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Życie codzienne w Gimnazjum Wotyńskim w Krzemieńcu (1805-1831).

100%
Danowska E.
Res Gestae. Czasopismo Historyczne
|
2003
|
vol. 2
145-156
PL
The article presents the customs in one of the most famous Polish secondary schools at the beginning of the 19th century, namely Volyn Gymnasium in Krzemieniec, in the Russian partition of Poland. The schooTs founder was Tadeusz Czacki in cooperation with Hugo Kołłątaj . Apart from briefly presenting the Polish system of education, the article dwells on school customs connected with opening and ending of the school year, and pupil organisations. The daily Schedule is taken into account, as well as entertainment, problems and particulars constituting the essence of the school pupils’ everyday living - accommodation, food, schooleąuipment, and dress. The author also discusses teacher-pupil relations, reąuirements, discipline, punishment system and the conduct of the school authorities and pupils during Napoleonie wars. Additionally, it mentions the fact that diaries kept by the Krzemieniec school pupils reflect the aura of the school and they express sentiment towards the school held by its graduates.
2
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Wołyński raj techniczny. Tymon Zaborowski i „ogród przedziwny” ruskiego czarownika Jamedyka Bluda bohatera poematu bohaterskiego „Zdobycie Kijowa”

85%
Stankiewicz-Kopeć M.
Prace Filologiczne. Literaturoznawstwo
|
2011
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issue 1(4)
205-217
EN
A heroic poem The Capture of Kiev (1818) by Mickiewicz’s contemporary, Tymon Zaborowski, the graduate of the Volhynian Gimnasium (based on Boleslaw the Valiant’s Kiev expedition) appears to be an interesting record of literary imagination as well as aesthetic and cultural awareness of the author of the transitional period. This reflection primarily refers to these fragments of the poem which concern the Ruthenian sorcerer Jamedyk Blud − the teacher of Vladimir the Great’s sons and an ally of Yaroslav in the battle with Polish people, as well as his extraordinary island-garden. Jamedyk Blud’s island presented in The Capture of Kiev is not only an idyllic depiction of a paradise on earth, another mythological vision of the Fortunate Isles, or a Volhynian Arcadia −poetically realized according to the principles of the contemporary art of gardening. Blud’s extraordinary island created by Zaborowski has another nature since it is also the “garden of experiments”, the “garden of technical tests”. This kind of vision results from technical, mechanical and physical fascinations held by Zaborowski and his friends from Kremenets. From today’s perspective, it is this technical aspect of Jamedyk Blud’s residence that appears to be a particularly interesting record of Zaborowski’s wide-ranging fascinations as for the author of the transitional period.
3
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Krzemieniec w oczach Słowackiego. Reminiscencje epistolarne

85%
Bojko P.
Świat i Słowo
|
2022
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vol. 38
|
issue 1
191-205
EN
For Julius Slovacki, Krzemieniec [a town in Ucraine] is primarily his hometown. In his letters to his mother, the poet often mentions this city and does it not from the point of view of a historic or educator. With his letters lurks a very different picture of Krzemieniec, subjective image, created with reminiscences of individual motives, places and people. It is in fact one of the many romantic scenes of the country of his childhood, with elements of custom, nostalgia for home and everything home grown.
4
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„Wspólne Dziedzictwo” jako kronika środowiska polskiego w Krzemieńcu

80%
Gołota J.
Studia Ełckie
|
2013
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vol. 15
|
issue 3
321-334
EN
The article analyzes the content of the Polish journal Common Heritage („Wspolne Dziedzictwo”) published in Krzemieniec (Ukraine) in 2001-2004. The considerations are divided into four subject fields: the presentation of the journal, the religious life of the Polish Catholic community, the Polish historical and cultural past, and the daily life of Krzemieniec and its inhabitants. The main part of texts traces and searches for a place of the Polish community of 220 persons in the town of 22,000 inhabitants, and refers to issues which bring to-gether or differ from each other the Polish and Ukrainian nations, even the veiled case of the Wolyn slaughter which is usually eliminated from every day conversations.
5
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Między egzaminem a widowiskiem. Uczniowskie popisy publiczne na przykładzie Gimnazjum/Liceum Wołyńskiego

