Wyniki wyszukiwania - Biblioteka Nauki

1

Najkrótszy przewodnik po moim ojcu. Z Martą Herling rozmawia Magdalena Śniedziewska

100%

Śniedziewska M.

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nr 38

269-283

EN

The interview is devoted to Gustaw Herling-Grudziński. The writer’s daughter, Marta, talks about her father, particularly focusing on the Italian contexts of his biography and writings. Also discussed is the problem of the writer’s attitude towards the Italian language and the reception of his works in Italy. Another important topic is Naples as a fascinating source of writing inspirations and, at the same time, the city where Herling-Grudziński happened to live and die.

2

Intangible values and touristification of public spaces in the ancient centre of Naples (Italy)

81%

Gagliardi R.

Ochrona Dziedzictwa Kulturowego

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2023

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tom Nr 16

59--71

EN

The identity of the ancient city centre of Naples has been historically founded on the co-existence of tangible and intangible values, which qualify a compact fabric defined over the centuries by the presence of several architectural and urban stratifications. The permanence of these characters and their perception in public spaces contributes to make Naples an authentic and stratified city that matches the concept of Historic Urban Landscape, twenty-eight years later being listed as a World Heritage property. By the way, the preservation of these values has to challenge with the role changes that some public spaces suffered over the time due to material, economic and social pressure with particular reference to the global phenomenon of touristification. A cyclical process determined by physical transformations of the urban configuration and new functional characterization of “overtouristic” areas is particularly affecting the public spaces located along the main tourist route within the ancient centre, such as the churchyard of Santa Chiara. The article aims to reflect about the prospects of these areas, dwelling on the role played by the touristification on the conservation of their identity as a keystone to manage historic urban preservation. These remarks may be the chance to propose a more general reflection about significant spaces such as other churchyards and gardens turned into public areas, shaping cities and citizens’ habits, where a balance between the reasons of development and the conservation of heritage and authenticity is a necessary approach to be defined.

3

„Wędrowiec-dantofil” w rodzinnej Italii. Stanisław Vincenz a włoska tradycja artystyczna

80%

Żmidziński J.

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nr 38

77-101

EN

The article is the first attempt at a holistic view of Stanisław Vincenz’s relationship with Italian culture. Since his youth, Vincenz would visit the Italian Peninsula travelling to Venice and, already as an emigrant after World War II, made a few visits to Naples and Tuscany. These journeys resulted in numerous comments included in his essays on Dante Alighieri, as separate overview Z perspektywy podróży (From a traveller’s perspective) and List z Neapolu. Dialog z Czesławem Miłoszem (A letter from Naples. A dialogue with Czesław Miłosz). Italian journeys, interest in Dante and Italian culture (architecture, painting, folk rituals) brought numerous Italian motifs in the tetralogy Na wysokiej połoninie (On a high mountain pasture). The key element is included in volume II, Zwada (Conflict), which describes a group of loggers cutting down trees in a primeval Carpathian forest. In this part, a young Italian dies and is buried after a Hutsul funeral ritual which is not understood by the foreigners. The analysis of the abovementioned motifs shows how important Italian culture was to Vincenz, also in a very personal sense, given the Vincenz family’s distant Venetian roots. One may even claim that for the writer, Italy was almost a family land. Personifying the European spirit, Italy was his “broader” homeland.

4

Neapolitańska praktyka wykonawcza w instrumentalnej muzyce zespołowej XVIII wieku

58%

Wilk P.

Roczniki Humanistyczne

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2021

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tom 69

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nr 12

31-49

EN

When we talk about the Neapolitan school, we usually mean the composers of opera and vocal music, although multicoloured instrumental works were also developing in Naples. Knowledge of these is poor, even among those researching this centre of music. The subject of this article is thus the Neapolitan instrumental work for various types of chamber and orchestral ensembles created over a period of 100 years, starting from the 1690s. Neapolitan performing practices differed from those known in other European centres. Despite practising the same genres (sonata, concerto, symphony), Neapolitan composers displayed different preferences for the scoring of music. Regardless of the genre, they were fond of an ensemble consisting of three or four violins and a bass voice. They avoided use of the viola: less frequently, they used the violin as a solo instrument, but more preferably flutes, a cello, a mandolin and keyboards. It was not the type of scoring of music in Naples that determined the choice of genre (sonata, concerto or symphony), but rather the texture and form. The musical genre also had no influence on whether the piece would be performed by chamber or orchestral ensemble.

