Search results

1

Słowo o Józefie Łobodowskim i konferencji naukowej w Lublinie z okazji 110 rocznicy urodzin pisarza

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Siryk L.

Studia Polsko-Ukraińskie

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2019

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vol. 6

175-190

PL

The subject of reflection is, first, the work of Jozef Lobodovski (1909–1988), a Polish poet, prose writer, journalist, and translator and, second, an international conference that took place on March 21–22, 2019, at the Faculty of Humanities of Maria Curie-Skłodowska University in Lublin on the occasion of the 110th anniversary of his birth. From his infancy, the writer was associated with Lublin but spent most of his life abroad, in Spain. His attitude is characterised by universalism understood as tolerance towards nations in the cultural and religious context, as well as an uncompromising, stubborn struggle for the freedom of nations conquered by Soviet imperialism. A distinct feature of his interests is the East Slavonic problem, especially the Ukrainian one. During the meeting, 16 papers were delivered by scientists from Poland, Ukraine, and Spain. The programme of the conference included a violin concert (performed by the younger generation of the writer’s family) and recitations, performed by the UMCS students of Ukrainian philology, of works and poetic translations by Jozef Lobodovski, as well as of translations of his poetry into Ukrainian. The aim of the activities undertaken is not only to promote the artist with an exceptionally rich artistic and journalistic achievements but also to preserve the memory of him as a man of international dialogue, a humanist and a patriot, a noteworthy literary figure of Lublin during the interwar period, and a political emigrant who was banned in the Polish People’s Republic.

2

Deconstrution of Interpretative Models of Lesya Ukrainka’s 'The Forest Song'

100%

Moklytsia M.

Studia Polsko-Ukraińskie

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2019

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vol. 6

159-174

EN

The article explores a need to provide a permanent revision of the ways of reading classical texts. The fairy drama The Forest Song was written by Lesya Ukrainka, who is acclaimed as an outstanding dramatist of Ukrainian literature. This play has a vast bibliography and serves as a target of a variety of critical approaches. The point is, however, that the predominant position among them still belongs to the interpretative models generated by Lesya Ukrainka’s contemporaries. This refers, first of all, to those who have hitherto interpreted The Forest Song within the following two frameworks: neoromantic, grounded in Polissyan folklore and the author’s mythology, and neoclassical, launched by neoclassicists of the 1920s and based on the ties of Lesya Ukrainka’s play with classical drama. The scholars overlook, though, a conflict between the two interpretations. Each model, employed with no regard for the other one, operates on certain elements of the text. The scholars neglect the need to correlate their work with the other, totally inverse, model (neoromanticism and neoclassicism are, at a fundamental level, as aesthetically opposed to each other as are romanticism and classicism). The article offers a new model for reading the text of Lesya Ukrainka through the lens of symbolism. This model allows us to account for the congruence of classical normativity and romantic liberty within a single text.

3

Marginal Unit vs. Marginal Unit — Some Additional Thoughts on the Differences between Menger, Jevons, and Walras

86%

Machaj M.

Ekonomia. Wrocław Economic Review

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2015

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vol. 21

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issue 4

9-16

EN

Scholars usually trace the basics of the neoclassical theory back to the marginal revolution, in which three great thinkers amended the fundamentals of modern consumer and production theory. Scholars also recognize, however, important differences between those three thinkers’ works — in the nature of the neoclassical framework and its application to the real world, especially in the field of political economy. In this note, we argue that the main difference in these works, not identified in previous publications on the subject of “dehomogenization”, is their understanding of the marginal unit. We demonstrate the relevance of this important difference in the socialist-calculation debate.

4

“ПРАВДA” И “ЛОЖЬ” В АРХИТЕКТУРЕ КИЕВА МЕЖВОЕННОГО ПЕРИОДА

86%

Марковский А.

Conversatoria Litteraria

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2016

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vol. 10

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issue -

529-542

RU

Brief description of the general trends in the Soviet socio-cultural field that are di-rectly related to the architecture of the interwar period. Analysis and comparison of the avant-garde and neo-classical tendencies in the Kiev architecture of 1920-1930 in terms of the definition styles as "true" or "false". Comparison of theoretical and practical arguments in favor of the "truth" of one or another style inside the field of architecture.

