Wyniki wyszukiwania - Biblioteka Nauki

1

Performerzy nowoczesności. Rec.: Magdalena Popiel, Świat artysty. Modernistyczne estetyki tworzenia. Kraków 2018

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Brzozowska S.

Pamiętnik Literacki

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2020

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tom 111

|

nr 3

235-242

PL

Tekst jest recenzją książki Magdaleny Popiel „Świat artysty. Modernistyczne estetyki tworzenia” (Kraków 2018), a zarazem próbą prześledzenia konstrukcji intelektualnej, będącej obiecującym wariantem kulturowej historii literatury – historii historii tworzenia. Autorka kieruje uwagę odbiorcy na samego artystę, na jego głos ujawniający się także poza artefaktem – w listach, dziennikach, autobiografiach, a zatem „Świat artysty” stanowi próbę opisania tych osobowości twórczych, u których aktywność artystyczna ściśle splata się z refleksją tożsamościową zawartą w literaturze dokumentu osobistego. Performerami nowoczesności w narracji Magdaleny Popiel są Rainer Maria Rilke, Paul Cèzanne, Auguste Rodin, Georg Simmel, Bruno Schulz, Stanisław Witkiewicz i Stanisław Ignacy Witkiewicz, czytani przez pryzmat myśli Petera Sloterdijka czy Julii Kristevej.

EN

The text reviews of Magdalena Popiel’s book “Świat artysty. Modernistyczne estetyki tworzenia” (“The World of the Artist. Modernist Creative Aesthetics”, Kraków 2018) and also attempts at tracing the intellectual construction that is a promising variant of cultural literary history—the story of the history of creative process. The author directs the receiver’s attention to the artist himself, to his voice that becomes audible also outside the artifact—in letters, diaries, autobiographies; thus “The World of the Artist” attempts to describe those creative individuality in whom artistic activity is closely linked to identity reflection contained in personal document literature. Performers of modernity in Magdalena Popiel’s account are Rainer Maria Rilke, Paul Cézanne, Auguste Rodin, Georg Simmel, Bruno Schulz, Stanisław Witkiewicz, and Stanisław Ignacy Witkiewicz, all read through the prism of Peter Sloterdijk or Julia Kristeva.

2

„Kościoły epoki żelaza i betonu”. Polska architektura sakralna ok. 1925-1930

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Burno F.

Biuletyn Historii Sztuki

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2009

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tom 71

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nr 1-2

153-187

EN

The subject of this article is Roman Catholic temples constructed in the Second Republic of Poland during the second half of the 1920s. While from 1918 down to around 1925 modernised forms of historical styles had prevailed to no more than an insignificant degree in Polish church construction, from the middle of decade the search began for new formal spatial solutions. However, in the case of sacral architectural design more than any other, rather than a violent break with the past, it is necessary to talk in terms of an increasingly powerful influence of new concepts of form, construction and space.

3

The ‘cathedral’ - a pathos formula of modernism :

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Männig M.

Umění (Art)

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2019

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tom 67

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nr 4

294-303

EN

The article emphasizes the Gothic Cathedral as one of the key concepts in Hans Sedlmayr’s art historiography. Two different theoretical approaches structure the analysis: First, Aby Warburg’s pathos formula and second, Claude Lévi-Strauss’s floating signifies While the latter helps to map out the multiplicity of different meanings attributed to the cathedral-metaphor eventually pointing forward to a utopian future and backwards into a romanticized past, the former provides a model for cultural development which is organized between the two different poles, migration and the afterlife. The study identifies Sedlmayr’s idea of the cathedral to be based on the Romanticist notion of an aesthetic church’, which proves the critic unimmunized against the subject of his criticism. Sedlmayr’s thought subsequently can be contextualized with both modern art theory and artistic practice. By carving out the contrast between fragment and totality as the two opposing visual principles indicating Gothic-ness, the text, therefore, does not only propose a rereading of Sedlmayr’s work but also proposes a fresh interpretation of a selection of artworks dealing with the cathedral-topos. With a focus on painting, the article exemplarily discusses works from Karl-Friedrich Schinkel, Moritz von Schwind, Claude Monet, and Jackson Pollock but also from Lyonel Feininger and Le Corbusier.

