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Around 1948: The “Gentle Revolution” and Art History

100%
Markowska A.
Artium Quaestiones
|
2019
|
issue 30
137-160
EN
Just like after World War I Italy experienced a transition from modernism to fascism, after World II Poland experienced a passage from modernism to quasi-communism. The symbol of the first stage of the communist revolution in Poland right after the war, the so-called “gentle revolution,” was Pablo Picasso, whose work was popularized not so much because of its artistic value, but because of his membership in the communist party. The second, repressive stage of the continued came in 1949–1955, to return after the so-called thaw to Picasso and the exemplars of the École de Paris. However, the imagery of the revolution was associated only with the socialist realism connected to the USSR even though actually it was the adaptation of the École de Paris that best expressed the revolution’s victory. In the beginning, its moderate program, strongly emphasizing the national heritage as well as financial promises, made the cultural offer of the communist regime quite attractive not only for the left. Thus, the gentle revolution proved to be a Machiavellian move, disseminating power to centralize it later more effectively. On the other hand, the return to the Paris exemplars resulted in the aestheticization of radical and undemocratic changes. The received idea that the evil regime was visualized only by the ugly socialist realism is a disguise of the Polish dream of innocence and historical purity, while it was the war which gave way to the revolution, and right after the war artists not only played games with the regime, but gladly accepted social comfort guaranteed by authoritarianism. Neither artists, nor art historians started a discussion about the totalizing stain on modernity and the exclusion of the other. Even the folk art was instrumentalized by the state which manipulated folk artists to such an extent that they often lost their original skills. Horrified by the war atrocities and their consequences, art historians limited their activities to the most urgent local tasks, such as making inventories of artworks, reorganization of institutions, and reconstruction. Mass expropriation, a consequence of the revolution, was not perceived by museum personnel as a serious problem, since thanks to it museums acquired more and more exhibits, while architects and restorers could implement their boldest plans. The academic and social neutralization of expropriation favored the birth of a new human being, which was one of the goals of the revolution. Along the ethnic homogenization of society, focusing on Polish art meant getting used to monophony. No cultural opposition to the authoritarian ideas of modernity appeared – neither the École de Paris as a paradigm of the high art, nor the folklore manipulated by the state were able to come up with the ideas of the weak subject or counter-history. Despite the social revolution, the class distinction of ethnography and high art remained unchanged. 
2
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Wokół roku 1948: „rewolucja łagodna” i historia sztuki

100%
Markowska A.
Artium Quaestiones
|
2019
|
issue 30
367-391
PL
Just like after World War I Italy experienced a transition from modernism to fascism, after World War II Poland experienced a passage from modernism to quasi-communism. The symbol of the first stage of the communist revolution in Poland right after the war, the so-called “gentle revolution,” was Pablo Picasso, whose work was popularized not so much because of its artistic value, but because of his membership in the communist party. The second, repressive stage of the continued came in 1949–1955, to return after the so-called thaw to Picasso and the exemplars of the École de Paris. However, the imagery of the revolution was associated only with the socialist realism connected to the USSR even though actually it was the adaptation of the École de Paris that best expressed the revolution’s victory. In the beginning, its moderate program, strongly emphasizing the national heritage as well as financial promises, made the cultural offer of the communist regime quite attractive not only for the left. Thus, the gentle revolution proved to be a Machiavellian move, disseminating power to centralize it later more effectively. On the other hand, the return to the Paris exemplars resulted in the aestheticization of radical and undemocratic changes. The received idea that the evil regime was visualized only by the ugly socialist realism is a disguise of the Polish dream of innocence and historical purity, while it was the war which gave way to the revolution, and right after the war artists not only played games with the regime, but gladly accepted social comfort guaranteed by authoritarianism. Neither artists, nor art historians started a discussion about the totalizing stain on modernity and the exclusion of the other. Even the folk art was instrumentalized by the state which manipulated folk artists to such an extent that they often lost their original skills. Horrified by the war atrocities and their consequences, art historians limited their activities to the most urgent local tasks, such as making inventories of artworks, reorganization of institutions, and reconstruction. Mass expropriation, a consequence of the revolution, was not perceived by museum personnel as a serious problem, since thanks to it museums acquired more and more exhibits, while architects and restorers could implement their boldest plans. The academic and social neutralization of expropriation favored the birth of a new human being, which was one of the goals of the revolution. Along the ethnic homogenization of society, focusing on Polish art meant getting used to monophony. No cultural opposition to the authoritarian ideas of modernity appeared – neither the École de Paris as a paradigm of the high art, nor the folklore manipulated by the state were able to come up with the ideas of the weak subject or counter-history. Despite the social revolution, the class distinction of ethnography and high art remained unchanged.
3
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3 kobiety i inne wystawy duetu Toniak-Szczęśniak

