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    Tytuł:
    Wojciech Kudyba, twórca poezji religijnej
    Wojciech Kudyba, the Author of Religious Poetry
    Autorzy:
    Kwiek-Osiowska, Janina
    Powiązania:
    https://bibliotekanauki.pl/articles/951921.pdf
    Data publikacji:
    2014
    Wydawca:
    Fundacja Naukowa Katolików Eschaton
    Tematy:
    kultura chrześcijańska
    literatura chrześcijańska
    polska poezja religijna
    polska poezja metafizyczna
    polska liryka XX wieku
    polska liryka XXI wieku
    Christian culture
    Christian literature
    Polish religious poetry
    Polish metaphysical poetry
    Polish lyrics of the 20th century
    Polish lyrics of the 21st century
    Opis:
    Autorka opisuje osobę Wojciecha Kudyby, naukowca i poetę religijnego, w sposób ogólny próbując scharakteryzować jego poetycki dorobek twórczy na podstawie kilku książek. Podjęte analizy prowadzą do konkluzji na temat literackich środków stylistycznych, stosowanych przez W. Kudybę. Przykłady używanych przezeń tropów artystycznych autorka wylicza, podając w zestawieniach tytuły wierszy (utworów) z poszczególnych tomów, które zawierają dany typ chwytów literackich. Analiza ma charakter przeglądowy.
    The author describes Wojciech Kudyba, a scholar and a religious poet, trying to characterize his poetic output on the basis of a few books. The analyses carried out in the book lead to the conclusions referring to the stylistic devices used by Wojciech Kudyba. The examples of the poet’s artistic tropes are enumerated by the author who in her specifications provides the titles of the poems published in particular volumes along with the information about a particular type of literary devices found in these poems.
    Źródło:
    Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education; 2014, 3(7); 185-204
    2299-9922
    Pojawia się w:
    Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Rok 1933. Oprawa obchodów 400. rocznicy urodzin Stefana Batorego i 250-lecia Odsieczy Wiedeńskiej na Kresach Wschodnich
    1933. The ceremonial setting of the 400th birthday of Stefan Batory and the 250th anniversary of the Relief of Vienna in the Borderlands
    Autorzy:
    Zgliński, Marcin
    Powiązania:
    https://bibliotekanauki.pl/articles/2082100.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    20th Century religious ceremonies
    20th Century occasional decorations
    state ceremony
    political iconography
    historical politics
    20th Century Polish culture
    Opis:
    The year 1933, which marked the 15th anniversary of Polish independence, also saw the celebrations of the 400th birthday of Stefan Batory and the 250th anniversary of the Relief of Vienna led by King Jan III Sobieski. Both events allowed for a wide campaign of pro- paganda for the Sanation movement’s updated political programme, clad in historical analogies, especially in the context of Eastern policy. For this reason, the ceremonies organized in the Borderlands, a particular lieux de mémoire associated with great kings, who were seen in official historical politics as natural harbingers of Józef Piłsudski, took on a special character. This provided an excellent opportunity for the propaganda of the Polish civilizing mission in the East and the promotion of the idea of Poland as a superpower. The main ceremonies com- memorating Stefan Batory were organized in Grodno, where the monarch died in the historic castle in 1586. These celebrations, broadcast by radio and widely reported by the press, were attended by President Ignacy Mościcki and many national and local dignitaries, ministers, senators, deputies, voivodes, bishops, generals etc. Lavish occasional decorations, saturated with specific symbolism, were set up as modern- ized late 16th-century architectural stylizations. The activities of the Grodno Castle reconstruction committee were officially inaugurated on the 350th anniversary of Batory’s death. Even more magnificent were the two-day festivities commemorating the Victory at Vienna organized in Olesko, which overshadowed the central celebrations in Kraków. The programme of the ceremony proclaimed that “a deed of European importance – by King Jan III and the then-superpower Poland – must be reflected by a programme of celebrations of its 250-year anniver- sary on a superpower scale”. An extensive open-air spectacle was organized with the participation of thousands of extras, including soldiers in historical costumes, several hundred fire brigades, scouts and aviation squadrons. Particularly spectacular was the especially arranged musical performance combined with night illuminations. These celebrations were enhanced by other accompanying events such as the Star Automobile and Motorcycle Rally and the sightseeing rally On the Trail of Sobieski. In other Borderland towns such as Tarnopol the jubilee was celebrated on a smaller scale, where a number of outdoor events were organized under the umbrella name Harvest Festival of King Jan III and the Arrival of the Austrian Emperor’s Legation with a Request for the Relief of Vienna.