CS

Článek upozorňuje na jeden z nejdůležitějších pojmů v umělecké historiografii Hanse Sedlmayra, jímž je gotická katedrála. Při jeho analýze jsou uplatněny dva teoretické přístupy, nejprve formule patosu Abyho Warburga, poté „plovoucí označující“ Clauda Léviho-Strausse. Zatímco přístup Léviho-Strausse pomáhá vytvořit přehled mnoha různých významů připisovaných metafoře katedrály, ukazující kupředu k utopické budoucnosti, nebo zpět do romantizované minulosti, Warburgův poskytuje model kulturního vývoje, který probíhá mezi dvěma odlišnými póly, migrací a přežíváním. Studie zjišťuje, že Sedlmayrova idea katedrály je založena na pojetí „estetického chrámu“ vycházející z romantismu, a dokazuje, že jako kritik nebyl imunní vůči předmětu své kritiky. Sedlmayrovo uvažování může být následně uvedeno do souvislosti jak s teorií moderního umění, tak s uměleckou praxí. Text vystihuje kontrast mezi fragmentem a totalitou jako dvěma protichůdnými vizuálními principy, které jsou známkou gotičnosti, a nenavrhuje tak jen přezkoumání Sedlmayrova díla, ale také novou interpretaci vybraných uměleckých děl vztahujících se k toposu katedrály. V článku zaměřeném na malbu jsou exemplárně probrána díla Karla-Friedricha Schinkela, Moritze von Schwinda, Clauda Moneta a Jacksona Pollocka, ale i Lyonela Feiningera a Le Corbusiera.

4

Od Redakcji

100%

Cieślak-Sokołowski T.

Poznańskie Studia Polonistyczne. Seria Literacka

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2014

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nr 24

7-9

EN

Introduction to the theme of the journal: "Renewal of modernism".

5

Vídeňská moderna ve slovanských časopisech

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Kostrbová L.

Česká literatura (Czech Literature)

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2007

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tom 55

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nr 2

218-231

EN

This review of Die Wiener Moderne in slawischen Periodika der Jahrhundertwende, a volume of essays from a two-day conference in Vienna in 2004. The reviewer divides the essays into two sections. The first comprises discussions of its reception in Russian periodicals (by Helga Ottinger, “Vesy,” Rosemarie Ziegler, “Severnyj vestnik,” Eva Hausbacher, “Mir Iskusstva,” Stefan Simonek, “Zolotoe runo,” and Fedor B. Poljakov, “Apollon”), which did not reflect the difference between Jungstes Deutschland and Jung-Wien, and the Wiener Moderne was therefore perceived as part of German culture. The second part considers the reception of the Wiener Moderne in periodicals published in Austria-Hungary (Stephan Simonek, “Literaturno-naukovyj visnyk,” Jolanta Krzysztoforska-Doschek, “Chimera,” Alois Woldan, “Zycie,” and Gertraude Zand, “Moderní revue”), where, by contrast, the polarity between Modernism of Vienna and Germany was distinctly perceived, owing, among other things, to the promotion of this polarity by the Austrian critic, novelist, and playwright Hermann Bahr (1863–1934).

6

Zofia Wojnarowska. Poetka dla dzieci – poetka miłości – poetka rewolucji

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Zawiszewska A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2018

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nr 32

57-74

EN

The article discusses Zofia Wojnarowska’s (1881-1967) biography and poetry which were representative of the life path and artistic career of many other active Polish poetesses at the turn of the 19th century. The output of Wojnarowska, who made her debut in the period of Young Poland and reached her artistic maturity in the interwar period, expresses a typical situation of an artist–epigone whose mediocre talent looks for its own expression and place in the literary Parnassus in the time of, important for the national community, political, economic and cultural changes. Political facts like the country’s occupation, World War I and a difficult process of the restoration of an independent country influenced the judgments of Polish critics who rarely applied esthetic criteria to the evaluation of poetesses’, including Wojnarowska’s, output and instead appreciated their subordination to the following functions: didactic (in children’s poetry), expressive (in love poetry) and ideological (in the poetry of proletarian revolution). The situation in which systemic and individual factors like the emancipation of women, the crystallization of literary professions literary critics’ lenient approach to the artistic output of women and the ease of writing overlapped, the need of success and ideological engagement, on the one hand, made it difficult for women writers to improve their own work, to function in higher mainstream and to play the roles of culture creators and, on the other hand, made it easier for them to function in the popular mainstream and play a role of literary craftsmen.

