Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 28

first rewind previous Page / 2 next fast forward last

Search results

Search:
in the keywords:  Polish history
help Sort By:

help Limit search:
first rewind previous Page / 2 next fast forward last
1
Publication available in full text mode
Content available

Storia di uno Stato segreto: un manuale della clandestinità

100%
Lami G.
pl.it / rassegna italiana di argomenti polacchi
|
2014
|
issue 5
60-78
2
Content available remote

Nadobny komisarz Mandelbaum

63%
Pawlak P.
Pamiętnik Teatralny
|
2016
|
vol. 65
|
issue 4(260)
91-112
EN
Why is it that The Shoemakers is considered to be a drama about revolution, even though, if we take into account all the surviving plays by Witkacy, it is Dainty Shapes and Hairy Apes that is most imbued with allusions to the Petrograd revolt that occurred a hundred years ago? The story unfolding on stage seems at times to be a parody of the attack on the Winter Palace. The brave and uncompromising girl-soldier Sophia kills Tarquinius and Pandeus, makes Sir Grant commit suicide, and pushes and taunts the group of Forty Mandelbaums beyond endurance to finally fall victim to their rage. In 1917, a certain Bernard Mandelbaum (1888–1953), son of a Lublin merchant, a Polish philologist sympathising with Communism, a journalist of Promień, and the ideological and literary manager of the People’s Theatre in Petrograd became one of two Bolshevik commissars of state museums and art collections in Petrograd and was additionally tasked with investigating the fate of the Women’s Battalion that defended the Winter Palace. In recognition of his questionable contribution to the revolutionary cause, Stalin appointed Mandelbaum to the post of Education Commissioner of the Committee for the Kingdom of Poland. Being on vacation following his injury during the battle on the Stokhod River, Witkacy might have got to know Mandelbaum though mutual acquaintances or might have seen him speak out at political rallies. Mandelbaum came back to the re-emerging Poland to campaign against the Soviet–Polish War, for which he got arrested. After his release, Mandelbaum landed a school teaching position. In the interwar period, having assumed the name “Stefan Drzewiecki,” and later “Drzewieski”, he rose to prominence as Vice-President of the Polish Teachers’ Association and a member of the State Council for Public Enlightenment. Despite being attacked, he supported the Jędrzejewicz reform of education of the Sanation government. After the outbreak of the Second World War, Mandelbaum worked in General Sikorski’s government administration in London, and in 1945 he joined the diplomatic service of the People’s Republic of Poland. After a few years, he decided to stay in the West and managed to become Chief of the Reconstruction Department of UNESCO. In that capacity, he greatly contributed to the foundation of the International Federation of Children’s Communities (FICE) whose first task was to establish a committee supporting directors of children’s communities for war orphans.
3
Content available remote

Nieznane molierianum warszawskie z początku lat sześćdziesiątych XVIII wieku

51%
Daszkiewicz P., Judkowiak B.
Pamiętnik Teatralny
|
2014
|
vol. 63
|
issue 4(252)
45-55
EN
We are presenting a new source documenting the theatre life in Warsaw at the beginning of the 1760s outside the Saxon Operalnia. In the French Muséum National d’Histoire Naturelle in Paris, among the papers of Jean-Étienne Guettard (1715-1786), a natural scientist and geologist who was in Poland in 1760-1762 (accompanying Marquis de Paulmy Antoine-René Voyer de’Argenson who served as French ambassador to the Polish court of King Augustus III), there is a Polish-German theatre poster. The lower part of the poster, written in German and printed in finer letters, is a little more detailed and edited with more care than the Polish counterpart, and thus, may be viewed as the primary version. A stage artist styling himself as a “well known English funambulist” had probably come to the capital of Poland via one of the usual tracts journeyed by the so-called traveling troupes of English comedians that were going East through German countries. His last name, spelled as “Berge” (Berże), suggests an actor and entrepreneur known as André Bergé. A little later, in 1765, he was leasing a theatre house on Monbijou Square in Berlin. Using the German version of his name, Andreas, this former member of a French theatre troupe that cultivated comical opera in the capital of Prussia, produced a series of singspiels. The Warsaw show announced by the presented poster was to be performed at the riding hall by the Załuskich Palace on Długa Street and featured two titles: Doktor przymuszony albo przez kochanie zaniemówiona białogłowa and Imaginacja choroby, split by an acrobatic show by Mr and Mrs “Berże” (Bergé). The German title of the latter comedic piece, advertised as a “brand new English pantomime”, is consistent with how Molière’s Le malade imaginaire was traditionally translated. In the case of the former comedy, traces seem to lead to English adaptations as well: Le médecin malgré lui by Molière was translated into English thrice at the beginning of the 18th century: by John Otello, John Watt, and Henry Fielding. An adaptation Doctor or the Dumb Lady Cur’d by the last of the authors was played at the royal theatre on Drury Lane (prem. 23 June 1732). The present work-in-progress paper discussing the Parisian discovery made by Piotr Daszkiewicz encourages further and more detailed research.
4

