Table of Contents
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Pseudojapanese in "Young Poland" Art
Originalveröffentlichung in: Artibus et Historiae 11 (1985), S. 137-146 TERESA GRZYBKOWSKA The Pseudojapanese in "Young Poland" Art Japanese art was for the first time presented outside Japan other cultures were considered as subordinated and secon in 1862 at the London World Exhibition, and then in Vienna dary 2. «The Oriental World » in the 19th century European in 1873 and Paris in 1878 with the cooperation of an mind was entirely a romantic and passionate dream woven outstanding connoisseur, Wakai1. To European artists it was of poetry, literature, and art, from the writings of Byron, a true revelation owing to its simplicity, frankness, and close Flaubert, Nerval, and Lamartine, and from the paintings of contact with everyday life, but also to certain subtle features Delacroix, Gerome, and Ingres. The Orient was associated which were not easily comprehensible. In any case, it gave a above all with Morocco, Algeria, Egypt, and Turkey, but also strong impulse to sweep out of the European house stale with Persia and India, as lands promising fabulous riches, academicism, historical motifs, or pretentious fables concern unlimited luxury, forbidden eroticism, and hazardous adven ing the East. tures. Such an imaginary Orient offered satiation of those Admiration and imitation of Japanese culture and art, desires which were stifled byChristian morality, and it also Nipponism, was born in Western Europe and was entirely a constituted a sphere of liberty mainly appreciated by artists product of Western thought. Primarily it was based upon and their hangers-on, who lacked creative talents but were tourists, not very numerous in that period, returning from these wealthy enough to make an art of life itself. -
WK 55 Ver 28.Indd
Barbara Werner Główny Specjalista ds. Ogrodów Historycznych Muzeum Łazienki Królewskie TULIPAN Marszałek Józef Piłsudski rośnie i zakwita na 100-lecie odzyskania niepodległości Od końca XVI wieku tulipany, które do Europy zachodniej, do Niderlandów przybyły z Turcji, na dobre zadomowiły się w europejskich ogrodach i nie sposób sobie wyobrazić wiosny bez ich obecności także w Łazienkach Królewskich. Z biegiem czasu z gatunków botanicznych powstała cała gama tysięcy odmian tulipana. Pojawiły się tulipany o różnym kształcie kieli- cha kwiatu, kolorze czy pokroju liści, o zróżnicowanym okresie kwitnienia – od wczesnej do późnej wiosny. Tulipany są obecnie niemalże wszędzie. Są symbolem wio- sny, radości i odradzającej się natury. Prezentują niemal całą gamę kolorów, od białych do prawie czarnych. Są popularne na całym świecie i nierzadko upamiętniają poprzez specjalną „cere- monię chrztu” wybrane wielkie postaci w historii poszczególnych krajów. Nowe odmiany tych niezwykłych, wybranych tulipanów rejestrowane są w Holandii przez Królewskie Powszechne To- warzystwo Uprawy Roślin Cebulowych (Koninklijke Algemeene Vereeniging voor Bloembollencultuur, KAVB) o ponad 150-letniej historii, z siedzibą w Hillegom. Jednym z tych nadzwyczajnych, jedynych tulipanów jest ochrzczony 9 maja tego roku w Teatrze Królewskim w Starej Oranżerii Tulipan „Marszałek Józef Piłsudski”. Jest to tulipan z grupy „Triumph”, o pojedynczym kwiecie, mocnej konstrukcji łodygi i liści. Jego kielich, o specjalnym kolorze karminu połączonego z odcieniem fi oletu i różu, na- wiązuje do kolorystyki elementów munduru Marszałka, czyli do aksamitnych wypustek przy kołnierzu o bardzo zbliżonym kolorze. Ten wytworny w kolorze kwiat ma jeden subtelny element. Na dnie kielicha tulipana, po jego rozkwitnięciu, znaj- dziemy złote wypełnienie, które możemy odczytać jako ukryte AZIENEK KRÓLEWSKICH Ł złote serca Marszałka… Od 9 maja 2018 roku pamięć o Marszałku Józefi e Piłsud- skim będzie trwała także w Ogrodzie Łazienek Królewskich, w rokrocznie zakwitającym wspaniałym, majowym tulipanie Jego Imienia. -
