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1

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

100%
Kosińska K.
Kwartalnik Filmowy
|
2013
|
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.
2
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Around the motto of Zofia Nałkowska’s Medaliony: “People doomed people to this fate”

75%
Borkowska G.
Nauka
|
2019
|
issue 2
EN
The motto of Zofia Nałkowska’s short-story collection Medaliony [Medalions] – “People doomed people to this fate” [Polish, “Ludzie ludziom zgotowali ten los”] – as obvious as it may apparently seem, has aroused various controversies. Henryk Grynberg believed that the only right formula, the one that would do justice to those persecuted, would have been “People doomed Jews to this fate”. Recently, the discussion was resumed in a book on the portrayal of the Holocaust in Medaliony – Zagłada w „Medalionach” Zofii Nałkowskiej, edited by Tomasz Żukowski: one of its essays (by Żukowski and Aránzazu Calderón Puerta) notices that endeavours to universalise the Holocaust is at least premature for the Poles tending to avoid facing the truth about their own contribution to annihilation of the Jews. While the threads addressed in these debates are important, they disregard the beliefs and the system of values Nałkowska adhered to. The Polish novelist adopted the view that man and the pleasure he takes in inflicting pain is the actual cause of evil. This inclination revealed itself not only during the war. This more general observation was rooted in her knowledge of life, relations between people, and daily cruelty. Supported by an ideology and furnished with technical resources, the war added a historical dimension to this bent. Moreover, Nałkowska was definitely not one among those who stayed silent in respect of the Jewish victims. Conversely, a few of the stories in Medaliony speak exactly about this problem, never trying to conceal anti-Semitic attitudes among Poles.
3
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The Cultural Role and Political Implications of Poland’s 1947 Shakespeare Festival

75%
Kujawińska Courtney K.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
183-193
EN
Emerging from the atrocities of war, and still hoping to avert the results of the Yalta conference during which the countries of Central and South–Eastern Europe, including Poland, were “handed over” to Stalin, Poland’s 1947 Shakespeare theatre festival was a sign of courage and defiance. At the Festival 23 productions of 9 Shakespeare’s dramas were staged by theatres in 11 towns, with its finale in Warsaw. My paper will show that the Festival was an attempt to demonstrate both Polish cultural links with Europe, and to subvert Marxist ideology and Soviet culture.
4

Amerykański film animowany w wojennej potrzebie

75%
Michał M.
Kwartalnik Filmowy
|
2016
|
issue 93-94 Kino amerykańskie
53-66
PL
Celem artykułu jest ukazanie roli, jaką po ataku na bazę Pearl Harbor odegrał amerykański film animowany. Autor nakreśla, w jaki sposób sztuka, która była tworzona według formuły popularnego kina rozrywkowego, przekształciła się w machinę do budowania patriotycznego ducha, przekazywania informacji dla społeczeństwa czy instrukcji dla wojska. W trakcie analizy wyróżnione zostały te elementy filmu rysunkowego, które tworzą propagandowy przekaz. Autor podkreśla dużą rolę animowanej postaci, symboliki narodowej, a także sposobu ukazywania wroga. Wskazuje również, w jaki sposób wraz ze zmianą sytuacji na froncie przekształcano przekaz propagandowy. Oddana została także atmosfera pracy w amerykańskim przemyśle animowanym oraz udział pozafilmowych środków propagandy. Opisowi i analizie tych zmian towarzyszy próba określenia narodotwórczej i ideologicznej roli filmu animowanego w początkowym okresie udziału Stanów Zjednoczonych w II wojnie światowej.
EN
The aim of the article is to show the role played by American animated film after the attack on Pearl Harbour. The author describes how an art form, which was created according to the formulae of popular entertainment cinema, was transformed into a method aimed at producing patriotic spirit, transmission of information for society at large and instructions for the army. In the course of the analysis the elements of animated films that are part of the propaganda message are given special attention. The author emphasises the role of animated characters, national symbolism, and the way the enemy is portrayed. He also points to the way in which, depending on the situation on the frontline, the message is adapted. The author also reconstructs the working atmosphere in the American animation industry and the elements of propaganda not based on film. Description and analysis of these changes are accompanied by an attempt to determine nation-making and ideological role of animated film in the early period of USA participation in World War 2.
5
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Stefan Lehr, Pewna prawie zapomniana „akcja na Wschodzie”. Niemieccy archiwiści w Generalnym Gubernatorstwie i Komisariacie Rzeszy Ukraina, tłum. M. Gąsowska, Naczelna Dyrekcja Archiwów Państwowych w Warszawie, Warszawa 2014, ss. 456

75%
Szukała M.
Archiwa – Kancelarie – Zbiory
|
2016
|
issue 7(9)
233-241
6
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The Cultural Role and Political Implications of Poland’s 1947 Shakespeare Festival

