Search results - CEJSH

1

Still Life in 17th-Century Seville Painting

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Witko A.

Roczniki Humanistyczne

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2018

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vol. 66

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issue 4: Historia sztuki - Selected Papers in English

175-206

EN

The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 60 (2012), issue 4. Although still nature did not enjoy a lot of prestige as a genre of paining in 17th-century Seville, it still accompanied many scenes that had a religious or secular character. With time, it even gained an autonomous status and some popularity, resulting rather from decorative reasons. It was to be ensured by presenting various objects made by man, but also appetizing articles of food and beautiful, colourful flowers. It was in this convention that, among others, works by Francisco de Zurbarán and his son Juan, Francisco Barranco or Pedro de Camprobín y Passano were painted. A feature typical of Seville painting was also the use of the language of symbols in still lifes, especially in a religious context, as Zurbarán’s paintings. Historical circumstances connected with the spreading famine and the plague gave the still life a new function. It was to satisfy the longing for the lost wealth of life, showing tasteful and beautiful still lifes, like those in the works by Pedro de Medina Valbuena, Cornelio Schut and Andrés Peréz. The toll of the Black Death also inspired artists. However, they painted works emphasizing the briefness and futility of human life, didactic and moralizing, which culminated in the paintings by Juan de Valdés Leal and his son Lucas.

2

Rukopis P. Ivana a S. Ioanne Baptista „Rurale ivaniticum“ jako pramen ke studiu lidové kultury v Čechách 18. století

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Wolf J.

Studie o rukopisech (Manuscript Studies)

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2008

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vol. 36

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issue 2005-2006

229-242

EN

This article deals with the manuscript of a little known Baroque sermon called "Rurale Ivaniticum" from the Library of the Prague Crusaders. Its author is the forgotten Carmelite P. Ivanus a S. Ioanne Baptista. The main subject is the usefulness of the manuscript for the study of 18th century popular culture in Bohemia. The sermon by P. Ivanus a S. Ioanne Baptista was aimed almost exclusively at the lower class rural population. Hence the "Rurale ivaniticum" manuscript provides quite frequent examples of didactically intended folk sayings, as well as attacks on folk demonology and oneiromancy. It is from these parts of the manuscript that a merger of scholarly and folk culture clearly emerges.

3

Mieszkańcy Śląska na portretach graficznych z epoki baroku w zbiorach Muzeum Książąt Lubomirskich

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Błoch J.

Czasopismo Zakładu Narodowego im. Ossolińskich

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2020

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vol. 31

185-200

EN

In the collection of the Princes Lubomirski Museum, there are 49 portrait engravings, created in the years 1648–1780, showing the inhabitants of Silesia. Thirty- four of these graphics have never been presented as a single collection before. The purpose of this article is to describe who is depicted in these portraits and to give basic information on these objects.

4

Late Baroque Manuscript "Supplicant of the Sinner to the Lord Jesus". Eschatological Reflections

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Panasiuk J.

Colloquia Humanistica

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2018

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issue 7

EN

Late Baroque Manuscript Supplicant of the Sinner to the Lord Jesus. Eschatological ReflectionsThe scope of observations in this article will be concerned by Supplicant’s Song of the Lord Jesus(inc. "Jesus, my merciful ..."), belonging to the so-called the popular area. This text was found in a handwritten collection dated to 1744, belonging to the Discalced Carmelite Nuns in Krakow. In this song, we can identify - as a result of eschatological reflections - the idea of contemptus mundi (contempt of the world), originating from the middle ages. Późnobarokowy rękopis Supliki grzesznika do Pana Jezusa. Eschatologiczne refleksjeZakres obserwacji wyznaczy tu należąca do nurtu tzw. popularnego pieśń Suplika grzesznika do Pana Jezusa (inc. „Jezu mój litościwy…”). Tekst odnaleziono w rękopiśmiennym zbiorze datowanym na 1744 rok, należącym do biblioteki karmelitanek bosych w Krakowie. W pieśni – na skutek eschatologicznych refleksji - uobecnia się idea contemptus mundi (pogardy świata), wywodząca się z wieków średnich.