80%
Buczek K.
Pamiętnik Teatralny
|
2017
|
vol. 66
|
issue 1-2(261-262)
49-66
EN
Public examinations, known as “demonstrations” [popisy], organised at the Volhynian Gymnasium and Lyceum in Krzemieniec referred to a centuries-old educational tradition. Set up at the end of the school year, following internal examinations, the results of which determined whether the students got promoted to the next grade or not, they were meant to advertise the school but also to spread knowledge. Their spectacularity, however, was also an important factor, especially that the audiences, made up of the students’ family members and people living in Krzemieniec, lacked the education to fully appreciate the scholarly merits of the demonstrations. The students were behaving like artists. In the great hall of the school, they walked onto a podium, which resembled a stage, and recited answers to questions they knew in advance. Diary accounts bear evidence that the public examinations were a kind of entertainment for people living in Krzemieniec and its vicinity and were eagerly awaited for all year long.
6
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Podziwiać i chronić. Wysiłki konserwatorów, publicystów i artystów na rzecz zachowania architektury wernakularnej Krzemieńca

71%
Cyniak P.
Ochrona Zabytków
|
2019
|
issue 1
9-34
PL
W okresie dwudziestolecia międzywojennego można zaobserwować wzrost zainteresowania architekturą drewnianą Krzemieńca. Stanowiła ona wówczas nie tylko istotny temat poruszany w tekstach wspomnie¬niowych i publicystycznych, ale równocześnie jeden z kluczowych mo¬tywów pojawiających się w malarskich i graficznych przedstawieniach wołyńskiego miasteczka. Zachwytom literatów, publicystów i plastyków towarzyszyła także coraz bardziej pogłębiona refleksja nad kierunkami ochrony drewnianego dziedzictwa. Historyczne centrum Krzemieńca uznano za rezerwat konserwatorski. Na łamach „Życia Krzemienieckie¬go” rozgorzała dyskusja nad postulowanymi metodami i skalą profesjo¬nalnej ochrony konserwatorskiej zabytkowego centrum miejscowości, czego wyrazem są teksty publicystyczne analizowane w niniejszym arty¬kule. Lokalni społecznicy, dostrzegając świadectwa degradacji krzemie¬nieckiego pejzażu architektonicznego, podejmowali próby uwrażliwienia mieszkańców na estetyczne walory tradycyjnej zabudowy. W 1937 r. Krzemieniec odwiedził Generalny Konserwator Zabytków – Wilhelm Ka¬rol Henneberg. Wizyta ta zaowocowała podpisaniem czteropunktowego programu konserwatorskiego zabytkowej dzielnicy miasteczka. Nie po¬przestano jedynie na sformułowaniu urzędowych wytycznych. W okresie międzywojennym – dzięki funduszom publicznym – w miasteczku pro¬wadzono prace konserwatorskie, obejmujące zarówno zabytki architek¬tury monumentalnej, jak i wybrane domy mieszczańskie. Krzemieniecka akcja konserwatorska została w brutalny sposób przerwana we wrześniu 1939 r. W czasie II wojny światowej omawiany zespół architektury drew¬nianej zniknął z powierzchni ziemi. Świadectwem jego istnienia są już tylko międzywojenne fotografie, teksty publicystyczne i prace plastyczne.
EN
During the interwar period there was a growing interest in the wooden architecture of Krzemieniec. At that time, it was not only an important issue discussed in memoirs and journalistic texts, but also one of the key motifs appearing in the paintings and graphic representations of the Volhynia town. The admiration of writers, publicists and artists was also accompanied by a deeper reflection on the directions of protec¬tion of the wooden heritage. The historical centre of Krzemieniec was declared a conservation reserve. In “Życie Krzemienieckie” magazine there was a discussion on the postulated methods and scale of profes¬sional conservation protection of the historic centre of the town, which is reflected in the journalistic texts analysed in this article. Recogniz¬ing the evidence of the degradation of the architectural landscape of Krzemieniec, local community activists made attempts to sensitize the residents to the aesthetic values of traditional architecture. In 1937 Krzemieniec was visited by Wilhelm Karol Henneberg, the General Monuments Inspector. This visit resulted in the signing of a four-point conservation programme for the historic district of the town. It was not confined to the formulation of official guidelines. In the interwar period, on the basis of public funds, monument protection works were carried out in the town, including both monumental architecture and selected burgher houses. The monument protection action in Krzemieniec was brutally interrupted in September 1939. During World War II, the dis¬cussed wooden architecture complex disappeared from the surface of the earth. The only evidence of its existence are interwar photographs, journalistic texts and art works.
7
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"Pokaz rybek magnetycznych”: Widowiskowa popularyzacja wiedzy w Gimnazjum/Liceum Wołyńskim w Krzemieńcu

