Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "Holocaust Music," wg kryterium: Wszystkie pola

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-6 z 6
    Tytuł:
    Muzykalia w zbiorach Państwowego Muzeum Auschwitz-Birkenau
    Musical sources survived in the Collection of the Auschwitz- -Birkenau State Museum
    Autorzy:
    Szczęśniak, Hubert
    Powiązania:
    https://bibliotekanauki.pl/articles/514086.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    KL Auschwitz-Birkenau,
    musical sources,
    Holocaust Music,
    Music and Politics,
    Auschwitz-Birkenau State Museum.
    Opis:
    The article presents the conclusion of the research conducted by the author in the collection of the State Museum of Auschwitz-Birkenau, former German Nazi concentration and extermination camp. The sources are fully featured and described for the first time. The article focuses on showing a complicated post-war history of the camp items connected with music (musical instruments, printings, manuscripts, handwritten copies of instrumental books), which are auxiliary sources to reconstruct the repertoire of chapels in KL Auschwitz-Birkenau. The main aim of the article is to also discuss the preserved repertoire. In the last chapter, the author presents a short characteristics of original works composed by musicians and composers in slavery with a short analysis of all of them. Presented musical printings are a reflection of tastes of the German public in the 1930s as well as an example of ridiculous anthropological establishments of Nazi music scientists and no ability to implement it on listeners practice. In addition, the work contains annexes: musical instruments, original works composed during camp existence, and musical printings – a list of music materials which survived in the collection of the Auschwitz-Birkenau State Museum.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2017, 1(32); 125-175
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Musical Sources Survived in the Collection of the Auschwitz-Birkenau State Museum1
    Autorzy:
    Szczęśniak, Hubert
    Powiązania:
    https://bibliotekanauki.pl/articles/514008.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    KL Auschwitz-Birkenau
    musical sources
    Holocaust Music
    Music and Politics
    Auschwitz-Birkenau State Museum
    Opis:
    The article presents the conclusions of the research conducted by the author in the collection of the Auschwitz-Birkenau State Museum, former German Nazi concentration and extermination camp. The sources are fully featured and described for the first time. The article focuses on showing a complicated post-war history of the items connected with music (musical instruments, printings, manuscripts, handwritten copies of instrumental books), which are auxiliary sources to reconstruct the repertoire of chapels in KL Auschwitz-Birkenau. The main aim of the article is also to discuss the preserved repertoire. In the last chapter, the author presents a short characteristics of original works composed by musicians and composers in slavery with a short analysis of all of them. Presented musical printings are a reflection of tastes of the German public in the 1930s as well as an example of ridiculous anthropological establishments of Nazi music scientists and the lack of ability to implement it on listeners practice. In addition, the work contains annexes: musical instruments, original works composed during camp existence, and musical printings—a list of music materials which survived in the collection of the Auschwitz-Birkenau State Museum.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2017, 1(32) Eng; 125-173
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Experience of the Holocaust in Music: Examining the Case of Arnold Schoenberg’s ‘A Survivor from Warsaw’ Op. 46
    Autorzy:
    Sowińska-Fruhtrunk, Iwona
    Powiązania:
    https://bibliotekanauki.pl/articles/962879.pdf
    Data publikacji:
    2017-11-28
    Wydawca:
    Uniwersytet Gdański. Wydział Filologiczny
    Opis:
    The purpose of this paper is to examine the way in which the experience of the Holocaust can be represented, embodied or relived in/through music. The category of experience has gained recently a great recognition and importance in the interdisciplinary research. Surprisingly, it is still little applied in musical art, although it seems to be a major category when talking about the compositional process, as well as referring to the performance and listener/interpreter points of view. The experience category (as defined by Ryszard Nycz) thus serves as a main methodological aid in this survey. It helps to reconstitute the proces of expressing the experience of the Holocaust in music, specifically in music of Arnold Schoenberg. ‘A Survivor from Warsaw’ Op. 46 for narrator, men’s chorus and orchestra came into existence two years after the Second World War was finished. Schoenberg wrote the text himself including at the end of the piece a Jewish prayer ‘Shema Yisrael’. Textual and musical figures representing violence, fear, despair and hope are discussed in detail. Lastly, all these aspects are explored in the context of Schoenberg’s written opinions and ideas regarding human rights.
    Źródło:
    Język - Szkoła - Religia; 2017, 12, 4; 98-108
    2080-3400
    Pojawia się w:
    Język - Szkoła - Religia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Is There the Holocaust without a Film Music? Analyzing a Croatian and a Serbian Film about the Holocaust
    Ima li holokausta bez filmske glazbe? Tragom jednog hrvatskog i jednog srpskog filma o holokaustu
    Autorzy:
    Jambrešić Kirin, Renata
    Powiązania:
    https://bibliotekanauki.pl/articles/635715.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    the reception of post-Yugoslav films on the Holocaust
    music and the Holocaust
    affective regime
    Lea Deutsch (1927–1943)
    Filip David (1940)
    Opis:
    This article implies that the impact of cinematic fiction on the capability to imagine and comprehend the trauma of the Holocaust is formed at the intersection of aesthetic, moral, social and ideological frames in particular society. Cinema had a special role for the unification of the Holocaust memory since 1990. In the post-Yugoslav cinema two feature films (Lea and Darija, 2011 and When Day Breaks, 2012) represent the cinematic paradigm shift in dealing with the difficult heritage of the Holocaust in Croatia and Serbia following the break of communism. Although they suffer from apolitical approach to historical issues and mitigate the consequences of local collaboration with the Nazis, as well as take the child as „the figure of infantilization” of the Holocaust (Hirsch 2012), their influence on the “postmemory generation” and the pedagogy of trauma in the region is significant and socially relevant.
