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Tytuł:
Henryk Sienkiewicz, obrazy i Quo vadis
Henryk Sienkiewicz, Images and Quo Vadis
Autorzy:
Okoń, Waldemar
Powiązania:
https://bibliotekanauki.pl/articles/1956563.pdf
Data publikacji:
1998
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
The paper discusses how the concept of “image” functions in the writing of Henryk Sienkiewicz. The author of Quo vadis, the novel honoured by a Nobel prize, has been depicted as a “worshipper of images”, both concrete images: works of art, views of nature, as well as the form of description typical of that epoch: literary image. Literary images were composed with the “painter-like” usage of language, a method which aimed to create in the reader's imagination some definite visual images. They also served to bring to mind the past and, directly, to organize the literary material. This was owing to their moment-like character: the static episode was shown in one temporal moment, and to their course in time: the sequence of images, a cycle that shows events extended in time. The examples cited here to support the above theses are derived from Sienkiewicz's letters, critical enunciations and literary works. The criterium for their selection was a willingness to point at the manner in which the author of Quo vadis understood antiquity. The writer was well-versed in the artistic output of his contemporary academic painters, and many times exploited the manner in which they perceived the ancient times, especially apparent are the relationships between Sienkiewicz and Lawrence Alma-Tadema, Jean-Léon Gérôme and Henryk Siemiradzki (the latter was his intimate friend). Ancient Greece was for the creator of Diokles a cradle of civilization, while Rome served mainly his historiophilosophical reflections, being a synonym of pagan, materialistic civilization, therefore doomed to perdition. The paper discussed also the genesis of Quo vadis, the manner in which the novel was written and which was close to the romantic “aesthetic of a passage”, for which the concept of image and imagery thinking was essential. A separate part of the paper is devoted to the illustrations to Quo vadis, the illustrations which depict only those scenes of the novel which not only concern its plot but also visually dominate in the text. Particular attention has been devoted to such figures as Piotr Stachiewicz and Jan Styka. The paper closes with a conclusion that both the writing of Sienkiewicz himself and many, directly or indirectly linked with his work, painters and illustrators, manifest how vivid was the idea of correspondence between arts in the 19th century. This idea could be incorporated mainly through paintings, being one of the basic categories that functioned in the epoch, both artistic and cognitive.
Źródło:
Roczniki Humanistyczne; 1998, 46, 4; 5-64
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Znaczenie jednego listu: Sienkiewicz jako ojciec w oczach Karola Potkańskiego
The Importance of One Letter: Sienkiewicz as a Father in the Eyes of Karol Potkański
Autorzy:
Kuniczuk-Trzcinowicz, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/1807078.pdf
Data publikacji:
2019-10-23
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Sienkiewicz; Karol Potkański; rodzicielstwo; ojciec; korespondencja prywatna; stereotyp; mitologizowanie
Sienkiewicz; Karol Potkański; parenthood; father; private correspondence; stereotype; mythologisation
Opis:
Artykuł powstał ze „skrawków”, jakie pozostały w wyniku pracy nad brulionami Henryka Sienkiewicza. Autorka zrobiła rekonesans, ustaliła jak w świetle korespondencji pierwszej żony Henryka Sienkiewicza, Marii, listów samego pisarza i korespondencji Karola Potkańskiego do Jadwigi Janczewskiej można opisać stosunek małżeństwa Sienkiewiczów do syna i córki. Kluczowy w wywodzie stał się list Karola Potkańskiego napisany do Jadwigi Janczewskiej w roku 1893. Historyk, opiekun Henryka Sienkiewicza-juniora w czasie jego nauki w krakowskim gimnazjum, Karol Potkański, nakreślił w nim wizję Sienkiewicza jako ojca nieczułego i nieodpowiedzialnego, a dodatkowo faworyzującego córkę. Praca stanowi przyczynek do szerszych badań, pozwalających ustalić jak stereotypy wpływają na postrzeganie znanych postaci życia literackiego i kulturalnego drugiej połowy XIX wieku oraz nad procesem ich mitologizowania.
