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EN
The article provides an insight into the problem of editorial censorship in the Kingdom of Poland. It shows that the nature of the censorship measures did not only depend on the attitude towards the state system, but also on the in-house relations dictated by the policy of the publisher and market relations. The editor, representing both private and corporate interests, imposes changes of a censorious nature not only under political or moral pressure, but also under the publisher’s pressure. And thus, he becomes a censor. This provides an additional insight into the practice of censorship under the Partitions of Poland. This issue is commonly viewed from the national and patriotic perspective that neglects this aspect, emphasising mainly the external oppression of the partitioning powers. In order to illustrate the differences between the various publishing policies, the measures applied by the editors of Przegląd Tygodniowy and Tygodnik Ilustrowany weeklies are discussed.
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vol. 15
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issue 1(29)
41-60
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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