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Poland – Germany – History
Poland – Germany – History Issue: 18 /2020 26’02’21 The Polish-French Alliance of 1921 By Prof. dr hab. Stanisław Żerko Concluded in February 1921, Poland’s alliance treaty with France, which was intended to afford the former an additional level of protection against German aggression, was the centerpiece of Poland’s foreign policy during the Interwar Period. However, from Poland’s viewpoint, the alliance had all along been fraught with significant shortcomings. With the passage of time, it lost some of its significance as Paris increasingly disregarded Warsaw’s interests. This trend was epitomized by the Locarno conference of 1925, which marked the beginning of the Franco-German rapprochement. By 1933-1934, Poland began to revise its foreign policy with an eye to turning the alliance into a partnership. This effort turned out to be unsuccessful. It was not until the diplomatic crisis of 1939 that the treaty was strengthened and complemented with an Anglo-Polish alliance, which nevertheless failed to avert the German attack on Poland. Despite both France and Great Britain having declared war against the Reich on September 3, 1939, neither provided their Polish ally with due assistance. However, French support was the main factor for an outcome that was generally favorable to Poland, which was to redraw its border with Germany during the Paris peace conference in 1919. It seems that the terms imposed on the Reich in the Treaty of Versailles were all that Poland could ever have hoped to achieve given the balance of power at the time. One should bear in mind that France made a significant contribution to organizing and arming the Polish Army, especially when the Republic of Poland came under threat from Soviet Russia in the summer of 1920. -
Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
Paderewski, Ignacy Jan | International Encyclopedia of the First World War
Version 1.0 | Last updated 08 January 2017 Paderewski, Ignacy Jan By Andrzej Chojnowski Paderewski, Ignacy Jan Polish pianist, composer, and politician Born 06 November 1860 in Kurilovka, Russian Empire (today: Ukraine) Died 29 June 1941 in New York City, United States of America Ignacy Jan Paderewski was a virtuoso pianist. He made use of his popularity in the United States and western Europe to propagate the idea of Polish independence and state sovereignty. In 20th century Poland, he became a symbol of patriotism and devotion to the national cause. Table of Contents 1 Beginnings of Artistic Career and Political Activity 2 The First World War 3 An Independent Polish State 4 Final Years Notes Selected Bibliography Citation Beginnings of Artistic Career and Political Activity Ignacy Jan Paderewski (1860-1941) was born into a family of petty landowners. His ancestors participated in the struggle for Polish independence by taking part in the anti-Russian January Uprising (1863–1864). He maintained a firm conviction about the necessity of acting for the sake of the homeland deprived of independence, and this remains his political legacy. Paderewski’s greatest passion, however, was music. In 1887 he debuted on stage, initiating a series of successful concerts Paderewski, Ignacy Jan - 1914-1918-Online 1/4 across Europe and the Americas. Paderewski used his success to establish contact with important politicians and disseminate knowledge about the so-called “Polish question.” He chose to open his concerts with patriotic speeches, and he promoted the works of Frederic Chopin (1810–1849), another Polish composer. He also inserted into his own compositions motifs referring to Polish folk music and events from the history of Poland. -
Political Visions and Historical Scores
Founded in 1944, the Institute for Western Affairs is an interdis- Political visions ciplinary research centre carrying out research in history, political and historical scores science, sociology, and economics. The Institute’s projects are typi- cally related to German studies and international relations, focusing Political transformations on Polish-German and European issues and transatlantic relations. in the European Union by 2025 The Institute’s history and achievements make it one of the most German response to reform important Polish research institution well-known internationally. in the euro area Since the 1990s, the watchwords of research have been Poland– Ger- many – Europe and the main themes are: Crisis or a search for a new formula • political, social, economic and cultural changes in Germany; for the Humboldtian university • international role of the Federal Republic of Germany; The end of the Great War and Stanisław • past, present, and future of Polish-German relations; Hubert’s concept of postliminum • EU international relations (including transatlantic cooperation); American press reports on anti-Jewish • security policy; incidents in reborn Poland • borderlands: social, political and economic issues. The Institute’s research is both interdisciplinary and multidimension- Anthony J. Drexel Biddle on Poland’s al. Its multidimensionality can be seen in published papers and books situation in 1937-1939 on history, analyses of contemporary events, comparative studies, Memoirs Nasza Podróż (Our Journey) and the use of theoretical models to verify research results. by Ewelina Zaleska On the dispute over the status The Institute houses and participates in international research of the camp in occupied Konstantynów projects, symposia and conferences exploring key European questions and cooperates with many universities and academic research centres. -
An Attempt to Define Ignacy Jan Paderewski's Performing Style
An Attempt to Define Ignacy Jan Paderewski’s Performing Style by Prof. Lidia Kozubek Prof. Lidia Kozubek, concert pianist and one of Poland’s most prominent piano educators, is well known to music lovers in nearly all European countries as well as in Africa, both Americas, Asia, Australia and New Zealand. Besides concertizing and recording music, Prof. Kozubek is a faculty member of the Warsaw Academy of Music. She has also taught a number of piano students in other countries (such as Japan, Norway, Taiwan and Philippines just to mention a few) as a visiting professor or lecturer. For her artistic and educational achievement Prof. Kozubek received highly regarded national distinctions from Polish government, including the Chevalier Cross “Polonia Restituta.” An inquiry as to who was Paderewski seems to be a good starting point for a discussion of the pianist’s performing style. Paderewski was without doubt a personality of his times. Even among the greatest contemporary musicians, Paderewski remains a phenomenon. He had extraordinary combination of virtues, a multitude of talents and, above all, personal charm, unusual honesty and decency. All of these qualities allowed him to be highly successful in a variety of fields. Paderewski was simply an exceptional human figure. The legend surrounding his pianism is justified not only by his musical genius, but also by the richness of his character, which certainly had an impact on his performing style. As a composer, Paderewski was not always appreciated, but he definitely had a solid theoretical background and developed a strong individual style in which the “Polish tone” is easily found. -
The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes In
THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19 BY IGNACY JAN PADEREWSKI Yun Jung Choi, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Adam Wodnicki, Major Professor Jeffrey Snider, Minor Professor Joseph Banowetz, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May 2007, 105 pp., 5 tables, 65 examples, references, 97 titles. The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski’s compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one- movement concerto - would aid scholars and performers alike in better understanding the composition’s engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting. -
Wstęp W 2020 R. Mija Sto Lat Od Utworzenia Ligi Narodów I Podjęcia Przez Nią Działalności. W Dniu 10 St
STUDIA PRAWNICZE KUL 2 (82) 2020 https://doi.org/10.31743/sp.11754 ANNA PRZYBOROWSKA-KLIMCZAK * Członkostwo Polski w Lidze narodów – asPekty Prawne Wstęp W 2020 r. mija sto lat od utworzenia Ligi Narodów i podjęcia przez nią działalności. W dniu 10 stycznia 1920 r. wszedł w życie Pakt Ligi Na- rodów ustanawiający podstawy prawne funkcjonowania organizacji1. Powstanie Ligi Narodów rozpoczęło nowy etap w procesie instytucjona- lizacji stosunków międzynarodowych, zapoczątkowanym w drugiej po- łowie XIX w. i związanym z tworzeniem organizacji międzynarodowych, które zajmowały się sprawami współpracy w określonych dziedzinach, głównie o charakterze technicznym, nie wkraczając w relacje polityczne między państwami członkowskimi2. Postanowiono bowiem powołać do życia organizację o kompetencjach ogólnych, w celu „rozwoju współdzia- łania narodów oraz zapewnienia im pokoju i bezpieczeństwa” (pream- buła Paktu). Duże straty ludzkie i materialne poniesione przez państwa podczas I wojny światowej spowodowały, że idea utworzenia organizacji, która zapobiegałaby w przyszłości wybuchowi wojny, uzyskała poparcie * Prof., dr hab., Uniwersytet Marii Curie-Skłodowskiej w Lublinie, e-mail: aprzybo- [email protected], https://www.orcid.org/0000-0002-9670-4103 1 Tekst Paktu Ligi Narodów stanowił część pierwszą Traktatu pokoju między Mocar- stwami Sprzymierzonemi i Skojarzonemi a Niemcami, Wersal, 23 czerwca 1919 r., Dz. U. z 1920 r. nr 35 poz. 200; Pakt został w nim opublikowany pod tytułem Umowa Związ- ku Narodów. 