When attempting to discuss and appraise the contribution of Wrocław-based composers to the Silesian and national musical culture in Poland, one should remember that the Wrocław music milieu came into existence only after the Second World War, and it developed from scratch, with no Polish roots it could refer to. However, in spite of difficult conditions in which it emerged, the milieu of Wrocław-based composers has always been open to new trends and movements. The article presents the achievements of the composers during different periods in the post-war Polish music history of the 20th and 21st centuries in the context of political and cultural changes, which provide a reference frame for the critical discourse. The aim is to determine characteristic features of the music of Wrocław-based composers and assess the significance of their cultural achievements from a local and national perspective.
Convinced that one of the most constitutive properties of photography is making manifest what is absent and not directly visible, the author reflects on the relations between photographic images and memory. He is, however, interested not so much in individual memory as in its collective or cultural dimension. He tries to explain what such forms of memory are, asking who wants to remember what or who wants us to remember what. At the same time, the author wants to establish how historical representations of the past are shaped on the level of image and what types of making the past manifest are the most significant when it comes to forming the memory. He takes the example of Wrocław and its residents to illustrate his argument.
This article presents the consequences of the establishment of the Crown of the Kingdom of Bohemia in 1348, which entailed the incorporation of Silesia with its rich and ambitious city of Wrocław. Initially, Wrocław posed many challenges for Prague, but over time, it became its competitor. The growing position of Wrocław in the Bohemian Crown stemmed from the legitimization of its rights to the Bohemian throne. Hence, Wrocław’s art and architecture of that time reveal many political undertones. In the winter of 1358/1359, the emperor chose Wrocław to ensure the succession of the Luxembourg secundogeniture. The birth of Wenceslaus IV in 1361 simplified the matter of succession. But when Charles IV’s younger son, Sigismund, was not accepted in Prague after his brother’s death in 1419, he took the Bohemian throne via Wrocław, calling it in 1420 “the second capital of his Rule and the source of law”.
The paper discusses synodal activities of Mikołaj Kurowski of the Szreniawa arms (c. 1365 – 1411) as the bishop of Wrocław (1399-1402) and archbishop of Gniezno (1402-1411). No trace of his synodal activities survive from the period of his rule in the Poznań diocese (1395-1399). As the bishop of Wrocław he convened the diocesan synod in 1402, while as the archbishop of Gniezno he held three provincial synods (Łęczyca 1402; Kalisz 1406; Kalisz 1409) and one diocesan synod (Łęczyca 1408). The diocesan synods he convened resulted in two codifications of diocesan law: for Wrocław (1402) and for Gniezno (c. 1408).
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