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Małgorzata Fabiszak, Anna Weronika Brzezińska, Cmentarz, park, podwórko. Poznańskie przestrzenie pamięci (Nota o książce)

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Jędrzejko P.
ER(R)GO: Teoria – Literatura – Kultura
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2020
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issue 40
209-212
EN
A critical note dedicated to Małgorzata Fabiszak's and Anna Weronika Brzezińska's book, Cmentarz, park, podwórko. Poznańskie przestrzenie pamięci, Wydawnictwo Naukowe Scholar, Warszawa 2018. (in Polish).
PL
Nota krytyczna poświęcona książce autorstwa Małgorzaty Fabiszak i Anny Weroniki Brzezińskiej, Cmentarz, park, podwórko. Poznańskie przestrzenie pamięci, Wydawnictwo Naukowe Scholar, Warszawa 2018.
2
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Bezdomni zmarli: rzecz o Szekspirowskich widmach

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Grzegorzewska M.
Prace Filologiczne. Literaturoznawstwo
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2012
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issue 2(5)
257-270
EN
The paper begins with an anecdote concerning one of most intriguing works of Frédéric Chopin, Nocturne in G-minor, Op. 15, nr 3. A story goes that Chopin composed this nocturn inspired by a performance of Hamlet and intended to name it: In the Graveyard. Regardless of whether this story is true or false, the implied plot-line of Chopin’s nocturn, developing from a wistful and then dramatic opening passage to the harmonious, hymn-like second part well fi ts the atmosphere of Shakespeare’s drama which does not preclude the possibility of consolation and the faith in transcendence, despite its prevalent preoccupation with ubiquitous iniquity, death and decay. In contrast with the rest of the play, however, act 1 scene 5, set in the graveyard, is marked by an entirely materialistic tendency, in the vein of the late medieval dance macabre. Still more unsettling is the vision of tenantless graves and the dead returning from the liminal space of the cemetery to the polis reserved for the living. The ghosts of the people who have died violent death are not harmless apparitions, fi gments of imagination, but as Quentin Meillassoux argues, they destroy the very boundary between life and death which safeguards our existence. The ghost of Banquo in Macbeth is a “living” example of such a radical subversion of the established dichotomies, which Shakespeare examines most carefully in his great tragedies. In the theatre of the 20th century, Shakespeare’s refl ection on the elusive boundary between the world of the living and the uncanny realm of the dead gained a great momentus in the perplexing stage production of Macbeth directed by a Lithuanian, Eimuntas Necrošius. The power of his vision stems from the connection of Shakespearean tragedy with the folk tradition of “Dziady”, an ancient Balto-Slavic custom commemorating the dead.
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The Activities of the Committee for the Preservation of Military Traditions from Turda (THHB)

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Cech V., Józsa I. L., Kékkői K.
Acta Universitatis Sapientiae, European and Regional Studies
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2015
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vol. 7
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issue 1
83-98
EN
The Institute of Military History of the Hungarian Ministry of Defence decided in 2000 to try to find the marked or unmarked graves of Hungarian soldiers killed in World War II. Joining this initiative, Jozsef Patakv founded the Committee for the Preservation of Military Traditions from Turda (THHB). Among other things, the aim of establishing the Committee was to discover the identity of the Hungarian soldiers that died in action in the fall of 1944 in Torda (in Romanian: Turda: in the followings, we will use the traditionally Hungarian name of the town: Torda) and its surroundings, find the location where they were buried, and erect a worthy monument to their memory. A Hungarian Soldier Graveyard was created within the Central Hungarian Cemetery of Torda, which has since become a place of pilgrimage. In addition, more then fifty sites of Hungarian soldiers’ graves were discovered and in most of the cases properly marked since that time. In 2012, Jozsef Patakv was awarded the Hungarian Gold Cross by the Ministry of Defence for his untiring work to discover the places of burial and identify Hungarian soldiers that died in WWII, and for worthily keeping their memories alive.
4
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Nagrobki przy kościele Wniebowzięcia NMP i św. Jakuba Apostoła w Szadku

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Czyżewski B.
Biuletyn Szadkowski
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2016
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vol. 16
31-61
EN
First churchyards were founded around 5th–6th century AD near the temples where in crypts were the remains of saints. Over time, these cemeteries were built near every church. Burials at the churchyards were abandoned in the 18th century because of numerous epidemics that had sources at these cemeteries. People started to bury their dead at cemeteries outside the cities. The churchyard at the Church of Assumption of the Blessed Virgin Mary and Saint James the Apostle in Szadek was founded in the Middle Ages and continued to be used during the next centuries. It seems that the cemetery was used until the second half of the 19th century and even at the beginning of the 20th century. Currently, beside the church are seven tombstones and gravestones, which are the remains of the old churchyard. The preserved tombstones and gravestones belonged to: Józef Formański and Helena Formańska, Wiktoria Rolińska, Józefa Maliszewska, Józef Kozieł, Marceli and Cecylia Kozłowski, Teodora Skupińska oraz Jan Kiełkiewicz. These people lived in Szadek and the surrounding villages and were buried at the end of the 19th – beginning of 20th century.
PL
Pierwsze przykościelne cmentarze były zakładane około V–VI w. n.e. w pobliżu świątyń, w podziemiach których spoczywały szczątki świętych. Z biegiem czasu cmentarze takie zaczęły powstawać przy każdym kościele. Grzebania zmarłych przy kościołach zaprzestano dopiero w XVIII w. w związku z licznymi epidemiami, które swoje źródła miały na tych nekropoliach. Rozpoczęto zakładanie cmentarzy poza miastami i likwidację przykościelnych miejsc pochówku. Przykościelny cmentarz przy kościele pw. Wniebowzięcia NMP i św. Jakuba Apostoła w Szadku został założony już w okresie średniowiecza i funkcjonował przez następne stulecia. Ze źródeł wynika, że nekropolia działała jeszcze w drugiej połowie XIX w., a być może nawet i na początku XX w. Obecnie, przy kościele w Szadku znajduje się siedem tablic i nagrobków oraz pozostałości kamieniarki nagrobnej, których nie da się przypisać do konkretnych grobów. Zachowane tablice i nagrobki należały do: Józefa Formańskiego i Heleny Formańskiej, Wiktorii Rolińskiej, Józefy Maliszewskiej, Józefa Kozieła, Marcelego i Cecylii Kozłowskich, Teodory Skupińskiej oraz Jana Kiełkiewicza. Osoby te zamieszkiwały Szadek oraz okoliczne wsie i zostały pochowane pod koniec XIX – na początku XX w. 
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