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Tytuł:
Cartograms – classification and terminology
Autorzy:
Markowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/92414.pdf
Data publikacji:
2019
Wydawca:
Oddział Kartograficzny Polskiego Towarzystwa Geograficznego
Tematy:
cartograms
area cartograms
cartograms’ classification
Opis:
The author discusses new classifications of cartograms. Cartographic anamorphoses terminology and a multi-level classification, including not only cartograms but also anamorphical projections, have been proposed. The selected area cartograms’ classes were discussed in detail and compared.
Źródło:
Polish Cartographical Review; 2019, 51, 2; 51-65
2450-6974
Pojawia się w:
Polish Cartographical Review
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wyprowadzenie z piekła. O sztuce Jonasza Sterna
Leading Out of Hell. On Jonasz Sterns Art
Autorzy:
Markowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1955798.pdf
Data publikacji:
1999
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
The tenth anniversary of Jonasz Stern's death (1904-1988), though it passed by unnoticed, is a good opportunity to reflect on the rank of his art. The artist accomplished artistic maturity late, for as late as the beginning of the 1960s. It was only then that he managed to show, and that was the essence of his life, brotherhood with nature and death. It was then that his masterpieces were painted, a cycle of assemblages with the use of animal bones, fishbones and skin. In order to understand this art, one should refer to the dramatic life of its author, especially to such war events as his escape from the train transporting people to gas chambers, or his later escape from the firing squad. After the war, Stern had long sought for his own language of artistic expression. Initially, he was interested in avant garde, yet eventually he spoke with his own voice owing to his experience he had gained from annual canoeing trips he organized with his friends, first on the Vistula and then on the San. Then something happened in his biography, i.e. he had recognized his individual fortune, he managed to fish it out of prior accidental, cruel and senseless events. During the trips, Stern worked as a master of survival art: he caught fish for his friends, cooked them and taught them how to live with nature and trust oneself. The canoeing trips helped him to learn the world of fish, their tastes and way of feeding. It was Stern's programme then to harmonize with the world of matter, the world of life governed by the elementary functions, such as eating and finding food, that is killing. He wished to penetrate matter, to sympathize with it. Therefore fishbones and skin, food rests and despised waste have become his artistic material. Thus Jonasz Stern's art turned away from the quest after a rhetorical, perfect form and became involved in an apparently terrible programme: to accept the stranger, the mortal enemy and torturer. In order to achieve that, the artist himself becomes a “hunter”. He does not reject the other, for the other is his brother. He becomes a Cain to discover love in himself. The transformation is the sense of the life and art of Jonasz Stern, who by the power of love breaks the course of Evil. The latter becomes a footstool of the throne of Good. Indeed, the artist is an offering doomed to be shot, an incarnation of the raised Abel. This, however, does not eliminate Cain, for he is convinced that if the winners would morally like to stay with themselves, they would not differ from the Nazis seeking for racial purity, i.e. they would be alone among their relatives. The flaw of Cain is in us - this belief makes it that in his works Stern does not accept the role of an offering, hence they are not an expression of protest. His act of forgiveness is the only act in its kind. Perhaps one should not speak about forgiveness at all, but about an attempt to embrace Evil with inconceivable love. An act of true sympathy, and that not only for the victims, but also for the torturers is raised in the oeuvre of Stern to the essence of humanity. The value of that art is, above all, in his ability to lead the onlooker through the hell of the Second World War and lead him out of it without evasion. He does it with full awareness of the most traumatic experiences.
Źródło:
Roczniki Humanistyczne; 1999, 47, 4; 259-277
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przesilenia kanclerskie w Cesarstwie Niemieckim w 1917 r. na łamach krakowskiego Głosu Narodu
Autorzy:
Markowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/450029.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
German Empire
German Chancellors
government crisis
World War I
1917
Opis:
The article concerns governmental crises and changes in the chancellor’s position that took place in the German Empire in the period between July and November 1917. It was possible to cover this issue thanks to the analysis of articles published in the Krakow daily newspaper “Głos Narodu”. This paper referred to direct correspondents from Berlin, German press agencies, or information from the German press. The author wants to show a few months of tensions in German internal politics and present various behind-the-scenes games of political parties in the government. The situation in the Empire was important for us, Poles, because the year 1917 and the reports from the fronts of World War I gave rise to more and more hopes for regaining independence.