Polskie kino. Obywatel a służba bezpieczeństwa

51%
Duniec K., Krakowska J.
Kwartalnik Filmowy
|
2012
|
issue 77-78
223-243
EN
Feature film as a historical source is frequently underestimated, while despite its artistic ambitions and openly subjective narration it should be recognized and analyzed as a valuable source of knowledge about the past. The article presents wide contexts and detailed insight into the ways how The Security Service of communist Poland and its relations with ordinary people have been represented and interpreted by the Polish cinema. Surprisingly enough we can learn a lot about methods, activities, surveillance, interrogations and tortures of the secret police during almost any period of Polish history from films made both before and after 1989. Polish films concerning the problem of the Security Service theory and practice could be analyzed according to three different orders: an order of representation, an order of dramatization and an order of updating, which refers directly to the problem of lustration and coming to terms with the past.
5

Zmiana preferencji czytelniczych w zakresie gatunków fantasy na podstawie analizy porównawczej ankiet z 2011 i 2020 roku

51%
Wieczorek L.
Prace Literaturoznawcze
|
2020
|
issue 8
259-280
EN
The genre trends of Polish fantasy have changed over the years. It wasn’t until the 1980s that western fantasy translations appeared in Poland, which had a huge impact on Polish authors. Despite the dominance of Tolkien’s pattern, Polish fantasy followed its own path; new subgenres developed an were closely related to Polish culture and history or inspired by Slavic folklore. The objectiveof this article is to present the fantasy genres which were the most popular until 2012 and to compare two questionnaires, from 2012 and from January 2020, that show changes in fantasy reading in Poland.
6
Content available remote

Interesy Leona Alfonsa de Schillera-Schildenfelda

51%
Degler J.
Pamiętnik Teatralny
|
2014
|
vol. 63
|
issue 1-2(249-250)
5-13
EN
Little is known about Leon Schiller’s ancestors. Biographers say that they came from Carinthia, which until the First World War belonged to the Austro-Hungarian Empire. In 1745 Empress Maria Theresa ennobled Johann Matthäus Schiller, a postmaster from Loitsch, investing him with the cognomen “von Schildenfeld”. In 1772 the Schillers settled in Galicia, and soon became Polonised. At the beginning of the 1890s, Leon Alfons Schiller-Schildenfeld, Leon’s father, moved from Zaleszczyki to Cracow where he founded his firm, Dom AgencyjnoKomisowy. And this is pretty much all that was known about his activities. A postcard sent by him to a well-known French engraver on 13 September 1900 has become an inspiration for research that would add to this scant knowledge. It turns out that Leon Alfons Schiller was a valued business partner. In 1899, along with a well-known merchant and rich industrialist, Stanisław Gurgul, he bought a defunct factory of gingerbread and food products at Jarosław. In November of 1905, he formed a commercial company with Bolesław Bilikiewicz, which carried out its business until 1913. He hoped that his son would become its coowner. However, despite the fact that Leon Schiller completed the Course for High School Graduates at the Trade Academy in Cracow (Kurs Abiturientów Akademii Handlowej w Krakowie) on 30 June 1912 and underwent the respective on-the-job training, he did not want to take over his father’s business. From an early age, he was fascinated with theatre. In February of 1909, during his stay in Paris, he met Edward Gordon Craig and published his essay “Two Theatres” in Craig’s periodical, The Mask. He performed as a singer in cabarets of Cracow, Warsaw, and Paris. He left Cracow for good in 1917 and took the position of musical director at the Polski Theatre in Warsaw, where he debuted as a director on 22 December 1917. Leon Alfons de Schiller-Schildenfeld gained gratitude of the Cracow public as a founder and president of an insurance organisation that served the needs of the poor. During the First World War, he took on the responsibilities of the City Provisions director and became a member of the management board of Kasa Kupiecka. At the end of his life he moved with his wife to Wroczyn, a village owned by their daughter’s husband, Tadeusz Gustaw Jackowski, where he passed away on 3 July 1931.
7
Publication available in full text mode
Content available

