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1

Dziki zachód, dziki wschód. Konwencje westernowe w „Prawie i pięści” Jerzego Hoffmana i Edwarda Skórzewskiego oraz „Wilczych echach” Aleksandra Ścibor-Rylskiego

100%

Łukasz A. P.

Kwartalnik Filmowy

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2016

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issue 95 Transnarodowość kina polskiego

138-151

PL

Dziki zachód, dziki wschód. Konwencje westernowe w „Prawie i pięści” Jerzego Hoffmana i Edwarda Skórzewskiego oraz „Wilczych echach” Aleksandra Ścibor-Rylskiego

EN

Plesnar is trying to prove that Edward Skórzewski and Jerzy Hoffman in “The Law and the Fist” (1964) and Aleksander Ścibor-Rylski in “The Wolves’ Echoes” (1968) used in varying degrees genre conventions of the western. It is apparent in the construction of the main protagonists, standing with arms in hand, alone, fighting bandits acting in the guise of law. Also narrative structures and storyline patterns of both films remind us of the western, as well as their placement in time (“after the war”, in real westerns – it is usually the Civil War, here it is World War II) and space structures (the deserted town in The Law and the Fist remind us of western ghost towns, pastures of Bieszczady look like undulating hills of Wyoming or Dakota). Even the iconography is similar: arms (although Colts were replaced by Soviet TT pistols), horses, the carts of repatriates (settlers), and to some degree, costumes (Gustaw Holoubek as Andrzej Kenig from “The Law and the Fist” is styled on Shane, and Richard Pietruski as Wijas – on the gunslinger Jack Wilson from George Stevens’ “Shane” /1953/). Plesnar concludes that while in “The Wolves’ Echoes” the adaptation of the western convention is rather mechanical, in “The Law and The Fist” it is much more creative, modifying and enriching it with the “local colour”.

2

The first enlargement of the North Atlantic Treaty Organization The United States Of America and its role in the process of the accession af Greece And Turkey to the NATO

67%

Koura J.

Dvacáté století - The Twentieth Century

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2013

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vol. 5

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issue 1

30-46

EN

This study deals with the circumstances that led to the accession of Greece and Turkey to NATO in 1952. One of the main aims of this study is to analyze which role the United States played in this process. The first part briefly analyzes the reasons for the U.S. involvement in the Eastern Mediterranean after World War II. The author also deals with the reasons why Greece and Turkey did not join NATO already in 1949. The last part analyzes the reasons why the United States and other founding members of NATO changed during the years 1950–1951 their opinions and Greece and Turkey invited to NATO in 1952. Although, the emphasis is placed on changes in U.S. foreign and security policy after the outbreak of the Korean War as well as other international problems.

CS

Tato studie se zabývá okolnostmi, které vedly k přijetí Řecka a Turecka do Severoatlantické aliance v roce 1952. Zvláštní důraz je kladen na to, jakou roli v celém procesu rozšíření NATO o tyto dva státy východního Středomoří sehrály Spojené státy americké. První část v krátkosti analyzuje, z jakých důvodů se USA začaly o východní Středomoří po druhé světové válce zajímat a proč převzaly po roce 1947 v této oblasti velmocenskou roli po Velké Británie. Dále se autor zabývá příčinami, které vedly k nepřijetí Řecka a Turecka do NATO již v roce 1949, kdy byla Severoatlantická aliance založena. Poslední část analyzuje důvody, jež přiměly Spojené státy i ostatní zakládající členy NATO změnit během let 1950–1951 na celou problematiku názor a Řecko a Turecko do Severoatlantické aliance přizvat. Důraz je přitom kladen na změny v americké zahraniční a bezpečnostní politice, k nimž došlo v souvislosti s vypuknutí Korejské války i dalším mezinárodně‑politickým okolnostem.

3

Teologiczny wymiar programu ikonograficznego Adama Stalony-Dobrzańskiego w cerkwiach w Gródku i Michałowie

59%

Naumow A.

Latopisy Akademii Supraskiej

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2021

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vol. Obraz - Słowo - Litera

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issue 12

243-264

EN

The article is an analysis of the theological program contained in the polychromy and stained glass windows of two Orthodox churches in Podlasie – Gródek and Michałowo, made in the 1950s by Adam StalonyDobrzański (partly with the participation of Jerzy Nowosielski). At the center of the program is soteriology, expressed through Eucharistic, Mariological and apostolic themes. The extraordinary significance of Stalony Dobrzański’s artistic achievements lies in the close combination of ideas, iconography and the written word, as well as the best traditions of the Christian East and West, including the folk tradition.

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1 Dvacáté století - The Twentieth Century

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1 Koura J.

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1 Łukasz A. P.

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Dziki zachód, dziki wschód. Konwencje westernowe w „Prawie i pięści” Jerzego Hoffmana i Edwarda Skórzewskiego oraz „Wilczych echach” Aleksandra Ścibor-Rylskiego

The first enlargement of the North Atlantic Treaty Organization The United States Of America and its role in the process of the accession af Greece And Turkey to the NATO

Teologiczny wymiar programu ikonograficznego Adama Stalony-Dobrzańskiego w cerkwiach w Gródku i Michałowie