    Źródło:
    Rocznik Historii Sztuki; 2020, 45; 171-183
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Lekcja godności, lekcja duchowości z Józefem Czapskim
    Autorzy:
    Krakowiak, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/1373726.pdf
    Data publikacji:
    2021-07-01
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Józef Czapski
    kultura polska XX w.
    duchowość
    metafizyka
    światopogląd artystyczny
    20th century Polish culture
    metaphysic
    artistic world outlook
    Opis:
    W artykule punktem wyjścia uczyniono pytanie o to, jakie trwałe i ponadczasowe elementy zawiera w sobie spuścizna malarza i pisarza – Józefa Czapskiego. Ukazane zostały przykłady nawiązywania, czyli „powrotów” do biografii i twórczości artysty w ostatnich latach. Myślą przewodnią artykułu jest wskazywanie na zainteresowanie Czapskiego różnymi aspektami duchowości. Duchowość bowiem uznawał on za fundament swoich decyzji i działań. Z takiej też perspektywy przedstawiono jego obraz Lustro na drewnianych drzwiach – nieoczywisty przykład malarstwa metafizycznego.
    The starting point of this article is the question what permanent and timeless elements are contained in the heritage of Józef Czapski – the painter and writer. Examples of relations between the artist’s biography and work in his last years are shown. The idea of the article is to present how Czapski expressed his interest in different aspects of the human spirit, which was certainly the basis for his decisions and activity. This aspect also influenced the perspective applied when describing his painting Lustro na drewnianych drzwiach (the mirror on the wooden door) – an evident example of metaphysical painting.
    Źródło:
    Nauki o Wychowaniu. Studia Interdyscyplinarne; 2021, 12, 1; 164-178
    2450-4491
    Pojawia się w:
    Nauki o Wychowaniu. Studia Interdyscyplinarne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Królestwo Boże (Józefa Czapskiego podróż do Hiszpanii w roku 1930)
    Kingdom of God (Józef Czapski’s journey to Spain in 1930)
    Autorzy:
    Franaszek, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/2080504.pdf
    Data publikacji:
    2021-12-23
    Wydawca:
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
    Tematy:
    Józef Czapski
    malarstwo polskie XX wieku
    związki kultury polskiej i hiszpańskiej w XX wieku
    oddziaływanie malarstwa Goi i El Greca na sztukę polską w XX wieku
    tematyka mistycyzmu w kulturze polskiej XX wieku
    Polish painting of the 20th century
    Polish and Spanish cultural relationships in the 20th century
    the influence of Goya’s and El Greco’s paintings on Polish art in the 20th century
    mysticism in Polish culture of the 20th century
    Opis:
    The author of the article describes a trip to Spain made by Józef Czapski in 1930. This outstanding painter and essayist, witness to the Katyń massacre, co-creator of the Parisian magazine "Kultura" [Culture] and Polish intellectual life in exile, at the time of visiting Madrid and its nearby areas for nearly two months was still a young artist, looking for the painting poetics closest to his soul. The visits to the Prado brought him two great discoveries: the works of El Greco and Goya. For Czapski, El Greco is a captivating example of religious painting and simultaneously - fidelity to the vision, the way of seeing the world. Goya fascinated Czapski with the thematic and stylistic range of his art - from “official” court portraits to dramatic records of nearly surreal visions, reflecting the artist’s fundamental belief in human depravity. The trip to Spain also had another meaning for Czapski - it was in a way a journey in the footsteps of St. Teresa of Avila, broadly: a reflection on the role of mystical experience in the spiritual life of man. From these two perspectives: artistic and religious, the encounter with the Spanish culture appears to be one of the more important and fateful episodes in the biography of Józef Czapski.
