The Pseudojapanese in "Young Poland" Art
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Polish Mobilities and the Re-Making of Self, Family and Community
Polish Mobilities and the Re-making of Self, Family and Community Katherine Botterill A thesis submitted for the degree of Doctor of Philosophy in the School of Geography, Politics and Sociology at Newcastle University February 2012 ABSTRACT The thesis explores the social and spatial mobilities of young Polish people and the ways in which the self, the family and the community are being re-made through mobility in an enlarged European Union. The research is based on an empirical study with post-accession current and return migrants in Edinburgh, Kraków and Katowice. It explores young people‘s perceptions and experiences of mobility in three key areas: the personal histories of mobility; the practice of mobility; and the relations of mobility. The thesis argues that social and spatial mobility are differentially and relationally experienced by young Polish people. Furthermore, through a critical engagement with theories of mobility and modernity it is argued that collective social forms (family and community) are being re-configured through mobility. Conceptually, the research is positioned within the inter-disciplinary study of mobilities, which assert the centrality of movement in contemporary social life (Urry and Sheller, 2006). Drawing on empirical evidence, the thesis provides an intimate reading of the personal transformations of mobility for young Polish migrants and offers micro-level analysis of theories of migration, mobility and modernity. As such it responds to calls for empirically grounded studies on mobilities (Cresswell, 2006; McDowell, 2006) and reflexivity (Atkinson, 2010), and contributes to a growing area of research post- accession Polish migration and mobility (Burrell, 2009). i Acknowledgements Firstly, I would like to express my thanks and gratitude to my supervisory team – Professors Alastair Bonnett, Alison Stenning, Jane Pollard and Nina Laurie. -
Cultural Life in Independent Poland 1. Introduction 1. Difference Between
- 1 - Cultural Life in Independent Poland 1. Introduction 1. Difference between the atmosphere of the twenties and the thirties. The joy, even euphoria, that followed the recovery of independence in 1918 was faithfully noted by literature. Around 1930, the tone changed. The economic crisis, the violation of the constitution by the military junta, the emergence of fascist groupings on the Right, propagating antisemitism and announcing ‘a night of long knives’ for ‘Jews and intellectuals,’ converged with Hitler’s grab for power in neighbouring Germany. Marxist publications began to attract writers, although few felt able to place their trust in Stalin. The Communist Party of Poland, considered a foreign agent and, thus, illegal, was given a low rating in Moscow because of its efforts to adapt itself to specific local conditions; its leaders were called to Moscow in 1938 and executed by order of Stalin, while the party itself was disbanded under the pretext that it was infested with traitors. In intellectual circles a feeling of impotence and presentiments of an imminent European catastrophe prevailed. It is no wonder, then, that the literature of the thirties was marked by apocalyptic or humorously macabre visions. 2. Conditions for cultural life now very different. 3. Richness of interwar cultural life. 2. Poetry 1. Skamander - 2 - The dominant literary clique in Poland in the optimistic years of the 1920s, as distinct from the 1930s when the mood in the country became much gloomier and more apocalyptic was known as the the Skamander group. As the first generation of writers to come to maturity in an independent Poland, they were eager to throw off the heavy burden of commitment to the Polish cause which had weighed down literature in the nineteenth century. -
A Journey Through Polish Literature