PL

Gdy mówimy o szkole neapolitańskiej mamy na myśli twórców muzyki operowej i wokalnej, tymczasem w Neapolu rozwijała się także wielobarwna twórczość instrumentalna. Jej znajomość jest słaba nawet wśród badaczy tego ośrodka. Przedmiotem niniejszego artykułu jest neapolitańska twórczość instrumentalna na różnego rodzaju zespoły kameralne i orkiestrowe, powstająca przez 100 lat począwszy od lat 90. XVII wieku. Neapolitańskie zwyczaje wykonawcze odbiegały od tych znanych z innych ośrodków europejskich. Mimo uprawiania tych samych gatunków (sonaty, koncertu, symfonii), twórcy neapolitańscy przejawiali odmienne preferencje obsadowe. Niezależnie od gatunku chętnie posługiwali się zespołem złożonym z trojga lub czworga skrzypiec i basu. Unikali stosowania altówki, rzadziej w roli instrumentu solowego obsadzali skrzypce, chętniej flety, wiolonczelę, mandolinę i instrumenty klawiszowe. Nie typ aparatu wykonawczego stanowił w Neapolu o tym czy mamy do czynienia z sonatą, koncertem czy symfonią, lecz faktura i forma. Gatunek muzyczny nie miał też wpływu na to czy utwór będzie wykonywany kameralnie czy orkiestrowo.

5

Gustaw Herling-Grudziński e la letteratura italiana del XX secolo

58%

Ajres A.

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nr 39

183-193

EN

Magdalena Śniedziewska’s book discusses a theme in Gustaw Herling-Grudziński’s works which has not been thoroughly researched, i.e. their relationship with Italian literature. This is how we discover Herling-Grudziński as a writer who is simultaneously a great literary criticwho looks eagerly and with both interest (sometimes) and passion at the work of such authors as Nicola Chiaromonte, Ignazio Silone, Alberto Moravia, Luigi Pirandello, Tomasi di Lampedusa and Leonardo Sciascia. The opening chapter of the book discusses Herling-Grudziński’s condition as an emigrant and the changes in his attitude to Naples which became his second home after World War II; the final chapter is about the Polish writer’s difficult relationship with Italian book market, reconstructing the story of the reception of Inny świat (A World Apart) in Italy.

6

Inner City Blues

58%

Buffa A.

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2019

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tom 12

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nr 2

129-140

EN

In this article, I would like to propose an alternative and long view of “1968” which is grounded in black liberation movements, Afrodiasporic cultures, neighborhood-based organizations and sustained and propagated by music and sound. Venturing into this alternative history, I consider the Bronx, Harlem, and Naples, Italy as networks of resistance and nodal junctures for the transmission of Afrodiasporic cultures of opposition. Connecting the mutual influence of global social movements, music and neighborhood-based organizations, my article is also an invitation to start thinking about history through acoustic/musical resonances.

7

Revitalisation of the Bagnoli District as a Factor of Economic Growth in Naples

58%

Noviello M.

