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Number of results: 21
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Abstract

Adam Mickiewicz’s Pan Tadeusz (in English: Sir Thaddeus, or the Last Lithuanian Foray), the national epic poem, was first published in June 1834. It was perceived as a idyllic work, full of happiness and very ideal heroes. However, one of the most problem of this poem is treason! It is very important to put a question: what is treason in the strict sense of the word? There are a lot of kinds of treason or only one? Is it possible to betray own country on account of favouriting strange fashion, customs or painting? In Pan Tadeusz Mickiewicz intended to stand up for the Polish tradition. He had a high opinion of loyalty, steadiness and the selfless sense of duty.

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Jan Tomkowski
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Abstract

Adam Mickiewicz’s Pan Tadeusz (in English: Sir Thaddeus, or The Last Lithuanian Foray ), the national epic poem, was first published in June 1834. It was perceived as a patriotic work, full of very ideal heroes. However, one of the most problem of this poem is love! Pan Tadeusz is the poem about love. There are many kinds of love: erotic love and maritial love, also familiar love (between parents and their children), love for country and others. My article applies not just to love affairs, but the very essence of love. What is love in Mickiewicz’s poem – is it “love that moves the sun and other stars” (Dante)?

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Jan Tomkowski
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Abstract

‘The Tatras’ was originally published in the periodical Przegląd Zakopiański in 1902. The poem evokes an apocalyptic landscape dominated by the personifi ed Tatras and an emerging community (a rare example of a collective making an appearance in Miciński’s poetry), whose ways leave little room for optimism. The world, destroyed in a global confl agration, is being harried by a vicious Spectre, whose ravages are highlighted by the poem’s rhythmic structure. In spite of the similarities between it and some of Miciński’s best-known verse from the volume W mroku gwiazd (In the Twilight of the Stars) – i.e. the choice of imagery and colours, the infl uence of expres sionism) – ‘The Tatras’ remains a strikingly odd poem. It is that peculiar quality which may have made one of the less popular of Miciński’s poems.
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Urszula M. Pilch
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Abstract

The reminiscences about prof. Tadeusz Bartkowicz focus on the figure of the significant founder of the Kraków school of urban design and spatial planning as well as environment protection. The synthetic presentation of his considerable accomplishments in this field has been based on the review of his scientific and urban planning work, personal contacts with Professor and the works of other scholars, friends and students.

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Elżbieta Węcławowicz-Bilska
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Abstract

The article is focused on a presentation of 16 silver calyxes owned by Mr. Piotr Maciej Przypkowski. These objects are adorned with various coins: ancient Roman (4), medieval (3), and modern (9). In addition to the coins, each vessel has Latin (12) and Polish (4) maxims as well as alchemic and astrological symbols under its rim. This is very likely the latest, attested in numismatic literature, example of historical coins being reused as decorative elements of vessels.
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Grzegorz Śnieżko
1
ORCID: ORCID

  1. Instytut Archeologii i Etnologii PAN, Al. Solidarności 105, 00–140 Warszawa
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Abstract

The general view of Tadeusz Rittner, a highly successful playwright of the early 20th century, as an uncommitted realist and author of ‘well-made plays’ has, no doubt, been formed and fixed by Zbigniew Raszewski, renowned historian of the theatre who wrote the introductions to the postwar editions of Rittner's plays. This article shows a rather different picture of Rittner, based on his journalism, autobiographical novels and lesser-known dramas in which he pursued his innovatory theatrical visions. The complete Rittner is, in fact, made up of metatheatricality, the grotesque, the aes-thetics of Viennese modernism and a fair share of commercialism.
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Sabina Brzozowska
1
ORCID: ORCID

  1. Uniwersytet Opolski
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Abstract

This article presents an overview of a literary sketch The Bathing Beaches on the Baltic Coast in the West Guberniyas… by Faddei Bulgarin (1789-1859), first published in Russian in 1827 (“Severnaya Pchela”, № 122-125) and in 1828 in Polish (“Kolumb”, vol. 1, № 4). The interpretive context for the story is founded on author’s journeys across the Baltic region and his stay in Karlov near Dorpat as well as development of the resorts by the Baltic Sea. Bulgarin’s sketch was the first description of Palanga (Polish: Połąga) as a seaside resort town. Among other elements of the writing the article discusses its composition and style, focusing primarily on a number of descriptive features concerning: the sea, the land, the nature, entertainments, local inhabitants and travellers and their customs.

