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A rare and interesting study by Evdokia Peteva Filova, wife of the slain in 1945 Bulgarian prime minister Bogdan Filov.
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In the history of composition and performance an interesting and multiplot chapter of musical changes opens, together with development Romantic epoch. Then a different from the current concept of a piece of work is being born. The work, which reaching for various inspirations, is slowly turning away from classical, formal and melodic and harmonic formula and is heading for virtuosity. Musical findings of that period would not have been possible without specific trends and composing tendencies being pointed out in the early stage of the Romantic period. Among those a special place was reserved for brillant style. This technique joined formal elegance and beauty of Italian bel canto style with harmonic enriching and virtuosity, created on the basis of sentimentalism, became a bridge between Classicism and music 19th century.Trying to catch the essence and evolution of brillant style, nineteen cen-tury’s and contemporary researchers have been basing on analysis of great European composers, slightly neglecting this phenomenon within smaller e.g. national areas. Some Polish researchers, touching the issue, limited it only to a description of the problem, focusing just on one composer and they did not extend their study onto works of other Polish early Romantic musicians. Thus there is a gap around brillant style embracing heritage of tal-ented composers of the period of partitions, Warsaw Duchy and Polish Kingdom, who despite being remote from European music centre tried to follow its traces. Combining what was Polish and national with contemporary composing fashion, they created some interesting and worth analysing works, which are research material for the present thesis. A ‘blank page’ in the description of this piece of Polish music history makes one put questions: firstly, if and to what extend creation of local composers included some features oh widespread on the West trend for virtuosity interweaving with affectionate lirysm and secondly, how to perform and interpret works written by Polish creators according to rules of brillant style.The stimulus to undertake scientific consideration on ‘Polish’ brillant style was for the author only Chopin’s works. The studies on them initiated the process of searching for other but similar compositions by musicians creating just before or together with the great composer. These actions resulted in rediscovery of plenty oh interesting information about works by early Romantic composers, who have not been too famous so far. These mu-sicians, similarly to Western European ones, performed daring technical shows, joining them with melodious parts. In Polish works, following brillant style, we can observe domination of figuration, ornamentation and a principle of alterative use of deeply lyrical and exceptionally virtuoso moments. This combination revealed musical and professional mastery of a performer, which was particularly noticeable in piano, violin and chamber literature.The research of some compositions oh Warsaw composers mainly, al-lowed to describe the brillant style phenomenon, which has become the aim of the present thesis. A special place is here occupied by analysis of some works by Maria Szymanowska (Nocturn in B major), Ignacy Feliks Do-brzyński (Grand Trio in A op. 17) and Fryderyk Chopin (Fantasy on Polish Airs in A major op. 13), whose recorded on the enclosed record performance, is an integral part of the presented ‘description of a piece of art’.An attempt of doing a research and creating an in-depth description of the topic has determined the lay-out of the work. In the first chapter, the author made closer to a reader the phenomenon of the brillant style in historic and cognitive context. She has framed the epoch background, where based on the changing philosophy and new social structures, a profession of a virtuoso-composer was being born. This part of thesis was devoted to a description of oeuvre of leading European composers, who willingly and with great deter-mination created ‘brillant’ works. The author focused also on, resulting from composing fashion, problem of changes in, popular then, types of instrumen-tal miniatures and soloist concerts. She has also gave her account of Johann Nepomuk Hummel’s – the doyen of the brillant style – work, in which he framed formal, technical and esthetical guidelines of the presented style. In the first chapter she described all the collected information about the de-scribed stylistics, revealing some significant negligence in researches of Polish early Romantic brillant current.Based on earlier opinions and definitions, in the second chapter, a pic-ture of fashions and composing tendencies of the 19th cent. Polish music salon has been presented. Introducing political, cultural and social unique-ness of Poland of the turn of the 18th and 19th century, the author described composing experience of popular, among whom we may find Józef Elsner, Franciszek Lessel, Józef Deszczyński, Józef Krogulski, Antoni Kątski, a vio-linist – Karol Lipiński and Henryk Wieniawski. Next, analysing in detail some compositions, the author emphasised achievements of the most inter-esting (according to her) artists: Szymanowska, Dobrzyński and Chopin. The choice came from searching and comparing elements of brillant style in possibly various genres – from early miniatures through chamber forms up to concert pieces. Putting the works together allowed to show not only stylis-tic development from its modest use to ideal symbiosis of virtuosity and lyrical and sentimental motives opening the way for the mature Romantic period, but also to distinguish features which make Polish brillant style dif-ferent from European compositions. Probably as