Search results

1

Censorship Towards the Subject of the Warsaw Uprising in Belles-Lettres in 1956–1958

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Kloc A., Maria Curie-Skłodowska University in Lublin I. o. H., agnieszka_kloc@wp.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2016

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vol. 37

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issue 7

EN

Right from the beginning, the subject of the Warsaw Uprising was often manipulated or even entirely erased from public discourse under the Stalinist regime. It was only after the liberalization of culture and the easing of censorship-related repressions that the said topic returned in literature. The paper focuses on the censorship bureau’s approach to the image of the Uprising presented by writers. Moreover, it attempts to specify – on the basis of specific examples – the kind of content that was accepted, rejected or amended. The juxtaposition of censors’ documents and the content of the published works allows for the examination of the depth of censors’ interventions and their methods of manipulating historical facts. Those areas of special interest include: presentation of the division among the insurgents who were supposed to belong either to the brave ordinary soldiers or the passive leadership, as well as the attitude towards the People’s Army, the First Polish Army, the Home Army or the Red Army, with special regard for its passiveness during the Uprising.

2

W. Grzebalska, Płeć powstania warszawskiego, Warszawa 2014, ss. 133

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Dobrowolska A.

Rocznik Antropologii Historii

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2014

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issue 2(7), Historia i płeć

312-316

XX

Review of W. Grzebalska's book "he gender of the Warsaw Uprising".

3

Censorship Towards the Subject of the Warsaw Uprising in Belles-Lettres in 1956–1958

100%

Kloc A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2016

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vol. 37

|

issue 7

139-162

EN

Right from the beginning, the subject of the Warsaw Uprising was often manipulated or even entirely erased from public discourse under the Stalinist regime. It was only after the liberalization of culture and the easing of censorship-related repressions that the said topic returned in literature. The paper focuses on the censorship bureau’s approach to the image of the Uprising presented by writers. Moreover, it attempts to specify – on the basis of specific examples – the kind of content that was accepted, rejected or amended. The juxtaposition of censors’ documents and the content of the published works allows for the examination of the depth of censors’ interventions and their methods of manipulating historical facts. Those areas of special interest include: presentation of the division among the insurgents who were supposed to belong either to the brave ordinary soldiers or the passive leadership, as well as the attitude towards the People’s Army, the First Polish Army, the Home Army or the Red Army, with special regard for its passiveness during the Uprising.

4

That Which is Absent. Accounts and memories of women from the Warsaw Uprising as ready-made but not used film scenarios

80%

Kosińska K.

Kwartalnik Filmowy

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2013

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issue Special Issue - Polish Film Scholars on Polish Cinema

257-282

EN

In Polish feature films about the Warsaw Uprising there are no women. They of course appear as nurses, civilians or liaison officers. But they are always part of the background, seen, but not looking, symbolic in their presence, and never the active heroines; always serving, and never independent or autonomous. If they are the heroines of the drama, then they are part of someone else’s drama, and are not given a voice of their own. Their narratives and accounts of life, even everyday life, are left unsaid, hidden behind grand and epic narratives of the heroes. The article is about women’s "micro-narratives", the memories of women who lived in Warsaw and participated in the Warsaw Uprising in 1944. The memories give us a chance to see the Uprising in a different light, one that includes the women’s perspective and experience of the Uprising. Women's accounts, due to their graphic nature and their uniqueness appear to be ready-made but not used film scenarios.

5

A Bodiless Enemy

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Marszałek R.

Kwartalnik Filmowy

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2013

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issue Special Issue - Polish Film Scholars on Polish Cinema

31-36

EN

The following is the text of Rafał Marszałek’s address during the international conference on "The Warsaw Uprising in the Context of Polish-German Relations" (Warsaw, 30 March – 1 April, 2007). Marszałek argues that there is no room for an "absolute enemy" in the selected works by Andrzej Wajda, Kazimierz Kutz and Andrzej Munk of the so-called "Polish Film School" and that the films are free of the hatred to the Germans as invaders and occupiers. What emerge from the films are a toothless enemy and then a bodiless enemy. The thesis is exemplified in "Canal" – the death of the Warsaw insurgents is portrayed in a symbolic language; in "Ostinato lugubre", the second part of "Eroica", in which the Germans (as enemy) are not the demonic personification of oppression; in "The Dog" (part of "Cross of Valor") – the hero saves the life of the dog guarding inmates at an Auschwitz death camp; in "Speed", one of few war films in the history of cinema that does without the character of a (German) enemy. Marszałek points out that the "dematerialization" of the enemy flows from the special (both psychological and moral) instinct of self-preservation rather than forgiveness.

