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Roman Ingarden we wspomnieniach

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Wspomnienia
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Memories
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Roman Ingarden we wspomnieniach

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memories
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Drogi Wacława Taranczewskiego

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Troska o czystą jakość w sztuce, nieprzekładalną na kategorie ilościowe, oraz dążenie do jej osiągnięcia we własnych dziełach była aksjomatem twórczości Wacława Taranczewskiego, jednego z najwybitniejszych polskich artystów współkształtujących klimat malarstwa drugiej połowy dwudziestego wieku. W drodze do poszukiwanego eidosu sztuki Taranczewski tworzył monotematyczne cykle obrazów, jakby sprawdzając w sposób empirycznie uchwytny estetyczne możliwości malarskiej formy. Trudne do odtworzenia i w estetycznych analizach często pomijane meandry poszukiwań Artysty zostały przedstawione w eseju w sposób głęboki i szczególnie intymny; nic dziwnego, jego autorem jest syn Wacława Taranczewskiego, jednoczący w swej osobie kompetencje filozofa i praktyczną wiedzę czynnego artysty.
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Leon Chwistek - in Memoriam

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memories
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„A Journey against the Will” is a narrative of a cruel experience which eight-year-old Halina Witkowska had to go through when she was deported to a Siberian forced labor camp together with her mother and brother. She was in the USSR from 1939 to 1942, from where she then got to Teheran travelling along General Wladyslaw Anders’ Trail, and later – through India to Mexico. She returned to Poland in 1946. Now Mrs Witkowska lives in Siedlce.
EN
The edition of the fragment of the reminiscences of the Czech economic historian Prof. Arnošt Klíma about the participation of Czech and Slovak historians at the World Economic History Congress in Stockholm in 1960. Within the frame of the so-called great themes, an only major report entrusted to East European historians was presented by Macůrek and Klíma – a report about the transition from feudalism to capitalism. On the eve of the congress was held the first international meeting of economic historians during which the foundations for the creation of IEHA (International Economic History Association) and the periodically held World Economic History Congress were laid.
EN
Nadezhda Mandelstam’s Hope Against Hope: a Memoir must be regarded as one of the most important accounts of the gradual subjugation of Russian literature in Stalin’s Soviet Union. The purpose of my article is to examine the literary devices employed by the author in her attempt to describe her traumatic experiences, as well as the strategies she uses in order to ‘tame the past’ at a more personal, generational, and historical plan (concerning such experiences as loneliness, entrapment, solitude, homelessness, suffering, fear, and death). Her memoir enables her to relieve the trauma caused by the tragic fate of her husband, the poet Osip Mandelstam, as well as to recreate the final years of his life and work. In a broader context, the book offers thoughts and insights into the moral state of humanity. Together with such novels as Vasily Grossman’s Everything Flows…, Lydia Chukovskaya’s Sofia Petrovna, and Anna Akhmatova’s Requiem, Nadezhda Mandelstam’s writings are a shattering account of life in a totalitarian regime, marked by an ideologically driven process of distorting and erasing memory. She identified creative process not only with the struggle to keep her husband’s name alive but also with a moral obligation to bear witness to the inhumanity of her time.
RU
Воспоминания Надежды Мандель­штам — это одно из самых выдающихся свидетельств процесса порабощения русской литера­туры в период сталинского террора. Целью статьи является анализ механизмов репрезентации личного травматического опыта Надежды Мандельштам, а также применяемых стратегий ос­ваивания прошлого в личном, общественном и историческом контекстах (одиночество, от­чужденность, бездомность, страдание, страх, смерть). Рядом с такими произведениями как Все течет... Василия Гроссмана, Софья Петровна Лидии Чуковской, Реквием Анны Ахматовой, Воспоминания Надежды Мандельштам являются потрясающей записью гибели русской интел­лигенции, а также идеологически управляемого процесса искажения и стирания памяти о про­шлом. Творческий процесс Надежда Мандельштам отождествляет с борьбой за память о поэте Осипе Мандельштаме, его поэтическом наследии, но также с моральной ответсвенностью дать свидетельство времени.
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