7

Wędrówki po definicjach.Znaczenia terminów „nowoczesny”/„nowoczesność”/„modernizm”

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Stanford Friedman S.

Poznańskie Studia Polonistyczne. Seria Literacka

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2014

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nr 24

119-144

EN

The main task of the present article is to characterize the changing perspectives in the description and definition of modernism and modernity in a reciprocal relationship of these two categories. The creation of definitions is described here as a processes of fictionalization with a generational viewpoint of scholars. Moreover, the article indicates the difference between a nominal and a relational mode of defining and the question of institutionalization of knowledge within the framework of definition projects. Such research perspectives lead to the conclusion about dialogical and at the same time contradictory character of historical formations of phenomena to which the studied terms allude.

8

W kręgu Tadeusza Kudlińskiego: Wiesław Gorecki

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Zdunik M.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

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2018

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tom 18

200-210

RU

Three one-act plays – 'The Elevator', 'The Rebellion' and 'The Freud' – written by Wiesław Gorecki are analysed in the paper. These plays were premiered in 1934 by a theatre group Mikroscena, founded by Tadeusz Kudliński. In my opinion, Wiesław Gorecki’s dramas are examples of modern aesthetics (as defined by Richard Sheppard). We can read these works as a poetic drama ('The Elevator'), the Ibsenesque psychological theatre ('The Fraud') and a game with scenic illusion in the style of Pirandello ('The Rebellion'). Finally, I created a new term for Goreckis’ plays: 'miniature, light and bourgeois modernism'.

EN

Three one-act plays – 'The Elevator', 'The Rebellion' and 'The Freud' – written by Wiesław Gorecki are analysed in the paper. These plays were premiered in 1934 by a theatre group Mikroscena, founded by Tadeusz Kudliński. In my opinion, Wiesław Gorecki’s dramas are examples of modern aesthetics (as defined by Richard Sheppard). We can read these works as a poetic drama ('The Elevator'), the Ibsenesque psychological theatre ('The Fraud') and a game with scenic illusion in the style of Pirandello ('The Rebellion'). Finally, I created a new term for Goreckis’ plays: 'miniature, light and bourgeois modernism.

9

Modernism in regional architecture of Bohemian Germans between 1900 and 1918

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Vostřelová V. , Logan H.

Umění (Art)

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2023

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tom 71

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nr 2

121-141

EN

Around 1900, the architecture of the German-speaking enclaves in Bohemia displayed a great variety of styles and forms. Unlike their Czech rivals, the Germans lacked a natural geographical centre and struggled with political and cultural fragmentation. Prague could no longer play a unifying role as it gradually became a city of dominant Czech representation. The study introduces three hitherto overlooked architects whose work represents three different trends in Bohemian-German architecture of the early 20th century: Emil F. Ruehr (1861–1920), who worked mainly in Česká Lípa and its surroundings, was inspired by Art Nouveau; the Lanškroun builder Richard Kreissl (1874–1920) worked with elements borrowed from vernacular architecture; while the Most-based architect Adolf Schwarzer (1876– 1914) leaned towards Neo-Biedermeier and classicism. Each of these architects found their own way of designing modern buildings, even if they did not follow the direction set by the ‘founders’ of modern architecture. From a Prague-centric perspective, it may seem that there were no modernist architects in the German-speaking regions of Bohemia at the beginning of the 20th century. However, the perceived contrast between the ‘modern’ and the ‘traditional’ was less pronounced in this period than after the rise of the interwar avant-garde. The stylistic pluralism characteristic of Czech-German architecture around 1900 is related to the modernist search for a style appropriate to the needs of the new era but also reflects the deepening differences between the individual areas inhabited by Czech Germans. The many local centres without close links to Prague produced a wealth of original creations. However, without one unifying artistic centre, Czech-German artists were unable to articulate their national identity.

