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EN
The article presents the creative output of one of the most renowned representatives of the original cinema in Russia. It concentrates on Borys Chlebnikow’s four feature films. The director, on the basis of the protagonists’ structure and presented issues, shows his vision of contemporary Russia – the people’s mentality, hopes and disappointments.
PL
Przedmiot analizy dotyczy trzech opowiadań Grigorija Kanowicza, którego głównymi bohaterami są Polka, Litwinka, Żydówka i Rosjanin, zamieszkujący wspólne wileńskie podwórko. Akcentuje się wielonarodowościowe sąsiedzkie relacje pomiędzy nimi, rozpatrywane w ramach kategorii „swojskości” i „obcości”, pokazanych przez pry-zmat emocji. Uwagę w tych relacjach zwraca dominująca rola Polki i języka polskiego w kontaktach sąsiedzkich, a następnie Żyda, który po śmierci protagonistki przejmuje rolę pośrednika w integracji między nacjami.
EN
The subject of this analysis are three stories by Kanovich, whose main characters are Polish, Lithuanian, Jewish and Russian, living in a common Vilnius yard. The multinational neighbourhood relations between them are emphasized, considered in the category of “familiarity” and “strangeness”, shown through the lens of emotions. Attention in these relations is drawn by the dominant role of the Polish woman and the Polish language in contacts between neighbours, and then the Jew, who after the death of the protagonist, takes over the role of an intermediary in the integration between nations.
EN
This paper presents Stanisław Mikulski’s (one of the most popular Polish actors) relations with Russia. These include, among many others, his work as a young actor in the plays written by Russian writers and playwrights, which were staged in the Juliusz Osterwa Theatre in Lublin, his most famous role as a Russian secret agent – codename J-23 – both in television theatre and the TV series More Than Life at Stake (Stawka większa niż życie), and his participation in six Russian films. Moreover, Mikulski worked as the director in the Centre of Information and Polish Culture in Moscow, thus contributing to Polish-Russian cultural relations.
EN
Amiradżibi-Stawińska (1932–2017), a director born in Tbilisi, was educated in Moscow Film Institute. She came to Poland with her first husband, Jerzy Ziarnik, where she made a dozen or so documentaries and feature films. However, she reached the peak of her career when she was married to her second husband – a screenwriter and director, Jerzy Stefan Stawiński. In Poland, Amiradżi-bi-Stawińska published three memoirs: Słodkie życie księżniczki (1996), Książka antykucharska(2007) and Moja filmowa Moskwa. Białym pociągiem dookoła wódki... i nie tylko (2011), where we can find many interesting comments on life in Georgia, Russia and Poland in the 30s–70s in the 20thcentury. The text concentrates on the subject of film that is present in all her books, which shows cultural relationships and habits of the artistic circles in those years and in each of the three coun-tries. In the memoirs we can see the director’s artistic path against the background of the turbulent events of the 20th century; they are also a source of information about important figures in the film industry in Georgia, Russia and Poland.
EN
The text presents the relationship between Daniel Olbrychski (one of the most famous Polish actors in the world) and Russia, as well as his attitude towards the Russians. The author discusses, among others, Olbrychski’s roles in Russian films, and the characters of Russians he created in cinema worldwide. There are also reflections on the actor’s friendship, among others, with Vladimir Vysotzky and Nikita Michalkov, as well as Olbrychski’s attitude towards Vladimir Putin and contemporary Russian policy.
EN
The text aims at presenting the discussion and evaluation of Grigorij Czuchraj’s films, the creator of the new wave in the Soviet cinema, as conducted by Polish film critics. The artist’s films have received numerous reviews and comments both in specialist and popular press, as well as on the Internet. The younger generation have been able to get acquainted with Czuchraj’s films thanks to the DVD collection. The criticism points out the importance of the director in Polish-Russian cultural relationships, and describes the way his works have been perceived by Polish viewers.
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Nekrolog. Profesor dr hab. Janina Sałajczykowa

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PL
nekrolog
8
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Test na człowieczeństwo. "Dureń" Jurija Bykowa.

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PL
Artykuł stanowi recenzję filmu zatytułowanego "Dureń" (Дурак) w reżyserii Jurija Bykowa, który pojawił się na ekranach pod koniec 2014 roku.
PL
Wykaz dorobku naukowego z zakresu literaturoznawstwa rosyjskiego prof. nadzw. dr hab. Tadeusza Bogdanowicza
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