Przedsiębiorczość - Edukacja

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2018

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tom 14. Rola przedsiębiorczości w rozwoju społeczno-gospodarczym

137-149

PL

W artykule omówiono projekt rewitalizacji poprzemysłowej dzielnicy Neapolu – Bagnoli, która leży w strategicznej lokalizacji na wybrzeżu Zatoki Pozzuoli. Autorka nawiązuje do historii przemysłu na tym obszarze – od jego prężnego rozwoju w okresie powojennym, przez kryzys lat 70., po całkowite zamknięcie fabryk w 1991 r. Od czasu zamknięcia fabryk obszar ten pozostawał nieużytkowany ze względu na konieczność ponoszenia ogromnych nakładów finansowych na rekultywację gleby. Pomimo wielu propozycji zagospodarowania, dopiero po 16 latach podpisano stosowne porozumienia i zaakceptowano projekt rewitalizacji i zagospodarowania dzielnicy Bagnoli. Projekt ten obejmuje m.in budowę plaży, obiektów infrastruktury turystycznej i sportowej, obiektów mieszkalnych i uniwersyteckich, portu pozwalającego na szybkie połączenia z wyspą Nisida oraz stacji kolejowych ułatwiających komunikację. Celem artykułu jest przedstawienie możliwości rozwoju regionu Kampania, a w szczególności jego stolicy Neapolu, właśnie dzięki realizacji projektu „Bagnoli Futura”. Jest to jedno z największych przedsięwzięć, jakie w najbliższych latach zostanie zrealizowane na południu Włoch, co stworzy ogromne możliwości dla rozwoju gospodarczego nie tylko samego Neapolu, ale też dla całego regionu Kampania. Jego zakończenie przewidziano na rok 2024.