The article was written on the basis of “scraps” left as a result of the study of Henryk Sienkiewicz’s draft papers. The author made a reconnaissance and determined how, in the light of the correspondence of Henryk Sienkiewicz’s first wife, Maria, writer’s own letters and Karol Potkański’s correspondence to Jadwiga Janczewska, we can describe the relationship of Sienkiewicz and his wife to their son and daughter. The letter of Karol Potkański, written to Jadwiga Janczewska in 1893, turned out to be crucial in this matter. In his letter, Karol Potkański, a historian, Henryk Sienkiewicz Junior’s guardian during his studies at the Kraków grammar school, presented Sienkiewicz as an insensitive and irresponsible father, who additionally favoured his daughter. The work contributes to wider research that allows to determine how stereotypes affect the perception of well-known literary and cultural figures of the second half of the 19th century and the process of their mythologisation.
Źródło:
Roczniki Humanistyczne; 2018, 66, 1; 23-36
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Mariana Bohusza-Szyszki O sztuce
Autorzy:
Sienkiewicz, Jan W.
Powiązania:
https://bibliotekanauki.pl/articles/1964452.pdf
Data publikacji:
1994
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Źródło:
Roczniki Humanistyczne; 1994, 42, 4; 343-367
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Etyczny aspekt wypowiedzi oceniających i wartościujących poświęconych Sienkiewiczowi i jego twórczości (na podstawie recenzji i tekstów polemicznych publikowanych w „Głosie”)
Ethical Aspect of Evaluative and Eevaluative Statements about the Trilogy and Sienkiewicz (Based on reviews and Columns Published in “Głos”)
Autorzy:
Mariak, Leonarda
Powiązania:
https://bibliotekanauki.pl/articles/1798622.pdf
Data publikacji:
2019-10-29
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
etyka słowa; leksyka; polemika prasowa; Sienkiewicz
ethics of words; lexis; press polemics; Sienkiewicz
Opis:
Artykuł zawiera analizę semantyczno-funkcjonalną nieetycznych zachowań językowych zawartych w recenzjach i innych artykułach polemicznych na temat Sienkiewicza i jego twórczości, publikowanych na łamach warszawskiego „Głosu”. W badaniach uwzględniono środki językowe systemowe oraz kontekstowe negatywne pod względem emocjonalnym i uczuciowym, których celem było zelżenie, wykpienie, ośmieszenie Sienkiewicza i/lub jego pisarstwa.
The article contains a semantic and functional analysis of unethical language behaviors included in reviews and other polemical articles about Sienkiewicz and his work, published in the Warsaw's „Głos”. The studies take into account systemic and contextual linguistic means which are negative in terms of emotions and feelings, the aim of which was to insult, mock and ridicule Sienkiewicz and/or his writing.
Źródło:
Roczniki Humanistyczne; 2019, 67, 6; 121-138
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przeoczona młodzieńcza korespondencja Henryka Sienkiewicza
The Overlooked Juvenile Correspondence of Henryk Sienkiewicz
Autorzy:
Fita, Stanisław
Powiązania:
https://bibliotekanauki.pl/articles/1963276.pdf
Data publikacji:
1997
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
The author reminds us the juvenile correspondence entitled Letters from Podlasia. I. In the Question of the Reform of the Education of Women by Henryk Sienkiewicz, a correspondence overlooked by bibliographers and historians of literature. The author reveals in it his standpoint towards the problems which were then broadly discussed. Those problems differed from the opinions advocated by the majority of the representatives of the generation of positivists. They call for the education of young women as regards pedagogy to prepare them to play the role of mothers in a responsible way.
Źródło:
Roczniki Humanistyczne; 1997, 45, 1; 131-137
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sienkiewicz w oczach Curtinów. Z dzienników Almy Curtin w Polsce w 1900 i 1903 r.
