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The article is a presentation of the motive of a pilgrim in Cyprian Norwid’s writings. The author of the outline places the pilgrim in the context of European symbolism, drawing attention to lyrical poems of Artur Rimbaud and Reiner Maria Rilke. Thus the text denies the importance of Norwid’s relation with Romantic tradition which so far has determined the image of Norwid’s wanderer. The pilgrim is a humble servant of ‘silent sky’ and he constantly watches the light-musical movement of the sky on earth. Norwid’s wanderer represents times of ‘urbanization of religion’, when faith ‘steps’ on earth, while co-realization of the faith is semantically marked metaphor and broadly understood reality.
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The compositional-ideal axis of the novel Nad Sprewą by J.I. Kraszewski is a story of a relationship and an unsuccessful marriage of a Pole, Kajetan Wolski, and a German woman, Wilhelmina von Riebe. Knowing only too well German realities, Kraszewski used a rather banal story to raise a much deeper truth. It tells about historic and cultural differences between the Polish and the German, which, apparently, make it impossible for the two nations to come closer or to communicate.
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Józef Chałasiński and Władysław Grabski are two characters associated with Polish sociology of the countryside, whose ideas the author refers to. The former one warned against the change of peasants’ ID, while the latter one recognized peasants’ own ‘unique identity’. Independently of the differences, they two met a number of years later developing the concept of cultural identity. Contemporary dilemmas associated with countryside are especially appealing in the rhetoric of the decline of peasantry, family bonds, territorial and cultural ones. The author objects the view. She proves that globalist trends give way to the return of traditionalism and pre-modernity. The approach is supported by Halina Kapciak, Elżbieta Tarkowska, Bogdan Jałowiecki, Wojciech Łukowski, and Paweł Starosta. The latest diagnosis in Polska wieś 2008 (Polish Countryside 2008) provides frames for empirical support of the author’s theses. They bring the change in latest projects of countryside reforms, addressed to local authorities in villages rather than to regional authorities situated in towns, as it was before. Thus, the projects underline the significance of cultural identity of rural communities.
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Chałasiński’s studies on contemporary history of African nations from methodological point of view was similar to his works about identity-awareness of Polish peasants. He has analyzing autobiographies and literary texts written by leaders of African political or cultural life. The role of Chałasiński in Polish studies on Africa also consist in creating of a sociological team at the Polish Academy of Science and editing of “Przegląd Socjologiczny”.
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NACJONALIZM CZY NACJONALIZMY? Agata Kotowska NARODZINY NOWOCZESNEJ IDEI NARODOWEJ Maciej Gloger ZAPROSZENIE DO LICZENIA Igor Piotrowski WYCHOWANKOWIE UNIWERSYTETU WILEŃSKIEGO W ŚWIETLE KORESPONDENCJI, WSPOMNIEŃ, DOKUMENTÓW Izabella Rusinowa OLGA FREIDENBERG W OKOLICACH LITERATUROZNAWSTWA Marcin Adamiak POWAŻNA INICJATYWA DIALOGU POLSKO-NIEMIECKIEGO Anna Skwarska
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Kashubs constitute an exceptional cultural and ethnic phenomenon. Their status and position in Poland were changing in time: from the status of ethnographic group, through ethnic minority, to the position of a group using a regional language. Moreover, even the notion of nation, minority and ethnicity are fluent. Analyzing the attitudes of Kashubs and their present status, I refer to the theories of the Polish sociological school, and especially to Florian Znaniecki, Józef Chałasiński, and Stanisław Ossowski, as well as to my studies and interviews with Kashubian activists. The problem with classification of the group and especially the question of Kashubian nationality is today a very sensitive case which divides the Kashub society. There are two main attitudes: first, polonocentric, represented by most of Kashubian activists and by Kashub community, and the second attitude, represented by the radical Kashubian milieu who consider Kashubs to be a nation distinct from the Polish one. The status of Kashubs depends on themselves: their self-awareness, determination, engagement in actions undertaken by them in order to protect and develop their language and culture.
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Chałasiński’s work on metamorphoses of the culture and self-assessment of the Polish young generation of peasants is one of the most important sociological analyses of the Florian Znaniecki. Chałasiński’s book was not accepted by conservative periodicals before World War II, whereas after 1945 it became too ‘reactionist’ because the author described the role of national identity as modernization of Polish peasant societies. Nowadays, Chałasiński’s work is not frequently present in sociological papers, although it is classified as art of classical heritage of Polish society.
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The article is based on one of the chapters from the M.A. thesis Poszukiwania teatralne futurystów włoskich i ich odbicie w kulturze artystycznej polskiej awangardy (1918–1937) written in 2007, directed by Professor Andrzej Lam. The article includes an analysis of Tytus Czyżewski’s three dramas which present Marinetti’s new idea of the so-called ‘drama of still objects’. However, Czyżewski’s objects seem to live independently of a man. The idea of ‘electric instinct’ corresponds to mechanical art mythology of the twenties. It resulted in personalization of the machine and mechanization of the man. Unfortunately, the ideas of dancing electric dolls were never noticed by any theatre circles in Poland. Czyżewski’s dramas were not appreciated by Polish critics, who seem to have neglected one of the most interesting artistic achievements of European avant-garde.
