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DESIGN FOR LAYING OUT A GARDEN BY THE RIVER SESUPE (LITHUANIA)

100%
Polanowska J.
Biuletyn Historii Sztuki
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2006
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vol. 68
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issue 3-4
415-425
EN
The Central Archives of Historical Records in Warsaw contains a set of five drawings, by an anonymous author, which constitute a design for creating gardens by the River Szeszupa which flows through the province of Samogitia (Lith. name: Sesupe). The design for the garden shows its layout (on a plan shaped almost like a rectangle of around two-thirds of a hectare, leading down to the river bank. The building of the two pavilions was also planned, and these are depicted on the four above-mentioned drawings, signed as follows courtyard (2) side and river elevations. The interiors consisted of only one room with a fireplace and three windows overlooking the river. The entire layout was close in style to the newly emerging type of landscape garden referred to as the Masonic Garden, in which buildings were designated to accommodate meetings of the given Masonic lodge. When signing his acceptance of the blueprint, Ignacy Potocki used his official title of Grand Master of the Grand National Lodge of Great Eastern Poland. Architectural design was purely and austerely neo-Classical in form. It may be assumed that the author of the drawing was the architect Stanislaw Zawadzki (cf.: Lubostron Palace), who worked for Ignacy Potocki, but also collaborated with the count's brother, Stanislaw Kostka Potocki. The design was probably executed around the years 1782-1783.
2
Content available remote

THE ST. CASIMIR CHAPEL IN VILNA AND ITS CREATORS

80%
Jamski P. J.
Biuletyn Historii Sztuki
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2006
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vol. 68
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issue 1
19-42
EN
The originally Gothic chapel dedicated to the Assumption was funded by Casimir Jagiellonczyk. It served the royal family when it resided in the city's Lower Castle, while the crypt provided a burial site for the Jagiellonians, including the Royal Prince St. Casimir and king Alexander Jagiellonczyk. During the reigns of Sigismund I and Sigismund Augustus, the chapel was enlarged and restored at royal expense. In connection with the rising cult of Casimir-Prince, Sigismund III Vasa initiated efforts to have the chapel restored in preparation for the former's canonisation. Changing political circumstances in the Poland-Lithuania and rising status of Vilna led to the building of a more richly decorated chapel dedicated to St. Casimir, begun around March, 1623 (according to archivised documents), linked directly to the neighbouring Lower Castle (recently 'reconstructed'). To carry out the design, Sigismund employed both local artists (e.g. Piotr Nonhardt), while Constante and Jakub Tencalla were its main executors, while a long list of sculptors and painters were employed for interior decoration. Detailed information also exists on materials used on the main construction. For Sigsmund III Vasa it was important to emphasise the Roman character of the architecture; hence emphasised references to Roman Baroque architecture and that of the Papacy in particular.
3
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QUEEN OF POLAND - PRINCESS OF LORRAINE: ON THE PORTRAITS OF ELEONORA HABSBURG

80%
Widacka H.
Biuletyn Historii Sztuki
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2006
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vol. 68
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issue 2
149-163
EN
The etched iconography relating to the Habsburg Eleonora Maria Josepha (1653-1697), wife to the Polish monarch, Michael Korybut Wisniowiecki (1670), and subsequently the prince of Lorraine, Charles V (1678), arose mainly in Germany, Italy, France and Lorraine, while no more than a small number of painted objects have been preserved, confirmed only in the graphics available. The portraiture of the Habsburg princess, much as paintings depicting the same figure, present her as queen of Polish and princess of Lorraine. Two main groups of portraits are dealt with, one containing mainly undated pictures prior to 1678 and the other in her capacity as princess of Lorraine. All iconographic sources present for prosperity the picture of a young woman of slim figure and subtle, delicate and even original charm, a woman dressed in great splendour and not lacking in taste who must have adored costly jewellery. The etchings almost certainly relate to the artistic patronage of the courts of king Michael Korybut Wisniowiecki in Warsaw and Leopold I in Vienna (brother of Eleonora), as well as Charles V of Lorraine at Innsbruck.
4
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THE DESIGNS OF FRANZ SCHWECHTEN, EDOUARD ANDRE AND STANISLAW WITKIEWICZ FOR PALANGA (LITHUANIA)

80%
Omilanowska M.
Biuletyn Historii Sztuki
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2006
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vol. 68
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issue 2
197-222
EN
The Lithuanian seaside resort of Palanga (known to the Poles as Polaga), was founded on the initiative of one man: Feliks Tyszkiewicz. His imagination and financial muscle permitted him to employ such widely-known architects from Western Europe as Franz Heinrich Schwechten and the French designer of gardens, Edouard André, who together devised the combining of an imposing residence with an exclusive and modernist seaside spa town. Not everything included in the original plan was actually carried out, but what has been preserved alongside the surviving plans make it possible to recreate one of the most original private building initiatives from the turn of the 19th and 20th centuries in the territories of pre-Partition Poland. Although the participation of Edouard André was already familiar to researchers, the part played by Franz Schwechten had remained doubtful, and it was only thanks to German investigations that all doubts as to this architect's involvement were finally dispelled. Other architects employed to design imposing constructions for Palanga included Mikolaj Oginski and Stanislaw Witkiewicz younger (pseudonym Witkacy), although their conceptions never came into being. All the same, the little town was transformed into an elegant seaside resort during the course of little more than a dozen years and provoking the declaration from 1913: 'Let Polaga become in the North what Zakopane already is in the South'.
5

