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The Album Polish Art and the Writing of Modernist Art History of Polish 19Th-Century Painting
Anna Brzyski Constructing the Canon: The Album Polish Art and the Writing of Modernist Art History of Polish 19th-Century Painting Nineteenth-Century Art Worldwide 3, no. 1 (Spring 2004) Citation: Anna Brzyski, “Constructing the Canon: The Album Polish Art and the Writing of Modernist Art History of Polish 19th-Century Painting,” Nineteenth-Century Art Worldwide 3, no. 1 (Spring 2004), http://www.19thc-artworldwide.org/spring04/284-constructing-the- canon-the-album-polish-art-and-the-writing-of-modernist-art-history-of-polish-19th-century- painting. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2004 Nineteenth-Century Art Worldwide Brzyski: The Album Polish Art and the Writing of Modernist Art History of Polish 19th-Century Painting Nineteenth-Century Art Worldwide 3, no. 1 (Spring 2004) Constructing the Canon: The Album Polish Art and the Writing of Modernist Art History of Polish 19th-Century Painting by Anna Brzyski In November 1903, the first issue of a new serial album, entitled Polish Art (Sztuka Polska), appeared in the bookstores of major cities of the partitioned Poland. Printed in a relatively small edition of seven thousand copies by the firm of W.L. Anczyc & Co., one of the oldest and most respected Polish language publishers, and distributed to all three partitions by the bookstores of H. Altenberg in Lvov (the album's publisher) and E. Wende & Co. in Warsaw, the album was a ground-breaking achievement. It was edited by Feliks Jasieński and Adam Łada Cybulski, two art critics with well-established reputations as supporters and promoters of modern art. -
Slovanský Přehled Přehled Slovanský Ročník 107 / Založen 1898 Založen / 107 Ročník Slavonic Review Slavonic 1 |2021 27.5.2021 12:32:09 1 | 2021
1 | 2021 Slovanský přehled Slovanský přehled Slavonic Review | 2021 1 Ročník 107 / Založen 1898 slov-prehled1-obalka.indd 1 27.5.2021 12:32:09 1 | 2021 Slovanský přehled Časopis pro dějiny střední, východní a jihovýchodní Evropy Slavonic Review Journal for the History of Central, Eastern and Southeastern Europe Ročník 107 / Založen 1898 1 SP-1-2021-text-tisk.indb 1 28.5.2021 8:19:50 Upozornění redakce / Notice of the Editorial Board: Redakční rada neodpovídá za obsahovou náplň jednotlivých příspěvků a také za jazykovou a stylistickou úroveň článků otištěných v cizích jazycích. The views expressed herein are those of the authors and are not necessarily shared by the Editorial Board. The authors are responsible for language in case of articles printed in foreign languages. Od roku 2009 jsou abstrakty článků Slovanského přehledu uveřejňovány v databázi The Cen- tral European Journal of Social Science and Humanities (CEJSH) – http://cejsh.icm.edu.pl společně se jménem autora, adresou zaměstnavatele a e-mailovou adresou. Časopis je také registrován v databázi SCOPUS a European Reference Index for the Humanities and So- cial Sciences (ERIH PLUS). Since 2009, all abstracts of Slovanský přehled are published in The Central European Jour- nal of Social Science and Humanities (CEJSH) – http://cejsh.icm.edu.pl/, along with the author’s name, institutional affiliation, address and e-mail. Slovanský přehled is also regis- tered in SCOPUS and in European Reference Index for the Humanities and Social Scien- ces (ERIH PLUS). © Historický ústav AV ČR, -
Annual Report 2003 3
PL0401646 INSTYTUT PROBLEMÓW JĄDROWYCH im. Andrzeja Sołtana THE ANDRZEJ SOŁTAN INSTITUTE FOR NUCLEAR STUDIES INSTYTUT PROBLEMOW J&DROWYCH im. Andrzeja Soltana The Andrzej Softan INSTITUTE FOR NUCLEAR STUDIES INIS-PL- 0007 ANNUAL REPORT PL-05-400 OTWOCK-8WIERK, POLAND tel.: 048 22 718 0 83 fax: 048 22 779 34 1 e-mail: sinsipj.gov.pi http:Hwww.ipj.gov.pi Editors: D. Chmielewska E. Infeld Z. Preibisz P. ?upraftki Secretarial work and layout: A. Odziemczyk K. Traczyk Cover design G. Karczmarczyk Printed by Zakfad Graficzny UW, zam. 280/2004 ISSN 1232-5309 Annual Report 2003 3 CONTENTS 1. GENERAL INFORMATION 7 1- MANAGEMENT OF THE INSTITUTE 7 2. SCIENTIFIC COUNCIL 8 3. DEPARTMENTS OF THE INSTITUTE I 0 4. SCIENTIFIC STAFF OF THE INSTITUTE 5 . V IS IT IN G SC IE N T IST S ....................................................................................................... 