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Merry Pictures of the Little Folk: The Cartoon Magazine Veselye kartinki, or What’s Left of the Socialist “Children’s World”

100%
Gölz C.
Filoteknos
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2019
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issue 9
138–155
EN
My paper deals with Veselye kartinki (Merry Pictures), a monthly children’s cartoon magazine launched by the Komsomol in 1956 and dedicated to the youngest generations of the “new socialists” (age 4–8). In its heydays in the early 1980s the magazine reached a circulation of 9,5 million, which indicates that Merry Pictures had become an essential part of post-Stalinist childhood. Generations of small readers found it attractive for several reasons. The journal was indeed comparatively “merry” und funny – not least because it was exempt from censorship, and so it was the only publication of that kind in the Soviet Union. Moreover, among its illustrators were a number of artists who are today well known for their participation in the nonconformist art scene (for example Ilya Kabakov and Victor Pivovarov), which gave the merry pictures their specific visual quality. The magazine proved to be an “image machine” even after the end of the Soviet Union. It survived the Soviet childhood by a good two decades and granted its characters, the little folks, an afterlife in the mass culture of the new Russia. However, this is not only the story of the magazine and its attempt to visually shape a newly created concept, arising with the Thaw, of a merry childhood that entered the currently emerging canon of visual socialism. Rather, there are two other, contradictory understandings of Merry Pictures and its Merry Folks’ Club that can be found currently. According to one, the Merry Folks are considered the first Soviet comic heroes, who were correspondingly free of politics and harmless for their readership. The other regards them as socialist “pathos formulas” in a format for children that populate the art of Moscow Conceptualists as thoroughly ideological Soviet symbols. This paper attempts to augment these two selective “remnants” with the primary history of Merry Pictures and demonstrate a productive arsenal of images and figures was developed over a half-century, precisely in the tension between everyday free spaces and political stipulations.
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Lavoslav Hartman: nakladnik koji je znao da su slike važne

100%
Hartman L., Kujundžić N.
Libri & Liberi
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2015
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vol. Vol 4
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issue 4.2
431-462
HR
Sedam godina nakon što je 1856. godine kupio knjižaru i tiskaru od Ljudevita Gaja i počeo se baviti knjižarskim poslom, oprezni Lavoslav Hartman dovoljno je financijski ojačao da se mogao upustiti i u nova područja nakladničkoga djelovanja. Također je pažljivo procijenio koju vrstu publikacija može ponuditi sredini u kojoj djeluje. Temeljeći svoju odluku na praksi inozemnih knjižara i na izvrsnome uvidu u domaći tržišni prostor, Hartman je, uvjeren da tu leže neiskorišteni potencijali, snažno ušao u područje dječje književnosti unijevši slike i boje. I na drugim su područjima njegove inovacije povezane s ilustracijama. Od 1863. godine objavljivao je prve slikovnice, a 1864. preuzeo je objavljivanje niza prirodoslovnih knjiga Vienac (Věnac) i dodao im litografije u boji. Nakon faksimila iz druge knjige Vienca, donosimo nekoliko stranica iz Male zvěrnice iz 1864., jedne od prvih Hartmanovih slikovnica, s usporednim tekstom na hrvatskome i njemačkome jeziku. Slijede četiri ilustracije iz III. dijela 150 ćudorednih pripovědakah za mladež obojega spola Franje Hoffmanna u hrvatskome prijevodu iz 1865. Na kraju donosimo i faksimil ilustracije iz časopisa Bosiljak iz 1866. godine, gdje je bio objavljen uz prijevode isječaka iz knjige Davida Livingstonea Missionary Travels and Researches in South Africa objavljene 1857.
EN
In 1856, Lavoslav Hartman bought a bookstore and publishing house from Ljudevit Gaj, and started his own publishing business. Seven years later, the cautious entrepreneur had gained sufficient financial security to venture into new areas of publishing, and carefully assessed what type of publication he could offer. Knowledge of foreign publishing practices and a keen insight into the Croatian market informed Hartman’s decision to enter the publishing sphere of children’s literature, convinced it had much unrealised potential. He introduced pictures and colours into the aforementioned sphere, and his innovations in other areas are also linked to illustrations. In 1863 he began publishing picturebooks, and in 1864 he took over the publishing of a series of nature books called Vienac [Wreath], to which he added colour lithographs. The facsimile of the second Vienac book (now spelt as Věnac) reproduced in this issue of Dusty Covers is therefore followed by several pages from the 1864 Mala zvěrnica [The Little Bestiary], one of Hartman’s first picturebooks, which contains parallel texts in Croatian and German. These are followed by illustrations from Part Three of the 1865 Croatian translation of Franjo Hoffmann’s 150 ćudorednih pripovědakah za mladež obojega spola [150 Moral Tales for Young People of Both Genders]. “Dusty Covers” concludes with a facsimile of an illustration from the 1866 Bosiljak, published alongside translations of excerpts from David Livingstone’s Missionary Travels and Researches in South Africa published in 1857.
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Imaginacja podaje „rękę nauce, a ich związku owocem jest oświecenie” Szata graficzna polskich czasopism popularnonaukowych XIX wieku

