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Tytuł:
Under Special Supervision. Creation and Beginnings of the Reading Rooms as a Problem in the Relations of the People’s Republic of Poland with Austria, France, and Italy in 1945-1970
Autorzy:
Jarosz, Dariusz
Kisilowska, Małgarzata
Powiązania:
https://bibliotekanauki.pl/articles/947076.pdf
Data publikacji:
2019-12-30
Wydawca:
Uniwersytet Warszawski. Wydział Dziennikarstwa, Informacji i Bibliologii
Tematy:
reading rooms
cultural institutes
Polish-Italian relations
Polish-French relations
Polish-Austrian relations
Opis:
The article aims at the presentation of the origins and beginnings of reading rooms: Italian, Austrian and French in the People’s Republic of Poland until the end of the 60s of the 20th century, in a broader context of bilateral relations of Poland with France, Italy, and Austria. That enabled the determination of controversial issues restraining a process of establishing these units, as well as historical context influencing this process. The findings were based on archival source materials and a few research studies.
Źródło:
Z Badań nad Książką i Księgozbiorami Historycznymi; 2019, 13; 311-325
1897-0788
2544-8730
Pojawia się w:
Z Badań nad Książką i Księgozbiorami Historycznymi
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Padova nei periodici polacchi tra la fine del XIX sec. e il 1939
Padua in the polish press between the last decades of the 19th century and 1939
Autorzy:
Miszalska, Jadwiga
Powiązania:
https://bibliotekanauki.pl/articles/1929897.pdf
Data publikacji:
2021-06-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
Padua
university
Polish press
Italian-Polish relations
Basilica of St. Anthony
Padova
università
periodici polacchi
relazioni italo-polacche
Basilica di
Sant’Antonio
Opis:
Italy, seen as the cradle of European culture and the destination of the wanderings of Polish intellectuals and artists, often appears in the Polish press of the late-19th and early-20th centuries. Among the cities described, Padua is present, although it appears less frequently than Venice or Rome. Articles dedicated to this city, however, have a particular character, because not only is “Padova la dotta” famous for the cult of Saint Anthony, but it is most often presented in the contexts of centuriesold Italian-Polish relations linked mostly to the University and of the Paduan polonica. There are in fact two moments that find a particular resonance in the Polish press: the first, in 1922, for the seventh centenary of the University, and the second, in 1931, for the celebrations of the seventh centenary of Saint Anthony’s death. This article offers a review of the texts that have appeared in various periodicals and includes a brief presentation of the authors—scholars, artists, or journalists active in the promotion of Italian culture. From the texts published both in newspapers and in cultural magazines or even scientific periodicals, the image of the city emerges as strongly marked by the presence of Poles, who were students, university professors, or pilgrims.
L’Italia vista come culla della cultura europea e l’obiettivo delle peregrinazioni degli intellettuali e artisti polacchi appare spesso sulla stampa polacca degli ultimi decenni del XIX e dei primi del XX secolo. Tra le città descritte Padova non costituisce un tema così frequente come Venezia o Roma. Gli articoli dedicati a questa città hanno tuttavia un carattere particolare perché “Padova la dotta”, oltre ad essere famosa per il culto di sant’Antonio, è presentata il più spesso nel contesto di multisecolari relazioni italo-polacche legate per lo più all’Università e quello dei polonica padovani. Due momenti inoltre trovano una risonanza particolare: il 1922 per il settimo centenario dell’Università e il 1931 per le celebrazioni del settimo centenario della morte del Santo. L’intervento propone la rassegna degli articoli apparsi su diversi periodici con una breve presentazione degli autori: studiosi, artisti o giornalisti attivi nella promozione della cultura italiana. Dai testi pubblicati sia nei quotidiani che sulle riviste di cultura o addirittura periodici di tipo scientifico emerge l’immagine della città fortemente segnata dalla presenza dei polacchi: studenti, professori dell’Università o pellegrini.
