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Počátky sokolského hnutí v Moskvě (konec 19. a počátek 20. století)

100%

Kotov V. V.

Slovanský přehled: historická revue pro dějiny střední, východní a jihovýchodní Evropy (Slavonic Review: Review for Central, Eastern and Southeastern European history)

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2016

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tom 102

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nr 2

179-204

EN

This article examines the history of the Moscow Sokol movement at the end of the 19th and beginning of the 20th century. The Sokol movement in Russia is here conceived as an example of translating a cultural practice from a Central European to East European environment. The Sokol movement originated and evolved in the Czech lands under very different historical and social conditions than those of that time in Russia. Assimilation to the different environment necessarily required implementing certain modifications. A milestone for the Russian Sokol movement was the founding of the First Russian Gymnastics Society in Moscow in 1883, which gradually transformed into a genuine Sokol club. Certain personalities had a crucial influence upon these developments. Starting in 1891 František Olšaník was the leader of the gymnastic organization in Moscow, and Ferdinand Karel Šnepp took over after him in 1901. It was these two who introduced many of the truly Sokol elements into the Russian gymnastics organizations. However, they did not manage to impress upon them all of the characteristics of Czech Sokol, nor did the groups taking shape in Russia even bear the name of Sokol. The Krajanský Český kroužek [Czech Compatriots’ Club] that was founded in 1902 also still did not have the word Sokol in its name, though it had much in common with the Czech Sokol movement. The era of the Sokol movement’s heyday in Russia came after the revolution in 1905, and it was associated with social transformations and with neo-Slavism.

2

Między sztuką a polityką. Źródła myśli politycznej Stanisława z Warty Szukalskiego

86%

Kargol A.

Państwo i Społeczeństwo

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2012

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nr 3

111-120

EN

Stanisław Szukalski was one of the most famous and controversial artists in Poland. Known well in his motherland almost forgotten after the Second World War he continued his artistic activity in United States of America until nineties when he died. Szukalski was fascinated with Slavism and the deep, ancient past and tradition of Slavonic nations, especially Polish. Reaching there he was finding inspiration to his artistic creations and political doctrine as well. Evoking traditions different then catholic one and joining political thought with art he became unusual artist and even more unusual man of ideas. The article is an attempt to find real sources of inspiration in Szukalski’s doctrine and art including historical, social and cultural aspect of his époque.

3

Słowiańszczyzna w podręcznikach. Studium socjologiczne nad możliwością budowania alternatywnych narracji historycznych o początkach państwa polskiego

75%

Kasperek A.

Studia Edukacyjne

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2017

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nr 43

315-334

EN

What has been undertaken in this study is the problem of narrations, alternative to the predominant historical discourse, about the beginning of Polish statehood. The considerations on the existence of such narrations are situated in the perspective “dominant culture – counterculture”. Some references are made to the research concerning the presentation in history course books and curricula of two events in the history of Poland: the christening of Mieszko I and the so called pagan reaction. What is suggested here is enriching the research conclusions with the issues of Romantic “revelation” and introducing Slavism into the 19th century culture as well as viewing the early state of the Piast dynasty in the Ciril-Methodius tradition. The author formulates the thesis that in the analysed coursebooks and curricula the narration about the early Polish statehood is subordinated to the evolutionaryrevolutionary model of interpreting history.

4

Moc Słowiańszczyzny, siła fantazmatu

72%

Brzóstowicz-Klajn M.

Polonistyka. Innowacje

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2022

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nr 16

5-16

EN

Article presents the phenomenon of the popularity of Slavic motifs in the latest Polish popular culture. Its aim is to show the changes in the approach to Slavism after 1989. The starting point is the concept of phantasmatic criticism by Maria Janion and a reflection on the contemporary change in the approach to the Romantic tradition in order to create new narratives about Polish identity, in which Slavism is understood as a phantasm which may be important. Therefore, in addition to the forms of historical writing, various types of fantasy work play an increasingly important role. Two positions are crucial: skeptical about the possibility of creating Slavic fantasy (Andrzej Sapkowski) and creative, inspired by Slavic heritage (Maria Janion). The article ends with a proposal to interpret the fashion for the Slavs in relation to research in the field of spectral theory.

PL

Artykuł przedstawia zjawisko popularności motywów słowiańskich w najnowszej polskiej kulturze popularnej. Jego celem jest pokazanie zmian w podejściu do Słowiańszczyzny po 1989 roku. Punktem wyjścia jest koncepcja krytyki fantazmatycznej Marii Janion i refleksja nad zmianą współcześnie podejścia do tradycji romantycznej, by stworzyć nowe narracje o polskiej tożsamości, w których ważna może być Słowiańszczyzna pojęta jako fantazmat. Dlatego obok form pisarstwa historycznego coraz większą rolę odgrywają różne rodzaje twórczości fantastycznej. Kluczowe są dwa stanowiska: sceptyczne wobec możliwości stworzenia słowiańskiej fantastyki (Andrzeja Sapkowskiego) oraz kreatywne, zafascynowane słowiańskim dziedzictwem (Marii Janion). Artykuł kończy propozycja interpretacji mody na Słowiańszczyznę w odniesieniu do badań z kręgu teorii widmologii.