CS

Pro architekturu německých oblastí Čech v období kolem roku 1900 byla charakteristická velká stylová rozrůzněnost. Čeští Němci na rozdíl od svého národního protivníka postrádali přirozené geografické centrum a potýkali se tak se značnou politickou a kulturní roztříštěností. Praha pro ně přestávala být střediskem spolu s tím, jak se proměňovala v město s dominující českou reprezentací. V příspěvku jsou představeny tři z dosud opomíjených mimopražských osobností, jejichž tvorba zároveň reprezentuje různé směry českoněmecké architektury počátku 20. století: Emil F. Ruehr (1861–1920) působící převážně v České Lípě a okolí vycházel ze secese, lanškrounský stavitel Richard Kreissl (1874–1920) pracoval s prvky vypůjčenými z vernakulární architektury, kdežto mostecký architekt Adolf Schwarzer (1876–1914) se přiklonil k neobiedermeieru či klasicismu. Každý z těchto architektů si našel vlastní způsob, jak navrhovat stavby moderního charakteru, i když nenásledoval směr udávaný „zakladateli“ moderní architektury. Z pragocentrické perspektivy se mohlo zdát, že v českoněmeckém regionu nepůsobili kolem roku 1900 žádní architekti moderního směru. Mezi „moderním“ a „tradičním“ ovšem nebyl v té době spatřován tak příkrý protiklad, jako tomu bylo později po nástupu meziválečné avantgardy. Značný stylový pluralismus charakteristický pro architekturu českých Němců kolem 1900 souvisí ovšem nejen s modernistickou potřebou najít styl odpovídající potřebám nové doby, ale zejména s prohlubujícími se rozdíly mezi jednotlivými oblastmi osídlenými českými Němci. Při množství lokálních středisek postrádajících těsnější vazbu k Praze se vytvořil prostor pro vznik originálních výtvorů. Bez opory ve vlastním uměleckém centru ovšem českoněmečtí tvůrci nebyli schopni artikulovat svou národní identitu.

10

The idea of “building with electric light” in the German architectural disputation of 1925-1933

80%

Burno F.

Kwartalnik Architektury i Urbanistyki

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2018

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tom T. 63, z. 1-2

14--20

EN

The article is about the popularity of the idea of the “architecture of light” in the German architectural disputation of the turn of the 1920’s and 1930’s. The significance of electric light in the shaping of architectural compositions increased in Germany after the First World War. Light advertisements emphasizing modern and functionalist nature of buildings started to appear on façades of face-lifted tenement houses. Neon signs were often integrated with the form of façades. German (mostly Berlin) architectural avant-garde circles often proposed development of “architecture of light”: the inclusion of light in the whole architectural design to embellish buildings with entirely new, original but also simple, compositions of effects becoming visible after dark. The night appearance of a building could be styled by ribbon windows, neon signs or tall store displays. Electric light became an add-on to architecture or even, as in the designs by Hans Poelzig or Erich Mendelsohn, a “material” equally important as steel, ferroconcrete and glass.

11

Dylematy polskiego modernizmu na Pomorzu Zachodnim w II połowie XX wieku

80%

Szymski A. M. , Nowak K.

Wiadomości Konserwatorskie

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2017

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tom Nr 51

95--103

PL

Okres powojenny oznaczał dla architektury polskich ziem, a szczególnie dla terenu Pomorza Zachodniego „nowe otwarcie” pozbawione ‘naturalnej’ ciągłości tradycji i sentymentów. Przed pierwszymi, wykształconymi już w utworzonej w Szczecinie w 1947 roku Wyższej Szkole Inżynierskiej absolwentami skupionymi w oddziale szczecińskiego „Miastoprojektu” otwarły się praktycznie nieograniczone wprost możliwości. Wprowadzenie w życie wyniesionych z ukończonych trzyletnich studiów idei, głównie zdefiniowanych w abstrakcyjnym haśle „odbudowy przez przebudowę”, zaczęły powstawać z końcem lat 50. „nowe-stare miasta” w Szczecinie, Koszalinie, Stargardzie Szczecińskim, Słupsku, Kamieniu Pomorskim i w wielu innych mniejszych miejscowościach Pomorza Zachodniego, w powiązaniu z eksperymentami urbanistycznymi całkowicie zmieniając krajobraz Ziemi Pomorskiej.