2 J. Menkes, A. Wasilkowski, Organizacje -
Ignacy Paderewski: Poland. (Makers of the Modern World Series)
20H-Diplo Review10 H-Diplo H-Diplo Review Editor: Diane Labrosse H-Diplo Review H-Diplo Web and Production Editor: George Fujii http://www.h-net.org/~diplo/essays/ Commissioned for H-Diplo by Diane Labrosse Published on 16 June 2010 H-Diplo has commissioned reviews of the Makers of the Modern World Series (Haus Publishing), which concerns the Peace Conferences of 1919-23 and their aftermath. The 32 volumes are structured as biographies in standard format or as specific national/organizational histories. http://www.hauspublishing.com/product/229 Anita Prażmowska. Ignacy Paderewski: Poland. (Makers of the Modern World Series). London: Haus Publishing, 2009. pp. xxii +199pp. Notes, chronology and further reading. Cloth. £12.99. URL: http://www.h-net.org/~diplo/essays/PDF/Haus-Poland.pdf Reviewed for H-Diplo by M. B. B. Biskupski, Central Connecticut State University gnacy Jan Paderewski is a major figure in modern Polish history. His service to the Polish cause during the World War was considerable and his subsequent efforts at the I Paris Peace Conference, though disappointing to many Poles, were certainly devoted Paderewski’s career and the focus is to be on his role at the Peace Conference in this volumeand exhausting. in the Makers Author of theAnita Modern Prażmowska World series. was given Given only this a assi verygnment, few pages concision to discuss and careful selectivity are demanded. First we must compliment the author for many well- turned phrases, an overall graceful style, and some valuable insights. For example, the author describes well Paderewski’s failure to comprehend the dynamics of the Polish situation when he returned after World War I. -
ADVERTISEMENT Polishbeauties 6/12/07 13:33 Page 2
POLISHbeauties 6/12/07 13:33 Page 1 All screenings will be held at: Crisp Road, Hammersmith, London, W6 9RL Box office: 0208 237 1111 www.riversidestudios.co.uk Tickets: 7.50 GBP (for both single- and double-bills!) This event was made possible through the kind support of: Official media partner Sponsored by ® Please watch out for the upcoming KINOTEKA 6th POLISH FILM FESTIVAL April/May 2008 at Riverside Studios and the Andrzej Wajda Retrospective at BFI Southbank. For more information, contests and our free newsletter, visit: www.PolishCulture.org.uk ADVERTISEMENT Courtesy of Muzeum Kinematografii in Lodz ® ed by sponsor January - 6 February 2008 9 Pola Negri Beata Tyszkiewicz Grazyna Szapolowska Magdalena Cielecka Alicja Bachleda-Curus From silent classics to the latest Hollywood films. From THE POLISH CULTURAL INSTITUTE AND RIVERSIDE STUDIOS PRESENT THE POLISH CULTURAL at POLISHbeauties 6/12/07 13:33 Page 2 POLISHbeauties 6/12/07 13:33 Page 3 The Polish Cultural Institute and Riverside Studios present a series of films starring some of the most legendary Polish Beauties to have graced the big screen. From silent films to Kieslowski classics and the latest Hollywood epics, these divas, femme fatales and ingénues are far more than just a pretty picture. 9 January – 6 February 2008 at Crisp Road, Hammersmith, London, W6 9RL Box office: 0208 237 1111 www.riversidestudios.co.uk Tickets: 7.50 GBP (for both single and double-bills!) Pola Negri Biography (9th January Double Bill - see page 3 for details) Polish silent film star Pola Negri was the first European actress turned Hollywood celebrity in the 1920s. -
New Polish Films 20082 0 0 8 NPF 2008 Okladka S II:Layout 1 28/1/08 11:22 Page 1 New Polish Films 2008
