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Title Japonisme in Polish Pictorial Arts (1885 – 1939) Type Thesis URL
Title Japonisme in Polish Pictorial Arts (1885 – 1939) Type Thesis URL http://ualresearchonline.arts.ac.uk/6205/ Date 2013 Citation Spławski, Piotr (2013) Japonisme in Polish Pictorial Arts (1885 – 1939). PhD thesis, University of the Arts London. Creators Spławski, Piotr Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Japonisme in Polish Pictorial Arts (1885 – 1939) Piotr Spławski Submitted as a partial requirement for the degree of doctor of philosophy awarded by the University of the Arts London Research Centre for Transnational Art, Identity and Nation (TrAIN) Chelsea College of Art and Design University of the Arts London July 2013 Volume 1 – Thesis 1 Abstract This thesis chronicles the development of Polish Japonisme between 1885 and 1939. It focuses mainly on painting and graphic arts, and selected aspects of photography, design and architecture. Appropriation from Japanese sources triggered the articulation of new visual and conceptual languages which helped forge new art and art educational paradigms that would define the modern age. Starting with Polish fin-de-siècle Japonisme, it examines the role of Western European artistic centres, mainly Paris, in the initial dissemination of Japonisme in Poland, and considers the exceptional case of Julian Żałat, who had first-hand experience of Japan. The second phase of Polish Japonisme (1901-1918) was nourished on local, mostly Cracovian, infrastructure put in place by the ‘godfather’ of Polish Japonisme Żeliks Manggha Jasieski. His pro-Japonisme agency is discussed at length. -
Sparksofhoped:Layout 1
SPARKS OF HOPE IMPERIAL WAR MUSEUM POLISH HISTORY MUSEUM POLISH NATIONAL FILM ARCHIVE Maciej Buszewicz „Elections tomorrow. Red Sun, Go Under” (1990). Sun, Go Under” (1990). Red „Elections tomorrow. Maciej Buszewicz PRESENT Part 3 Images on previous page: Jacek Marczewski and Aleksandra Król, „Vote with us” (1989); and Aleksandra page: Jacek Marczewski Images on previous Król, „Vote POLISH PATHS TO FREEDOM We are grateful to Maciej Buszewicz for granting us the right to use the image of his poster. are grateful for granting to Maciej Buszewicz us the right to use image of his poster. We SPARKS OF HOPE POLISH FILM SEASON June 1 — July 6, 2009 Imperial War Museum Lambeth Road, London SE1 6HZ www.iwm.org.uk www.muzhp.pl The fall of the Berlin Wall became a symbol of the collapse of communism and the democratic changes in Central and Eastern Europe in 1989. It was the most spectacular event of the “Autumn of Nations”. It was also a very fitting symbol – a metaphor – for the fall of communism’s totalitarian system and for the reunification of Europe. Yet, the bringing down of the Berlin Wall was merely the final stage of a process that had been initiated nearly ten years earlier at the Gdansk Shipyards. In August 1980, as the result of a weeks-long workers’ strike, the ruling Polish United Workers Party agreed to the legalization of Solidarity, the first independent labour union in that part of Europe controlled by the Soviet Union. Solidarity was the first step towards freedom in the 40 years since the Red Army installed communist regimes throughout the Central European countries it had “liberated” during the war. -
Polish Culture Yearbook 2018