La storia del Seicento ucraino: prospettive di collaborazione fra storici polacchi e ucraini

51%
Chynczewska-Hennel T.
pl.it / rassegna italiana di argomenti polacchi
|
2017
|
issue 8
185-194
8
Publication available in full text mode
Content available

Obywatel w państwie. Kilka uwag o typach ładu zbiorowego i społeczeństwie polskim

51%
Sowa K. Z.
Państwo i Społeczeństwo
|
2012
|
issue 1
13-25
EN
In the paper the author singles out three types of social order, that is the way of a social organization from the political power point of view: 1) religious order, 2) masterful order, and 3) civil order. The basic form of the social order is the state. According to the author the main difference between, from one had, the first two types, and the third from the other, lies in different political relation between the government and the rank and file members of the state. In the case of the first two types – religious and masterful – all members, “citizens”, are subject to the state, whereas in the case of civil order – the state is subject to its citizens. Poland after demise of communism has developed apparently a civil state, but Polish civil society has been still rather weak. The author of the essay is searching for the roots of this weakness in the Polish history.
9
Publication available in full text mode
Content available

The Birth of the "Polak-Katolik"

51%
Porter-Szűcs B.
Sprawy Narodowościowe
|
2017
|
issue 49
EN
The Birth of the Polak-KatolikThe concept of the Polak-Katolik emerged in the form we know it today only at the very end of the 19th century. While there were many earlier ways to express the complicated relationship between Polish national belonging and Roman Catholicism, the distinctive pairing of two hyphenated nouns signified a new stage in the history of this entanglement. Geneza pojęcia Polak katolikPojęcie Polak katolik w postaci, którą znamy dzisiaj, wyłoniło się dopiero pod sam koniec XIX wieku. Choć skomplikowany związek pomiędzy przynależnością do narodu polskiego a rzymskim katolicyzmem wyrażany był wcześniej na wiele sposobów, to jednak zestawienie i połączenie obu tych rzeczowników w jednej parze wyznaczyło nowy etap w dziejach tego splotu.
10
Publication available in full text mode
Content available

Making the Most Recent History of Poland Accessible for Russians. A Study of a Selected Translation Strategy

44%
Lewicki R.
Slavia Orientalis
|
2020
|
vol. LXIX
|
issue 1
11
Publication available in full text mode
Content available