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Magdalena Dąbrowska
Piotr Głuszkowski
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Abstract

Without question Tadeusz Nowak reached the height of his poetic powers in a series of poems he called psalms (Psalms for Home Use, 1959; Psalms, 1971; and New Psalms, 1978). Although they form a distinctive group with common characteristics, it is hard to see what could possibly connect them with the lofty verses of the Book of Psalms. Having said that it can be argued that they belong to a Polish tradition of psalms developed by Kochanowski, Kochowski and Krasiński. The Polish psalms come in two varieties, those with sweeping visions of national history and identity, and the homely, or more personal, in focus and tone. Nowak rarely mentions the grand themes, yet when he does so his utterances are pregnant with meaning (though with no touch of the messianic fervour typical of the Polish psalms). His Psalms for Home Use are decidedly ‘homely’ in the sense of being personal and private (even autobiographical), and because they exhibit a mind of the common people from the country. If there is any connection between Nowak’s Psalms and their Biblical prototype it is maintained not so much by the occasional literary allusion as by the casting of the characters in the poems in the role of modern psalmists. Like King David, they know they are sinners, and that knowledge imparts to their ‘psalms’ the candidness of a cry from the depth.
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Maciej Szargot
ORCID: ORCID
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Abstract

The window is a recurring image in the imaginarium and the art of Tadeusz Kantor. Fixed in his memory at an early age, it resurfaced in the spectacle Wielopole, Wielopole (1980) as a plain object "of the reality of the lowest kind", and in the 'cricotage' A Very Short Lesson (1988) as a quasi stage prop charged with metaphysical meaning. The window motif is also a persistent feature of his graphic art. Most notably, it appears in the drawing Man and window (1971), a picture for the Dead Class (Window) from 1983, an autothematic cycle of paintings You cannot look inside through the window with impunity (1988-1990), and Kantor's last dated drawing of pigeons being watched through a window. Kantor's fascination with the window as an objet d'art can be explained by his philosophical aesthetics (especially the use of objects as markers of the 'spaces' of the stage action). This article analyzes the image of the window as a 'site' of special significance in Kantor's art (an object that encapsulates the antynomy of inside/outside, or a claustrophobic incarceration/a barrier to entry) in the context of Hans-Ulrich Gumbrecht's theory of latency (i.e. the inability of throwing off the past, the suspension of time symbolized by artistic constructs of imprisonment).

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Katarzyna Szalewska
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Abstract

This article is an attempt at a narrowly-focused application of a critical approach labelled ‘a history of the history of creativity’, formulated by Magdalena Popiel in her study The World of the Artist: Modernist Aesthetics of Creativity (2017). The article highlights the domain of autopoietic narratives – stories told by artists about their own creative performance, which involves projecting one’s own somatic identity and positioning one-self in a given socio-cultural context (community) – and examines the discursive dimen-sions of the creative process in the metanarrations of Tadeusz Peiper and Józef Czecho-wicz, two major poets of the Polish interwar avant-garde. The resulting model of the creative process is then set into the context of contemporary philosophical, anthropo-logical and psychological theories of creativity.
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Mateusz Antoniuk
1
ORCID: ORCID

  1. Mateusz Antoniuk – Wydział Polonistyki UJ
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Abstract

Tadeusz Rittner steered clear of political themes in his dramas with the single excep-tion of the Wrogowie bogaczy (The Enemies of the Rich). First performed in 1921, the play exposes the insane madness of social (Bolshevik) revolution. At the same time, though, the tragic horror is handled with ironic distance and diverted into absurd grotesque. Moreover, Rittner invests the individual scenes and exchanges between the characters with hints and references that turn the story into a playful game with the theatrical traditions, including the familiar set of plot drivers, i.e. the pursuit of power, love/eroti-cism and art/imagination. For all its cleverness, the play, when staged at the Słowacki Theatre in Cracow, turned out a complete failure. One simple reason for it was that Rittner’s broad, generalized vision failed to meet the current demand for a more con-crete reenactment of historical events.
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Sabina Brzozowska
1
ORCID: ORCID