13 6. GRANTS 15 7. DEGREES 18 8. CONFERENCES AND WORKSHOPS ORGANIZED BY IPJ ........................................... 1 8 11. REPORTS ON RESEARCH BY DEPARTMENT 19 1 NUCLEAR REACTIONS I 9 2. NUCLEAR SPECTROSCOPY AND TECHNIQUE ............................................................ 35 3. DETECTORS AND NUCLEAR ELECTRONICS ............................................................... 55 4. RADIATION SHIELDING AND DOSIMETRY ................................................................. 69 5. PLASMA PHYSICS AND TECHNOLOGY ........................................................................ 79 6. H IG H EN E R G Y PH Y SIC S .................................................................................................. -
Chronicles: 1 January–31 December 2007
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2008 Chronicles: 1 January–31 December 2007 Siehr, Kurt DOI: https://doi.org/10.1017/s0940739108080302 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-154535 Journal Article Published Version Originally published at: Siehr, Kurt (2008). Chronicles: 1 January–31 December 2007. International Journal of Cultural Property, 15(4):475-527. DOI: https://doi.org/10.1017/s0940739108080302 International Journal of Cultural Property (2008) 15:475–527. Printed in the USA. Copyright © 2008 International Cultural Property Society doi:10.1017/S0940739108080302 CHRONICLES 1 January–31 December 2007 Kurt Siehr* 2 JANUARY 2007 Art worth approximately $1.3 million was stolen from a small private Japanese museum just a day after the institution was featured on a popular television show. Art Newspaper, February 2007, p. 26. 21 JANUARY 2007 Peru prepared a Red List of Cultural Goods in Danger (Lista Roja de Bienes Cul- turales en Peligro). Available at ͗http://www.andina.com.pe͘. 23 JANUARY 2007 Return of illegally exported artifacts by the U.S. Department of Homeland Secu- rity to the Pakistan government. Art Newspaper, March 2007, p. 5. 24 JANUARY 2007 Report of the Spoliation Advisory Panel in respect to three drawings now in the possession of the Courtauld Institute of Art to the House of Commons. The rec- ommendation is that three drawings attributed to Carl Ruthart (1630–1703), Frans van Mieris the elder (1635–1681), and Giuseppe Bibiena (1696–1756) should be returned to the heirs of Dr. -
Annual Report 1998
PL9901732 INSTYTUT PROBLEMOW J/\DROWYCH im. Andrzeja Soltana The Andrzej Sottan INSTITUTE FOR NUCLEAR STUDIES ANNUAL REPORT 1998 PL-05-400 OTWOCK-SWIERK, POLAND tel.: 048 22 718 05 38 fax: 048 22 779 34 81 e-mail: [email protected] 30-34 Editors: D. .Chmielewska E. Infeld Z. Preibisz P. Zupranski Secretarial work and layout: Z. K^dziorek K. Traczyk Cover design D. Btocki Printed by Zaklad Graficzny Uniwersytetu Warszawskiego ISSN 1232-309 Druk i oprawa: Zaklad Graficzny UW, zam. 249/99 Annual Report 1998 CONTENTS I. GENERAL INFORMATION 7 1. MANAGEMENT OF THE INSTITUTE 7 2. SCIENTIFIC COUNCIL 8 3. DEARTMENTS OF THE INSTITUTE 9 4. SCIENTIFIC STAFF OF THE INSTITUTE 10 5. VISITING SCIENTISTS 12 6. GRANTS 14 7. SCIENTIFIC DEGREES 18 II. REPORTS ON RESEARCH 19 1. DEPARTMENT OF NUCLEAR REACTIONS 19 2. DEPARTMENT OF NUCLEAR SPECTROSCOPY AND TECHNIQUE 39 3. DEPARTMENT OF NUCLEAR ELECTRONICS 61 4. DEPARTMENT OF RADIATION SHIELDING AND DOSMETRY 75 5. DEPARTMENT OF PLASMA PHYSICS AND TECHNOLOGY 83 6. DEPARTMENT OF HIGH ENERGY PHYSICS 103 7. DEPARTMENT OF COSMIC RADIATION PHYSICS 121 8. DEPARTMENT OF NUCLAR THEORY 131 9. DEPARTMENT OF RADIATION DETECTORS 145 10. DEPARTMENT OF ACCELERATOR PHYSICS AND TECHNOLOGY 155 11. DEPARTMENT OF TRAINING AND CONSULTING 171 12. ESTABLISHMENT FOR NUCLEAR EQUIPMENT 179 m. OBITUARIES 181 IV AUTHOR INDEX 183 PL9901733 Annual Report 1998 With dwindling means Polish science struggles for survival. To survive means to keep contributing to the world knowledge on a worthy level and to assure the continuation of this process, i.e. to at least reproduce the human and technical resources. -