2018 POLISH CULTURE YEARBOOK 2018 POLISH CULTURE YEARBOOK Warsaw 2019 INTRODUCTION Prof. Piotr Gliński, Deputy Prime Minister, Minister of Culture and National Heritage 5 REFLECTIONS ON CULTURE IN POLAND 1918–2018 Prof. Rafał Wiśniewski, Director of the National Centre for Culture Poland 11 TABLE OF CONTENTS TABLE 1. CELEBRATIONS OF THE 100TH ANNIVERSARY OF POLAND REGAINING INDEPENDENCE 17 CELEBRATIONS OF THE 100TH ANNIVERSARY OF POLAND REGAINING INDEPENDENCE Office of the ‘Niepodległa’ Program 18 2. CULTURE 1918–2018 27 POLISH STATE ARCHIVES Head Office of State Archives 28 LIBRARIES National Library of Poland 39 READERSHIP National Library of Poland 79 CULTURAL CENTRES Centre for Cultural Statistics, Statistical Office in Kraków 89 MUSEUMS National Institute for Museums and Public Collections 96 MUSICAL INSTITUTIONS Institute of Music and Dance 111 PUBLISHING PRODUCTION National Library of Poland 121 ARTISTIC EDUCATION Centre for Art Education 134 THEATRE IN POLAND Zbigniew Raszewski Theatre Institute 142 IMMOVABLE MONUMENTS National Heritage Board of Poland 160 3. CULTURAL POLICY 2018 173 TABLE OF CONTENTS TABLE LOCAL GOVERNMENT SPENDING ON CULTURE National Centre for Culture Poland 174 CINEMATOGRAPHY Polish Film Institute 181 NATIONAL MEMORIAL SITES ABROAD Department of Cultural Heritage Abroad and Wartime Losses, Ministry of Culture and National Heritage 189 POLISH CULTURAL HERITAGE ABROAD Department of Cultural Heritage Abroad and Wartime Losses, Ministry of Culture and National Heritage 196 RESTITUTION OF CULTURAL OBJECTS Department of Cultural Heritage Abroad and Wartime Losses, Ministry of Culture and National Heritage 204 DEVELOPMENT OF LIBRARY INFRASTRUCTURE AND PROGRAMMES ADDRESSED TO PUBLIC LIBRARIES Polish Book Institute 212 EXPENDITURE OF THE POLISH STATE ON CULTURE Department of Intellectual Property Rights and Media, Ministry of Culture and National Heritage 217 4. -
Ancient Plays on Stage in Communist Poland
DOI: https://doi.org/10.4312/keria.20.3.41-74 Elżbieta Olechowska Ancient Plays on Stage in Communist Poland We reached this shameful impasse, when the entire world drama, from Aeschylus to Shakespeare, to Brecht and Io- nesco, became a body of allusions to People’s Poland. (…) I dream of a form of socialist life that will abolish the un- bearable and destructive state of affairs, where the authori- ties see cultural creations and their reception as a constant threat requiring the use of force. Leszek Kołakowski1 Using ancient drama as a vehicle for propaganda or as a weapon in the ideo- logical struggle is neither simple nor predictably successful. The Greek and Roman plays have been established in European culture for millennia, their ideas, conflicts, characters remain part of human psyche “for all seasons”; whether interpreted from the point of view of the past, present, or future, they have been used “for and even against” conflicting ideologies, as per Lech Wałęsa’s famous bon mot.2 Intuitively, we would be inclined to lay such at- tempts at politicising antiquity at the door of the anti-communist intellectual opposition, who knew their classics almost as well as they knew their Pol- ish Romantic bards, rather than blame “working class” politicians for such 1 Leszek Kołakowski (1927–2009) was Polish philosopher and historian of ideas. This is his state- ment at the meeting of the Union of Polish Writers held on 29 February 1968, devoted to the banning of Adam Mickiewicz’s Dziady [The Forefathers] directed by Kazimierz Dejmek at the National Theatre [Teatr Narodowy] in Warsaw; quoted according to Marta Fik, Kultura polska po Jałcie: Kronika lat 1944–1981, Vol. -
The Laughter of Life and Death