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24 kochanków Perdity Loost (24 Perdita Loost’s Lovers) by Jan Brzękowski is a novel in which avant-garde experiments mix with problems which are typical of modern-times literature. Parodistically referring to various popular literary conventions and film motives, the writer created a form built analogically to a painting collage, similar to the one worked out by French surrealists (André Breton, Louis Aragon, Philippe Soupault). He used it to formulate an assumption that ‘love’ in its conventional meaning is, in fact, a bunch of complex sensations and emotions.
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The article presents an analysis of Gustaw Herling-Grudziński’s short story From a Biography of Diego Baldassar. The hero of the novelette was described as a true artist of ‘New Art’ and an initiator of a hyper-avant-garde artistic trend ‘Merd-Art’. The text is an attempt to indicate those aspects of new-avant-garde artists’ creations which particularly irritate Herling-Grudziński.
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The Diary Written by Night was being written for 30 years and published in series in “Kultura” edited in Paris by Jerzy Giedroyc. Among many other topics mentioned there, the author dedicates a great deal of it to Russian writers such as: Cvetaeva, Mandelshtam, Achmatova, Pasternak, Bulhakov, Shalamov, Solzenicyn, Platonov, and Pilniak. All of them suffered restrictions from the communist system and many of them, like the author himself, were persecuted and sent to labour camps, ‘lagrs’. Grudziński writes mostly about Solzenicyn, who wrote One Day of Ivan Denisovich. Grudziński’s story Another World describes the life of people in a ‘lagr’, and so does Solzenicyn’s book and the series of Kolymskie Stories, written by Shalamov. The reason why Grudziński says so much about other authors is that he does not only want to talk about himself but he wants to create a portrait of the epoch for the future generations to know their history. The excellent knowledge of the Russian culture and literature let Grudziński clearly portray Russian reality and the attitude of the authorities to remarkable artists and writers. Therefore The Diary Written by Night is the piece of enormous historical value depicting the totalitarian system and people who lived in it.
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Recently, apart from advertising, propaganda and social slogans, another type of slogan has appeared – the religious one. The author defines it as a brief message excerpted from the general appeal for faith, characterized with transparent, clear language. It includes intention of releasing actions according to the system of values and ethic instructions associated with the supernatural. These language forms belong to peripheral religious language variations, which may be called the first contact evangelization genres (e.g. contemporary religious song, religious chat, evangelization text message, religious advertisement etc.). However, they serve one of three basic religious functions: human immersion in spiritual reality, a description of the human vision of the supernatural and/or defining the system of values and moral code of conduct. The author draws special attention to the phenomenon of colloquial motives expansion in religious language due to changes in general colloquial language variations.
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The author of the article analyses connections between M.K. Sarbievius, L. Staff, Z. Herbert and the neostoic tradition. In the author’s opinion, the poems of these authors are in the position of a dialogue with Marcus Aurelius philosophy. The rhetorical analysis shows the fundamental ideas of this poem (Latin: Fatum, Fortuna, Mens) and their association with the principle: discors concordia. At the end of the article, the author confronts the poem by M.K. Sarbievius (Lir., III.6), his English translation by G. Hils and the poems by Leopold Staff (Marcus Aurelius speaks), and Zbigniew Herbert (To Marcus Aurelius). The thesis of the article is: only Lir., III.6 by M.K. Sarbievius is a manifestation of the discussion, from the Christian point of view, with the neostoic tradition.
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PIĘKNA TEORIA; Michał Mrugalski ŚWIAT ZAKLĘTY W LISTACH; Witold Zakrzewski „ŚWIAT SIĘ ROZLUŹNIA”; Andrzej Cieński
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The second part of the thirties of the 20th century characterized with increasing tension in Europe and all over the world. It can be explained by increasing expenditure on arms. Poland definitely had a lower population, economical and military potentials than Axis. The state budget could not afford the costs. Therefore, Polish president Ignacy Mościcki created a fund, encouraging the society to contribute to its growth on 9th April 1936. Then on 27th March 1939, the government created another fund to improve Polish air force. Cultural circles were highly involved in those actions. Jan Kiepura, an opera singer known all over the world, belonged to those. Among the donators on Polish armament were also sportsmen. Such actions were supported by Polish Radio. They evoked the sense of unity and patriotism in Polish society. Artists drew attention of the general public to the issue of state defense.
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My article aims at analyzing selected short stories by J.G. Ballard in reference to the end of the 20th century culture. His early “psychoanalytic” stories describe the inner space of contemporary people who live in permanent stress. His later texts belong in avant-garde and are influenced by socially traumatic events such as the assassination of J.F. Kennedy, the war in Vietnam, and the end of the Apollo program. The latest stories are a critique of the TV society with its propensity for sex and violence.
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