Search results - CEJSH

1

„Kościoły epoki żelaza i betonu”. Polska architektura sakralna ok. 1925-1930

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Burno F.

Biuletyn Historii Sztuki

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2009

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vol. 71

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issue 1-2

153-187

EN

The subject of this article is Roman Catholic temples constructed in the Second Republic of Poland during the second half of the 1920s. While from 1918 down to around 1925 modernised forms of historical styles had prevailed to no more than an insignificant degree in Polish church construction, from the middle of decade the search began for new formal spatial solutions. However, in the case of sacral architectural design more than any other, rather than a violent break with the past, it is necessary to talk in terms of an increasingly powerful influence of new concepts of form, construction and space.

2

Vídeňská moderna ve slovanských časopisech

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Kostrbová L.

Česká literatura (Czech Literature)

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2007

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vol. 55

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issue 2

218-231

EN

This review of Die Wiener Moderne in slawischen Periodika der Jahrhundertwende, a volume of essays from a two-day conference in Vienna in 2004. The reviewer divides the essays into two sections. The first comprises discussions of its reception in Russian periodicals (by Helga Ottinger, “Vesy,” Rosemarie Ziegler, “Severnyj vestnik,” Eva Hausbacher, “Mir Iskusstva,” Stefan Simonek, “Zolotoe runo,” and Fedor B. Poljakov, “Apollon”), which did not reflect the difference between Jungstes Deutschland and Jung-Wien, and the Wiener Moderne was therefore perceived as part of German culture. The second part considers the reception of the Wiener Moderne in periodicals published in Austria-Hungary (Stephan Simonek, “Literaturno-naukovyj visnyk,” Jolanta Krzysztoforska-Doschek, “Chimera,” Alois Woldan, “Zycie,” and Gertraude Zand, “Moderní revue”), where, by contrast, the polarity between Modernism of Vienna and Germany was distinctly perceived, owing, among other things, to the promotion of this polarity by the Austrian critic, novelist, and playwright Hermann Bahr (1863–1934).

3

Od Redakcji

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Cieślak-Sokołowski T.

Poznańskie Studia Polonistyczne. Seria Literacka

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2014

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issue 24

7-9

EN

Introduction to the theme of the journal: "Renewal of modernism".

4

Performerzy nowoczesności. Rec.: Magdalena Popiel, Świat artysty. Modernistyczne estetyki tworzenia. Kraków 2018

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Brzozowska S.

Pamiętnik Literacki

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2020

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vol. 111

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issue 3

235-242

PL

Tekst jest recenzją książki Magdaleny Popiel „Świat artysty. Modernistyczne estetyki tworzenia” (Kraków 2018), a zarazem próbą prześledzenia konstrukcji intelektualnej, będącej obiecującym wariantem kulturowej historii literatury – historii historii tworzenia. Autorka kieruje uwagę odbiorcy na samego artystę, na jego głos ujawniający się także poza artefaktem – w listach, dziennikach, autobiografiach, a zatem „Świat artysty” stanowi próbę opisania tych osobowości twórczych, u których aktywność artystyczna ściśle splata się z refleksją tożsamościową zawartą w literaturze dokumentu osobistego. Performerami nowoczesności w narracji Magdaleny Popiel są Rainer Maria Rilke, Paul Cèzanne, Auguste Rodin, Georg Simmel, Bruno Schulz, Stanisław Witkiewicz i Stanisław Ignacy Witkiewicz, czytani przez pryzmat myśli Petera Sloterdijka czy Julii Kristevej.

EN

The text reviews of Magdalena Popiel’s book “Świat artysty. Modernistyczne estetyki tworzenia” (“The World of the Artist. Modernist Creative Aesthetics”, Kraków 2018) and also attempts at tracing the intellectual construction that is a promising variant of cultural literary history—the story of the history of creative process. The author directs the receiver’s attention to the artist himself, to his voice that becomes audible also outside the artifact—in letters, diaries, autobiographies; thus “The World of the Artist” attempts to describe those creative individuality in whom artistic activity is closely linked to identity reflection contained in personal document literature. Performers of modernity in Magdalena Popiel’s account are Rainer Maria Rilke, Paul Cézanne, Auguste Rodin, Georg Simmel, Bruno Schulz, Stanisław Witkiewicz, and Stanisław Ignacy Witkiewicz, all read through the prism of Peter Sloterdijk or Julia Kristeva.