Źródło:
Saeculum Christianum. Pismo Historyczne; 2019, 26, 1; 158-171
1232-1575
Pojawia się w:
Saeculum Christianum. Pismo Historyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Rzeczy warszawskie” – nowa odsłona Muzeum Warszawy
Autorzy:
Markowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/909485.pdf
Data publikacji:
2019-05-07
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
museum
Warsaw
curator’s task
turn toward things
materiality
Things from Warsaw
Opis:
A radical reconstruction of the exposition layout at the Museum of the City of Warsaw, connected with the general reconstruction of the facilities and retirement of its longtime director, Janusz Durko (1951-2003), resulted in 2017 in opening a new permanent exposition called Things from Warsaw. The exposition consists of 21 cabinets containing 8 000 items selected out of 300 000 included in the museum holdings (e. g., Cabinet of Warsaw Monuments, Cabinet of Warsaw Silver and Plate Tableware, Cabinet of the Warsaw Sirens, Cabinet of Postcards, Cabinet of Souvenirs, Cabinet of Shrines). The main criterion was the materiality and authenticity of particular items, which resulted in the absence of multimedia presentations and suggested “appropriate” narratives. The main curator of the exposition is Jarosław Trybuś, art historian and curator rewarded with the Golden Lion at the Venice Biennale in 2008. His team followed an idea of Bjørnar Olsen that due to various conceptualizations the material world studied by the humanities has been so dematerialized that we can hardly believe our eyes. Thus the features of the exposition – sincerity, seriousness, and modesty – suggest a new approach to the city’s history through experiencing the reality of things treated not so much as “witnesses,” but rather as “actors” of the past events. This turn to materiality stems from the hope to come close to the things without the mediation of words imposing predictable interpretations in advance. In other words, the exposition is a kind of lesson in openness, multidirectional reading, and the de-ideologization of history. The Things from Warsawexhibition has been analyzed in reference to three criteria: openness to the “other,” creating a vision of the future, and the inspiring power of imagination. 
Źródło:
Artium Quaestiones; 2018, 29; 209-228
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Around 1948: The “Gentle Revolution” and Art History
Autorzy:
Markowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/909532.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
revolution
art after 1945
communism
autocracy
folklore
Opis:
Just like after World War I Italy experienced a transition from modernism to fascism, after World II Poland experienced a passage from modernism to quasi-communism. The symbol of the first stage of the communist revolution in Poland right after the war, the so-called “gentle revolution,” was Pablo Picasso, whose work was popularized not so much because of its artistic value, but because of his membership in the communist party. The second, repressive stage of the continued came in 1949–1955, to return after the so-called thaw to Picasso and the exemplars of the École de Paris. However, the imagery of the revolution was associated only with the socialist realism connected to the USSR even though actually it was the adaptation of the École de Paris that best expressed the revolution’s victory. In the beginning, its moderate program, strongly emphasizing the national heritage as well as financial promises, made the cultural offer of the communist regime quite attractive not only for the left. Thus, the gentle revolution proved to be a Machiavellian move, disseminating power to centralize it later more effectively. On the other hand, the return to the Paris exemplars resulted in the aestheticization of radical and undemocratic changes. The received idea that the evil regime was visualized only by the ugly socialist realism is a disguise of the Polish dream of innocence and historical purity, while it was the war which gave way to the revolution, and right after the war artists not only played games with the regime, but gladly accepted social comfort guaranteed by authoritarianism. Neither artists, nor art historians started a discussion about the totalizing stain on modernity and the exclusion of the other. Even the folk art was instrumentalized by the state which manipulated folk artists to such an extent that they often lost their original skills. Horrified by the war atrocities and their consequences, art historians limited their activities to the most urgent local tasks, such as making inventories of artworks, reorganization of institutions, and reconstruction. Mass expropriation, a consequence of the revolution, was not perceived by museum personnel as a serious problem, since thanks to it museums acquired more and more exhibits, while architects and restorers could implement their boldest plans. The academic and social neutralization of expropriation favored the birth of a new human being, which was one of the goals of the revolution. Along the ethnic homogenization of society, focusing on Polish art meant getting used to monophony. No cultural opposition to the authoritarian ideas of modernity appeared – neither the École de Paris as a paradigm of the high art, nor the folklore manipulated by the state were able to come up with the ideas of the weak subject or counter-history. Despite the social revolution, the class distinction of ethnography and high art remained unchanged. 
