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    Wyświetlanie 1-9 z 9
    Tytuł:
    W odpowiedzi Panu Profesorowi Henrykowi Markiewiczowi
    Autorzy:
    Popiel, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/639055.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    kulturowa historia literatury, narracja tożsamościowa, intermedialność, portret
    Opis:
    A Reply to Professor Henryk MarkiewiczIn my reply to Professor Markiewicz I focus on my belief in the necessity of considering literary history as an important part of contemporary culture. I am deeply convinced, that literary history, far from abandoning its professional standards, should join the processes created by this culture and respect a new kind of sensibility and expectations typical for its participans. The crucial aim in this situation is to consolidate the value of the literature itself.
    Źródło:
    Wielogłos; 2013, 3(17)
    2084-395X
    Pojawia się w:
    Wielogłos
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Nieznany portret Teodora Talowskiego ze zbiorów Muzeum UJ
    Autorzy:
    Lohn, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/636547.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Teodor Talowski, Tadeusz Popiel, malarstwo portretowe
    Opis:
    This article is devoted to the analysis of the portrait of an unknown architect from the collection of the Jagiellonian University Museum. A compass in his right hand and a project in gothic or neogothic style suggest an architect meanwhile the dress on the model is chacteristic for the first decade of the 20 c. Finaly it was discovered that the model was an excellent architect Teodor Talowski, also the temple visible on the project within this portrait was identyfied as the church of St. Elisabeth in Lwów. Next question was the identity of the painter. It was possible to discover the correspondence between the painter Tadeusz Popiel with Teodor Talowski revealing that the architect was an intermediary between the painter, Popiel and the professors of Lwów Polytechnic in ordering their portraits. While it seemed certain that he did paint the portait in question, one more decisive comparative prove was needed. One authoportrait of Tadeusz Popiel in the dress of chamberlain from 1907 solved the mystery because it is so much similar in many aspects to the portrait of the architect Teodor Talowski. The portrait was painted round 1903. It must have been hanging in the hall of the Polytechnic of Lwów. The portrait of Talowski was purchased by the Jagiellonian University Museum from Mrs Hamerlak-Mleczko in 1975.
    Źródło:
    Opuscula Musealia; 2013, 21
    0239-9989
    2084-3852
    Pojawia się w:
    Opuscula Musealia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Galeria Academica Cracoviensis
    Autorzy:
    Jasińska, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/636564.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    portret profesorski
    Collegium Maius
    Benedykt z Koźmina
    Trycjusz
    portraits of professors
    Opis:
    The Collegium Maius has a rich collection of painting, consisting of 1423 paintings. Both Polish and foreign paintings on diverse themes are represented. Among them there are 832 portraits, while the remaining 591 paintings represent religious themes, genre painting and landscape. There are portraits of various personages connected with the history the Kraków Alma Mater: Polish rulers, Chancellors of the Kraków Academy, professors, their families and other persons connected with the university in some ways. The aim of this article is to present the Academy Gallery – in this case exclusively portraits of professors. There are 307 portraits of outstanding professors of the Jagiellonian University – from the earliest works dating from the 16th century to contemporary paintings. Neither in Poland nor abroad portraits of academics have been subject of more comprehensive studies so far. It is only for two decades that interest in academic portrait has been growing. Catalogues of university collections containing portraits of university professors have been published in the UK, the Netherlands, Germany, Finland and other countries. Among the earliest such catalogues is the one representing the collection of the University of Helsinki. This paper refers to the article by Pia Vuorikoski, tiled Galleria Academica: a Portrait Collection of the University of Helsinki, which appeared in the same issue of Opuscula Musealia (20). The most recent publication on academic portraits is the book which saw print in Kraków in 2010, presenting a study on a group of portraits of the Kraków Academy professors. The term: “phenomeon of academic portrait” was used for the first time in that publication. The surviving portraits of professors in the Jagiellonian University collection testify to the long-established tradition of creating portrait galleries. The tradition is still continued. Regardless of their artistic value, they are unique pieces of historical evidence which, through the history of persons portrayed, document the history of the earliest Polish university - the Kraków Alma Mater.