88%
Kamisińska D.
Rocznik Historii Prasy Polskiej
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2017
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vol. 20
|
issue 2
21-59
EN
This article examines the graphic layout of nineteen Polish popular science magazines that were published in Warsaw, Puławy, Poznań, Leszno, Lwów, Cracow and Tarnów. After identifying the most popular themes of the visual material and the authors of most of the pictures and drawings, the article considers the importance of graphics in popular science magazines.
PL
W artykule zaprezentowano wyniki badań szaty graficznej dziewiętnastu polskich czasopism popularnonaukowych ukazujących się w XIX wieku w Warszawie, Puławach, Poznaniu, Lesznie, Lwowie, Krakowie i Tarnowie. Wyodrębniono najczęściej podejmowaną tematykę ilustracji i ustalono autorów większości sygnowanych rycin. Wykazano znaczenie ilustracji dla popularyzacji nauki w czasopismach tego okresu.
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Znaczenie ilustracji w wychowaniu moralnym uczniów edukacji wczesnoszkolnej. Studium na przykładzie serii katechizmów dla klas i-iii wydawnictw św. Stanisława BM oraz WAM

88%
Kielian A.
Studia Katechetyczne
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2016
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vol. 12
271-309
EN
Moral education is one of the tasks of catechesis (cf. General Directory for Catechesis, No. 85-86). Te aim of this article is to analyze the importance of illustrations in moral upbringing of children in early school age. Te study is based on textbooks for religious instruction for pupils in grades I, II and III of primary school in Poland. Two series of handbooks have been examined: 1) issued by the publishing house “Wydawnictwo sw. Stanislawa” in Krakow and 2) issued by WAM publishing house in Krakow. Firstly, the importance of illustrations in school textbooks has been recalled, then all the images under consideration were listed and described in their content and adequacy for the moral education of children in early school age. Tis was done for the two mentioned series of catechisms. Te further analysis took place against the background of teaching methodology as well as the curriculum for catechesis. It shows that two series of catechisms vary significantly in terms of place and meaning attributed to the illustrations. In the textbooks published by “Wydawnictwo sw. Stanislawa” the iconic content dominates the text and is the starting point for the implementation of the lesson topic. Te textbooks published by WAM contain smaller illustrations are more of text, however the images are complementary to text or provide new information. Further development of textbooks for religious instruction in early childhood education must be based on the principle of primacy of illustration over the text. Images must be flawless in terms of quality, aesthetics and printing.
PL
Wychowanie moralne jest jednym z zadań katechezy (Dyrektorium ogólne o katechizacji, nr 85-86). Celem artykułu jest analiza znaczenia ilustracji w wychowaniu moralnym dzieci w młodszym wieku szkolnym. Materiałem do badań są podręczniki do nauki religii dla uczniów klas I, II i III szkoły podstawowej wydane przez wydawnictwo św. Stanisława w Krakowie oraz wydawnictwo WAM. Artykuł przypomina znaczenie ilustracji w podręcznikach szkolnych, a następnie zawiera tabelaryczne zestawienie i opis ilustracji z tych katechez, które dotyczą formacji moralnej w dwóch wymienionych seriach katechizmów. Analiza odbywa się na tle założeń metodycznych i treści podstawy programowej katechezy. Wynika z niej, że katechizmy różnią się wyraźnie pod względem miejsca i znaczenia, jakie przypisują ilustracjom. W podręcznikach wydawnictwa św. Stanisława warstwa ikoniczna dominuje nad tekstem i jest punktem wyjścia dla realizacji tematu lekcji. W podręcznikach wydawnictwa WAM jest więcej tekstu, a ilustracje są mniejsze, stanowią uzupełnienie tekstu lub podają nowe informacje. Dalszy rozwój podręczników do nauki religii w edukacji wczesnoszkolnej musi opierać się na zasadzie pierwszeństwa ilustracji nad tekstem. Materiał obrazowy musi być bez zarzutu pod względem jakości, pod względem estetycznym i technicznym.
5
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Układ graficzny polskich czasopism popularnonaukowych XIX wieku

