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“He Was One of Us” – Joseph Conrad As a Home Army Author
Yearbook of Conrad Studies (Poland) Vol. 13 2018, pp. 17–29 doi: 0.4467/20843941YC.18.002.11237 “HE WAS ONE OF US” – JOSEPH CONRAD AS A HOME ARMY AUTHOR Stefan Zabierowski The University of Silesia, Katowice Abstract: The aim of this article is to show how Conrad’s fiction (and above all the novelLord Jim) influenced the formation of the ethical attitudes and standards of the members of the Polish Home Army, which was the largest underground army in Nazi-occupied Europe. The core of this army was largely made up of young people who had been born around the year 1920 (i.e. after Poland had regained her independence in 1918) and who had had the opportunity to become acquainted with Conrad’s books during the interwar years. During the wartime occupation, Conrad became the fa- vourite author of those who were actively engaged in fighting the Nazi regime, familiarizing young conspirators with the ethics of honour—the conviction that fighting in a just cause was a reward in itself, regardless of the outcome. The views of this generation of soldiers have been recorded by the writers who were among them: Jan Józef Szczepański, Andrzej Braun and Leszek Prorok. Keywords: Joseph Conrad, World War II, Poland, Polish Home Army, Home Army, Warsaw Uprising 1 In order to fully understand the extraordinary role that Joseph Conrad’s novels played in forming the ethical attitudes and standards of those Poles who fought in the Home Army—which was the largest underground resistance army in Nazi-occupied Europe—we must go back to the interwar years, during which most of the members of the generation that was to form the core of the Home Army were born, for it was then that their personalities were formed and—perhaps above all—it was then that they acquired the particular ethos that they had in common. -
103 the Music Library of the Warsaw Theatre in The
A. ŻÓRAWSKA-WITKOWSKA, MUSIC LIBRARY OF THE WARSAW..., ARMUD6 47/1-2 (2016) 103-116 103 THE MUSIC LIBRARY OF THE WARSAW THEATRE IN THE YEARS 1788 AND 1797: AN EXPRESSION OF THE MIGRATION OF EUROPEAN REPERTOIRE ALINA ŻÓRAWSKA-WITKOWSKA UDK / UDC: 78.089.62”17”WARSAW University of Warsaw, Institute of Musicology, Izvorni znanstveni rad / Research Paper ul. Krakowskie Przedmieście 32, Primljeno / Received: 31. 8. 2016. 00-325 WARSAW, Poland Prihvaćeno / Accepted: 29. 9. 2016. Abstract In the Polish–Lithuanian Common- number of works is impressive: it included 245 wealth’s fi rst public theatre, operating in War- staged Italian, French, German, and Polish saw during the reign of Stanislaus Augustus operas and a further 61 operas listed in the cata- Poniatowski, numerous stage works were logues, as well as 106 documented ballets and perform ed in the years 1765-1767 and 1774-1794: another 47 catalogued ones. Amongst operas, Italian, French, German, and Polish operas as Italian ones were most popular with 102 docu- well ballets, while public concerts, organised at mented and 20 archived titles (totalling 122 the Warsaw theatre from the mid-1770s, featured works), followed by Polish (including transla- dozens of instrumental works including sym- tions of foreign works) with 58 and 1 titles phonies, overtures, concertos, variations as well respectively; French with 44 and 34 (totalling 78 as vocal-instrumental works - oratorios, opera compositions), and German operas with 41 and arias and ensembles, cantatas, and so forth. The 6 works, respectively. author analyses the manuscript catalogues of those scores (sheet music did not survive) held Keywords: music library, Warsaw, 18th at the Archiwum Główne Akt Dawnych in War- century, Stanislaus Augustus Poniatowski, saw (Pl-Wagad), in the Archive of Prince Joseph musical repertoire, musical theatre, music mi- Poniatowski and Maria Teresa Tyszkiewicz- gration Poniatowska. -
