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W artykule poddano analizie rycinę Veduta dell’Anfiteatro Flavio detto il Colosseo Giovanniego Battisty Piranesiego w kontekście badań nad „miejscami pamięci”, których prekursorem był Pierre Nora. Dzieło artystyczne jest wytworem materialnym, jednocześnie zawiera w sobie ideę i odnosi się do świata wartości. Pozwala to odbiorcy przejść w procesie jego percepcji od poziomu realnego do metafizycznego.
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