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Elvan Topalli Uludag University KAZIMIERZ POCHWALSKI’S SKETCHBOOK OF EASTERN TRAVELS “The picturesque is here in abundance. At every step one sees ready-made pictures, which would bring fame and fortune to twenty generations of painters.” (Delacroix, April 2,1832, Meknes)1’ KAZIMIERZ POCHWALSKI Kazimierz Pochwalski was born into a family with a tradition of three generations of painters, a rarity in Poland.2) 3He studied painting, Kfirst under the guidance of his father, then at the Krakow Academy of Fine Arts under Wladyslaw Luszczkiewicz and Felix Szynalewski, and later, from 1876 to 1878, under Jan MatejkoA He continued his studies at the Munich Academy of Fine Arts with Otto Seitz and Alexander Wagner. Before the Christmas of 1882, Pochwalski went to Paris, where he studied portrait painting in art galleries and museums.4 ’ 5In Paris, his tutor was Leon Bonnat5). Between 1883 and 1892, Pochwalski lived in Krakow. There, in the autumn of 1883, he met Henryk Sienkiewicz, his beloved new friend. During this period, Pochwalski took many trips (to Munich and Vienna, for example) x) Stewart (1971). 2) Micke-Broniarek (2008: 88). 3) http://www.pochwalski.edu.pl/readarticle.php?article_id=51 4) http://www.pochwalski.edu.pl/readarticle.php?article_id=51 5) Blak (2001: 257). 202 Elvan Topalli and longer journeys.® Two Eastern trips, that will be described later, took place between those journeys. In Vienna, he made a contact with the imperial court® and presented himself to the Emperor Franz Joseph. The Minister of Enlightenment and Art - Baron Paul Gautsch - encouraged Pochwalski to settle in Vienna, where the artist immediately received orders for his paintings, so that a vision of a successful future began to appear before him. -
Tanislaw Wyspianski, the Versatile Artist
SHORT ARTICLESS tanislaw Wyspianski, ART NOUVEAU the Versatile Artist Maria Sliwinska Poland Self-portrait Stanis³aw Wyspiañski 1902 Muzeum Narodowe, Warszawa Stanis³aw Wyspiañski was born on January 15, political and cultural worlds. As a child, Wys- 1869 in Kraków, the city with a unique spirit of piañski lived close to the Wawel Castle, and place, capital of Poland from 1038 until the be- visited it frequently with his father Franciszek, ginning of the 17th century, when King Sigis- a talented sculptor and member of the 19th mund Vasa moved it to Warsaw. Even then, century bohème. Unfortunately, when he was regardless of having lost its administrative only seven years old, his mother Maria died of power, Kraków, with its Wawel Castle, was still tuberculosis; thereafter he was raised by his the location of royal coronations and funerals aunt Joanna Stankiewiczowa, who together of the most outstanding personages from the with her husband Kazimierz was an integral 172 staszek wyspiaszek Uncommon Culture Wyspiañski worked fast and left many works of art. However, not all of them survived. Some of his works he destroyed himself; some have probably been lost or destroyed by their owners who received them as gifts. Nevertheless, many survived Book illustrations Stanis³aw Wyspiañski, Source: http://www.pinakoteka.zascianek.pl/Wyspianski/Wysp_Inne.htm part of intellectual society in Kraków. They In Wyspiañski's time, Poland was under were frequently visited by prominent intellec- partition (from 1772 to 1918), with Kraków tuals such as the historian Józef Szujski, the art being under Austro-Hungarian rule since historian and museologist W³adys³aw £uszcz- 1795. -
The Bulgarian Horrors: Culture and the International History of the Great Eastern Crisis, 1876-1878
