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IT
L’articolo prende in esame l’opera prima del regista Vittorio De Sica, in particolare i suoi primi quattro film: "Rose scarlatte" (1940), "Maddalena zero in condotta" (1941), "Teresa Venerdì" (1941) e "Un Garibaldino in convento" (1942). Oltre a collocare l’opera del regista italiano nel contesto politico, sociale e culturale dell’ultimo decennio del regime fascista, vengono analizzati i messaggi impliciti delle singole pellicole, abilmente nascosti sotto una maschera comica: p.es. l’emancipazione femminile, il carattere repressivo delle istituzioni e la problematica del "Strapaese e Straccittà".
PL
Artykuł analizuje cztery pierwsze filmy Vittoria De Siki: "Szkarłatne róże" (1940), "Magdaleno, dwója ze sprawowania" (1941), "Teresa Venerdì" (1941) oraz "Un Garibladino in convento" (1942), pod kątem ich kontekstu politycznego, społecznego i kulturowego. Analiza poszczególnych dzieł pozwala ukazać ich zawoalowane przesłanie (np. dotyczące emancypacji kobiet, represyjnej natury instytucji oraz problematyki "Strapaese i Straccittà"), ukryte pod maską komizmu.
EN
The article’s goal is to introduce the thesis that not only the constitutional and socio-economic agendas of states but also international affairs strongly influence the formation of various human communities and their political programmes, and that this interaction was often no less important than these other factors in the rise of 19th century nationalism. By combining the history of international politics, international law, social history and ethics the article reveals a completely new story of the Italians’ reception of and response to diplomatic affairs in the 1840s. At that time a considerable number of them felt that the heritage of the Congress of Vienna was being eroded and that the world was becoming increasingly insecure. This conviction was primarily caused by the abuse of power by the most powerful states at the expense of weaker ones in Europe as well as the former’s imperialist policies in more remote regions. The increasing mistrust in the great powers’ policies and in the stability of the whole structure of the post-Napoleonic states system gave rise to a conviction that the security of their own countries in the world where the rule of force dominated was to be best preserved by material strength, which also made the Italians more willing to accept whatsoever kind of political unity based upon the concept of nationality.
IT
The Italian Risorgimento, that is the historical process that led to the unification and independence of Italy, is characterized by the constant conjugation of the national principle with the request of institutions of freedom. The article reconstructs this process through its topical moments (Jacobin triennium, motions of 1820–1821, decade of preparation) focusing on the post-1848 phase, when only the Kingdom of Sardinia maintained the constitution thus becoming an essential reference point for the patriotic movement.
PL
Włoskie Risorgimento, czyli proces historyczny, który doprowadził do zjednoczenia i niezależności Włoch, charakteryzuje się ciągłym sprzężeniem zasady narodowej z żądaniem instytucji wolności. Autor artykułu rekonstruuje ten proces na podstawie przełomowych momentów (wskazuje na trzy kluczowe zdarzenia), koncentrując się na fazie po 1848 roku, kiedy tylko Królestwo Sardynii utrzymało konstytucję, stając się tym samym istotnym punktem odniesienia dla ruchu patriotycznego.
EN
The aim of the study is to analyse Austro-papal relations in the period 1838–1848 in the context of the Italian liberal-national movement. The reactionary, backward, absolutist regime of the papal government had often been the cause of the crises in the Papal States in the pre-March period, with the most significant one being in 1831, when it was only through Austrian military intervention that the papal regime survived. The papal government was unwilling to change the course of its internal policy and transform the Papal States for the sake of both its subjects and its government. Therefore, when it came to reforming the papal regime, Metternich’s lifelong advising of the Pope was like beating a dead horse. Austria’s readiness to intervene militarily whenever requested by the Pope was the most important part of Metternich’s diplomatic passivity within his papal policy during the 1840s, although none of the local uprisings in this period required the intervention of Austrian troops The change in the Austrian chancellor’s approach to Rome emerged because of the reform course of Pius IX, who was elected Pope in the summer of 1846. The Pope’s utter disinterest and opposition to Austria after 1846 eventually resulted in the ultimate fall of Metternich’s papal policy.
EN
Four poems by Italian little known (or rather unknown at all) poets are published in annex to Władysław Mickiewicz’s Mémorial de la Légion Polonaise de 1848 créée en Italie par Adam Mickiewicz, Paris 1877. They have been ‘carefully’ preserved by Mickiewicz himself, despite he burnt a lot of papers before leaving for Constantinople in 1855. These poems, offered to Mickiewicz in 1848 while passing with his Legion from empoli to Milan, are average examples of the Italian patriotic poetry of the ‘second romanticism’ and three of them were translated and published in Polish as late as in 1961. It would be interesting to investigate more about how many literary testimonies of this ideological and military enterprise still remain in old prints and in manuscripts.
PL
Tematyka niniejszego tekstu stanowi kontynuację wcześniejszego, który ukazał się na łamach „Roczników Humanistycznych” i dotyczy Witolda Adama Czartoryskiego (1822-1865) jako żołnierza w wojsku hiszpańskim. Celem artykułu jest zapoznanie czytelników z genezą i przebiegiem kolejnej służby wojskowej księcia, tym razem w Królestwie Piemontu i Sardynii, której szczegóły są nieznane historiografii. Dlaczego Witold zdecydował się na wstąpienie w szeregi wojska piemonckiego? Czy wierzył w powodzenie podejmowanych działań i w strategię Hotelu Lambert? Jakie czynniki ułatwiały, a jakie utrudniały realizację jego misji? Na te i inne pytania postaramy się odpowiedzieć w prezentowanej pracy. Nie zabraknie w niej opisów ciekawych sytuacji i przygód, które przydarzyły się księciu. Spróbujemy także nakreślić jego osobowość, tęsknotę za domem, posłuszeństwo wobec rodziców, patriotyzm. Podstawową bazę informacji stanowią materiały archiwalne z Biblioteki Książąt Czartoryskich w Krakowie, przede wszystkim listy Witolda do członków jego najbliższej rodziny i współpracowników.
EN
The subject of this article is a continuation of the earlier paper that appeared in the “Annals of Arts” and presents Witold Adam Czartoryski (1822-1865) as a soldier in the Spanish army. The aim of this article is to familiarise readers with the genesis and course of prince’s another military service, this time in the Kingdom of Sardinia and Piedmont, the details of which are unknown to historiography. Why did Witold decide to join the ranks of the Piedmont army? Did he believe in the success of the actions and the strategy adopted by Hotel Lambert? What factors facilitated and which hindered the implementation of his mission? This paper tries to answer these and other questions. It also includes descriptions of interesting situations and adventures that happened to the prince. The paper also attempts at presenting the prince’s personality, his longing for home, obedience to parents and patriotism. The basic source information was obtained from archives of the Princes Czartoryski Library in Kraków, mainly based on Witold’s letters to the members of his immediate family and collaborators.
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