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The most controversial and unresolved issue of human losses of Croatia and Yugoslavia in World War II is the number of victims of the Jasenovac camp. Lists of victims and estimates and calculations by historians and demographers often diverge widely on this point, ranging from minimisation to impossible megalomaniac claims, and are strongly linked to (daily) politics. Especially after the disintegration of the Socialist Federal Republic of Yugoslavia, the issue of the number of victims of the Jasenovac camp began to be interpreted differently from the until then only permitted one-sided and ‘megalomaniac’ approach. Democratic changes, but also rising nationalist sentiment during the Yugoslav Wars of the 1990s, led to studies on the human losses of Yugoslavia in World War II, and the unavoidable issue of the number and structure of Jasenovac camp victims, having a distinct ideological-propaganda background in Croatian and Serbian historiography, opinion journalism, and public discourse. Serb nationalists vastly inflate the number of Jasenovac camp victims, most of all Serbs, while Croat nationalists strive to minimise this number. The issue of the number and structure of Jasenovac victims is heavily nationally, ideologically, and emotionally charged, which greatly hinders evaluation. Proponents of both left and right worldviews in Croatia and Serbia continue to ignore and belittle any research and facts that do not support their favoured image of the past. Furthermore, they devaluate proven facts and present typical justifications. Inflation or reduction, omission, often coupled with ignorance, stem from personal, national, or political motives. It is noticeable that both Croatian and Serbian media, for the most part, transmit such efforts. The Jasenovac camp and the number and structure of its victims continue to be popular discussion topics in Croatian and Serbian historiography and opinion journalism, which have stratified into the left and right within national frameworks since the early 1990s, and in Croatian and Serbian public discourse; very different, sometimes diametrically opposed statements and claims are made, often without basis in fact. Facts about the Jasenovac camp have been contaminated from the start, and we are still witnessing contamination from various sources, with no end in sight. Despite all the efforts of a part of Croatian and Serbian historiography, and some opinion journalism, no major progress has been made from the early 1990s until today regarding the research and aggregation of knowledge and new data on the number and structure of Jasenovac camp victims; our level of knowledge in this regard has remained more-or-less the same as in the pre-1990 period. There is no doubt that historiography, Croatian and Serbian, has yet to present substantiated answers about the number and structure of Jasenovac victims. This article presents and questions the most significant Croatian and Serbian historiographical and opinion journalism works – as well as the unavoidable echoes of the topic of Jasenovac victims in public discourse – that question the number and structure of the victims, including those that offer substantiated facts, but also some illustrative examples of indisputable ignorance and manipulation.
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Review of: Jan Barta - JONSSONOVÁ, Pavla. Devět z české hudební alternativy osmdesátých let. Praha : Karolinum, 2019, 218 s. ISBN 978-80-246-4328-1
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Art and fashion have influence eachother for centuries. When the works of artists and clothing designers who worked in the same period are examined, it is seen that they are influenced by eachother and they even work together. Op Art is a movement based on the system at each vestigation of the light and the light that brings the eye forward and backward to create visual-perceptual effects. In this article, the works of Victor Vasarely, Bridget Riley and Richard Anuszkiewicz, one of the artists who are the artists of Op Art, one of the trends that marked the 1960s, are reflected in the designs of Andre Courreges, Mary Quant, Pierre Cardin and Paco Rabanne who are the clothing designers of the same period. It was investigated. In this study, the interaction of the artists of Op Art with the clothing designers in the same period is explained with the visuals.
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In the 1960s, the door of the IT era, which occupies one room and is interconnected with computers capable of four operations, was opened in the 21st century with three-dimensional digital and virtual environments that imitate the real world in which we live. In 1972, Edwin Catmull's first three-dimensional hand model with a coating and movement produced in the digital environment, which challenged the challenges of his time, accelerated the research and developed a number of design methods for the identification, purpose and needs of three-dimensional objects in these digital environments. One way to create objects in a digital environment is to define the surfaces that make up their boundaries. In this context, the boundary representation of three-dimensional objects created in digital environments will be explained in this research with a sample study prepared by polygonal modeling method in Maya program.
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Started on 17th August 1977 the Opole Walking Pilgrimage to Jasna Góra was a result of many centuries of tradition of devotion to Our Lady of Częstochowa in the Opole region. After erection of the apostolic administration of the Opole Silesia in 1945 and Opole diocese 27 years later preparing the whole-diocese pilgrimage was impossible because of two factors: political context of the PPL and reluctance of bishop Franciszek Jop to provoke the government unfavourable towards the Church. Not before 1976, with bishop Jop being deadly sick, his auxiliary bishop – Wacław Wycisk let fr. Edmund Cisak (priest in Grodziec) to prepare the pilgrimage. On the starting day of the First Opole Walking Pilgrimage from the church of St. Apostles Peter nad Paul in Opole, 500 people started. The trail went through Grodziec, Zborowskie and Wręczyca. With time it has been extended, among others, by adding diocesan sanctuaries in Kamień Śląski and Góra św. Anny to the trail. The success of the first pilgrimage effected in a growing interest in this initiative. The highest point was reached in 1987 with 20 000 faithful pilgrimaging. Since then attendance is dropping (with only few exceptions) down to 3000 pilgrims in 2016.
