![Ideologija i vjerska politika nadbiskupa Stepinca u Jugoslaviji 1934–1946.](/api/image/getbookcoverimage?id=document_cover-page-image_576782.jpg)
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The memoir of Władysław Zahorski (1859–1927) – physician, social activist, cofounder and president of Towarzystwo Przyjaciół Nauk w Wilnie (Society of Friends of Science in Wilno). The publication covers the period of his childhood, school years and studies at the University of Moscow, as well as his professional work in the heart of Russia, where Zahorski engaged with the representatives of all social classes and different ethnic groups. The diary also features many famous personages encountered by the author. The text has been thoroughly annotated and includes an introduction.
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The Faculty of Arts is one of the four founding faculties at Masaryk Universityin Brno, its creation linked to the act which established the university in 1919.Due to difficulties with furnishing and staffing, teaching did not commence until 1921 and throughout the remainder of the interwar period the school was dogged by serious material difficulties linked with the absence of suitable buildings for teaching, as a result of which the school almost fell victim to the government’s economic interventions into university education on two occasions. Despite numerous problems in the inter-war period the Faculty of Arts was able to gradually build a tradition of quality teaching and science renowned in Central Europe, which was supported on the one hand by the founding generation of professors, drawn partly from Prague’s Charles University and partly from the ranks of teachers from Brno’s Technical College, and on the other hand second-generation teachers already emerging from the ranks of graduates of what was then the only Moravian university. From the beginning, Masaryk University’s position as the “second” Czech university, standing in the shadow of both Prague’s metropolitan university and the politically important sole Slovakian university in Bratislava, fundamentally affected its development in specific ways. In the Faculty ofArts in particular some special characteristics, both negative and positive, sharply manifested themselves. The negative doubtless included the long‑term underestimation of the school’s material needs, so that, especially in the critically overburdened campus of the Arts Faculty, where the rector’s office was also located for a long time, the conditions for teaching were quite miserable and unfit for pedagogical and scientific work.
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A biographical analysis of roles played by three great Polish actresses in the times of Polish People’s Republic. Each role is set against broad social, political and cultural background and within appropriate context of artistic work, historical events and social changes. The main research material consists of the reviews of the plays, which are analysed not only with regard to reconstructing the plays and the chosen roles, but also from the perspective of associations, metaphors and contexts used by critics.
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The collective publication aims to show problems arising from the fact that history and archivistics serve many social roles. Therefore, the book presents a comprehensive study of academic circles, institutions and people who create different forms of narrative concerning the past.
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The notes were taken in Lviv by Ryszard Gansiniec, a classics professor at Jan Kazimierz University and at the Soviet Ivan Franko Lviv State University from July 1944 to June 1946, when the scholar left the city for good. It is a unique source material concerning everyday life in the city at the end of the Polish period in Lviv and the fate of Polish intelligentsia after the end of the Second World War. It is the second, enlarged and supplemented edition of the book, first published in 1995.
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The thesis aims to map the theater life in Mikulov between the period when the estate belonged to the aristocratic family of the Dietrichsteins until the beginning of the World War II. The large time span of the scope understandably, has its negatives, as it does not allow a more thorough analysis of the Piarist school theatre in Mikulov. On the other hand, it enabled greater heuristic research, the results of which are collected here and offered to the needs of further researchers interested in the history of theater in Moravia and Silesia. The most important period in the history of theater in Mikulov, which currently has a significant overlap to the development of the Central European theater, begins with the era of Cardinal Dietrichstein in the first half of the 17th century, when Mikulov became an important political and cultural-social as well as religious center of Moravia. At that time the oldest castle theater in our territory was built and simultaneously the Piarists arrived, they used the theater as an educative tool. Piarist school theater remained the main mediator in performing arts in the city until the mid-18th century. The peak of the designated period came with the reign of Leopold Josef of Dietrichstein in the turn of the 17th and 18th centuries. Archival materials revealed Leopold as a significant lover of the performing arts, who had been in touch with theater since his childhood, whether at the Jesuit college or during his own activities in the home theater. Later on, he became a supporter of professional theater companies. During his reign, there was a significant heyday of the Piarist school theater, which managed to produce three performances per year. Two synopsis of Piarists’ plays from this period involves an interesting phrase “Nickolspurgerischen Parnasso” which emphasizes the importance of the performing arts in Mikulov together with its position in the contemporary consciousness. The professional traveling theater companies also played an important role in the theatre history of Mikulov. We can trace the presence of these travelling theatre companies from the end of the Thirty Years War. Records concerning their stay in Mikulov are unfortunately very scattered. They can be traced predominantly in the accounting