5

The ‘cathedral’ - a pathos formula of modernism :

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Männig M.

Umění (Art)

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2019

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vol. 67

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issue 4

294-303

EN

The article emphasizes the Gothic Cathedral as one of the key concepts in Hans Sedlmayr’s art historiography. Two different theoretical approaches structure the analysis: First, Aby Warburg’s pathos formula and second, Claude Lévi-Strauss’s floating signifies While the latter helps to map out the multiplicity of different meanings attributed to the cathedral-metaphor eventually pointing forward to a utopian future and backwards into a romanticized past, the former provides a model for cultural development which is organized between the two different poles, migration and the afterlife. The study identifies Sedlmayr’s idea of the cathedral to be based on the Romanticist notion of an aesthetic church’, which proves the critic unimmunized against the subject of his criticism. Sedlmayr’s thought subsequently can be contextualized with both modern art theory and artistic practice. By carving out the contrast between fragment and totality as the two opposing visual principles indicating Gothic-ness, the text, therefore, does not only propose a rereading of Sedlmayr’s work but also proposes a fresh interpretation of a selection of artworks dealing with the cathedral-topos. With a focus on painting, the article exemplarily discusses works from Karl-Friedrich Schinkel, Moritz von Schwind, Claude Monet, and Jackson Pollock but also from Lyonel Feininger and Le Corbusier.

CS

Článek upozorňuje na jeden z nejdůležitějších pojmů v umělecké historiografii Hanse Sedlmayra, jímž je gotická katedrála. Při jeho analýze jsou uplatněny dva teoretické přístupy, nejprve formule patosu Abyho Warburga, poté „plovoucí označující“ Clauda Léviho-Strausse. Zatímco přístup Léviho-Strausse pomáhá vytvořit přehled mnoha různých významů připisovaných metafoře katedrály, ukazující kupředu k utopické budoucnosti, nebo zpět do romantizované minulosti, Warburgův poskytuje model kulturního vývoje, který probíhá mezi dvěma odlišnými póly, migrací a přežíváním. Studie zjišťuje, že Sedlmayrova idea katedrály je založena na pojetí „estetického chrámu“ vycházející z romantismu, a dokazuje, že jako kritik nebyl imunní vůči předmětu své kritiky. Sedlmayrovo uvažování může být následně uvedeno do souvislosti jak s teorií moderního umění, tak s uměleckou praxí. Text vystihuje kontrast mezi fragmentem a totalitou jako dvěma protichůdnými vizuálními principy, které jsou známkou gotičnosti, a nenavrhuje tak jen přezkoumání Sedlmayrova díla, ale také novou interpretaci vybraných uměleckých děl vztahujících se k toposu katedrály. V článku zaměřeném na malbu jsou exemplárně probrána díla Karla-Friedricha Schinkela, Moritze von Schwinda, Clauda Moneta a Jacksona Pollocka, ale i Lyonela Feiningera a Le Corbusiera.

6

Zofia Wojnarowska. Poetka dla dzieci – poetka miłości – poetka rewolucji

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Zawiszewska A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2018

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issue 32

57-74

EN

The article discusses Zofia Wojnarowska’s (1881-1967) biography and poetry which were representative of the life path and artistic career of many other active Polish poetesses at the turn of the 19th century. The output of Wojnarowska, who made her debut in the period of Young Poland and reached her artistic maturity in the interwar period, expresses a typical situation of an artist–epigone whose mediocre talent looks for its own expression and place in the literary Parnassus in the time of, important for the national community, political, economic and cultural changes. Political facts like the country’s occupation, World War I and a difficult process of the restoration of an independent country influenced the judgments of Polish critics who rarely applied esthetic criteria to the evaluation of poetesses’, including Wojnarowska’s, output and instead appreciated their subordination to the following functions: didactic (in children’s poetry), expressive (in love poetry) and ideological (in the poetry of proletarian revolution). The situation in which systemic and individual factors like the emancipation of women, the crystallization of literary professions literary critics’ lenient approach to the artistic output of women and the ease of writing overlapped, the need of success and ideological engagement, on the one hand, made it difficult for women writers to improve their own work, to function in higher mainstream and to play the roles of culture creators and, on the other hand, made it easier for them to function in the popular mainstream and play a role of literary craftsmen.