100%
Markowska A.
Sztuka i Dokumentacja
|
2016
|
issue 15
79-96
4
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Inne spojrzenie na świat – kartograficzne anamorfozy powierzchni

100%
Markowska A.
Edukacja Biologiczna i Środowiskowa
|
2014
|
issue 2
41-51
PL
W artykule omówiona została jedna z form prezentacji kartograficznej – kartograficzna anamorfoza powierzchni. Jest to nietypowy sposób prezentacji danych statystycznych, w którym powierzchnia poszczególnych jednostek przestrzennych jest proporcjonalna do wartości zjawiska. Ze względu na swoją specyfikę, anamorfoza powierzchni jest ciekawym sposobem na graficzną prezentację zjawisk, w szczególności dotyczących problemów demograficznych i gospodarczych świata. W artykule zaprezentowane zostały możliwości wykorzystania anamorfoz powierzchni w nauczaniu geografii w gimnazjach i szkołach ponadgimnazjalnych.
EN
An issue discussed in the article is value-by-area cartogram, one of the cartographic presentation forms. It is a unique way of presenting statistical data, in which the surface of the individual spatial units is proportional to the value of the phenomenon. Due to its specificity, value-by-area cartogram is an interesting way of graphical representation of phenomena, in particular the demographic and economic problems of the world. The article presents the possibility of using this kind of cartogram in teaching geography in secondary and high schools.
5
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Przesilenia kanclerskie w Cesarstwie Niemieckim w 1917 r. na łamach krakowskiego Głosu Narodu

100%
Markowska A.
Saeculum Christianum. Pismo Historyczne
|
2019
|
vol. 26
|
issue 1
158-171
EN
The article concerns governmental crises and changes in the chancellor’s position that took place in the German Empire in the period between July and November 1917. It was possible to cover this issue thanks to the analysis of articles published in the Krakow daily newspaper “Głos Narodu”. This paper referred to direct correspondents from Berlin, German press agencies, or information from the German press. The author wants to show a few months of tensions in German internal politics and present various behind-the-scenes games of political parties in the government. The situation in the Empire was important for us, Poles, because the year 1917 and the reports from the fronts of World War I gave rise to more and more hopes for regaining independence.
6
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„Rzeczy warszawskie” – nowa odsłona Muzeum Warszawy

100%
Markowska A.
Artium Quaestiones
|
2018
|
issue 29
209-228
PL
A radical reconstruction of the exposition layout at the Museum of the City of Warsaw, connected with the general reconstruction of the facilities and retirement of its longtime director, Janusz Durko (1951-2003), resulted in 2017 in opening a new permanent exposition called Things from Warsaw. The exposition consists of 21 cabinets containing 8 000 items selected out of 300 000 included in the museum holdings (e. g., Cabinet of Warsaw Monuments, Cabinet of Warsaw Silver and Plate Tableware, Cabinet of the Warsaw Sirens, Cabinet of Postcards, Cabinet of Souvenirs, Cabinet of Shrines). The main criterion was the materiality and authenticity of particular items, which resulted in the absence of multimedia presentations and suggested “appropriate” narratives. The main curator of the exposition is Jarosław Trybuś, art historian and curator rewarded with the Golden Lion at the Venice Biennale in 2008. His team followed an idea of Bjørnar Olsen that due to various conceptualizations the material world studied by the humanities has been so dematerialized that we can hardly believe our eyes. Thus the features of the exposition – sincerity, seriousness, and modesty – suggest a new approach to the city’s history through experiencing the reality of things treated not so much as “witnesses,” but rather as “actors” of the past events. This turn to materiality stems from the hope to come close to the things without the mediation of words imposing predictable interpretations in advance. In other words, the exposition is a kind of lesson in openness, multidirectional reading, and the de-ideologization of history. The Things from Warsawexhibition has been analyzed in reference to three criteria: openness to the “other,” creating a vision of the future, and the inspiring power of imagination.  
7
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Proces hr. Macieja Mielżyńskiego na łamach prasy poznańskiej