an effect of complex Polish political situation and coming with it need to kindle Polish national spirit, Polish music of this period is full of national and folk references.A detailed analysis of works by Szymanowska, Dobrzyński and Chopin allowed to notice how together with the development of the brillant style it came to quoting of native melodious expressions. Works by Szymanowska, which followed gentle salon character, show the beginnings of virtuoso stylis-tics, which strongly absorbed national elements only in Dobrzyński’s and then Chopin’s works. Of course, a crowning achievement of this tendency became the virtuoso Fantasy op. 13 by Fryderyk Chopin, which was to stay forever almost symbolic image of early Romantic composing fashions and a founda-tion stone of Romantic national schools. Presenting by the author almost unknown so far Grand Trio op. 17 by Dobrzyński, has become big contribu-tion to discovery of forgotten works by Polish composers. Its detailed analy-sis allowed to trace the way in which composers implemented brillant style to piano chamber compositions and made allusions to traditional national motives. In four-part composition by Dobrzyński’s even fragments use char-acter of popular Polish dances – mazur i krakowiak. The second chapter which is entirely devoted to Polish compositions unfolded a wide perspec-tive onto music of early Romantic Polish salons, which were dominated by piano brillant style and joined virtuosity and lyrism as well as quotations from national melodies. The last chapter made an attempt to answer the question how to interpret and perform Polish works in brillant stylistics. The author was searching for this in statements by Chopin himself and also in his stu-dents’ recollections. The conclusions were confronted with some remarks of another great Romantic virtuoso – Ferenc Liszt. Quoting opinions about ways and methods of playing of two so distinguished European representa-tives of virtuoso current allowed to have broader perspective on performance aspects of brillant stylistics. Seeking a way of, the closest to early Romantic epoch, interpretation of here described works, the author reached for the concept of intertextual interpretation by Mieczysław Tomaszewski and Irena Poniatowska’s point of view. These researchers claim that a piece of art is somehow a mirror of the times in which it was created. This conclusion makes one focus on early Romantic writers’ remarks, so that after analysis of all of the factors making up for the interpretation, such as beauty of the sound, phrasing or pedalisation, it was possible to quote in the summary a concluding opinion by Chopin himself: ‘The simplicity is the top. Having overcome all the difficulties, played thousands of notes, you come to charm-ing simplicity being the top of arts’ (Op. cit. J. Eigeldinger, Chopin in the eyes of his students, Cracow 2010, p. 80).Framing of the epoch, leaning over early Romantic developments of Polish music salons and meticulous research of some pieces by Szymanowska, Dobrzyński and Chopin, paying special attention to finding and defining elements of brillant stylistics, allowed the author to prove that in Poland at the turn of 18th and 19th century a virtuoso composing trend was developing. This trend was able to work out its own, innovative features compared with Western music. Taking into account time, subject and spatial scope of the work, based on critics of the sources, analysis of accessible heritage of mentioned above creators and pianistic experience of the most distinguished virtuoso-composers, the author proved the existence of a very interesting current and valuable Polish music literature of the end of the 18th century and the beginning of the 19th century, which was wrongly forgotten for such a long time.
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The essays in this book provide stimulating contributions to the ongoing debate concerning the representation of differing cultures, i.e., the “image of the Other” in the early modern period. They deal with images, projections, and perceptions, based on various experiences of coexistence. Although the individual contributions contain sources and references of iconography, this is not just another volume of art history or visual studies. As examples of practices in diverse historical contexts, the book includes a variety of textual material, such as literary productions, rhetorical exercises, dramatic applications, chronicles, epistles, and diary-like historical accounts that express ethnographic sensitivities. Another novel feature of the volume is the deliberate digression of traditional scholars’ focus, and the investigation of rarely examined regions and practices. This approach allows the contributors to spotlight their special areas of research and to share a fresh new look at early modernity. Thus, supported by a thorough research apparatus, these studies propose a new cultural history of the early modern coexistence of various communities, as identified in current research by young scholars.
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The volume presents the results of the excavations of the joint Mongolian-Hungarian expeditions: among others the relics of the Late Bronze Age - Early Iron Age, the stag steles and the tombs of the Asian Hun (Hiung-nu) people from the 1st-2nd centuries A.D. Besides the scientific description of the finds, it also gives the details of their historical-archaeological background, on the basis of the data in the earlier literature, including foreign parallels. He also reflects on the theory of the Turcs in a distant connection with the Khazar and Avar archaeological relics. In Appendix: New data on the palaeoanthropology of northern Mongolia by Tibor TÓTH; The palaeosomatology of the Naima-Tolgoy population by Ildikó PAP; A pathological study of the skeletal material from Naima-Tolgoy by Antónia MARCSIK.