5

“The Judgment of Hercules”. Shaftesbury at the Crossroads of Art Theory

72%

Jaźwierski J.

Rocznik Historii Sztuki

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2020

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issue XLV

6

Shaftesbury v. Richardson: a Counterfactual Exercise

72%

Mount H.

Rocznik Historii Sztuki

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2020

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issue XLV

7

W poszukiwaniu potencjału zmiany szkoły. O typie biograficznym zboczeńca

72%

Makowska A.

Parezja. Czasopismo Forum Młodych Pedagogów przy Komitecie Nauk Pedagogicznych PAN

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2014

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vol. 1

PL

W artykule stawiam tezę o potencjale zmiany normatywnego porządku rzeczywistości szkolnej, który tkwi w wybranych zachowaniach uczestników i uczestniczek życia szkolnego. Opisuję go przez pryzmat neoklasycznie odczytanego typu biograficznego zboczeńca, jednego z typów wyróżnionych przez Floriana Znanieckiego w pracy Ludzie teraźniejsi a cywilizacja przyszłości. Perspektywą teoretyczną badań, na podstawie których stawiam tę tezę, jest kulturalizm. Strategią pozyskiwania i analizy danych: etnografia. W zakończeniu przywołuję koncepcję subwersji znaczeń Juditch Buttler, jako propozycję użycia języka do zmiany myślenia i konstruowania rzeczywistości.

EN

In the article I put the thesis about the potential for the change of the normative order of the school reality, which is present in the selected behaviour patterns of the school life’s participants. I describe it through the prism of the neoclassically understood type of the biographical pervert, one of the types distinguished by Florian Znaniecki in Contemporary People and the Civilization of the Future. The theoretical perspective of the research, I base my thesis on, is culturalism. The strategy for obtaining and analyzing data is ethnography. In conclusion I mention Judith Buttler’s concept of the subversion of meaning, as the proposal for using the language to change the way we think and construct reality.

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Twórczość fortepianowa Mariana Sawy

72%

Łukaszewski M. T.

Seminare. Poszukiwania naukowe

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2011

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vol. 29

317-335

EN

Marian Sawa (1937-2005), composer, organist, improviser and pedagogue, owes his reputation primarily to his prolific organ output (over 200 works for organ solo, including five concertos), choral music (several dozen compositions) and vocal-instrumental sacred music. Pride of place goes to Droga Krzyżowa (The Way of the Cross), Missa claromontana and works for organ: Witraże (Stained-glass), Ecce lignum crucis and Hymnus in honorem sancti Petri et Pauli. Works for piano are modest in number, less known and rather rarely performed but they are hardly of a marginal character. Marian Sawa’s piano output comprises a dozen or so pieces of diverse genres and styles. The earliest compositions, dating from Sawa’s studies at the State Higher School of Music in Warsaw, include Four Etudes, a cycle of Variations and the Prelude and Fugue, all in the neo-Classical style (1966-67). In the etudes the composer explored several problems, such as the technique of double stops and octaves. The later Toccata (1970) and Stylized Prelude (1975) are, by and large, the continuation of the same style. In the Toccata one can notice the genre’s characteristic features including the motoric drive, a sense of mobility and the repetitiveness of notes (similar effects can be found in toccatas by such composers as Bolesław Woytowicz and Sławomir Czarnecki). Sawa’s most interesting piano works date from the 1980s and 1990s, Scherzino (1983) and Four Mazurkas (1993/94) being the most frequently-performed pieces. Sawa’s output also includes compositions which draw freely on the sonata form: Sonatę Ha-Fis (Sonata B-Fsharp) for keyboard instruments (1995, the title refers to the two opening notes), Sonatina for harpsichord, piano or organ (1995) and arrangements of Polish Christmas carols. One of Sawa’s most spectacular pieces is the Fugue-Bolero for two pianos (1996), which is an arrangement of his earlier, highly popular version for organ. Three idioms can be distinguished in Sawa’s piano music: dance/folk, motoric/toccata and sacred. The first employs the dance forms popular in Polish folk music (mazurek, oberek, krakowiak), the rhythm pattern of the ‘mazur’ and bourdon fifths. The main features of the second idiom are the figurative texture, virtuosity, a sense of mobility and, in the majority of works (including those from the 1990s), references to the neo-Classical style. The sacred idiom manifests itself in the use of quotations from church songs. For example, in the Third Mazurka (1993) it is a quotation from the Polish church song to St Joseph, while the musical material of the Three Elegies (1995) is based on the religious song Ja wiem, w kogo ja wierzę / I know in whom I believe. These works are also renowned for their specific mood of meditation and contemplation, creating an aura of spiritual music. The arrangements of Polish Christmas carols also belong to this group (Four Christmas Carols for piano / four hands, 2003; Kolędowe granie / Playing the carols, 2004).