EN

The article presents the project of revitalisation undertaken in the post-industrial district of Naples – Bagnoli – situated strategically by the Gulf of Pozzuoli. The author focuses on the industrial development of the region, starting with its booming times during the post-war period, through the crisis of the 1970s, followed by a complete shutdown of factories in 1991. Since then, the area remained unused due to the great financial investments that would be needed to re-cultivate the land. Despite a lot of proposals to develop the land, it took 16 years to sign appropriate agreements and accept the project to revitalise the Bagnoli district. The project includes, among others, the creation of a public beach, tourism and sports infrastructure, housing estates and university campuses. It also includes building a harbour, which will enable a quick and convenient connection with the Nisida island and railway stations facilitating communication in the region. The aim of the article is to present the possibilities of development of the Campania region, focusing mainly on its capital. The ‘Bagnoli Futura’ project is one of the biggest ventures that will be carried out in the south of Italy in the upcoming years. It will provide great possibilities to develop not only the city of Naples itself, but the whole Campania region as well. Completion of the project is scheduled for 2024. The article presents the project of revitalisation undertaken in the post-industrial district of Naples – Bagnoli – situated strategically by the Gulf of Pozzuoli. The author focuses on the industrial development of the region, starting with its booming times during the post-war period, through the crisis of the 1970s, followed by a complete shutdown of factories in 1991. Since then, the area remained unused due to the great financial investments that would be needed to re-cultivate the land. Despite a lot of proposals to develop the land, it took 16 years to sign appropriate agreements and accept the project to revitalise the Bagnoli district. The project includes, among others, the creation of a public beach, tourism and sports infrastructure, housing estates and university campuses. It also includes building a harbour, which will enable a quick and convenient connection with the Nisida island and railway stations facilitating communication in the region. The aim of the article is to present the possibilities of development of the Campania region, focusing mainly on its capital. The ‘Bagnoli Futura’ project is one of the biggest ventures that will be carried out in the south of Italy in the upcoming years. It will provide great possibilities to develop not only the city of Naples itself, but the whole Campania region as well. Completion of the project is scheduled for 2024. The article presents the project of revitalisation undertaken in the post-industrial district of Naples – Bagnoli – situated strategically by the Gulf of Pozzuoli. The author focuses on the industrial development of the region, starting with its booming times during the post-war period, through the crisis of the 1970s, followed by a complete shutdown of factories in 1991. Since then, the area remained unused due to the great financial investments that would be needed to re-cultivate the land. Despite a lot of proposals to develop the land, it took 16 years to sign appropriate agreements and accept the project to revitalise the Bagnoli district. The project includes, among others, the creation of a public beach, tourism and sports infrastructure, housing estates and university campuses. It also includes building a harbour, which will enable a quick and convenient connection with the Nisida island and railway stations facilitating communication in the region. The aim of the article is to present the possibilities of development of the Campania region, focusing mainly on its capital. The ‘Bagnoli Futura’ project is one of the biggest ventures that will be carried out in the south of Italy in the upcoming years. It will provide great possibilities to develop not only the city of Naples itself, but the whole Campania region as well. Completion of the project is scheduled for 2024. The article presents the project of revitalisation undertaken in the post-industrial district of Naples – Bagnoli – situated strategically by the Gulf of Pozzuoli. The author focuses on the industrial development of the region, starting with its booming times during the post-war period, through the crisis of the 1970s, followed by a complete shutdown of factories in 1991. Since then, the area remained unused due to the great financial investments that would be needed to re-cultivate the land. Despite a lot of proposals to develop the land, it took 16 years to sign appropriate agreements and accept the project to revitalise the Bagnoli district. The project includes, among others, the creation of a public beach, tourism and sports infrastructure, housing estates and university campuses. It also includes building a harbour, which will enable a quick and convenient connection with the Nisida island and railway stations facilitating communication in the region. The aim of the article is to present the possibilities of development of the Campania region, focusing mainly on its capital. The ‘Bagnoli Futura’ project is one of the biggest ventures that will be carried out in the south of Italy in the upcoming years. It will provide great possibilities to develop not only the city of Naples itself, but the whole Campania region as well. Completion of the project is scheduled for 2024. The article presents the project of revitalisation undertaken in the post-industrial district of Naples – Bagnoli – situated strategically by the Gulf of Pozzuoli. The author focuses on the industrial development of the region, starting with its booming times during the post-war period, through the crisis of the 1970s, followed by a complete shutdown of factories in 1991. Since then, the area remained unused due to the great financial investments that would be needed to re-cultivate the land. Despite a lot of proposals to develop the land, it took 16 years to sign appropriate agreements and accept the project to revitalise the Bagnoli district. The project includes, among others, the creation of a public beach, tourism and sports infrastructure, housing estates and university campuses. It also includes building a harbour, which will enable a quick and convenient connection with the Nisida island and railway stations facilitating communication in the region. The aim of the article is to present the possibilities of development of the Campania region, focusing mainly on its capital. The ‘Bagnoli Futura’ project is one of the biggest ventures that will be carried out in the south of Italy in the upcoming years. It will provide great possibilities to develop not only the city of Naples itself, but the whole Campania region as well. Completion of the project is scheduled for 2024. The article presents the project of revitalisation undertaken in the post-industrial district of Naples – Bagnoli – situated strategically by the Gulf of Pozzuoli. The author focuses on the industrial development of the region, starting with its booming times during the post-war period, through the crisis of the 1970s, followed by a complete shutdown of factories in 1991. Since then, the area remained unused due to the great financial investments that would be needed to re-cultivate the land. Despite a lot of proposals to develop the land, it took 16 years to sign appropriate agreements and accept the project to revitalise the Bagnoli district. The project includes, among others, the creation of a public beach, tourism and sports infrastructure, housing estates and university campuses. It also includes building a harbour, which will enable a quick and convenient connection with the Nisida island and railway stations facilitating communication in the region. The aim of the article is to present the possibilities of development of the Campania region, focusing mainly on its capital. The ‘Bagnoli Futura’ project is one of the biggest ventures that will be carried out in the south of Italy in the upcoming years. It will provide great possibilities to develop not only the city of Naples itself, but the whole Campania region as well. Completion of the project is scheduled for 2024. The article presents the project of revitalisation undertaken in the post-industrial district of Naples – Bagnoli – situated strategically by the Gulf of Pozzuoli. The author focuses on the industrial development of the region, starting with its booming times during the post-war period, through the crisis of the 1970s, followed by a complete shutdown of factories in 1991. Since then, the area remained unused due to the great financial investments that would be needed to re-cultivate the land. Despite a lot of proposals to develop the land, it took 16 years to sign appropriate agreements and accept the project to revitalise the Bagnoli district. The project includes, among others, the creation of a public beach, tourism and sports infrastructure, housing estates and university campuses. It also includes building a harbour, which will enable a quick and convenient connection with the Nisida island and railway stations facilitating communication in the region. The aim of the article is to present the possibilities of development of the Campania region, focusing mainly on its capital. The ‘Bagnoli Futura’ project is one of the biggest ventures that will be carried out in the south of Italy in the upcoming years. It will provide great possibilities to develop not only the city of Naples itself, but the whole Campania region as well. Completion of the project is scheduled for 2024. The article presents the project of revitalisation undertaken in the post-industrial district of Naples – Bagnoli – situated strategically by the Gulf of Pozzuoli. The author focuses on the industrial development of the region, starting with its booming times during the post-war period, through the crisis of the 1970s, followed by a complete shutdown of factories in 1991. Since then, the area remained unused due to the great financial investments that would be needed to re-cultivate the land. Despite a lot of proposals to develop the land, it took 16 years to sign appropriate agreements and accept the project to revitalise the Bagnoli district. The project includes, among others, the creation of a public beach, tourism and sports infrastructure, housing estates and university campuses. It also includes building a harbour, which will enable a quick and convenient connection with the Nisida island and railway stations facilitating communication in the region. The aim of the article is to present the possibilities of development of the Campania region, focusing mainly on its capital. The ‘Bagnoli Futura’ project is one of the biggest ventures that will be carried out in the south of Italy in the upcoming years. It will provide great possibilities to develop not only the city of Naples itself, but the whole Campania region as well. Completion of the project is scheduled for 2024.

