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1

Wool Textiles from the Roman Period at the Site of Grudna, Poland

100%

Grupa M.

Światowit

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2017

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vol. 56(1)

137-145

EN

In October 2012, the Conservation Laboratory of the Institute of Archaeology at the NCU in Toruń received soil samples excavated from a kurgan in Grudna, Złotów commune, dated to the Roman period. No human remains were reported inside the grave chamber apart from some elements of grave goods: a glass bead, a clay spindle whorl, three iron nails, fragments of a bone pin, bronze and iron chest fittings, and a bronze vessel with a stamp of Pubius Cipius Polybius, who was active around the first half of the 1st century AD. In result of a cleaning treatment removing all soil impurities, tiny textile fragments were obtained, which were, interestingly, made of woollen fibres in sprang technique, while some of them imitated gauze (known in later periods) but were manufactured in a plain 1/1 weave. Technological analysis of the fibres revealed their high quality with average fibre thickness ranging from 8 to 18 μm. Insufficient material base for these textiles in Poland does not give a convincing answer to a basic question of whether it was an import or local production. Studies on the subject performed by European researchers, most notably J. Maik, indicate local or North European production. Hopefully, more light will be shed on this problem by further comparative studies.

2

Aerial survey of the cemetery and surrounding fields at Metsamor

72%

Truszkowski M., Bagi O.

Polish Archaeology in the Mediterranean

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2017

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vol. 26(1)

570-578

EN

The first aerial survey conducted within the vicinity of the ancient city of Metsamor and its cemetery detected several promising anomalies in the aerial photos and processed images within and beyond the known limits of the burial ground. The survey results are discussed in this article along with a brief outline of the burial types found in this cemetery.

3

„Krakowska prowokacja”? O „Dziadach” Adama Mickiewicza w reżyserii Bohdana Korzeniewskiego

51%

Makaruk M.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

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2019

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vol. 19

224-242

RU

This essay is an analysis and interpretation of Bohdan Korzeniewski’s June 1963 staging of Forefathers’ Eve in the Juliusz Słowacki Theatre in Krakow. Korzeniewski’s spectacle, named by Maria Czanerle ‘the most shocking thing ever done to Forefathers’ Eve’, with awe- -inspiring stage design by Tadeusz Brzozowski and Krzysztof Penderecki’s avant-garde music, did not earn a lasting place in the history of theatre. It received rather lukewarm reviews and did not gain the favour of actors, either. Despite being received enthusiastically by such distinguished critics as Marta Fik and Stanisław Marczak-Oborski, Korzeniewski’s Forefathers’ Eve has largely been forgotten. This essay is an attempt at reconstructing the performance based on the remaining theatrical copies, reviews and memories of those who collaborated on the production. The essay’s author poses the question about what part of Korzeniowski’s failure was due to the historical context and the impossibility to realize this concept in another reality an on another stage. As, indeed, Korzeniewski created his interpretation in 1953 and it was part of a secret ministry competition for the first postwar staging of Forefathers’ Eve. Analyzing the implicit signs present in the director’s concept, which refer to the reality of the war, occupation and Stalinist period, the author also asks how Polish romantic drama staging history would have unfolded if it was Korzeniewski and not Aleksander Bardini who staged Forefathers’ Eve in 1955 in the Polish Theatre in Warsaw.

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1 Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

1 Polish Archaeology in the Mediterranean

1 Światowit

2 2019

1 2018

1 Bagi O.

1 Grupa M.

1 Makaruk M.

1 Truszkowski M.

Wool Textiles from the Roman Period at the Site of Grudna, Poland

Aerial survey of the cemetery and surrounding fields at Metsamor

„Krakowska prowokacja”? O „Dziadach” Adama Mickiewicza w reżyserii Bohdana Korzeniewskiego