75%
Kujawińska Courtney K.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
183-193
EN
Emerging from the atrocities of war, and still hoping to avert the results of the Yalta conference during which the countries of Central and South–Eastern Europe, including Poland, were “handed over” to Stalin, Poland’s 1947 Shakespeare theatre festival was a sign of courage and defiance. At the Festival 23 productions of 9 Shakespeare’s dramas were staged by theatres in 11 towns, with its finale in Warsaw. My paper will show that the Festival was an attempt to demonstrate both Polish cultural links with Europe, and to subvert Marxist ideology and Soviet culture.
7
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„Pamięć ojców czcijmy, ale przykładu z nich nie bierzmy”. Historia II wojny światowej i alternatywne wizje jej przebiegu w świetle wybranych prac polskich rewizjonistów historycznych

63%
Gralik D.
Historyka Studia Metodologiczne
|
2022
|
vol. 52
289-310
EN
In recent years, some authors have departed from the classical presentation of World War 2. This article analyses selected alternative and revisionist narratives present in the works of Tymoteusz Pawłowski, Rafał Ziemkiewicz and Piotr Zychowicz in terms of historical and ahistorical thinking, presents the authors' attitude towards the achievements of historiography, and presents the way in which they create their narratives, the content of those narratives, and evaluates them in terms of their correctness from the point of view of compliance with historical facts.
8
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SPRAWA NIEMIECKICH ODSZKODOWAŃ ZA II WOJNĘ ŚWIATOWĄW STOSUNKACH MIĘDZY POLSKĄ A RFN DO 1991 R.

63%
Żerko S.
Colloquium Wydziału Nauk Humanistycznych i Społecznych AMW
|
2019
|
issue 3
101-125
PL
Rząd PRL pod naciskiem ZSRR w deklaracji z 23 sierpnia 1953 r. zrzekł się repa-racji od Niemiec. Od tego czasu RFN konsekwentnie stoi na stanowisku, że na drodze prawnej sprawa świadczeń dla polskich ofiar okupacji niemieckiej jest dawno zamknięta. Mimo to dwukrotnie (w 1970 i 1990 r.) RFN usiłowała uzyskać od Polski potwierdzenie ważności deklaracji z 1953 r. Wszystkie świadczenia wypłacane na mocy zawartych w omawianym okresie układów polsko-niemieckich (1972 i 1991 r.) były przedstawiane przez RFN jako pomoc humanitarna, na zasadzie „ex gratia”.
EN
The government of the Polish People's Republic, under pressure from the USSR, renounced reparations from Germany in a declaration dated August 23rd, 1953. Since that time the Federal Republic of Germany consistently holds the position, that the case of repa-rations for Polish victims of German occupation has long been closed legally. Nonetheless, the Federal Republic of Germany was trying twice (in 1970 and 1990) to obtain from Poland a confirmation of the validity of the declaration from the year 1953. All the benefits paid out in accordance with the Polish-German agreements concluded in the period in question (1972 and 1991) were presented by the Federal Republic of Germany as humanitarian aid, on the principle of "ex gratia".
9
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Otakar Vávra i kino Protektoratu Czech i Moraw

51%
Guzek M.
Przegląd Zachodniopomorski
|
2015
|
issue 3
145-163
EN
Otakar Vávra is one of the most interesting directors of the European cinema, and not only because of his perennial professional activity that lasted over 80 years. His formula for creativity consisted in adapting the native literature, in using films to artistically comment on the world, in treating the cinema as a segment of the whole culture, and not as its exclusive centre. The director’s project had to include the 20th-century politics, which tossed Czechoslovakia back and forth from democracy to totalitarianism. After the Munich Agreement or Munich Diktat (September, 1938) Czechoslovakia broke up and what was left was transformed into the Protectorate of Bohemia and Moravia and the Slovak Republic. The Czech cinematography became then a kind of chessboard, a confrontation area for various film directors’ and producers’ ambitions, for directives of the Protector’s Office (Reichsprotektor), for the expectations of the Czechs who collaborated with the Germans, for the courage and meanness of different people. Such were the circumstances under which Otakar Vávra made 12 films; and he was in touch both with conspiring professionals who were building the foundations for the future post-war cinematography (Vladislav Vančura) and with collaborating Barandov dictators (Miloš Havel). In his films appeared German dignitaries’ favourites (Lída Baarová, Adina Mandlová) and victims of the Nazi terror (Anna Letenská). Vávra’s films made during the Protectorate (and all of them have survived) and watched now may be interpreted in numerous ways; one of them is the biographical perspective.
10
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Powojenne grupy nacisku i organizacje społeczne związane z japońskim rządem a kwestia pamięci o II wojnie światowej