Sienkiewicz in the eyes of the Curtins. From unpublished diaries of Mrs. Curtin in Poland in 1900 and 1903
Autorzy:
Mikoś, Michał Jacek
Powiązania:
https://bibliotekanauki.pl/articles/1964877.pdf
Data publikacji:
1987
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
Jeremiah Curtin (1838-1906) was an American ethnographer and linguist, the author of Myths and Folk-Lore of Ireland, and The Mongols. He is best known, however, for his translations of the major works of Henryk Sienkiewicz. Together with his wife, Alma Cardell, Curtin traveled frequently to Poland between 1897 and 1903, visiting Sienkiewicz many times in Warsaw, Kraków, Zakopane and Oblęgorek. The Curtins also developed contacts with other representatives of the Polish literary world, e.g. Prus, Sieroszewski, Świętochowski and Wolff. Between 1976 and 1982, Mrs. Curtin’s family donated to The Milwaukee County Historical Society 16 boxes of manuscripts consisting mostly of Alma Cardell Curtin’s diaries and letters. Together, they give a vivid first-hand view of the working methods of Sienkiewicz and describe numerous meetings and conversations between Sienkiewicz and Curtin. In addition, Mrs. Curtin’s papers are rich in descriptions of ordinary people, living conditions, towns, and landscapes in Poland. In 1900, the Curtins went to Warsaw to discuss American publication of The Knights of the Cross, which Curtin was then translating. Mrs. Curtin described in detail their meetings with Sienkiewicz, his family, opinions, and activities, as well as contractual arrangements concerning the book. While in Warsaw the Curtins also met with Bolesław Prus and Wacław Sieroszewski, and worked on the translation of Pharaoh. Then, they traveled to Wilno and visited Tolstoy in Jasnaja Poljana. In 1903, the Curtins went to Warsaw to discuss the publication of On the Field of Glory. Sienkiewicz invited them to Oblęgorek, where they spent four days in June with him. Mrs. Curtin described in detail Sienkiewicz’s literary opinions, as well as his house, his property, and the gifts received by the author of Quo Vadis on the twenty fifth anniversary of his work. After spending four days in Kraków and the summer in Yugoslavia, the Curtins returned in September to Oblęgorek, where they stayed for three days with Sienkiewicz and his family. Extensive passages recorded by Mrs. Curtin after daily visits with Sienkiewicz are published here for the first time and will add to the current knowledge about the Polish writer, his work, and his literary thought. Original unpublished photos taken by Mrs. Curtin illustrate the text.
Źródło:
Roczniki Humanistyczne; 1987, 35, 1; 77-128
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Motyw prozy Sienkiewicza w poezji Bunina
Мотив прозы Сенкевича в поэзии Бунина
Autorzy:
Orłowski, Jan
Powiązania:
https://bibliotekanauki.pl/articles/1945250.pdf
Data publikacji:
2008
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Bunin
inspiracje literackie
Sienkiewicz w Rosji
polsko-rosyjskie związki literackie
rosyjska poezja religijna
literary inspirations
Sienkiewicz in Russia
Polish-Russian literary connections
Russian religious poetry
Opis:
В конце ХIХ и в начале ХХ веков Генрик Сенкевич был очень известным писателем в России. Особенно высоко оценивался тогда его исторический роман «Камо грядеши» (Quo vadis). По его мотивам создавались в России стихотворения и драматические переделки, авторами которых были забытые ныне русские литераторы. Менее известное произведение Сенкевича – «Идиллия. Лесная картинка» вдохновило выдающегося писателя Ивана Бунина (1870-1953) на создание лирического стихотворения «Вечерняя молитва» (1895). Бунин не использовал однако эпических элементов этого рассказа Сенкевича и заимствовал у него только мотив великолепия лесной природы, которая в его философии являлась символом Божьего храма и выражала гармонию начала земной жизни с началом небесным.