88%
Kamisińska D.
Rocznik Historii Prasy Polskiej
|
2017
|
vol. 20
|
issue 3
5-37
PL
W artykule zaprezentowano wyniki badań układu graficznego dziewiętnastu polskich czasopism popularnonaukowych ukazujących się w XIX wieku w Warszawie, Puławach, Poznaniu, Lesznie, Lwowie, Krakowie i Tarnowie. Omówiono charakterystyczne cechy składu drukarskiego, format, rodzaj papieru i farb drukarskich. Wskazano prototypy europejskie tego typu czasopism oraz źródła pozyskiwania tekstów i ozdobnych elementów typograficznych
EN
This article examines the graphic layout of nineteen Polish popular science magazines that were published in Warsaw, Puławy, Poznań, Leszno, Lwów, Cracow and Tarnów. After identifying the most popular themes of the visual material and the authors of most of the pictures and drawings, the article considers the importance of graphics in popular science magazines.
6
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Matołek Broda. Przygody twórczo-wydawnicze

76%
Staroń J.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2015
|
issue 26
355-367
EN
The article discusses issues related to the creative process and the editorial fate of The Adventures of Matołek the Billy-Goat by Kornel Makuszyński. It contains collected informations on the appearance of an idea for a book-comic for children (as told by Makuszyński’s wife – Janina, Marian Walentynowicz, Jan Gebethner), through the actual process of writing, the first edition and post-war issue. Also it discusses drawings from The 120 adventures of Matołek the Billy-Goat which sometimes differ quite significantly depending on the edition.
7
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Deset kratkih priča iz Kolendara za puk za prostu godinu 1847.

75%
Majhut B.
Libri & Liberi
|
2015
|
vol. Vol 4
|
issue 4.1
123-148
HR
Kolendar za puk za prostu godinu 1847. knjižica je visoka samo 13,5 cm, široka 10,5 cm, a obuhvaća 116 stranica. Sadrži niz obavijesti korisnih za seljake i obrtnike: od popisa sajmova preko meteorološke prognoze za cijelu godinu ili tablica za izračunavanje kamata na posuđeni novac do praktičnih uputa poput onih što učiniti kada čovjeka ili životinju ugrize zmija. No, posve primjereno, u kalendar je uklopljen i dio namijenjen prije svega djeci. Dapače, taj je dio i posebno istaknut na omotu, doduše ne kao djeci namijenjeni dio kalendara, već kao osobito zamaman dodatak s ilustracijama. Baština donosi faksimile svih deset ilustriranih priloga iz Kolendara.
EN
Kolendar za puk za prostu godinu 1847 [Calendar for Common People for the Common Year 1847] is a booklet measuring only 13.5 x 10.5 cm, comprising a total of 116 pages. It contains information useful for farmers and craftsmen: from lists of fairs, through annual weather forecasts or tables for calculating interest on loans, to practical instructions on what to do, for instance, when a human or animal is bitten by a snake. Appropriately enough, the Calendar also includes a section primarily intended for children. Moreover, this section features on the cover, although it is not presented as the Calendar’s children’s pages, but rather as an attractive, illustrated section. The pages of Dusty Covers contain facsimiles of all ten illustrated contributions from the Calendar.
8
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Od zabawy lalkami do zabawy słowami - tomiki wierszy dla dzieci Pawła Beręsewicza

