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The Oder-Neisse Line As Poland's Western Border
Piotr Eberhardt Piotr Eberhardt 2015 88 1 77 http://dx.doi.org/10.7163/ GPol.0007 April 2014 September 2014 Geographia Polonica 2015, Volume 88, Issue 1, pp. 77-105 http://dx.doi.org/10.7163/GPol.0007 INSTITUTE OF GEOGRAPHY AND SPATIAL ORGANIZATION POLISH ACADEMY OF SCIENCES www.igipz.pan.pl www.geographiapolonica.pl THE ODER-NEISSE LINE AS POLAND’S WESTERN BORDER: AS POSTULATED AND MADE A REALITY Piotr Eberhardt Institute of Geography and Spatial Organization Polish Academy of Sciences Twarda 51/55, 00-818 Warsaw: Poland e-mail: [email protected] Abstract This article presents the historical and political conditioning leading to the establishment of the contemporary Polish-German border along the ‘Oder-Neisse Line’ (formed by the rivers known in Poland as the Odra and Nysa Łużycka). It is recalled how – at the moment a Polish state first came into being in the 10th century – its western border also followed a course more or less coinciding with these same two rivers. In subsequent cen- turies, the political limits of the Polish and German spheres of influence shifted markedly to the east. However, as a result of the drastic reverse suffered by Nazi Germany, the western border of Poland was re-set at the Oder-Neisse Line. Consideration is given to both the causes and consequences of this far-reaching geopolitical decision taken at the Potsdam Conference by the victorious Three Powers of the USSR, UK and USA. Key words Oder-Neisse Line • western border of Poland • Potsdam Conference • international boundaries Introduction districts – one for each successor – brought the loss, at first periodically and then irrevo- At the end of the 10th century, the Western cably, of the whole of Silesia and of Western border of Poland coincided approximately Pomerania. -
Implementing Communism, Negociating Modernism Picasso and His Art in the Eastern Block
Implementing Communism, Negociating Modernism Picasso and his Art in the Eastern Block Piotr Bernatowicz • colloque Revoir Picasso • 26 mars 2015 On October the fifth, L’Humanité, the press organ of the number of artists were left-wing or involved in the commu- French communists announced Pablo Picasso’s entering the nist movement before the war (especially in Cechoslovakia). communist party of France.1 Their anxiety and fears was caused by Socialist Realism as Three days before, in Nazi occupied Poland, the Warsaw the “compulsory” trend in the USSR. In Poland artists knew uprising–the last desperate strain of the Polish underground Socialist Realism from the shows of Russian art which took state –had capitulated after two months of fighting. After the place before 1939. During the time of first Soviet occupa- defeat of the uprising, there was no power to compete against tion in Lvov and Białystok in 1939, some artists could expe- the marionette communist committee (PKWN), which was rience Socialist Realism.8 It was perceived by the Mid-Eastern later transformed into the temporary government. The troops modernists as the contradiction of freedom and progress that remained from the underground army were consistently in art. and violently pacified by the Red Army, the NKWD and its Polish younger brother, KBW (Korpus Bezpieczeństwa Exposing Picasso’s political engagement by communist pro- Wewnętrznego–The Interial Security Corps).2 paganda created an impression that there was no obstacle for Jerzy Borejszapreviously name Benjamin Goldberg), was artists to support communism and stay modernist. For this the former Red Army officer and member of the communist reason, the modernists could feel comfortable in the new committee that was responsible for the propaganda and that, regime, especially as Picasso was the guarantee of freedom. -
Warsaw Wanderings