8

Solfatara, czyli dziesięć dni rewolucji rybaka. Z Maciejem Henem rozmawia Ewa Tyszko

58%

Hen M. , Tyszko E.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2016

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nr 5

245-253

EN

Interviewed by Ewa Tyszko, Maciej Hen talks about the creation of his chronicle novel – Solfatara, which is set in 17th century Naples.

PL

W rozmowie z Ewą Tyszko Maciej Hen opowiada o powstawaniu powieści-kroniki Solfatara, której akcja rozgrywa się w siedemnastowiecznym Neapolu.

9

Making Diplomacy through Culture: Mikołaj Sękowski, the Polish Envoy to Naples and Madrid in the Late Sixteenth Century

58%

Kowalczyk E.

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2019

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nr 3

EN

The article is devoted to the little known but interesting Polish diplomat Mikołaj Sękowski, the envoy to Naples and Madrid in the last quarter of the sixteenth century. The main purpose of the text is to complete Sękowski’s biography with new details, and to shed a different light on his activity, placing it within the context of the beginnings of public diplomacy. Through the analysis of documental and literary sources comprised principally between 1576 and 1588, the author argues that Mikołaj Sękowski had, for more than a decade, remained a stable and active source of information about Poland in Italy in Spain. Thus, he provided an additional and unusual element of ‘soft diplomacy’ to the Polish foreign service actions in Naples and Madrid, aimed principally at recovering the Neapolitan sums.

10

Il teatro delle e per le monache (Napoli, secolo XVIII)

58%

Novi Chavarria E.

Italica Wratislaviensia

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2019

|

nr 10.2

119–133

EN

Recent studies have focused on the musical environment and the theatre in female monasteries of many Italian cities between the 16 th and 18 th centuries. These art forms became famous as forms of entertainment in travel literature and in the chronicles of the time but were forbidden in the age of the Counter-Reformation. However, the theatrical performances, both in prose and in music, enjoyed enormous success and spread in male and female monasteries. As of the 17 th century, if not even earlier, travellers from half of Europe arrived in Naples, attracted by the excellence of the musical and theatrical performances that they could enjoy in the monasteries of the city. This essay aims to reconstruct the times, the modalities, and the contents of the theatrical offerings in the female monasteries of Naples at the beginning of the 18 th century, all of which are still unknown today. In particular, the case of the Franciscan monastery of St Chiara will be examined. Through the patronage of Queen Maria Amalia, musical and theatrical performances played an active leading role in the configuration of a specific theatrical type and taste and increased the education of the nuns and young women who were educated in the monastery, representing and legitimising new feelings and sensibilities. The religious women found a way to talk of their feelings and concerns together; they forged relationships even with the environments outside of the monastery and especially with the Queen’s court and with the courts of the aristocratic palaces of their families of origin.