    Źródło:
    Opuscula Musealia; 2012, 20; 65-88
    0239-9989
    2084-3852
    Pojawia się w:
    Opuscula Musealia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Portrety profesorów pędzla L. Wyczółkowskiego
    Autorzy:
    Lohn, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/636560.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    portraits of professors
    Ludwik Rydygier
    Juliusz Leo
    Kazimierz Kostanecki
    portret profesorski
    Julisz Leo
    Opis:
    The theme of the representation of university professors by the painter Leon Wyczółkowski goes well with the recent wave of publications focused on academic portraits. We have today twenty seven of them, the present study allows us to underline their salient features like: the realism and detailed image of the head, the setting within a characteristic space stressed by the play of colourful shades and lights, roughly designed silhouette contrasting with well studied face, little deformations of elements on the bottom egde of the portrait, richly coloured backround usually without any representation of objects. The portraits can be devided into three groups, most interesting is the one with the scientists with their attributs, where the specific instruments or the backround spaces indicate the corresponding fields of sciences and the achievements of the models. Another group, which most completely illustrates this study shows professors clad with university traditional costumes like gowns, where the model represents the institution. Wyczółkowski has painted nine of such portraits, including three of the rectors. The third group represents the classic image of a man in a casual dress, in white shirt, with tie, waistcoat and jacket viewed from the waist up or only a bust, the backround is in neutral colour without nothing or only a tissue. The official university dress was not always shown on every portrait of a professor in 19 c. becasue not all portrats were ordered by the academy. From the time of his instalation in Kraków, the artist painted the portraits of professors at a rate of one, at least, every seven years. The portraits painted at the turn of the 19th and 20th centures are the best, their quality grew with quantity, in one decade he executed over ten portraits of great Polish scientists. When we compare them we see that he never made them the same way, never followed one rigid pattern, each portrait is unique by a specific trait or a feature like, for example a pose. All respresentations of professors have in common a monumental character made of the pose, the face`s traits or a dress (exapt of Rydygier in surgeon`s attire). This way of putting a person on stage aims to enhance his prestige, to glorify his memory because these were professors ranking also high in the society and because also the portraits were ordered for it. We can hardly tell what was the contribution of the model, his autocreation from the artist`s contibution, his creation, nevertheless each image shows a noble, proud, wise person, this was the goal of the artist, to male us believe that we contemplate honourable people.
    Źródło:
    Opuscula Musealia; 2012, 20; 89-108
    0239-9989
    2084-3852
    Pojawia się w:
    Opuscula Musealia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Moje zdziwienia: Znowu dyskutuję z profesorem Nyczem / I zdziwienia, i niepewność
    Autorzy:
    Markiewicz, Henryk
    Powiązania:
    https://bibliotekanauki.pl/articles/639059.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Nycz Ryszard, Popiel Magdalena, humanistyka, kulturowa teoria literatury, portret
    Opis:
    My MarvellingsMoje zdziwienia /My Marvellings/ is a column run by Henryk Markiewicz, retired Professor of the Jagiellonian University and one of the most outstanding Polish literary historians and theoreticians. In his essays, Professor Markiewicz presents and discusses various literary theory publications, comments on current events at the academia, argues with and questions authors of scholarly and popular articles, all the time being indefatigable in his insistence on respecting standards of academic professionalism, competence, honesty and responsibility for judgments and opinions expressed. This time Henryk Markiewicz focuses his critical attention on two articles: Ryszard Nycz’s W stronę humanistyki innowacyjnej: tekst jako laboratorium. Tradycje, hipotezy i propozycje (Toward Innovative Humanities: Text as a Laboratory. Traditions, Hypotheses, Ideas) published in “Teksty Drugie” (Second Texts) 2013, no. 1–2, and Magdalena Popiel’s Portret jako jednostka kulturowej teorii literatury (The Portrait as a Unit of the Cultural History of Literature) published in “Ruch Literacki” (“Literary Movement”) 2013, no 1.