Discourse of Heresy in Polish Post-WWII Literature Herling╎s
ACTA UNIVERSITATIS LODZIENSIS Folia Litteraria Polonica 4(55) 2019 http://dx.doi.org/10.18778/1505-9057.55.21 Margreta Grigorowa* https://orcid.org/0000-0003-4416-371X Discourse of heresy in Polish post-WWII literature Herling’s and Herbert’s heretics Heretics, stakes, and inquisitors invaded Polish literature of the second half of the 20th century. That was visible in the outputs of renowned Polish authors who en- dured the apocalypse of World War II and the dictatorships of the last century: Gustaw Herling-Grudziński (1919–2000), a prisoner of the Gulag in Yertsevo, combatant in the Warsaw Uprising, as well as Andrzej Szczypiorski (1928–2000), a prisoner of the Lager in Sachsenhausen, Zbigniew Herbert (1924–1998), a young poet in occupied Lviv, or those who survived Soviet occupation, e.g. Czesław Miłosz (1911–2004) and Jerzy Andrzejewski (1909–1983). What heretics can be found in their works? Jacques de Molay, a Knight Tem- plar burnt at the stake together with 36 other “relentless brothers”, Albigensians, Cathars, the related Bulgarian Bogomils in Herbert’s essays in the Barbarzyńca w ogrodzie1 volume: Obrona templariuszy and O albigensach, inkwizytorach i tru- badurach. Herling-Grudziński’s short stories featured the heretic Giordano Bruno and his spiritual ally the artist Caravaggio, e.g. in the short story Głęboki cień, the mysterious heretic from Bolsena in the short story Drugie przyjście, and the legendary St. Aaron, a former heretic, stealer of the Host, who by God’s miracle was saved from the stake in the short story Legenda o nawróconym pustelniku. Giordano Bruno was also featured in one of Miłosz’s key poems from 1943 entitled Campo di Fiori (Herling-Grudziński referred to it in his texts on Giordano Bruno), where the historical parallel became vivid during the nightmare with the burning * Professor, University of Veliko Turnovo St Cyril and St. -
Moniuszko Was Poland’S Leading Nineteenth-Century Opera Composer, and Has Been Called the Man Who Bridges the Gap Between Chopin and Szymanowski
CMYK NAXOS NAXOS Stanisław Moniuszko was Poland’s leading nineteenth-century opera composer, and has been called the man who bridges the gap between Chopin and Szymanowski. In addition to operatic works he also composed purely orchestral music, and this recording reveals that his essentially lyric style could function perfectly in the non-vocal medium. There is thematically memorable music from the comic opera Hrabina (The Countess), as well as enduring Polish-flavoured dance DDD MONIUSZKO: scenes from his most popular and famous stage work, Halka. The spirited Mazurka from MONIUSZKO: Straszny Dwór (The Haunted Manor), Moniuszko’s crowning operatic achievement, draws freely 8.573610 and inventively from his national heritage. Playing Time Stanisław 78:18 MONIUSZKO 7 (1819-1872) 47313 36107 Ballet Music 1 Concert Polonaise (1866) 7:51 Ballet Music 2-5 Hrabina: Ballet Music (1859) 18:11 6 Funeral March for Antoni Orłowski (18??) 11:41 7 Civic Polonaise (post 1863) 6:07 8 Halka, Act I: Mazurka (1857) 4:06 9 Halka, Act III: Tańce góralskie 6 (Highlanders’ Dances) (1857) 4:55 www.naxos.com Made in Germany Booklet notes in English ൿ 0 The Merry Wives of Windsor: Ballet Music (c. 1849) 9:38 & Ꭿ ! Monte Christo: Mazurka (1866) 4:37 2017 Naxos Rights US, Inc. @ Jawnuta: Taniec cygański (Gypsy Dance) (1860) 4:31 # Leokadia Polka (18??) 1:44 $ Straszny Dwór (The Haunted Manor), Act IV: Mazurka (1864) 5:16 Warsaw Philharmonic Orchestra • Antoni Wit A detailed track list can be found on page 2 of the booklet. 8.573610 8.573610 Recorded at Warsaw Philharmonic Concert Hall, Poland, from 29th August to 2nd September, 2011 Produced, engineered and edited by Andrzej Sasin and Aleksandra Nagórko (CD Accord) Publisher: PWM Edition (Polskie Wydawnictwo Muzyczne), Kraków, Poland Booklet notes: Paul Conway • Cover photograph by dzalcman (iStockphoto.com). -