51%
Barbasiewicz O.
Krakowskie Studia Międzynarodowe
|
2017
|
issue 3
179-193
PL
W artykule podjęty został problem grup nacisku i organizacji społecznych związanych z japońskim rządem, które wywierają realny wpływ na współczesną politykę pamięci. Analizie poddano takie grupy, jak Stowarzyszenia Świątyń Sintoistycznych (Jinja Honchō) oraz Japońskie Stowarzyszenie Rodzin, które Straciły Bliskich w Czasie Wojny Nihon Izokukai. W celu weryfi kacji hipotezy o wpływie tych organizacji na kształt polityki pamięci analizie poddane zostały ofi cjalne struktury wspomnianych grup nacisku. Ukazano przez to formalne zasady, jakimi kierują się one przy przyjmowaniu rozstrzygnięć w kontekście pomników i miejsc pamięci.
EN
In this article I focus on so called ‘pressure groups’ and social organizations related to the Japanese government, which have a real impact on modern memory politics. I analyzed two organizations, such as The Association of Shinto Shrines (Jinja Honchō), and The Japan War-Bereaved Families Association Nihon Izokukai. To verify the hypothesis about the impact of these organizations onto the shape of contemporary politics of remembrance, the offi cial structures of these pressure groups were analyzed to show the formal principles they pursue when taking decisions on diff erent memorials and places of remembrance.
11
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Displacement and Discoveries: Cultural Trauma and Polish Child Refugees in Contemporary Australasian Fiction

45%
Brooking T.
Libri & Liberi
|
2015
|
vol. Vol 4
|
issue 4.1
61-84
EN
This paper focuses primarily on the experiences of Polish child refugees in World War 2, some of whom were relocated to New Zealand. In 1944, the New Zealand government accepted 733 Polish refugee children who had survived deportation to the Soviet Union labour camps in Siberia before reaching Red Cross camps in Iran. For these Polish children, arrival in New Zealand, the southernmost colonial outpost of Britain, was a challenging and bewildering process. While many refugee narratives have been produced as a consequence of World War 2, few, if any, document the journeys undertaken by families who were evicted from their Polish homeland and deported to Russia, before being relocated to countries such as New Zealand. Displacement on such a scale underscores the depth of cultural trauma and its manifestations in the selected texts. This paper suggests that the mode of historical representation in the texts constructs a timely pathway for further exploration of transnational literature, signalling how texts can extend beyond national boundaries, and foreground interactions between cultures. The paper probes how children’s literature that depicts the experiences of Polish child refugees situates itself within a discourse of cultural trauma.
HR
Rad se ponajprije usredotočava na iskustva djece izbjeglica iz Poljske u Drugome svjetskome ratu prikazana u dječjoj književnosti. Neka od njih preseljena su na Novi Zeland. Vlada Novoga Zelanda prihvatila je 1944. godine 733 djece izbjeglica iz Poljske koja su preživjela deportaciju u radne logore Sovjetskoga Saveza u Sibiru, prije negoli su dospjela u kampove Crvenoga križa u Iranu. Za ovu poljsku djecu dolazak u Novi Zeland, najjužniju britansku koloniju, bilo je izazovno i zbunjujuće iskustvo. Iako je Drugi svjetski rat iznjedrio velik broj izbjegličkih pripovijedi, malo je, međutim, onih koje dokumentiraju putovanja obitelji protjeranih iz rodne Poljske i deportiranih u Rusiju, odakle ih se selilo u države poput Novoga Zelanda. Ovakav razmjer iseljavanja ukazuje na dubinu kulturne traume i njezine manifestacije u analiziranim književnim tekstovima. Rad sugerira da način povijesnoga prikaza zabilježen u analiziranim pripovijedima naznačuje prikladan put za daljnja istraživanja transnacionalne književnosti, upućujući na mogućnost književnosti da nadilazi nacionalne granice te da interakcije među kulturama postavi u prvi plan. Rad propituje na koji se način dječja književnost koja prikazuje iskustva djece izbjeglica iz Poljske pozicionira unutar diskursa o kulturnoj traumi.
DE
Im Mittelpunkt des Beitrags stehen die in einigen kinder- und jugendliterarischen Werken verarbeiteten Erfahrungen der polnischen Flüchtlingskinder aus dem Zweiten Weltkrieg, die nach Neuseeland übersiedelt wurden. Die neuseeländische Regierung nahm 1944 733 polnische, die Deportation in die sibirischen Arbeitslager überlebende Flüchtlingskinder auf, bevor sie in den Rotes-Kreuz-Lagern in Iran untergebracht wurden. Für die polnischen Kinder war der Aufenthalt in Neuseeland, dieser südlichsten britischen Kolonie, sowohl eine Herausforderung als auch eine verwirrende Erfahrung. Obwohl aus dem Zweiten Weltkrieg eine Vielzahl von Flüchtlingserzählungen hervorgegangen ist, ist die Zahl derer gering, in denen die Reise der aus dem heimischen Polen vertriebenen und nach Russland deportierten, bzw. von da aus nach Neuseeland übersiedelten Familien dokumentiert wird. Das Ausmaß der Reise weist in den analysierten literarischen Texten auf die Tiefe des kulturellen Traumas und dessen Erscheinungsformen hin. Im Beitrag wird darauf hingewiesen, dass die in den analysierten Texten festgestellten historischen Darstellungsweisen den Weg für weitere Erforschung im Bereich der transnationalen Literatur eröffnen, weil darin die nationalen Grenzen als überwunden erscheinen und die Interaktion zwischen den Kulturen in den Vordergrund rückt. Im Beitrag wird ferner die Position der Kinder- und Jugendliteratur, welche die Erfahrungen der polnischen Flüchtlingskinder verarbeitet, im Rahmen des Diskurses über kulturelle Traumata erforscht.
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