5

The Forgotten Slavism. A Sociological Study on the Depreciation of the Memory Concerning the Slavic Heritage in History Textbooks and Curricula in Secondary Schools

72%

Kasperek A. , Cabała A.

Kultura i Edukacja

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2013

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nr 5(98)

207-220

EN

The presented study explores the ways in which two events from the history of Poland – the baptism of Mieszko I and the so-called ‘pagan reaction’ – are shown in history textbooks and curricula. Both of these events are treated here as remembrance sites, creating the historical canon, which constitutes one of the pillars of Poles’ memory of the past. The method of public discourse analysis was applied. The analysis of textbooks and curricula showed that while the christening of Poland is presented as an exceptional remembrance site in its history (one of the major events constituting the historical canon), the so-called pagan reaction is a hardly noticeable event. The attitude to the Slavic past, which is characteristic for the analyzed texts, can be placed within the discourse of depreciation, to which the argumentation, linguistic means, and the symbolism have been subordinated.

6

Norwidowski wariant tematu słowiańskiego na romantycznym tle

58%

Halkiewicz-Sojak G.

Studia Norwidiana

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2013

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tom 31

17-39

EN

The Slavonic theme was one of the important motifs in the reflection present in the Polish literature of the 19th century. It appeared in literary works, in journalism, and in literary criticism – taken up in several contexts: historiosophical, esthetic and political ones. Questions and controversies connected with it were formulated as early as the beginning of Romanticism in Kazimierz Brodziński’s and Zorian Dołęga Chodakowski’s treatises, and the Paris lectures on Slavic literature delivered by Adam Mickiewicz (1840-1844) were the most complete development of the subject. The motif can be found in works of every Polish writer belonging to the Romantic epoch. The present article both outlines the whole panorama and points to particular aspects of the Polish thought about Slavism and attempts to give an answer to the question about what position Norwid’s reflection has against this background, as in his works Slavic motifs with different intensity are present from the end of the 1840s to the last years of his life (the poem The Slav written in 1882). It points to both similarities to Brodziński’s, Mickiewicz’s, and Krasiński’s thought, and to an original character of Norwid’s reflection resulting first of all from the ever present in Norwid’s works tendency to confront Slavism with the Christian universalism. The values from the perspective of which Norwid takes up the subject are: freedom and hope understood not only in the political meaning, but also in the existential and religious sense. Such a view allowed the poet to avoid Slavophil tones and to maintain distrust of Pan-Slavism as a political doctrine. Analyses of Norwid’s works listed in the chronological order reveal the evolution of the poet’s ideological position: from hopes of a philosopher of history to doubts of an ironist. They also emphasized a multitude of aspects of this subject that are connected with the variety of ways to talk about it. Slavic motifs appear in dramatic mysteries (Wanda, Krakus) and in poems (e.g. The Song of Our Land, Chopin’s Piano, The Slav), in poetic treatises (Bondage, About Freedom of Speech), in discussions and letters.

7

Norwidowski wariant tematu słowiańskiego na romantycznym tle

58%

Halkiewicz-Sojak G.

Studia Norwidiana

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2013

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tom 31

17-39

EN

The Slavonic theme was one of the important motifs in the reflection present in the Polish literature of the 19th century. It appeared in literary works, in journalism, and in literary criticism – taken up in several contexts: historiosophical, esthetic and political ones. Questions and controversies connected with it were formulated as early as the beginning of Romanticism in Kazimierz Brodziński’s and Zorian Dołęga Chodakowski’s treatises, and the Paris lectures on Slavic literature delivered by Adam Mickiewicz (1840-1844) were the most complete development of the subject. The motif can be found in works of every Polish writer belonging to the Romantic epoch. The present article both outlines the whole panorama and points to particular aspects of the Polish thought about Slavism and attempts to give an answer to the question about what position Norwid’s reflection has against this background, as in his works Slavic motifs with different intensity are present from the end of the 1840s to the last years of his life (the poem The Slav written in 1882). It points to both similarities to Brodziski’s, Mickiewicz’s, and Krasiński’s thought, and to an original character of Norwid’s reflection resulting first of all from the ever present in Norwid’s works tendency to confront Slavism with the Christian universalism. The values from the perspective of which Norwid takes up the subject are: freedom and hope understood not only in the political meaning, but also in the existential and religious sense. Such a view allowed the poet to avoid Slavophil tones and to maintain distrust of Pan-Slavism as a political doctrine. Analyses of Norwid’s works listed in the chronological order reveal the evolution of the poet’s ideological position: from hopes of a philosopher of history to doubts of an ironist. They also emphasized a multitude of aspects of this subject that are connected with the variety of ways to talk about it. Slavic motifs appear in dramatic mysteries (Wanda, Krakus) and in poems (e.g. The Song of Our Land, Chopin’s Piano, The Slav), in poetic treatises (Bondage, About Freedom of Speech), in discussions and letters.