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. -
From "Russian" to "Polish": Vilna-Wilno 1900-1925
FROM “RUSSIAN” TO “POLISH”: Vilna-Wilno 1900-1925 Theodore R. Weeks Southern Illinois University at Carbondale The National Council for Eurasian and East European Research 910 17th Street, N.W. Suite 300 Washington, D.C. 20006 TITLE VIII PROGRAM Project Information* Principal Investigator: Theodore R. Weeks Council Contract Number: 819-06g Date: June 4, 2004 Copyright Information Scholars retain the copyright on works they submit to NCEEER. However, NCEEER possesses the right to duplicate and disseminate such products, in written and electronic form, as follows: (a) for its internal use; (b) to the U.S. Government for its internal use or for dissemination to officials of foreign governments; and (c) for dissemination in accordance with the Freedom of Information Act or other law or policy of the U.S. government that grants the public access to documents held by the U.S. government. Additionally, NCEEER has a royalty-free license to distribute and disseminate papers submitted under the terms of its agreements to the general public, in furtherance of academic research, scholarship, and the advancement of general knowledge, on a non-profit basis. All papers distributed or disseminated shall bear notice of copyright. Neither NCEEER, nor the U.S. Government, nor any recipient of a Contract product may use it for commercial sale. * The work leading to this report was supported in part by contract or grant funds provided by the National Council for Eurasian and East European Research, funds which were made available by the U.S. Department of State under Title VIII (The Soviet-East European Research and Training Act of 1983, as amended). -
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. -
Lithuania External Relations Briefing: Lithuania Is Joining Poland to Celebrate an Anniversary of the Historical Union and Reinforce the Relations Linas Eriksonas
ISSN: 2560-1601 Vol. 19, No. 4 (LT) June 2019 Lithuania external relations briefing: Lithuania is joining Poland to celebrate an anniversary of the historical union and reinforce the relations Linas Eriksonas 1052 Budapest Petőfi Sándor utca 11. +36 1 5858 690 Kiadó: Kína-KKE Intézet Nonprofit Kft. [email protected] Szerkesztésért felelős személy: Chen Xin Kiadásért felelős személy: Huang Ping china-cee.eu 2017/01 Lithuania is joining Poland to celebrate an anniversary of the historical union and reinforce the relations The start of the summer brought the Lithuanian-Polish relationships to a new height with the Lithuanian state officials joining the Polish counterparts at the celebrations of the 450th anniversary of the Union of Lublin to celebrate the historical event which merged the early modern states (the Grand Duchy of Lithuania and the Kingdom of Poland) into the joint Lithuanian-Polish Commonwealth. On 1 July the Speaker of the Lithuanian Parliament Viktoras Pranckietis was awarded a Grand Cross of Order of Merit of the Republic of Poland. At the ceremony held at the Polish Parliament, the head of the Lithuanian legislation addressed the Polish legislators in Polish with the following words: “Today I am addressing you, dear members of the Sejm and all people of Poland, thanking you for the friendship. The friendship which is being cherished by the efforts of both sides, looking into the prospect of close cooperation.” When presenting the award his Polish counterpart Speaker of the Polish Sejm Marek Tadeusz Kuchciński acknowledged the role Pranckietis has played in reviving the two countries' interparliamentary relations. -
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. -
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. -
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. -