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The article describes the religious character of the „Solidarity” movement in years 1980-1989. It became a syntesis and an effect of the one-thousand years old history of Polish spirit and Polish religiosity. The movement was created by a society that was concerned about the lot of its country. The events of 1980-1989 have shown that the Polish society has been drawing strength and hope for a change precisely from the deep faith revealed in religiosity linked to everyday life. Religiosity was perceived as a sign of freedom, a space to experience community, a stimulus for the people to fight for a better future. The fight turned out to be a victorious one.
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Having conducted fieldwork among such diverse groups as anarchists, border guards, expellees and ministry officials in Poland over recent years, I have been asked by the editors of “Lud” to come up with a not so much a scholarly, but rather personal account of my experiences of doing fieldwork in Poland. I am grateful to “Lud” for the opportunity to reflect upon my personal Polish-German history and my encounter with Poland and Polish anthropology. In effect, this has become less a story about Polish ethnology and cultural anthropology, and instead one about encounters, processes of learning and gradual development on my – West-German – part. I will begin my personal account not with a fieldwork episode but with the early encounters and imageries of Poland that framed my expectations. These, I argue, were not particularly specific to me but mirror a widespread attitude towards the Eastern neighbor.
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A uniformed model of modern urban planning prevailed in Eastern Europe and Soviet Asia during the Soviet period. Looking at the city’s architecture it was difficult to recognize if it is Ukraine or a place close to the Chinese border. The collapse of the socialist system resulted in a process of demodernization in many of these cities and led to the erosion of social identities. The turn to indigenization was one of the responses to this crisis. In this article I analyze the process of symbolic ethnicization of a post-Soviet city using the example of Siberian Ulan-Ude, where the idea of a return to the mythical past is built over the ashes of utopian progress. The main questions are: 1. how does the city become indigenized? 2. how does this process influence the interethnic relations? 3. what is the relation between immigrants’ social strategies and ethnicity? Symbolic indigenization of the city determines the ambiguous status of Buryat rural immigrants: hosts on the one hand, and strangers on the other. The social marginalization of Russians with the simultaneous dominance of the Russian language and culture is an important aspect of indigenization. An exception to this rule applies only to Russian sourdoughs (starožily), who have managed to establish quasi-ethnic representations. While municipal authorities take care of historical monuments of the imperial period, they do not approve of new structures that could deny the indigenous image of the city. Along with the urbanization a significant part of ethnic culture has been reduced to a symbolic level, which is manifested in a new Buryat architectural style as well as in all the monuments referring to the nomadic history of the hosts.
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In the seventies, Cardinal Stefan Wyszyński was not only the undisputed leader of the Polish Church, but also a widely respected authority in society, whose voice was of great importance. In the above analysis, the attitude of the „Primate of the Millennium” to the socio-political reality of the PRL was discussed. A comprehensive view of this hierarch was presented regarding the functioning of the communist system in Poland; his approach to the state-church relationship; to key political events (amendment to the constitution, events of June 1976, election of Cardinal Wojtyła as pope) and attitude to the rise and activity of the pre-August opposition. This analysis does not aspire to the full exhaustion of the topic, it focuses on issues most for Cardinal Wyszyński important in the socio-political sphere.
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In light of the Vatican’s 1967 instruction, entitled Musicam sacram, not only Gregorian choirs may be performed during liturgy, but also songs. These should be approved by the appropriate ecclesiastical authority. They should have arisen for the glory of God, have no relation to secularity (i.e. be holy) and be perfect in form. It would be good if the songwriters were also inspired by the Gregorian chant in their creation. An important role in the proper liturgical experience is silence. The Church also encourages the faithful to practice singing the Officium as well as become familiar with Gregorian chants.
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Sprawa tzw. Orędzia biskupów polskich do biskupów niemieckich, która wybuchła w listopadzie 1965 r., to moment szczególnego napięcia w relacjach między państwem a Kościołem w okresie PRL. List, który realnie był szczególnym „progiem historii” w stosunkach między Polakami i Niemcami, wyprzedzał swoją epokę, w społeczeństwie polskim nie spotkał szczególnego zrozumienia. Żywa nadal wojenna trauma, czasem wrogość, nie powodowały również masowych aktów solidarności z polskimi biskupami. Wejście hierarchów na pole spraw międzynarodowych, do którego monopol przyznawała sobie wyłącznie autorytarna władza, oraz przekonanie o nieprzychylnym nastawieniu do Niemców większości społeczeństwa były powodami do rozpętania jednej z największych kampanii propagandowych tamtego czasu.