Warsaw Wanderings • WARSAW THEATRES FROM STUDIOS TO PALACES BY GLENN LONEY From 27 September to 1October1989, the series of operas which were regarded as a Polish branch ofOISTAT, the Interna testament to Polish patriotism and culture tional Organisation of Scenographers, during a period of subjugation. During Theatre Architects and Technicians, will the beginning of the 20th century, this host the 1989 OISTAT Congress in Warsaw stage boasted such names as Warsaw. The theme of this congress is singers Jan Kiepura and Enrico Caruso. "The Preservation of the Arts and Crafts During the siege of Warsaw in 1939 of the Theatre." Among the activities of the building was severely damaged and the colloquium will be exhibitions and was completely destroyed during the demonstrations of specialists in various Warsaw uprising. The classical fac;:ade theatrical arts and crafts - costume alone survived. After the liberation, the makers, tailors; shoemakers, scenic artists, government of the People's Republic of prop makers, armourers, and milliners. Poland began rebuilding the Wielki. The The five-day conference will include a first stage of the reconstruction was series of visits to Warsaw theatres. With completed in 1949, and comprised the this in mind, Cue International presents a rebuilding of the Right Wing. tour of the theatres of Warsaw. -Editor During the remaining 16 years of re construction, every attempt was made by n a country where recent political architect Bohdan Pniewski and technical [1] events read like grand drama - with designer Arnold Szyfman to make the the daring challenge of the worker's Wielki the most advanced theatre of its rebellion in 1980, the imposition of martial time for its reopening in 1965. -
From Stalinism to “Heresy”. the Evolution of the Political Thought of Milovan Ðjilas, 1941-19491
Studies into the History of Russia and Central-Eastern Europe ■ XLVII Michał Jerzy Zacharias From stalinism to “heresy”. The evolution of the political thought of Milovan Ðjilas, 1941-19491 Summary: knowledge of communism, so carefully presented in the best and the most famous work of Milovan Ðilas entitled The New Class. An Analysis of the Communist System, New York, 1957, undoubtedly resulted from his previous political practice and theoretical reflections. In the years 1941-1949, Ðilas was both a politician and one of the main ideologists and propagandists of the Communist Party of Yugoslavia. In his later writings, books and speeches, he pointed out that even in time of the war he began to express doubts whether the communistic idea, as he understood at that time, indeed could be fully realized. The above mentioned doubts should be treated hypothetically, we should approach to them with caution. Mostly because they are expressed later after World War II. We do not have a pos- sibility to confirm its veracity on the basis of other sources, documents and messages than those presented in the article. However, the analysis of Ðilas intellectual attitude after the outbreak of the conflict between the Soviet and Yugoslav Communists in 1948, leaves no doubts that slowly and gradually, but irreversibly, Ðilas began to undermine the meaning and the possibility of building „socialism” in line with Stalinist principles. Ðilas propaganda initial admiration of Soviet reality gave way to criticism. Of course, in 1949, so at the end of the period, Ðilas was still a communist. Nevertheless, he inclined to the conviction that Stalinist model becomes a clear deviation from the „true” Marxism. -
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Kawaleryjskie barwy i tradycje współczesnych jednostek wojskowych… #0# DOI: 10.18276/pz.2020.4-02 PRZEGLĄD ZACHODNIOPOMORSKI ROCZNIK XXXV (LXIV) ROK 2020 ZESZYT 4 ARTYKUŁY Katarzyna Rembacka ORCID: 0000-0002-4009-3390 Instytut Pamięci Narodowej e-mail: [email protected] Collective or individual biography? A communist in “Regained Lands” just after the WW2 Key words: Western and Northern Lands in Poland, Polish Government Plenipotentiaries, communists, biography, 1945, human resources policy Słowa kluczowe: Ziemie Zachodnie i Północne w Polsce, Pełnomocnicy Rządu RP, ko- muniści, biografistyka, 1945 rok, polityka kadrowa It would be appropriate to begin by explaining the research perspective outlined in the title. The key to the analysed