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1

O symbolice wiosny w zapomnianym dramacie Tadeusza Konczyńskiego

100%

Chojnacka E.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

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2015

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issue 4/2015 O Młodej Polsce mniej znanej

77-102

EN

This article refers to the tradition of the ‘spring’ motif in art and literature, especially in the Young Poland period. The issue the author brings under close scrutiny is how the symbolism of spring is used in the dramatic work The Return of Spring by Tadeusz Konczyński. She draws out attention to the portrait of the female protagonist, who shows reminiscence of mythological Venus as well as embodiment of youth, simplicity and spontaneity. Then she proceeds to analyse the symbolism of spring as the time that stimulates the birth of feelings and initiates long-lasting and genuine bonds, which counterbalance “the parlour love” with its pragmatic dimension. The key notion of the symbolics of spring is also incorporated into the opposition: nature-culture. Here it is linked to the vision of the world returning to nature, the world deeply rooted in the traditional system of values, where man may experience spiritual rebirth and regain faith in their existence after a period of life turbulence. After all, spring symbolises creative inspiration. The latter reveals itself both in the context of creating a literary work by the protagonist and in the universal dimension – the act of moulding of one’s self and one’s life. The deliberations lead the dialogue of the the writer’s dramatic work with the tradition of the Young Poland movement.

2

Mistreated Vasanta: Comical Degradation of Ritual in the Hāsyārṇavaprahasana

88%

Pierdominici Leão D.

Cracow Indological Studies

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2017

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vol. 19

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issue 2

61-77

EN

The Hāsyārṇava of Jagadīśvara (14th century CE), because of its crude and, sometimes, vulgar tones, is one of the least studied prahasanas. The work depicts the celebration of the Spring Festival, Vasantotsava, with particular features which have few parallels in Sanskrit literature. The sacred meaning of the festivity in itself, which showed connections with the cult of Kāma and in this way centred on the themes of birth and regeneration, is mocked through comical devices. These themes contribute to outline a frame characterized by vulgar and degraded sexual elements. Despite its farcical and grotesque atmosphere, this comical piece undoubtedly underlines deep connections existing between a ritualistic act (understood here as the undertaking of the rite in the prahasana itself) and performative theatre in general.

3

Fauniczna gra przeciwieństw. Inspiracje böcklinowskie w wierszu Wieczór wiosenny Zofii Gordziałkowskiej

75%

Igliński G.

Prace Literaturoznawcze

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2018

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issue 6

137-148

EN

This paper presents an analysis and interpretation of Zofia Gordziałkowska’s poem The SpringEvening [Wieczór wiosenny] from her volume Böcklin in poetry [Böcklin w poezji] (1911). It aimsto describe one of Gordziałkowska’s methods of utilising the works of arts which were the inspirationfor her works. As almost all the texts in the volume were created because of the paintingsby the Swiss artist Arnold Böcklin, popular at the turn of the 19th and 20th centuries, his works providea fundamental context for those considerations.The conducted analyses indicate that, in some of her works, the poetess clearly does not faithfullyreproduce all the details of the described paintings but offers her own development of the themepresented by Böcklin.

4

Zróżnicowanie i sezonowa zmienność chemizmu wybranych źródeł zlewni Potoku Olczyskiego w Tatrach

75%

Wójcik S.

Prace Geograficzne

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2012

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issue 128

65-80

PL

W pracy przedstawiono wpływ budowy geologicznej oraz warunków meteorologicznych na zróżnicowanie i sezonową zmienność chemizmu trzech źródeł w lewobrzeżnej części zlewni Potoku Olczyskiego. Podczas prac terenowych zmierzono podstawowe cechy fizyczno-chemiczne wody oraz wydajność źródeł metodą wolumetryczną, a w laboratorium IGiGP UJ metodą chromatografii jonowej oznaczono stężenie jonów, w tym jonów głównych, związków biogennych i mikroelementów. Stwierdzono wpływ budowy geologicznej na skład chemiczny badanych wód oraz zmienność ich chemizmu w ciągu roku, spowodowaną głównie opadami deszczu i topnieniem pokrywy śnieżnej.

EN

The paper presents the influence of two factors: geology and meteorological conditions on the differentiation and the seasonal variability of the head waters chemism in the Olczyski Stream catchment in the Tatra Mts. During field work basic physico-chemical properties of water and the springs discharge were measured using the volumetric method. In the hydro-chemical laboratory of the IGiGP UJ were marked the ion concentration: Ca2+, Mg2+, Na+, K+, NH4+, Li+, HCO3-, SO42-, Cl-, NO3-, NO2-, F-, Br- (DIONEX ISC-2010). The total hardness (To), carbonate (Tw), not carbonate (Tnw) mineralization (M) and concentrations H+ were calculated. The characterized physico-chemical properties were analysed both for the passive (I–III, X–XII) and active (IV–IX) periods of the year. Water of the investigated sources is low alkaline, normal, soft and sweet. According to Mainzer’s efficiency classification the Eliasz springs belong to class V, while that No. 3 to class VI (Pazdro 1977). According to the Szczukariew-Prikłoński classification these waters belongs to the HCO3–Ca–Mg type (Maciaszczyk 1987). Minimum average values of ion concentrations were found during the active period, maximum – during the passive one; however these values in both the periods are similar. The research showed the occurrence of spatial differentiation and seasonal variability of water physico-chemical properties of the investigated springs. In the spatial differentiation of these properties appeared the influence of geology of the springs alimony area. In turn, the seasonal variability of physico-chemical properties derives from meteorological conditions before and during fieldwork. The highest concentrations of most ions occurred during autumn and winter low waters, while the lowest ones during high waters caused be snow melting and rainfall. Similar results were by A. Wolanin and M. Żelazny (2010), which allows to state that the studied springs are characterized with a typical reaction to atmospheric conditions.

5

La fleur inverse, la flors enversa, la fleur en vers

75%

Manzari F.

Studia Romanica Posnaniensia

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2021

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vol. 48

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issue 1

17-32

EN

The article is a reading/interpretation of Raimbaut d’Aurenga’s La flors enversa. The co-presence of winter and spring in the canso’s coblas is the point of departure of an investigation of the meaning of the adjective enversa. It is also an analysis of the devices by which the troubadour links the distance between winter and poetry, and the one between the trobar and its inverse.

6

Changes of the thermic seasons in Warsaw in the period 1933-2004

63%

Kossowska-Cezak U., Mikulska M.

Miscellanea Geographica. Regional Studies on Development

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2006

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vol. 12

87-94

EN

The beginning dates and the lengths of thermic seasons in Warsaw (1951-2004) were analysed. These characteristics of seasons are very variable, especially in winter. The changes of winter length influence strongly the dates and length of adjacent seasons, that is, of early winter and early spring. The current warming is best visible exactly during these seasons: winter becomes shorter, while early winter and - to an even longer degree -early spring become longer. The period of spring, summer and autumn is characterised by grater stability. These seasons showed a very weak tendency to change on even its lack, both as regards the length and the beginning date.

7

The Coral Altar with the Apocalyptic Woman in the Treasury of St Mary’s Basilica in Krakow. Theological Contents

63%

Kobielus S.

Roczniki Humanistyczne

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2018

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vol. 66

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issue 4: Historia sztuki - Selected Papers in English

121-174

EN

The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 64 (2016), issue 4. In Polish museum collections there are a few objects made of coral or decorated with it. They are, among others, altars, holy water fonts, crucifixes and other liturgical items. Most often they were bought during Poles’ travels to Italy in the Mannerism and Baroque epochs. St Mary’s Basilica’s treasury boasts of a portable coral altar dated to the middle of the 17th century, a gift from Maria Josepha, the wife of King Augustus III. It has a golden frame and is embellished with enamel and coral. Its centre features the figure of the Blessed Virgin Mary standing on a crescent, in a radiant coral glory, surrounded by Marian symbols. It is an apotheosis of the Blessed Virgin Mary based on a fragment of the Apocalypse of St John. The figure of Mary is presented with her cosmic attributes: twelve stars around her head; she is clothed with a radiant glory; and she has a crescent under her feet. Around her seven symbolic biblical signs are presented, ones connected in the exegetic tradition with her being the mother of the Messiah. The term Cedrus exaltata—is perceived as the symbol of majesty, sublimity, loftiness, paradisaical beauty, safety. Fons signatus is a sealed spring, an enclosed one, accessible only to the Mother of God’s Son, chosen by God. Hortus conclusus is the symbol of St Mary’s virginity. Oliva speciosa points to St Mary’s charity, her extraordinary fertility, inner peace, the gift of relieving sufferings. Rosa plantata is a metaphor of wisdom, love, medicine for sinners. Puteus aquarum viventium, a well of living waters, indicates St Mary’s mediation for people redeemed by Jesus. Turris eburnea—the ivory tower is another feature of the Virgin Mary’s beauty, of her immaculate body and fortitude.