documents of the Dietrichstein family, which proves that their performances had a connection with entertainment of nobility. From the second half of the 18th century, we can also work with requests from the theater directors who intended to perform their plays in the bourg. The Provincial Office, which usually approved these requests, however, did not grant the permission and rather limited the theater productions in the “small” subject towns. In the 19th century, the situation changed and theater companies increasingly appeared in Mikulov. From the second half of the same century, basically every year, unless there was a war or other unfortunate events, the city was visited by theater companies regularly. The repertoire included mostly comedies, farces, magical fable or “singspiele” and later mainly operettas. The repertoire varied according to the new trends stemming mainly from the Viennese theater environment. After the First World War, when the local German population became a minority in the newly established Czechoslovak Republic, the theater companies considered also national defensive and educative role of theater and they performed the dramas of German and Austrian classics. At the beginning of the 19th century the emancipated citizens tried to take over the initiative of the cultural life in Mikulov. At that time, unfortunately, they alluded to the limited possibilities of citizens and also the problem of inadequate facilities. The townspeople could occasionally use the castle areas for musical productions. For the operation the theater it was necessary to have a place with more permanent facilities, where it would be possible to build the stage and store the coulisse and props. Since 1812, the townspeople managed to get an space for the theater in the winter riding hall, but this cooperation lasted only until 1819, when it was (based on complaints) ended by Prince Franz Josef Dietrichstein. The problem of the shortage of suitable premises for holding the cultural and especially theater events in Mikulov continued into the early 20th century. This is a paradox, especially when there had been a piarist theater in the city since 1771, unfortunately it was unused at that time. A city theater that could be used by a professional travelling society did not exist at that time, even though this idea has existed in Mikulov, at least in the second half of the 19th century. There has never arisen any “German House”, where thelocal companies could meet, as was established in the nearby and smaller Valtice and Hustopeče towns. Theater companies and associations used the halls of local inns or a town shooting gallery for their per formances. Probably the most representative theatre scene in the modern history of the town was created in 1914 at the Hotel Rose. Translated text is an initial step for further research, which should facilitate a deeper understanding of Castle Theater, processing history piarist school theater and research theater activities of Leopold Ignác Dietrichstein. The presented study is an initial step for further research, which should help to facilitate a more elaborated understanding of castle theater, processing of the history of the piarist school theater and for a research of theater activities of Leopold Ignác Dietrichstein. These three branches of the research topics, which are mutually intertwined, are currently the most important stages in the theater life of Mikulov. Finally, the research also remains open for the roots of the important theater principal Johann Georg Gettner in Mikulov, whose years spent in Mikulov are still shrouded in mystery.
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The presented collective monograph aims to introduce the readers to socio-political and cultural aspects of the formation of Belarusian national identity throughout the centuries. It shows the main problems faced by the Belarusians searching for their own path of civilizational development on the borderland between the cultures of the broadly understood East and West.
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In the presented book Christian Domnitz analyses political journalism in the Polish People’s Republic, German Democratic Republic and Czechoslovakia from the signature of the CSCE Final Act in Helsinki in 1975 to the fall of communism in 1989. Comparing the narratives of European communist parties and the underground press, he explains the meaning of different conceptions of Europe. He also shows their transformations, rivalry between them and the role of individual journalists.
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The idea of looking at the architects operating within the cultural framework of the Habsburg Empire, embedded in this book, stems from our previous research. It has its roots in the research on Slavic peripheral narratives, conducted by the Research Group on the Slavic Cultures in the Habsburg Monarchy (http://uwhabsburgstudies.uw.edu.pl/), which has operated since 2011 at the Institute of Western and Southern Slavic Studies of the University of Warsaw. We studied the issue of peripheral attitudes towards both national narratives, created after 1861 by the Slovak, Czech and Croatian elites, and the imperial project imposed by Vienna and Budapest. Faithful to the microlevel approach, we looked at figures, spaces and social phenomena that do not fit into the stereotypical view of national historiography. (Anna Kobylińska, Maciej Falski)
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Following the end of civil war in 1995, Bosnia and Herzegovina became a federal state, divided into two autonomous parts, in which elites of three nations compete. Crucial for the cohesiveness of the state is its legitimacy, in other words: universal support among its citizens for its existence. The research presented in this book stems from the assumption that the basic means used by the elites as well as state institutions is culture, or the symbolic realm. The chapters focus on a number of architectural objects considered elements of cultural heritage, as the disputes that surround their restoration reveal deep divisions within the symbolic realm and the public discourse. The conflicts arising in the symbolic realm result in weak support for the state and a predominance of centrifugal ethnonational ideologies of the Serbs, Bosniaks and Croatians.