Przemysław Paweł Grzybowski emember r Przemysław Paweł Grzybowski is a lecturer in the Chair of General and Comparative Pe- dagogy of Kazimierz Wielki University in Bydgoszcz. His research interests comprise inter- ducate and and ducate cultural education; education in disfavoured environments; tanatopedagogy (education e concerning suffering, ailing, and dying), as well as laughter as a factor of education and The LauGhTer of improving the quality of life. He is the coordinator of the Forum of Young Education- alists “Międzyszkolnik” at the Committee of Pedagogical Sciences of the Polish Academy of Sciences; the supervisor of the Academic Centre for Voluntary Service of KWU; an es- perantist and a doctor clown volunteer. Selected publications: Doktor klaun! Od terapii śmiechem po edukację międzykulturową; Edukacja europejska – od wielokulturowości ku mię- of Life and deaTh dzykulturowości; Edukacja międzykulturowa – konteksty. Od tożsamości po język międzynaro- dowy; Edukacja międzykulturowa – przewodnik. Pojęcia, literatura, adresy; Morycek w szkole. Żydowskie dowcipy o edukacji, w dialogu międzykulturowym; Spotkania z Innymi. Czytanki do edukacji międzykulturowej; Śmiech w edukacji. Od szkolnej wspólnoty śmiechu po edukację międzykulturową; Śmiech życia i śmierci. Od osobistych historii po edukację do pamięci o oku- pacji, gettach i obozach koncentracyjnych. Website: www.grzybowski.ukw.edu.pl hettos and Concentration Camps to to Camps Concentration and hettos g The book comprises some descriptions of the circumstances in which the -
JANUSZ KIJOWSKI Director of the Stefan Jaracz Theatre in Olsztyn
www.demoludy.art.pl JANUSZ KIJOWSKI Director of The Stefan Jaracz Theatre in Olsztyn DEMOLUDY IN NEW EUROPE In 1945, among the cinders of World War II, our countries were placed in the Soviet sphere of influence and began to be referred to as “demoludy”; the myth of a communist dawn had lost its lustre and revolutionary charm from the beginning of 20th century. Not unlike all the myths of great empires, thousandyear-old Reichs, commonwealths of two or three nations, Mitteleuropa, Pan-Slavism or the High Porte – also this one was shattered by history… Emperors, monarchs and dictators were losing. Their sick ambitions cost thousands or even millions of lives. Has anything remained? Has something survived until today? Yes! Art and Culture! Despite censorship, prisons and camps – thought, poetry and metaphor flourished. Just like in our DEMOLUDY. Pearls of literature, dramaturgy, poetry and theatre were born despite oppression or maybe because they grew on historical fertilizer provided by coarse reality. Some kind of cultural “genetic code” of our part of NEW EUROPE was in the making. The direction was set by Hrabal and Havel in Czech Republic, Ota Pawel in Slovakia, Imre Kertesz in Hungary, Pasternak, Achamatova and Madelsztam in Russia, in every corner of the enslaved world – in ours as well – Mrożek, Różewicz, Kantor or Grotowski… During subsequent editions of International Theatre Festival DEMOLUDY – NEW EUROPE, Olsztyn and our beautiful Jaracz Theatre welcome distinguished artists from faraway lands: Serbia, Bosnia, Moldova, Kosovo – and we are able to understand them! We also host artists from neighbouring Czech Republic, Slovakia, Hungary, Russia – and despite the fact that our governments, civil servants and DEMOLUDYInternational Theatre Festival DEMOLUDY – New Europe – NOWA EUROPA JANUSZ KIJOWSKI Dyrektor Naczelny i Artystyczny Teatru im. -
Finding Aid (English)