A JOURNEY THROUGH POLISH LITERATURE European Literature 09 OCTOBRE 2013 GORA BERNADETTE Henryk Sienkiewicz (1905), Władysław Reymont (1924), Czesław Miłosz (1980), Wisława Szymborska (1996). How many of you know these four authors and know what they have in common, besides their nationalities? The four of them were awarded a Nobel Prize but nevertheless remain little known outside of Poland. How many of you can give the name of, at least, one polish contemporary author? These examples, among many others, prove that Polish literature remains unknown despite it being a big part of European literature. To start my presentation, I’d like you to have a look on this quotation by Czesław Miłosz who wrote, among other, a book about the History of Polish Literature (The History of Polish Literature, Berckeley,1969). In his work, he wrote “Polish literature focused more on drama and the poetic expression of the self than on fiction (which dominated the English-speaking world). The reasons find their roots on the historical circumstances of the nation.” Over a first phase, it thus seems important to start out with a broad overview of the general history of Polish literature throughout the ages before we can understand what happened during the 20th century, and fully understand the main references to the previous time periods which we can find today. In Polish literature, historical problems have always been an essential characteristic. One can notice that Polish literature has always been torn between its social duties and literary obligations. With this in mind, it is possible for me to offer you the promised journey through my national literature. -
Agnieszka Yass-Alston (Jagiellonian University, Kraków)
SCRIPTA JUDAICA CRACOVIENSIA Vol. 13 (2015) pp. 121–141 doi:10.4467/20843925SJ.15.010.4232 www.ejournals.eu/Scripta-Judaica-Cracoviensia REBUILDING A DESTROYED WORLD: RUDOLF BERES – A JEWISH ART COLLECTOR IN INTErwAR KRAKÓW1 Agnieszka Yass-Alston (Jagiellonian University, Kraków) Key words: Jewish art collectors, Jewish collectors; provenance research, B’nai B’rith, Kraków, Lvov, Milanowek, Holocaust, National Museum in Kraków, Association of Friends of Fine Arts, Nowy Dziennik, Polish artists of Jewish origin, Polish art collectors of Jewish origin, Jewish her- itage in Kraków, Emil Beres, Rudolf Beres, Chaim Nachman Bialik, Maurycy Gottlieb, Jacek Malczewski, Jozef Stieglitz Abstract: Interwar Kraków was a vibrant cultural center in newly independent Poland. Jewish intelligentsia played a significant part in preservation of Krakowian culture, but also endowed art- ist and cultural institutions. In a shadow of renowned Maurycy Gottlieb, there is his great collector and promoter of his artistic oeuvre, Rudolf Beres (1884-1964). The core of the collection was in- herited from his father Emil. Rudolf, who arrived to Kraków to study law, brought these pictures with him, and with time extended the collection, not only with Maurycy Gottlieb’s artworks, but also other distinguished Polish artists. As a director of the Kraków Chamber of Commerce and Industry he played an influential role in the city and country scene. As a member ofSolidarność – Kraków B’nai Brith chapter, he was active in the cultural events and ventures in the city. He was the main force behind the famous exhibition of Maurycy Gottlieb’s of 1932 in the National Mu- seum in Kraków. -
Kazimiera Zawistowska’S Poetry, Young Poland, and Female Decadence
INTERDISCIPLINARY JOURNAL OF DECADENCE STUDIES Volume 2, Issue 1 Spring 2019 Herodias’ Story, Herstory – Kazimiera Zawistowska’s Poetry, Young Poland, and Female Decadence Heide Liedke ISSN: 2515-0073 Date of Acceptance: 30 May 2019 Date of Publication: 21 June 2019 Citation: Heide Liedke, ‘Herodias’ Story, Herstory – Kazimiera Zawistowska’s Poetry, Young Poland, and Female Decadence’,Volupté: Interdisciplinary Journal of Decadence Studies, 2.1 (2019), 39-56. volupte.gold.ac.uk This work is licensed under a Creative Commons Attribution- ShareAlike 4.0 International License. Herodias’ Story, Herstory – Kazimiera Zawistowska’s Poetry, Young Poland, and Female Decadence Heidi Liedke Queen Mary, University of London The contradictory currents that shaped Europe at the turn of the century were reflected in the literary production of the time. The Polish literature of the fin de siècle is an especially interesting case in point: Poland, which had disappeared from the map of Europe completely for 123 years (from 1795 to 1918), was partitioned at that time and its own literary past was blended with cultural influences from Habsburg Austria, the Kingdom of Prussia, and the Russian Empire. As a consequence, a distinctly new Polish literature emerged, one that captured the essence of cosmopolitanism.1 Maria Podraza-Kwiatkowska refers to the literature produced between 1890- 1918 as ‘Młoda Polska’ [Young Poland] and chooses this term because of its neutrality that nevertheless captures the divergent tendencies within it, spanning Symbolism and Expressionism. In contrast to other scholars, Podraza-Kwiatkowska dismisses the terms ‘Decadence’ and ‘Modernism’ because they encompass broader phenomena than literature.2 These dynamics of blending were in tension with the lived realities of all Poles. -