9

Granice reformy więziennictwa

62%

Porowski M., Rzepliński A.

Archiwum Kryminologii

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1986

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issue XIII

141-172

EN

A reform consists in the intention to introduce changes into a given system of social institutions which would not be aimed at its radical and qualitative transformation but would resolve themselves into improvement or rationalization. The reformatory thought may be inspired by conservative, liberal or radical attitudes which determine the motives, limits and profoundness of the changes. In the present paper, a conception of a reform of the prison system has been presented which would assimilate its contents to the substance of punishment, i.e. retribution in its humanistic interpretation and the values that come to the foreground of the axiological system of our times. These values are included in the notion of the dignity of a human being which results from treating man as the aim in itself and a being endowed with free will. The authors have assumed in the present paper that when reforming the prison system, all of its elements can be manipulated with the following exceptions: deprivation of the isolated person of his right to decide about his place of abode, and his duty to stay in a place determined by the authority which executes the penalty. Therefore, the following things can be changed: the ideological grounds of the system, i.e. its aims, functions and the role it plays in the global system of interests; external organization of the system, i.e. its -management regulation of interactions between the isolated and the isolating communities, organization the staff; material equipment of the system, i.e. buildings and their architecture, the arrangements concerning security, economy nd production. The authors oppose the conception which has been called here the reason of humanized retribution to the two contemporary variants of the prison policy. Ideologists of the first of them (the variant oriented at a psycho-social corrective treatment) model prisons having in view the future law abiding functioning of the offender in the society. An individual is here but a ,.human material" which is to undergo transformation as a result of the application of adequate measures. Ideologists of the second variant (one oriented at education through work) emphasize the social needs not connected with the prisoner who is treated as a quantum of man power that can be used. Retribution is inherent in the prison policy irrespective of the intention of its promotors and executors. After all it is one of the elements of the execution of penalty. The moral value of retribution resulting from a just punishment was recognized in the philosophy and dogmatic assumptions of pastoral theology. Recognizing punishment to be the offender’s personal right, we at the same time recognize his dignity due to a rational person. Therefore, punishment based on retribution certifying to the subjectivity and dignity of an human being, is tantamount to the humane attitude. To render possible the realization of the reason of humanized retribution, definite conditions have to emerge. These are: consistently grounding the punishment on the responsibility for the commission of a given act: this excludes the use of the perpetrator’s way of life, state or personality, and opinions as the essential criteria for meeting out punishment, and leads to the imposition of prison sentences for the most serious crimes only; stopping both the building of new prisons an the artificial increase of the capacity of the existing ones; overcoming the barrier of functional connections between prisons and state enterprises which use the immates cheap and first of all easily disposable man power. The reform of the prison policy inspired by the reason of humanized retribution can be expressed in three fundamental postulates which are: (i) the principle of the rule of law and that of mutual respect for the legel status of the prison staff and of the inmates; (ii) the principle of respect for the prisoners dignity; (iii) and the principle of minimalization of isolation of the prison system and of increasing its integration with the outside social environment. The rule of law which is the content of the first principle is the order not only of an absolute observance of the law, but also of the consistence of its contents with the achievements of civilization and morals of the global , society. Thus, on the one hand, the importance of the law as an instrument to eliminate arbitrariness of decisions from the process of execution of penalty is emphasized here, and, on the other hand, the postulate acquires justification that the prisoners' rights - instead of resulting from discretional decisions - be the articulation of the socially accepted values and their realization in accordance with the spirit of times. Thus the prisoners rights become the content and at the same time the safeguard of an humane attitude towards him. The recognition of the rule of law as the central principle of the prison policy is justified by the very reason of humanized retribution. According to this principle. the process of execution of the deprivation o [ liberty is treated as a sui generis legal relationship between the prison management and the prisoner. the safeguard o[ which is the principle of mutual respect for the both parties legal positions. The construction of a definite catalogue of these rights is the task of the legislation. In any case, the prisoner retains his rights to the extent appropriate of any citizen in barracks. The only thing the penal isolation eliminates is the personal participation in the outside social life. A specific prison right is the inmates' right to use the period of isolation in the way that would be most helpful for their evelopment, which means, among other things the opportunity to participate in treatment alternatives offerred to them, or the conditions for individual development. For the principle of mutual respect of legal statuses to be realized, the prisoner should be equipped with effective means of execution of his rights. This is dictated by two reasons. Firstly, the conception of the process of execution of the penalty of deprivation of liberty as a legal relationship between the prisoner and the management naturally brings the normative factor. to the fore; secondly, prison-as an extremely dense social environment-releases tensions increased by the particural susceptibility to aggression on the part of both of its communities. The prison policy is a negation of the principle of respect for the prisoner’s human dignity in the present interpretation, its contents being adjusted to the Spartan attitude towards men in which an human being has an instrumental Value only. Therefore, he may be modeled after a freely chosen pattern by means of open repression, behavioural conditioning and other kinds of manipulation. On the other hand, the opposite Socratean model of influencing the individual is consistent with the authors assumptions. According to this model, the principal means of the so-called prisoners resocialization are discussed in the paper (work, education, access to culture, as well as punishment and award), in the effort to define them in such a way as never to disturb the ideological contents of the Socratean attitude towards the development of the individual. Prisons are social institutions for which everybody is responsible, though to a varying degree. This gives significance to the principle of minimum of isolation and integration of the prison with the outside social milieu. In this connection, a detailed discussion has been included in the present paper of the forms of isolation (internal, external), the effects of its accomplishment (material and social), and the effects of alienation of penal institutions ( totalitarization, prisonization, exlusion of social control, strict control of contacts with the outside social milieu). To sum up, the approach presented in the present paper is aimed at overcoming the stereotype that consist in a critical analysis of the separate elements of the prison system without a comprehensive appraisal of its theoretical and practical values. This stereotype does nothing but consolidate the system the value of which has never been verified, and results in the prison policy becoming more and more eclectic.