Kompozytorzy polscy 1918-2000 – kontynuacja

44%
Podhajski M.
Seminare. Poszukiwania naukowe
|
2011
|
vol. 30
283-293
EN
The author discusses his inspirations and premises behind Polish Composers 1918-2000, which appeared in print in 2005, jointly published by the Warsaw and Gdańsk Academies of Music. It consists of two volumes – Essays and Biographical Entries. The former presents a wide panorama of social, political and cultural phenomena, which influenced the development of Polish music in the 20th century. The second volume consists of around 1300 biographical entries. This paper contains remarks about the contents planned for the English version of the book. Two complementary sources of inspiration determined the book’s coming into being. The first, a belief that the accomplishments of Polish composers of the 20th century are just as outstanding as they are little-known. The second inspiration comes from an observation that the list of the finest musical compositions of the 20th century (289 items), compiled in 1992 by Leo Gerhartz from the European Radio Union, ranks Polish music as no. 12. It is represented by 10 compositions by 4 composers: Witold Lutosławski (5 compositions), Karol Szymanowski (2 compositions), Krzysztof Penderecki (2 compositions), and Ignacy Jan Paderewski (1 composition). At the outset of the research, two seemingly simple but essential questions had to be answered. The first one being who do we call a composer, and the other, who do we consider to be a Polish composer. In the author’s view, a composer is a person who has composed at least one musical composition, a piece which became known as an artistic fact. Here, “become known” means primarily a public performance of a piece. The author’s attention focused on the lives and works of the so-called classical composers. While searching for an answer to the question as to who can be considered a Polish composer, the author analyses statements made by outstanding Polish researchers. He shares their view that ‘Polishness’ should not be determined by nationality or language, but by participation in Polish culture, and an affiliation to it. The last part of the paper concerns the structure and contents of the English version of the book. It will be published jointly by the John Paul II Catholic University of Lublin and Stanisław Moniuszko Academy of Music in Gdańsk. The book will not be a simple and direct translation of the Polish version. The contents of the Essays volume will be different, and the Biographical Entries volume will include, first of all, the following entries: winners of Polish and international composition competitions, composers who have rendered great services to Polish musical culture, priests-composers or other persons, whose creative activities are closely linked to the music of the Catholic Church, and representatives of the younger generation of composers, who have become known after the year 2000. The goal of the planned book is an attempt at proving the thesis that the contribution of Polish composers to the European cultural achievements, their outstanding accomplishments in the area of culture, are of the highest value.
12
Publication available in full text mode
Content available

Dzieło sztuki na granicy przeszłości i przyszłości. Historia i patriotyzm w sztuce nieprofesjonalnej

44%
Jarysz A. W.
Sprawy Narodowościowe
|
2015
|
issue 47
EN
A work of art – a link between the present and the past. History and patriotism in non-professional art In her article, the author discusses art of non-professional artists who shape the national identity in an original way. In the former professional art, the works which illustrated and uplifted history were very popular. This phenomenon is still present among folk, naive, intuitive artists, generally speaking – non-professionals. The work of their hands and imagination is a tool serving the purpose of national values and ideas, and is sometimes the basis for broader considerations on the human condition. They balance between historical facts and ahistorical generalities. The martyrdom of the Polish nation with emphasis on the events of WWII has been inspiring artists, stimulating their imagination and artistic creation. Therefore numerous ‘monuments of patriotic art’ can be found in the wood sculpture, ceramics, painting, and glass painting works from the art collection of the Toruń Maria Znamierowska-Prüfferowa Ethnographic Museum. Dzieło sztuki na granicy przeszłości i przyszłości. Historia i patriotyzm w sztuce nieprofesjonalnejW swoim artykule autorka prezentuje sztukę twórców nieprofesjonalnych, którzy w sposób oryginalny kształtują tożsamość narodową. W dawnej sztuce profesjonalnej dzieła, które ilustrowały i uwznioślały historię były bardzo popularne. To zjawisko jest nadal aktualne wśród twórców ludowych, naiwnych, intuicyjnych, ogólnie nazywając – nieprofesjonalnych. Dzieło ich rąk i wyobraźni jest narzędziem w służbie wartości i idei narodowych, a niekiedy stanowi podstawę do szerszych rozważań nad kondycją człowieka. Balansują oni między konkretem historycznym a ahistoryczną ogólnością. Martyrologia narodu polskiego z naciskiem na wydarzenia II wojny światowej inspirowała i inspiruje twórców, pobudza ich wyobraźnię i zmusza do twórczej kreacji. Stąd też zarówno w rzeźbie w drewnie, w ceramice, na obrazach, w malarstwie na szkle, w zbiorach sztuki toruńskiego Muzeum Etnograficznego im. Marii Znamierowskiej-Prűfferowej możemy odnaleźć bogatą reprezentację „pomników sztuki patriotyzmu”.
13
Content available remote