Źródło:
Artium Quaestiones; 2019, 30; 137-160
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Epoka się skończyła” – Józef Czapski wobec nowego malarstwa polskiego lat 80. XX wieku
“The epoch has ended” – Czapski regarding new Polish painting in the 1980s.
Autorzy:
Markowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/560063.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
Józef Czapski
Opis:
“Save painting!“ – Czapski wrote in a rather dramatic manner to Rafał Jabłonka in 1985, after he had seen Dwurnik’s pictures at the Biennale de Paris. In his letter to the well-known marchand he expressed also his belief that the epoch of struggle for the so-called painterly painting (named by Czapski “peinture peinture”) ended. For Czapski it is a finished period of Cézanne and the time of École de Paris. Despite Czapski’s dramatic lamentation, the thesis I am about to submit is surely of a conciliatory (though slightly provocative) character: Czapski is quite close to Dwurnik after all. They are both Nikifor’s great admirers, they both combine text with image, they sometimes come up with a similar mood in their paintings with often enough same topics and last but not least, they both search for localness of some kind. Furthermore, Czapski makes corrections in Dwurnik’s works in a similar way he was once corrected by the Kapists. Still the Parisian artist does not paint following the Kapist rules, he even chooses other subjects: tired people on the metro, elderly, fat and ugly women over a wine glass; he captures scenes in a café, a gallery or a backyard truly, deeply and in an existential way; he paints baggage trolleys, bar interiors, local trains with weary passengers. Therefore, we may present a thesis that old Czapski, paradoxically, could have become a master for young generations of Polish painters, if he did not give rise to a strong – but not necessarily sincere when we confront it with the painting from Maisons-Laffitte – indignation. As it was rather Czapski’s subliming belief what did not appeal to the young Polish painters: for them it was not the road to salvation but to restrictions and lack of freedom. What Czapski has in common with the youth it is foremost his talent know-how. Hence it is probably not art itself but this unbearable, uncritical aura around his painting what made the young artists turn their backs from him. And one of the most talented painters of the 1980s, Marek Sobczyk, opposed to an outburst of admiration with his bitter comment: “It’s not being brave to paint one’s whole life in an undefined style of the first five or fifteen years of our century”. Dwurnik – as an artist in a generation gap between the debutants of the 1980s and the old Kapist – seems to be in this approach a rejected ego of Czapski. They do not share the world views: what is to be done with the reality, to which they are both so extremely sensitive. Czapski wants to put a spell on it at any price: as he knows that life in the repelled world is corroded by inanity. Still living in the enchanted world – though it has a sense deriving from the hierarchy of belief – is acutely hurting: as we never grow up to reach the ideal. Confrontation between Czapski and Dwurnik is therefore fundamental. In view of it, it is worth posing a question about Modernist preparation of Czapski’s painting legacy: does it really serve the artist, as – quite possibly, Czapski’s fantastic Diaries, which combine text and image breezily, are more inspiring visually than his canvases, unfortunately it is difficult to show Diaries in a Modernist white cube. Perhaps another glimpse at Czapski, free from any Modernist conditioning, is – paradoxically – a chance to have a look at Czapski as a totally different artist.
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2013, 2(28); 104-13
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Nowa historia najnowszej sztuki polskiej Anda Rottenberg -"Sztuka w Polsce 1945-2005"
Autorzy:
Markowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/560072.pdf
Data publikacji:
2006
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
polska sztuka XX / XXI wieku
Anda Rottenberg
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2006, 1(1); 95-100
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Amerykańskie Madonny. Macierzyństwo w twórczości Mary Kelly i Roberta Gobera.