Źródło:
Italica Wratislaviensia; 2021, 12.1; 161-175
2084-4514
Pojawia się w:
Italica Wratislaviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
A Circle of Impossibility. The Problem of Disarmament, Détente and Security in Polish-Italian Relations (1958–1969)
Autorzy:
Pasztor, Maria
Powiązania:
https://bibliotekanauki.pl/articles/953716.pdf
Data publikacji:
2018
Wydawca:
Polska Akademia Nauk. Instytut Historii im. Tadeusza Manteuffla PAN w Warszawie
Tematy:
disarmament
Rapacki Plan
Gomułka Plan
Cold War
Polish-Italian relations
Opis:
The article is an analysis of the attitude within the circles of the Italian Republic to Poland’s disarmament plans in 1958–69, that is the Rapacki Plan (1958) and the Gomułka Plan (1963). Drawing on Italian documents the author examines the attitude of the Italian government to these proposals. She presents the determinants and contexts of both proposals (the bipolar division of the world during the Cold War, Italy’s membership of NATO and subordination to Washington’s policy, the country’s economic and financial problems). The article also contains opinions on Moscow’s role in and attitude towards the Polish peace initiatives.
Źródło:
Kwartalnik Historyczny; 2018, 125, 2
0023-5903
Pojawia się w:
Kwartalnik Historyczny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
A City Full of Life or a City Buried Alive? Vittorio Alfieri’s Venice and Venice in the Travel Journals by Polish Artists at the Turn of the 19th Century
Autorzy:
Szadkowska-Mańkowska, Olga
Powiązania:
https://bibliotekanauki.pl/articles/1032285.pdf
Data publikacji:
2020-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Polish-Italian literary relations
travels to Italy
Vittorio Alfieri
reception of Italian literature in Poland
Opis:
The article raises the topic of the evolving image of Venice from the perspectives of three travel accounts: by Vittorio Alfieri, Fryderyk August Moszyński, and Stanisław Dunin-Borkowski. They were all bound by the figure of the Italian playwright Alfieri. In the article, I propose a new look into the accounts from the travels of Polish intellectual elite: an enlightened journey described in the recollections by Moszyński, and a 19th-century journey depicted in the journals by Borkowski, following Alfieri as the guide. Considering his tragedies in support of national liberation, he perfectly matched the ideas in the minds of Polish artists at the turn of the 19th century. Even though the author may be forgotten today, the reception of his works, depending on the historical period, political situation, and literary streams, evolved interchangeably placing him in the spotlight and ignoring him. In the first half of the 19th century, he was a significant figure, a fact which triggers interesting observations, particularly in the context of the journeys of artists to Venice.
Źródło:
Czytanie Literatury. Łódzkie Studia Literaturoznawcze; 2020, 9; 51-63
2299-7458
2449-8386
Pojawia się w:
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Maska czy gęba? Operetka Witolda Gombrowicza w kontekście komedii dell’arte
Mask or Mug? Witold Gombrowicz’s Operetka in the Context of Commedia Dell’arte
Autorzy:
Bąkowska, Nadzieja
Powiązania:
https://bibliotekanauki.pl/articles/1040829.pdf
Data publikacji:
2020-10-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Gombrowicz
Operetka
Polish-Italian relations
commedia dell’arte
maska
gęba
mug
comparative studies
Opis:
The article is an attempt at placing Operetka (Operetta) in the context of commedia dell’arte by comparing the basic structural and ideological characteristics of Witold Gombrowicz’s drama with the key traits of the commedia dell’arte genre. The author of Ferdydurke, who coined the phrase przyprawiać (komuś) gębę (put the screws to someone’s mug), brings to the grotesque distortion any manifestations of form domination both in life and in art. Ironically, it is the elements of Operetka, related to commedia dell’arte – a thoroughly conventionalised and schematised genre, that become the tool for a sort of removal of mask or mug. Given the mask, protagonists are given “a mug”, and cannot be themselves, they can only be what is allowed by the mask they were given and so they become its prisoner, in a way. The only antidote to “the mug” is nudity that frees one from any mask that forces them to play the designated roles. The article aims to present the relationship between Operetka and the commedia dell’arte genre, with particular emphasis on analysing the Gombrowicz’s concept of form against the convention of mask and costume in the commedia dell’arte, and on the “nudity” vs. “mask” opposition that focuses the drama’s main artistic and existential issues, while it is also precisely the point where the relationship between Gombrowicz’s work and Italian commedia dell’arte is seen most clearly.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2020, 38; 103-123