Dorota Dukwicz Rosja Wobec Sejmu Rozbiorowego Warszawskiego (1772–1775)
DOROTA Dorota Dukwicz – historyk, badacz dziejów politycznych Rzeczypospolitej Obojga Narodów XVIII wieku, adiunkt w Zakładzie Studiów Nowożytnych Instytutu Historii Polskiej Akademii Nauk, członek Polskiego Towarzystwa Badań nad Wiekiem Osiemna- DOROTA DUKWICZ stym. Specjalizuje się w badaniach nad sytuacją wewnętrzną i międzynarodowym położe- niem Rzeczypospolitej w dobie konfederacji barskiej i I rozbioru, a zwłaszcza stosunkami polsko-rosyjskimi. Publikowała na łamach „Kwartalnika Historycznego”, „Acta Poloniae Historica” oraz „Wieku Oświecenia” i w wielu tomach zbiorowych. DUKWIC ROSJA WOBEC Dzięki sięgnięciu do mało znanych i słabo w dotychczasowych badaniach wyko- SEJMU ROZBIOROWEGO rzystanych rosyjskich źródeł oraz zestawieniu ich z materiałami polskiej, pruskiej i austriackiej proweniencji oraz obszerną literaturą przedmiotu zasadne Z stało się podjęcie na nowo tematu I rozbioru. Umożliwiło to postawienie pytań WARSZAWSKIEGO o stopień niesuwerenności Rzeczypospolitej i jej zależności od potężnych RO sąsiadów na początku lat 70. XVIII w. Mimo że rozbioru dokonały trzy potęgi, głównym aktorem na polskiej scenie politycznej pozostawała Rosja. W Peters- SJA burgu zapadały decyzje o losach Rzeczypospolitej, stamtąd płynęły szczegółowe wytyczne, w jaki sposób rezydujący w Warszawie dyplomaci trzech mocarstw WOBEC mają kierować obradami sejmu. Szczególną rolę caryca Katarzyna II i jej doradcy przeznaczyli dla ambasadora Ottona Magnusa von Stackelberga, którego celem – poza zawarciem traktatu rozbiorowego – było odbudowanie samodzielnej rosyjskiej dominacji w Rzeczypospolitej, zachwianej z jednej strony przez konfe- derację barską, z drugiej zaś przez dopuszczenie Prus i Austrii do dzieła rozbio- SEJMU ru. Aby ukazać ten problem, autorka za najważniejszy cel książki przyjęła opisa- nie mechanizmów obcej dominacji w Rzeczypospolitej w latach 1772–1775, gdy trwał sejm, na którym mocarstwa rozbiorowe wymusiły uznanie zaborów. W pracy przedstawione zostały nie tylko ocjalne sejmowe rokowania, ale ROZBIOROWEG przede wszystkim zakulisowe zabiegi i poufne negocjacje. -
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. -
Joint Statement of the Chairs of the Foreign Affairs Committees
Joint Statement of the Chairs of the Foreign Affairs Committees of the Sejm of the Republic of Poland, the Seimas of the Republic of Lithuania, the Saeima of the Republic of Latvia, and the Riigikogu of the Republic of Estonia on the proposal to revoke and invalidate the 1989 resolution “On the political and legal assessment of the 1939 Soviet-German Non-Aggression Treaty” The resolution No 971-1 of the Congress of People’s Deputies of the USSR of 24th December 1989 “On the political and legal assessment of the 1939 Soviet-German Non- Aggression Treaty” was an act of courage and wisdom of perestroika politicians, who made an effort to restore the dignity of their own country by basing it on the foundation of truth, understanding of their history and respect for the neighbouring states. Today, we are observing with concern the attempts in the Russian Federation to twist those events by announcing the adoption of a new interpretation of the Molotov- Ribbentrop Pact which revokes the 1989 resolution and “recognizes it as invalid throughout the territory of the Russian Federation”. The proposal to adopt a new federal law based on the initiative of deputy A. Zhuravlyov will not have any impact on the unequivocal condemnation of the Molotov- Ribbentrop Pact and its secret protocol as an illegal act under the international law. Likewise, it will not affect its assessment by historians. Undoubtedly, however, the initiative will be read as a regrettable attempt of the historical revisionism performed at the expense of the memory of the victims of the ghastly tragedy its secret protocol.