Źródło:
Roczniki Humanistyczne; 2008, 56, 7; 5-10
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Andrzej Okińczyc – „mistrz i niewolnik portretu”
Andrzej Okińczyc - „The Master and the Slave of the Portrait”
Autorzy:
Sienkiewicz, Jan Wiktor
Powiązania:
https://bibliotekanauki.pl/articles/1955820.pdf
Data publikacji:
1999
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
Andrzej Okińczyc, born in 1949, will celebrate his fiftieth birthday in 1999 and for that very reason at least we should pose a question concerning the place established by the creative outcome of the Poznań artist in the most contemporary history of Polish painting, still regarded as one the so called young generation of Polish painters. Okińczyc is an artist best know for his portraits and selfportraits although he can be associated with the works of art that Tadeusz Nyczek calls “images of deception and reflection” as well as “frescos on walls”. Up till now he has had asignificant number of individual exhibitions both in Poland and abroad along with accompanying catalogues, he has also taken part in important group exhibitions devoted particularly to portraits. What is, then, and where is the place for Okińczyc's works in the melting pot of continuously arising means of expression or marking of one's individual artistic line, often pretending to be either innovative or revelational, of one's character eventually aiming at discovering or establishing what is the key issue for an artist – his own style? Okińczyc first of all paints the man. He is not afraid to be classical in his compositions or even academic, without a pejorative meaning of the word. In the case of the Poznań painter the term “classical” has abearing not only on his works' quality, but their character as well. His artistic creativity seems to be that of neoacademic. The drawing is maximally faithful to nature in his studies of nudes, draperies and still lifes), replacing aphotograph. There seem to be two elements constituting his paintings: one, the drawing, which is academic and the other, the subject matter, which is nonacademic. He focuses on everyday reality of his workshop, his environment and flat. His works reveal certain qualities rather unique nowadays, such as modesty, the balance of emotional charges, harmony and typically classical egocentricity. Okińczyc does not register the surrounding reality, rather the rediscovers it anew, to his own private use, while executing his own interpretation via the painter's means. The portrait becomes not only a masterpiece of amodelling form and composition but also an interpretation of the man. All elements in a portrait cofunction harmoniously: the background, facial expression, look, pose, dress as well as the frame which constitutes an integral part of the whole composition. A particulary distinctive feature of Okińczyc's portraits is avery soft modelling form with afull range of changing chiaroscuro producing the effect of smoky veils and mists. It seems that acertain group of Okińczyc's portraits stands in proximity with the achievements of the Wprost group, represented, for instance, by Leszek Sobocki's canvas who found inspiration in the paintings of Jacek Malczewski and transformed them in aseries of selfportraits. Okińczyc has been and still is the master and the slave of the portrait, be it the images of his relatives, friends and acquaintances. He has always been the painter of himself and always in his own, Okińczyc-like manner.