71%
Buczek K.
Pamiętnik Teatralny
|
2019
|
vol. 68
|
issue 1
5-21
EN
Popularisation of knowledge in Volyn Junior/Senior High School in Krzemieniec (1805–1832) was one of the forms of teachers' activity. It enjoyed great fame among the local population, as a spectacle rather than on account of its intellectual value. It took place during the school year and during final public examinations (performances). Numerous audiences gathered at the experimental shows presented by Karol Jentz, professor of physics, as well as at practical gardening sessions conducted in the botanical garden by Karol Witzell, gardener. However, the school authorities had an ambivalent attitude towards this activity. On the one hand, the efforts of teachers were appreciated, on the other hand the spectacular nature of the shows raised serious reservations or even the reluctance of the superiors.
PL
Popularyzacja wiedzy w Gimnazjum/Liceum Wołyńskim w Krzemieńcu (1805–1832) była jedną z form działalności nauczycieli. Cieszyła się dużą popularnością wśród okolicznej ludności, nie tyle jednak ze względu na walor poznawczy, co na aspekt widowiskowy.  Prowadzona była w ciągu roku szkolnego oraz podczas egzaminów publicznych (popisów) na zakończenie nauki. Liczną publiczność gromadziły pokazy eksperymentów, prezentowane przez profesora fizyki Karola Jentza, a także nauka ogrodnictwa praktycznego prowadzona w ogrodzie botanicznym przez ogrodnika Karola Witzella. Jednak do tej działalności władze szkolne miały stosunek ambiwalentny. Z jednej strony  doceniano wysiłki nauczycieli, z drugiej widowiskowość pokazów budziła poważne zastrzeżenia czy wręcz niechęć zwierzchników.
8
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Między egzaminem a widowiskiem: Uczniowskie popisy publiczne na przykładzie Gimnazjum/Liceum Wołyńskiego

71%
Buczek K.
Pamiętnik Teatralny
|
2017
|
vol. 66
|
issue 1/2
49-66
EN
Public examinations, known as “demonstrations” [popisy], organised at the Volhynian Gymnasium and Lyceum in Krzemieniec referred to a centuries-old educational tradition. Set up at the end of the school year, following internal examinations, the results of which determined whether the students got promoted to the next grade or not, they were meant to advertise the school but also to spread knowledge. Their spectacularity, however, was also an important factor, especially that the audiences, made up of the students’ family members and people living in Krzemieniec, lacked the education to fully appreciate the scholarly merits of the demonstrations. The students were behaving like artists. In the great hall of the school, they walked onto a podium, which resembled a stage, and recited answers to questions they knew in advance. Diary accounts bear evidence that the public examinations were a kind of entertainment for people living in Krzemieniec and its vicinity and were eagerly awaited for all year long.
PL
Organizowane w Gimnazjum i Liceum Wołyńskim w Krzemieńcu egzaminy publiczne zwane popisami nawiązywały do wielowiekowej tradycji edukacyjnej. Organizowane na zakończenie roku szkolnego, po decydujących o promocji do następnej klasy egzaminach wewnętrznych, miały być z jednej strony promocją szkoły, z drugiej popularyzacją wiedzy. Jednak nie bez znaczenia była ich widowiskowość, zwłaszcza gdy gromadzący się widzowie – rodziny uczniów i mieszkańcy Krzemieńca nie mieli odpowiedniego wykształcenia, by ocenić i docenić walory czysto naukowe. Podczas popisów uczniowie zachowywali się jak artyści. W reprezentacyjnej sali szkoły wychodzili na podwyższenie – scenę i prezentowali wyuczone odpowiedzi na pytania, które wcześniej znali. Zachowane w pamiętnikach relacje świadczą o tym, że publiczne egzaminy były dla mieszkańców Krzemieńca i okolic rozrywką i atrakcją, na którą czekano cały rok.
9
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„Pokaz rybek magnetycznych”. Widowiskowa popularyzacja wiedzy w Gimnazjum/Liceum Wołyńskim w Krzemieńcu