problem, i.e. the biographies of people taking over and being in power after the end of the Second World War on the Western and Northern Territories, were ideological choices made by them. They deter- mined their fate, and it is through their prism that we can look at the history of regions which, as a result of the post-war transformation of Europe, found them- selves within the borders of Poland. It should be noted, however, that the subject under consideration is only a research “sample” as it is limited to a relatively small collection. It is made up of biographies of people who, in March 1945, were appointed government plenipotentiaries of new administrative districts.1 Of this group, special attention will be paid to one of them – Leonard Borkowicz (until 1944 Berkowicz). It is his personalised history that will allow us to analyse the 1 Archive of New Files (hereinafter: AAN), Ministry of Public Administration, Excerpt from the minutes of the meeting of the Council of Ministers of 14 March 1945, ref. -
Gdynia, a Polish Modern Movement City Built from Scratch Architecture
Gdynia, a Polish modern movement city built from scratch Gabriela Kaja Kuleczko Thesis to obtain the Master of Science Degree in Architecture Supervisor Prof. Ana Cristina Dos Santos Tostões Examination Committee Chairperson: Prof. João Rosa Vieira Caldas Supervisor: Prof. Ana Cristina Dos Santos Tostões Member of the Committee: Prof. Francisco Manuel Caldeira Pinto Teixeira Bastos October 2019 ii I declare that this document is an original work of my own authorship and that it fulfills all the requirements of the Code of Conduct and Good Practices of the Universidade de Lisboa. iii iv Acknowledgments The work developed in this thesis could not have been achieved without the support of many people to whom I want to acknowledge and express my gratitude. Firstly, I would like to thank my supervisor, Prof. Ana Cristina Dos Santos Tostões , for proposing such a challenging topic and for introducing me to the study of modern movement in Poland. I would also like to thank her for enriching conversations and for her help, patience and guidance throughout this work. A special thanks go to the employees of the Gdynia City Museum, who provided me with the archives of the museum, which are an essential element needed to create this thesis, and shared their knowledge, giving me valuable tips. Last but not least, I wish to deeply thank my parents for the support and encouragement they have provided throughout the process of researching and writing this thesis. v vi Abstract Gdynia, a Polish city, founded in the 1920s, was designed from scratch in accordance with the modernist trends prevailing at that time. -
Bruno Kamiński
Fear Management. Foreign threats in the postwar Polish propaganda – the influence and the reception of the communist media (1944 -1956) Bruno Kamiński Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 14 June 2016 European University Institute Department of History and Civilization Fear Management. Foreign threats in the postwar Polish propaganda – the influence and the reception of the communist media (1944 -1956) Bruno Kamiński Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Prof. Pavel Kolář (EUI) - Supervisor Prof. Alexander Etkind (EUI) Prof. Anita Prażmowska (London School Of Economics) Prof. Dariusz Stola (University of Warsaw and Polish Academy of Science) © Bruno Kamiński, 2016 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I <Bruno Kamiński> certify that I am the author of the work < Fear Management. Foreign threats in the postwar Polish propaganda – the influence and the reception of the communist media (1944 -1956)> I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. -
Dyrektor Teatru – Przywódca Czy Menedżer?