From trait-behavior relations to perceived motives: An evolving view of positivity and negativity effects in person perception

70%
Reeder G. D.
Polish Psychological Bulletin
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2006
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vol. 37
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issue 4
191-202
EN
This article reviews a program of research on positivity and negativity effects in person perception. The focus is on studies in which perceivers receive information about the positive and negative behaviors of a target person (or group) and then make trait inferences. The research program was initially grounded in a theoretical approach based on trait-behavior relations (Reeder & Brewer, 1979) and then evolved toward a multiple inference model (MIM). According to MIM, perceivers make multiple inferences about the motives and traits of a target person (Reeder et.al., 2004). The rationale underlying this theoretical development is discussed in some detail.
6

ROBERT KONSTANTIN SCHWEDE - A HALF-FORGOTTEN NAME IN LATVIAN ART HISTORY (Roberts Konstantins Svede - piemirsts vards Latvijas makslas vesture)

70%
Smite E.
Makslas Vesture un Teorija
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2006
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vol. 6-7
65-70
EN
Painter Robert Konstantin Schwede's 200th anniversary is a good reason to present an overview of his creative career and to examine some of the problems that arise in this context. Artists with identical or similar surnames are often found in various sources of information; two painters usually appear under the name of 'Schwede' - Robert Konstantin Schwede (1806-1871) and his cousin Theodore (Fyodor Fyodorovich) Schwede (1819-?). Both are associated with the St. Petersburg Academy of Art where they obtained their artist's qualification. The same time span and links with the Academy have created a series of misunderstandings in encyclopaedic sources, publications and museum work with respect to the attribution of paintings. The situation becomes even more complicated because Theodore Schwede's brother Adelbert Schwede also took up painting. Considering the three above-mentioned artists, Robert Schwede has been most often associated with Latvia. As far as the author knows, of Robert Schwede's portraits only the 'Portrait of Maria Miln' is in Latvia (collection of the Latvian National Art Museum), but no sure facts are known about his landscapes. The majority of over 30 Robert Schwede's works are owned by the families of his progeny in Russia and Germany. These works are accessible to the author only in photographs, so any conclusions are fragmentary. Opinions on Robert Schwede start with Wilhelm Neumann's publications. Latvian art historian Janis Silins has described the artist more completely, as Karl Timoleon von Neff's contemporary and pupil but not his follower. Although Schwede adopted many techniques from Neff he did not follow him in the Raphael tradition.
7

SAMSON AND DELILAH BY RUBENS. PROBLEMS REGARDING ATTRIBUTION AND MUSEUM EXHIBITION POLICIES (Samson i Dalila Rubensa. Problematyka atrybucji a polityka wystawiennicza muzeów)

70%
Krzyzagorska-Pisarek K.
Rocznik Historii Sztuki
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2010
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vol. 35
EN
Connoisseurship has been neglected in recent academic writings yet new attributions and rediscoveries are still being made. Rubens has been credited with a number of rediscovered works, previously ascribed to his pupils and followers and now sold for record prices. Many are considered Rubens early works executed upon his return from Italy in 1608. ‘Samson and Delilah' (1609-10) rediscovered in 1929 by the German art historian Ludwig Burchard was bought by the London National Gallery in 1980. It differs from the engraved copy, the oil sketch and the miniature copy in the ‘kunstkamer' (art cabinet) by Frans Francken II. It was listed as a copy in the Antwerp inventory in 1655. The picture also has a number of technical anomalies. The inclusion of ‘Samson and Delilah' in the Rubens canon distorted it, and made way for similar style works. In 2001 another early painting by Rubens, the ‘Massacre of the Innocents', was rediscovered and sold for 49.5 million pounds at auction. Both paintings require efforts to consolidate their attributions and a number of exhibitions were organised with the help of the National Gallery. They are changing our perception of Rubens's early style. It is now characterized by a garish colouring, strong dark outlines and an overall crude impression. This style does not correspond with the more secure and more subtle works of the period. A reevaluation of Rubens's early years is therefore needed based on stylistic, historical and technological evidence. Standards of authenticity in Rubens's oeuvre should be raised along the lines of Rembrandt Research Project and old attributions scrutinised for inconsistencies and contradictions, with more in-depth study of major works acting as touchstones for future attributions
8

SÉMANTICKY REZONANTNÉ ATRIBÚCIE PRVEJ, DRUHEJ A TRETEJ PRENOMINÁLNEJ ZÓNY (1. ČASŤ)