    Źródło:
    Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria; 2021, 21; 256-271
    2081-1853
    Pojawia się w:
    Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Koronacja obrazu Matki Boskiej Pocieszenia w kościele Jezuitów we Lwowie w 1905 roku
    The 1905 coronation of the icon of Our Lady of Consolation in the Jesuit Church in Lviv
    Autorzy:
    Betlej, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/2082098.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    20th Century religious ceremonies
    20th Century occasional decorations
    Marian iconography
    cult of the images
    cult image
    20th Century Polish culture
    Opis:
    The article discusses the artistic setting of the largest religious ceremony of the beginning of the 20th century, the coronation of the icon of Our Lady of Consolation in the Church of St. Peter and Paul in Lviv. The painting itself was considered to be one of the palladiums of the city, as in 1656, during the Swedish Deluge, the papal nuncio Vidoni first uttered the call to the “Queen of the Polish Crown” in front of this Marian image, in the presence of King Jan Kazimierz and the court. In 1904, on the occasion of the jubilee of the announcement of the Dogma of the Immaculate Conception of the Blessed Virgin Mary, the Mar- ian Congress took place in Lviv, and in that same year the decision was made to create new crowns for the painting of the Mother of God and Baby Jesus. A committee, composed of representatives from the aristocracy and bourgeoisie of the city, was set up to raise the appropriate funds, and the then Archbishop of Lviv, Józef Bilczewski, was asked to perform the solemn coronation. An artistic and technical committee was also established, which included the architect Teodor Talowski (chairman), Antoni Popiel, Andrzej Romaszkan, Tadeusz Czapelski and Karol Richtmann, who made the decision to transform the altar where the painting was placed and to convert the area of the church bay into a distinct chapel. The works were led by Karol Richtmann, the altar was renovated by the painter Karol Domański, and the new bronze antependium was designed by Antoni Popiel. The bolt with the depiction of Our Lady of the Immaculate Conception was made by the sculptor Piotr Wójtowicz. The icon of the Virgin Mary itself was restored by Henryk Kühn. The chapel vault was decorated with paintings by Tadeusz Popiel, and its space was separated from the rest of the church by a grid made according to a project by Alfred Zachariewicz. Antoni Popiel designed golden crowns and a new dress for the figures of the Mother of God and Baby Jesus, made by the goldsmith and jeweller Jan Wojtych. The Committee also commissioned new stained glass windows for the chapel from the Kraków workshop of Stanisław Ekielski and Antoni Tuch. The main work was completed in July 1905. On 12 February 1905, a coronation decree was issued in Rome, and Archbishop Bilczewski was appointed to perform the coronation act. On 28 April 1905, another decree was issued recognizing the antiquity and miraculousness of the painting, and the ceremony was sched- uled for 28th May. The church façade, side elevation and interior were decorated extensively, while the focal point was prepared for receiving the painting – “The Gothic golden throne with motifs from the tomb of Kazimierz the Great”. The decorations were designed by Stanisław Jasieński, a re- nowned painter and theatre decorator of the time. The streets and squares which the coronation procession went through were also adorned. The ceremony was very carefully planned and directed; it was attended by the clergy of the three Christian rites, local authorities and representatives of all social strata. When analyzing the coronation ceremonies, it is important to underline their considerable reliance on the schemes of corona- tions of Marian images which took place on Polish territory in the 18th century. The tradition of the last Marian coronation, of a painting from the Dominican Church in Lviv in 1751, was strongly referred to and accentuated in occasional prints that accompanied this solemn act. The reference to old Polish coronations can be seen in numerous occasional prints, in reporting on the course of the ceremony, as well as in the extensive de- scriptions and texts of sermons published. This ceremony had an exceptional social and national dimension, as it was the first such coronation in the former Polish lands since the loss of independence, and the most important ceremony before the outbreak of the First World War. Not without significance in this context was the underlined similarity of forms between the coronation throne and the canopy over the tombstone of Kazimierz the Great in the Kraków Cathedral, or the calling of one crown as Kazimierzowska and the other Jagiellońska. The new artistic remodeling of the Chapel of Our Lady in the Jesuit Church was a prelude to the renovation of the remaining altars in the church. The coronation ceremony and the restoration of the chapel gathered together the most important artists of the early 19th century working for the Church patronage in the capital of Galicia. The chapel designed by Teodor Talowski successfully combines an 18th -century retabulum with paintings by Tadeusz Popiel, being probably the last example of a true Baroque bel composto.