Zbigniew Herbert Zestawienie Bibliograficzne
Zbigniew Herbert zestawienie bibliograficzne Zestawienie bibliograficzne odnotowuje zbiory Pedagogicznej Biblioteki Wojewódzkiej w Gdańsku w wyborze za lata 2000-2018 oraz aktualne źródła elektroniczne. Podzielone jest ze względu na rodzaj dokumentów na 5 części: książki, artykuły z książek, artykuły z czasopism, źródła internetowe oraz multimedia. W ich obrębie publikacje uszeregowano alfabetycznie według tytułu publikacji. Książki 1. Akropol i cebula : o Zbigniewie Herbercie / Janusz Drzewucki. – Warszawa : TIKKUN, 2004. – ISBN 83-85683-36-4 Sygn. 174351 2. Herbert / Jacek Łukasiewicz. – Wrocław : Wydaw. Dolnośląskie, 2001. – ISBN 83-7023-889-0 Sygn. 165394 3. Herbert : poetyka, wartości i konteksty / red. Eugeniusz Czaplejewicz, Witold Sadowski; [aut. Krystyna Ruta-Rutkowska et al.]. – Warszawa : DiG, 2002. – ISBN 83-7181-24-X Sygn. 167898 4. Korespondencja / Zbigniew Herbert, Czesław Miłosz. – Warszawa : Fund. Zeszytów Literackich, 2006. – ISBN 83-60046-75-1 Sygn. 178113 5. Król mrówek : prywatna mitologia / Zbigniew Herbert; [il. Zbigniew Herbert]. – Kraków : a5, 2001. – ISBN 83-85568-49-2 Sygn. 164342 6. Labirynt nad morzem / Zbigniew Herbert. – Warszawa : Fund. Zeszytów Literackich, cop. 2000. – ISBN 83-911068-3-7 Sygn. 163607 7. Pan od poezji : o Zbigniewie Herbercie / Joanna Siedlecka. – Warszawa : Prószyński, 2002. – ISBN 83-7337-175-3. Sygn. 167697 8. Poeci czytają Herberta / zebrał, oprac. Andrzej Franaszek. – Kraków : a5, 2009. – ISBN 978-83-61298-13-7 Sygn. 184208 9. Poeta, czyli człowiek zwielokrotniony : szkice o Zbigniewie Herbercie / Bohdan Urbankowski. – Radom : Pol. Wydaw. Encyklopedyczne, 2004. – ISBN 83-88822-93-4 Sygn. 174171 10. "Poezje" Zbigniewa Herberta / oprac. Urszula Lementowicz. – Lublin : Biblioteka Wysyłkowa, 2000. – ISBN 83-86581-62-X Sygn. 192726 11. Poznawanie Herberta. [Cz.] 2 / oprac. Andrzej Franaszek. – Kraków : Wydaw. -
Stanisław Moniuszko String Quartets 1 & 2 Juliusz Zarębski: Piano Quintet Op
Stanisław Moniuszko String Quartets 1 & 2 Juliusz Zarębski: Piano Quintet op. 34 Plawner Quintet Stanisław Moniuszko (1819–1872) String Quartet No. 1 in D minor 16'12 1 Allegro agitato 4'59 2 Andantino 3'57 3 Scherzo. Vivo 4'04 4 Finale. Un ballo campestre e sue consequenze. Allegro assai 3'12 String Quartet No. 2 in F major 15'12 5 Allegro moderato 5'50 6 Andante 4'43 7 Scherzo. Baccanale monacale. Allegretto – Trio 2'06 8 Finale. Allegro 2'33 Juliusz Zarębski (1854–1885) Piano Quintet op. 34 34'55 9 Allegro 9'46 10 Adagio 10'28 11 Scherzo. Presto 5'57 12 Finale. Presto 8'44 T.T.: 66'27 Plawner Quintet Piotr Plawner, violin Sibylla Leuenberger, violin Elżbieta Mrożek-Loska, viola Isabella Klim, violoncello Stanisław Moniuszko Piotr Sałajczyk, piano [9] All rights of the producer and of the owner of the work reserved. Unauthorized copying, hiring, renting, public performance and broadcasting of this record prohibited. cpo 555 124–2 Co-Production: cpo/Deutschlandfunk Kultur Recording: Andreaskirche Berlin/Wannsee, September 22–24, 2018 Recording Producer, Editing & Mastering: Michael Havenstein Executive Producers: Burkhard Schmilgun/Bettina C. Schmidt Cover Painting: Wladyslaw Podkowinski, »Un campo de Lupin«, 1891. Galería de Arte Polaco del siglo XIX (Lonja de los Paños, Sukiennice). Museo Nacional de Cracovia. Polonia. Ⓒ Photo: akg-images, 2019; Design: Lothar Bruweleit cpo, Lübecker Str. 9, D–49124 Georgsmarienhütte Juliusz Zarębski Ⓟ 2019 – Deutschlandradio – Made in Germany Anziehend in ihren Gegensätzen: sich der genius populi mitsamt seinem Temperament, jahrelang an der Schwindsucht dahin, Stanisław Moniu- Stanisław Moniuszko und Juliusz Zarębski seinem Melos und Rhythmus, seiner Geschichte und sei- szko wird ohne Vorwarnung aus seiner Tätigkeit heraus- nen Hoffnungen spontan wiedererkannte. -