5

Between Baroque and the high Renaissance: two theoretical concepts in the thought of Max Dvořák

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Bottura F.

Umění (Art)

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2024

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vol. 72

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issue 4

356-366

EN

Within the historical-critical reflection advanced by Max Dvořák in the field of Geisteswissenschaften and cultural history, Italian art, and especially Italian Renaissance art, assumes a key role to an artist in his expression of the Zeitgeist in the age of profound transformations in the initiation of a “subjective” vision of the work of art with significant implications for the centuries to follow. Two major posthumous publications, edited by Dvořák’s students Johannes Wilde and Karl M. Swoboda, are devoted to the Renaissance: Geschichte der italienischen Kunst im Zeitalter der Renaissance, I and II. The first volume (1927) focuses on the 14th and 15th centuries, the second one (1928) on the 16th century, albeit with extensive spill over into the 17th century. The chronological division, and the choice to include the 14th century and in the same time excluding the 18th century, is significant for investigating related terms and concepts of the lectures. In particular, the distinction between “High Renaissance” (Hochrenaissance) and “Baroque” (Barock) will be examined in this in-depth study of Dvořák’s thought, focusing on Dvořák’s preparatory material for his university lectures, still preserved in the archive of the Institut für Kunstgeschichte of the University of Vienna. Through a renewed study of the mostly unpublished material derived from the courses conducted by Dvořák at the University of Vienna since 1902 until his death is possible to delineate more precisely what Dvořák meant by the concepts of “High Renaissance” and “Baroque” and to understand the theoretical ideas revolving around them.

CS

Max Dvořák prosazoval v oblasti Geisteswissenschaften a kulturních dějin historicko-kritickou reflexi, v níž zaujímá italské umění, a zejména italské renesanční umění, klíčovou roli pro umělce vyjadřujícího ducha doby (Zeitgeist) v období hlubokých proměn v počátcích „subjektivního“ pojetí uměleckého díla, které mělo významné důsledky pro následující staletí. Renesanci je věnována významná dvoudílná publikace Geschichte der italienischen Kunst im Zeitalter der Renaissance vydaná po Dvořákově smrti, editovaná jeho žáky Johannesem Wildem a Karlem M. Swobodou. První díl (1927) je zaměřen na 14. a 15. století, druhý díl (1928) na 16. století, byť s výrazným přesahem do 17. století. Chronologické členění spolu s rozhodnutím zahrnout 14. století a zároveň vyloučit 18. století jsou významné pro sledování souvisejících pojmů a koncepcí Dvořákových přednášek. Tato podrobná studie o Dvořákově myšlení zkoumá zejména rozlišení „vrcholné renesance“ (Hochrenaissance) a „baroka“ (Barock) a zaměřuje se při tom na Dvořákovy přípravné poznámky k univerzitním přednáškám, které se dochovaly v archivu Uměleckohistorického institutu (Institut für Kunstgeschichte) Vídeňské univerzity. Díky novému studiu převážně nepublikovaných materiálů pocházejících z kurzů, které Dvořák vedl na Vídeňské univerzitě od roku 1902 až do své smrti, je možné přesněji vymezit, co Dvořák rozuměl pod pojmy „vrcholná renesance“ a „baroko“, a pochopit teoretické koncepce, které se kolem nich odvíjejí.

6

Retoryka muzyczna baroku na przykładzie Psalmu XIII op. 27 Johannesa Brahmsa

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Bazelak M.