7

Wędrówki po definicjach.Znaczenia terminów „nowoczesny”/„nowoczesność”/„modernizm”

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Stanford Friedman S.

Poznańskie Studia Polonistyczne. Seria Literacka

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2014

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issue 24

119-144

EN

The main task of the present article is to characterize the changing perspectives in the description and definition of modernism and modernity in a reciprocal relationship of these two categories. The creation of definitions is described here as a processes of fictionalization with a generational viewpoint of scholars. Moreover, the article indicates the difference between a nominal and a relational mode of defining and the question of institutionalization of knowledge within the framework of definition projects. Such research perspectives lead to the conclusion about dialogical and at the same time contradictory character of historical formations of phenomena to which the studied terms allude.

8

W kręgu Tadeusza Kudlińskiego: Wiesław Gorecki

86%

Zdunik M.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

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2018

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vol. 18

200-210

RU

Three one-act plays – 'The Elevator', 'The Rebellion' and 'The Freud' – written by Wiesław Gorecki are analysed in the paper. These plays were premiered in 1934 by a theatre group Mikroscena, founded by Tadeusz Kudliński. In my opinion, Wiesław Gorecki’s dramas are examples of modern aesthetics (as defined by Richard Sheppard). We can read these works as a poetic drama ('The Elevator'), the Ibsenesque psychological theatre ('The Fraud') and a game with scenic illusion in the style of Pirandello ('The Rebellion'). Finally, I created a new term for Goreckis’ plays: 'miniature, light and bourgeois modernism'.

EN

Three one-act plays – 'The Elevator', 'The Rebellion' and 'The Freud' – written by Wiesław Gorecki are analysed in the paper. These plays were premiered in 1934 by a theatre group Mikroscena, founded by Tadeusz Kudliński. In my opinion, Wiesław Gorecki’s dramas are examples of modern aesthetics (as defined by Richard Sheppard). We can read these works as a poetic drama ('The Elevator'), the Ibsenesque psychological theatre ('The Fraud') and a game with scenic illusion in the style of Pirandello ('The Rebellion'). Finally, I created a new term for Goreckis’ plays: 'miniature, light and bourgeois modernism.

9

Jej Miriam. Wilhelminy Zyndram-Kościałkowskiej refleksja nad koncepcją sztuki i kultury Zenona Przesmyckiego

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Osiński D. M.

Przegląd Humanistyczny

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2017

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vol. 61(4 (459))

125-138

PL

The article attempts to present the stages of Wilhelmina Zyndram-Kościałkowska’s approach to reflection on Miriam’s understanding of aesthetic and artistic principles. A critical diagnosis related to the understanding of art and culture by Zenon Przesmycki is possible due to observation of Kościałkowska’s holistic reflection on the concept of culture and modernist literature (including the essence of translation, the meaning of modernist art, drama specificity and the concept of “art for art”) contained in manuscript intimist collections. The analysis includes diaries, notes, “extracts” from life and people, calendars kept throughout the life of the Grodno writer deposited in the Lithuanian State Historical Archives in Vilnius. The method of examination and the nature of the approach are defined by the author of the article as a coffin portrait.

10

Why the Olympic Modernism is more than Sport?

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Pawłucki A.

Physical Culture and Sport. Studies and Research

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2009

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vol. 47

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issue 1

117-124

EN

Olympic sport is a symbolic response to the literal evil of war. It establishes peace in its own way as there is always a need to redeem the evil of war. Sport is not what the mindful journalists think - a gathering of pagan mob, festival of youth or vanity fair of business traders. If, however, Olympic modernism ever became its own negation in the form of a spontaneous movement of liberation from moral constraints, legitimised by postmodern ideology, it would be a negation of the ethical ideal of friendship, i.e. it would be collective defiance of order as ordo amicitia pro pace. In consequence, Olympic modernism would deprive itself of the idea of universal good and lose its inherent order-making potential. Whoever then becomes a part of the motley movement against oneself, in which all standards of moral life in love are replaced by liberal aesthetic expressions, he or she becomes incomprehensible to oneself and others, like the proverbial black sheep in a family. Beware the poor in Olympic spirit of peace, as they will never be granted friendship. It will be a great loss to them as well as to the entire Olympic family. The Olympic Games of Peace must last as long as there are wars. The primary cause of Olympic sport is the experience of the evil of war. Olympic modernism uses sport as the foundation of its symbolic affirmation of the idea of friendship. It has not created sport, but has taken a great advantage of it, using the physical cultivation and the moral formation of the mighty sport club for free play (ludic sport) or paid play (professional sport). Although the Olympic costs are high, despite all the expenses, it is a highly profitable cultural enterprise. The order of friendship for peace, known as Olympic modernism, not only banishes the spectre of hatred but also provides culture with sanctity, making everybody's life more perfect.