THE BULGARIAN HORRORS: CULTURE AND THE INTERNATIONAL HISTORY OF THE GREAT EASTERN CRISIS, 1876-1878 by Cameron Ean Alfred Whitehead M.A., University of Victoria, 2007 B.A., University of Victoria, 2006 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate and Postdoctoral Studies (History) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2014 © Cameron Ean Alfred Whitehead, 2014 Abstract In the wake of alleged Ottoman atrocities in Bulgaria, the new geopolitical order created at the 1878 Congress of Berlin was demarcated largely along Western cultural prejudices. Using a cultural approach that appreciates both “macro” material structures and “micro” cultural processes in Bulgaria, Britain, and the Ottoman Empire, this study offers an alternative framework for understanding this period. It employs community-level evidence (petitions, public meetings, provincial journalism) alongside the diplomatic record; moreover, it uses the diaries, writings, and the marginalia within the personal readings of important policy-makers as pivotal intermediaries between cultural discourses, material structures, and individual agency. Diverging from previous narratives, which hold that the Great Powers altruistically responded to barbaric atrocities perpetrated by the Ottoman Empire against their European Christian subjects, I argue that solidifying conceptions of racially-based national self-determination and nonconformist evangelicalism were crucial within humanitarian protest, the diplomatic decision-making process, military objectives during the Russo-Turkish War, and the resolution of the Great Eastern Crisis. Western cultural preconceptions, propagated, negotiated, and reified throughout this process, were thus transformative in the construction of the new, unstable Balkan geopolitical order that contributed to the outbreak of the First World War and the remaking of the modern world. -
Issn 1311-9753 I Free Monthly Guide + Map I October 2017 I Issue 292
ISSN 1311-9753 I FREE MONTHLY GUIDE + MAP I OCTOBER 2017 I ISSUE 292 BULGARIA IN BRIEF 1 2 BULGARIA IN BRIEF CITY INFO GUIDES .comfresh content 3 BULGARIA IN BRIEF 16 OVERVIEW 10 24 ACCOMMODATION 30 BARS AND RESTAURANTS 34 NIGHT LIFE 36 CULTURE 17 46 USEFUL NUMBERS YEARS 50 of Arabesque Ballet 39 37 40 46 USEFUL NUMBERS BULGARIA IN BRIEF 3 fresh content USEFUL NUMBERS 4 BULGARIA IN BRIEF WELCOME TO BULGARIA Religion: Orthodox Average summer temperatures: 26° to 30°C Welcome to one of the oldest European states Average winter temperatures: -5° to 5°C with 6000-years old gold treasures, a center Time zone: GMT +2 of ancient civilizations, a country that hosts the Country dialing code: 00 359 sanctuary of the mystical singer Orpheus and Internet country code: .bg gave to the Slavonic people the Cyrillic alphabet. Capital: Sofia Bulgaria is the only one country in Europe Currency: Bulgarian Lev (BGN) that hasn’t changed its name since it was first established. The Bulgarian army has never lost a single flag in battle. The flag of Bulgaria is a HISTORY tricolor consisting of three equal-sized horizontal The Bulgarian state was founded circa 681 as bands of (from top to the bottom) white, green a union of the new-settled Proto-Bulgarians, of and red. It was first adopted after Russo-Turkish seven Slavonic tribes who have already settled War (1877-1878), where Bulgaria regained inde- this territory and with the inclusion of some pendence. The current flag was re-established smaller ethnical groups (Thracians and others). -
Artist-Run Exhibition Societies and the Branding of Modern Art in Fin-De-Siècle Europe
Anna Brzyski What's in a Name? Artist-Run Exhibition Societies and the Branding of Modern Art in Fin-de-Siècle Europe Nineteenth-Century Art Worldwide 6, no. 2 (Autumn 2007) Citation: Anna Brzyski, “What's in a Name? Artist-Run Exhibition Societies and the Branding of Modern Art in Fin-de-Siècle Europe,” Nineteenth-Century Art Worldwide 6, no. 2 (Autumn 2007), http://www.19thc-artworldwide.org/autumn07/126-whats-in-a-name-artist-run- exhibition-societies-and-the-branding-of-modern-art-in-fin-de-siecle-europe. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2007 Nineteenth-Century Art Worldwide Brzyski: What‘s in a Name? Artist-Run Exhibition Societies and the Branding of Modern Art in Fin-de-Siècle Europe Nineteenth-Century Art Worldwide 6, no. 2 (Autumn 2007) What's in a Name? Artist-Run Exhibition Societies and the Branding of Modern Art in Fin-de-Siècle Europe by Anna Brzyski In the decades framing the end of the nineteenth century and the beginning of the twentieth, artists throughout Europe formed an unprecedented number of large and small, formal and informal groups and exhibition societies. The most prominent of these—the French Société des Artistes Indépendants (1884), British New English Art Club (1886), Munich (1892), Vienna (1897), and Berlin (1898) secessions, Belgian Les XX (1883), Czech Mánes (1887), Polish Sztuka (1897), Bulgarian Rodno Izkustwo (1893), and -