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
I tre soggiorni a Padova di Stanisław Niegoszewski (1565-post 1600)
Stanisław Niegoszewski’s three sojourns in Padua (1565–post-1600)
Autorzy:
Malinowski, Gościwit
Powiązania:
https://bibliotekanauki.pl/articles/1929885.pdf
Data publikacji:
2021-12-31
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
Late Renaissance
Polish prosopography
Polish-Italian relations
Polish literature
Neo-Latin studies
manierismo
prosopografia polacca
relazioni Italia-Polonia
letteratura polacca
studi
neolatini
Opis:
Stanisław Niegoszewski (1565-post-1600) was a prime example of a Renaissance man: he was a student at the universities of Krakow and Padua; a poet-improviser; an alchemist; a courtier of King Sigismund Vasa III; a diplomat; a devout follower of the Counter-Reformation; and a businessman. He divided his life between Poland and Italy, and his biography is known to us so fragmentarily that some scholars reconstruct his life based on instinct, assumptions, personal preference, or unfounded hypotheses. Henryk Barycz, the eminent scholar and author of entries in the Polish Biographical Dictionary, had divided the deeds and works of one Stanisław Niegoszewski into two different persons: “Stanisław Niegoszewski (Niegoszowski), coat of arms of Jastrzębiec (circa 1560-5 - circa 1588-90),” a student at the universities of Krakow and Padua and a poet-improviser, and “Stanisław Niegoszewski (Niegoszowski), coat of arms of Jastrzębiec (circa 1565-70 - after 1607),” an alchemist, courtier of King Sigismund Vasa III, diplomat, devout follower of the CounterReformation, and poet as well. Although Władysław Magnuszewski proved wrong Barycz’s theory about the existence of two Niegoszewskis nearly a half-century ago, the outdated theory is repeated by new generations of scholars again and again. This paper attempts to prove that all three sojourns in Padua of a certain Niegoszewski—as a student in 1582-1583, as an alchemist in 1585, and as a royal diplomat in 1594—belong to the same person. Based on new sources found in Italian archives and libraries in 2013, the biography of a single Stanisław Niegoszewski could be reconstructed with much more detail than before.
Stanisław Niegoszewski (1565-post 1600), studente dell’Università di Cracovia e di quella di Padova, poeta-improvvisatore, alchimista, cortigiano di re Sigismondo III Vasa, diplomatico, fervente sostenitore della Controriforma ed uomo d’affari, fu uno dei primi esempi di uomo del Rinascimento. Egli trascorse la sua vita fra la Polonia e l’Italia. La sua biografia ci è nota in modo tanto frammentario che alcuni studiosi ricostruiscono la sua vita basandosi sull’istinto, presupposizioni, preferenze personali ed ipotesi infondate. Henryk Barycz, eminente ricercatore ed autore di varie voci del Dizionario Biografico Polacco, ha scisso le vicende e l’opera di Stanisław Niegoszewski in due persone differenti: ”Stanisław Niegoszewski (Niegoszowski), dello stemma di Jastrzębiec (1560-5 ca. - 1588-90 ca.)”, studente delle università di Cracovia e di Padova nonché poeta improvvisatore, e ”Stanisław Niegoszewski (Niegoszowski), dello stemma di Jastrzębiec (1565-70 ca. - post 1607)”, alchimista, cortigiano di re Sigismondo III Vasa, diplomatico, fervente sostenitore della Controriforma nonché poeta. Sebbene Władysław Magnuszewski abbia confutato la teoria di Barycz sull’esistenza di due Niegoszewski circa mezzo secolo fa, essa viene ribadita da sempre nuove generazioni di studiosi. In questo articolo mi sforzo di dimostrare che tutti e tre i soggiorni di Niegoszewski a Padova, come studente negli anni 1582-1583, come alchimista nel 1585 e in qualità di diplomatico reale nel 1594, riguardano la stessa persona. Sulla base delle nuove fonti da me rinvenute negli archivi e nelle biblioteche italiane nel 2013, la biografia di Stanisław Niegoszewski, lo stesso, è stata ricostruita con molti più dettagli di prima.