Table of Contents
TABLE OF CONTENTS Introduction 1 The Wall of century ago: Georg Brandes’ travelling in Poland 9 Against legends and myths. Stanisław Brzozowski and his psychoanalysis of the Polish soul 39 Construction of the Self in Polish culture – a neglected context of Polish Modernism 59 Czesław Miłosz and his ambiguous Modernity 73 Catching up with Witold Gombrowicz: between Modernity and Post-Modernity 115 Freedom from… or freedom to…? On the idea of freedom in the writings of Witold Gombrowicz 139 Conclusions. The Polish intelligentsia and Modernity: the search for new paradigms 169 Introduction In the long history of Polish culture, periods of openness toward Europe frequently intertwined with times of xenophobia and inwardness. Streams of ideas, values, philosophical thoughts and aesthetic trends ran constantly from France, Italy, German)' and England, leaving traces on Polish architecture, art, economy, politics, literature and philosophy. Sometimes the stream ran back to Europe, or even to the East — (Russia, Ukraine, Lithuania) -bringing Polish ideas, original Polish strands, reflections, symbols and images to other Europeans. During the past two centuries the cultural communication between Poland and Western Europe was affected by the ideas of Modernity. In different waves, the ideas produced by the Enlightenment and Romanticism, by Positivism, by Modernism and Avant-garde influenced Polish mentality and lifestyle, changed the Poles' aesthetic taste, and altered their conception of democracy, politics and the economy. There was a chain of Westernizers in Polish culture, philosophy and politics; a string of modernizers who worked for the idea of the modern Poland; who attempted to graft new values onto the Polish mentality. -
Jan Malczewski
Collector’s Coins Collector’s Coins National Bank of Poland Collector’sCollector’s CoinsCoins face value 20 z∏ face value 2 z∏ metal 925/1000 Ag and paints: metal CuAl5Zn5Sn1 alloy red, yellow, green and blue finish standard finish proof diameter 27.00 mm dimensions length: 28.00 mm weight 8.15 g width: 40,00 mm mintage 600,000 pcs weight 28.28 g mintage 64,000 pcs Obverse: An image of the Eagle established as the state Emblem of the Republic of Poland; a palette and two Obverse: Stylised image of Jacek Malczewski’s painting paintbrushes on the left. An inscription: 2 Z¸ below, the semi- "Death". On the right below, an image of the Eagle established circumscription: RZECZPOSPOLITA POLSKA and the year of m as the state Emblem of the Republic of Poland. Around the issue: 2003, above. The Mint mark:––w , under the Eagle’s left Eagle, the circumscription: RZECZPOSPOLITA POLSKA, the year talon. m of issue: 2003, and 20 Z¸. The Mint mark:––w , under the Eagle’s left talon. Reverse: Self-portrait of Jacek Malczewski from his painting "Self-Portrait in Armour". Around, the circumscription: JACEK Reverse: Self-portrait of Jacek Malczewski from his painting MALCZEWSKI 1854 – 1929. "Self-Portrait in Armour". The inscription: JACEK / MALCZEWSKI On 10th December 2003 the always aroused fascination and above, the dates 1854-1929 below. A palette and three On the edge: an inscription: NBP eight times repeated, every National Bank of Poland, is putting admiration, and has made an enduring paintbrushes in the lower right-hand corner, with red, yellow, second one turned by 180°, separated by stars. -
POLISH INDEPENDENT PUBLISHING, 1976-1989 a Dissertation Submitted to the Faculty of the Graduate Scho