Bulgarian Affairs in the Second Half of the 19Th C. in Polish Historiography Since 1989
DOI: 10.11649/sm.1920 Slavia Meridionalis 19, 2019 Article No.: 1920 Citation: Cetnarowicz, A., Popek, K. (2019). Bulgarian affairs in the second half of the 19th c. in Polish historiography since 1989. Slavia Meridionalis, 19. https://doi.org/10.11649/sm.1920 Antoni Cetnarowicz Jagiellonian University https://orcid.org/0000-0001-5309-7609 Krzysztof Popek Jagiellonian University https://orcid.org/0000-0001-5864-5264 Bulgarian Affairs in the Second Half of the 19th c. in Polish Historiography since 19891 Bulgaria, the most south-eastern Slavic country, is both culturally and geographically distant from Poland. However, there is a lot of common ground in the history of Poles and Bulgarians: from the medieval Battle of Varna, through the Polish involvement in the Balkans in the 19th c., to the development of Polish–Bulgarian relations after Poland regained 1 This paper is part of an OPUS 13 project, funded by the National Science Centre in Poland, called “Between two congresses in Prague: relations among the Slavs in Central and South-East Europe in 1848–1908” (2017/25/B/HS3/00240). This work was supported by a grant from National Science Centre in Poland, called “Between two congresses in Prague: relations among the Slavs in Central and South-East Europe in 1848–1908” (2017/25/B/HS3/00240). Authors’ contribution: both authors participated equally in the concept of the study and drafting the manuscript. Competing interests: no competing interests have been declared. Publisher: Institute of Slavic Studies, Polish Academy of Sciences. This is an Open Access article distributed under the terms of the Creative Commons Attribution 3.0 PL License (creativecommons.org/licenses/by/3.0/pl/), which permits redistribution, commercial and non-commercial, provided that the article is properly cited. -
Kazimierz Pochwalski's Sketchbook Of
EElvanlvan TTopallıopallı Uludag University KAZIMIERZ POCHWALSKI’S SKETCHBOOK OF EASTERN TRAVELS “The picturesque is here in abundance. At every step one sees ready-made pictures, which would bring fame and fortune to twenty generations of painters.” (Delacroix, April 2, 1832, Meknes)1) KAZIMIERZ POCHWALSKI Kazimierz Pochwalski was born into a family with a tradition of three generations of painters, a rarity in Poland.2) He studied painting, Kfirst under the guidance of his father, then at the Krakow Academy of Fine Arts under Władysław Łuszczkiewicz and Felix Szynalewski, and later, from 1876 to 1878, under Jan Matejko.3) He continued his studies at the Munich Academy of Fine Arts with Otto Seitz and Alexander Wagner. Before the Christmas of 1882, Pochwalski went to Paris, where he studied portrait painting in art galleries and museums.4) In Paris, his tutor was Leon Bonnat5). Between 1883 and 1892, Pochwalski lived in Krakow. There, in the autumn of 1883, he met Henryk Sienkiewicz, his beloved new friend. During this period, Pochwalski took many trips (to Munich and Vienna, for example) 1) Stewart (1971). 2) Micke-Broniarek (2008: 88). 3) http://www.pochwalski.edu.pl/readarticle.php?article_id=51 4) http://www.pochwalski.edu.pl/readarticle.php?article_id=51 5) Blak (2001: 257). 202 Elvan Topallı and longer journeys.6) Two Eastern trips, that will be described later, took place between those journeys. In Vienna, he made a contact with the imperial court7) and presented himself to the Emperor Franz Joseph. The Minister of Enlightenment and Art – Baron Paul Gautsch – encouraged Pochwalski to settle in Vienna, where the artist immediately received orders for his paintings, so that a vision of a successful future began to appear before him.