70%
Buczek K.
Pamiętnik Teatralny
|
2019
|
issue 1(269)
5-21
EN
Popularisation of knowledge in Volyn Junior/Senior High School in Krzemieniec (1805–1832) was one of the forms of teachers’ activity. It enjoyed great fame among the local population, as a spectacle rather than on account of its intellectual value.It took place during the school year and during final public examinations (performances). Numerous audiences gathered at the experimental shows presented by Karol Jentz, professor of physics, as well as at practical gardening sessions conducted in the botanical garden by Karol Witzell, gardener. However, the school authorities had an ambivalent attitude towards this activity. On the one hand, the efforts of teachers were appreciated, on the other hand the spectacular nature of the shows raised serious reservations or even the reluctance of the superiors.
10

Karola Kaczkowskiego publiczne lekcje higieny w Liceum Wołyńskim

61%
Buczek K.
Rozprawy z Dziejów Oświaty
|
2016
|
vol. 53
11-25
EN
The article discusses the lectures on hygiene Karol Kaczkowski gave in the Volyn High School (Liceum Wołyńskie) in Krzemieniec. Kaczkowski graduated from Vilnius University where he studied under Józef Frank and Jędrzej Śniadecki. One of his main interests lied in the dissemination of medical knowledge. As a physician working in Krzemieniec, he began delivering lectures on hygiene and health to students and residents of the city and its vicinity. He continued to give them systematically until 1823/1824.
11
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Józef Pieniążek. Piewca rodzimego krajobrazu

57%
Marcinek R.
Ochrona Zabytków
|
2018
|
issue 1
167-194
PL
Józef Pieniążek (1888-1953), malarz i grafik, absolwent Akademii Sztuk Pięknych w Krakowie, w swej twórczości skupił się na dokumentowaniu zabytków i elementów ludowej kultury materialnej. Uczeń Leona Wyczółkowskiego, związany ze swym mistrzem przez całe życie, nie podążał za modnymi nurtami w sztuce, nigdy nie stał się – bo też się o to nie starał – modny. Ale dla konserwatorów zabytków, etnografów, badaczy krajobrazu kulturowego jego twórczość jest ważna. Pozostawił po sobie wiele udanych grafik (część zebrał w teki), wielką liczbę rysunków i akwareli. Na przełomie lat 20. i 30., z inspiracji Wyczółkowskiego, zainteresował się kulturą ludową. Zaczął utrwalać relikty dawnego stroju, zabytki tradycyjnej sztuki i architektury, często ukazywane na tle czystego jeszcze krajobrazu. Z profesorską skrupulatnością starał się wysublimować z powszechnego w jego czasach zasobu architektury ludowej obiekty najcenniejsze. W trakcie krajoznawczych wędrówek włożył dużo pracy w dokumentację regionalnych strojów, ginących zawodów, portretowanie ludzi. W 1937 r. opublikował we Lwowie tekę 40 barwnych kompozycji ukazujących stroje i typy górali, zabytki budownictwa, kultury i sztuki kościelnej i ludowej z rejonu Podhala, Orawy, Spiszu, Żywiecczyzny, Pienin, Sądecczyzny. W latach 1925-1938 uczestniczył w życiu artystycznym, brał udział w licznych wystawach, salonach i pokazach. Był aktywnym członkiem m.in. Związku Polskich Artystów Grafików.
EN
Józef Pieniążek (1888-1953) – painter and graphic artist, graduate of the Academy of Fine Arts in Cracow; in his work, he focused on documenting monuments and elements of folk material culture. Student of Leon Wyczółkowski, associated with his master throughout his life, did not follow fads in the art, he also never became – because he did not try too much – fashionable. However, for conservators of monuments, ethnographers, and cultural landscape researchers, his work is important. He left many good graphics (part of them compiled in portfolios), a large number of drawings and watercolours. In late 1920s and early 1930s, he became interested, inspired by Wyczółkowski, in folk culture. He began to perpetuate the relics of the old dress, the monuments of traditional art and architecture, often shown against the background of a clear landscape. With academic preciseness, he tried to sublimate the most valuable objects from the resource of folk architecture common in his times. During his sightseeing trips, he put a lot of effort into documenting regional costumes, disappearing professions, portraying people. In 1937 in Lviv, he published a portfolio of 40 colourful compositions featuring costumes and types of highlanders, architectural monuments, folk and sacral art and culture from the regions of Podhale, Orava, Spisz, Żywiec, Pieniny, Sądecczyzna. In 1925-1938 he participated in artistic life, took part in numerous exhibitions, salons and shows. He was an active member of the Polish Graphic Artists Association and other organisations.
12
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Unique Roman coins and medallions in the collection of the National Museum of Ukrainian History in Kyïv