    Źródło:
    Wielogłos; 2013, 3(17)
    2084-395X
    Pojawia się w:
    Wielogłos
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Czy „Portret młodzieńca” w zbiorach wawelskich jest obrazem Jana Lievensa?
    Autorzy:
    Winiewicz-Wolska, Joanna
    Powiązania:
    https://bibliotekanauki.pl/articles/636616.pdf
    Data publikacji:
    2011
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Jan Lievens
    Portrait of a young man
    Wawel
    Anton van Dyck
    Opis:
    In 1910, Cracow art historian Professor Jerzy Mycielski bought Portrait of a young man, believing it to be a work by Dutch painter Jan Lievens, at an auction in Amsterdam. After Mycielski’s death in 1929, following his last will, the portrait along with his entire collection was bequeathed to the Wawel Royal Castle. In an article published in 1917 Hans Schneider saw the likeness of the painting to Rafael’s Portrait of a young man, which was then in the Duke Czartoryski collection. Attribution of the work to Lievens, who until recently was believed to be a student of Rembrandt, has never been questioned previously, although some researchers saw certain similarities between the painting and works by Juriaen Ovens or Govaert Flinck. The painting represents an “international” style of portrait, formed under the Flemish influence, in particular of Anton van Dyck’s portraits. Thus it should be assumed that the work of van Dyck was an important inspiration and point of reference for the artist who painted the portrait, who might have seen Rafael’s Portrait – the original, its copy or a graphic version. All the more so as van Dyck himself was familiar with Rafael’s work – he saw it during his journey to Italy in 1623 and made a copy in the form of drawing in his sketchbook. Other than a close a likeness to Rafael’s original and van Dyck’s works, the stylistic analysis of the Wawel Portrait does not enable pinpointing who painted it. Examination using technological means appears to be necessary, considering the fact that Lievens’ paintings were rather carefully examined in view of the recent monographic exhibition at the National Gallery in Washington and the Rembrandthuis in Amsterdam. The fact that the Wawel painting was included in Lievens’ works displayed at that exhibition seems to suggest that the ideas of those researchers who saw it as a work by Flinck or Ovens should be revisited. Flinck’s portraits based on Flemish models are only of marginal importance and they certainly do have some common features. They do not show any traces of fascination with van Dyck’s painting; neither are there any cues to suggest that he knew Rafael’s Portrait. On the other hand, Juriaen Ovens, who probably visited Italy, could have seen Rafael’s work. He might have come across a copy of it as a collector or as an antiquarian – since he not only had a large collection of paintings but also traded in antiquities. His fascination with van Dyck’s painting and the fact that he was familiar with his oeuvre is confirmed by his numerous sketches of paintings by the Flemish master. The analysis of some details of the Wawel portrait – folds of the young man’s outfit or landscape in the background – also seem to support the assumption that it is his work.
    Źródło:
    Opuscula Musealia; 2011, 19; 37-48
    0239-9989
    2084-3852
    Pojawia się w:
    Opuscula Musealia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Badania obrazu Jana Lievensa „Portret młodzieńca”
    Autorzy:
    Frączek, Piotr
    Klisińska-Kopacz, Anna
    Rogóż, Maria
    Wiłkojć, Ewa
    Powiązania:
    https://bibliotekanauki.pl/articles/636610.pdf
    Data publikacji:
    2011
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Jan Lievens
    Portrait of a young man
    chemical analyses
    Analytical study
    Opis:
    In order to determine in detail the structure of the painting, physical and chemical analyses were carried out, such as: UV light examination, IR light examination, X-ray, chemical analysis of the ground layer and pigments (of the original paint layer as well as the overpaint layers). The stratigraphy of the existing layers was determined based on the examination of the cross-sections. Pigments were identified by the analysis of their elemental contents. Chemical analyses were carried out using noninvasive methods. Measurements were carried out using X-ray fluorescence spectroscopy (XRF).