  1. Wydział Filologiczny Uniwersytetu Opolskiego
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Abstract

Ważną częścią etycznej spuścizny H. Elzenberga jest jego krytyka „praktycznego realizmu” T. Kotarbińskiego, a w szczególności zawartej w nim tezy przyznającej większą moralną wagę minimalizacji cierpienia (i innych form zła) niż maksymalizacji szczęścia (i innych form dobra). Elzenberg podważa pogląd Kotarbińskiego, wskazując na jego zgubne następstwa dla sztuki i wyższej kultury, a także dla naszego poczucia sensu życia. W moim artykule najpierw przedstawiam główne argumenty w sporze między Elzenbergiem i Kotarbińskim; następnie omawiam różne interpretacje zasady prymatu walki ze złem (znane również jako wersje negatywnego utylitaryzmu); w ostatniej części zastanawiam się nad możliwością obrony tezy o priorytecie minimalizacji zła w zakresie etyki medycznej.
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Włodzimierz Galewicz
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Abstract

Henryk Elzenberg już przed II wojną światową był krytycznie nastawiony do sposobu uprawiania nauki realizowanego w Szkole Lwowsko-Warszawskiej. Dawał temu wyraz w swoich publikacjach i publicznych wystąpieniach. Po wojnie jednak stonował swoją krytykę, czemu z pewnością przysłużyły się przyjacielskie relacje z Tadeuszem Czeżowskim, a zwłaszcza zmasowana krytyka całej szkoły prowadzona przez marksistów. Jednak z chwilą opublikowania przez Kotarbińskiego w 1956 r. broszury Sprawy sumienia poczuł się zmuszony do zabrania głosu w tej sprawie. Jego głos musiał być krytyczny, gdyż propozycje Kotarbińskiego podważały jego osobiste przekonania odnośnie sensu uprawiania etyki. Krytyka Henryka Elzenberga dotyczyła zatem nie tylko samej etyki niezależnej, ale i całej filozofii Kotarbińskiego. W Kłopocie z istnieniem znajdujemy krótkie i dosadne stwierdzenie: „Kotarbiński i towarzysze: zbrodnia zamykania dróg przed człowiekiem”. Krytyka poszczególnych założeń etyki niezależnej nigdy jednak za życia Elzenberga nie ujrzała światła dziennego. Zachowała się tylko w materiałach archiwalnych, pozostałych po tym filozofie, oraz w jego korespondencji. Argumentacja, jaką posługiwał się Elzenberg krytykując etykę niezależną, jak się wydaje, w znacznej części zachowała aktualność do dnia dzisiejszego.
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Stefan Konstańczak
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Abstract

W artykule omawiam trzy strategie argumentacyjne na rzecz tezy, że zdania niereistyczne są metaforyczne: argumentację epistemologiczną ze spostrzeżeniowego sensu spójki jest, argumentację semiotyczną z zasadniczego rozumienia tej spójki oraz argumentację semiotyczną opartą na kryteriach metaforyczności czasowników. Żadna z nich nie wydaje się skuteczna. Uznanie wszystkich zdań niereistycznych – i występującej w nich spójki – za metaforyczne zdaje się niemożliwe bez uprzedniego przyjęcia ontologii reistycznej.
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Marcin Będkowski
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Abstract

On the base of Emil Cioran's philosophical concepts, the Author undertakes an attampt to interpret the ethic and intellectual tensions between the traditional and Enlightenment ideas of Polish eighteenth century thinkers: Hugo Kołłątaj, Stanislaw Staszic, Jan Śniadecki and Tadeusz Czacki.
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Anna Łysiak
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Abstract

This article is an attempt to confront the autothematic refl ection in Leopold Staff’s (Ars poetica and The Artist’s Sadness) with two poems, inspired by a somewhat similar approach, by Tymoteusz Karpowicz and Krystyna Miłobędzka. What they seem to have in common are textual signs of welcome with ‘open arms’ and ‘the outstretched hand’. These emblematic gestures invite the reader/the Other to a diffi cult dialogue and at the same time indicate the nature of the authors’ poetic ambition. The analysis of the two pairs of poems is set in the context of the 20th-century evolution of the idea of poetic genius and the poet’s self-awareness. Crucial to this comparative study of the poetic practice of Leopold Staff, Tymoteusz Karpowicz and Krystyna Miłobędzka is an appraisal of the authenticity of their vision and the language they used to express their maximalist ambitions.