https://collections.ushmm.org Contact [email protected] for further information about this collection ALEXANDER KULISIEWICZ COLLECTION, 1939-1986 1992.A.0034.1 (RG-55.000) United States Holocaust Memorial Museum Archives 100 Raoul Wallenberg Place SW Washington, DC 20024-2126 Tel. (202) 479-9717 e-mail: [email protected] Descriptive Summary Title: Alexander Kulisiewicz collection Dates: 1939-1986 Accession number: 1992.A.0034.1 RG number: RG-55.000 Creator: Kulisiewicz, Alexander. Extent: 55 linear feet (96 boxes); 41 microfilm reels Repository: United States Holocaust Memorial Museum Archives, 100 Raoul Wallenberg Place SW, Washington, DC 20024-2126 Abstract: The Alexander Kulisiewicz collection contains microfilms, correspondence, music scores and notation, personal narratives, artwork, poetry, manuscripts, research notes, photograph, negatives, and various other documents compiled by Aleksander Kulisiewicz from 1945 until the time of his death in 1982. The materials in the collection relate to a variety of Holocaust topics, but mainly music, poetry, art, and theater in the concentration camps during World War II. Languages: Polish, German, Czech, French, Russian, Italian, Lithuanian, English, Japanese Administrative Information Access: Collection is open for use, but is stored offsite. Please contact the Reference Desk more than seven days prior to visit in order to request access. Physical access note: The negatives and glassplates in the collection are kept in cold storage for preservation reasons and require additional time for acclimatization before they can be served to researchers. 1 https://collections.ushmm.org https://collections.ushmm.org Contact [email protected] for further information about this collection Reproduction and use: Collection is available for use. -
HUECKEL / TEATR Vol. II
Magda Hueckel HUECKEL / TEATR vol. II Galeria Sztuki Wozownia Toruń, luty – marzec 2018 2 Chłopi, reż. K. Garbaczewski, Teatr Powszechny w Warszawie Natalia Cieślak I Hueckel / Teatr vol. II Dorobek Magdy Hueckel w zakresie fotografii teatralnej jest Magda Hueckel's portfolio of theatre photography is very imponujący. W wydanym w 2015 roku albumie Hueckel / Teatr impressive. Her 2015 album Hueckel / Teatr could contain only zmieścić się mógł zaledwie ułamek przebogatego zbioru zdjęć a fraction of the vast collection of photos taken during hundreds of wykonanych w czasie setek spektakli czy prób1. Na bazie materiału, performances or rehearsals.1 Based on the material which, at least in który – przynajmniej w założeniu – należy do sfery archiwaliów, theory, belongs to the archives and presents the course and nature zaświadcza o przebiegu przedstawienia i jego charakterze, of a show, the photographer decided to spin a visual narrative fotografka postanowiła utkać obrazową narrację oderwaną od detached from individual stagings. As she herself acknowledged poszczególnych realizacji. Jak sama przyznała, gdy przygotowywała while preparing the publication, she was guided by her desire to wspomnianą publikację, kierowała nią chęć stworzenia opowieści create an unobvious story, which unravels only when we step out of nieoczywistej, ujawniającej się dopiero wtedy, gdy wyjdzie się poza the order determined by the stories narrated in the performances.2 porządek wyznaczany przez historie opowiadane w spektaklach2. It could be said that in this way she has used the theatre photogra- Ktoś mógłby powiedzieć, że wykorzystała w ten sposób tworzywo phy material to fulfil her own ambitions and the need of artistic fotografii teatralnej dla zaspokojenia własnych ambicji i potrzeb expression. -
Ł Ó D Ź C E L E B R a T