Źródło:
Italica Wratislaviensia; 2021, 12.2; 47-68
2084-4514
Pojawia się w:
Italica Wratislaviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O związkach migracyjnych pomiędzy Polską a Włochami
On the migration relations between Poland and Italy
Autorzy:
Kowalska, Kamila
Powiązania:
https://bibliotekanauki.pl/articles/951886.pdf
Data publikacji:
2017
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
sieci migracyjne
tkanka społeczna
związki polsko-włoskie
Polonia włoska
migration network
Poles in Italy
social tissue
Polish-Italian relations
Opis:
Po akcesji Polski do Unii Europejskiej otworzyły się nowe kierunki migracyjne dla Pola-ków (Wielka Brytania, Irlandia), atrakcyjne głównie ze względu na korzystną sytuację gospodarczą. Nadal jednak na mapie polskiej emigracji pozostały silnie zaznaczone „stare” szlaki, jak np. Włochy, w których pomimo trudnej sytuacji ekonomicznej i mało konkurencyjnej oferty rynku pracy liczba Polaków wzrastała. Zasadne wydaje się zatem pytanie o przyczynę popularności Włoch wśród poakcesyjnej emigracji Polaków. Za odpowiedź służy milenijna historia związków polsko-włoskich, która wytworzyła sprawnie działające sieci migracyjne i ukształtowała specyficzną polską tkankę społeczną we Włoszech, a szczególnie w Rzymie, będącą — mimo kryzysu — istotnym magnesem przyciągania dla nowych imigrantów z Polski.
The accession of Poland to the European Union created new directions for Polish migrations, i.e. Great Britain and Ireland, which were attractive mainly for their positive economic indicators. Though, ‘the old' destination countries, like Italy, were still present on the migration map; surprisingly enough, despite a difficult economic situation in this country and its uncompetitive labour market, the number of incoming Poles continued to rise. Thus, it should be considered what underlies the popularity of Italy as a destination country among the Polish post-accession emigrants. The answer seems to arise from the millennium history of the Polish-Italian relations, which established an efficient migration network and a specific social tissue, in particular in Rome, that still, despite the crisis, operates as an attraction factor for the new immigrants from Poland.
Źródło:
Problemy Polityki Społecznej. Studia i Dyskusje; 2017, 39(4); 71-86
1640-1808
Pojawia się w:
Problemy Polityki Społecznej. Studia i Dyskusje
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ludomir Sleńdziński’s Trips to Italy 1923–1925
Autorzy:
Nowakowska-Sito, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/1798732.pdf
Data publikacji:
2019-10-30
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
classicism; return to order; Italian art of the 1920s; classicism in Polish art of the 20th century; Polish-Italian artistic relations in 20th century
Opis:
The Polish version of the article was published in Roczniki Humanistyczne vol. 60, issue 4 (2012). Ludomir Sleńdziński was the main representative of classicism in Polish art in the period between the two World Wars. The article discusses his two trips to Italy in 1922/24 and 1924/25. They have not been yet researched in the context of the origin and character of his work, albeit impulses coming from Italy were thought to have been an important catalyst for the birth of the so-called “return to order.” Sleńdziński was Dmitry Kardovsky’s student at the Academy of Fine Arts in Sankt Petersburg, and it was in his class that he acquired a worship of the old masters and a perfect command of his trade, first of all perfect drawing skills. Apart from the Sankt Petersburg school, classicist trends came to Polish art from Paris where they were first noticed in the circles connected with the Museion magazine (1911-1913) and among artists belonging to the Polish colony, such as Henryk Kuna, Edward Wittig and Eugeniusz Żak. In the article, I reconstruct Sleńdziński’s tour of Italy, and I remind about the exhibition of Polish modern art that he staged in 1925 as part of the 3rd Roman Biennale. His personal contact with old and modern Italian art became an important moment in his artistic formation, stimulating his departure from academic towards modern classicism, in which the artist starts playing a game with the present day and with tradition, consciously using stylistic elements that belong to different epochs. In conclusion it must be said that Ludomir’s trips inclined him to introduce many new solutions (sometimes surprisingly close to works by well-known Italian artists of similar outlook) and determined the final shape of his mature work.
