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1

Marcin Czermiński and his eyewitness account of the Minoan excavations in Crete at the beginning of the 20th century

100%

Serrano M., Bzinkowski M.

Studies in Ancient Art and Civilization

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2012

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vol. 16

249-267

EN

In the late 19th century, almost coinciding with the expulsion of the Ottomans from Crete, the Jesuit priest Marcin Czermiński arrived on the island. Between 1899 and 1904, this traveller from Krakow made three visits to Crete, mainly staying around the central and western parts of the island. He described his impressions in a number of publications. During his second visit (1903), Czermiński focused his attention on the most important archaeological excavations of the time. First, he visited the sites of Phaistos and Ayia Triada in southern Crete and had the opportunity to meet the pioneers of Italian archaeology, Luigi Pernier, Federico Halbherr and Roberto Paribeni. Afterwards, he visited the great palace of Knossos and finally arrived at the Heraklion museum, whose director, Iosif Hatzidakis, shared a great discovery with him.

2

Verona dei viaggiatori polacchi (XVII–XIX secolo)

63%

Wrześniak M.

Italica Wratislaviensia

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2021

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issue 12.1

141-159

EN

The study presents the first analysis of the descriptions of Verona and the works of art collected in the city in the accounts of Polish travellers from the 17 th to 19 th centuries. As the researched source material shows, initially Poles visited the city only while passing through, on their way to Venice, stopping for a moment to see the only object “worth seeing”: the 1 st -century Roman amphitheatre located in the city centre. At that time, the descriptions of the city are laconic, as Verona was considered “secondary” in Italy. Only in the era of the "Grand Tour", and especially in the second half of the 18 th century, did Polish travellers intentionally visit Verona. They employed an experienced tour guide from the Bevilacqua family (recommended to their countrymen by Ignacy Potocki). They used specialised literature (Torello Saraina’s "Dell’origine et ampiezza della città di Verona", Verona 1586; Scipione Maffei’s "Verona illustrata e Museum veronense hoc est antiquarum inscriptionum atque anaglyphorum collectio", Verona 1749; and Giovanni Battista Da Persico’s "Descrizione di Verona e della sua provincia", Verona 1820), the purchase of which became one of the goals of a visit to Verona. In the 18 th century, the sightseeing route (reconstructed based on the accounts of Katarzyna Plater) included ancient architecture (Roman amphitheatre; Borsari Gate; Vitruvius Arch; Gavi Arch), museum collections (ancient art by Scipione Maffei; collections of paintings and sculptures of the Bevilacqua family; and Francesco Calzolar’s "Theatrum naturae", where the most admired objects were fossils from Monte Bolca), the modern architecture of Michele Sanmicheli (Palio Gate and Cappella Pellegrini), and Venetian paintings (Tintoretto and Veronese). Only in the 19 th century did the church of San Zeno appear among Verona’s must-see sites, described in detail as an excellent and rare example of Romanesque architecture; the house and tomb of Juliet was also included, though its state of preservation was completely inadequate to the image of Shakespeare’s drama and it tended to disappoint travellers.