6

Obserwując płonące miasto. O ludności cywilnej i (nie)uczestniczeniu w powstaniu warszawskim w Notatkach z okresu Powstania Warszawskiego Zofii Charytańskiej

70%

Taperek M.

Białostockie Studia Literaturoznawcze

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2017

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vol. 10

EN

The purpose of the article is to expose the civilian experience of the Warsaw Uprising, the event traditionally connected with the heroic military myth of the Polish nation. The main source is a non-published diary of Zofia Charytańska, ordinary citizen of Warsaw, who records the everyday life in the German- and later Russian-occupied city areas. Her diaries show the civilian perspective on the 1944 military operation, indicating at the same time the anxiety and guilt of an uninvolved observer. This individual experience is submerged in the broader historical and ideological context. It further extends the narrative about Praga, the city district east of the Vistula river, which did not participate in the Uprising and was “liberated” by the Soviet Army.

7

Kieszonkowy atlas kobiet, Dzidzia, Cwaniary... – wybrane powieści Sylwii Chutnik w kontekście badań nad związkami reprezentacji wojny i płci kulturowej

70%

Nadana-Sokołowska K.

Białostockie Studia Literaturoznawcze

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2017

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vol. 10

EN

The article describes the motif of women and war in three novels by Sylwia Chutnik (born 1979): Kieszonkowy atlas kobiet (Pocket Atlas of Women) 2008, Dzidzia (Diddums) 2009 and Cwaniary (The Hustlers) 2012. Drawing from the context of modern Western studies, reflections on these works concern the relationship between gender and war, assuming that it grants an active and heroic role to men while putting women in the role of civilian victims, and in doing so, it consolidates the traditional social hierarchy. Even though the history of war contradicts such stereotypes and abounds in evidence of women’s courage, both as civilians and soldiers, the society – according to scholars – seems to reproduce wartime division of gender roles as justification for the cultural hierarchy of gender. This pushes women’s experience and memory of war to the margins of collective memory. Sylwia Chutnik portraits the women who participated in the Warsaw Uprising and depicts their lives after the war, rediscovering the (in)ability to build a women’s tradition of combat and to pass their wartime stories to daughters and granddaughters. She also shows the forgotten women’s memory of the Uprising: the terrible suffering of civilians, who often rebelled against military decisions. In her understanding, this memory forms an undertone in Polish culture, and has only recently been acknowledged by the so-called oral history.

8

The Warsaw Uprising as presented in chosen German newspapers

70%

Łysakowski P.

Confrontation and Cooperation: 1000 Years of Polish-German-Russian Relations

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2015

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vol. 2

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issue 1

16-37

9

Sulle barricate trent’anni dopo. L’esperienza dell’insurrezione di Varsavia nelle poesie di Anna Świrszczyńska

61%

Ceccherelli A.

pl.it / rassegna italiana di argomenti polacchi

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2019

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issue 10

64-79

EN

The article focuses on the poetry collection Budowałam barykadę (Building a barricade) by Anna Świrszczyńska, published in 1974, thirty years after the Warsaw Uprising, which is the theme of the volume. During the past three decades, the author worked out an essential style that was free of pathos, objective, and close to the colloquial speech, which proved to be the only possible way of speaking about such dramatic events as those lived and observed during the uprising when the author was a field nurse helping the insurrectionists. Thanks to its stylistic discipline, the short poems of Budowałam barykadę are the most durable poetic witness of the Warsaw Uprising.

10

Szadkowianie w powstaniu warszawskim

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Stulczewski J.

Biuletyn Szadkowski

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2014

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issue 14

135-150

EN

The Warsaw Uprising was a major World War II operation organized by the Polish resistance Home Army. It was planned for 1 September 1944. The start of the uprising in Warsaw spurred social resistance against the Nazi occupiers – people from various backgrounds joined the fighting. Among them were people born in Szadek and in the surrounding commune. The names identified so far include Janusz Laube, Jerzy Laube, Stefan Laube, Anna Meylert, by marriage Nawrot, Bogdan Sztolc, and Mieczysław Nowak, who lived in Szadek in the interwar period. They all survived the dramatic time of occupation in the capital, except for Mieczysław Nowak, killed by KL Gross-Rosen. They fought in the ranks of the battalion “Sokół”, Group “Chrobry II” and Group “Żbik”, having earlier participated in conspiratorial activity of Szare Szeregi (wartime Polish Scouting Association) and NSZ.