100%
Markowska A.
Wieki Stare i Nowe
|
2020
|
vol. 15
|
issue 20
78-93
EN
The article concerns the court trial of Maciej Mielżyński, which took place in front of the jury in Międzyrzecz on 20-21 February 1914. The jury found the defendant - accused of a double murder - not guilty. The analysis of the court proceedings was based on the content of three Poznań daily newspapers, namely Dziennik Poznański, Kurier Poznański, and Postęp. Despite the fact that both the general public and the press had been barred from the court, the wealth of material featured in Polish and German dailies alike allowed, albeit only partially, to follow its course. Unfortunately, the confidentiality of hearings also contributed to the controversy concerning the court’s final ruling, which cleared the defendant of all charges. The present article examines closely the proceedings in question in order to reveal the background of a family tragedy that took place amongst the aristocracy of Wielkopolska (Greater Poland).
PL
Artykuł dotyczy procesu w sprawie przeciwko Maciejowi Mielżyńskiemu toczącego się 20-21 lutego 1914 roku przed sądem przysięgłych w Międzyrzeczu. Sędziowie przysięgli uznali oskarżonego o popełnienie podwójnego zabójstwa za niewinnego zarzucanego mu czynu. Przedstawienie tego zagadnienia było możliwe dzięki analizie treści publikowanych na łamach trzech poznańskich dzienników: „Dziennika Poznańskiego”, „Kuriera Poznańskiego” oraz „Postępu”. Proces hrabiego Mielżyńskiego odbywał się bez udziału publiczności i przedstawicieli prasy, jednak bogactwo materiału zawartego w polskich i niemieckich gazetach pozwoliło w części poznać jego przebieg. Niestety z powodu utajnienia rozpraw trudno zrozumieć kontrowersyjny wyrok, który oczyścił oskarżonego z zarzutów. W artykule przybliżono zarówno sam proces, jak i tło, które doprowadziło do tragedii rodzinnej w sferach wielkopolskiej arystokracji.
8
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Transformacje w sztuce polskiej po 1989 roku. Wstęp

44%
Markowska A.
Sztuka i Dokumentacja
|
2015
|
issue 13
4-7
9
Content available remote

Błędne przekonania w nauczaniu przedmiotów przyrodniczych

33%
Markowska A., Lechowicz M., Grajkowski W., Chrzanowski M., Spalik K., Borgensztajn J., Ostrowska E. B., Musialik M.
Edukacja Biologiczna i Środowiskowa
|
2014
|
issue 4
56-66
PL
Głównym celem artykułu jest przybliżenie nauczycielom przedmiotów przyrodniczych pojęcia błędnych przekonań. Przedstawiona jest funkcjonalna typologia błędnych przekonań, a także ich przykłady z biologii, chemii, fizyki i geografii, z którymi mogą się zetknąć nauczyciele gimnazjalni i licealni. Podane są także przykłady zadań, które mogą posłużyć do diagnozy wybranych błędnych przekonań.
EN
The aim of this paper is to show the importance of misconceptions in the process of science education. The functional typology of misconceptions is illustrated with examples from biology, chemistry, physics and geography at ISCED levels 2 and 3. Examples of tasks that are given in the article may be used for the diagnosis of some misconceptions.
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