11

David Jones and the Self-Conscious Uses of Tradition

80%

Potter M.

Romanian Journal of English Studies

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2013

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vol. 10

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issue 1

263-270

EN

This paper will explore the way that the poetry of David Jones, while generally recognised as being modernist, nevertheless promotes a continuation of the Western literary tradition (as opposed to more revolutionary strands of modernism), but does this while introducing a self-conscious understanding of the role and workings of tradition, an element lacking in pre-modern traditional literature. Other figures with a similar interest in the viability of a self-consciously understood practice of (literary or philosophical) tradition, in continuity with pre-modern tradition, but in modern conditions (Thomas Mann, John Henry Newman, Alasdair MacIntyre), will also be discussed.

12

„Próżne nam były Kasandry wołania”. O wybranych inspiracjach antykiem w twórczości Wincentego Korab-Brzozowskiego

80%

Borek B.

Studia Ełckie

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2019

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vol. 21

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issue 2

275-292

EN

The article on the presence of ancient inspirations in the writings by Wincenty Korab-Brzozowski’s focuses on recalling mythical figures in his poetry, prose and paraphrases of this author. The analysis of selected works proceeded with the use of a comparative method – a juxtaposition of Young Poland’s works with ancient applications, which became patterns for the poet. The interpretations made indicated alike faithful use of the texts of the old masters, and attempts to transform these narratives, when the poet was interested in passing on the content important to him.

13

Sensorial Aesthetics: Cross-Modal Stylistics in Modernist Fiction

80%

Salmose N.

Text Matters: A Journal of Literature, Theory and Culture

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2020

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issue 10

321-335

EN

This article argues that modernist fiction pointedly involves all our senses as part of its reaction to the project of modernity and progress, as well as to Victorian realism; it is not just a response to a heighted sensibility towards new soundscapes, new perceptions of motion and new olfactory experiences in the aftermath of industrialization and modernization. This “rebellion” involves a shift of focus from outer, rational and objective reality to inner, irrational and subjective consciousness, which drives the emphasis on emotional and sensational experience. The article suggests that in light of recent important developments in cognitive, psychological and neurological research, as well as in affect studies and intermedial and multimodal studies, there is reason to revise modernist stylistics. This could predominantly be done within the theoretical field and taxonomy of intermediality, as proposed by Lars Elleström. The latter half of the article discusses some textual modernist samples to more convincingly establish a theory of modernist sensorial aesthetics.

14

Modernismus a Brentanova koncepce etiky

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Pauza M.

Filosofický časopis (Philosophical Journal)

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2008

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vol. 56

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issue 3

363-371

EN

This articles attempts to confront “modernism” with Brentano’s rationalism, or rather his “rational theism”, especially as it is found in the work “On the origin of moral knowledge” in which ethical questions are closely linked to problems of religion. “Modernism” we characterise as basically an attempt to emancipate humanity by the power of a presuppositionless, critical Reason, which considers, in a new way, questions which were still “taboo” even during the enlightenment. In Brentano we start from the concepts of God and Love. In understanding them a whole raft of epistemological and methodological theses are involved, characteristic of Brentano practically from the time of his Psychologie… until his late work. One of our key conclusions is that Franz Brentano remained, with his rationalist belief in Providence, a critical follower of G. W. Leibniz and a “classic” modernist of the second half of the nineteenth century and the beginning of the twentieth.

15

Krytyka modernizmu i integryzmu w personalizmie chrześcijańskim

80%

Witko K.