10

Geneza artystyczna pomnika nagrobnego Józefa Frageta na Starych Powązkach

58%

Wiraszka M.

Saeculum Christianum. Pismo Historyczne

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2015

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vol. 22

229-240

EN

Neoclassical mausoleum of Józef Fraget (1797-1867) commemorating a French industrial entrepreneur and the founder of the first factory of clad goods in Poland was constructed at Old Powązki Cemetery in Warsaw between 1867 and 1869 (quarter A, row I). The author of the torso is Leonard Marconi, and the mold is believed to have been made by the “Lilpop, Rau i Loewenstein” factory in Warsaw. The original project embraced only the top, cast iron part of the tomb in the form of Doric aedicule with entablature and triangular pediment as well as the marble torso placed on prism pedestal located among four columns. The bottom, stone part, was executed later, approximately in 1913 in Władysław Tuszyński stone enterprise. The Mausoleum of Fraget is a replica of the monument situated in Berlin at St. Doro-thy’s Cemetery commemorating Johann August Borsig (1804-1854), the owner of the well-established metal factory in Europe. Its designer was an architect from Berlin, an appren-tice of Schinkl, Johann Heinrich Strack, and the maker of the bronze torso mold was a sculp-tor Christian Daniel Rauch. Three other mausoleums originated from the same model: the Brand family mausoleum at the Metallurgical Cemetery in Gliwice, (between 1865 and 1890), Tomas Evans mausoleum at the Evangelical Reformed Cemetery in Warsaw (second half of the 60s. the XIX century, currently non-existent) and in its slightly modified form, the tomb of the architect J. H. Strack at the St Dorothy’s Cemetery in Berlin (1880-1882). All the above-mentioned mausoleums except the monument decorating the tomb of the architect Strack, commemorated personalities from metallurgical industry. The particularity of the mausoleum of Józef Fraget consists in the use of cast iron as the main constructing element. It is a distinctive feature differing the mausoleum in question from the remaining exemplary monuments made of stone.