Grand Finals Concert
NATIONAL COUNCIL AUDITIONS grand finals concert conductor Metropolitan Opera Carlo Rizzi National Council Auditions host Grand Finals Concert Anthony Roth Costanzo Sunday, March 31, 2019 3:00 PM guest artist Christian Van Horn Metropolitan Opera Orchestra The Metropolitan Opera National Council is grateful to the Charles H. Dyson Endowment Fund for underwriting the Council’s Auditions Program. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON NATIONAL COUNCIL AUDITIONS grand finals concert conductor Carlo Rizzi host Anthony Roth Costanzo guest artist Christian Van Horn “Dich, teure Halle” from Tannhäuser (Wagner) Meghan Kasanders, Soprano “Fra poco a me ricovero … Tu che a Dio spiegasti l’ali” from Lucia di Lammermoor (Donizetti) Dashuai Chen, Tenor “Oh! quante volte, oh! quante” from I Capuleti e i Montecchi (Bellini) Elena Villalón, Soprano “Kuda, kuda, kuda vy udalilis” (Lenski’s Aria) from Today’s concert is Eugene Onegin (Tchaikovsky) being recorded for Miles Mykkanen, Tenor future broadcast “Addio, addio, o miei sospiri” from Orfeo ed Euridice (Gluck) over many public Michaela Wolz, Mezzo-Soprano radio stations. Please check “Seul sur la terre” from Dom Sébastien (Donizetti) local listings. Piotr Buszewski, Tenor Sunday, March 31, 2019, 3:00PM “Captain Ahab? I must speak with you” from Moby Dick (Jake Heggie) Thomas Glass, Baritone “Don Ottavio, son morta! ... Or sai chi l’onore” from Don Giovanni (Mozart) Alaysha Fox, Soprano “Sorge infausta una procella” from Orlando (Handel) -
Gustav Klimt's Lady in Gold2
Nr. 13/2013 HERMENEIA Journal of Hermeneutics, Art Theory and Criticism Topic: Critical Discourse in Philosophy and Art Editura Fundaţiei Academice AXIS IAŞI, 2013 Advisory board Ştefan AFLOROAEI, Prof. Dr., Al. I. Cuza University, Iasi, Romania Sorin ALEXANDRESCU, Prof. Dr., University of Bucarest, Romania Aurel CODOBAN, Prof. Dr., Babeş-Bolyai University, Cluj-Napoca, Romania Denis CUNNINGHAM, Secretary General, Fédération Internationale des Professeurs de Langues Vivantes (FIPLV) Ioanna KUÇURADI, Prof. Dr., Maltepe University, Turkey Roger POUIVET, Prof. Dr., Nancy 2 University, France Constantin SĂLĂVĂSTRU, Prof. Dr., Al. I. Cuza University, Iasi, Romania Jean-Jacques WUNENBURGER , Prof. Dr., Jean Moulin University, Lyon, France Editor Petru BEJAN, Prof. Dr., Al. I. Cuza University, Iasi, Romania Editorial board Cristian CIOCAN, Postdoctoral Researcher, Al. I. Cuza University, Iasi, Romania Antonela CORBAN, Postdoctoral Researcher, Al. I. Cuza University, Iasi, Romania Florin CRISMAREANU, Postdoctoral Researcher, Al. I. Cuza University, Iasi, Romania Ciprian JELER, Postdoctoral Researcher, Al. I. Cuza University, Iasi, Romania Horia-Vincenţiu PATRASCU, Postdoctoral Researcher, Al. I. Cuza University, Iasi, Romania Dana ŢABREA, Postdoctoral Researcher, Al. I. Cuza University, Iasi, Romania Address Alexandru Ioan Cuza University, Iasi, Romania The Department of Philosophy and Social-Political Sciences Hermeneia 11, Carol I, Blvd., 700506, Iasi, Romania email: [email protected] http://www.fssp.uaic.ro/hermeneia/ Edited by Axis Academic Foundation Tel./fax: 0232/201653 email: [email protected] ISSN: 1453-9047 TOPIC: CRITICAL DISCOURSE IN PHILOSOPHY AND ART Summary I. ARTISTICAL INTERPRETATION Petru BEJAN What is art criticism (any longer)? .......................................................................................... 7 Rolland QUILLIOT L’ambiguïté de l’échec artistique: réflexions sur Le chef d’œuvre inconnu de Balzac ..... -