    Źródło:
    Rocznik Historii Sztuki; 2020, 45; 163-170
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kazimierz Rzepecki – idealista i mąż nieidealny Izabeli Moszczeńskiej
    Kazimierz Rzepecki, an idealist and not an ideal man of Izabela Moszczeńska
    Autorzy:
    Siwiec, Agata
    Powiązania:
    https://bibliotekanauki.pl/articles/1382008.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Szczeciński. Wydawnictwo Naukowe Uniwersytetu Szczecińskiego
    Tematy:
    Izabela Moszczeńska
    Kazimierz Rzepecki
    Polish emancipation movement
    Polish culture of the second half of the 19th century and the first half of the 20th century
    kultura polska drugiej połowy XIX wieku i pierwszej połowy XX wieku
    polski ruch emancypacyjny
    Opis:
    Historia małżeństwa Izabeli Rzepeckiej z Moszczeńskich (1846–1941) – polskiej publicystki, działaczki oświatowej, politycznej i emancypacyjnej – i Kazimierza Rzepeckiego (1866–1902) – publicysty i działacza społecznego – obrazuje proces przekształcania się na przełomie XIX i XX wieku rodziny typu patriarchalnego, szlacheckiego czy mieszczańskiego w rodzinę partnerską. W ramach tego nowego, demokratycznego modelu, pojawiającego się najszybciej w środowisku inteligencji lewicowej, przedefiniowane zostały role kobiety i mężczyzny, np. upowszechniającemu się zjawisku pracy zawodowej kobiety towarzyszyło zjawisko ocieplania się emocjonalnego obrazu mężczyzny. Jednak – jak wynika ze wspomnień Moszczeńskiej – przekształcanie się tradycyjnego modelu kobiecości w nowoczesny model emancypantki przebiegało mniej dramatycznie niż kryzys męskości.
    The history of Izabela Rzepecka’s, nee Moszczeńska’s (1864–1941, a Polish publicist, an educational, political, and emancipatory activist), marriage with Kazimierz Rzepecki (1866–1902, a publicist, and a social activist) illustrates the process of transformation of a patriarchal, noble, or bourgeois model of a family into a family, which, at the turn of the nineteenth and the twentieth century, was set on the grounds of partnership. Under the new, democratic model of a family, followed more willingly by left-wing intellectuals, the traditional gender roles of men and women have been redefined by, for example, the fact that the popularization of women’s professional activity was accompanied by the process of warming up of a man’s emotional image. However, as it is apparent from the memories of Moszczeńska, the transformation of a traditional standard of femininity into a modern model of a suffragist took less dramatic course than a crisis of masculinity.
    Źródło:
    Autobiografia Literatura Kultura Media; 2016, 6, 1; 191-198
    2353-8694
    2719-4361
    Pojawia się w:
    Autobiografia Literatura Kultura Media
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Freedom as vulgarity in the poetry of débuting poets at the watershed moment of 1989
    Autorzy:
    Łuszczykiewicz, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/650129.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    vulgarity
    obscenity
    freedom
    transformation
    Polish literature and culture of the 20th century
    Opis:
    The article is dedicated to artistic vulgarity as a form of freedom of art manifesto. The author explains that using obscene and drastic language which breaks social taboos (particularly sexual ones), has often been caused by the need for artistic freedom. This phenomenon can be observed especially in the so-called communist era (1944–1989) but most importantly in the period of political system’s transformation after 1989. By the example of literature, film, theatre and broadly defined popular culture the author analyzes this process, paying special attention to various ‘traps’ in the usage of vulgar language and artistic expressions, as well as the ultimate high art’s retreat from that strategy.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2017, 45, 7
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Duchowni, instytucje i organizacje kościelne w życiu literackim międzywojennego Poznania
    The clergy and Church institutions and organizations in the literary life of interwar Poznań
    Autorzy:
    Biesiada, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/1039498.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    literary life in poznań in 1919-1939
    polish writers’ trade union. participation of clergy in culture
    st. adalbert booksellers
    principal institute of catholic action. journalism in the 20th century
    „tęcza” (1927-1939)
    „kultura” (1936-1939)
    the ladies of charity of st. vincent de paul
    Opis:
    Among the people who created the ambiance of the Poznań literary life in the interwar period were priests-men of letters, such as the poet Ewaryst Nawrowski, the authors of reportages and memoirs - Nikodem Cieszyński, Ignacy Posadzy, Józef Kłos. An important part was played by priests-men of learning linked to the University of Poznań and the Poznań Seminary who presented their works at sessions of the Poznań Society of Friends of Sciences but also gave talks to more general audiences during events held both by Church and lay organizations. This group included among other such priests as Bronisław Gładysz, Kazimierz Kowalski, Władysław Hozakowski, Edward Warmiński. The Church culture forming center was the St. Adalbert Booksellers, an important publisher of Polish and world literature, which also published a cultural journal for the intelligentsia called “Tęcza”. Another such center was the Principal Institute of Catholic Action, publisher of the “Kultura” weekly, one of the leading journals of this profile in Poland.