Łódź Celebrates the 450th Anniversary of Shakespeare’s Birth The exhibition was organized by the International Shakespeare Studies Centre, the Faculty of International and Political Studies (Department of British and Commonwealth Studies), the Faculty of Philology (Department of Studies in Drama and pre-1800 English Literature), and the University of Łódź Library. Editors Krystyna Kujawińska Courtney, Magdalena Cieślak, Agnieszka Rasmus, Monika Sosnowska Krystyna Kujawińska Courtney, Monika Sosnowska – University of Łódź, Faculty of International and Political Studies, Department of British and Commonwealth Table of contents Studies, International Shakespeare Studies Centre Magdalena Cieślak, Agnieszka Rasmus Foreword – University of Łódź, Faculty of Philology, Department of Studies in Drama and pre-1800 Krystyna Kujawińska Courtney, Head of ISSC 4 English Literature, International Shakespeare Studies Centre Antoni Różalski, Pro-Rector in Charge of Research, University of Łódź 6 Tomasz Domański, Dean of the Faculty of International and Political TYPESETTING AND TEXT MAKEUP 1 Oficyna Wydawnicza Edytor.org Studies, University of Łódź 10 © Copyright by Łódzkie Towarzystwo Naukowe, Piotr Cap, Vice-Dean for Research, Faculty of Philology, University 13 Łódź 2014 of Łódź © Copyright for this edition by Uniwersytet Łódzki, Łódź 2014 Mariola Augustyniak 2 Shakespeare in the Collection of the University of Łódź Co-funded by the Ministry of Science and High- Library 14 er Education; Co-funded by the Institute of English Studies, University of Łódź Monika Sosnowska Issue I. W.06744.14.0.I 3 Shakespeare at the University of Łódź 17 Katarzyna Jasińska 4 Shakespeare at the Grand Theatre in Łódź 21 Magdalena Cieślak 5 Shakespeare in Łódź Theatres 23 Agnieszka Rasmus ISBN WUŁ 978-83-7969-413-6 6 ISBN ŁTN 978-83-60655-75-7 Shakespeare on Film 27 Łódzkie Towarzystwo Naukowe Wydawnictwo Uniwersytetu Łódzkiego 90-131 Łódź, ul. -
Political and Transitional Justice in Germany, Poland and the Soviet Union from the 1930S to the 1950S
Political and Transitional Justice in Germany, Poland and the Soviet Union from the 1930s to the 1950s Political and Transitional Justice in Germany, Poland and the Soviet Union from the 1930s to the 1950s Edited by Magnus Brechtken, Władysław Bułhak and Jürgen Zarusky We dedicate this volume to the memory of Arseni Borisovich Roginsky (1946-2017), the co-founder and long-time chairman of the board of Memorial, and to the memory of Jürgen Zarusky (1958-2019), who dedicated his academic life to the research on historical and political justice and inspired this volume. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Der Band wird im Open Access unter der Creative-Commons-Lizenz CC-BY-NC-ND 2.0 auf dem Dokumentenserver »Zeitgeschichte Open« des Instituts für Zeitgeschichte München-Berlin bereitgestellt (https://doi.org/10.15463/ifz-2019-1). Die Veröffentlichung wurde durch den Open-Access-Publikationsfonds für Monografien der Leibniz-Gemeinschaft gefördert. © Wallstein Verlag, Göttingen 2019 www.wallstein-verlag.de Vom Verlag gesetzt aus der Adobe Garamond Umschlaggestaltung: Susanne Gerhards, Düsseldorf unter Verwendung zeitgenös- sischer Illustrationen. Von oben nach unten: Standbild aus der Aufnahme des Dritten Moskauer Schauprozess 1938, https://vimeo.com/147767191; Volksgerichtshof, Prozeß nach dem 20. Juli 1944, © Bundesarchiv, Bild 151-39-23 / CC-BY-SA 3.0; Prozess gegen Priester in Krakau (Proces księży Kurii Krakowskiej), Zygmunt Wdowiński 1953 © CAF, Polska Agencja Prasowa S.A. ISBN (Print) 978-3-8353-3561-5 Contents Magnus Brechtken, Władysław Bułhak and Jürgen Zarusky (†) Introduction . -
Prezentacja Programu Powerpoint
