Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 10

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  Tatras
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

Zakryte Zaryte, czyli zakopiańszczyzna na styku kultur. Dygresje na marginesie lektury Witkacego

100%
Łoboz M.
Góry, Literatura, Kultura
|
2016
|
vol. 10
187-195
EN
The article is an attempt to describe the cultural phenomenon of Zakopane in the early 20th century on the basis of Witkacy’s Pożegnanie jesieni [Farewell to Autumn]. In the dynamic and multi-layered plot of his novel Witkacy, emotionally involved but also with his usual sarcastic and critical distance, presents a collection of characters who make up a collective model of a specific group of residents of Zakopane set against the background of a clearly defined mountain space (the action of the novel takes place in Zakopane). The key motifs of the novel correspond to the narcotic Zakopane demonism — a style characteristic of the Zakopane culture at the turn of the centuries and using the legend and creative capital of the Young Poland movement in the Tatras. An important pla­ne bringing together the protagonists’ sentimental sublimations in the novel is music as a universal form of art, using the power of sound, i.e. communication tool available to all sensitive recipients. Two protagonists compose and perform it (Żelisław Smorki and Prince Azalin Prepudrech), others listen to it. Smorski is a pupil of Karol Szymanowski (who lived in Zakopane at the time); the name of the composer recurs several times, which testifies to the author’s intention to make his literary fiction credible. The model of the protagonists’ pianistic interpretation also draws on the virtuoso method of Egon Petri, who in the inter-war period ran his own piano school in Zakopane.
2

„Na przełęczy” Stanisława Witkiewicza w syntezach dziejów literatury polskiej

100%
Wójcik W. A.
Góry, Literatura, Kultura
|
2016
|
vol. 10
173-185
EN
The overview, presented in the article, of opinions by historians of Polish literature about Witkiewicz’s writings about the Tatras, especially his flagship work — Na przełęczy [On a Mo­untain Pass] — clearly shows that most of them, comparing Witkiewicz’s oeuvre to that of other Polish writers at the time, appreciated his artistic and social significance, his role in building readers’ sensitivity to the beauty of the Tatra landscape, to the exoticism of the culture of Podhale highlanders. This seems to be the central idea of fragments of these studies cited in the article as examples. In addition, all of them — indirectly or explicitly — point to the untypical structure Witkiewicz’s book of the Tatras, hindering its genological typology and making it impossible to unequivocally assign it to a specific kind or genre of literature.
3

Motywy muzyczne w prozie tatrzańskiej Stanisława Witkiewicza

100%
Żmidziński J.
Góry, Literatura, Kultura
|
2016
|
vol. 10
155-172
EN
The musicality of Stanisław Witkiewicz’s Tatra prose has so far not been studied by scholars in any detail. Following Andrzej Hejmej’s findings, the present author focuses first on musicality I, i.e. the sound layer of the text, in which ahuge role is played by extensive quotations in dialect as well as fragments of songs. This reveals one of the key principles governing Witkiewicz’s text – the principle of contrast. Next, the author examines musicality II, i.e. the level of thematisation of music. Here of considerable importance are sound images of nature, silence as well as murmur of streams, sounds of wind and stone echoes, and even of fire. The expression Witkiewicz uses here is “great music of nature”. Just as often Witkiewicz refers to highlanders’ music, especially Sabała’s playing, though it is treated more like aform of archaic, wild expression than original aesthetic quality.
4

„Sezonowa miłość” Gabrieli Zapolskiej na pograniczu kultur z przełomu wieków

100%
Pigoń A.
Góry, Literatura, Kultura
|
2016
|
vol. 10
109-116
EN
The article is an attempt to present the divisions in Gabriela Zapolska’s Sezonowa miłość [Seasonal Love] focusing on two areas: the world presented and references to reality. The world presented is divided into space (opposition between city, nature and culture) and the protagonists. References to reality focus on the topography of both Zakopane and the Tatras.
5
Publication available in full text mode
Content available

Archaeological Reconnaissance Pre-Survey of the Lejowa and Kościeliska Valleys, Tatra National Park, Poland

75%
Brunswig R. H., Valde-Nowak P.
Acta Archaeologica Carpathica
|
2018
|
vol. LIII
6

Cepry w górach. Turystyka masowa w krzywym zwierciadle (do lat siedemdziesiątych XX wieku)

63%
Kolbuszewska E.
Góry, Literatura, Kultura
|
2018
|
vol. 12
225-236
EN
The sense of tourism lies in disinterested move from place to place for purposes relating to entertainment and exploration. In 1841 Thomas Cook organised a train excursion for 570 people in England and thus began the era of collective tourism. In the 20th century mass tourism became passive tourism. Such tourism does not require a lot of physical effort and the only thing tourists expect is appropriate transport, access to interesting sights and infrastructure that will satisfy their basic needs. Another characteristic of this type of tourism is the fact that participants do not have to organise their journeys themselves. It should be stressed, however, that in the 20th century tourism became a substantial social movement of great economic significance. Its essence can be defined in a concise formula: “maximum satisfaction with minimum personal effort”. As a result of economic changes in the interwar period, tourism became increasingly democratic, popular and accessible to the masses. The development of passive tourism, which as time goes by transforms itself into largescale mass tourism, can best be followed in the case of tourism in the Tatras. The Tatras, which were “discovered” quite late, became a tourist destination for an increasing number of people already at the turn of the 20th century. The number of tourists grew rapidly in the second half of the 19th century. However, the first visitors to the Podhale region and Zakopane were not very well prepared for excursions in the mountains. Such visitors were referred by the term “ceper” or lowlander, from the beginning having negative and, if not contemptuous then certainly disrespectful connotations. Its etymology is not known. The ignorance of non-highlanders, i.e. their naivety and inexperience, was quite irritating for the simple and intellectually uncomplicated, but “sharp” and cunning local inhabitants of the Podhale region. That is why lowlanders were often laughed at and ridiculed by them. Throughout the 20th century interesting sociological and cultural changes happened consistently and systematically in tourism. Initially tourists were representatives of the wealthier classes, but owing to the development of collective tourism tourists began to come from many other groups in society. As a result there emerged the problem of anthropogenic impact on the natural environment, which in turn increased the signifi cance of the problem of nature protection.
7