EN

The post-war period had become for the architecture of Poland, in particular the West Pomerania, a “new opening” divested of a ‘natural’ continuity of tradition and sentiments. The first graduates, educated at the Higher School of Engineering established in Szczecin in 1947, grouped in the Szczecin-based branch of “Miastoprojekt”, encountered almost unlimited possibilities. By implementing the ideas and concepts learnt during the 3-year studies and defined in the abstract slogan “restoration through reconstruction”, by the end of the 1950s “new-old towns” began to emerge in Szczecin, Koszalin, Stargard Szczeciński, Słupsk, Kamień Pomorski and in many other townships across West Pomerania, followed by urbanistic experiments, thus altering the landscape of Pomerania entirely.

12

Krytyka modernizmu i integryzmu w personalizmie chrześcijańskim

80%

Witko K.

Studia Pastoralne

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2018

|

tom 14

288-302

EN

In the new and uncomfortable situation Christians sometimes adopt two equally ineffective attitudes: liberal modernism and religious integralism. Following Emmanuel Mounier (1905–1950) I start my analysis with a reflection on “the space” of modernism – a situation of a Christian subjected to “the world outside”, a victim of alleged modernity and scientistic rationalism. Next I analyse religious integralism, which is blind acceptance of doctrines and articles of faith without any proof. This attitude approves, to some extent, the status quo and treats it as something irreversible. In my conclusion I present my conviction that the area of personalistic thinking is Christianity rooted in the Paschal mystery of Christ and at the same time involved one, participating in human affairs, open to the question of meaning of human existence.

13

Pięć filarów myśli społeczno-architektonicznęj modernizmu. Refleksje o dziedzictwie idei modernizmu w architekturze mieszkaniowej

80%

Kwiatkowska A.

Architectus

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2006

|

tom Nr 2(20)

61--67

PL

Współczesna architektura mieszkaniowa, zarówno w warstwie ideowej, jak i formalnej, odwołuje się do myśli teoretycznej i dorobku realizacyjnego architektów okresu modernizmu, zwłaszcza w zakresie kształtowania domu dostępnego i taniego dla warstw społecznie nieuprzywilejowanych. Architektura modernizmu była odpowiedzią na przemiany życia mieszkańców miast przełomu XIX i XX wieku, wynikające z rozwoju cywilizacyjnego i dynamiki procesów rewolucji przemysłowej. Do podstawowych wyzwań stojących przed architekturątego okresu należały: poszukiwanie nowoczesnych wzorców mieszkania i miasta, dostosowanych do stylu życia epoki industrialnej, modernizacja i uprzemysłowienie procesów wznoszenia budynków oraz ekspresja nowej estetyki w powiązaniu z narodzinami wzornictwa przemysłowego. Wyzwania te należy widzieć w szerszym kontekście epoki i procesów społecz-no-cywilizacyjnych, związanych z emancypacją dużych grup społecznych, w tym robotników i kobiet; grup, które stały się nowym adresatem architektury mieszkaniowej. Główne założenia programowo-ideowe architektury modernizmu, np. poszukiwanie nowatorskich koncepcji architektonicznych w celu poprawienia jakości życia, innowacyjność w posługiwaniu się awangardowym językiem form, korzystanie z nowych materiałów i technologii czy uwrażli-wienie architektów na potrzeby społeczne, zostały wpisane na trwałe do teorii architektury, ulegając tylko pewnym przewartościowaniom w ciągu ostatniego stulecia. Niektóre wątki z różnych manifestów architektury modernistycznej są do dziś kontynuowane, inne uległy ideowym lub formalnym transformacjom, a jeszcze inne zostały porzucone. Można zaryzykować tezę, że po negatywnych doświadczeniach z totalitarnymi ideologiami XX w., w dzisiejszych czasach nastąpiło pewne przesunięcie akcentów między tym, co uniwersalne a tym, co indywidualne, na korzyść tego, co w świadomości epoki znaczą pierwiastki indywidualne, zarówno w sferze społecznej - prymat potrzeb indywidualnego odbiorcy nad potrzebami grupy społecznej, jak i w sferze architektonicznej - wyzwolenie formy architektonicznej z dyktatu technologii i industrialnej prototypowości.