61%
Sokolová J.
Slovenská reč (Slovak Language)
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2017
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vol. 82
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issue 2
116 – 128
EN
The study focuses on the functional combinatorics of the congruent attributions from the viewpoint of the universal-pragmatic theory of naturalness and the principle of cognitive economy. It deals with the procedural aspect of attributions which reflect a close connection between the syntactic and lexical level of language and interplay of the short and long term memory. Relying on the data of the Slovak National Corpus, the aim of the article is to (1) identify the factors which determine the substantive basis of a construction on the level of preference and recurrence, (2) specify semantically resonant attributions of the first, second and third prenominal zones, (3) explain the conflict between a restrictive function of the attribute and an expansive core of the developing attribution possibly caused by a constant balancing between the necessity of semantic (and grammar) compatibility and possibilities of pragmatic emphasis. The epistemic value of the article is its attempt to discuss particular ways by which its findings can be applied to other conceptual domains. It also aims at using its many exemplifications in further generalizations.
9

SÉMANTICKY REZONANTNÉ ATRIBÚCIE PRVEJ, DRUHEJ A TRETEJ PRENOMINÁLNEJ ZÓNY (2. ČASŤ)

61%
Sokolová J.
Slovenská reč (Slovak Language)
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2017
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vol. 82
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issue 3
221 – 232
EN
The study focuses on the functional combinatorics of the congruent attributions from the viewpoint of the universal-pragmatic theory of naturalness and the principle of cognitive economy. It deals with the procedural aspect of attributions which reflect a close connection between the syntactic and lexical level of language and interplay of the short and long term memory. Relying on the data of the Slovak National Corpus, the aim of the article is to (1) identify the factors which determine the substantive basis of a construction on the level of preference and recurrence, (2) specify semantically resonant attributions of the first, second and third prenominal zones, (3) explain the conflict between a restrictive function of the attribute and an expansive core of the developing attribution possibly caused by a constant balancing between the necessity of semantic (and grammar) compatibility and possibilities of pragmatic emphasis. The epistemic value of the article is its attempt to discuss particular ways by which its findings can be applied to other conceptual domains. It also aims at using its many exemplifications in further generalizations.
10

RELIGIOUS MEANING AND CONTROL IN THE MIDST OF CANCER

61%
Ladd K. L.
Studia Psychologica
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2013
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vol. 55
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issue 3
169 – 179
EN
The interrelated processes of finding meaning and making control attributions are examined among cancer patients (N = 168) for whom religion is either a non-central (a-schematics, n = 55) or central (schematics, n = 76) aspect in their self-definitions. Various quality of life indices display complex relations to the prediction of the individual’s level of reported experience of finding meaning and control attributions, depending upon schematicity. No single unifying factor is discerned concerning how the two groups experience meaning; initial perceptions of threat appear to be a common theme in relation to how they attribute control. Additionally, a-schematics, as opposed to schematics, report less improvement in their relationships with family and friends as well as less confidence in how they have personally coped with the cancer related experience.
11

CULTURAL DIFFERENCES IN MOTIVATION TO LEARN (Kulturalis kulonbsegek a tanulasi motivacioban)

61%
Gordon-Gyori J.
Magyar Pszichologiai Szemle (Hungarian Psychological Review)
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2009
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vol. 64
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issue 1
293-228
EN
As it was proven by a number of researches, learning motivations are cultural constructs. This article is reviewing some of the special cultural differences between the Euro-American and East-Asian culture in this field. East-Asian students have a less consistent self-concept and lower self-esteem than their Western peers have; however - despite the expectations based on Western constructs of motivation theory - their achievement is not influenced by these factors negatively. This fact shows that learning achievement and the previous factors are relatively independent in case of East-Asian students. In their achievement attribution East-Asian students tend to put a stronger stress on the importance of effort than on the importance of abilities; ability is rather a flexible entity according to their opinion. Furthermore, they connect their explanations on their achievement to their social context; their explanations are less individualistic then their Western peers' explanations. In case of East-Asian students, intrinsic and extrinsic motivation are less separable than in case of the Euro-American students. Multiple goal theory has a better explanatory value in East-Asian students' case compared to the Western students. Without overcoming the traditional dichotomy of the Western notion of intrinsic/extrinsic motivation, it is impossible to describe East-Asian students' motivational patterns. Also, social loafing as a typical response to group situations in the classroom is less evident among East-Asian students. All these examples prove that traditional Western approach to learning motivation is not sufficient to explain the East-Asian students' pattern in learning motivation, so it is seriously important to change on the ethnocentricism of the traditional Western approach in this field in time of globalization.
12

Su una discussa citazione poetica nel De Exilio di Favorino (Col. VII,44-46): Nuovo frammento dell’Andromeda di Euripide?

61%
Amato E.
Listy filologické (Folia philologica)
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2011
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vol. 134
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issue 3-4
265-284
EN
The thorough analysis of the language, metrics and content of the poetic quotation in the Favorinus’ De exilio (col. VII,44–46) suggests its attribution to a Greek tragedian (perhaps Euripides – the Andromeda or a tragedy in connection with the Perseus’ myth, such as Danae or Dictys) rather than to Pindar.
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