71%
Zabawa K.
Paidia i Literatura
|
2020
|
issue 2
123-133
EN
The paper includes the analyses of three books of poems by Paweł Beręsewicz: Lalki Dorotki [Dorotka’s dolls] (2004), Czy pisarzom burczy w brzuchu? [Do writers’ stomachs grumble?] (2009) oraz Złota jedenastka… [The golden eleven…] (2018). The author studies language, composition, the voice and characters creation, as well as the main idea of the three books, also paying attention to illustrations. She reconstructs the status of a speaker and a recipient, and their relationship (i.e. an adult–child relationship). It is also an attempt to place Beręsewicz’s books of poems in the context of his stories and novels.
9
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Jubileusz 80. rocznicy publikacji profesora Juliusza Szymańskiego Synopsis Iconographiae Ophthalmicae z zarysem działalności wybitnego polskiego okulisty i polityka

51%
Bieganowski L.
Archiwum Historii i Filozofii Medycyny
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2013
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vol. 76/2
94-100
PL
Mija osiemdziesiąta rocznica opublikowania przez profesora Juliusza Szymańskiego Synopsis Iconographiae Ophthalmicae, pierwszej tego typu publikacji w polskim piśmiennictwie okulistycznym. Atlas ten zawiera 180 ilustracji poświęconych różnym stanom chorobowym oczu. Wszystkie ilustracje opatrzone są dodatkowymi komentarzami wyjaśniającymi prezentowane stany chorobowe. Profesor Juliusz Szymański ukończył studia medyczne w Kijowie i poświęcił się okulistyce. Pracował na Dalekim Wschodzie. Po rewolucji 1905 r. wyemigrował do Stanów Zjednoczonych. Pracował jako docent w Rush Medical College w Chicago. Wyjechał następnie do Brazylii, gdzie w Kurytybie na Uniwersytecie Parana zorganizował klinikę okulistyczną i został jej profesorem. Od 1922 r. był profesorem okulistyki Uniwersytetu Stefana Batorego w Wilnie. Jest też autorem podręczników okulistyki w języku portugalskim oraz w języku polskim. Zajmował się również polityką. W latach 1928–1930 był senatorem, pełnił też funkcję marszałka Senatu. Po przejściu na emeryturę w 1935 r. przeniósł się do Warszawy i prowadził praktykę prywatną. W czasie okupacji niemieckiej był ordynatorem w Szpitalu Maltańskim w Warszawie. Ponownie wyemigrował w 1949 r. do Brazylii. Do Polski powrócił w 1957 r., zamieszkując w Białymstoku, gdzie zmarł rok później.
EN
It is the 80th anniversary of publishing Synopsis Iconographiae Ophthalmicae by Professor Juliusz Szymanski. It was the first publication of this type in Polish ophthalmological literature. The atlas contains 180 illustrations presenting different eye diseases. All illustrations are accompanied by additional explanatory notes on presented diseases. Professor Juliusz Szymanski graduated medical studies in Kiev and devoted his professional life to ophthalmology. He worked in Far East. After the Revolution of 1905 he emigrated to the United States. He worked as an assistant professor in Rush Medical College in Chicago. Afterwards, he moved to Brazil. He organized an ophthalmology clinic at the University of Parana in Curitiba, the Professor of which he consequently became. In 1922 he was entitled the Professor of ophthalmology of the University of Stefan Batory in Vilnius. He is the author of manuals on ophthalmology in Portuguese and Polish. He was also involved in politics. In the years 1928–1930 he was elected a senator. He also held the position of the President of the Senate. He retired in 1935 and moved to Warsaw where he started his own practice. During the Nazi occupation he worked at Maltese Hospital in Warsaw. In 1949 he emigrated to Brazil one more time. He returned to Poland in 1957 to settle in Bialystok where he died one year later.
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