8

Ołtarzyk koralowy z Niewiastą Apokaliptyczną w skarbcu kościoła Mariackiego w Krakowie. Treści teologiczne

45%

Kobielus S.

Roczniki Humanistyczne

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2016

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vol. 64

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issue 4: Historia sztuki

33-83

PL

W polskich zbiorach muzealnych znajduje się kilka obiektów wykonanych z korala lub nim zdobionych. Są to między innymi ołtarzyki, kropielnice kielichy, krucyfiksy i inne wyroby liturgiczne. Pochodzą najczęściej z zakupów w podróżach turystycznych Polaków po Włoszech w epoce manieryzmu i baroku. W skarbcu kościoła Mariackiego w Krakowie znajduje się przenośny ołtarzyk koralowy, datowany na połowę XVII w., z daru królowej Marii Józefy, żony króla Augusta III. Ujęty w złoconą ramę i zdobiony emalią oraz koralem, w centrum zamyka stojącą na półksiężycu postać NMP w promienistej koralowej glorii w otoczeniu symboli maryjnych. Jest to apoteoza NMP na podstawie fragmentu Apokalipsy św. Jana Apostoła. Postać Maryi została wyobrażona z atrybutami kosmicznymi: dwunastoma gwiazdami wokół głowy; odziana jest w słoneczną promienistą glorię i ma sierp księżyca pod stopami. Wokół Niej w ukazano siedem symbolicznych znaków biblijnych, łączonych w tradycji egzegetycznej z Jej powołaniem na Matkę Mesjasza. Termin Cedrus exaltata – cedr jest postrzegany jako symbol majestatu, wysokości, wyniosłości, piękna rajskiego, bezpieczeństwa. Fons signatus to zdrój opieczętowany, zamknięty, dostępny tylko dla wybranej przez Boga, Matki Syna Bożego. Hortus conclusus jest symbolem nienaruszonego dziewictwa NMP. Z kolei Oliva speciosa wskazuje na miłosierdzie Maryi, Jej niezwykłą płodność, wewnętrzny pokój, dar uśmierzania cierpienia. Rosa plantata jest metaforą mądrości, miłości, lekarstwa dla grzeszników. Puteus aquarum viventium, studnia wód żywych, wskazuje na pośrednictwo Maryi wobec ludzi odkupionych przez Jezusa. Turris eburnea – wieża z kości słoniowej to kolejny przymiot piękna NMP, nieskazitelności Jej ciała i męstwa.

EN

In Polish museums’ collections there are a few objects made of coral or decorated with it. They are, among others, altars, holy water fonts, crucifixes and other liturgical items. Most often they were bought during Poles’ travels to Italy in the Mannerism and Baroque epochs. In St Mary’s Basilica’s treasury a portable coral altar is kept, dated to the middle of the 17th century, a gift from Maria Józefa, the wife of King August III. It has a golden frame and it is embellished with enamel and coral, and in its center it closes the figure of the Blessed Virgin Mary standing on a crescent, in a radiant coral glory, surrounded by Marian symbols. It is an apotheosis of the Blessed Virgin Mary based on a fragment of the Apocalypse of St John. The figure of Mary is presented with her cosmic attributes: twelve stars around her head; she is clothed with a radiant glory; and she has a crescent under her feet. Around her seven symbolic biblical signs are presented, ones connected in the exegetic tradition with her being the mother of the Messiah. The term Cedrus exaltata – is perceived as the symbol of majesty, sublimity, loftiness, paradisaical beauty, safety. Fons signatus is a sealed spring, a closed one, accessible only to the Mother of God’s Son, chosen by God. Hortus conclusus is the symbol of St Mary’s virginity. Oliva speciosa points to St Mary’s charity, her extraordinary fertility, inner peace, the gift of relieving sufferings. Rosa plantata is a metaphor of wisdom, love, medicine for sinners. Puteus aquarum viventium, a well of living waters, indicates St Mary’s mediation for people redeemed by Jesus. Turris eburnea – the ivory tower is another feature of the Virgin Mary’s beauty, the immaculacy of her body and of her fortitude.

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2 Roczniki Humanistyczne

1 Cracow Indological Studies

1 Jednak Książki. Gdańskie Czasopismo Humanistyczne

1 Miscellanea Geographica. Regional Studies on Development

1 Prace Geograficzne

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1 Studia Romanica Posnaniensia

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1 Chojnacka E.

1 Igliński G.

1 Kossowska-Cezak U.

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1 Mikulska M.

1 Pierdominici Leão D.

1 Wójcik S.

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