NNPFPF 22008008 ookladkakladka s I.aiI.ai 28/1/0828/1/08 11:57:1811:57:18 NewPolish Films 20082008 C M Y CM MY CY CMY K 2008 Sponsor of PISF: NPF 2008 okladka s II:Layout 1 28/1/08 11:22 Page 1 New Polish Films 2008 New Polish Films 2008 1 2 New Polish Films 2008 Introduction Dear Ladies and Gentleman, We begin the third year of the Polish Film Institute's activity and the second year after the Act on Cinematography was approved by European Commission in May 2006. For last two years the situation of Polish cinema has changed favourably. In 2005 with the introducing the parliamentary act, Polish cinema received a great opportunity. The Polish Film Institute, created according to world's best standards, has become an institution supporting artists at every stage of film production. The PFI also subsidizes film festivals and retrospectives, supports the infrastructure of cinemas' renewal, promotes Polish cinema abroad, grants professional advancement of filmmakers as well as film schools. We are always trying to be where something important is happening in cinema. The new law and establishing the PFI resulted not only in multiplying the State's expenses on cinema – here I would like to remind that in the worst in this case year of 2002 Ministry of Culture assigned 4.3 million zloty for film production, while only this year the Institute assigned almost 80 million zloty for film production and development. The number of last year's feature film production increased up to 37 titles and in 2007 – 39 feature films have been made. -
Crossroads-From-Rusto.Pdf
TRANSCLUSION LIBRARY Series editor: prof. Aleksander Mikołajczak CROSSROADS FROM RUS’ TO… Polish Historical Society Branch in Czestochowa Institute of History of Jan Dlugosz University in Czestochowa General History Chair of Pavlo Tychyna Uman State Pedagogical University History and Architectural Reserve "Stara Uman" Laboratory of Interdisciplinary Humanities Studies at Adam Mickiewicz Univeristy CROSSROADS FROM RUS’ TO… Edited by: Rafał Dymczyk, Igor Krywoszeja, Norbert Morawiec TRANSCLUSION LIBRARY Series editor: prof. Aleksander Mikołajczak Częstochowa-Humań-Poznań 2015 TRANSCLUSION LIBRARY Series editor: prof. Aleksander Mikołajczak Tytuł serii/Title of series: Rozdroża/Crossroads Tom 2/Volume 2 From Rus’ to… Redakcja/Edited by Rafał Dymczyk, Igor Krywoszeja, Norbert Morawiec Recenzje wydawnicze/Editorial reviewers: prof. Aleksander Trygub prof. Tadeusz Srogosz Korekta językowa/Proofreading Ludmila Zagoruyko Ph.D. Projekt okładki i skład tekstu/Cover design and typesetting: Kamil Kacperak W projekcie okładki wykorzystano obraz "Mocarze" (oryg. ros. Богатыри) Wiktora Wasniecowa © Copyright by Polish Historical Society Branch in Czestochowa Institute of History of Jan Dlugosz University in Czestochowa General History Chair of Pavlo Tychyna Uman State Pedagogical University History and Architectural Reserve "Stara Uman" Laboratory of Interdisciplinary Humanities Studies at Adam Mickiewicz University The original (reference) version of this publication is electronic edition ISBN: 978-83-931115-9-6 TablE of CoNTENTS Introduction ......................................................................................................... -
Agatambor.Pdf
TWÓRCA Nowa polska półka filmowa seria KULTURA i JĘZYK POLSKI dla CUDZOZIEMCÓW „LEKSYKON POLSKI” TWÓRCA Agnieszka Tambor Nowa polska półka filmowa 100 filmów, które każdy cudzoziemiec zobaczyć powinien Uniwersytet Śląski Wydawnictwo Gnome Katowice 2018 Współpraca przy tworzeniu haseł ADAM ANTONIEWICZ (aa) AGATA RUDZIŃSKA (ar) JUSTYNA BUDZIK (jb) Recenzent WACŁAW M. OSADNIK © Copyright 2015 by Uniwersytet Śląski w Katowicach Wszelkie prawa zastrzeżone Redakcja i korekta KAROLINA POSPISZIL Projekt okładki i szaty graficznej MAREK FRANCIK Publikacja sfinansowana ze środków UNIWERSYTETU ŚLĄSKIEGO W KATOWICACH Współfinansowano ze środków Fotografia na okładce JAROSŁAW ROLAND KRUK Wydanie drugie ISBN 978-83-63268-58-9 Złożono czcionkami Myriad Pro i Minion Pro Printed in UE GNOME — Wydawnictwa Naukowe i Artystyczne ul. Drzymały 18/6, 40-059 Katowice, Poland tel.: 603370713 e-mail: [email protected] Spis treści Wstęp 9 TWÓRCA trzeba obejrzeć 15 NÓŻ W WODZIE (Knife in the Water) 15 ZIEMIA OBIECANA (The Promised Land) 16 PIERWSZA MIŁOŚĆ (First Love) 18 CHINATOWN 19 BARWY OCHRONNE (Camouflage) 21 SEKSMISJA (Sexmission) 22 EUROPA, EUROPA 24 DRAKULA (Bram Stoker’s Dracula) 25 89 MM OD EUROPY (89 mm from Europe) 26 LISTA SCHINDLERA (Schindler’s List) 28 TRZY KOLORY. BIAŁY (Three Colors: White) 30 ŚMIERĆ JAK KROMKA CHLEBA (Death as a Slice of Bread) 31 HELIKOPTER W OGNIU (Black Hawk Down) 33 MARZYCIEL (Finding Neverland) 34 PLAC ZBAWICIELA (Saviour’s Square) 35 KOPIA MISTRZA (Copying Beethoven) 37 SWEENEY TODD: DEMONICZNY GOLIBRODA Z FLEET