Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 5

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

(Pop)Historie polskich emisariuszy. Komiksy. Kurier z Warszawy. Scen. Mariusz Urbanek i Mateusz Palka. Rys. Bartłomiej Stefanowicz. Wrocław, Zakład Narodowy im. Ossolińskich, 2014, ss. 79. Jan Karski. Człowiek, który odkrył Holokaust....

100%
Lichtblau K.
Narracje o Zagładzie
|
2015
|
issue 1
PL
(Pop)Historie polskich emisariuszy. Komiksy. Kurier z Warszawy. Scen. Mariusz Urbanek i Mateusz Palka. Rys. Bartłomiej Stefanowicz. Wrocław, Zakład Narodowy im. Ossolińskich, 2014, ss. 79. Jan Karski. Człowiek, który odkrył Holokaust. Scen. Marco Rizzo. Rys. Lelio Bonaccorso. Przeł. Adriana Hołub. Kraków, Wydawnictwo Alter, 2014, ss. 146 Pop(Histories) of Polish emissaries. Comic books Kurier z Warszawy. Scen. Mariusz Urbanek i Mateusz Palka. Rys. Bartłomiej Stefanowicz. Wrocław, Zakład Narodowy im. Ossolińskich, 2014, ss. 79. Jan Karski. Człowiek, który odkrył Holokaust. Scen. Marco Rizzo. Rys. Lelio Bonaccorso. Przeł. Adriana Hołub. Kraków, Wydawnictwo Alter, 2014, ss. 146.The review is devoted to two comic books about Polish emissaries who were active during the Second World War. The first one, Kurier z Warszawy by Mariusz Urbanek, Mateusz Palka (script) and Bartłomiej Stefanowicz (drawings), is the history of Jan Nowak‑Jeziorański’s mission since 15 September 1939, when the latter was already on the front line, until the press conference with the journalists held in the Ministry of Information of Great Britain in 1945. The second one, Jan Karski. Człowiek, który odkrył Holokaust, is the work of Italian artists: Marco Rizzo (script) and Lelio Bonaccorso (drawings). From this comic book we also learn about the tasks performed by the Polish war emissary, Jan Karski, until he reaches the United States and makes an account about the state in which his fatherland found itself. In both cases the authors used the memoirs of the emissaries which were published in book form. The aim of the review is to direct the reader’s attention to the changes which occur during the adaptation of such sources to comic books. One of such elements includes the introduction of images and the transposition of the narration from the verbal to the graphical plane. Another important category which is used in the review is the representativeness of the narration of testimony. The entirety of the considerations is summarised by a remark about the transformations of the contemporary comic books about the Holocaust and the location of the comic books which are discussed in this area.
2
Publication available in full text mode
Content available

Dziecko jako świadek totalitaryzmu. „Dzieci Syjonu“ a „Dzieci Gułagu“

100%
Lichtblau K.
Kultury Wschodniosłowiańskie - Oblicza i Dialog
|
2014
|
issue 4
115-122
EN
The article features a comparison of two very different collections of stories. What binds these narrations is the way they present the influence of totalitarian regimes on children’s lives. Children of Zion is a set of documents selected by Henryk Grynberg concerning the fate of Jewish children evacuated from the USSR to Palestine by general Władysław Anders. Children of the Gulag is a co-operative work by Cathy Frierson and Semyon S. Vilensky. They used source documents archived by the Memorial Association (Общество Мемориал) and Return (Возвращение), a historical-literary society which was established by Wileński himself. In the article the author aimed to present the main differences between the two totalitarian systems and how the systems caused dehumanization of childhood by means of exhausting labor, starvation, separation from parents and murder. What is more, the article contains a comparison of different attitudes towards the method of presenting historical facts and individual experiences. Hence, the scope of the work lies within discourse of representation / representation discourse.
PL
The article features a comparison of two very different collections of stories. What binds these narrations is the way they present the influence of totalitarian regimes on children’s lives. Children of Zion is a set of documents selected by Henryk Grynberg concerning the fate of Jewish children evacuated from the USSR to Palestine by general Władysław Anders. Children of the Gulag is a co-operative work by Cathy Frierson and Semyon S. Vilensky. They used source documents archived by the Memorial Association (Общество Мемориал) and Return (Возвращение), a historical-literary society which was established by Wileński himself. In the article the author aimed to present the main differences between the two totalitarian systems and how the systems caused dehumanization of childhood by means of exhausting labor, starvation, separation from parents and murder. What is more, the article contains a comparison of different attitudes towards the method of presenting historical facts and individual experiences. Hence, the scope of the work lies within discourse of representation / representation discourse.
3
Publication available in full text mode
Content available