Źródło:
Roczniki Humanistyczne; 1999, 47, 4; 309-317
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Stylizacja biblijna w powieściach historycznych Henryka Sienkiewicza
Biblical Mode of Expression m Henryk Sienkiewicz’s Historical Novels
Autorzy:
Noetzel, Olga Bożena
Powiązania:
https://bibliotekanauki.pl/articles/1964287.pdf
Data publikacji:
1994
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
It is almost a truism to say that Sienkiewicz belongs to the greatest masters of the Polish language. As of yet, however, this part of his writing has rarely been dealt with. The question o f biblical mode of expression has so far been almost totally neglected by researchers. Due to the writer’s profuse literary output the scope of material under analysis has been confined to historical novels, referring to the past of Poland. These novels constitute the main core of the literary work of the author of Trilogy. This review of the nineteen volumes of historical novels as regards their links with the Bible bears merely the character of a record and makes a material for further research. Thanks to the impact of the Bible and often contacts with its text, a lot of expressions and phraseological relations have undergone considerable transformations and have become popular in everyday language. We shall be interested here only with these Biblical passages which play the function of literary allusions, or else are a conscious exploitation of the Bible’s text by the author for artistic purposes. While discussing them, we shall turn our attention to the role which they play in the new context. The impact of the Bible in Sienkiewicz’s novels is tremendous and varied. For Sienkiewicz’s figures this Book is a kind of commentary to history. In its light they explain the sense of national experiences and lives of particular people. The Bible inspires his novels in many ways. We find, for instance, a number of apocalyptic motifs in them (especially in Ogniem i mieczem) which make a philosophical interpretation of some stormy events in seventeenth-century Poland. The Bible is also to a broad extent "the Book of human affairs", that is why heroes refer to it and in its light seek to interpret their own experiences. They find in a part of themselves. The biblical word has often the form of comparison, which Sienkiewicz particularly liked. Another important group of "biblical passages" is references which serve to characterize the hero, and especially to morally evaluate his deeds. Several times Sienkiewicz has used the prophetic mode of expression in construing his figures (Wasyl Kurcewicz, Chmielnicki, and especially Fr Kordecki). The vast part of biblical references bears a particular meaning for the definition of the system of norms and values which govern the conduct, feelings and thoughts of the heroes. Biblical references often play the function of an argument in polemics. They appear in the language of the heroes or the narrator, supporting their words with the authority of the Holy Book. A separate group is made up of these passages in which Sienkiewicz enriches a prayer with a quotation or biblical allusion. Among many examples of biblical modes of expression there is a number of borrowings bearing the character of parody or humor, which are the source of comicality resulting from the contrast between gravity and dignity of the Bible’s word and a non-religious, often trifle content, The majority of this type of allusions is found in the language of Zagłoba. The analysis of biblical inspirations in Sienkiewicz’s historical novels proves that the writer knew and in many ways used the biblical text, both within the artistic form and ideas. This intense permeation of the biblical word is not only an external characteristic of this writing. The Bible is present in it as a living Book. The heroes of Sienkiewicz’s novels adhere to the truth contained in the Bible in all circumstances of their lives. They interpret in its light their own lives and the sense of historical events; the history of the biblical figures is a prototype for them of all existential experiences. The moral message of the Holy Book is a point of reference for the recognition and moral evaluation of people’s attitudes.
Źródło:
Roczniki Humanistyczne; 1994, 42, 6; 55-87
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zmierzch polskich galerii sztuki w XX-wiecznym Londynie
The Twilight of Polish Art Galleries in 20th-century London
Autorzy:
Sienkiewicz, Jan Wiktor
Powiązania:
https://bibliotekanauki.pl/articles/2120042.pdf
Data publikacji:
2001
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
The article foreshadows a bigger publication, now in preparation, devoted to history of exhibitions organized by Polish art galleries in London after World War II. So far, the knowledge of the range of importance of Polish exhibiting institutions and their role in promoting both artists and the newest trends in European art in the second half of the 20th century is only fragmentary. The author of the article presents a history of three Polish galleries: Drian Gallery, Centaur Gallery and Grabowski Gallery and an outline of their activities. Among these three, the one that functioned longest, as it was 43 years (from 1957 to 2000), is Drian Gallery, owned by Halima Nałęcz. One year before, in 1999, the official closing of Centaur Gallery took place, the place which was managed by Dinah and Jan Wieliczko. The gallery started its activities in London in 1960, working incessantly for almost 40 years. The shortest life, 16 years, had Grabowski Gallery, created in 1959 by Mateusz Bronisław Grabowski, a pharmacist by education, and closed in 1975. Each of these galleries had its own individual profile, its own key for selecting artist for exhibition and promotion, and its own ways to assure their functioning on the