IT

Il saggio presenta la prima analisi delle descrizioni di Verona e delle opere d’arte raccolte in città nei racconti dei viaggiatori polacchi del XVII–XIX secolo. Come risulta dalle ricerche effettuate, inizialmente i polacchi visitano la città solo di passaggio, sulla strada per Venezia, fermandosi qui per un momento per vedere l’unico oggetto “degno di essere visto”: l’anfiteatro romano del I secolo situato nel centro della città. A quel tempo le descrizioni della città erano laconiche, in quanto era considerata “secondaria” in Italia. Solo all’epoca del "Grand Tour", e soprattutto nella seconda metà del Settecento, i viaggiatori polacchi si dirigono intenzionalmente a Verona. Usano un cicerone consigliato da Ignacy Potocki. Utilizzano letteratura specializzata (Torello Saraina, "Dell’origine et ampiezza della città di Verona", Verona 1586, Scipione Maffei, "Verona illustrata e Museum veronense hoc est antiquarum inscriptionum atque anaglyphorum collectio", Verona 1749 e Giovanni Battista Da Persico, "Descrizione di Verona e della sua provincia", Verona 1820), il cui acquisto diventa uno degli obiettivi di una visita a Verona. Nel XVIII secolo, il percorso turistico (ricostruito sulla base del racconto di Katarzyna Platerowa "de domo" Sosnowska) comprendeva opere antiche (anfiteatro romano, Porta Borsari, Arco di Vitruvio, Arco Gavi), collezioni museali: arte antica di Scipione Maffei, collezione di dipinti e sculture della famiglia Bevilacqua e il "Theatrum naturae" di Francesco Calzolari, dove i più ammirati erano i fossili del Monte Bolca, e l’architettura moderna di Michele Sanmicheli (Porta Palio, cappella Pellegrini) e la pittura veneziana (Tintoretto, Veronese). Solo nell’Ottocento, tra i "must see" veronesi apparve la chiesa di San Zeno, descritta nei minimi dettagli come un eccellente e raro esempio di architettura romanica, e la casa e tomba di Giulietta, il cui stato di conservazione, del tutto inadeguato all’immagine del dramma di Shakespeare, delude i viaggiatori.

3

From the Peripheries to the Centre via Asia: The Notion of European Identity in Polish and Serbian Travel Writings About Asia (1850s–1920s)

51%

Ewertowski T.

Colloquia Humanistica

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2023

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issue 12

1-26

PL

W niniejszym artykule analizuję różne wymiary europejskiej tożsamości w polskich i serbskich relacjach z podróży do Azji w okresie od lat pięćdziesiątych XIX wieku do lat dwudziestych XX wieku. Na podstawie kilku studiów przypadku pokazuję, jak podróżnicy często określali siebie jako Europejczyków, lecz nierzadko problematyzowali różne aspekty europejskiej tożsamości i mieli problemy z taką autodefinicją. Moja analiza opiera się na dużym korpusie polskich i serbskich relacji podróżniczych, ale szczegółowo omawiam teksty autorstwa Gustawa Olechowskiego, Karola Lanckorońskiego, Pavla Petrovicia, Jerzego Bandrowskiego, Milana Jovanovicia, Eugeniusza Romera, Jadwigi Marcinowskiej, Jeleny Dimitrijević. Omawiane są następujące problemy: przyjmowanie europejskiej tożsamości, europejska tożsamość i świadomość planetarna, przekraczanie orientalizmu, kompleks peryferyjny, odwrócony orientalizm i okcydentalizm, patriotyzm i utożsamianie się z Azjatami.

EN

The paper focuses on various dimensions of European identity in Polish and Serbian travel writings about Asia in the period from the 1850s to the 1920s, examining several case studies that show how travellers often identified themselves as Europeans, but sometimes discussed various aspects of European identity and had many issues with this self-description. The analysis is based on a large corpus of Polish and Serbian travelogues, but works by Gustaw Olechowski, Karol Lanckoroński, Pavel Petrović, Jerzy Bandrowski, Milan Jovanović, Eugeniusz Romer, Jadwiga Marcinowska and Jelena Dimitrijević are scrutinised in detail. The following issues are discussed: assuming European identity, European identity and planetary consciousness, overcoming Orientalism, the periphery complex, reversed Orientalism and Occidentalism, patriotism, and identification with Asians.

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1 Colloquia Humanistica

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Marcin Czermiński and his eyewitness account of the Minoan excavations in Crete at the beginning of the 20th century

Verona dei viaggiatori polacchi (XVII–XIX secolo)

From the Peripheries to the Centre via Asia: The Notion of European Identity in Polish and Serbian Travel Writings About Asia (1850s–1920s)