Studia Pastoralne

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2018

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vol. 14

288-302

EN

In the new and uncomfortable situation Christians sometimes adopt two equally ineffective attitudes: liberal modernism and religious integralism. Following Emmanuel Mounier (1905–1950) I start my analysis with a reflection on “the space” of modernism – a situation of a Christian subjected to “the world outside”, a victim of alleged modernity and scientistic rationalism. Next I analyse religious integralism, which is blind acceptance of doctrines and articles of faith without any proof. This attitude approves, to some extent, the status quo and treats it as something irreversible. In my conclusion I present my conviction that the area of personalistic thinking is Christianity rooted in the Paschal mystery of Christ and at the same time involved one, participating in human affairs, open to the question of meaning of human existence.

16

“Each of Us Has a Thousand Lives”: Fragmented Selves in the Stories of Nadine Gordimer

80%

Pawlicki M.

Academic Journal of Modern Philology

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2023

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issue 19

EN

The aim of the article is to contribute to a critical debate on the modernist influences in Nadine Gordimer’s short fiction by exploring her understanding of human identity in early stories (“In the Beginning” and “The Talisman” (1949)) and showing how this understanding influenced her later works (“The Correspondence Course” (1984)). It is argued that her early stories are informed by two views on identity: one continuous, coherent, and unitary, the other discontinuous, fragmented, and multiple. The latter notion of selfhood is closely associated with Gordimer’s conception of the short story as a form uniquely qualified to describe the tensions and ruptures in the lives of her characters. As it is shown, this insight into the short story, discussed at length in Gordimer’s essay “The Short Story in Africa” (1968), was derived from post-Enlightenment and post-Romantic conceptions of the self, as expressed by the modernist writers that Gordimer read extensively in her youth. The notion of a non-unitary and non-homogenous self is then applied in an analysis of a later story that concentrates on the political development of a character. In this way, the article proceeds from non-political to political stories, making a connection between topics that are seldom juxtaposed by Gordimer’s critics.

17

O pochodzeniu narodów. Między prymordializmem a modernizmem

80%

Migalski M.

Political Preferences

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2017

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issue 15

135-143

EN

The essay concerns issue of origin of the nations. Author presents discussion about when nations were „discovered”. The main topic is dedicated dispute between main scientific approaches represented by primordialism, modernism, ethnosymbolism and perenialism. Author presents all of them and in the conlusions takes a stand in this discussion as a moderate modernist, who accepts some ideas of ethnosymbolism.

18

Diskursi feminizma i modernizma u esejima Julke Chlapec Đorđević i Jele Spiridonović-Savić

80%

Đurić D.

Poznańskie Studia Slawistyczne

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2014

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issue 6

EN

I start from the definition of Serbian Yugoslav bourgeois culture as a semi-peripheral and having this in mind, I tend to analyze the essays by Julka Chlapec Đorđević and Jela Spiridonović-Savić, from the perspective of the world systemic theories applied to literature.

19

Przekład jako metonimia

80%

Brzostowska‑Tereszkiewicz T.

Między Oryginałem a Przekładem

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2012

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vol. 18

59-73

EN

The article presents one of the avant‑garde (antimimetic) models of literary translation which developed in differing artistic and ideological national variants of literary Modernism in the first decades of the 20th century. A metonymical translation can be defined as an effect of purposeful, artistically conscious and manifestly arbitrary hiperbolization of some particular “constructional device” of an original in translational analysis and interpretation. The avant‑garde conceptualisation of translation as a metonymy of an original appears as one of the crucial exponents of Modernist revolution in translational theory and practice as well as a manifestation of modern cultural self‑consciousness.

20

Partykularne i uniwersalne w literaturach narodowych

80%

Masłowski M.

Postscriptum Polonistyczne

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2016

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issue 2(18)

125-134

EN

Opposition between the notion of universalism, created in the age of Enlightenment and the Romantic tradition, which dominates in Central Europe is discussed in the article. Universalism is understood as the process of emancipation of man, but at the same time, in countries ‘between Russia and Germany’ it is also understood as the rule of adherence. In the Romantic tradition there is the symbolic extrapolation of historic experiences and the use of metaphors that have ethical universalism, both of which are described by the author in this article. The understanding of culture as a spiritual sphere w hich unites the national spirit was destroyed in the 20th century due to totalitarianism, but this grotesque tragedy from our absurd history has created ‘anti-modern modernism'.

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