Źródło:
Roczniki Humanistyczne; 2019, 67, 4 Selected Papers in English; 81-101
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Nieudana próba podjęcia mediacji polsko-włoskiej w konflikcie wietnamskim w latach 1965–1967
Unsuccessful attempt at starting Polish-Italian mediation in the Vietnam conflict in the years 1965–1967
Неудачная попытка провести польско- итальянское посредничество во вьетнамском конфликте в 1965– 1967 годах
Autorzy:
Pasztor, Maria
Powiązania:
https://bibliotekanauki.pl/articles/1923813.pdf
Data publikacji:
2017
Wydawca:
Wojskowe Biuro Historyczne
Tematy:
stosunki polsko-włoskie
wojna w Wietnamie
operacja „Marigold”
Polish-Italian relations
Vietnam war
operation „Marigold”
Польско-итальянские отношения
война во Вьетнаме
операция „Мэриголд”
Opis:
Przynależność PRL do obozu socjalistycznego oraz podporządkowanie Kremlowi sprawiły, iż inicjatywy podejmowane przez polską dyplomację musiały być uzgadniane i koordynowane z Moskwą, a zmienny i na ogół wąski margines działania nie pozostawiał wiele miejsca na samodzielność. Przykładem tego była próba nawiązania współpracy między Polską (członkiem Międzynarodowej Komisji Nadzoru i Kontroli) a Republiką Włoską w celu zakończenia wojny wietnamskiej w latach 1965–1967. Wzajemne kontakty dyplomatyczne i polityczne między Warszawą a Rzymem miały umożliwić włosko-polskie pośrednictwo między USA i DRW, które zakończyłoby długoletni konflikt wietnamski. Brak dobrej woli obydwu stron konfliktu oraz brak akceptacji dla polsko-włoskiej inicjatywy w tej kwestii skazały ją na fiasko mimo zaangażowania polityków PRL oraz Włoch.
The fact that Polish People’s Republic belonged to the Communist Bloc and was subordinated to Kremlin caused that initiatives taken by the Polish diplomacy had to be approved and coordinated by Moscow, and the changing and usually narrow field of activity did not leave much space for independence. An example of this was the attempt at starting cooperation between Poland (a member of the International Control Commission) and the Republic of Italy aimed at ending the Vietnam war in the years 1965–1967. Mutual diplomatic and political contacts between Warsaw and Rome were to enable Polish-Italian mediation between USA and Democratic Republic of Vietnam that could end the long-lasting Vietnam conflict. The lack of good will of both sides of the conflict as well as the lack of approval for the Polish-Italian initiative in this matter doomed it to failure despite the involvement of the politicians of PPR and Italy.
Вхождение Польской Народной Республики в социалистический лагерь и ее подчинение Кремлю привело к тому, что инициативы, предпринятые польской дипломатией, должны были быть согласованы с Москвой и координированы ею, а нестабильное и, как правило, узкое поле деятельности не оставляло места самостоятельности. Примером тому была попытка наладить сотрудничество между Польшей (членом Межсоюзнической надзорной и контрольной комиссии) и Итальянской республикой с целью завершения вьетнамской войны в 1965–1967 гг. Взаимные дипломатические и политические отношения между Варшавой и Римом должны были обеспечить итальянско-польское посредничество между США и Демократической Республикой Вьетнам, которое должно было завершить многолетний вьетнамский конфликт. Из-за отсутствия доброй воли со стороны обеих сторон конфликта и отсутствия одобрения польско-итальянской инициативы в этом вопросе ситуация была обречена на поражение, несмотря на вовлеченность политиков ПНР и Италии.
Źródło:
Przegląd Historyczno-Wojskowy; 2017, XVIII (LXIX), 3 (261); 111-123
1640-6281
Pojawia się w:
Przegląd Historyczno-Wojskowy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Stanisław Brzozowski: lettore di Leopardi
Stanisław Brzozowski: A Reader of Leopardi
Autorzy:
Masi, Leonardo
Powiązania:
https://bibliotekanauki.pl/articles/2162248.pdf
Data publikacji:
2022-12-31
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
Stanisław Brzozowski
Giacomo Leopardi
Polish-Italian cultural relations
Polish writers
in Florence
Młoda Polska
relazioni culturali italo-polacche
scrittori
polacchi a Firenze
Młoda Polska/Giovane Polonia
Opis:
Polish philosopher Stanisław Brzozowski (1878–1911) spent the last five years of his life almost entirely in Italy (in Nervi and in Florence). The article traces back the chronology of his encounter with Italian culture, also explaining his idea of culture. In particular, his reading of Giacomo Leopardi is examined. Leopardi had been known in Poland since the 1880s, mainly through Edward Porębowicz’s translation of his poems, but Brzozowski in all probability first read him in Nervi in 1907. Subsequently, he mentioned Leopardi a few times in his own writings. These references are highly significant as they offer an original interpretation, which is not influenced by the ‘existentialist’ reading dominant at the beginning of the twentieth century. Instead, Brzozowski foregrounds other aspects of Leopardi’s philosophy, including his connection with Italian history and culture of the past (Brzozowski considered Leopardi’s demystifying urge interwoven with patriotic feelings to be a recommendable model for the moral renewal of Poland), the materialist and ‘pre-communist’ element, and the enigmatic juxtaposition of the figure of Leopardi and that of the Buddha. In the article, I compare these insights with other contemporaneous and prior readings of Leopardi (von Meysenbug, De Sanctis, Labriola, and Croce) in order to show that some of Brzozowski’s intuitions anticipated interpretations of Leopardi proposed by intellectuals in the following decades (from Rensi to Cioran). Brzozowski’s readings of Leopardi are retraced on the basis of the Polish philosopher’s correspondence, his published works, unpublished manuscripts and notes and by consulting the check-out log book of the Gabinetto di Lettura Vieusseux in Florence.