Autorzy:
Markowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/560135.pdf
Data publikacji:
2007
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
amerykańska sztuka współczesna
Mary Kelly
Robert Gober
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2007, 2(4); 73-91
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sztuka i krytyka socjopolityczna na stacji benzynowej. O Cremasterze 2 Matthew Barneya.
Autorzy:
Markowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/560199.pdf
Data publikacji:
2006-02-02
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
sztuka współczesna
Matthew Barney
Cremaster
postbiologizm
posthumanizm
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2006, 2(2); 77-94
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sztuka śmieci i polityka odpadów.
Junk Art and the Politics of Trash
Autorzy:
Markowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/560258.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
Gillian Whiteley
Opis:
A guest of the international conference “Trickster Strategies in the Artists’ and Curatorial Practice”, which took place at the Art History Institute at the University of Wrocław on 26–27 October 2011, was, among others, a reputable art historian and curator Dr. Gillian Whiteley (Loughborough University School of the Arts). She delivered a paper “Political Pranksters, Provocateurs and Pan-Ic: Re-Connecting Countercultural Practices”. Whereas within the collection of the institute library we have had for not along time now her recent book entitled Junk Art and the Politics of Trash (London – New York 2011). Before the post-conference materials are printed, it is worth reaching out for this interesting and important volume that combines the perspective of her personal experience and erudition. What will be the reflection of a Polish reader on Whiteley’s book? Certainly a total lack of reference to World War 2 will come as a surprise; absence of feeling that millions of our fathers and grandfathers not much more than half a century ago were treated as junk. As this was a perspective on which grounds many works of art were created, also from the area Gillian Whiteley tells about – French New Realists. The omitted places however, create a refreshing for a Pole perspective that neutralise besetment in the past. The author’s considerations to „The Art of Assemblage” exhibition (1961) will undoubtedly induce the Polish reader to pose a question – that in any case will not be answered in the book – about the participation of Polish artists, Teresa Rudowicz and Marian Warzecha, who managed to cross the Iron Curtain and, according to oral tradition, took part in the New York show. It is worth also to pose a question about ‘Polish junk”, i.e. which works of art after the war made use of the aesthetics of assemblage, consciously disputing with the establishment Modernism and injecting – in apparently autonomous art of the PRL [the People Republic of Poland] – a spirit of anarchy? The answer is quite difficult as Poles used to treat those poor fractions and crumbs – following Romantic and Catholic customs – as traces that would undergo transsubstantiation thanks to an artist’s genius. And Whiteley’s narration does not include search for religious substitutions. In Poland poor, low- ranged objects are the domain of: Tadeusz Kantor, Piotr Potworowski (he included old pieces of jute bags in his canvases), Władysław Hasior with his half country, provincial assemblages and Janek Simon, who deals with electronic garbage brought away by the Europeans to Africa. But are we ready to write about Polish junk without pathos and martyrology? A dubious distinction between rubbish and treasure, waste and miracle, in Whiteley’s tale refers rather to child’s sensibility, to maintain which the whole book actually appeals – though not expressis verbis.
