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Presumpcja równania się Henrykowi IV: Stanisław August a legenda pierwszego Burbona na tronie francuskim

100%
Skowroński P.
Pamiętnik Teatralny
|
2018
|
issue 4(268)
113-129
EN
Dane publikacji Presumpcja równania się Henrykowi IV: Stanisław August a legenda pierwszego Burbona na tronie francuskim Artykuł Czasopismo : Pamiętnik Teatralny Tom: 268, Zeszyt: 4, Strony: 113-129 Piotr Skowroński [1] [1] Instytut Historii Polskiej Akademii Nauk Data publikacji: 2018 Główny język publikacji: polski Cechy publikacji - Oryginalny artykuł naukowy Zrecenzowana naukowo Tłumaczenie tytułu - angielski : The Presumption of Being Henry IV’s Equal: Stanisław August and the Legend of the First French King of the House of Bourbon Dyscypliny naukowe - Nauki o sztuce Słowa kluczowe - angielski : Stanisław August Poniatowski; Stanislaus August Poniatowski; Stanislaw Augustus’ reign; Henry IV; royal iconography; Polish 18th-century culture; Abstrakty ( angielski ) - The article discusses the use of Henry IV’s legend in the shaping of the image of King Stanisław August. In the first part of the article, the author explores the way the memory of “Good King Henry” functioned and manifested itself in the French plays of the 18th century. The Enlightenment legend in France portrayed him as an effective and tolerant ruler who bought peace to the country afflicted with religious wars and founded his rule on trust and working towards the wealth of the nation. The motif of Henry IV constantly attracted the interest of French writers, especially since the publication La Henriade, an epic poem by Voltaire, in the 1720s. The second part of the article explores the attempts to style Stanisław August as the “Polish King Henry IV,” the name first accorded to him by Marie Thérèse Geoffrin upon his election. The author has taken into account any elements or features of Stanisław August’s public image that could carry references to Henry IV, such as the robes that Stanisław August for public celebrations in Warsaw on the day of his coronation (represented in the official portrait of the king in the coronation robes painted by Marcello Bacciarelli), or the portrait by Élisabeth Vigée-Lebrun painted after his abdication and the third partitioning of Poland. Additionally, the article enumerates the works of art and books from the royal collection that portray the first French king of the House of Bourbon. Parallels drawn between Stanisław August and Henry IV that appear in the poetry, anecdotes, and parliamentary speeches of the period indicate that the comparison took root in the social consciousness in Poland, but due to the political circumstances and the collapsing Polish-Lithuanian Commonwealth, it could not be fully exploited, because it provoked derision.
2

Papal Elections on the Eve of Issuance of the Papal Decree In nomine Domini – Historical Analysis of the Election of Popes Stephen IX and Nicholas II

63%
Suchánek D.
West Bohemian Historical Review
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2020
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vol. 10
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issue 2
143-166
EN
In the context of the further history of papal elections, the importance of Nicholas II’s electoral decree is fundamental. It is at the origin of the dominant position of the College of Cardinals in the selection of the new head of the Catholic Church in a form which was enforced as binding. This study considers the circumstances of the two papal elections – Stephen IX and Nicholas II. It is based on a conviction that an endeavour at defining the rules for the election of the head of the Catholic Church is closely linked to the specific situation at the end of the 1050s, and like many previous legislative amendments to the election process reflects major problems which the Roman Curia had to deal with. If we want to understand the significance and target of Nicholas II’s electoral decree, it is essential to analyse the situation which preceded the issuance of the decree in detail. The study therefore deals not only with the circumstances around the election of Pope Nicholas II, with whom the electoral modification is primarily linked, but also the pro-reform Stephen IX and Antipope Benedict X. This is because each proves a different approach to the desired form of securing a new pope and demonstrates a distinct concept for determining electors and an appropriate method for their establishment at the Holy See.
3
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“Though This Be Madness, Yet There Is Method In't”. The motif of feigned madness in William Shakespeare's Hamlet and Luigi Pirandello’s Henry IV

63%
Koman A.
Świat i Słowo
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2020
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vol. 35(2)
195-212
EN
Feigned madness is a motif that – with varying frequency – returns in literary texts. It is usually a carrier of important metaphors, such as: search for truth, escape from reality or conscious rejection of routine. Moreover, it seems to have an exceptional interpretative potential in dramas as it also symbolises a performative treatment of existence and an awareness of fiction which directs the poetics of the drama towards the meta-theatre. The author of this article considers these issues in relation to the titular characters of two dramatic masterpieces of world literature: Hamlet by William Shakespeare and Henry IV by Luigi Pirandello. Both characters, for various reasons, decide to hide their true psychological condition under the image of a madman, which, interestingly, confirms their sophistication and intellect. Putting on the mask of a madman guarantees the privilege of unpunished violation of conventions and established orders, hated by individuals such as Hamlet or Henry IV. This rebellion and emancipation lead to the final defeat of these characters, who, however, dominate over the others, since, unlike other actors who dispassionately play roles that have been imposed to them, they choose their roles, and – most importantly – they are aware that they are playing.
4

RECEPTION OF PIRANDELLO IN CRACOW DURING THE PERIOD OF POLISH PEOPLE’S REPUBLIC (PRL)

51%
Koman A.
Rocznik Przemyski
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2018
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vol. 54
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issue 2(22): Literatura i Język
79-88
EN
one of the most interesting objects of analysis, either from the formal point of view or from the perspective of the attempts to justify the choice to play them. The scope of the present article is an analysis of the reception of two dramas by Pirandello played during the PRL period in Cracow: Henry IV and As You Desire Me, both of them played in the Stary Teatr in Cracow. By investigating opinions of the critics’ reaction to the plays and artistic biographies of their directors, the author attempts to find a connection between the meanings of Pirandello’s texts and the socio-political context of Poland in the Communist era.
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