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A collection of articles based on materials obtained during ethnographical fieldwork in Lelów and neighbouring towns. The authors describe activities connected to the construction of local heritage, analysing them in the broader context of the memory of Lelów’s past and its inhabitants, the memory of the Jewish community and the Holocaust, as well as in relation to the experiences of the interviewees resulting from contact with the Hasids who visit Lelów contemporarily.
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The process of moving on from a ritual concept of communication to communication based on sincerity. A description of the transformations of European culture, coupled with an analysis of the changes taking place in Polish epistolographic practices in the 17th century and in the beginning of the 18th century, among others, using the example of the Confessions of Jean-Jacques Rousseau.
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An interesting study on interspecies relations in cities, set in concrete cultural phenomena. It is a radical re-definition of human-animal relations, an analysis of mutual dependencies, a description of complexity and dynamics of changes in urban spaces. On the one hand, the publications refers to various cultural contexts, on the other hand, it shows local characteristics of the presented phenomena and the Polish perspective, which includes different towns. The book may inspire reflections on relations between humans and animals in future cities as well as the ways of organising them, especially in the context of the 19th and 20th century modernising movements.
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Le Goff presents his own ideas and other contemporary concepts of history. He deliberates on the theory of history and historiography, inscribing their issues in the history of ideological and scientific disputes. He looks for continuity and similarities in the transformations of historical knowledge throughout the history of civilization. This book preceded one of the most important discussions today - the debate on memory and history. Le Goff was actively involved in this discussion until his death, contributing to a better understanding of the story itself. Without Jacques Le Goff, it is impossible to imagine modern historiography [...], he not only writes about fascinating things, but he does it in an interesting way, ensuring that the recipient of his books is anyone interested in history, not just a professional historian (From the Introduction to the Polish edition).
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The author analyzes the nineteenth-century practices of memory mediated by the art of words, by writing, print, image, body and ritual, inscribed in landscapes and building spaces, on the examples of the activity of scientists from the Warsaw Society of Friends of Science and the first museum in Poland, founded in Puławy by Izabela Czartoryska.
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The authors present the theoretical and conceptual foundation of the Laboratory of Reportage, established by the remarkable reportage writer Marek Miller. The Laboratory of Reportage operates at the Faculty of Journalism, Information and Book Studies of the University of Warsaw. Papers presented in the book give insight in the status of reportage as practice and a form of journalistic and journalistic-literary expression, they describe in detail the method of reportage writers (documentary novel writers), as well as of participants of creative and research workshops. They define the areas of the Laboratory’s search as: using oral history sources, collective writing, multimedia storytelling and penetrating the area in between journalism and creative writing, journalism and screenwriting, journalism and stage writing. They express a belief that journalism is a form of art and that the reporter’s work combines the qualities of original writing with belles lettres, film and theatre as well as research from the field of social sciences and humanities: sociology, anthropology, psychology and history. The founders of the Laboratory of Reportage are particularly interested in analysis and comparison of journalistic methods and sociological interview, psychological interview, anthropological interview and in-depth interview. They also appreciate the value of participant observation and experimental provocation of events in social sciences as well as using elements of acting in journalistic work. We present this interesting publication to the English-speaking readers in a slightly amended version - not a full translation, but an English edition - with one article removed and one replaced with a newer paper.
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The author analyses the original project of the exhibition, its travels around the world and the specific character of its presentation in Poland, as well as the phenomenon of humanistic photo report seen as a visual language in transnational communication, characteristic of the modern thinking about the medium.
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The monograph discusses the literary, scholarly and publishing endeavour that was the so-called Polnische Bibliothek (Polish Library) edited by Karl Dedecius, which was issued between 1982 and 2000 by Suhrkamp Verlag in Frankfurt am Main with financing from the Robert Bosch Foundation (Robert Bosch Stiftung). This impressive undertaking had immense significance for the cultural transfer between Poland and Germany (as well as other German-speaking states), for reconciliation through books, and for the strengthening of European unity following deep (post-)war divisions.
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The author attempts to describe scientifically the most important and representative calvaries located in Poland. Apart from the well-known, seventeenth-century places such as Kalwaria Zebrzydowska, Pakoska, Wejherowska, Pacławska, Krzeszowska, Wambierzycka or the eighteenth-century ones such as Kalwaria Annogórska, he also writes about less known architectural and landscape objects from the 19th century and the first half of the 20th century and describes the modern ones from the end of the 20th and 21st centuries.