Stanisław Brzozowski (1878‒1911) trascorse quasi interamente in Italia gli ultimi cinque anni della sua vita (a Nervi e soprattutto a Firenze). Nell’articolo si ricostruisce una cronologia del suo incontro con la cultura italiana, spiegando anche quale fosse l’idea di cultura secondo il filosofo polacco. In particolare viene esaminata la sua lettura di Giacomo Leopardi. Il poeta italiano era conosciuto in Polonia, soprattutto grazie alla traduzione di Edward Porębowicz, fin dagli anni Ottanta dell’ Ottocento, ma Brzozowski vi si accostò probabilmente per la prima volta a Nervi nel 1907. Successivamente menzionerà nei propri scritti Leopardi poche volte, ma in maniera molto significativa, fornendone un’interpretazione originale, che non è influenzata dalla lettura “esistenzialista” dominante a inizio Novecento, ma sposta in primo piano altri aspetti della filosofia del poeta: il suo legame con la storia e la cultura italiana del passato, nel quale la carica demistificatoria si fonda con l’incitamento a sentimenti patriottici (una posizione che per Brzozowski dovrebbe fungere da modello per un rinnovamento anche in Polonia); l’elemento materialista e “pre-comunista”; l’accostamento alla figura del Buddha. In questo articolo confrontiamo queste intuizioni con altre letture di Leopardi fatte in quegli anni e nel secolo precedente (von Meysenbug, De Sanctis, Labriola, Croce), per mostrare come alcune idee di Brzozowski anticipino letture di Leopardi fatte da altri intellettuali nei decenni successivi (da Giuseppe Rensi a Emil Cioran). La ricostruzione delle letture di Leopardi da parte di Brzozowski è effettuata sulla base della corrispondenza del filosofo polacco, dei suoi lavori pubblicati e dei manoscritti inediti, dei suoi appunti, nonché dalla consultazione del libro dei prestiti del Gabinetto di Lettura Vieusseux di Firenze.
Źródło:
Italica Wratislaviensia; 2022, 13.2; 61-83
2084-4514
Pojawia się w:
Italica Wratislaviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Roman Pollak – inicjator i opiekun Instytutu Kultury Polskiej im. Attilio Begeya przy Uniwersytecie w Turynie
Roman Pollak – Initiator and Guardian of the Institute of Polish Culture at the University of Turin (1930–1987)
Autorzy:
Piskurewicz, Jan
Powiązania:
https://bibliotekanauki.pl/articles/48523873.pdf
Data publikacji:
2022
Wydawca:
Polska Akademia Nauk. Instytut Historii Nauki im. Ludwika i Aleksandra Birkenmajerów
Tematy:
Roman Pollak
Institute of Polish Culture in Turin
Polish-Italian cultural and scientific relations
Instytut Kultury Polskiej w Turynie
polsko-włoskie kontakty kulturalne i naukowe
Opis:
The article discusses the life and work of the outstanding scholar and Polish patriot Roman Pollak in the field of Polish-Italian cultural and scientific relations. It focuses on his role in the establishment and operation of the Institute of Polish Culture at the University of Turin. For many years, the Institute functioned as the most important source of information on Polish science and culture in Italy. It emerged as a result of long-standing ties between the Polonophilic milieu in Turin and the idea, present in the 19th and early 20th century, of Poland regaining independence. The most prominent representative of this milieu was Attilio Begey, who was the patron of the Institute. The article also delves into various forms of the Institute’s activity in more than half a century of its existence, and its links with the University of Turin.