Kwartalnik Młodych Muzykologów UJ

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2018

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issue 4(39)

39-54

EN

The musical style of Johannes Brahms has long been known as influenced by music of the earlier epochs. Its references to techniques, forms and genres of the Renaissance and Baroque music and the elaborate use of the counterpoint were frequently analysed by musicologists. Less often, however, the potential relationship between word and music shaped by the rhetoric in the Baroque music was studied, something which was somewhat forgotten in the Romanticism. Brahms’ fascination with the past, which led the composer to study the 18th-century musical literature and treatises, enabled him to recognise many interesting aspects of the Baroque music. Like Bach and his contemporaries, Brahms used rhetorical figures in his early sacred works, e.g. Psalm XIII Op. 27.

7

The Musical Rhetoric of the Baroque on the Example of Johannes Brahms’ Psalm XIII Op. 27

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Bazelak M.

Kwartalnik Młodych Muzykologów UJ

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2018

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issue 4(39) ENG

41-57

EN

The musical style of Johannes Brahms has long been known as influenced by music of the earlier epochs. His references to techniques, forms and genres of the Renaissance and Baroque music and the elaborate use of the counterpoint were frequently analysed by musicologists. Less often, however, the potential relationship between word and music shaped by the Baroque music rhetoric was studied, something which was somewhat forgotten in the Romanticism. Brahms’ fascination with the past, which led the composer to study the 18th-century musical literature and treatises, enabled him to recognise many interesting aspects of the Baroque music. Like Bach and his contemporaries, Brahms used rhetorical figures in his early sacred works, e.g. Psalm XIII Op. 27.

8

Латинська мова як чинник творення особливого культурного порубіжжя

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Shevchenko L.

Studia Polsko-Ukraińskie

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2019

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vol. 6

137-146

EN

The article analyses the role of Latin as a universal means of communication among intellectuals during the fifteenth to eighteenth centuries. The author argues that the main task of Neo-Latin studies in Ukraine is a comprehensive, interdisciplinary study of literature and the affirmation of the modern concept of the history of Ukrainian culture as an inherently synthetic process. As a result of even a superficial review of the Latin authors of the fifteenth to nineteenth centuries and the imagery of their works, we can learn much about the place and role of bourgeoisie and Polish noblemen in Ukrainian society of that time, as well as look with new eyes at the Cossacks, clergy, and peasants, reaching not only to previously unknown information but also, what is valuable to a philologist, to its refined wording. The representatives of a variety of professional circles, political views, and regions made their contribution to the Latin works in different genres during more than five hundred years – that is why the reader can now afford to choose works for every taste.

9

Про трактування понять «бароко» і «романтизм» у 70-і роки ХХ ст. (спогади і міркування)

100%

Кашуба М.

Studia Polsko-Ukraińskie

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2016

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vol. 3

111-120

EN

The author describes numerous bans placed on the literature and culture of Ukrainian Baroque in the period of totalitarianism. She argues that there is still an acute need to make a new approach to the literature of the Baroque and Romanticism eras, especially to the works by such outstanding authors as Taras Shevchenko, Mykola Gogol, Mykola Kostomarov, Panteleimon Kulish, Ivan Franko, Alexander Potebnja, Mykhailo Kotsiubynsky. Ukrainian Romanticism, as depicted by the author, is in fact different from the European one in many respects, despite the fact that it knows “romantic irony” or bizarre, surrealistic perception of the world.

10

Латинська мова як чинник творення особливого культурного порубіжжя

100%

Shevchenko L.

Studia Polsko-Ukraińskie

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2019

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vol. 6

137-146

XX

Latin as a Factor in the Creation of a Special Cultural Frontier Abstract The article analyses the role of Latin as a universal means of communication among intellectuals during the fifteenth to eighteenth centuries. The author argues that the main task of Neo-Latin studies in Ukraine is a comprehensive, interdisciplinary study of literature and the affirmation of the modern concept of the history of Ukrainian culture as an inherently synthetic process. As a result of even a superficial review of the Latin authors of the fifteenth to nineteenth centuries and the imagery of their works, we can learn much about the place and role of bourgeoisie and Polish noblemen in Ukrainian society of that time, as well as look with new eyes at the Cossacks, clergy, and peasants, reaching not only to previously unknown information but also, what is valuable to a philologist, to its refined wording. The representatives of a variety of professional circles, political views, and regions made their contribution to the Latin works in different genres during more than five hundred years – that is why the reader can now afford to choose works for every taste.