11

Między awangardą a tradycją — fortepian w repertuarze koncertów z cyklu „Śląska Trybuna Kompozytorów” w latach 1973–1977

58%

Stachura-Bogusławska A.

Aspekty Muzyki

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2018

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vol. 8

335-359

PL

Fortepian przez kilka wieków uznawany był za najbardziej uniwersalny instrument. W drugiej połowie XX wieku jego rola uległa transformacji. Z instrumentu melodyczno-wirtuozowskiego został zredukowany do pozycji jednego z wielu generatorów brzmień, a także poddawany różnorodnym eksperymentom. Nastąpił proces eksploatacji jego dynamicznych, artykulacyjnych i kolorystycznych możliwości. W twórczości XX-wiecznych kompozytorów związanych z Górnym Śląskiem muzyka fortepianowa stanowiła znaczący, choć nie pierwszoplanowy nurt. Na przestrzeni lat powstawało wiele zróżnicowanych stylistycznie dzieł, zarówno solowych, kameralnych, jak i z fortepianem w funkcji dopełniającej rozbudowaną tkankę orkiestrową. Szczególnie interesujące utwory powstawały w latach 60. i 70., a więc w czasie intensywnej asymilacji awangardowych prądów muzyki europejskiej. Wiele z tych utworów prezentowanych było na koncertach z cyklu „Śląska Trybuna Kompozytorów” — forum organizowanym w Katowicach od 1973 roku. W niniejszym artykule przedstawione zostały kompozycje: Mutanza per pianoforte (1968) Witolda Szalonka, Capriccio-Fantasia nr 2 na dwa fortepiany (1975) Jana Wincentego Hawela, Musica per Ensemble MW2 na flet, wiolonczelę i jeden lub dwa fortepiany (1970) Edwarda Bogusławskiego, Inspiracje na głos żeński, perkusję, fortepian i dwie taśmy magnetofonowe (1972) Ernesta Małka, Mała sonata na fortepian (1975) Bolesława Woytowicza oraz Tema con variazioni na fortepian (1965) Władysławy Markiewiczówny. Kompozycje te ukazują różnorodne postawy twórcze wobec możliwości fortepianu. Są to utwory reprezentujące nurt neoklasyczny, jak i dzieła wykorzystujące preparację instrumentu, efekty sonorystyczne, a także aleatoryczną koncepcję montażu oraz elementy grafiki muzycznej.

EN

For several centuries the piano was considered to be the most universal instrument. In the second half of the 20th century its role changed. The melodic and virtuosic instrument has been reduced to one of many sound generators and subjected to a variety of experiments. In this process its dynamic, articulating and coloring capabilities have been exploited. In the works of the twentieth century composers associated with Upper Silesia, piano music was significant but never a mainstream. Over the years, many stylistically varied works have been created, not only solo or chamber music, but also with piano complementing the extensive orchestral part. Particularly interesting pieces were composed in the 1960s and 1970s, during the intensive assimilation of the avant-garde trends of European music. Many of these works were presented during the concerts of the cycle “Silesian Composers’ Tribune” — organized in Katowice since 1973. This article presents works composed by Witold Szalonek (Mutanza per pianoforte — 1968), Jan Wincenty Hawel (Capriccio-Fantasia no 2 for two pianos — 1975), Edward Bogusławski (Musica per Ensemble MW2 for flute, cello and one or two pianos — 1970), Ernest Małek (Inspirations for female voice, drums, piano and two tapes — 1972), Bolesław Woytowicz (Little Sonata for piano — 1975) and Władysława Markiewiczówna (Tema con variazioni for piano — 1965), showing a variety of creative attitudes towards the piano. These pieces represent both neoclassical currents and works utilizing prepared instruments, sonoristic effects, as well as aleatory assembly concept and elements of graphic music scores.

