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1

GIZELA REICHER-THONOWA - A FORGOTTEN MOTHER OF POLISH COMPARATIVE LITERARY STUDIES (Gizela Reicher-Thonowa, zapomniana matka polskiej komparatystyki literackiej)

100%
Oczko P.
Pamiętnik Literacki
|
2010
|
vol. 101
|
issue 1
187-200
EN
The article aims to construct the biography of Gizela Reicher-Thonowa (1904-1941?), the authoress of an outstanding book 'Ironia Juliusza Slowackiego w swietle badan estetyczno-porownawczych' (Juliusz Slowacki's irony in the light of aesthetic-comparative studies) (1933). Initially, Reicher-Thonowa's work encountered misunderstanding on the part of the academic community as too innovative and advanced for her contemporaries' thinking on Polish Romantic literature. Moreover, being a woman and Jewish, she could not expect to make a career in humanities in prewar Poland. Gizela Reicher-Thonowa's biography has been constructed from the scanty documents and letters preserved in archives. It presents the following stages of her life: comparative studies at the Jagiellonian University in Cracow, doctoral defense in 1926, her marriage to Albert Teitelbaum (vel Thon), leaving for Lodz, arrival to Cracow with her daughter during the war in 1940, and finally, her employment in a Jewish organization aiding orphans. It is the last stage of her life documented in archives. The International Tracing Service Arolsen informs that Gizela Reicher-Thonowa's family was murdered in 1941 in Belzec concentration camp, and Gizela herself most likely also died at the hands of the Nazis.
2

WHY DON'T I WANT TO WRITE ABOUT OLD-POLISH SODOMITES. ON THE 'ARCHAEOLOGY' OF GAY STUDIES IN POLAND (Dlaczego nie chce pisac o staropolskich samcoloznikach? Przyczynek do 'archeologii' gay studies w Polsce)

100%
Oczko P.
Teksty Drugie (Second Texts)
|
2008
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issue 5(113)
32-50
EN
The author presents the image of homosexuality in Old-Polish writings and culture (nomenclature, few extant accounts, cultural contexts), which is then compared against the Western-European material; elements of a 'proto-gay tradition' are then traced in related early-age texts. Existing, unfortunately homophobic, presentations of homosexuals in Polish studies on the Old-Polish age are discussed. A necessity is postulated to write a Polish history of homosexuality from the gay studies perspective.
3
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Miotły i zamtuzy. Jeszcze raz o „znaczeniach ukrytych” w sztuce holenderskiej XVII w. (malarstwo rodzajowe i kasety perspektywiczne)

100%
Oczko P.
Biuletyn Historii Sztuki
|
2013
|
vol. 75
|
issue 1
5-35
EN
In this paper the author pays special attention to brooms, which constantly re-appear in Dutch art of the seventeenth century, and their various meanings (signs of womanhood; paragons of virtue; women’s weapons; moral and, above all, sexual symbols). The author carefully describes problems connected with interpretations of Dutch genre painting and the issue of so-called hidden meanings/ disguised symbolism. The author proposes several new interpretations of paintings (for example the new interpretation of a peepshow by Samuel van Hoogstraten as representing the interior of a brothel) and suggests that the broom can also be understood as the symbol of debauchery (based on Dutch phraseologisms such as de bezem uitsteken and over de bezem getrouwd zijn), hence, not only a symbol concerning moral order, as it had been. The author also discusses two Dutch peepshows from the second half of the seventeenth century as the possible representations of the brothels and shows wide contexts from Dutch genre painting which enable such an interpretation.
4
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Motyw kobaltowego wiatraka. O holandyzmie w ceramice użytkowej 1880-1945

100%
Oczko P.
Biuletyn Historii Sztuki
|
2012
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vol. 74
|
issue 1
95-106
EN
The paper deals with the phenomenon of Hollandism in European functional ceramics in 1880-1945, a very common at the time tendency to adorn kitchen utensils with blue-and-white patterns featuring the motif of a windmill, making reference to the products coming from Dutch manufactories (mainly from Delft). The tendency was most widespread in Germany, Austria, France, Czechoslovakia, and Poland, appearing only occasionally in the Netherlands. Discussed in the paper are styles and decoration techniques, as well as the social contexts of the phenomenon and its relations with the unusually powerful in Europe myth of Holland regarded at the time to be the model of burghers’ virtues.
5
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Błękit Marii Kazimiery? Holenderskie flizy oraz program ikonograficzny w Sali Fontany w krakowskiej kamienicy „Pod Gruszką”

63%
Oczko P., Pluis J.
|
2014
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vol. 76
|
issue 1
53-82
EN
In the paper the authors deal with the Baroque interior of the so-called Fontana’s Room in the ‘House Under the Pear’, 1 Szczepańska Str., Kraków, decorated with Dutch tiles and stuccoes made by an Italian artist Baldassare Fontana in ca. 1698-1702. The interpretation of the stuccoes (allegories of various arts and sciences, peace and wealth, moreover, a Polish eagle treading upon a Turkish crescent) leads to the conclusion that a deliberate iconographic programme has been applied in the interior in question, referring to the Polish King Jan III Sobieski who in 1683 defeated the Turkish army at the gates of Vienna. Dutch tiles decorating the walls consist of two thematic groups: shepherd tiles (made in Harlingen ca. 1690-1700) and landscapes and genre scenes (made in the workshop of Willem van der Kloet in Amsterdam ca. 1690-1700), the latter being possibly added in the 19 th century. Owing to the fact that the fashion for Dutch tiles was introduced to Poland by the King’s French wife, Marie Casimire Louise de La Grange d’Arquien, Fontana’s Room actually follows the taste of the royal family. The authors trace the history of the room and the changes in its interior.
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