11

Obraz pasterzy w staropolskich kolędach i pastorałkach (na materiale tzw. „Kantyczek karmelitańskich” z XVII i XVIII wieku). Cz. II

88%

Borejszo M.

Slavia Occidentalis

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2013

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issue 70/1

21-34

PL

This article is an attempt at reconstructing the image reflected in Old Polish Christmas carols of the activities pursued by shepherds following the news of the Saviour’s birth. The analysed material comes from the so-called “Carmelite Canticles” written in the 18th century for the Krakow female Carmelites. The research results suggest that a large part of the stories included in the Carmelite manuscripts of Christmas carols were modelled on the compositional structure of a classic Polish Christmas carol. This consisted of three elements: 1) the angels notifying the shepherds that the Saviour was born; 2) the confusion among the awoken shepherds, their preparations for leaving and the trip to Bethlehem; 3) paying homage to the Infant Jesus on arrival, presenting their gifts, shared celebrations at the manger and the shepherds’ return home. The analysed works demonstrate that the described events bear a strong Polish touch. In old Polish carols the shepherds were presented as a group of impoverished yet well-organized members of a rural society, capable of rational decisions and specific activities in unaccustomed circumstances. Special attention should be paid to the hierarchy among shepherds; it favoured the elder and best educated individuals, collective decision-making and care for all members of the shepherding community, including those less physically fit. The image of the shepherds preserved in the carols is very realistic, diversified and dynamic. Their quite detailed descriptions give an indication of how the poor lived in Polish villages of the 17th and 18th centuries and how well these communities were organized.

12

Płaczcie – umarł Pan… Nazwy własne we wczesno-barokowym poemacie pasyjnym (na przykładzie Pamiątki krwawej ofiary Pana Zbawiciela naszego Jezusa Chrystusa Abrahama Rożniatowskiego)

88%

Rejter A.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2017

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vol. 24

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issue 1

129-144

PL

The article is dedicated to description of proper names functions in chosen narrative poem of Passion literature of Polish Baroque. Analyzed proper names in Pamiątka krwawej ofiary Pana Zbawiciela naszego Jezusa Chrystusa (1610) by Abraham Rożniatowski are mainly connected with metaphysical sphere of culture, majority of them is conventional, primarily drawn from Bible. The main function of proper names is to describe the Passion in influential way and to show the people how grievous and savage it was. The onomastic field of the narrative poem is strictly related to religious cult of Kalwaria Zebrzydowska popular in Poland in Baroque times.

13

Symbolika obrazu «Alegorii Bożej Opatrzności» z klasztoru Sióstr Wizytek w Krakowie

88%

Moisan-Jablonski C.

Saeculum Christianum. Pismo Historyczne

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2015

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vol. 22

172-183

EN

There is an eighteenth-century painting depicting Allegory of Divine Providence in the convent of the Sisters of the Visitation in Kraków. The iconography is unique. In addition to figures of people and animals abandoning themselves to the care of Divine Providence, it also shows the seven archangels. Although the Catholic Church only recognizes three Archangels (Gabriel, Michael and Raphael), portrayals of seven archangels appeared in European art at the end of sixteenth century and in the seventeenth and eighteenth centuries, which also showed figures representing Uriel, Barachiel, Sealtiel and Jehudiel. The Reverend Ignacy Tłuczyński also mentions them in a book—on to the subject of angels and the care which angels and heavenly spirits provide to people—published in Kraków in 1677. It would be impossible to have a full understanding of the message conveyed in the Kraków painting without having knowledge of Polish eighteenth-century religious songs devoted to Divine Providence. The dominant motif—which also appears on other Polish paintings depicting Divine Providence—is the portrayal of people and animals together, to whom Providence is offering various gifts.