12

Dialogue in Sonata for Two Violins Op. 10 by Henryk Mikołaj Górecki from a Performer’s Perspective

58%

Dzialak-Savytska A.

Edukacja Muzyczna

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2020 (EN)

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issue 15

137-163

EN

The article aims at defining the specificity of dialogue in Sonata for two violins Op. 10 by Hen- ryk Mikołaj Górecki from the point of view of the performer. This piece, though created in the early period of the composer’s career, belongs to important examples of this genre in 20th century Euro- pean music. With regard to the declared aim, various versions of the dialogue in this sonata were examined. The issue of dialogue in the discussed piece is presented in the context of the individual composer’s style. In order to address the core matter, the analysis of all three movements of the sonata cycle was carried out in terms of different forms of dialogue between the two violins. Górecki’s Sonata represents very interesting types of dialogic communication, conveying various emotional contents: from rivalry to harmony, from expression – sometimes utterly harsh – to joint reflection, from grotesque to contemplation. This piece features a rich sound coloring, which the Master achieves through sonoristic effects and extensive use of dissonant consonances and dynamic contrasts. The piece shows also an excellent sense of the sound space in which the soloists perform. Spatial changes effects are achieved by means of, among other things, rapid shifts from the lowest registers to the highest ones. The „instrumental drama” is accompanied by colorful „dec- orations”, with a wide range of feelings typical of Górecki. The parts of two violins carry out a polyphonic narration. The voices of each „protagonist” receive a different reaction in their vis-à-vis, and in the last part they unite in an expressive, unrestrained dance movement. It is precisely this variety of musical material and the dialogues of the soloists in different categories of perspectives that provide this piece with an intensity of empathic experiences, evoked both in listeners and in performers.

PL

Celem artykułu jest określenie specyfiki dialogu w Sonacie na dwoje skrzypiec op. 10 Henryka Mikołaja Góreckiego z punktu widzenia wykonawcy. Dzieło to, choć powstało we wczesnym okresie twórczości kompozytora, należy do znaczących przykładów tego gatunku w muzyce europej- skiej XX wieku. W związku z deklarowanym celem zbadano różnorodne wersje dialogu występu- jące w niniejszej sonacie. Problem dialogu w omawianym utworze ujęty jest w kontekście stylu indywidualnego kompozytora. W celu rozwiązania głównej problematyki przeprowadzono analizę wszystkich trzech części cyklu sonatowego pod kątem różnych form dialogu pomiędzy dwojgiem skrzypiec. Sonata Góreckiego reprezentuje bardzo interesujące typy dialogicznej komunikacji, przekazując różne treści emocjonalne: od rywalizacji do harmonii, od ekspresji – niekiedy krańcowo ostro wy- powiedzianej – do wspólnej refleksji, od groteski do kontemplacji. Utwór ten cechuje bogata kolorystyka brzmieniowa, którą Mistrz osiąga poprzez efekty sonorystyczne oraz intensywne wykorzystanie współbrzmień dysonansowych i kontrastów dynamicznych. Dzieło to odznacza się także doskonałym wyczuciem przestrzeni dźwiękowej, w której poruszają się soliści. Efekty zmian przestrzennych dają m.in. raptowne przerzucenia z najniższych rejestrów do najwyższych. „Instrumentalnemu dramatowi” towarzyszą barwne „dekoracje”, z typową dla Góreckiego szeroko rozpiętą skalą uczuć. Partie dwóch skrzypiec prowadzą narrację polifoniczną. Wypowiedzi każdego „bohatera” otrzymują różną reakcję u swego vis-à-vis, w ostatniej zaś części łączą się w pełnym ekspresji niepohamowanym ruchu tanecznym. Właśnie taka różnorodność materiału muzycznego, dialogi solistów w różnych kategoriach ujęć, zapewniają temu dziełu intensywność empatycznych przeżyć, wywoływanych zarówno u słuchaczy, jak i u wykonawców.