11

Księdza Jana Salamuchy msza życia

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Piech S.

Folia Historica Cracoviensia

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1996

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vol. 3

EN

The article presents a profile of Rev. prof. Jan Salamucha, with a particular emphasis on his heroic attitude and death in the Warsaw Uprising (deceased 11 August 1944).

PL

Artykuł omawia sylwetkę ks. prof. Jana Salamuchy a w szczególności jego postawę i bohaterską śmierć w trakcie powstania warszawskiego (zginął 11 sierpnia 1944 r.).

12

The Second World War in Polish Cinema. Recent Filmic Approaches and the Reception in Poland and Germany

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Hiemer E.-M.

Poznańskie Studia Slawistyczne

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2017

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issue 12

123-138

PL

The article deals with the representations of history in contemporary Polish cinema. On the occasion of the 70th anniversary of the Warsaw Uprising, Jan Komasa released two fundamentally different films within one year. By an analysis focusing the context, the artistic product and the reception, the author intends to decode the different messages and reception offers. The intended reception is then contrasted to the real reception referring to the reactions in Polish and (in the case of Miasto 44) in German media.

13

Ignacy Bator (1916–1944) – jeden z cichociemnych

51%

Stanek P.

Res Gestae. Czasopismo Historyczne

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2023

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vol. 15

120-131

EN

Ignacy Bator (1916–1944), nom de guerre “Opór” (“Resistance”) was a lieutenant of the Polish Air Force in Great Britain, participant in the Warsaw Uprising, one of the 316 Silent and Unseen – special paratroopers of the Home Army. In 1939, he took part in the defense of Poland, then he reached France, where he joined the Polish Armed Forces in the West. In 1940, he made his way to Great Britain, where he served in the air force as a shooter-radio operator in No. 301 Polish Bomber Squadron and No. 138 (Special Duties) Squadron RAF. In 1942, he volunteered to serve in the Home Army in occupied Poland. After training, he was dropped to Poland on the night of January 25/26, 1943. He served in the radio communication structures of the Home Army Headquarters. As a radio operator of the Home Army, he took part in the Warsaw Uprising, during which he died in August 1944. He has been awarded many times for his service by Polish and British military decorations, incl. with the Silver Cross of the Order of Virtuti Militari, four times with the Cross of Valor, with the “Distinguished Flying Cross” and others.

14

– „...kupa gruzów, kupa trupów, wielkie szambo, wielka dziura wypełniona czarną krwią”. Powstańcze fantazje w Kinderszenen Jarosława Marka Rymkiewicza

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Jazienicki Z.

Przegląd Humanistyczny

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2017

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vol. 61(2 (457))

49-59

PL

The article focuses on the memory practices activated in Jarosław Marek Rymkiewicz’s Kinderszenen, an essay devoted to the Warsaw Uprising. The text refers to Klaus Theweleit’s Male Fantasies analyzing the language of male soldiers, and examines the work of the same linguistic logic which determines the way in which the events in the capital are presented. The Nazification of memory involves here the demonstration of obscenity of the uprising and recognizing it as constitutive to the national identity. The purpose of the text is to capture the relationship between shaping collective memory and creating “genogenic” imaginarium integrating the Polish community.

15

Cenzura wobec tematu powstania warszawskiego w literaturze pięknej w latach 1956–1958

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Kloc A., Uniwersytet Marii Curie-Skłodowskiej w Lublinie, agnieszka_kloc@wp.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2013

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vol. 22

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issue 4

PL

Temat powstania warszawskiego od momentu jego zaistnienia podlegał licznym manipulacjom aż do całkowitego wyeliminowania w okresie stalinowskim. Dopiero okres liberalizacji kultury oraz zmniejszenie skali „represji” GUKPPiW doprowadziły do ponownego powrotu wspomnianego zagadnienia w literaturze. Właściwa analiza skupia się na wskazaniu odniesienia cenzury do kreowanego przez autorów obrazu powstania, ale również na określeniu poprzez przykłady wybranych utworów treści akceptowanych, odrzucanych i przeinaczanych przez cenzurę. Na podstawie konfrontacji dokumentów cenzorskich z tekstem wydanych dzieł określona została nie tylko stosowana przez GUKPPiW różnorodna głębokość ingerencji, ale również wskazano metody manipulacji danymi faktami historycznymi na takich płaszczyznach jak: ukazywanie przez twórcę wewnętrznego podziału żołnierzy biorących udział w powstaniu jako waleczne „doły” i „stojące z bronią u nogi” dowództwo, określanie nastawienia autora do Armii Ludowej, I Armii Wojska Polskiego, Armii Krajowej czy Armii Radzieckiej i jej bierności podczas powstania.

