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EN
The submitted article is based on a fragment of a thesis entitled “The Image of the Roma and Artistic Bohemia in the Literature of the Young Poland”. The subject matter of the research is the description of two communities living in the period of the Young Poland: the Roma people, and Bohemians. The adopted research method embraces the range of broadly defined anthropological research, including analysis and interpretation of texts in a cultural context, and, above all, various aspects of life referring to Bohemians and the Roma community in Poland at the turn of the 19th and 20th centuries. The research objective of this article is to show the similarities and differences between Bohemians of the Young Poland and the Roma living in this period, concerning originality of their lifestyle, customs, outfit and other phenomena. The in-depth analysis of the life aspects of the Roma and Bohemians from the Young Poland has demonstrated the similarities and differences between the two groups. They both functioned as “others” who had no relationship with the society. They were accompanied by a sense of loneliness, outsiderness, consciousness of rejection, tragedy of their situation and a sense of incomprehension and injustice.
EN
The present study aims to put together the archaeological data known up to date about the Minice hillfort and its immediate hinterland. Archaeological sites, pottery scatters and single objects found within a four- -kilometre perimeter of the hillfort were collected and their approximate location marked on the GIS based map together with refined excavation plans from the 1970s and 1980s. The current knowledge of the site was further extended by a small -scale field survey and metal detector prospection on and around the hillfort, with the preliminary result of season 2015 and 2016 included in the text.
EN
This article explores the Berlin period in the life and work of Stanisław Przybyszewski (1889-1898), one of the most famous writers of Young Poland, particularly focusing on why Przybyszewski - a writer debuting works in German and considered by scholars a Polish-German writer - came to increasingly depreciate his participation in the literature of his Western neighbors. In his memoirs, published before his death, he categorically stated: „I owe German literature - absolutely nothing”. In this essay, the researcher examines the circumstances in which Przybyszewski shone as a writer in the Berlin bohemian circle. Next, she shows how he discredited the entire cultural life of Jung-Deutschland, and renounced his artistic ties established in Germany. Finally, she speculates on why Przybyszewski created an unfavorable image of the German community at the end of the 19th century, and indicates that this process went hand in hand with the self-creation of a Polish writer.
EN
At first, earlier ideas of the relationship between man and nature within the American culture are concisely restated: above all, the transcendentalist view upon this relationship, expressed by Emerson and Thoreau, and then basically questioned from the perspective of existential alienation or cognitive skepticism (Poe, Dickinson, Crane). Then, American counterculture, in the literary/artistic sense represented by the Beats and later by the Hippies, is presented, both in its unfortunate attempt at returning to Emerson’s concept of divine harmony between man and nature and in its literary/artistic representatives being alienated in the “disenchanted world” of the mid-20th century America (see at least by Kerouac’s Big Sur or Easy Rider, a classic film of the Hippie era). Eventually, an analogy is suggested between Kerouac and his Polish acolyte, Edward Stachura (chronologically belonging to the Hippie generation), who showed in his writings hypersensitive individuals, fatally alienated both from nature and humanity – which, ultimately, was hardly the case with the Beats or their Hippie followers.
PL
Na początku dokonano skrótowej rekapitulacji historycznych poglądów na temat natury w literaturze i kulturze USA, ze szczególnym naciskiem na poglądy transcendentalistów amerykańskich (Emerson, Thoreau), później zakwestionowane z perspektywy, romantycznego dekadentyzmu, naturalizmu czy też egzystencjalizmu i właściwego mu sceptycyzmu poznawczego (Poe, Dickinson, Crane). W części zasadniczej ukazano amerykańską kontrkulturę XX wieku – w sensie artystycznym i literackim reprezentowaną najpierw przez beatników, a później przez hipisów – niezdolną do powrotu do Emersonowskiej koncepcji boskiej harmonii między człowiekiem i naturą oraz dramatycznie wyalienowaną w “odczarowanym świecie” cywilizacji amerykańskiej połowy XX wieku (patrz powieść Kerouaca Big Sur albo Easy Rider, sztandarowy film epoki hipisowskiej), Pod koniec zarysowano analogię między Kerouacem a jego polskim wyznawcą Edwardem Stachurą, należącym raczej do pokolenia hipisowskiego – akcentując zarazem wymowne różnice między nimi.
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