Tatry i Zakopane w doświadczeniu Jerzego Żuławskiego

63%
Straburzyńska-Glaner A.
Góry, Literatura, Kultura
|
2017
|
vol. 11
399-422
EN
The mountains, especially the Tatras, occupy a special place in Jerzy Żuławski’s life. As a place where one can escape from the noise and chaos of the civilised world, they become important as one of the most influential spaces shaping the creative personality of the mountaineering writer. The article is an attempt to examine the author of Trylogia Księżycowa (The Lunar Trilogy) from the perspective of a mountain hiker’s experiences. The present author analyses both memoirs and journals— which reveal to the readers a lesser known side of Żuławski, an experienced mountaineer, one of the co-founders of the Tatra Volunteer Search and Rescue and activist in Zakopane — and literary works, especially his lyrics, which reveal the writer’s wandering predilections and record his authentic experiences of mountain spaces. What emerges from these writings is a symbolic image of the mountains as an area of freedom (also political freedom), a place where God’s creative power is revealed, finally — a place of physical and mental liberation, requiring as much courage and fortitude as humility in confrontation with the primeval forces of nature. The author of the article, pointing to intertextual references and traces of literary and philosophical tradition (influence of Schopenhauer and Nietzsche, Spinozian pantheism, Romantic images), seeks to demonstrate the individuality of the writer, for whom the ultimate reference in his Tatra oeuvre is always an authentic experience of wandering.
8

Między impresją a Ideą. (Nie)zauważalne transgresje świetlne w tatrzańskiej poezji Kazimierza Przerwy-Tetmajera

63%
Bajda J.
Góry, Literatura, Kultura
|
2017
|
vol. 11
165-178
EN
The article is devoted to an analysis of the category of light in Kazimierz Przerwa-Tetmajer’s Tatra lyrics. The category is not unequivocally defined by the poet, nor is it combined by him with one natural source, yet in the case of the Tatra lyrics discussed in the article, it always appears in strictly defined types of images. According to the present author, the most intriguing, in terms of her perspective of interpretation, is the balancing between various ways of shaping poetic compositions by means of light. Thanks to the light transgressions referred to in the title, Tetmajer’s luminism serves varied aesthetic as well as semantic and ideological functions in creating mountain landscapes. In the article the author reconstructs how Tetmajer introduces light into his Tatra poems and points to three main types of the category: romantic-realistic (making the mountain space dramatic and theatrical), impressionistic-ornamental and symbolic (sensualist concepts of perceiving reality) as well as ideological-philosophical (context of idealistic and pessimistic philosophies).
9

„Ku Tatrom się wrócę”, czyli zakopiańsko-tatrzańskie transgresje w twórczości literackiej Mariana Maurizia

63%
Wójcik W. A.
Góry, Literatura, Kultura
|
2017
|
vol. 11
207-219
EN
Marian Antoni Maurizio-Abramowicz (1905–1996), agronomist engineer by training, skier and mountaineer by avocation, left Poland in 1939 and in 1942 settled in Spain, where he lived until his death. He spent his childhood and youth in Zakopane, where he moved in the local intellectual and artistic circles and among Podhale highlanders. Fascinated with the beauty of the Tatra landscape, highland folklore and the unique mental aura that emerged from this foundation — of the world of the mountains and people of the mountains — he cherished vivid memories of this throughout his stay abroad, memories strengthen by frequent visits to his homeland. He expressed this in his writings — poetry and prose. His oeuvre can be an excellent example of temporal transgression referred to the constant crossing of the boundary between the present and the past.
10

Literacka nieśmiertelność sióstr Lidy i Marzeny Skotnicówien

51%
Pigoń A.
Góry, Literatura, Kultura
|
2018
|
vol. 12
335-349
EN
On 6 October 1929 two teenagers from Zakopane, the sisters Lida and Marzena Skotnicówna, died tragically while trying to traverse the southern face of Zamarła Turnia. The accident became a permanent part of the history of mountaineering in the Tatras, especially of women’s mountaineering. It became an inspiration for many writers and journalists, who “immortalised” the Skotnicówna sisters, making them protagonists of poems and novels, but also expressing judgements on the legitimacy of women’s mountain climbing. The author of the article explores works commemorating and sometimes even mythologising the sisters. Her aim is, first of all, to illustrate the role of women’s expansion in mountaineering in the interwar period, expansion which — since it is still alive through the memory of its heroines — must have been significant; and to demonstrate various ways of writing not only about the Skotnicówna sisters as human beings, women, climbers, but also as female pioneers of mountaineering or even a phenomenon. The author’s method is based on a comparison of various literary and journalistic works and hermeneutical interpretation in a historical and social context, using the tools of geocriticism.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.