The Collection of Polish Art | 1 Right from the Start Artymowska Worked on Abstract Paintings, and Created Monotypes and Ceramics
KunstmThe Bochumuseum Art Bochum Museum – Die– the Sammlung Collection of Polish Art polnischerSelection and texts: Axel Kunst Feuß Multiplied Space IX, 1981 Artymowska, Zofia (1923 Kraków - 2000 Warsaw): Multiplied Space IX, 1981. Serigraphy, Collage, 60.8 x 49.7 cm (41.6 x 41.1 cm); Inv. no. 2149 The Bochum Art Museum Zofia Artymowska, born 1923 in Kraków, died 2000 in Warsaw. She was married to the painter and graphic artist Roman Artymowski (1919-1993). Studies: 1945-50 Academy of Visual Arts, Kraków (under Eugeniusz Eibisch, diploma in painting). 1950/51 Assistant. Lived in Warsaw from 1951; in Łowicz from 1980. 1953-56 works on murals during the reconstruction of Warsaw. 1954 Golden Cross of Merit. 1960-68 Professor at the University of Baghdad. 1971-83 Lecturer at the University of Visual Arts, Breslau/Wrocław. Solo exhibitions since 1959 in Warsaw, Beirut, Baghdad, Łódź, Breslau, Stettin/Szczecin, New York. Works in museums in Baghdad, Bochum, Bogota, Breslau, Bydgoszcz, Dresden, Łódź, New York, Warsaw. The Bochum Art Museum – the Collection of Polish Art | 1 Right from the start Artymowska worked on abstract paintings, and created monotypes and ceramics. During her time in Baghdad she turned to oil painting. At the university there she taught mural painting at Tahreer College as well as painting, drawing and composition at the College of Engineering in the faculty of architecture. From the 1970s onwards she explored the potential forms of expression inherent in a single geometric form, the cylinder (derived from machine parts) that she used as a constantly duplicated module for creating images. -
Introduction
Cambridge University Press 978-0-521-45659-3 - Rounding Wagner’s Mountain: Richard Strauss and Modern German Opera Bryan Gilliam Excerpt More information Introduction Chapter 1 suggests that, despite its obscurity, Guntram (1893) remains the central source for understanding the emergence of Strauss as a mature artist. The work, whose text was written by the composer, documents his early philosophical struggles with the issue of music and metaphysics. Earlier scholars of Strauss’s operatic oeuvre have explained its failure in terms of its miscarried Wagnerism, demonstrating that they themselves have failed to understand that Guntram ultimately rejects Wagnerian metaphysics. In 1949, at the end of his life, Strauss regretted that his biographers tended to downplay Guntram’s rejection of a Wagnerian Erlösung, thereby ignoring the breach between individual (subject) and the world (object), as the Minnesänger breaks his lyre and walks 1 away from his brotherhood and his beloved Freihild. In this single gesture, Strauss, who served as his own librettist on this work, suggests that if one systematically follows Schopenhauer to the end of his four-book World as Will and Representation,thefinal denial of the will must include a rejection of music. Feuersnot (1901), the co-subject, along with Salome, of Chapter 2, marked the end of a seven-year operatic hiatus in the wake of Guntram’s failure. During those years Strauss composed his mature tone poems, all of which exemplify a shift toward ego assertion foreshadowed by that breach between individual and collective treated in Guntram. Informed by Nietzsche and Stirner, these orchestral works feature an individual (whether the visionary hero of Ein Heldenleben or the delusional antihero of Don Quixote) at odds with a complacent society. -