13

Проблема ідентифікації творчості Лесі Українки

58%

Siryk L.

Roczniki Humanistyczne

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2019

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vol. 67

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issue 7: Słowianoznawstwo

155-168

PL

W artykule podjęto istniejący w literaturoznawstwie problem identyfikacji twórczości Łesi Ukrainki (1871-1913). W literaturoznawstwie ukraińskim pod wpływem teorii narodników historycznie została ukształtowana tradycja zaliczająca pisarkę do neoromantyzmu. Wbrew temu poglądowi w proponowanym badaniu wysunięto tezę o przynależności pisarki dо klasycystycznego typu twórczości, mianowicie do neoklasycyzmu jako jednego z kierunków modernizmu europejskiego. Swoje twierdzenia autor argumentuje na podstawie poglądów pisarki dotyczących samoidentyfikacji, а także materiałów historyczno-literackich і prac krytycznoliterackich neoklasyków ukraińskich pierwszej fali, którzy rozwinęli swoją działalność w latach 20. XX wieku. Wyniki badań świadczą o zdecydowanym zaprzeczeniu przez Łesię Ukrainkę opinii o niej, którą sformułował czołowy przedstawiciel narodnickiej koncepcji S. Jefremow. Pisarka uważała ją za tendencyjną i nieadekwatną. Pokazano, że w latach 1914-1930 neoklasycy kijowscy: М. Draj-Chmara, М. Zerow, P. Fyłypowycz, М. Rylski i Jurij Kłen argumentowali europeizm pisarki i realizację przez nią artystyczno-światopoglądowych zasad neoklasycyzmu, mianowicie: zwrócenie się do antyku, wykorzystanie і reinterpretacja „wiecznych obrazów” і istniejących fabuł tradycji śródziemnomorskiej, synteza wartości uniwersalnych i narodowych, indywidualny wybór і twórczy mimesis, synkretyzm kulturowy i stylowy, antropocentryzm, dystans do szarej codzienności, moralizatorstwo, aktywność obywatelska. Artykuł stanowi próbę zaakcentowania konieczności weryfikacji istniejących opinii oraz identyfikacji twórczości według kryterium estetycznego.

EN

The article raised the issue of identification of Lesya Ukrainka’s literary heritage (1871-1913). Ukrainian literary science being under the influence of Narodnik (populist) tradition historically treated her as a representative of neo-romanticism. Contrary to this point of view this study puts forward the thesis that the writer belongs to the classicism, namely to the neoclassicism as a form of European modernism. This statement is based on the expressed by the playwright point of view as to the self-identification, as well as historical and literary materials, and literary criticism works of Ukrainian neoclassics of the so called first wave, which have developed their activity in the 20-th years of the 20-th century. Results of the study indicate a emphatic denial by the poet of her characteristics as had been formulated by the leading representative of the Narodnik S. Yefremov. The writer considered it biased and inadequate. It was found out that the kiev neoclassic in the years 1914-1930 M. Dray-Khmara, M. Zerov, P. Fylypovych, M. Rylsky and Yurii Klen backed up the statement that Lesya Ukrainka belonged to Europian literary tradition which is supported by her implementation of artistic and philosophical neoclassicism devices such as appeal to antiquity, the use and reinterpretation of „eternal images” and „traveling stories”, mediterranean tradition, individual choice and creative mimesis, cultural and stylistic syncretism, synthesis of universal with national, anthropocentrism, distancing from the trivial, moralizing, social activity. The article is an attempt to emphasize the need to review existing opinions and of identification creativity according to the aesthetic criterion.

14

Strategia państwowej autoprezentacji: sztuka ZSRS w Warszawie 1933 r.

37%

Kossowska I.