EN

Right from the beginning, the subject of the Warsaw Uprising was often manipulated or even entirely erased from public discourse under the Stalinist regime. It was only after the liberalization of culture and the easing of censorship-related repressions that the said topic returned in literature. The paper focuses on the censorship bureau’s approach to the image of the Uprising presented by writers. Moreover, it attempts to specify – on the basis of specific examples – the kind of content that was accepted, rejected or amended. The juxtaposition of censors’ documents and the content of the published works allows for the examination of the depth of censors’ interventions and their methods of manipulating historical facts. Those areas of special interest include: presentation of the division among the insurgents who were supposed to belong either to the brave ordinary soldiers or the passive leadership, as well as the attitude towards the People’s Army, the First Polish Army, the Home Army or the Red Army, with special regard for its passiveness during the Uprising.

16

Centrum i peryferie w „oddolnych” narracjach wojennych z przedmieść Warszawy

51%

Szurek A.

Oblicza Komunikacji

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2015

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vol. 8

157-168

EN

This paper explores the relations between the centre and the peripheries drawing on examples from war narratives and accounts from Warsaw suburban region. Narratives analyzed here belong all to ‘grassroot’ history (private diaries, monographies by non-professional historians, books published by small, local editorial presses, websites run by local institutions, visual symbols in towns’ space). Main problems addressed in the article are: are the centre and the suburbs described as binary oppositions or rather in terms of gradation? Do the narrators use the strategy of ‘mimicry’ or rather the one of ‘rebellion’ towards the centre? The paper concludes with pointing out three metaphors, which provide patterns to the centre–periphery relations in analyzed region: Warsaw as a volcano, as an empty circle and as a mountain or tower casting a long shadow.

17

O pamięci Powstania Warszawskiego w przeddzień 80. rocznicy

51%

Sawicki J.

Pamięć i Sprawiedliwość

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2023

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vol. 41

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issue 1

364-379

EN

The Warsaw Uprising in 1944 ended in defeat. However, amongst Poles, the memory of the battle fought by the capital remained extremely strong and affected later attitudes. It protected identity and helped to survive the period of Soviet subjugation. Symbols of this memory included the anchor (the sign of the Polish Underground State), uprising songs, graves and cemeteries, the passing on of the testimony of the insurgents’ heroism and patriotism to posterity, and participation in anniversary celebrations. Today, the next generation of young Poles are taking over the duty of remembrance from their parents and grandparents and even identifying with the past generation, recognising the tragic experiences as their own. However, they are increasingly shifting their focus to new areas resulting from cultural changes, caused above all by the onslaught of information technology and the virtual world. The memory of the Warsaw Uprising, however, because of its emotional nature, also remains present in contemporary political life. The author of this article discusses the transformations taking place in collective memory. He identifies new phenomena regarding modes of representation, as well as new roles of the Warsaw Uprising in public discourse.

PL

Powstanie Warszawskie w 1944 r. zakończyło się klęską. Jednak wśród Polaków pamięć o nim pozostała niezwykle silna, rzutując na późniejsze postawy mieszkańców stolicy i całej Polski. Chroniła tożsamość i pomogła przetrwać okres sowieckiego zniewolenia. Jej wyrazem były m.in.: utożsamianie się z Kotwicą – znakiem Polskiego Państwa Podziemnego, śpiewanie pieśni powstańczych, odwiedzanie grobów i cmentarzy, przekazywanie potomnym świadectwa bohaterstwa i patriotyzmu powstańców oraz uczestnictwo w obchodach rocznicowych. Obecnie kolejne pokolenia młodych Polaków przejmują od swoich rodziców i dziadków obowiązek pamięci, a nawet, utożsamiając się z przeszłą generacją, przyjmują tragiczne doświadczenia za własne. Jednak swoją aktywność przenoszą coraz częściej na nowe pola, powstałe w wyniku przemian kulturowych, spowodowanych przede wszystkim ofensywą technik informatycznych i ukształtowaniem się świata wirtualnego. Pamięć o Powstaniu Warszawskim, ze względu na jej wymiar emocjonalny, pozostaje także elementem współczesnego życia politycznego. Przedmiotem artykułu jest omówienie przemian zachodzących w pamięci zbiorowej, wskazanie nowych zjawisk związanych ze sposobami prezentowania historii, a także nowych ról Powstania Warszawskiego w dyskursie publicznym.

