area that awaits further in-depth analysis. More specifically, this article is a proposal of a broader study on cultural landscape and places of memory than that which is dominant in the sociological literature. In particular, I examine the relationship between the inhabitants of the Polish “Western Lands” and the material German heritage of the cities in which they happen to live. I mainly focus on the relation between socially constructed memory and greenery—a “negligible” part of the space of human life. As I demonstrate in the article, the “green” narrations about Wrocław created after World War II are lasting and are still present in the stories of city’s inhabitants today. Key words: Polish Western Lands, social memory, cultural heritage, greenery, Wrocław The cultural landscape as a lived landscape: A sociological perspective The starting point of my reflections is the concept of cultural landscape, which I under- stand as „a record of history in a specific space whose shape and identity are com- posed of both primary (coming from nature) and secondary (resulting from human activity) factors” (Kornecki 1991, 19). This definition, however, requires a clarification in the sociological perspective I adopt. The postulated „record of history in a specific space” is carried out by researchers most often in the macrosocial context—as in the definition of the cultural landscape proposed by Beata Frydryczak: Kamilla Biskupska the cultural landscape is the result of human work and activity and of historical time. Traces of these activities are still legible. They can be read both in the topography of the landscape (roads, fields, avenues of trees), revealing its subsequent layers of meaning (landscape archaeology, stories, legends), and artifacts (monuments, historic buildings, memorials), which means going beyond nature towards historical human testimonies. (Frydryczak 2014, 198) The artifacts distinguished by the researcher—historic places, memorials, and mon- uments—co-create the collective identity of a community, most often a national identity.1 They are also part of the cultural landscape, which is most often the object of interest to sociologists.2 In this study, I propose to adopt a different perspective on research surrounding the cultural landscape—a microsociological one. In this approach, the social researcher is interested in fragments