    Źródło:
    Poznańskie Studia Slawistyczne; 2017, 12; 181-195
    2084-3011
    Pojawia się w:
    Poznańskie Studia Slawistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Prawda, prowokacja, propaganda. Obrazy Holocaustu w internetowych serwisach plików wideo
    Truth, provocation, propaganda. Images of the Holocaust in the Web services
    Autorzy:
    Otto, Wojciech
    Powiązania:
    https://bibliotekanauki.pl/articles/919821.pdf
    Data publikacji:
    2011-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Holocaust
    Internet
    Newsreel
    Music video
    Provocation
    Propaganda
    Opis:
    The word “Holocaust” functions as a keyword in reading of the contemporary history in the Web services (which contain video files). Very often this word is used in the context of some historical truth which concerns the second world war. There are mainly some newsreels or audiovisual documents which confirm the atrocities of the war. The forms of the provocation are rather rarely. In this perspective the authors want to notice some peculiar problems or phenomenona. Sometimes the word “Holocaust” is used by somecommunities to support their ideologies (for example in the political background) – and in this context the interpretation of this word exceeds the ethical taboo.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2011, 8, 15-16; 67-80
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wielogłosowość i milczenie w poetyce żydowskiej — ,,gdy ciało staje się słowem”: kilka uwag o poezji Zuzanny Ginczanki
    Polyphony and Silence in a Jewish Poetics — when the ‘flesh was made word’ — some remarks about Zuzanna Ginczanka’s Poetry
    Многоголосие и молчание в еврейской поэтике — «когда тело становится словом»: некоторые замечания о поэзии Зузанны Гинчанки
    Autorzy:
    Borkowska, Ewa
    Powiązania:
    https://bibliotekanauki.pl/articles/2191563.pdf
    Data publikacji:
    2020-06-22
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    геопоэтика
    поэтика
    Холокост
    Жар-птица
    Стравинский
    музыка
    еврейские корни
    Jewish matters
    the Holocaust
    Stravinsky
    Fire-Bird
    music
    poetics
    geopoetics
    Opis:
    The article is an attempt at presenting an inspiring writing of Zuzanna Ginczanka (Polina Gincburg) who was a Ukrainian-born Jewish poet writing in Polish. Due to her multifarious identity, it is in her poetry that one finds voices that reverberate from various nations and cultures, which makes an original polyphonic, geographic and mythological texture. Ginczanka’s poetics venerates the body since, in her view, contrary to the dogma of incarnation, it was the ‘flesh that was made word’. In her poems it is the Songs of So gs whose physicality more than metaphoricity inspires the poetic images. It is also nature that becomes an incentive for the poetic creation, which proves that poetry derives from the Greek word poiesis . In the times of the Holocaust atrocities, the language of poetry became for her the ‘house of poetic Being’ and several geographical places served her as security which, however, she had to constantly abandon in fear of Nazi repressors. Her monumental poems, chief among which is ‘The Fire-Bird’, due to its orchestration and almost sonorous imagery can compare with Igor Stravinsky’s ballet of the eponymous title. Her attachment to the earth and the living place, no matter how insecure, brought about that several geo-poetic images can be traced in her poetic works.
    Статья является попыткой показать Зузанну Гинчанку (урожденная Сара Полина Гинцбург) как оригинальную поэтессу, которая родилась в Украине, пишет на польском языке, и имеет еврейские корни. Из-за сложной идентичности Гинчанки в ее стихах звучат голоса разных народов и культур, что создает интересную материю полифоническую, географическую, а также мифологическую. Гинзанка черпает вдохновение из Песни Песней Соломона, из богатства природы, но прежде всего выступает как «ювелир слова», который считает, что поэтическая материя — это непрерывный процесс творения (poiesis). В творчестве Гинчанки находят свое отражение мифологические мотивы, как в поэме «Жар-птица», по звучанию и образу напоминающей балет Игоря Стравинского с таким же названием. Во время Холокоста поэтесса находит убежище в «доме поэтического бытия», но также и в многочисленных местах в Польше и Украине. Поэзия Гинчанки глубоко «погружена» в землю (гео), и память о ее географическом месте рождения порождает в ее стихах многие геопоэтические элементы.
    Źródło:
    Iudaica Russica; 2020, 1(4); 56-71
    2657-4861
    2657-8352
    Pojawia się w:
    Iudaica Russica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-6 z 6

      Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies