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1

W pogoni za bykiem. Fenomen corrida de toros

100%
Ziółkowska-Kuflińska M.
Kultura i Społeczeństwo
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2012
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vol. 56
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issue 2
151-175
EN
The corrida de toros, or bullfighting in the plaza de toros, belongs in Spain to the tauromachia tradition (from Greek tauros - bull, and mache - battle). According to the fairly numerous groups of opponents of the corrida, this tradition should be de-legalised instantly and unconditionally, but there are still enthusiasts who view the historical, tauromachic elements of Spanish culture, particularly the corrida, as a cultural good, an artistic preformance conveying special content. In the case of the corrida all the elements defining a performance can be detected: a specific place, a set time frame, a beginning and an end, an ordered course of action, a group of performers (the team of toreadors and the bull) and a public (the aficionados). If we ignore themost controversial moment of the play - the real death of the bull - in essence such elements as the stage sets, the actors, the costumes, the props, the gestures, the steps, the bows, the applause and the spectators bring the corrida de toros spectacle within the sphere of art.
2
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Rzymskie igrzyska i hiszpańska corrida. Rys porównawczy obu tradycji na wybranych przykładach

100%
Barbarzak D.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2016
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vol. 26
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issue 2
19-43
EN
The text compares Roman ludi (mainly venationes), with Spanish tauromachy. Although there is no continuoustradition there are some universal similarities in their elements. We illustrate this by means of three comparisons:between the symbolical space of bullrings and amphiteatres, between the glory of gladiators and torerosas well as its influence on the world art, and finally between the ancient and contemporary controversies thatled to a change or decline in both traditions.
3
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RZYMSKIE IGRZYSKA I HISZPAŃSKA CORRIDA. RYS PORÓWNAWCZY OBU TRADYCJI NA WYBRANYCH PRZYKŁADACH

100%
Barbarzak D.
Symbolae Philologorum Posnaniensium Graecae et Latinae
|
2016
|
vol. 26
|
issue 2
19-43
PL
The text compares Roman ludi (mainly venationes), with Spanish tauromachy. Although there is no continuoustradition there are some universal similarities in their elements. We illustrate this by means of three comparisons:between the symbolical space of bullrings and amphiteatres, between the glory of gladiators and torerosas well as its influence on the world art, and finally between the ancient and contemporary controversies thatled to a change or decline in both traditions.
4
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Zbylut Grzywacz. Sceny z KORridy

83%
Cembrzyńska P.
Polska 1944/45-1989. Studia i Materiały
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2023
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issue 20
175-200
EN
The article discusses the iconographic and ideological message of Zbylut Grzywacz’s paintings from the Beef Cycle, painted in the second half of the 1970s. The series is shown in the context of the supply problems in the Polish People’s Republic, the events of June ‘76 and the post-Yalta order of Europe. The question of the rudiments of actual historical events presented in Grzywacz’s work is combined with inquiries into the role of the painter’s dialogue with the traditions of art and tauromachy.
PL
Artykuł omawia ikonograficzny i ideowy przekaz malowanych w drugiej połowie lat siedemdziesiątych ubiegłego wieku obrazów z cyklu Wołowy Zbyluta Grzywacza. Serię pokazano w kontekście peerelowskich problemów aprowizacyjnych, wydarzeń Czerwca ’76 oraz pojałtańskiego porządku podziału Europy. Zagadnienie zawartych w dziele Grzywacza rudymentów rzeczywistych wydarzeń historycznych łączy się z dociekaniami dotyczącymi roli dialogu malarza z tradycją sztuki oraz tradycją tauromachii.
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