14

ANDRZEJA OLSZAMOWSKIEGO KOLĘDA NA ROK PAŃSKI 1616

88%

Mazurkiewicz R.

Rocznik Przemyski

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2015

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vol. 51

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issue 2(19): Literatura i Język

87-110

XX

This issue remembers the poems of Andrzej Olszamowski, a student of the Kraków Academy, offered as a “literary gift” for Christmas and New Year of 1616 to the author’s patroness, Regina Działyńska. Olszamowski had translated almost word-for-word a fragment of the first book of the Floridorum libri octo by a German Jesuit Jacobus Pontanus, without revealing the source of the translation, though. That material also includes an interesting example of a combination of text and graphics characteristic of the “visual poetry” of Polish Baroque.

15

NAŚLADOWANIE I LIRYZM. SMUTNE ŻALE STANISŁAWA MORSZTYNA WOBEC SMUTNYCH ZABAW WACŁAWA POTOCKIEGO

88%

Sokół L.

Rocznik Przemyski

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2017

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vol. 53

|

issue 2(21): Literatura i Język

37-52

EN

The analyses of two Baroque funereal series – Smutne zabawy (Sad games) by Wacław Potocki and Smutne żale (Sorrowful grief) by Stanisław Morsztyn included in this paper have made it possible to distinguish common features of the discussed works as well as identify significant differences. It is known that the two collections differ in terms of structure. Potocki’s series has a two-part composition, whereas Morsztyn’s works follow the topics of a classic epicede. Both are philosophical and reflective in nature, however each author emphasizes different issues in constructing a funereal memento. A common feature of both series is the authors’ reference to the Stoic philosophy, which is an important structural element of the mentioned threnodies. A comparison of the two works presents the funeral objects and points out the extent of imitation.

16

Samuel Brzeżewski o ludziach i drzewach, czyli emblematyka w kazaniu Oliwa wdzięcznoozdobnej zieloności

88%

Dybek D.

Terminus

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2012

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vol. 14

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issue 25

95-118

EN

Samuel Brzeżewki was a Baroque, nowadays forgotten, preacher. There are three sermons hold as his testimony. First two sermons refer to Marian theme; the last one (dated on 1645) is a funeral homily. Oliwa wdzięcznoozdobnej zieloności przysadzonej […] na kazaniu przy pogrzebie […] Gerzego Pucniewskiego is dedicated to a nobleman, Pucniewski. He came from Minor Poland, Abdank Coat of Arms and remained practically an unknown figure. In order to present Pucniewski as a Christian role model, Brzeżewski used a very popular device, symbolism. He intended to create an unconventional as well as memorable picture for his audience. The author compared (referring to the works by Aristotle and verses from the Bible) the man with an olive tree and a palm tree in order to show him humility and piety. Brzeżewski used this symbolism on purpose. He argued that it is important for an imperfect human mind to portray things using symbols and concepts to understand the meaning. Connecting didacticism and mnemonic, the preacher referred to funeral vocabulary. The number of terms shows similarities between genres. This method was not a novelty in the XVIIth century. However it was not always followed with deep understanding on the literary theory. It was more important to create a visual comparison and analogies. Taking this into account, one may state that Brzeżewskis sermons are fairly conventional, yet show authors eloquence.

17

NAZWY WŁASNE W BAROKOWYM ROMANSIE WIERSZOWANYM — W STRONĘ ANALIZY GENOLOGICZNEJ (NA PRZYKŁADZIE TWÓRCZOŚCI HIERONIMA MORSZTYNA)

88%

REJTER A.