    Źródło:
    Ecclesia. Studia z Dziejów Wielkopolski; 2015, 10; 207-260
    1731-0679
    Pojawia się w:
    Ecclesia. Studia z Dziejów Wielkopolski
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    BOBOLANA 1938 – oprawa uroczystości związanych ze sprowadzeniem do Warszawy relikwii św. Andrzeja Boboli
    BOBOLANA 1938 – the ceremonial settings of the return of St. Andrzej Bobola’s relics to Warsaw
    Autorzy:
    Kolendo-Korczak, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/2082099.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    canonization ceremonies
    20th Century religious ceremonies
    20th Century occasional decorations
    state ceremony
    20th Century Polish culture
    Opis:
    Although he was only recognized as the patron saint of Poland by the Vatican in 2002, St. Andrzej Bobola was accorded a cult follow- ing much earlier than this, and venerated as the saint protector of the Polish-Lithuanian Commonwealth. He was seen as a special defender against the threat from first Tsarist Russia, then Orthodox Russia, then the Soviet Union – the Blessed’s intercession was associated with the victory of the Battle of Warsaw in 1920. For this reason, his beatification and canonization were part of political discourse. Andrzej Bobola’s relics were originally stored in the Jesuit church in Pińsk, moved to Połock after its closure, and were taken to the Hygienic Exhibition in Moscow in 1922. Recovered thanks to the Pope’s intervention in 1924, they were taken to the Il Gesù Church in Rome. By the 1920s, Polish church authorities were already making efforts to canonize Andrzej Bobola and return his relics to Poland. Several Polish cities tried to obtain the saint’s remains, including Vilnius, Warsaw, Pińsk and even Janów Poleski. The canonization, which took place on 17 April 1938, in particular the ceremonial return of the relics of St. Andrzej Bobola to Warsaw in June 1938, took the form of a great religious and patriotic demonstration. It was accompanied by numerous ceremonies in which the highest church and state authorities participated, with extensive paratheatrical scripts, as well as specially designed decorations and music composed for the occasion. The press reported these in great detail, constituting a fascinating case of an event of both great religious significance and broad political context.
    Źródło:
    Rocznik Historii Sztuki; 2020, 45; 185-195
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    A forgotten celebration. The inauguration ceremony for the construction of the Galician canal in Brzeźnica in December 1911
    Autorzy:
    Kozińska-Witt, Hanna
    Powiązania:
    https://bibliotekanauki.pl/articles/27312243.pdf
    Data publikacji:
    2023
    Wydawca:
    Uniwersytet Komisji Edukacji Narodowej w Krakowie
    Tematy:
    Galicia
    early 20th century
    communications infrastructure
    Polish Club
    economic policy
    ceremonial culture
    Opis:
    The grand communications projects launched in the Habsburg Monarchy in the early twentieth century also encompassed Galicia. In 1911 in the small village of Brzeźnica, a ceremony took place to mark the inauguration of the construction of the Galician canal that was to form part of these projects. The author describes and analyses the components of this celebration, which the Polish Club or the Krakow economic local authority were responsible for planning. The individual parts of the celebrations variously emphasised the contribution of politicians and the project’s civilisational importance. The focus of the article is the question to what extent these contents, as well as the ultimate abandonment of the project, led to the ceremony and the canal itself being forgotten.
    Źródło:
    Res Gestae. Czasopismo Historyczne; 2023, 16; 54-72
    2450-4475
    Pojawia się w:
    Res Gestae. Czasopismo Historyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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