MIGHTIER THAN THE SWORD: POLISH INDEPENDENT PUBLISHING, 1976-1989 A Dissertation Submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History. By Siobhan K. Doucette, M.A. Washington, DC April 11, 2013 Copyright 2013 by Siobhan K. Doucette All Rights Reserved ii MIGHTIER THAN THE SWORD: POLISH INDEPENDENT PUBLISHING, 1976-1989 Siobhan K. Doucette, M.A. Thesis Advisor: Andrzej S. Kamiński, Ph.D. ABSTRACT This dissertation analyzes the rapid growth of Polish independent publishing between 1976 and 1989, examining the ways in which publications were produced as well as their content. Widespread, long-lasting independent publishing efforts were first produced by individuals connected to the democratic opposition; particularly those associated with KOR and ROPCiO. Independent publishing expanded dramatically during the Solidarity-era when most publications were linked to Solidarity, Rural Solidarity or NZS. By the mid-1980s, independent publishing obtained new levels of pluralism and diversity as publications were produced through a bevy of independent social milieus across every segment of society. Between 1976 and 1989, thousands of independent titles were produced in Poland. Rather than employing samizdat printing techniques, independent publishers relied on printing machines which allowed for independent publication print-runs in the thousands and even tens of thousands, placing Polish independent publishing on an incomparably greater scale than in any other country in the Communist bloc. By breaking through social atomization and linking up individuals and milieus across class, geographic and political divides, independent publications became the backbone of the opposition; distribution networks provided the organizational structure for the Polish underground. -
Polish Art Nouveau by Stefania Krzysztofowicz-Kozakowska
Jane Kristof book review of Polish Art Nouveau by Stefania Krzysztofowicz-Kozakowska Nineteenth-Century Art Worldwide 1, no. 2 (Autumn 2002) Citation: Jane Kristof, book review of “Polish Art Nouveau by Stefania Krzysztofowicz- Kozakowska,” Nineteenth-Century Art Worldwide 1, no. 2 (Autumn 2002), http://www.19thc- artworldwide.org/autumn02/248-polish-art-nouveau-by-stefania-krzysztofowicz-kozakowska. 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. ©2002 Nineteenth-Century Art Worldwide Kristof: Polish Art Nouveau by Stefania Krzysztofowicz-Kozakowska Nineteenth-Century Art Worldwide 1, no. 2 (Autumn 2002) Stefania Krzysztofowicz-Kozakowska Polish Art Nouveau, translated by Krzysztof Kwasniewicz Kraków: Wydawnictwo Kluszczynski, 1999 464 pp.; 608 color ills.; $99.90 ISBN 83-88080-15-6 For a nineteenth-century artist to attain stardom it was undoubtedly advantageous to be French. Failing that, to be British was second best and German a distant third. But to be Eastern European was an almost insuperable obstacle to attaining international artistic celebrity. Among the approximately five hundred illustrations in Robert Rosenblum and H. W. Janson's 19th-Century Art (1984), for instance, there is only one work by a Polish artist, Aleksander Gierymski's The Arbor (Study with Top Hat), ca. 1880–82, and that is probably one more than in other standard texts. This neglect makes all the more valuable Polish Art Nouveau, a recently published study by Stefania Krzysztofowicz-Kozakowska, a curator at the National Museum in Kraków and the author of several books and exhibition catalogues on Polish art. -
Polish Painting Between Historicism and Modernism
Originalveröffentlichung in: Wasilewska, Joanna (Hrsg.): Poland - China : art and cultural heritage, Kraków 2011, S. 73-77 Maria Poprzgcka University of Warsaw Polish Painting between Historicism and Modernism In order to understand the specificity of the Polish art of the nineteenth century, it is worth recalling a few historical facts. Key among these is that throughout the nine teenth century Poland did not exist as an independent state. In the course of successive Partitions in the late eighteenth century, the Polish lands had been divided among Russia, Prussia and Austria. The three partitioning powers then proceeded, with vary ing degrees of severity, to denationalize their newly-gained territories. It was this lack of statehood in the nineteenth century that gave Polish art the exalted status of an upholder of national consciousness with the mission to consolidate the nation divided between three hostile states. In the words of a poet, artists were to exercise a “reign of souls” over the enslaved nation. The great prestige enjoyed by the towering Romantic Poets of the first half of the nineteenth century led to art being treated as a national religion