“Nina Fits Patrick”: Transnational Alliances and the Collaborative Textual Body of "The Loves of Faustyna"

38%
Karpinski M.
Anglica Wratislaviensia
|
2015
|
issue 53
65 - 77
EN
This essay reads The Loves of Faustyna (1995) by Nina FitzPatrick, a pseudonym for the collaborative writing of Nina Witoszek, a writer and scholar of Polish origin currently living in Norway, and her late partner Patrick Sheeran, an Irish academic. Focusing on the experiences of a female half-Jewish activist and member of Solidarność, FitzPatrick’s postmodern, hybrid text irreverently confronts the implicit violence of Catholic and patriarchal independence movements. Beginning with an analysis of the method of the text’s production as a collaborative writerly act attributed to a single, authorial signature, this essay argues that The Loves of Faustyna offers a dialogic mode of anticolonial resistance predicated on sharing, relating, and fusing the personal stories of differently colonized Polish and Irish bodies. Both Poland and Ireland have experienced centuries-long occupations by foreign invaders, a historical burden that has affected each country’s respective cultural imaginary and created a sense of national identity under siege. Applying a postcolonial framework to the history of Poland in The Loves of Faustyna allows FitzPatrick to construct a potential site of new transnational alliances between multiple writerly and readerly subjects.
14
Publication available in full text mode
Content available

Kim, czym, kiedy, gdzie i dlaczego są polscy Żydzi? Wyobrażanie, konstruowanie i zawłaszczanie Żydów polskich

38%
Ury S.
Studia Litteraria et Historica
|
2017
|
issue 6
EN
Who, what, when, where, and why is Polish Jewry? Envisioning, constructing, and possessing Polish JewryThis article examines the different ways that various communities of scholars imagine, research and teach about “Polish Jewry.” Focusing on scholarship written in Israel, Poland and the United States over the past generation or two, the article argues that each particular community of scholars constructs a particular version of Polish Jewry and that each of these versions is deeply influenced by contemporary social, political and communal needs and demands. As a result, scholars very often end up constructing radically different versions of Polish Jewish history and society. These scholarly differences reflect many of the challenges and difficulties related to researching and writing about the history and culture of Polish Jews since 1989. Kim, czym, kiedy, gdzie i dlaczego są polscy Żydzi? Wyobrażanie, konstruowanie i zawłaszczanie Żydów polskichArtykuł stanowi omówienie odmiennych sposobów, jakimi różne społeczności badaczy wyobrażają grupę polskich Żydów, badają ją i nauczają o niej. Na podstawie analizy działalności naukowej badaczy z Izraela, Polski i Stanów Zjednoczonych ostatnich dwóch pokoleń autor pokazuje, że każda społeczność badaczy konstruuje własny, specyficzny obraz grupy zwanej „polskimi Żydami” i że obrazy te pozostają pod przemożnym wpływem współczesnych potrzeb i wymogów o naturze społecznej, politycznej i wspólnotowej. Na skutek tych różnic uczeni tworzą często radykalnie odmienne obrazy historii i społeczeństwa polskich Żydów. Różnice stanowią odzwierciedlenie przeszkód i utrudnień, jakie po 1989 roku wiążą się z badaniem i opisywaniem historii i kultury polskich Żydów.
15
Publication available in full text mode
Content available

Totalne zaskoczenie inteligencji polskiej [The total astonishment of the Polish intelligentsia]

38%
Zawadzka A., Tokarska-Bakir J., Matyjaszek K.
Studia Litteraria et Historica
|
2018
|
issue 7
EN
Wstęp / Editorial
16
Publication available in full text mode
Content available

„To nie jest kwestia wyboru”. Z Aleksandrem Smolarem rozmawia Konrad Matyjaszek [“It’s not a matter of choice.” Aleksander Smolar interviewed by Konrad Matyjaszek]