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2012, 3(25); 87-95
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Guzy jajnika w ciąży
Ovarian tumors in pregnancy
Autorzy:
Markowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1031510.pdf
Data publikacji:
2013
Wydawca:
Medical Communications
Tematy:
guzy jajnika
rak jajnika
ciąża
chemioterapia
laparotomia
ovarian tumors
ovarian carcinoma
pregnancy
chemotherapy
laparotomy
Opis:
Ovarian tumors develop in 2.3–8.8% of pregnant women. Most of them are benign cysts which vanish spontaneously after the 9th or 10th week of gestation. Ultrasound examination and magnetic resonance imaging are helpful diagnostic tools. Computed tomography, however, is contraindicated. The most common benign lesions are teratomas and cystadenomas. Malignant tumors account for 2.15–13% of all ovarian tumors in pregnant patients. Germ cell tumors, followed by borderline tumors and ovarian carcinomas constitute the most common ones. The management in the case of germ cell and borderline tumors involves unilateral adnexectomy and in invasive ovarian carcinomas, the treatment is individualized. In stage 1A G1, the management is similar to the one in borderline tumors and restaging after the delivery may be performed. Additionally, in early stages of carcinoma (stage IA G2 and G3, IB, IC as well as IIA), lymphadenectomy and platinum-based chemotherapy are recommended. In advanced stages, there are numerous possibilities of treatment including radical surgery with termination of pregnancy before the 20th–24th weeks of gestation and adjuvant therapy. Another option is the implementation of neoadjuvant chemotherapy during pregnancy and performance of cytoreduction following the delivery. At the mother’s request, delaying the treatment until after the delivery may be considered. Chemical treatment during pregnancy does not exert negative effects on the fetus provided that it is applied in the second or third trimesters. One of its rare complications is intrauterine growth restriction (IUGR). The survival of patients with ovarian carcinomas diagnosed during pregnancy is not different than in the case of women diagnosed without being pregnant.
Guzy jajnika w ciąży występują u 2,3–8,8% ciężarnych. Większość z nich to torbiele łagodne, które samoistnie zanikają po 9.–10. tygodniu ciąży. W diagnozowaniu pomocne jest badanie ultrasonograficzne oraz rezonans magnetyczny. Przeciwwskazana jest tomografia komputerowa. Najczęstszymi zmianami łagodnymi są potworniaki i torbielakogruczolaki. Wśród wszystkich guzów jajnika w ciąży 2,15–13% stanowią guzy złośliwe. Najczęstsze są guzy germinalne, a następnie typu borderline i raki jajnika. W guzach germinalnych i borderline postępowanie obejmuje adneksektomię jednostronną. W inwazyjnych rakach jajnika leczenie jest zindywidualizowane. W stopniu IA G1 postępowanie jest podobne jak w guzach granicznych, a po porodzie może być dokonana ponowna ocena zaawansowania. W stopniach wczesnych raka (IA G2 i G3, IB, IC i IIA) zaleca się dodatkowo wykonanie limfadenektomii i zastosowanie chemioterapii opartej na platynie. W stopniach zaawansowanych istnieją różne możliwości, włącznie z operacją radykalną, połączoną z terminacją ciąży przed 20.–24. tygodniem ciąży i leczeniem adiuwantowym. Inną opcją jest stosowanie chemioterapii neoadiuwantowej w ciąży i przeprowadzenie cytoredukcji po porodzie. Na życzenie matki można rozważyć opóźnienie leczenia do czasu urodzenia dziecka. Leczenie chemiczne w czasie ciąży nie wywiera szkodliwego wpływu na płód, jeśli jest zastosowane w II i III trymestrze ciąży; jednym z rzadkich powikłań jest opóźnienie wewnątrzmacicznego wzrastania płodu (IUGR). Przeżycia kobiet z rakiem jajnika rozpoznanym w ciąży nie różnią się od stwierdzanych w raku jajnika bez ciąży.