IT

Studi recenti hanno fatto luce sull’ambiente musicale e sul teatro monastico femminile di molte città italiane tra Cinque e Settecento, conferendo spessore documentario alla fama di cui tali forme di spettacolo godevano nella letteratura da viaggio e nella memorialistica cittadine dell’epoca. Si trattava di pratiche culturali vietate dalla normativa post-tridentina, eppure spettacoli teatrali, sia in prosa che in musica, ebbero una enorme fortuna e diffusione nei monasteri maschili e femminili. Napoli, in particolare, sin dal secolo XVII, se non da addirittura prima, richiamò viaggiatori provenienti da mezza Europa anche in virtù della eccellenza delle esecuzioni musicali e teatrali di cui era possibile fruire nei monasteri della città. Il saggio prova a far luce su tempi, modalità e contenuti dell’offerta teatrale dei monasteri femminili napoletani agli inizi del secolo XVIII, in particolare del monastero delle francescane di S. Chiara che, grazie al patronage della regina Maria Amalia, pare abbia avuto un ruolo attivo e trainante nella configurazione di uno specifico genere e gusto teatrali volto a incrementare l’istruzione delle religiose e delle giovani che venivano educate nel monastero, ma anche a rappresentare e legittimare sentimenti e nuove sensibilità. Le religiose vi trovarono un modo per raccontarsi, fare affiorare e comunicare i propri sentimenti e inquietudini, attivare forme di sociabilità e di relazioni sociali dentro e fuori il monastero, tra i monasteri e le corti, quella della Regina e le corti dei palazzi aristocratici delle loro famiglie di origine.

11

Wczesne włoskie koncerty klawiszowe Francesca Durantego

47%

Palacz J.

Roczniki Humanistyczne

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2021

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tom 69

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nr 12

9-20

EN

Compositions for solo keyboard with orchestral accompaniment represent a separate subgenre of the instrumental concerto, with its history (based on preserved sources) having been traced back to the first half of the eighteenth century. This subgenre, associated mostly with German composers, was also being cultivated at that time in Italy, where some of the earliest keyboard concertos were those by Francesco Durante (1684–1755), who was active in Naples. So far, only his concerto in B-flat major has received any attention in the scholarly literature, while the two other incompletely preserved harpsichord concertos by this composer – in A major and C major – have been neglected by researchers. A study of all of these three pieces together reveals stylistic changes that took place in Italy during Bach’s and Haendel’s era, and at the same time provides some essential information on the compositional history and performance practices of the keyboard concerto.

PL

Dzieła przeznaczone na solowy instrument klawiszowy z towarzyszeniem orkiestry tworzą osobny nurt w gatunku koncertu instrumentalnego, mający swoje początki w pierwszej połowie osiemnastego wieku, jak wskazują zachowane źródła. Gatunek ten, uznawany za specjalność zwłaszcza kompozytorów z krajów niemieckojęzycznych, powstawał wówczas także we Włoszech. Autorem jednych z najwcześniejszych włoskich koncertów klawiszowych był działający w Neapolu Francesco Durante (1684-1755). Podczas gdy do tej pory w literaturze uwaga poświęcana bywała jedynie Koncertowi B-dur tego kompozytora, do naszych czasów zachowały się niekompletnie jeszcze dwa inne koncerty klawesynowe jego autorstwa, nieuwzględniane dotąd przez badaczy – Koncert A-dur i Koncert C-dur. Wspólnie te trzy dzieła pozwalają zaobserwować przemiany stylistyczne, jakie w epoce Bacha i Haendla miały miejsce na terenie Włoch, a zarazem dostarczają cennych informacji na temat historii komponowania i wykonywania koncertu klawiszowego.

12

The Role of Domenico De Vivo in Developing Russian and Italian Language Studies in the Second Half of 19th Century

47%

Cifariello A.

