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    Wyświetlanie 1-3 z 3
    Tytuł:
    „Ближайшая станция европейской культуры…”: полонофилия 60-х годов
    Autorzy:
    Vorontsova, Kristina
    Powiązania:
    https://bibliotekanauki.pl/articles/1023462.pdf
    Data publikacji:
    2019-09-05
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Soviet poetry
    Polska
    the Khrushchev Thaw
    the Sixties
    Polish text of Russian literature
    Andrzej Wajda
    Zbigniew Cybulski
    Opis:
    The article attempts to trace the sources of “polonophilia” in the Soviet culture of the sixties and to consider the strategies of the representation of the Polish text in Russian literature after the Khrushchev Thaw on the material of Stanislav Kunyaev, Boris Dubrovin and Emil Janvarev’s poetry. The special influence on the formation of the geo-cultural image of the Polish People’s Republic in this period is discussed in the context of Polish cinema (in particular Andrzej Wajda’s film Ashes and Diamonds).
    Źródło:
    Studia Rossica Posnaniensia; 2019, 44, 2; 5-14
    0081-6884
    Pojawia się w:
    Studia Rossica Posnaniensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Od rewizji do apostazji i między publicystycznością a literackością. O wierszach polskiej „odwilży”
    From revision to apostasy, and between public discourse and literary discourse. On the poems of the Polish thaw
    Autorzy:
    Stankowska, Agata
    Powiązania:
    https://bibliotekanauki.pl/articles/1041914.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Polish poetry in the 20th century
    thaw
    October watershed
    censorship
    Opis:
    The text is a book review of an Wiersze polskiej „odwilży” (1953-1957)  (Kielce 2010). This is the first monograph of this subject, and it has a great documentary value. The author based his well-researched study on detailed archival queries in contemporary press, magazines, and leaflets. The author compared the found texts with their authors’ published poetry books, traced the relations between content, censorship interventions in reprints, and subsequent authorial modifications, which were often aimed at universalization of a poem initially written as an urgent public statement. The author meticulously reconstructed the communicational problems of thaw poems and collections.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2016, 29; 247-259
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Malarstwo materii w Polsce. Na marginesach odwilżowej "nowoczesności"
    Autorzy:
    Jankowska-Andrzejewska, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/909451.pdf
    Data publikacji:
    2018-09-08
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    modernity
    painting of the matter
    Thaw in Poland
    surface of a painting
    Opis:
    The painting of the matter was an important component of Polish art of the “thaw” period and the 1960s. So far Polish art historians have usually interpreted works made of non-traditional substances by Polish artists as examples of inspiration by Western art and a tendency to abandon the painting as such. Scholars and critics stressed the relief qualities of art objects and their impact on the spectator through the surface texture and the properties of the material used, often incorporated into a picture directly from reality and provoking specific associations. Such an approach did justice only to some such works, e.g., those painted with paints mixed with nonpainterly substances, with the mud effects of the palette, characteristic of French art (Aleksander Kobzdej, Jan Lebenstein), or abandoning traditional materials to challenge the painting as such (Jan Ziemski, Włodzimierz Borowski, Jerzy Rosołowicz). Thus far the reflection on the painting of the matter seems inadequate to the works in which paint was eliminated in favor of other materials and substances combined with painterly activities. Those unspecific substances and materials were often distributed on flat surfaces and composed in terms of basic division of the pictorial field, its main axes, relations to the edges, etc. Such “paintings made of matter” are interesting examples of the “thaw” art, which have not been interpreted as paintings, escaping chronological and other criteria of art history. Ambiguously called the “painting of the matter,” they occupied the margins of the critical discourse. The inadequacy of the terms adopted to describe them resulted in ignoring many works, while others have been included in the history of Polish art only in some aspects.  So far no one has addressed the basic question of different artistic responses to the problem of searching for the limits of the painting, and related attempts to enhance the painterly idiom which was at the same time disrupted in a number of ways. The author analyzes works selected from the set of about three hundred items found in thirteen Polish museums. Regardless of the individual differences, the paintings by Jadwiga Maziarska, Bronisław Kierzkowski, Adam Marczyński, Teresa Rudowicz, and Krystyn Zieliński exemplify the combination of non-traditional substances and surface composition. Paradoxically, the decision to abandon paint did not make those artists deny the superior role of the surface, which resulted in the creation of works oscillating among painting, relief, and sculpture, close to collages or assemblages, yet quite specific. Their works either exploited the conditions offered by the framed flat surface or brought into play new, autonomous surfaces.
    Źródło:
    Artium Quaestiones; 2016, 27; 197-247
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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