Źródło:
Rozprawy z Dziejów Oświaty; 2022, 59; 189-221
0080-4754
Pojawia się w:
Rozprawy z Dziejów Oświaty
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Główne problemy polsko-włoskiej współpracy gospodarczej w latach 1959–1970
The main problems of Polish-Italian economic cooperation in the years 1959–1970
Autorzy:
Jarosz, Dariusz
Powiązania:
https://bibliotekanauki.pl/articles/687464.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
polsko-włoskie stosunki gospodarcze 1959–1970
Fiat w Polsce
polsko-włoska wymiana handlowa 1959–1970
Fabryka Samochodów Małolitrażowych
Fabryka Samochodów Osobowych
Polish-Italian economic relations 1959–1970
Fiat in Poland
Polish-Italian trade exchange 1959-1970
Small Automobile Factory
Opis:
A new opening in Polish-Italian economic relations took place at the turn of the fifties and sixties. As a result of this opening, there are contracts signed in 1958 and 1960 and a gradual increase in trade turnover. The next stages of this cooperation were: the agreement of 14 July 1965 (on economic, industrial and technical cooperation) and 18 February 1970 (on trade and economic relations). Trade turnover with Italy in 1969 represented nearly 3% of total turnover of Polish foreign trade with developed capitalist countries. In 1966, Italy took the fourth place (after Great Britain, Germany and the USA) in Polish exports to capitalist developed countries and second place in imports from this group of states. Poland exported mainly to agri-food and raw materials (coal, sulfur) and imported machinery and equipment as well as metallurgical and chemical blanks. In the 1960s, the Polish authorities decided to invest heavily in Italy. In 1965, the Polish authorities signed an agreement with Fiat for the production of a mid-range car (Fiat 125p) in Poland, which resulted in a large loan. Cooperation with the Turin concern was the most recognizable element of Polish-Italian industrial cooperation during this period.
Nowe otwarcie w polsko-włoskich stosunkach gospodarczych nastąpiło na przełomie lat pięćdziesiątych i sześćdziesiątych XX w. Efektem tego otwarcia były umowy podpisane w 1958 i w 1960 r. oraz stopniowe zwiększenie obrotów handlowych. Kolejne etapy tej współpracy wyznaczają umowy: z 14 lipca 1965 r. (o współpracy gospodarczej, przemysłowej i technicznej) i z 18 lutego 1970 r. (o stosunkach handlowych i gospodarczych). Obroty handlowe z Włochami w 1969 r. stanowiły blisko 3% całości obrotów polskiego handlu zagranicznego z rozwiniętymi krajami kapitalistycznymi. W 1966 r. Włochy zajmowali czwarte miejsce (po Wielkiej Brytanii, RFN i USA) w polskim eksporcie do rozwiniętych krajów kapitalistycznych i drugie miejsce w imporcie z tej grupy państw. Polska eksportowała do Włoch głównie towary rolno-spożywcze oraz surowce (węgiel, siarka) a importowała maszyny i urządzenia oraz półfabrykaty hutnicze i chemiczne. W latach sześćdziesiątych władze PRL zdecydowały się na duże zakupy inwestycyjne we Włoszech. W 1965 r. władze polskie podpisały porozumienie z Fiatem na produkcję w Polsce samochodu średniolitrażowego (Fiat 125p), na co uzyskały duży kredyt. Współpraca z turyńskim koncernem była najbardziej rozpoznawalnym elementem polsko-włoskiej kooperacji przemysłowej w tym okresie.
Źródło:
Studia z Historii Społeczno-Gospodarczej XIX i XX Wieku; 2018, 20; 137-155
2450-6796
Pojawia się w:
Studia z Historii Społeczno-Gospodarczej XIX i XX Wieku
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The “Al di là” exhibition as an episode of propaganda Cold War in Italy in 1953
Autorzy:
Pasztor, Maria
Powiązania:
https://bibliotekanauki.pl/articles/950432.pdf
Data publikacji:
2019
Wydawca:
Polska Akademia Nauk. Instytut Historii im. Tadeusza Manteuffla PAN w Warszawie
Tematy:
zimna wojna
stosunki polsko-włoskie w latach 50. XX wieku
wystawa Al di là
komunizm
propaganda kulturalna
Cold War
Polish-Italian relations in the 1950s. Al di là
communism
cultural propaganda
Opis:
The climax of the Cold War in Europe at the beginning of the 1950s was manifested by more than just the suspension of political and economic contacts between countries on both sides of the Iron Curtain. It also involved a confrontation in the field of culture, which was increasingly subordinated to “great politics.” One of the incidents of this cold war was the exhibition “Al di là,” which opened in Italy in 1953 and brought controversy not only to the country’s internal politics, but also to Rome’s relations with the countries of the Eastern Bloc, including Poland. The present article focuses on these internal Italian contexts and the role of the exhibition in Polish-Italian relations.