38%
Matyjaszek K.
Studia Litteraria et Historica
|
2018
|
issue 7
EN
“It’s not a matter of choice.” Aleksander Smolar interviewed by Konrad MatyjaszekKonrad Matyjaszek’s interview with Aleksander Smolar focuses on the contemporary Polish intelligentsia, identified as a social group and a social milieu, and on this group’s self-image produced in relation to antisemitism, understood here both as a set of violence-based public activities and practices, and as an excluding prejudice that constitutes a component of the Polish culture. Aleksander Smolar discusses the history of Aneks, the Polish-language émigré socio-cultural journal, whose editor-in-chief he remained during the entire time of its activity (1973–1990). He talks about the political conditions and forms of pressure directed at the Aneks’s editorial board, composed in majority of persons forced to emigrate from Poland during the antisemitic campaign of March 1968, he also mentions the post-1968 shift of the Polish sphere of culture towards the political right and conservatism, and the rapprochement between the left-wing opposition circles and the organizations associated with the Catholic Church that was initiated in the 1970s. He also recounts reactions to the political changes expressed by his father, Grzegorz Smolar, a communist activist and an activist of the Jewish community in Poland. Afterwards, Smolar discusses the context of creation of his 1986 essay Taboo and innocence [Tabu i niewinność] and analyses the reasons for which the majority of the Polish intelligentsia chose not to undertake cultural critique directed against the antisemitic components of the Polish culture. „To nie jest kwestia wyboru”. Z Aleksandrem Smolarem rozmawia Konrad MatyjaszekPrzedmiotem rozmowy Konrada Matyjaszka z Aleksandrem Smolarem jest obraz własny współczesnej inteligencji polskiej jako grupy społecznej i środowiska, wytwarzany w odniesieniu do antysemityzmu, rozumianego zarówno jako zespół publicznych działań i praktyk przemocowych, jak również jako wykluczające uprzedzenie stanowiące element polskiej kultury. Aleksander Smolar opowiada o historii emigracyjnego czasopisma społeczno-kulturalnego „Aneks”, którego redaktorem naczelnym był przez cały czas istnienia pisma w latach 1973–1990. Mówi o uwarunkowaniach i presji, jakiej poddawana była redakcja „Aneksu”, składająca się w większości z osób zmuszonych do emigracji podczas antysemickiej kampanii Marca 1968 roku; o połączonym z kampanią marcową przesunięciu polskiego obiegu kultury w stronę prawicy i konserwatyzmu; o podjętym w latach siedemdziesiątych zbliżeniu środowisk lewicowej opozycji ze stowarzyszeniami powiązanymi z Kościołem katolickim. Aleksander Smolar relacjonuje reakcje na zachodzące przemiany polityczne, jakie dostrzegał u swojego ojca, działacza komunistycznego i zarazem działacza społeczności żydowskiej w Polsce, Grzegorza Smolara; opowiada też o kontekście powstania eseju swojego autorstwa Tabu i niewinność oraz o przyczynach, dla których przedstawiciele polskiej inteligencji nie decydowali się na pełne podjęcie krytyki antysemickich elementów kultury polskiej.
17
Publication available in full text mode
Content available

The historical dispute over Polish Messianism and John Paul II’s thought

36%
Wawrzynowicz A.
Theological Research. A Journal of Systematic Theology
|
2019
|
vol. 7
EN
The paper addresses the problem of historical role and impact of John Paul II’s teachings on the dispute over Polish messianism which has been consistently present in the Polish literature and philosophy over the past two centuries. The article is an attempt to determine the pope’s actual contribution to the development of the idea of Polish messianism, and evaluate the ultimate significance of this contribution within a broad perspective of the evolution of Polish political thought during the latter part of the twentieth and early decades of the twenty first centuries. The starting point in the discussion is the contemporary historical-philosophical research in this field, and the final conclusions are oriented towards the philosophical qualification of the most recent attempts to revive the messianist ideology on the basis of papal thought.
18
Publication available in full text mode
Content available

Śmierć króla Augusta III Sasa i początek ostatniego bezkrólewia w Polsce w świetle doniesień „Gazety Leydejskiej” w 1763-1764 roku