difficult London art market. Apart from the activities of these institutions, an important role in the history of Polish presence on the London cultural scene was played by organizations belonging to a different category i.e. galleries-studios. These were the following: Feliks Topolski Memoir of Century, open to visitors once every three months and a gallery of works by Marian Bohusz-Szyszko, on a permanent exhibition in the buildings of St. Christopher's Hospice in London-Sydenham. Apart from that, Polish Social and Cultural Association in London (POSK) is a host to a collection of works by Polish artists, contemporary and former members of the Association of Polish Artists in Great Britain. However, this is just an exhibition, not a gallery, which partly illustrates the output of Polish painters – mostly graduates of the School of Easel Painting at the Polish University Abroad. Being brought to attention many times, e.g. at the I Congress for Polish Culture on Emigration in 1970, the appeal to attempt a through historical analysis and an evaluation of the achievements of Polish galleries in their exhibiting and promotional work in the second half of the 20th century in London is a vital task. Together with establishing its importance in the context of Polish history of art and Polish cultural heritage both in Poland and on emigration this task seems very urgent, if it is not a belated one. It may seem late in the light of `passing away' of patrons, art lovers, gallery owners and artists of the pre-war generation themselves, which happens more and more often. The end of the 20th century provides another incentive to this work establishing time borders both in the context of Polish history of art and in the history of a remarkable phenomenon of `Polish' London in the second half of the 20th century.
Źródło:
Roczniki Humanistyczne; 2001, 48-49, 4; 277-301
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przysłówki odzaimkowe z sufiksem* -amo w języku rosyjskim drugiej połowy XVII wieku
Местоименные наречия с суф. * -амо в русском языке второй половины XVII века
Autorzy:
Sienkiewicz, Jan
Powiązania:
https://bibliotekanauki.pl/articles/1955972.pdf
Data publikacji:
1999
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
В статье предпринята попытка определения значения и употребления наречий на *-амо в русском языке второй половины XVII века. Наречия камо, овамо, онамо, с ім о, тамо, тамъ (там) зафиксированы в сочинениях протопопа Аввакума, в пьесах (Амфитрион, Баязет и Тамерлан, Жалостная Комедия о б Адаме и Евве, Иосиф, Юдифь), в Повести о Карпе Сутулове, Повести о куре и лисице и лишь в некоторых грамотках.
Źródło:
Roczniki Humanistyczne; 1999, 47, 7; 141-150
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Polska Diva w Wenecji. Plakaty weneckich festiwali sztuki kinematograficznej autorstwa Attilio Alfieriego
Polish Diva in Venice. From the History of Italian Exhibitions of Cinematographic Art
Autorzy:
Sienkiewicz, Jan Wiktor
Powiązania:
https://bibliotekanauki.pl/articles/1955863.pdf
Data publikacji:
1999
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
The article focuses on several interesting poster projects undertaken by an Italian artist Attilio Alfieri (1904-1992). In the Polish written literature on the history of art and its connections with broadly understood cinematography no mention is given to this prolific Milan artist, who was particularly productive in the 30s and 40s of the XXth century. The first poster project shown during the I International Exhibition of Cinematographic Art in Venice in 1932 was the poster Lumiere, devoted to the inventors of the photo camera. Seven years later Alfieri prepared two projects for the seventh show of the Cinematographic Art held in Venice in 1939. The first was the poster titled La Divina presenting Greta Garbo, a Polish born actress and a silent film Diva, „looking” at the exhibition audiences half-mysteriously, half-hastily, as if in assertion of her enormous talent and beauty. As a companion to the Slavic actress Alfieri chose another cinema star, now of the southern temperament. In his composition called E. Duse (Ommagio alla 1 Diva italiana) the artist paid tribute to the brilliant Italian actress Eleonore Duse. Wearing a characteristic hat it was now Eleonore looking at her fans, raising her visage from the poster. The whole composition, set against a vibrant red background, accentuated what the artist had assumed as correct already in the very conception of the work, namely the idea of the cinema idol's „sainthood”. And if it is not a representation of a contemporary Madonna, then without doubt of a noble-born lady, full of sophistication and elegance. Besides the discussed compositions, the article highlights other works by Attilio Alfieri, such as the posters called Manifesto VII Esposizione Cinematografica Venezia, Moulin Rouge, or the post-war project from 1947 titled Manifesto VIII Esp. Inter. Cinematogtafica Venezia. All the compositions were created on the basis of the former projects, especially the huge industrial advertisements produced in the 30s. Alfieri's cinema posters constitute a further expansion of his expressive corpus. He was aware that in the era of the silent film an artist-designer faced a challenging task of „ehnancing” the sound and expression of the film stars that obviously cound not be heard from the screen via the cinema poster. Responding to the need Alfieri created multimedial works of art which functioned as a sort of automatic discourse between the artist himself and the language of photography. Photography, as the artist said, "being an automatic entity, can prompt other methods of work, and consequently make room for projects where there develops a dialogue between painting and a photographic representation, which in effect produces multimedial compositions.