    Źródło:
    Opuscula Musealia; 2011, 19; 49-54
    0239-9989
    2084-3852
    Pojawia się w:
    Opuscula Musealia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Obraz wychowania w powieści Jamesa Joyce’a Portret artysty z czasów młodości. Część pierwsza: religijne podstawy wychowania
    The representation of education in A Portrait of the Artist as a Young Man by James Joyce Part One: Religious education
    Autorzy:
    Ziemiński, Ireneusz
    Powiązania:
    https://bibliotekanauki.pl/articles/41975217.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    szkoła
    edukacja
    wychowanie
    religia
    literatura
    jezuici
    school
    education
    upbringing
    religion
    literature
    Jesuits
    Opis:
    W artykule został przedstawiony obraz wychowania, opisany przez Jamesa Joyce’a w powieści Portret artysty z czasów młodości i realizowany w szkołach jezuickich w Irlandii na przełomie XIX i XX wieku. Celem artykułu nie jest jednak odpowiedź na pytanie, czy Joyce wiernie odtworzył jezuicki system szkoły, lecz opis, jak w tym systemie funkcjonował przyszły poeta – Stefan Dedalus. Obdarzony wyjątkową wrażliwością chłopiec nie potrafił się odnaleźć w religijnym modelu szkoły, której podstawowym założeniem była grzeszność człowieka a celem – wieczne zbawienie po śmierci.
    The article discusses upbringing in Jesuit schools in Ireland at the turn of the XIXth and XXth centuries, as portrayed by James Joyce in his novel A Portrait of the Artist as a Young Man. However, the article does not attempt to answer the question whether Joyce accurately represented the Jesuit school model, but rather to discuss how a future poet – Stefan Dedalus – functioned within this system. As an exceptionally sensitive boy, he had trouble navigating a religious school which was founded upon the assumption of human wickedness and whose goal was eternal salvation after death.
    Źródło:
    Filozoficzne Problemy Edukacji; 2019, 2; 11-27
    2545-0948
    Pojawia się w:
    Filozoficzne Problemy Edukacji
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Obraz wychowania w powieści Jamesa Joyce’a Portret artysty z czasów młodości. Część druga: Cele, metody i efekty wychowania
    The representation of education in A Portrait of the Artist as a Young Man by James Joyce Part Two: Purpose, methods, and results of education
    Autorzy:
    Ziemiński, Ireneusz
    Powiązania:
    https://bibliotekanauki.pl/articles/41976357.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    edukacja
    wychowanie
    grzech
    kapłaństwo
    sztuka
    religia
    education
    upbringing
    sin
    priesthood
    art
    religion
    Opis:
    W artykule zostały opisane religijne i narodowe cele wychowania, którym poddany został bohater powieści Joyce’a w szkołach jezuickich a także metody, za pomocą których były realizowane (kary fizyczne i psychiczne). Zakładane efekty jezuickiego wychowania (uczynienie z chłopców gorliwych katolików oraz irlandzkich nacjonalistów) w przypadku głównego bohatera, Stefana Dedalusa, nie zostały zrealizowane. Chłopiec wyrósł bowiem na samodzielnego i wolnego człowieka, który porzucił religię, zostając poetą; jezuici przygotowali go jednak intelektualnie do podjęcia fundamentalnej dyskusji z religijnym i moralnym nauczaniem Kościoła katolickiego.
    The article discusses the religious and nationalist purpose of the upbringing received by Joyce’s character in Jesuit schools, as well as the methods utilized there (corporal and mental punishment). The stated goals of Jesuit upbringing (turning the boys into zealous Catholics and Irish nationalists) were not fulfilled in the case of Stefan Dedalus, the main character of the novel. The boy grew up to be an independent, free man who abandoned religion by becoming a poet; however, the Jesuits prepared him intellectually to engage in the fundamental arguments against the religious and moral teachings of the Catholic Church.
    Źródło:
    Filozoficzne Problemy Edukacji; 2019, 2; 29-47
    2545-0948
    Pojawia się w:
    Filozoficzne Problemy Edukacji
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-9 z 9

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