32%
Kęder W.
Studia Sandomierskie. Teologia-Filozofia-Historia
|
2017
|
vol. 24
5-15
PL
W okresie ostatniego bezkrólewia, od zgonu króla Augusta III Sasa do wysunięcia przez dwory rosyjski i pruski kandydatury Stanisława Poniatowskiego na króla, „Gazeta Leydeyska” bardzo obszernie przekazywała informacje o rozwoju sytuacji w Rzeczypospolitej. Były one wiarygodne, a redaktorzy gazety bezbłędnie rozłożyli akcenty, punktując kwestie najbardziej istotne. Niezwykle też umiejętnie wypunktowali, nie opatrując z oczywistych względów szerszym komentarzem, związki Stanisława Poniatowskiego i „Familii” Czartoryskich z Rosją i bezpośrednio z carycą Katarzyną II. Ukazali też rolę, jaką w okresie bezkrólewia w Rzeczypospolitej odegrała armia rosyjska. Redaktorom gazety, na pewno korzystającym z różnych źródeł informacji, udało się niezwykle sprawnie przesegregować napływające do nich informacje i uniknąć poważniejszych wpadek, jakie mogło spowodować zamieszczenie błędnych danych. Gazeta przeznaczona była dla wyrobionego intelektualnie czytelnika, który orientował się w informacjach z reguły unikających kontrowersyjnych komentarzy.
EN
During the last interregnum, from the death of King August III to the nomination of the Russian and Prussian candidate for king Stanisław Poniatowski, the "Gazeta Leydeyska" gave very extensive information about the development of the situation in the Polish-Lithuanian Commonwealth. The reports were credible and the editors of the newspaper emphasized the most important issues. They also skillfully point out, without obviously providing a wider commentary, the relationships between Stanisław Poniatowski and the Czartoryski "Family" with Russia and directly with Tsarina Catherine II. They also showed the role of the Russian army in the Polish-Lithuanian Commonwealth during the interregnum. The editors of the newspaper, certainly benefiting from various sources of information, managed to efficiently sort out the incoming information to them and to avoid serious mishaps that could result in the inclusion of incorrect data. The newspaper was intended for an intellectually-minded reader who was aware of information but who usually avoided controversial commentary.
19

Kreacja legendy – kreacja pamięci. Grudzień ’70 w filmie fabularnym

32%
Szpulak A.
Kwartalnik Filmowy
|
2012
|
issue 77-78
270-281
EN
The author divides the text into two parts. In the first one he describes feature films dealing with the massacre on the coast of northern Poland in 1970. He sees it as a process of revealing recent past hitherto unrepresented on film, but also one that cannot be fully shown on film. Particularly important here is the microanalysis of Jerzy Wojcik’s Lament (Skarga, 1991), a film that previously has not been analysed in depth. In the second part the author carries out a basic analysis of myth-creating that takes place in several films dealing with December 1970, that take on a particularly sacrificial dimension. The author identifies presentation of an iconic character, and shows the versatility of documentary citations, and directs the whole reflection towards the identification of specific components of Polish identity.
20
Content available remote

Židé v meziválečném Polsku a odkazy jejich bojkotu jako obrany před antisemitismem : hospodářské, kulturní a společenské odezvy

32%
Zubáková B.
Moderní dějiny: sborník k dějinám 19. a 20. století (Modern History: Studies into 19th and 20th century history)
|
2019
|
vol. 27
|
issue 1
49-77
EN
During the interwar period, Poland experienced an unprecedented period of development at an economic, but also cultural and political level. In all these areas, the Jewish minority played an important role. Like elsewhere in Europe, expressions of anti-Semitism were manifest from the second half of the 19th century, and these grew with Jews’ emancipation and their successful involvement in politics, business, science and culture. Anti-Jewish sentiment and attacks against the Jewish population in Germany forced Jewish communities and associations in Europe to respond, and Poland was no exception. Shortly after the Polish delegation at the 1932 World Jewish Conference in Geneva, a precursor to the World Jewish Congress, proposed an economic boycott of Germany, the proposal became a global act, and the economic boycott of Nazi Germany became one of the weapons in the fight against the Nazi regime’s anti-Semitism.
first rewind previous Page / 2 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.