36%
Bursche A.
Wiadomości Numizmatyczne
|
2008
|
vol. 52
|
issue 2(186)
167-181
EN
The Numismatics Department of the National Museum of Ukrainian History has in its keeping a little-known, but at the same time quite extensive and extremely interesting collection of ancient coins. Its core is formed by a collection which originally belonged to King Stanislaus Augustus. In its day it was the most magnificent Polish collection of coins and medals of recognized European rank. The collection went through rather complicated changes of fortune: e.g., by way of the Volhyn High School in Krzemieniec and Vilnius University it finally found it way to Kyïv. There it was initially kept at the University of Saint Vladimir as a part of coin room (Paweł Jarkowski, former librarian of the Krzemieniec High School was its organizor and keeper). Then it passed by the way of Peczersk Lavra to the National Museum of Ukrainian History. Until the Bolshevik Revolution it continued to grow, first through donations and acquisitions, and then also thanks to coins from excavations. Piercing or adding suspension loops was typical of gold Roman coins in the territory of Barbaricum, particularly those associated with the Dancheny-Brangstrup archaeological horizon (which linked the region of the lower Danube with Denmark by the way of Wielbark and Cherniakhiv cultures). These additional elements, as well as the domination of denarii from the time of the Antonines in the bulk of silver coins in the Kyïv collection, indicate that a part of this collection must have originated from local finds in the territory of the Polish-Lithuanian Commonwealth, and later from the area of Volhyn and Ukraine at large. Unfortunately, due to the fact that a vast part of the archives regarding the collection had perished or cannot be traced and the collection itself had become completely disorganised by numerous relocations and putting into hiding, it is usually impossible to establish provenance of specimens. There are, however, exceptions to this rule, and one of them is a quaternio of Licinius discussed in the article. Similarly, it is often difficult to determine whether the individual coins belonged to the collection of Stanislaus Augustus, or were acquainted later in Krzemieniec or Kyïv. Some of them must have been described in detail in handwritten catalogs prepared by F. Skarbek-Rudzki in the Volhyn High School in Krzemieniec and P. Jarkowski in the University of Vilnius. So far, these manuscripts have not been located in Kyïv archives. Some specimens from the Kyïv collection, especially the unique ones, can still be linked with J. Ch. Albertrandi’s descriptions of coins from the collection of Stanislaus Augustus. It is the case of four unique coins: an aureus of Septimius Severus, medallions of Valerianus and Licinius I and solidus of Valentinianus II; these specimens kept now in Kyïv colection must originate from the collection of the last Polish King (4 figures).
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