Roczniki Humanistyczne

|

2020

|

vol. 68

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issue 4

205-235

EN

The article analyses the critical reception of the Soviet art exhibition, which was organised at the Warsaw Institute of Art Propaganda in March 1933. The exhibition was in line with the tendency, which intensified in the 1930s, to highlight the cultural specificity of individual nation states through appropriately arranged exhibitions of native art, which travelled around Europe. The Warsaw exhibition of contemporary art of the USRR, brought from the 1932 Venice Biennale Internazionale d’Arte, can also be seen as an attempt to improve mutual relations between the Second Republic of Poland and the USSR in the context of the non-aggression pact signed on 25 July 1932. The proposal to show the exhibition to the Polish audience came from Boris Nikolayev, representing the All-Union Society for Cultural Relations with Foreign Countries, which was in fact an instrument of communist propaganda. The Warsaw exhibition enjoyed great interest among the audience. It was expected to present revolutionary, radically avant-garde art, coupled with the social and political goals of the Bolshevik revolution. Instead, the exhibition displayed proletarian art, which glorified the victorious communist system in a broadly conceived realistic convention. Most critics assessed the exhibition negatively, seeing it as a propaganda showcase of the USSR, not an all-inclusive representation of the Soviet art scene. For reviewers supporting the avant-garde, it was striking to see a break with the principles of revolutionary aesthetics. For commentators sympathising with neoclassicism, neorealism or colourism, the political profiling of the topics of the artworks on display was glaring. However, a general consensus was reached regarding the low artistic quality of the presented material. Commentators were looking for a style understood as an idiosyncratic unity of form and theme that would express the essence of the new political system of the USSR. The best testimony to the fact that they had not found such a style was Konrad Winkler’s conclusion: „The Lenin of the Soviet art has not yet been born”.

PL

Artykuł zawiera analizę krytycznej recepcji wystawy sztuki sowieckiej, która została zorganizowana w warszawskim Instytucie Propagandy Sztuki w marcu 1933 r. Ekspozycja wpisywała się w nasilającą się w latach 30. tendencję do akcentowania specyfiki kulturowej poszczególnych państw narodowych poprzez odpowiednio sformatowane wystawy sztuki rodzimej, podróżujące po europejskich ośrodkach. Warszawski pokaz współczesnej sztuki Kraju Rad, przywieziony z odbywającego się w 1932 r. w Wenecji Biennale Internazionale d’Arte, można zarazem postrzegać jako próbę poprawy wzajemnych relacji między II Rzeczypospolitą a ZSRS w kontekście podpisanego 25 lipca 1932 r. paktu o nieagresji. Propozycja pokazania ekspozycji polskiej publiczności wyszła od Borysa Nikołajewa, reprezentującego Wszechzwiązkowe Stowarzyszenie Łączności Kulturalnej z Zagranicą, będące de facto instrumentem komunistycznej propagandy. Warszawska wystawa cieszyła się olbrzymim zainteresowaniem publiczności. Spodziewano się sztuki rewolucyjnej, radykalnie awangardowej, sprzężonej ze społeczno-politycznym przewrotem bolszewickim. Tymczasem ujrzano sztukę proletariacką, opiewającą w realistycznej najczęściej konwencji wielkość zwycięskiego ustroju komunistycznego. Większość krytyków oceniła ekspozycję negatywnie, widząc w niej propagandowo sformatowaną wizytówkę Kraju Rad, a nie reprezentację sowieckiej sceny artystycznej. Dla recenzentów wspierających awangardę uderzające było zerwanie z pryncypiami rewolucyjnej estetyki. Dla komentatorów sympatyzujących z trendami nowego klasycyzmu, neorealizmu czy koloryzmu rażące było polityczne sprofilowanie tematyki prac. Konsensus osiągnięto natomiast odnośnie niskiego poziomu artystycznego prezentowanego materiału. Komentatorzy poszukiwali bowiem stylu rozumianego jako oryginalna jedność formalno-tematyczna wyrażająca istotę nowego ustroju ZSRS. Konkluzja Konrada Winklera brzmiąca: „Lenin sztuki sowieckiej jeszcze się nie narodził”, zaświadcza o tym, że takiego stylu nie odnaleźli.

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Strategia państwowej autoprezentacji: sztuka ZSRS w Warsza­wie 1933 r.

Strategia państwowej autoprezentacji: sztuka ZSRS w Warszawie 1933 r.