Roczniki Humanistyczne

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2021

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tom 69

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nr 7

117-129

PL

Rola Domenico de Vivo w rozwoju filologii rosyjskiej i włoskiej w drugiej połowie XIX wieku O Domenico De Vivo (1839-1897) wiadomo niewiele. Był uczniem włoskiego lingwisty Giacomo Lignany. Pracował jako profesor języka rosyjskiego i angielskiego w Asiatic College w Neapolu w latach 1868-1870, a następnie – od 1879 aż do śmierci w 1897 r. – jako wykładowca języka włoskiego na uniwersytetach w Dorpacie i Odessie w Cesarstwie Rosyjskim. De Vivo bronił swoich pomysłów dotyczących nauczania i uczenia się języków w swoich książkach Grammatica della lingua russa [Gramatyka języka rosyjskiego dla Włochów] (Dorpat, 1882) i Prakticheskoe rukovodstvo dlya izucheniya ital’yanskogo yazyka [Praktyczny przewodnik do nauki języka włoskiego] (Odessa, 1886; Odessa, 1890), a także w Dizionario Italiano-Russo. Slovar’ ital’yansko-russkiy [Słownik włosko-rosyjski] (Odessa 1894). Celem niniejszego artykułu jest zbadanie życia i twórczości De Vivo, stanowiących pierwszą zarejestrowaną próbę – według jego własnych słów – „promowania nauki języka rosyjskiego we Włoszech i nauki języka włoskiego w Rosji”.

EN

Very little is known about Domenico De Vivo (1839-1897). He was a disciple of the Italian linguist Giacomo Lignana and worked as a professor of Russian and English language at the Asiatic College in Naples from 1868 to 1870, and then as an Italian language lecturer at the universities of Dorpat and Odessa in the Russian Empire from 1879 until his death in 1897. De Vivo championed his ideas on language teaching and learning in his books Grammatica della lingua russa [Russian Grammar for Italians] (Dorpat, 1882) and Prakticheskoe rukovodstvo dlya izucheniya ital’yanskogo yazyka [A Practical Guide to Learning Italian] (Odessa, 1886; Odessa, 1890), and in his Dizionario Italiano-Russo. Slovar’ ital’yansko-russkiy [Italian-Russian Dictionary] (Odessa 1894). The purpose of this article is to examine De Vivo’s life and works, which represent the first recorded attempt – in De Vivo’s own words – “to promote Russian language learning in Italy and Italian language learning in Russia.”

13

Sytuacja europejskiego przemyslu plytowego w swietle danych Europejskiej Federacji Producentow Plyt Drewnopochodnych [EPF]

47%

W O.

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nr 3-4

160-163

14

Kościół, sztuka i muzyka: doświadczenie poszukiwań i odnajdywania zawsze nowych horyzontów

41%

de Gregorio V. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

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tom 16

EN

On the basis of his own experiences of music, starting with the early childhood, throughout the university studies, until holding various managerial positions at music institutions, the author reaches the final conclusion that the very idea of musical school was born in the Church. The Church has always taught music and singing. Liturgical music has invariably been viewed as “primordial” (“di prim’ordine”), requiring professional skills from its performers. It has not only been a form of artistic expression or the aim in itself, but an instrument of communicating the Gospel and the words directed by the Church to God since the dawn of her history. The “professionalism” of the music within the Church, however, calls for the places of formation and education, so as to endure in time and to lay the foundation for setting guidelines to follow. The above postulate of teaching music in the Church originates from the very mission of the latter which, through her evangelization, “sings out” her faith. The author proposes his own, based on the experiences of many musicians as well, “definition” of the Church music: “Performing music in Church is the experience of faith, enlightened with aesthetic joy which moves the deepest recesses of the soul”. The Church music, understood in this way, evokes in us responsibility for preserving and passing down to next generations the idea of balance between the conception of art as the celestial gift of God (virtus cujusdam caelestis influxus) and the fruit of human intelligence (vehementia assidue exercitationis). Art and music – according to the author – are the fruits (ingenium et opus) of intelligence, efforts and commitment, and they compound with one another into a complete and final work of art (opus cansummatum et effectum).

