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Rodzina jako podmiot przedsiębiorczy – krytyczna analiza dyskursu wychowania małego geniusza w portalach internetowych dla rodziców.

100%
Popow M.
Kultura-Społeczeństwo-Edukacja
|
2014
|
vol. 6
|
issue 2
95-118
EN
The aim of this paper is to analyse the infant prodigy discourse in popular Polish internet portals for parents. As a result of Critical Discourse Analysis, key rhetoric strategies, constructing the representation of a child and its family, have been identified. Subsequently, the analysis of particular discursive strategies, including professionalization of parenthood and discursive construction of a family as an entrepreneur of the self, have been conducted.
2

Apolinary Kątski as an Infant Prodigy

100%
Chamczyk E.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 1(36) Eng
53-76
EN
Infant prodigies were a common phenomenon in the 19th century. They astonished the audience not only through their impressive abilities, but also the innocent beauty and the youthful grace. The perfect example of this is Apolinary Kątski (1826–1879), a violin virtuoso and a composer, known mainly as the founder of the Institute of Music in Warsaw, who, since he was three, was recognizable in concert halls all over Europe. According to the author, the early stage of the violinist’s activity requires more attention. The presented article sketches the path of young Apolinary’s life from the moment of his first performance in 1829 to May 1838, when he was granted with the famous recommendation of Niccolò Paganini. It introduced him to numerous concert halls of Europe and positively influenced his further artistic activity. The hereby presented paper makes an attempt to find out the date and place of birth of Kątski in the context of the rich musical activity of his family members. It also shows the first artistic tours of the young virtuoso against the background of his artistically talented siblings: a violinist Karol, pianists Stanisław and Antoni, and a singer Eugenia. The crucial moment are reflections on the stay of the family in Paris and their first performances in the musical centre of Europe as well as contacts of the young violinist with Niccolò Paganini. The studies on the correspondence of the father of the virtuoso, Grzegorz Kątski, and research on the foreign newspapers let the author reconstruct the life of Apolinary Kątski in the very first stage of his musical activity and place him in the context of infant prodigies of the 18th and 19th centuries.
3

Apolinary Kątski jako cudowne dziecko

100%
Chamczyk E.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 1(36)
53-74
EN
Infant prodigies were a common phenomenon in the 19th century. They astonished the audience not only through their impressive abilities, but also the innocent beauty and the youthful grace. The perfect example of this is Apolinary Kątski (1826–1879), a violin virtuoso and a composer, known mainly as the founder of the Institute of Music in Warsaw, who, since he was three, was recognizable in concert halls all over Europe. According to the author, the early stage of the violinist’s activity requires more attention. The presented article sketches the path of young Apolinary’s life from the moment of his first performance in 1829 to May 1838, when he was granted with the famous recommendation of Niccolò Paganini. It introduced him to numerous concert halls of Europe and positively influenced his further artistic activity. The hereby presented paper makes an attempt to find out the date and place of birth of Kątski in the context of the rich musical activity of his family members. It also shows the first artistic tours of the young virtuoso against the background of his artistically talented siblings: a violinist Karol, pianists Stanisław and Antoni, and a singer Eugenia. The crucial moment are reflections on the stay of the family in Paris and their first performances in the musical centre of Europe as well as contacts of the young violinist with Niccolò Paganini. The studies on the correspondence of the father of the virtuoso, Grzegorz Kątski, and research on the foreign newspapers let the author reconstruct the life of Apolinary Kątski in the very first stage of his musical activity and place him in the context of infant prodigies of the 18th and 19th centuries.
4

Londyński epizod Apolinarego Kątskiego (1838)

86%
Chamczyk E.
Kwartalnik Młodych Muzykologów UJ
|
2019
|
issue 1(40)
5-25
EN
The early artistic career of Apolinary Kątski (1824–1879) was that of an infant prodigy – one of the Wunderkinder who (especially in the 19th century) dazzled audiences with their exceptionally well-developed abilities. The Polish virtuoso, unlike many prodigies, did not disappoint the hopes placed in him, going down in history as a distinguished violinist, as well as the founder and longtime director of the Institute of Music in Warsaw. In the author’s opinion, the violinist’s early career requires more thorough discussion. The present article outlines the fortunes of the young Apolinary Kątski in the second half of 1838 – so, directly after his meeting with Niccolò Paganini. This event represented a certain turning point in the development of Kątski’s career. The letter – a peculiar sort of recommendation – drawn up by the Italian virtuoso to rate the young violinist’s playing opened the doors for him to many of Europe’s concert halls and had a favourable effect on his later artistic career. Kątski had the opportunity to see for himself the power of Paganini’s words during his first trip to London, the primary aim of which was to perform before the British Queen, Victoria. The present article describes Kątski’s activities in preparation for this event. It takes up the thread of the reception of the young Kątski’s first performances in the capital of England, as well as his reception by the Polish community resident in London. Beyond this, it discusses the relationship of the Kątski family with journalist and émigré activist Leonard Niedźwiecki, who served as their guide in the salons of the city upon the Thames. Studies of the correspondence of Leonard Niedźwiecki (with, among others, Eustachy Januszkiewicz, who was active in the Polish émigré community in Paris), as well as preliminary research of the foreign press, have permitted us to recreate Apolinary Kątski’s experiences during his first independent artistic journey to London.
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