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EN
This is a second instalment of the article on the Warsaw Przyjaciel Dzieci, whose first part appeared in the previous issue of the RHHP. The author examines the popular science contents of the periodical in the area of natural science, geography and travel, ‘good behaviour’ and history, while paying close attention to the way in which the editors coped with censorship, especially in the field of history and geography. He also takes note of the critical voices which made themselves heard in the final stage of Gregorowicz’s career as editor-in-chief.
EN
This article is divided into two parts. The first part focuses on the numerous technological and formal innovations under the editorship of Jan Kanty Gregorowicz (ie. variable front page banners, the handling of illustrations, and the launching of a number of supplements); the second one surveys the periodical’s key section dedicated to literary texts
EN
In the early 1890s the traditional allegiance of the readers of Tygodnik Powszechny to the realistic creed of the Polish Positivism began to falter. As the decade wore on their attention was increasingly attracted by the new, modernist approach to the arts, propagated by Ignacy Matuszewski in Tygodnik Ilustrowany. It was in fact a moderate modernist aesthetics, rooted in conservatism and tailored to fit the tabloid profile of that weekly. Unlike the more highbrow Cracow periodicals Tygodnik Ilustrowany cultivated an image of a moderately progressive magazine with a popular appeal. Its editors sympathized with the ideas of the Young Poland movement and its patriotic and romantic revivalism. Theirs was a modernism stripped of elitist aestheticism and tilted heavily towards a social and national engagement practiced by Stanisław Wyspiański and Stefan Żeromski.
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