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The publication is a collection of texts on diaries from the Second World War. The authors, analyzing diaries of Polish writers, present their innovative proposals on the definition and language usually applied in existing literary and cultural research on diaries.
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Ivan P. Stoyanovich belongs to the most remarkable men of spirit that the new Bulgaria has produced. Born into the world at the wrong time, he shone as far and as bright as he could, combining cinema, theatre, literature, music, administration and even family life. Ivan interpreted his renaissance past under a smile too wide to be able to save himself within it, and could not bend to become part of the totalitarian world that used him within the cage. Neither an opportunist nor a revolutionary, the System eventually killed him, but left us a legacy of an author with whom Arcadia became somewhat possible.
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Published on the occasion of the 100th anniversary of English Studies at the University of Warsaw, this book documents the academic and institutional development of the discipline and its academic seat. It pays tribute to scholars whose contribution made this development possible, and showcases research areas currently explored by academics employed at the Institute of English Studies.
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The presented historical source is an extremely interesting letter, written in 1957 by a Polish emigrant, who had held a high-ranking position at the Ministry of Labour and Welfare of the Second Polish Republic. The author writes to his acquaintance describing his wartime path: arrest by the NKVD in Lithuania, imprisonment, exile to the Altai Krai, then his service for the Polish government-in-exile in Slavgorod, Teheran, Isfahan and Beirut, and finally his passage to England, where he made his home after the war.
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This richly illustrated publication presents the history and symbolism of the emblem of the University of Warsaw. In the first part the author describes the circumstances of establishing the emblem in 1817, the ideological content expressed by the symbols considered at the time, the reasons for choosing the White Eagle as a key element of the emblem, its relations to the University seals and new signs of University identity existing after the abolition of the original emblem. The second part contains a study of an unrecognized sphragistic system of the University. The third part is a catalogue of seal matrices preserved in the University Museum.
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The publication is the first monograph on Polish interwar literature devoted to former Eastern Galicia. The author discusses discursive acts, with particular emphasis on literary statements, which in the interwar period created the image of a multinational post-Habsburg country. She also analyzes sense-making activities, whose aim was a symbolic appropriation and adaptation of the region to political, social and cultural Polishness in the Second Polish Republic.
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The anthology presents a wide spectrum of issues explored within the framework of critical studies on heritage. It is the first publication of this kind in Poland, comprehensively introducing the reader to the subject which hitherto has appeared in the articles of Polish authors only sporadically. The book contains ten texts of leading scholars translated into Polish. They are preceded by an introduction in which the scientific editor discusses the previous achievements and the main fields of studies on heritage in the Anglo-Saxon subject literature.
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The 1920 Treaty of Trianon, which sealed Hungary’s loss of a third of its territory, is perceived as the country’s greatest national tragedy. The breakup of the multi-national Kingdom of Hungary, as a result of which large Hungarian-speaking populations found themselves in neighbouring countries, was a pivotal event which influenced Hungary’s national identity as well as its internal and foreign policies for the next one hundred years. Hungary responded to the Treaty of Trianon by developing various concepts to reclaim the lost territories, but also with efforts to build good relations with neighbours and develop policies towards the Hungarian minorities in other countries.
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Tadeusz Mazowiecki (1927-2013), the first non-communist prime minister of Poland after the Second World War, was undoubtedly a major figure of Polish political life of the second half of the twentieth century. This has spurred the initiative to compile a multi-volume edition of Mazowiecki’s scattered writings and documents connected with him, which would encompass the entirety of his time as a social and political activist. This volume, concerning Tadeusz Mazowiecki in the period of his premiership, comprises two parts. The first contains texts and documents from 1989-1990, the period when Mazowiecki headed the government or immediately before. The second part is a selection of later interviews and reckoning articles: until the end of his life, Tadeusz Mazowiecki would explain the decision he had made as the prime minister, defending them, sometimes by revealing their hitherto unknown circumstances. Mazowiecki’s government laid foundations for a new Polish statehood – in a country devastated economically and politically by almost half a century of communist rule. It transitioned Poland from authoritarianism to democracy, and its economy from inefficient systemic poverty to free market. These reforms were not perfect, but they were revolutionary, though implemented in an evolutionary fashion. The fifteen months of Mazowiecki’s government proved enough to begin strategic changes in all areas of Polish life, changes that would be continued afterwards. They were not enough, however, for all these changes to be completed under Mazowiecki’s government – even though it is this government that was blamed for the errors and mistakes of transition, not its critics and successors. Tadeusz Mazowiecki was a man who attached great importance to the world of values. He perceived politics as acting for the sake of the common good. Today this no longer is a feature associated with politicians. This is all the more reason to offer a reminder that there was a time when politics could be done differently, and that this time was not that long ago.
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