Źródło:
Current Gynecologic Oncology; 2013, 11, 2; 159-165
2451-0750
Pojawia się w:
Current Gynecologic Oncology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wokół roku 1948: „rewolucja łagodna” i historia sztuki
Autorzy:
Markowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/909506.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
revolution
art after 1945
communism
autocracy
folklore
Opis:
Just like after World War I Italy experienced a transition from modernism to fascism, after World War II Poland experienced a passage from modernism to quasi-communism. The symbol of the first stage of the communist revolution in Poland right after the war, the so-called “gentle revolution,” was Pablo Picasso, whose work was popularized not so much because of its artistic value, but because of his membership in the communist party. The second, repressive stage of the continued came in 1949–1955, to return after the so-called thaw to Picasso and the exemplars of the École de Paris. However, the imagery of the revolution was associated only with the socialist realism connected to the USSR even though actually it was the adaptation of the École de Paris that best expressed the revolution’s victory. In the beginning, its moderate program, strongly emphasizing the national heritage as well as financial promises, made the cultural offer of the communist regime quite attractive not only for the left. Thus, the gentle revolution proved to be a Machiavellian move, disseminating power to centralize it later more effectively. On the other hand, the return to the Paris exemplars resulted in the aestheticization of radical and undemocratic changes. The received idea that the evil regime was visualized only by the ugly socialist realism is a disguise of the Polish dream of innocence and historical purity, while it was the war which gave way to the revolution, and right after the war artists not only played games with the regime, but gladly accepted social comfort guaranteed by authoritarianism. Neither artists, nor art historians started a discussion about the totalizing stain on modernity and the exclusion of the other. Even the folk art was instrumentalized by the state which manipulated folk artists to such an extent that they often lost their original skills. Horrified by the war atrocities and their consequences, art historians limited their activities to the most urgent local tasks, such as making inventories of artworks, reorganization of institutions, and reconstruction. Mass expropriation, a consequence of the revolution, was not perceived by museum personnel as a serious problem, since thanks to it museums acquired more and more exhibits, while architects and restorers could implement their boldest plans. The academic and social neutralization of expropriation favored the birth of a new human being, which was one of the goals of the revolution. Along the ethnic homogenization of society, focusing on Polish art meant getting used to monophony. No cultural opposition to the authoritarian ideas of modernity appeared – neither the École de Paris as a paradigm of the high art, nor the folklore manipulated by the state were able to come up with the ideas of the weak subject or counter-history. Despite the social revolution, the class distinction of ethnography and high art remained unchanged.
Źródło:
Artium Quaestiones; 2019, 30; 367-391
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Proces hr. Macieja Mielżyńskiego na łamach prasy poznańskiej
The court trial of Count Maciej Mielżyński in Poznań press
Autorzy:
Markowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/2058067.pdf
Data publikacji:
2020-12-17
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
Maciej Mielżyński
wielkopolska arystokracja
prasa poznańska
proces o zabójstwo
Wielkopolska (Greater Poland) aristocracy
Poznań press
homicide court trial
Opis:
Artykuł dotyczy procesu w sprawie przeciwko Maciejowi Mielżyńskiemu toczącego się 20—21 lutego 1914 roku przed sądem przysięgłych w Międzyrzeczu. Sędziowie przysięgli uznali oskarżonego o popełnienie podwójnego zabójstwa za niewinnego zarzucanego mu czynu. Przedstawienie tego zagadnienia było możliwe dzięki analizie treści publikowanych na łamach trzech poznańskich dzienników: „Dziennika Poznańskiego”, „Kuriera Poznańskiego” oraz „Postępu”. Proces hrabiego Mielżyńskiego odbywał się bez udziału publiczności i przedstawicieli prasy, jednak bogactwo materiału zawartego w polskich i niemieckich gazetach pozwoliło w części poznać jego przebieg. Niestety z powodu utajnienia rozpraw trudno zrozumieć kontrowersyjny wyrok, który oczyścił oskarżonego z zarzutów. W artykule przybliżono zarówno sam proces, jak i tło, które doprowadziło do tragedii rodzinnej w sferach wielkopolskiej arystokracji.
The article concerns the court trial of Maciej Mielżyński, which took place in front of the jury in Międzyrzecz on 20—21 February 1914. The jury found the defendant — accused of a double murder — not guilty. The analysis of the court proceedings was based on the content of three Poznań daily newspapers, namely Dziennik Poznański, Kurier Poznański, and Postęp. Despite the fact that both the general public and the press had been barred from the court, the wealth of material featured in Polish and German dailies alike allowed, albeit only partially, to follow its course. Unfortunately, the confidentiality of hearings also contributed to the controversy concerning the court’s final ruling, which cleared the defendant of all charges. The present article examines closely the proceedings in question in order to reveal the background of a family tragedy that took place amongst the aristocracy of Wielkopolska (Greater Poland).
Źródło:
Wieki Stare i Nowe; 2020, 15, 20; 78-93
1899-1556
2353-9739
Pojawia się w:
Wieki Stare i Nowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 44

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