Źródło:
Roczniki Humanistyczne; 1999, 47, 4; 357-364
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przysłówki odimiesłowowe w języku rosyjskim drugiej połowy XVII wieku
Переход деепричастий в наречия в русском языке второй половины XVII века
Autorzy:
Sienkiewicz, Jan
Powiązania:
https://bibliotekanauki.pl/articles/1953916.pdf
Data publikacji:
2004
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
adverbium
język rosyjski
tekst
adverb
Russian language
text
Opis:
Настоящая работа посвящена сложному вопросу перехода слов из одной лексико-грамматической категории в другую, вопросу образования наречий в русском языке второй половины XVII в. От деепричастий образовались наречия: стоя, утаясь; небавяся, не видаючи, не задержав, не замедля, не медля,, не едчи, не м±шкая, не м±шкавъ, не мечкав, не зам±шкавъ, не замечкавъ, не изм±шкавъ, не позм±шкав, не мотчаючи, не мотчавъ, не замотчав, не позамотчавъ, нехотя, не шутя. Компонент не следует рассматривать вместе с формой деепричастия. Он отрицает время существования действия, процесса, исключает сопутствование главному действию, деепричастная форма не выступает в функции второстепенного сказуемого. В некоторых случаях изменение значения выражено дополнительно синонимом, напр.: отписать ... вскор±, не изм±шкавъ; прислать тотчасъ, не позм±шкавъ. Эти «уточнения» значения свидетельствуют об индивидуальном, окказиональном употреблении рассматриваемых форм.
Źródło:
Roczniki Humanistyczne; 2004, 52, 7; 131-143
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Krytycznoliteracka działalność pisarzy (Na przykładzie dyskusji o twórczości Sienkiewicza prowadzonych po II wojnie światowej)
Writers and Their Literary Criticism (The Writing of Sienkiewicz in the Discussions Conducted After the Second World War)
Autorzy:
Dybciak, Krzysztof
Powiązania:
https://bibliotekanauki.pl/articles/1963233.pdf
Data publikacji:
1997
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
Writers pursue criticism in a different way than "professional" critics, they are more subjective, metaphorical and aesthetic. The language of their statements is different, though their objectives and functions are similar. In the past half-century many leading writers dealt with the writing of Sienkiewicz. Gombrowicz, Gołubiew, Kijowski, Lem, Miłosz, Parnicki, Faulkner and Montherlant (among the foreign writers) devoted long texts to Sienkiewicz. Two attitudes towards the author of Trylogia are manifest here: a critical attitude, among the writers at variance with Polishness; and an approving attitude with the classicizing or (especially artistically) conservative writers. All the writers are positive about those meanings and values in the work of Sienkiewicz. They support their writing, and are dear to them. The basic context for the contemporary writers is history and literature after World War Two.
Źródło:
Roczniki Humanistyczne; 1997, 45, 1; 23-35
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 21

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