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The aim of this article is to take a closer look at Polish press reviews of Sleepwalking Land by Mia Couto, in order to study the novel’s reception. The reviews provide information not only about the assessment of translation quality, but also about the attitude of the target culture towards translated literature. In this case, a novel from a former Portuguese colony, Mozambique, enters the Polish literary system via the ex-metropole, Portugal. The literary systems involved in the transfer are seen as peripheral, which makes the case interesting in the world of postcolonial order. To legitimise the conclusions, a wider context of Mozambican literature will be taken into consideration, as well as the Polish context. Couto’s novel is accepted by the Polish audience as an example of exotic writing. The novel’s paratexts, its translator’s explanations, and the position of Mia Couto in the Polish literary system before the publication of Lunatyczna kraina will be considered as factors informing its reception.
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The aim of the article is the forgotten dispute regarding the world-view value of Thomism, taking place in the early 1960s in Polish Catholic press. I attempt to present and evaluate the theses and arguments of both sides (critics as well as advocates of Thomism). My claim is that the dispute anticipated the loud discussion with Thomism initiated by J. Tischner in the 1970s and designated the areas of confrontation, as well as, the content and the character of the arguments for and against Thomism.
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This article presents the person of Antoni Brosz (1910–1978), a bibliophile and collector from Kraków, who was also a translator of Slavic languages. Over a period of about 40 years, he compiled a collection of bookplates containing about 20,000 items (including duplicates). In accordance with his will, nearly 16,000 items (including about 10,000 Polish and 6,000 foreign plates) were donated to the Jagiellonian Library at the end of 1980. In 1999, the collector’s archival materials (including personal documents, letters as well as working notes) were also consigned to the Library. Antoni Brosz was the co-founder of the postwar Circle of Bookplate Lovers, which formed part of the Book Lovers Society. He participated actively in the Circle’s work and maintained contacts with numerous Polish and foreign collectors. He also collected “Orkaniana,” materials related to the work of the Young Poland artist Władysław Orkan.
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With the growth of Protestantism, changes in conceptions and in political representations have provoked participation in political parties. In 1940, evangelical parliamentarians participated in the legislature. With the military coup of 1964, Protestantism divided into one sector which joined the military, and another which resisted it and built a Protestant opposition sector, The Evangelical Bench, which aligned itself to the conservative sectors in Parliament.
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It can be observed that the hitherto prevailing tendencies of reading Miron Białoszewski’s works – saturated with religious references used in an idiomatic or profane way – have been either metaphysical (A. and T. Sobolewski, M. Stala, A. Zagajewski) or linguistic (J. Sławiński, E. Balcerzan, S. Barańczak). These two extremities produce a gap that can be bridged by a reading which combines the postsecular perspective, understood in an institutional way, with neo-avant-garde (in H. Foster’s interpretation). Just as the avant-garde is a critique of the obligatory art institution (P. Bürger), so can postsecularism be understood as a critique of the current institution of religion. The article presents readings of Kalejdoskop (Kaleidoscope) and of poems written in the 1950s and 1960s, and shows Białoszewski’s poetry as neo-avant-garde and postsecular at the same time, depicting the writer as the first postwar postsecular Polish poet.
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The paper concerns the question of the status and role of the landscape in relation to the experience of migration and displacement in the post-war poetry of Avrom Sutzkever. The author investigates what is characteristic about the relationship between different landscapes and migrant subject. In the poetry of Sutzkever, the landscape is intertwined with the process of reconceptualisation of the identity of the Holocaust survivor and immigrant to the land of Israel, as well as with the cultural-literary project of the integration of East European heritage and new Israeli reality.
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The article deals with the changes that have been occurring in the reception (both translational and critical) of Polish poetry in Sweden since the 1980s. It points to the break with reading Polish poetry in the historical and political contexts (that were the dominant “style of reception” for several decades) and abandoning the order of literary history for the anthropological perspective. Analysis of examples shows that since the 1990s Swedish literary criticism was clearly seeking new ways of accentuating the independence of reviewed Polish authors from the “historical” background (e.g., the case of Adam Zagajewski but also of Tadeusz Różewicz). The context into which Polish poetry is successfully and very consequently inscribed in contemporary Sweden is the feminist perspective, which is rooted in the long-time tradition of taking up “the plight of women” in Sweden (or, more broadly, in all of Scandinavia) and clearly visible also in Swedish research in literary history pertaining to Polish literature that were conducted during the last three decades. The poetry of Polish female poets is currently the subject of intense focus of Swedish critics and translators.
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The author of this paper provides a synthetic discussion of the image of the Warsaw Ghetto in Polish poetry, prose, and drama. The Warsaw Ghetto is the one with most literary representations among all of the ghettos that have existed in the territories that were part of the Second Polish Republic before the war. The scholar presents the topic in chronological order, discussing the image of the closed Warsaw district during wartime, in the post-war era, the Stalinist period, the time from the 1950s to the 1980s, and after the year 1989. The most notable changes in the ghetto imagery occur after the year 1989, and are associated with the abolishment of censorship, the invasion of pop-cultural reframings of the subject, and the debuts of writers born after the war. In his analysis the author also considers texts that do not take up the topic of the Warsaw Ghetto directly and he points to traces that open up the possibility of classifying those texts as works about the Warsaw city-beyond-the-wall.
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