Joanna Zając DYREKTOR TEATRU – PRZYWÓDCA CZY MENEDŻER? Niniejsza publikacja jest zapisem wywiadów przeprowadzonych w 2004 i 2005 ro- ku z dyrektorami trzech teatrów instytucjonalnych, repertuarowych. Swoje doświad- czenia na polu zarządzania teatrem w obecnych warunkach gospodarczych, poglądy na temat zadań stojących przed dyrektorem, a także swoje plany i ambicje zawodowe przedstawili w nich: Krystyna Meissner – dyrektor wrocławskiego Teatru Współcze- snego1, Krzysztof Orzechowski – dyrektor Teatru im. Juliusza Słowackiego w Krako- wie2, oraz Jerzy Fedorowicz – dyrektor Teatru Ludowego w Krakowie Nowej Hucie3. Wywiady zostały zrealizowane w ramach przygotowań do pracy magisterskiej Dy- rektor teatru – przywódca czy menedżer? Specyfika wybranych problemów zarządzania personelem w teatrach. Powstaje ona jako wynik zainteresowania obszarem zarządza- nia personelem w instytucjach kultury, wśród których teatry stanowią grupę szczegól- ną. Dzieje się tak ze względu na specyfikę działalności tych organizacji, w których aktorzy, reżyserzy, scenografowie, tancerze, autorzy teksów, kompozytorzy, muzycy, choreografowie są nie tylko twórcami, ale także członkami zespołów, zwierzchnikami albo podwładnymi, pracownikami etatowymi lub współpracownikami. Powstaje więc pytanie, czy zatrudnianie artystów implikuje szczególne zadania i metody postępowa- nia zarządzającego? Czy rodzi to napięcia i konflikty, inne niż w organizacjach rynko- wych lub pozostałych instytucjach kultury? Jakie w związku z tym powinny być kwali- fikacje i kompetencje zarządzającego? -
Katarzyna Uchowicz, Reading Muranów. Memory of a Place
RIHA Journal 0108 | 31 December 2014 | Special Issue "Contemporary art and memory" Reading Muranów. Memory of a place / memory of an architect Commentary on the postwar work of Bohdan Lachert Katarzyna Uchowicz Editing and peer review managed by: Katarzyna Jagodzińska, Międzynarodowe Centrum Kultury, Kraków / International Cultural Centre, Krakow Reviewers: Marta Leśniakowska, Joanna Sosnowska Wersja polska dostępna pod adresem / Polish version available at: http://www.riha-journal.org/articles/2014/2014-oct-dec/special-issue-contemporary-art-and-memory- part-1/uchowicz-muranow-pl (RIHA Journal 0107) Abstract The text concentrates on the concept of South Muranów – a residential quarter / monument realised in the area of the Warsaw ghetto by the architect Bohdan Lachert. It attempts to show this work as an artistic myth created by the artist. An analysis of the architect's texts and a reconstruction of the circumstances in which the project was realised, as well as the details of Lachert's biography reveal new layers of this architectonic palimpsest. Clear references to the bold visions of Śródmieście (City Centre) by Maciej Nowicki and an adaptation for the purposes of residential quarter / place of memory experiments at transforming rubble, popular in the 1940s, provoke questions about the originality of the concept of Muranów, whose unquestionable value is the spatial composition stemming from pioneering experiments by Katarzyna Kobro, organic architecture of Frank Lloyd Wright, and Nowicki'c new functionalism. The history of the quarter is at the same time a microcosm of the initial years of rebuilding Warsaw and of the socialist realist chaos after 1949, as well as a record of the search for artistic subjectivity of a Modernist architect in a new reality. -
In the Sphere of Reception, Revisions and Inspirations
IN THE SPHERE OF RECEPTION, REVISIONS AND INSPIRATIONS Janusz Degler (University of Wrocław) Witkacy around the World Translated by Tomasz Wiśniewski In the year 1962, Konstanty Puzyna edited and published a two-volume collection of Stanisław Ignacy Witkiewicz’s plays. It contained twenty-two texts, which were mostly unknown as they had been neither printed nor performed (in his lifetime, Witkacy ma- naged to publish only six plays, and the publication of one of them was not fully com- pleted1). Puzyna’s edition turned out to be pivotal for the reception of Witkiewicz’s work: in the next few years, Witkacy became one of the most important Polish playwrights, and his plays were produced by professional, student and amateur companies2. Witkacy’s plays were made available to the wide world, and they soon attracted the attention of translators, critics, literary scholars, theorists, and theater directors in many countries around the world. In 