and a path toward moral and national revival. The great hopes that accompanied the emergence of national painting stemmed from the belief thatthe medium was uniquely qualified to rouse and promote patriotic sentiment. National art obviously needed to be based on subjects taken from history. Historical painting was conceived as a sort of visual Bible of national consciousness. Hie growing hopes for a “Polish epic in painting were the most serious challenge with wruch the generation of artists coming of age around the mid-1800s had to contend, Sensational historicalromances devoid of any moral dimension popular in Western European painting of the time were inappropriate for such a purpose. -
Polish Culture Yearbook 2017
2017 POLISH CULTURE YEARBOOK 2017 POLISH CULTURE YEARBOOK Warsaw 2018 TENETS OF CULTURAL POLICY FOR 2018 2017 Prof. Piotr Gliński, Minister of Culture and National Heritage 5 REFLECTIONS ON CULTURE FROM AN INSTITUTIONAL PERSPECTIVE Prof. Rafał Wiśniewski, Director of the National Centre for Culture 13 TABLE O CONTENTS TABLE 1. CENTENARY CELEBRATIONS OF THE REPUBLIC OF POLAND REGAINING INDEPENDENCE 17 THE MULTI-ANNUAL GOVERNMENTAL ‘NIEPODLEGŁA’ PROGRAM (Ed. Office of the ‘Niepodległa’ Program) 18 2. FIELDS OF CULTURE AND NATIONAL HERITAGE 27 POLISH STATE ARCHIVES (Ed. Head Office of Polish State Archives) 28 LIBRARIES (Ed. The National Library) 38 CULTURAL CENTRES (Ed. Centre for Cultural Statistics, Statistical Office in Kraków) 52 POLISH CULTURE YEARBOOK POLISH CULTURE CINEMATOGRAPHY (Ed. Polish Film Institute) 60 MUSEUMS (Ed. National Institute for Museums and Public Collections) 69 MUSIC (Ed. Institute of Music and Dance) 82 PUBLISHING PRODUCTION - BOOKS AND MAGAZINES (Ed. The National Library) 90 BOOK MARKET – THE CREATIVE ECONOMY (Ed. Book Institute) 98 ART EDUCATION (Ed. Centre for Art Education) 104 DANCE (Ed. Institute of Music and Dance) 113 THEATRE (Ed. Zbigniew Raszewski Theatre Institute) 118 HISTORICAL MONUMENTS: THE STATE OF CONSERVATION (Ed. National Heritage Board of Poland) 128 3. POLISH CULTURE ABROAD 141 POLISH CULTURAL HERITAGE ABROAD (Ed. Ministry of Culture and National Heritage Department of Cultural Heritage Abroad and Wartime Losses ) 142 NATIONAL MEMORIAL SITES ABROAD (Ed. Ministry of Culture and National Heritage Department of Cultural Heritage Abroad and Wartime Losses ) 162 RESTITUTION OF CULTURAL PROPERTY (Ed. Ministry of Culture and National Heritage Department of Cultural Heritage Abroad and Wartime Losses) 169 4. -
H I S T O R Y • E C O N O M Y • E D U C a T I
ISSN 2299-632X Money Centre No 15 in memory of Sławomir S. Skrzypek 2018 Q3 Bankoteka HISTORY • ECONOMY • EDUCATION Visit our website www.nbp.pl/centrumpieniadza Plan of the NBP LEVEL 3 14 12 Stock Exchange Money Centre and Financial Markets 13 Modern Payment 13 Systems 14 Monetary and Economic 12 Unions Creator of Money 15 and Money Production 16 Money in Art 5 3 15 Toilets 4 6 LEVEL 2 C 16 Encounters 1 with Money 9 Stairway to room 7 and 8 Antiquity-Middle Ages 1 10 2 -Modernity 11 3 Monetary Systems 2 4 Bank Street 2 5 Central Bank Numismatist's 3 8 6 Study 7 9 Wars Polish People's 10 Republic 11 Transformation B 1 LEVEL 1 Laboratory 7 of Authenticity 8 Vault B Toilets ENTRANCE A 0 LEVEL 0 Reception desk Visit our website www.nbp.pl/centrumpieniadza The NBP Money Centre Magazine Dear readers, This year Narodowy Bank Polski issues a series resembling an eagle has been used on the emblem of coins dedicated to the figures and events of the Polish state since 1295. associated with the 100th anniversary of Poland’s independence. On the cover of this issue of In the Exhibits section we write about Zygmunt the “Bankoteka” magazine, we present the “White- Kamiński − a professor of the Warsaw University tailed eagle” (“Bielik”), a gold investment coin from of Technology, a creator of money and the author the series issued by Narodowy Bank Polski since of the design of the Polish coat-of-arms from 1927. 1995. The latest one, introduced into circulation Meanwhile, in the Discovering multimedia, let’s open in July of this year, carries the inscription: “White- the showcases section, we show where in the NBP tailed eagle – 100th Anniversary of Regaining Money Centre our guests can view gold coins and Independence by Poland” (Bielik – 100-lecie learn about the importance of gold in history.