PL

Na kanwie osobistych doświadczeń z muzyką, począwszy od wczesnej młodości przez lata studiów muzycznych, pełnienia różnych kierowniczych funkcji w instytucjach muzycznych, autor dochodzi do przekonania, że sama idea szkoły muzycznej zrodziła się w Kościele. Kościół zawsze nauczał muzyki i śpiewu. Muzyka liturgiczna zawsze była postrzegana jako „pierwszorzędna” („di prim’ordine”) i domagała się od jej wykonawców profesjonalizmu. Od zarania dziejów Kościoła była nie tylko formą artystycznego wyrazu i celem sama dla siebie, ale narzędziem komunikowania Słowa Bożego oraz słowem Kościoła zwracającego się do Boga. „Profesjonalizm” muzyki w Kościele potrzebuje jednak miejsc formacji i nauczania, aby móc przetrwać w czasie i mieć solidne podstawy do wytyczania kierunku dla przyszłości. Ten postulat nauczania muzyki ma swoje podstawy w samej naturze misji Kościoła, który ewangelizując, „wyśpiewuje” swoją wiarę. Autor proponuje swoją własną, powstałą także na bazie doświadczeń wielu muzyków, „definicję” muzyki kościelnej: „Wykonywanie muzyki w Kościele jest doświadczeniem wiary, oświeconej estetyczną radością, która porusza najgłębsze zakamarki duszy”. Z tak pojmowanej muzyki kościelnej rodzi się nasza odpowiedzialność za to, aby nadal utrzymywać i przekazać następnym pokoleniom ideę równowagi między koncepcją sztuki jako niebiańskiego daru Boga (virtus cujusdam caelestis influxus) a owocu ludzkiej inteligencji (vehementia assidue exercitationis). Sztuka i muzyka – według autora – są owocem (ingenium et opus) inteligencji, wysiłku i zaangażowania oraz dopełniają się w kompletnym i efektywnym dziele sztuki (opus cansummatum et effectum).

15

Upodobania i pasje hofrata Kazimierza Chłędowskiego

35%

Jaskólski M.

Annales Universitatis Mariae Curie-Skłodowska, sectio G (Ius)

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2019

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tom 66

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nr 1

EN

The essay presents the life and work of Kazimierz Chłędowski (1843–1920), partly in recognition of his political merit, but first of all to acknowledge his contribution to cultural studies and the popularization of knowledge about the Renaissance and the Baroque. Being a mere clerk and occupying at first the lowest post in the administration of Galicia, the part of the Austro-Hungarian Monarchy, with time Chłędowski raised to the position of the minister for Galicia in the Austrian government. Throughout his career and during the retirement he wrote several powerful monographs devoted to the history and culture of the Renaissance and the Baroque in Italy and France. His works had many re-editions in Poland and their translations won great popularity mainly in Germany and Scandinavia. Today Chłędowski seems to be a rather forgotten figure, hence the idea of writing this essay.

PL

W eseju została przedstawiona postać Kazimierza Chłędowskiego (1843–1920) gwoli przypomnienia jego zasług po części politycznych, lecz głównie na polu kulturoznawstwa i popularyzacji wiedzy o renesansie i baroku. Chłędowski jako urzędnik przeszedł drogę od najniższych stanowisk w administracji Austro-Węgier i Galicji jako kraju koronnego, po stanowisko ministra dla Galicji w rządzie austriackim. W trakcie swej pracy, a potem na emeryturze, stworzył kilka potężnych monografii poświęconych dziejom oraz kulturze renesansu i baroku we Włoszech i Francji. Jego prace cieszyły się wielką popularnością na ziemiach polskich oraz miały wiele nakładów i tłumaczeń, głównie w Niemczech i Skandynawii. Dziś wydaje się postacią nieco zapomnianą, stąd cel napisania tego eseju.