HR MANUAL FOR FOREIGN RESEARCHERS Poland Olsztyn 2021 Table of contents POLAND Introduction IAR&FR PAS Introduction General Information 4 Mission and Strategy 33 Territory and Geography 5 History 34 Economy 6 Structure (without ADM) 35 History 7 HR Excellence in Research 36 Culture - Fine Arts 8 Location 37 Culture - Tradition 9 Culture - Cuisine 10 OLSZTYN Introduction Culture - Family 11 General Information 39 Culture - Etiquette and Customs 12 Public Transport 41 Culture - Do's and Don'ts 13 Public Transport - Tickets 42 Cost of Living 14 Public Transport - Map 43 Polish Language 15 Education 44 Stay Requirements for Foreigners 16 Eating Out 45 Legalization of Stay (EU Citizens) 17 Culture 46 Legalization of Stay (Non-EU Citizens) 18 Leisure 47 PESEL Number 19 Work Permit 20 Notes 48 In Case of Emergency 21 Sources 49 Bank Account 22 Taxes 23 Housing 24 Phone and Internet Providers 25 Healthcare and Insurance 26 Driving License 27 Taxi 28 Transfer from Chopin Airport to City Center 29 Transfer from Gdańsk Airport to City Center 30 Transport from Olsztyn-Mazury Airport 31 2 POLAND introduction 3 The Republic of Poland: ❑ It is located in Central Europe between the Baltic Sea in the North and the Karpaty and Sudety Mountains in the South, in the basin of Poland’s largest rivers: Wisla and Odra. POLAND: ❑ The total land surface is 312 679 km² which places Poland on the 70th position in the world and 9th in Europe. GENERAL ❑ It has a population of 37,9 million residents which makes it 34th in the world and 6th in the European Union. -
R O Z P R a W Y I a R T Y K U
doi: 10.15584/tik.2018.29 ROZPRAWY I ARTYKUŁY TEMATY I KONTEKSTY NR 8 (13) /2018 Wyspiański, Schiller, Osterwa – Pillars of Modern Polish Theatre Kazimierz Braun University at Buffalo, USA Wyspiański, Schiller, Osterwa – filary nośne nowoczesnego teatru polskiego Abstract: Spośród wielu artystów, którzy zakładali fundamenty, a następnie budo- wali wielki gmach nowoczesnego teatru polskiego, historia wyróżniła trzy wielkie postaci. Stanisław Wyspiański, związany z modernizmem, przez wielu zwany „ojcem nowoczesnego teatru polskiego”, zbudował fundamenty polskiego teatru, tak jak był on rozumiany i praktykowany w XX w. w dziedzinie dramaturgii i inscenizacji. Two- rzył sztuki teatralne nierozdzielnie związane z ich projektami scenicznymi. Były to „dzieła sztuki teatru”, w których materia utkana była ze słów i obrazów, z wizyjnej poezji i dosadnego realizmu. Leon Schiller poszedł śladami Wyspiańskiego. Stał się czołowym twórcą Wielkiej Reformy Teatru w Europie. Uprawiał reżyserię jako wyod- rębnioną dziedzinę sztuki; stworzył „polski teatr inscenizacji”; zapoczątkował także nauczanie reżyserii jako dziedziny akademickiej. Jego głównym reżyserskim dokona- niem (obok innych widowisk) były inscenizacje polskich dramatów romantycznych, z których mickiewiczowskie Dziady (Lwów 1932, Wilno 1933, Warszawa 1934) były szczytowym osiągnięciem polskiego teatru w XX wieku. Juliusz Osterwa, aktor, reżyser, ROZPRAWY I ARTYKUŁYROZPRAWY organizator życia teatralnego oraz reformator teatru, stworzył teatr Reduta, modelowe laboratorium nowego aktorstwa. Rozwinął i ugruntował psychologiczny i realistyczny nurt w polskim aktorstwie. Propagował polską dramaturgię współczesną (m.in. prapre- miery sztuk Szaniawskiego, Żeromskiego, Rittnera) i poetycki teatr wspólnoty aktorów i widzów (Wyzwolenie jako dialog Konrada z widzami, misteryjny Książę niezłomny, przedstawienia podziemne i projekty z czasu II wojny światowej). Włączył swe prace w specyficznie polską tradycję „teatru służby” – służby narodowi i służby Bogu.