Onomastica

|

2014

|

vol. 58

349-362

XX

PROPER NAMES IN THE BAROQUE VERSE NOVEL — TOWARD GENOLOGICAL ANALYSIS. BASED ON THE EXAMPLE OF THE WORKS OF HIERONIM MORSZTYN This article is an attempt to analyze proper names in the selected literary genre and conducted from the perspective of linguistic genology enriched with theoretical textual and stylistic reflection. The names in the Baroque verse novel, represented by four works of Hieronym Morsztyn, are an essential element of the construction of the text and an indicator of the genre style; furthermore, they can signal the foreignness of western models adopted in Polish literary works, and can also refer back to ancient heritage as an expression of European cultural heritage.

18

Samuel Brzeżewski o ludziach i drzewach, czyli emblematyka w kazaniu Oliwa wdzięcznoozdobnej zieloności

88%

Dybek D.

Terminus

|

2012

|

vol. 14

|

issue 25

95-118

EN

Samuel Brzeżewki was a Baroque, nowadays forgotten, preacher. There are three sermons hold as his testimony. First two sermons refer to Marian theme; the last one (dated on 1645) is a funeral homily. Oliwa wdzięcznoozdobnej zieloności przysadzonej […] na kazaniu przy pogrzebie […] Gerzego Pucniewskiego is dedicated to a nobleman, Pucniewski. He came from Minor Poland, Abdank Coat of Arms and remained practically an unknown figure. In order to present Pucniewski as a Christian role model, Brzeżewski used a very popular device, symbolism. He intended to create an unconventional as well as memorable picture for his audience. The author compared (referring to the works by Aristotle and verses from the Bible) the man with an olive tree and a palm tree in order to show him humility and piety. Brzeżewski used this symbolism on purpose. He argued that it is important for an imperfect human mind to portray things using symbols and concepts to understand the meaning. Connecting didacticism and mnemonic, the preacher referred to funeral vocabulary. The number of terms shows similarities between genres. This method was not a novelty in the XVIIth century. However it was not always followed with deep understanding on the literary theory. It was more important to create a visual comparison and analogies. Taking this into account, one may state that Brzeżewskis sermons are fairly conventional, yet show authors eloquence.

19

Wykładniki sarmatyzmu we frazeologii dawniej i dziś – na przykładzie utworów Wacława Potockiego i frazeologizmów współczesnych

88%

Sornat K.

Poradnik Językowy

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2020

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vol. 779

|

issue 10

44-60

EN

The insuffi cient number of studies dedicated to the phraseology of works by Wacław Potocki (1621–1696) encouraged the author to examine this area of the Sarmatian writer’s oeuvre. This paper presents the outcome of a lexical and semantic analysis of 40 idioms excerpted from three representative works by the poet: Ogród nie plewiony (Unweeded Garden), Moralia (Morals), and Transakcja wojny chocimskiej (Transaction of the Hotin War). Based on the adopted material sample, an attempt was made to identify the characteristics of Sarmatism, a cultural formation of the Commonwealth the main representative of which was W. Potocki. To this end, the collected expressions and phrases were classifi ed by three thematic fi elds that were signifi cant for the sociolect of the nobility (, , ). An important complementation of the analysis of the Baroque phraseology is tracking it until modern times. The conducted comparative research of the lexical resources of the Polish language in its two distant periods showed that, despite the over three hundred years between the examined materials, the sarmatisation of language has still been a signifi cant component of the Polish culture.

20

Krakowski cech muzyków

88%

Karasiński W.

Kwartalnik Młodych Muzykologów UJ

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2015

|

issue 2(25)

28-46

EN

The article is a contribution to the exploration of history of Polish musical culture of the Renaissance and the Baroque period. Recognition of elementary forms of social organisation leads to understanding of the prevailing social and economical relations in those times. This article is one of the first in this topic, therefore it starts with very basic issues. A musicians guild existed in Cracow from 16th to 18th century. The article presents its history and organisation on the basis of statutes and municipal documents analysis. Simultaneously, it raises questions about circumstances of its creation and termination, welded duties and repertoire. The author questions the character of discussed association, considering to what extent it was a guild and a confraternity. The aim of the publication is to present to the reader a coherent picture of the guild, which could provide a starting point for further research.

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