EN

Contemporary housing architecture, both on the ideological and formal levels, is based on the theoretical ideas and on the architectural heritage of modernism, especially, in the range of shaping accessible housing for low-income people. In the broad stream of socio-architectural ideas of modernism, it is possible to distinguish five fundamental trends, which define the directions of searching for modem patterns of house and dwelling, complying with the present and future needs of mass-consumers, such as: futurism, modernistic avant-garde, purism, structuralism and universalism. These trends are the starting point of description of their influence on the further development of housing architecture and the cause of reflections on the socio-architectural Utopia - from futurism to alterglobalism, on the egali-tarianism - from the avant-garde to art-guerillas, on the esthetical idealism - from utilitarianism to minimalism, on the structural order - from costructivism to deconstruction and on techno-esthetics - from high- to low-tech in the housing architecture.

14

Why the Olympic Modernism is more than Sport?

80%

Pawłucki A.

Physical Culture and Sport. Studies and Research

|

2009

|

tom 47

|

nr 1

117-124

EN

Olympic sport is a symbolic response to the literal evil of war. It establishes peace in its own way as there is always a need to redeem the evil of war. Sport is not what the mindful journalists think - a gathering of pagan mob, festival of youth or vanity fair of business traders. If, however, Olympic modernism ever became its own negation in the form of a spontaneous movement of liberation from moral constraints, legitimised by postmodern ideology, it would be a negation of the ethical ideal of friendship, i.e. it would be collective defiance of order as ordo amicitia pro pace. In consequence, Olympic modernism would deprive itself of the idea of universal good and lose its inherent order-making potential. Whoever then becomes a part of the motley movement against oneself, in which all standards of moral life in love are replaced by liberal aesthetic expressions, he or she becomes incomprehensible to oneself and others, like the proverbial black sheep in a family. Beware the poor in Olympic spirit of peace, as they will never be granted friendship. It will be a great loss to them as well as to the entire Olympic family. The Olympic Games of Peace must last as long as there are wars. The primary cause of Olympic sport is the experience of the evil of war. Olympic modernism uses sport as the foundation of its symbolic affirmation of the idea of friendship. It has not created sport, but has taken a great advantage of it, using the physical cultivation and the moral formation of the mighty sport club for free play (ludic sport) or paid play (professional sport). Although the Olympic costs are high, despite all the expenses, it is a highly profitable cultural enterprise. The order of friendship for peace, known as Olympic modernism, not only banishes the spectre of hatred but also provides culture with sanctity, making everybody's life more perfect.

15

Belgrad Simy Matavulja. Przyczynek do badań nad serbskim modernizmem przełomu XIX I XX wieku

80%

Nowak-Bajcar S.

Pamiętnik Słowiański

|

2010

|

tom 60

|

nr 2

83-98

EN

The article is an attempt to answer a question how modernity is manifested in Belgrade Stories (Beogradske priče) by Simo Matavulj, where city is metonimia of the modernity. On the one hand, a problem will be absorbing us how the entity is getting to know the strange space and expanding its awareness, on the other, problem of artistic announcements of the city’s modernization. Therefore the article constitutes reflection over the way of creating modern image of the city by Matavulj. Recommended attempts of aestetizating space of Belgrade (symbolization of the space, attempts to abandon descriptions where axiological categories are written down) enable to state that such mode of reading of Matavulj short stories which allows to interpretate them is available as „Belgrade text” registering experience of the temporariness. The Matavulj prose is demonstrating prose is demonstrating the process of diverging from the record documenting the city for his aestetical recording, of the writer from the city introduced on the two-dimensional plan to symbolization, to the city considered as space, from the conception as the researcher-observer of the city to the convention of the writer as the author of the myth of the city. This the birth of modern Belgrade as the literary theme.

16

Jej Miriam. Wilhelminy Zyndram-Kościałkowskiej refleksja nad koncepcją sztuki i kultury Zenona Przesmyckiego

80%

Osiński D. M.