Opera Wrocławska
OPERA WROCŁAWSKA ~ INSTYTUCJA KULTURY SAMORZĄDU WOJEWÓDZTWA DOLNOSLĄSKIEGO WSPÓŁPROWADZONA PRZEZ MINISTRA KULTURY I DZIEDZICTWA NARODOWEGO EWA MICHNIK DYREKTOR NAUELNY I ARTYSTYUNY STRASZNY DWÓR THE HAUNTED MANOR STANISŁAW MONIUSZKO OPERA W 4 AKTACH I OPERA IN 4 ACTS JAN CHĘCIŃSKI LIBR ETIO WARSZAWA, 1865 PRAPREMIERA I PREVIEW SPEKTAKLE PREMIEROWE I PREMIERES 00 PT I FR 6 111 2009 I 19 SO I SA 7 Ili 2009 I 19 00 00 ND I SU 8 Ili 2009 117 CZAS TRWANIA SPEKTAKLU 180 MIN. I DURATION 180 MIN . 1 PRZERWA I 1 PAUSE SPEKTAKL WYKONYWANY JEST W JĘZYKU POLSKIM Z POLSKIMI NAPISAMI POLI SH LANGUAGE VERSION WITH SURTITLES STRASZNY DWÓR I THE HAU~TED MAl\ OR REALIZATO RZY I PRODUCERS OBSADA I CAST REALIZATORZY I PROOUCERS MIECZNIK MACIEJ TOMASZ SZREDER ZBIGNIEW KRYCZKA JAROSŁAW BODAKOWSKI KIEROWNICTWO MUZYCZNE, DYRYGENT I MUSICAL DIRECTION, CONDUCTOR BOGUSŁAW SZYNALSKI* JACEK JASKUŁA LACO ADAMIK STEFAN SKOŁUBA INSCENIZACJA I REŻYSERIA I STAGE DIRECTION RAFAŁ BARTMIŃSKI* WIKTOR GORELIKOW ARNOLD RUTKOWSKI* RADOSŁAW ŻUKOWSKI BARBARA KĘDZIERSKA ALEKSANDER ZUCHOWICZ* SCENOGRAFIA I SET & COSTUME DESIGNS DAMAZY ZBIGNIEW ANDRZEJ KALININ MAGDALENA TESŁAWSKA, PAWEŁ GRABARCZYK DAMIAN KONIECZEK KAROL KOZŁOWSKI WSPÓŁPRACA SCENOGRAFICZNA I SET & COSTUME DE SIGNS CO-OPERATION TOMASZ RUDNICKI EDWARD KULCZYK RAFAŁ MAJZNER HENRYK KONWIŃSKI HANNA CHOREOGRAFIA I CHOREOGRAPHY EWA CZERMAK STARSZA NIEWIASTA ALEKSANDRA KUBAS JOLANTA GÓRECKA MAŁGORZATA ORAWSKA JOANNA MOSKOWICZ PRZYGOTOWANIE CHÓRU I CHORUS MASTER MARTA JADWIGA URSZULA CZUPRYŃSKA BOGUMIŁ PALEWICZ ANNA BERNACKA REŻYSERIA ŚWIATEŁ I LIGHTING DESIGNS DOROT A DUTKOWSKA GRZEŚ PIOTR BUNZLER HANNA MARASZ CZEŚNIKOWA ASYSTENT REŻYS ERA I ASS ISTAN T TO THE STAGE DIRECTOR BARBARA BAGIŃSKA SOLIŚCI, ORKIESTRA, CHÓR I BALET ELŻBIETA KACZMARZYK-JANCZAK OPERY WROCŁAWSKIEJ, STATYŚCI ADAM FRONTCZAK, JULIAN ŻYCHOWICZ ALEKSANDRA LEMISZKA SOLOISTS, ORCHESTRA, CHOIR AND BALLET INSPICJENCI I SRTAGE MANAGERS OF THE WROCŁAW OPERA, SUPERNUMERARIES * gościnnie I spec1al guest Dyrekcja zastrzega sobie prawo do zmian w obsadach . -
European Identity
Peaceful, prosperous, democratic and respectful of people’s rights, building talk about Europe need to We Europe is an ongoing challenge. For many years it seemed that Europeans lived on a continent of shared values and a common destiny. No one paid attention to the alarm bells warning of growing divisions across the continent, which have become more insistent since the economic and social crisis. Europe and We need to talk its values, previously taken for granted, are now being contested. These clouds are casting a shadow across Europe’s future, and old demons, long dormant, have started to raise their voices again. about Europe With a deepening values divide there is an urgent need for public debate and a reconsideration of how Europeans can strengthen the European project. Is a “Europe united in diversity” still feasible? Can a consensus be forged on a set of values pertaining to a common European identity? What should be done to preserve European unity? The Council of Europe, with its membership covering Europe from Vladivostok to Lisbon and from Reykjavik to Ankara, and its mission to promote democracy, human rights and the rule of law, provides an excellent framework for discuss- ing the current state of thinking and dynamics behind the concept of European identity. For these reasons, the Council of Europe, together with the École nationale d’administration in Strasbourg, held a series of European Identity Debates fea- turing eminent personalities from a variety of backgrounds including politics, civil society, academia and the humanities. European Identity This publication presents the 10 European Identity Debates lectures.