18

Trauma wojenna jako inspiracja powieści Aleksandra Kamińskiego

51%

Reputakowski P.

Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej

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2013

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issue 19

181-200

EN

The author of this article interprets the "Kamienie na szaniec" by Aleksander Kamiński, using the methodology of new historicism and psychotraumatology. In particular, the attempt is put into answering the question whether the narrative of "Kamienie..." is the story of historiographical, ideological, and mythologising, or rather therapeutic and pedagogical aim. The analysis will also address other selected texts (like "Zośka and Parasol"), containing reports of experiencing traumatic events and overcoming the trauma caused by the September defeat and the Warsaw Uprising.

19

Gdzie jest nasz dom? Historia pewnego filmu

51%

Hendrykowski M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2017

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vol. 20

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issue 29

314-322

EN

The article tells the story of the making of a little-known Polish documentary shot in 1944 and 1945. The film depicts the fate of a group of children from Warsaw who were at a summer camp in Stoczek Lukowski when the Warsaw Uprising began.

PL

Where is our home? The story of a film The article tells the story of the making of a little-known Polish documentary shot in 1944 and 1945. The film depicts the fate of a group of children from Warsaw who were at a summer camp in Stoczek Lukowski when the Warsaw Uprising began.

20

Tadeusz Żenczykowski-Zawadzki — biografia polityka, publicysty i żołnierza

51%

Krzysztofiński M.

Przegląd Sejmowy

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2020

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issue 5(160)

229–236

EN

The life of Tadeusz Żenczykowski-Zawadzki was so full that it could be lived by more than one person. Karolina Trzeskowska’s book presents this outstanding politician, conspirator and publicist against the background of the 20th-century history of Poland, marked by the aggression and occupation of Polish lands by Germany and the USSR. Żenczykowski-Zawadzki, subordinating his life to the service to the country, wrote the honorable page in the history as a soldier, a politician, and finally a journalist and an activist in exile. In the latter role, he defended the good name of the Polish Underground State and the Home Army discredited by the communists.

Refine search results

Censorship Towards the Subject of the Warsaw Uprising in Belles-Lettres in 1956–1958

W. Grzebalska, Płeć powstania warszawskiego, Warszawa 2014, ss. 133

Censorship Towards the Subject of the Warsaw Uprising in Belles-Lettres in 1956–1958

That Which is Absent. Accounts and memories of women from the Warsaw Uprising as ready-made but not used film scenarios

A Bodiless Enemy

Obserwując płonące miasto. O ludności cywilnej i (nie)uczestniczeniu w powstaniu warszawskim w Notatkach z okresu Powstania Warszawskiego Zofii Charytańskiej

Kieszonkowy atlas kobiet, Dzidzia, Cwaniary... – wybrane powieści Sylwii Chutnik w kontekście badań nad związkami reprezentacji wojny i płci kulturowej

The Warsaw Uprising as presented in chosen German newspapers

Sulle barricate trent’anni dopo. L’esperienza dell’insurrezione di Varsavia nelle poesie di Anna Świrszczyńska

Szadkowianie w powstaniu warszawskim

Księdza Jana Salamuchy msza życia

The Second World War in Polish Cinema. Recent Filmic Approaches and the Reception in Poland and Germany

Ignacy Bator (1916–1944) – jeden z cichociemnych

– „...kupa gruzów, kupa trupów, wielkie szambo, wielka dziura wypełniona czarną krwią”. Powstańcze fantazje w Kinderszenen Jarosława Marka Rymkiewicza

Cenzura wobec tematu powstania warszawskiego w literaturze pięknej w latach 1956–1958

Centrum i peryferie w „oddolnych” narracjach wojennych z przedmieść Warszawy

O pamięci Powstania Warszawskiego w przeddzień 80. rocznicy

Trauma wojenna jako inspiracja powieści Aleksandra Kamińskiego

Gdzie jest nasz dom? Historia pewnego filmu

Tadeusz Żenczykowski-Zawadzki — biografia polityka, publicysty i żołnierza