Przegląd Humanistyczny

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2017

|

tom 61(4 (459))

125-138

PL

The article attempts to present the stages of Wilhelmina Zyndram-Kościałkowska’s approach to reflection on Miriam’s understanding of aesthetic and artistic principles. A critical diagnosis related to the understanding of art and culture by Zenon Przesmycki is possible due to observation of Kościałkowska’s holistic reflection on the concept of culture and modernist literature (including the essence of translation, the meaning of modernist art, drama specificity and the concept of “art for art”) contained in manuscript intimist collections. The analysis includes diaries, notes, “extracts” from life and people, calendars kept throughout the life of the Grodno writer deposited in the Lithuanian State Historical Archives in Vilnius. The method of examination and the nature of the approach are defined by the author of the article as a coffin portrait.

17

Modernist Party House in Zielona Góra. architecture to be discovered

80%

Eckert W.

Czasopismo Inżynierii Lądowej, Środowiska i Architektury / Journal of Civil Engineering, Environment and Architecture

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2018

|

tom z. 65, nr 3

111--118

EN

According to the tendency that was observed at the turn of the 1940s and 1950s, each provincial town, including Zielona Góra, was to be expanded. At that time in every area of social life, including architecture, there was a fixed set of values and symbols. Urban planning and architecture were to be adapted to the propaganda needs of the new social-political formation. A decision was made to build an elegant building, the seat of the Provincial Committee of the Polish United Workers' Party. The Central Office for Architectural and Construction Projects was entrusted with the project. The team headed by Mikołaj Kokozow designed a building reflecting the tradition of interwar architecture that linked constructivism and so called quasi-classicist modernism. The building at 23 Bohaterów Westerplatte Street in Zielona Góra is an example of socialist realism, which was a dominant style in Polish architecture in the years 1949-1956. The former Party House was designed in quasi-classicist style, decorated with quasi-historical detail. The building has a permanent position in the cultural landscape of Zielona Góra, being part of post-war history and an important element of the continuity of the cultural heritage and history of the town.

18

„Próżne nam były Kasandry wołania”. O wybranych inspiracjach antykiem w twórczości Wincentego Korab-Brzozowskiego

80%

Borek B.

Studia Ełckie

|

2019

|

tom 21

|

nr 2

275-292

EN

The article on the presence of ancient inspirations in the writings by Wincenty Korab-Brzozowski’s focuses on recalling mythical figures in his poetry, prose and paraphrases of this author. The analysis of selected works proceeded with the use of a comparative method – a juxtaposition of Young Poland’s works with ancient applications, which became patterns for the poet. The interpretations made indicated alike faithful use of the texts of the old masters, and attempts to transform these narratives, when the poet was interested in passing on the content important to him.

19

David Bradshaw, Laura Marcus, Rebecca Roach (red), Moving Modernisms: Motion, Technology, and Modernity

80%

Wylężek E.

ER(R)GO: Teoria – Literatura – Kultura

|

2018

|

nr 38

EN

A critical note on: Moving Modernisms: Motion, Technology, and Modernity, edited by David Bradshaw, Laura Marcus and Rebecca Roach. Oxford: Oxford University Press, 2916.

PL

Nota krytyczna poświęcona książce: Moving Modernisms: Motion, Technology, and Modernity pod redakcją Davida Bradshawa, Laury Marcus i Rebekki Roach. Oxford: Oxford University Press, 2916.

20

Partykularne i uniwersalne w literaturach narodowych

80%

Masłowski M.

Postscriptum Polonistyczne

|

2016

|

nr 2(18)

125-134

EN

Opposition between the notion of universalism, created in the age of Enlightenment and the Romantic tradition, which dominates in Central Europe is discussed in the article. Universalism is understood as the process of emancipation of man, but at the same time, in countries ‘between Russia and Germany’ it is also understood as the rule of adherence. In the Romantic tradition there is the symbolic extrapolation of historic experiences and the use of metaphors that have ethical universalism, both of which are described by the author in this article. The understanding of culture as a spiritual sphere w hich unites the national spirit was destroyed in the 20th century due to totalitarianism, but this grotesque tragedy from our absurd history has created ‘anti-modern modernism'.