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Karolina Górniak-Prasnal
ORCID: ORCID
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Abstract

This article deals with the first phase of Jerzy Jankowski’s severing ties with the Young Poland movement and his access to the futurist avant-garde. His conversion to the new poetic worldview, which he pioneered in Poland, was reflected in his articles and poems published in Widnokrąg [Horizon], a magazine he founded in 1913 to replace Tydzień [The Week], of which he was the main publisher. The rebranding came on top of disagreements between the magazine’s contributors. The divergent views focused on the assessment of Tadeusz Miciński’s novel Xiądz Faust. In May 1913, in his former magazine, Jankowski heaped praises on it. However, the following year, when it came up for debate in the Widnokrąg between Miciński’s aficionado Zygmunt Kisielewski and the skeptically-minded Leon Choromański, Jankowski sought to distance himself from both the emotionalism and the intellectualism of his colleagues. By that time he was absolutely adamant that the antinomies of Young Poland’s high art were a trap. Now that the worship of art striving for timeless perfection would have to give way to an unpretentious concern for ‘fugitive art’, the time was ripe for working out a new aesthetic, centered on the thrilling ‘beauty of big cities’, cabaret, cinema, and modern machines. Jankowski broke with his erstwhile mentor Ferdynand Ruszczyc and Zenon Przesmycki-Miriam, to follow the incomparably more exciting Filippo Tommaso Marinetti. Meanwhile, Choromański made one last attempt to bring the young man back on track by writing an article, in which he argued that Futurism was crude, and shallow, a throwback rather than a modern breakthrough. However, his warnings made no dint in Jankowski’s faith in futurism. For him its triumph was a matter of historical necessity. And, he had already thrown in his lot with the new movement by publishing his first futurist poems, ‘Spłon lotnika’ [‘Pilot in flames’] and ‘Maggi’.

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Radosław Okulicz-Kozaryn
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Abstract

This article is an attempt to re-read Tadeusz Miciński's poem ‘Blood-red Snow’ (‘Krwawy śnieg’, 1914) in the context of a tragedy that took place in February 1914 at Zakopane, or more precisely, in Kościeliska Valley in the Tatras. It was there that Jadwiga Janczewska, Stanisław Ignacy Witkiewicz's fiancée, took her life by shooting himself in the head. Her suicide prompted Miciński, a close friend of Witkiewicz, to write the ‘Blood-red Snow’, a poetic reportage infused with ambiguity, which presents a highly subjective vision of the tragic event and its circumstances. Read out of context, the poem seems be just another product of the poet's fascination with the philosophy of the occult (Luciferianism). However, when its real-life context is restored, the heady symbolism turns out to be a camouflage of a poème à clef, a genre which ‘Blood-red Snow’ actually exemplifies. The poem is an instant reaction to a dramatic event. To make sense of it one does not need to be familiar with the whole story of the relations between Miciński and Witkiewicz. What is perhaps worth noting is that their relationship soured after Jadwiga Janczewska's suicide, which triggered an unending blame game on all sides. While the public held Witkiewicz responsible for the young woman's death, he himself put the blame on Miciński and, first and foremost, on Karol Szymanowski. These controversies are, however, beyond the scope of the 'Blood-red Snow'.

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Anna Czabanowska-Wróbel
ORCID: ORCID
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Abstract