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This book is devoted comes Marcellinus and his Chronicle. Dating from the first half of the sixth century, the Chronicle of Comes Marcellinus, covering the period from 379 to 534 and supplemented by an anonymous author after 548, is undoubtedly an important work for scholars dealing with the history of early Byzantium. Although Marcellin wrote his Chronicle in Constantinople, in a primarily Greek environment, he wrote it in Latin, his mother tongue. However, despite writing in Latin, he focused his narrative around the affairs of the eastern part of the Roman Empire and looked at the world largely through the lens of a resident of the City, and he can certainly be considered a Constantinopolitan writer.The book is divided into three main parts. The first one (entitled Author) is devoted to Comes Marcellinus himself. Part two of the book (Chronicle) is devoted to the Chronicle of Marcellinus. In its initial part it presents information concerning, among other things, the principles of its composition, sources and main themes. The second part is a comprehensively commented translation of the Chronicle into Polish, preceded by the Latin text. The third part of the book (Continuation of Marcellin Komes' Chronicle) is devoted to the anonymous continuation of the Chronicle of Marcellinus, which covers the period from 534 to 548.
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The monograph is the third volume of Bohuslav Martinů's correspondence with his family in Polička. It comprises 56 items of correspondence from 1934 and 1935. Although one-sided, as only letters sent by the composer were preserved, the correspondence contains Martinů's unique and authentic remarks on both his personal and his professional life, in which he shared his news, intentions, and opinions both with his closest relatives and, through them, to a broader circle of friends in Polička and Czechoslovakia. The Czech version provides a true diplomatic transcription of Martinů's manuscript letters and includes facsimiles of the correspondence. Comprehensive annotations give historical context. The monograph includes a parallel English translation.
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This unique collection of letters form the last ten years of Bohuslav Martinů's life addressed to Zdeněk Zouhar is a key testimony to Martinů's works, life and relationship between the composer and the interpreter of his works who premiered the cantata The Opening of the Springs, the cycles Three Part-Songs and Three Sacred Songs and initiated the origin of the primrose cycle. This edition captures Martinů's specific literary style in authentic form, without corrections, provides facsimiles of letters and juxtaposes the correspondence with the composer's letters to his family, firends, performers, as well as the reminiscences of his wife Charlotte. A more detailed picture of the composer's last years is emerging.
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Prezentowana obszerna publikacja została przygotowana z okazji jubileuszu pięćdziesięciolecia pracy Pani Profesor Krystyny Heskiej-Kwaśniewicz – kierownika Zakładu Czytelnictwa Instytutu Bibliotekoznawstwa i Informacji Naukowej Uniwersytetu Śląskiego. Czytelnik ma możność zaznajomienia się z wydarzeniami i okolicznościami, jakie kształtowały osobowość Jubilatki, a także poznać przebieg Jej drogi naukowej i dydaktycznej, pasje. Może także zaznajomić się z Jej publikacjami. Autorzy opracowań składających się na tom, to przyjaciele, współpracownicy i uczniowie Pani Profesor. Teksty zostały pogrupowane tematycznie w pięć części ilustrujących pasje i zainteresowania Jubilatki: pierwsza sytuuje odbiorcę w kręgu literatury i świata wartości; druga ukazuje góry w kontekście literackim i kulturowym; trzecia dotyczy kultury literackiej na Śląsku; czwarta odnosi się do książki i literatury dla młodego czytelnika; piąta to po prostu varia.
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A key publication concerning the theory of orality and literacy, one of the most important conceptions to emerge in cultural studies in the second half of the 20th century. It presents the fundamental characteristics of literary orality in its anthropological and theoretical sense. It discusses the importance of writing for changes in thought, the role of print and the transition from the world of sound to the world of sight. It considers the issue of narrative, the plot structure and the characters in oral and written literature. It refers to the main methodological trends in 20th century literary studies, from structuralism and New Criticism, through speech act theory and its literary consequences to deconstruction.
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The publication is a collection of essays, which address the problem of human self-destruction from many perspectives. It contains both the interpretations of literary works and the analyses of contemporary culture. The issues of suicide and human self-destruction are addressed by outstanding Polish humanists, who – looking at literary, film, biblical and mythological characters – not only ask how culture affects suicide, but also how the problem of human self-destruction affects culture.
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