1963, the journal Pour l’Art (No. 8990) published Eric Veaux’s translation of an excerpt from The Introduction to the Theory of Pure Form in the Theatre. Nearly at the same time, the very same excerpt – with an introduction by Konstanty Puzyna – was published as “Un nuovo tipo di drammaturgia” in the special issue on Polish theater of the Italian monthly Sipario (no 208–209). Another section of The Introduction was included in Odette Aslan’s anthology L’Art du théâtre (Paris, 1963), where the history of theatrical thinking from ancient times to the present was discussed. A year later, the Yugoslav anthology Avangardna drama (Belgrade, 1964) edited by Slobodan Selenić, included the play The Madman and the Nun in Petar Vuj- ćić’s Serbo-Croat translation. -
Slezský Sborník Acta Silesiaca
SLEZSKÝ SBORNÍK ACTA SILESIACA ROČNÍK CXIV / 2016 ČÍSLO 2 ŘÍDÍ ALEŠ ZÁŘICKÝ SLEZSKÝ SBORNÍK 114 / 2016, ČÍSLO 2 SLEZSKÝ SBORNÍK ACTA SILESIACA REDAKCE Vedoucí redaktor: Aleš Zářický Výkonný redaktor: Ondřej Kolář REDAKČNÍ RADA Robert Antonín, Mečislav Borák, Jiří Brňovják, Jiří Friedl, Zdeněk Jirásek, Jiří Knapík, Irena Korbelářová, Petr Kozák, Radmila Prchal Pavlíčková, Jan Saheb, Jerzy Sperka, Janusz Spyra, Tomáš Staněk, Marek Starý, Rudolf Žáček Vydává Slezské zemské muzeum. Časopis je evidován v rámci databáze European Reference Index for the Humanities and Social Sciences (ERIH Plus). ADRESA REDAKCE Slezské zemské muzeum, Redakce Slezského sborníku Nádražní okruh 31, 746 01, Opava, Česká republika e-mail: [email protected] web: http://www.szm.cz/rubrika/71/veda-a-vyzkum/periodika/slezsky-sbornik.html Toto číslo vyšlo 1. 12. 2016 Vychází 2x ročně Evidenční číslo MK: E 1240 ISSN 0037-6833 All foreign orders are executed exclusively by agencies: KUBON-SAGNER, BUCH EXPORT-IMPORT GmbH, D-80328 München, BRD E-mail: [email protected] MYRIS TRADE LTD., P.O. BOX 2, 142 01 PRAGUE, CZECH REPUBLIC Tel.: 00420 234 035 200 * Fax: 420 234 035 207 * E-mail: [email protected] Foreign orders executed by other subscription agencies contradict the publisher's agreements with the above mentioned sole agencies and they will be regarded as illegal. Tisk: Tiskárna Knopp, s. r. o., U Lípy 926, Nové Město nad Metují, www.tiskaarnaknopp.cz Za jazykovou správnost publikovaných textů odpovídají autoři. © Slezské zemské muzeum, Opava 2016 SLEZSKÝ SBORNÍK 114 / 2016, ČÍSLO 2 OBSAH / CONTENTS STUDIE / ARTICLES Karolína KIRSCHNEROVÁ: Fojtská privilegia hukvaldského panství 5–25 mezi kontinuitou a změnou (13. -
Of Silesia Vol
Cuius regio? Ideological and Territorial Cohesion of Silesia vol. 5 eds Lucyna Harc, Przemysław Wiszewski, Rościsław Żerelik Online access: http://www.bibliotekacyfrowa.pl/publication/78119 Joanna Nowosielska-Sobel, Grzegorz Strauchold, Przemysław Wiszewski Permanent Change. The New Region(s) of Silesia (1945-2015) ed. Przemysław Wiszewski Wrocław 2015 The book was published with funds of the program Cuius regio. Analiza sił spajających i destrukcyjnych w obrębie regionu określających przynależność osób (grup społecznych) oraz spójność społeczną jako zjawisko historyczne / Cuius regio. An analysis of the cohesive and disruptive forces destining the attachment of (groups of) persons to and the cohesion within regions as a historical phenomenon, decision of the Polish Minister of Science and Higher Education No. 832/N-ESF-CORECODE/2010/0. Peer review: Małgorzata Ruchniewicz Translated by: Matthew La Fontaine, Paweł Ausir Dembowski, Anna Lidia Błaszczyk, Piotr Szutt Language proofreading: Matthew La Fontaine, Judson Hamilton © Copyright by Authors and Uniwersytet Wrocławski Cover design: Marcin Fajfruk Typesetting: Aleksandra Kumaszka, Tomasz Kalota ISBN 978-83-942651-2-0 Publishing House eBooki.com.pl ul. Obornicka 37/2 51-113 Wrocław tel.: +48 602 606 508 email: [email protected] WWW: http://www.ebooki.com.pl Table of Contents Przemysław Wiszewski A time of transformation. New Silesia under construction (1945-2015) ............ 9 Joanna Nowosielska-Sobel Administrative changes....................................................................................