The ideas of pluralism, their various theoretical developments and ideological concretizations, as well as their promotion and the attempts at implementing them in social practice, constitute a current signum temporis. Pedagogical reflection seems to be particularly sensitive to the issue of pluralism, to its understanding and practising, to multidimensional references of pluralism to the world of values. This especially concerns the values and conflicts of values which are close to various forms of educational activity. What is considered – more or less critically – in pedagogical reflection are different aspects and consequences of the idea of pluralism concerning the currently existing ideas. Simultaneously, the multitude of the ideas of pluralism is taken into account – the ideas which refer to the broadly treated sphere of pedagogical activities and institutions. Pedagogical reflection also considers the threats which co-occur with pluralism or are aimed against it and which are carried by pluralism itself, e.g. in the sphere of education. An expert in the contemporary pedagogical thought and practice, Bogusław Śliwerski, asks: “Will we manage to save the world of pedagogical thought, the pedagogy open to difference, to pluralism (not to be mistaken for another illness which is relativism)?”. By confronting pluralistic perspectives of pedagogy with current ideological and social challenges, he makes this question one of the leading issues in pedagogical and metapedagogical studies. What seems to be heard in this question as well is the appeal to save the world of pedagogical thought as an open world characterized by pluralism, doing this through honest reasoning conducted from different standpoints and perspectives. The assumption of this question comprises the axiologically consolidated belief that it is worth “to save the world of pedagogical thought, the pedagogy open to pluralism”. This is also an inspiration to undertake the (presented in this text) thought concerning the pluralistic perspectives of pedagogy and various faces of pluralisms in the critical recognition of metapedagogical reflection in the case of the Polish pedagogical thought after 1989.

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Marek Rembierz
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Abstract

W ofiarowanej Władysławowi Tatarkiewiczowi księdze pamiątkowej Charisteria (1960) znalazła się krytyka jego estetyki dokonana przez Jerzego Pelca. Merytorycznie spór dotyczył pojęć „formy” i „treści” zastosowanych do dzieł sztuki literackiej i dzieł sztuki plastycznej. Według Tatarkiewicza, dzieła plastyczne mają „formę A”, rozumianą jako układ elementów zmysłowych, a dzieła literackie „formę B”, czyli są zbiorem znaków językowych. „Formie B” przysługuje zawsze „treść”, której dzieła plastyczne są pozbawione. Jerzy Pelc wysunął wobec tej koncepcji uwagi krytyczne z perspektywy semiotyki logicznej. Według Pelca, znaki językowe spełniają trzy równorzędne funkcje językowe: (1) znaczą, (2) oznaczają i (3) wyrażają – co odpowiednio różnicuje pojęcie „treści”. Dzieła plastyczne również mogą spełniać te funkcje, ponieważ w ramach ogólnej teorii znaku, jaką jest semiotyka logiczna, znakami są zarówno „znaki ikoniczne” (dzieła plastyczne), jak i „znaki symboliczne” (dzieła literackie). Z punktu widzenia historii filozofii, książka Charisteria była w epoce marksizmu oazą filozofii tradycyjnej, przedwojennej. Spór między W. Tatarkiewiczem i J. Pelcem przebiegał we wspólnej tradycji szkoły lwowsko- warszawskiej, choć toczył się pomiędzy jej skrzydłem lewym, nastawionym rygorystycznie i scjentystycznie (Pelc), a skrzydłem prawym, nastawionym bardziej tolerancyjnie i humanistycznie (Tatarkiewicz).
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Łukasz Kowalik
ORCID: ORCID
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Abstract

It was with great sadness that we learned on 18 October 2021 of the death of the distinguished Italian Slavist and Polonist Sante Graciotti, professor emeritus of the Sapienza University of Rome. This personal tribute, written on the first anniversary of his death, begins with a recollection of the ceremony of awarding Sane Graciotti the title of Doctor honoris causa by the Jagiellonian University. on 16 December 1986. The laudatio, delivered by Professor Tadeusz Ulewicz, presented our guest's achievements and the main stages of his academic life. It began with the study of Italian philology at the Università Cattolica del Sacro Cuore in Milan and came to a turning point at La Sapienza in Rome, where he pivoted towards Slavic philology. The youthful fascination became a lifelong commitment which earned him the acclaim and honours that are the crown of an academic career. Finally, he concentrated his attention on Poland, Polish history and culture, and the history of Polish-Italian cultural relations. In his explorations of the new field, he could count on the friendly assistance of his Polish colleagues, especially Tadeusz Ulewicz, a historian of Polish literature with a profound knowledge of the historical ties between Poland and Italy. The respect they had for each other's work led to the promotion of Graciotti's research in Poland and the awarding of the doctorate honoris causa to Tadeusz Ulewicz by the Università Cattolica in Milan.
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Authors and Affiliations

Jan Okoń
1
ORCID: ORCID

  1. Kraków

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