Polski komiks wojenny z czasów PRL-u

100%
Lichtblau K.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
|
2015
|
vol. 15
80-89
PL
Polish comic books from the Polish People’s Republic period After years of fighting with comics book the authorities of the Polish People’s Repulic started using it for its own objectives. Propaganda was the basic target of the comic book narration and interference in history was the main element of it. In my publication I will present images of war created by authorities in the main comic books from the Polish People’s Republic period. Propaganda used by authorities helped to show friendship between Poland and Soviet Union. What is more, using comic books in a political game allowed to create a demonic image of the so-called enemies; Germany especially, but also everything what was connected to the west politics and culture was considered hostile. Comic books became a great tool in governments’ hands for propaganda objectives. Simpifications and contrasts which are used in comics were a great way of ideological speech. Key words: comic book; war; propaganda;
4
Publication available in full text mode
Content available

Komiks i topika Zagłady

100%
Lichtblau K.
Studia Żydowskie. Almanach
|
2016
|
vol. 6
|
issue 6
173-183
EN
This article is an attempt to include comics into a broader field of research, namely into the topic of Holocaust. In this context, understanding of the topic is related to motifs recurring in this kind of writing. In his text, Sławomir Buryła has enumerated the following keywords: another world, smoke, silence, shmaltsovnik, torturer, selection, trains, Muslim etc. Their presence and functioning in Polish and foreign comics is discussed in the article. Additionally, the author focuses on another motif – photography – which is featured in comics on various different levels. It invokes the reality which is outside a text and, in a way, authenticates the vision presented by comics. The summary elaborates on the dangers of simplification which is characteristic for pop culture. Hence, the article is an attempt to answer the question posed by Giorgio Agamben: “What remains of Auschwitz?”
PL
Niniejszy artykuł jest próbą włączenia komiksu do szerszego pola badawczego, a mianowicie do tematu Holokaustu. W tym kontekście rozumienie tematu wiąże się z motywami powracającymi w tego rodzaju piśmiennictwie. W swoim tekście Sławomir Buryła wylicza słowa-klucze: inny świat, dym, cisza, szmalcownik, oprawca, selekcja, pociągi, muzułmanin itp. W artykule omówiono ich obecność i funkcjonowanie w komiksie polskim i zagranicznym. Dodatkowo autor skupia się na innym wątku – fotografii – który pojawia się w komiksach na różnych poziomach. Przywołuje rzeczywistość, która jest poza tekstem i niejako uwiarygodnia wizję przedstawianą przez komiks. Omówiono także niebezpieczeństwa uproszczeń, które są charakterystyczne dla popkultury. Artykuł jest więc próbą odpowiedzi na pytanie postawione przez Giorgio Agambena: „Co pozostało z Auschwitz?”
5
Publication available in full text mode
Content available

Ślady Holocaustu Tadeusza Różewicza

100%
Lichtblau K.
Studia Żydowskie. Almanach
|
2018
|
vol. 8
|
issue 7-8
111-124
EN
In his later writings, Tadeusz Różewicz ponders what remains of the Holocaust victims. We turn around objects that seem to overlap the personalised experience of the witnesses. All these had been additionally filtered by people’s fragmentary memory. What is a knife of Mieczysław Porębski, the gate to Auschwitz or the train? Popular culture often uses only catchword for the Holocaust, though Różewicz in his works shows the widening of the semantic field of these objects. Extermination is an experience and cannot be hit by cabinets and remain only an exhibit. The short story “Tour to the Museum” seems to be a tragic prophecy.
PL
W swoich późniejszych pismach Tadeusz Różewicz zastanawia się, co pozostało po ofiarach Holokaustu. Odwracamy przedmioty, które zdają się nakładać na spersonalizowane doświadczenie świadków. Wszystko to zostało dodatkowo przefiltrowane przez fragmentaryczną pamięć ludzi. Czym jest nóż Mieczysława Porębskiego, bramą do Auschwitz czy pociągiem? Kultura popularna często używa tylko hasła Holokaustu, choć Różewicz w swoich pracach ukazuje poszerzanie się pola znaczeniowego tych obiektów. Zagłada jest przeżyciem i nie może zostać wyłożona na półkę i pozostać jedynie eksponatem. Opowiadanie „Wycieczka do Muzeum” wydaje się być tragiczną przepowiednią.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.