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1

Historia "Panoramy Racławickiej" i jej konserwacji

100%

Natusiewicz-Mirer J.

Ochrona Zabytków

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1984

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issue 4

241-249

EN

The genesis of the Racławice Panorama is associated With preparations for the General National Exhibition in Lvov in 1894. The organisees of the exhibition wished to endow their undertaking with a singular patriotic significance. In response Jan Styka proposed to paint the first Polish panorama, depicting the battle of Racławice. His idea was fully approved. The Panorama painted by Jan Styka and Wojciech Kossak (with whom other artist co-operated) became a great attraction at the exhibition. As the Committee for the Panorama Construction encountered constant difficulties with the management of the premises holding the Panorama, it was decided to sell it; eventually the country of Lvov became its owner in 1912. During the First World War the painting was damaged and underwent reconstruction in 1919—1920. In the second half of the twenties the state of preservation of the canvas aroused great concern; on the night of 29—30 Sept., 1927 the canvas partially collapsed. It fell upon the artificial terrain where it broke and was holed. In the period of 1928—1929 the reconstruction and conservation took place and the artificial terrain wias replaced. During the Second World War the Panorama was looked after by the management of the Picture Gallery. On 9th April, 1944 the pavilion housing the Panorama was damaged during the bombardment of Lvov, the structure broke down and the picture partially collapsed, the remainder of the picture was holed in hundred of places. In June 1944 the Panorama was taken to pieces, the canvas was preserved and stared away in the Bernardine convent in Lvov. In July 1946 the Panorama and the Lvovian collection were brought to Wrocław.

2

Afektonimy jako przedmiot badań lingwistycznych (na materiale listów Wojciecha Kossaka do żony)

89%

Wojciechowska A.

Stylistyka

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2017

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vol. 26

291-304

EN

In this paper an attempt is made to examine affectionate names defined as substitute forms of proper names typical of private, romantic discourse. The study consists of two parts: The first section is dedicated to discussing and arranging research already done on affectionate language (terminology in use, definitions, affectionate names vs. „affectiva”, the grammar and stylistics of affectionate names, and thematic description). In the second part of the paper linguists’ approaches to affectionate names are verified empirically. The material under investigation is the collection of names used by Wojciech Kossak in his long-term (1883–1942) correspondence with his wife. The analysis confirms scholars’ outcomes in the field regarding: 1) the formal and stylisticdifferentiation of affectionate names, 2) the thematic fields typical of these language units, 3) and the dominance of appellative nicknames. The findings also indicate that the use of so-called terms of endearment depends on the context, giving the speaker some freedom as far as the choice of various language items is concerned. The author of the paper concludes that affectionate names seem to constitute an open set in which lines are blurred. In addition, it is mostly the competence of the participant of intimate communication that influences the form of affectionate names, so that they become typical or original.

3

Relacje polsko-niemieckie piórem malarza spisane na podstawie Pamiętników Juliana Fałata (1935) i Wspomnień Wojciecha Kossaka (1913/1973)

63%

Krauze-Pierz J. M.

Poznańskie Studia Polonistyczne. Seria Literacka

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2023

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issue 44

111-128

EN

This article is an analysis of two autobiographical texts by famous Polish painters of the turn of the century: Julian Fałat’s Pamiętniki (Diaries) from 1935 and Wojciech Kossak’s Wspomnienia (Reminiscences) from 1913. These texts constitute a source of information not only about the life of Polish artists at the imperial court in Berlin, but also a treasury of historical knowledge about the moods prevailing in the Wilhelmine era, the Polish–German relations in particular. In both texts, the most important figure is that of the German emperor, his involvement in the affairs of art and concern for the fate of outstanding Polish painters. The analysed texts allowed, above all, for showing the difficulties in Polish–German relations at the turn of the century, the ambivalence of the German emperor in relation to the Polish issue and individual Poles, and the difficulties of Polish artists in maintaining the balance between being the court painter of the German emperor and a Polish patriot.

Refine search results

1 Ochrona Zabytków

1 Poznańskie Studia Polonistyczne. Seria Literacka

1 Stylistyka

1 Krauze-Pierz J. M.

1 Natusiewicz-Mirer J.

1 Wojciechowska A.

1 2023

1 2017

1 1984

Historia "Panoramy Racławickiej" i jej konserwacji

Afektonimy jako przedmiot badań lingwistycznych (na materiale listów Wojciecha Kossaka do żony)

Relacje polsko-niemieckie piórem malarza spisane na podstawie Pamiętników Juliana Fałata (1935) i Wspomnień Wojciecha Kossaka (1913/1973)