Apogeum zimnej wojny w Europie początków lat 50. XX wieku objawiało się nie tylko zamrożeniem kontaktów politycznych i gospodarczych między krajami pozostającymi po obu stronach „żelaznej kurtyny”. Oznaczało ono również konfrontację obejmującą relacje na polu kultury, która coraz częściej była podporządkowana „wielkiej polityce”. Epizodem tej zimnej wojny jest sprawa wystawy „Al di là”, otwartej w 1953 r. we Włoszech i wzbudzającej kontrowersje nie tylko w polityce wewnętrznej tego kraju, jak też w stosunkach Rzymu z krajami bloku wschodniego, w tym z Polską. Niniejszy artykuł skupia się na tych wewnątrz włoskich kontekstach oraz na roli wystawy w relacjach polsko-włoskich. 
Źródło:
Studia z Dziejów Rosji i Europy Środkowo-Wschodniej; 2019, 54, 3; 205-224
2353-6403
1230-5057
Pojawia się w:
Studia z Dziejów Rosji i Europy Środkowo-Wschodniej
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Teofil Lenartowicz – the Mazovian lyre player, and heir of Italian Renaissance Artists. The case of ‘The Holy Workers’: the bas-relief and the poem
Teofil Lenartowicz – „lirnik mazowiecki” i spadkobierca renesansowych mistrzów włoskich. Na przykładzie płaskorzeźby i wiersza „Święci robotnicy”
Autorzy:
Bartnikowska-Biernat, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/2088390.pdf
Data publikacji:
2019
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
19th-century Polish literature and art
Polish-Italian literary and cultural relations
Polish Romantic poetry
Romanticism and Italian Renaissance art
literature and sculpture
Florence
Teofil Lenartowicz (1822–1893)
Lorenzo Ghiberti (1378–1455)
Giovanni Dupré (1817–1882)
Enrico Pazzi (1818–1899)
literatura
rzeźba
romantyzm
renesans
interdyscyplinarność
Opis:
After moving to Italy in 1856, Teofi l Lenartowicz, inspired by the great Italian art and supported by the best Florentine artists of the time Giovanni Dupré and Enrico Pazzi, began studying sculpture. Lenartowicz’s sculptures were always connected with literature: his work shows how one infl uenced the other. It is no accident that his style as a sculptor has been called ‘poetic’ by the critics. The Polish immigrant was fascinated by the Italian Renaissance, and especially by the art of Lorenzo Ghiberti. At the same time, he never forgot about Polish folklore, which played a signifi cant role in his artistic vision. One of the most impressive examples of this intersection of infl uences is the bas-relief The Holy Workers, complemented by a poem bearing the same name.
Źródło:
Ruch Literacki; 2019, 1; 77-86
0035-9602
Pojawia się w:
Ruch Literacki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ludomira Sleńdzińskiego podróże do Włoch 1923-1925 – geneza i dojrzewanie klasycyzmu
Ludomir Sleńdziński’s trips to Italy 1923-1925 The genesis and ripening of classicism
Autorzy:
Nowakowska-Sito, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/1901979.pdf
Data publikacji:
2012
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
klasycyzm
powrót do porządku
sztuka włoska lat 20
klasycyzm w sztuce polskiej XX wieku
relacje artystyczne polsko-włoskie w XX wieku
classicism
return to order
Italian art of the 1920s
classicism in Polish art of the 20th century
Polish-Italian artistic relations in 20th century
Opis:
Two trips to Italy that Ludomir Sleńdziński, the main representative of classicism in Polish art in the period between the two World Wars, went on in 1922/24 and 1924/25 are the subject of the article. They have not been yet considered in the context of the genesis and character of his work, albeit impulses coming from Italy were thought to be an important catalyst for the birth of the so-called return to order. Sleńdziński was Dymitr Kardowski's pupil at the Academy of Fine Arts in St Petersburg, and it was from his workshop that he acquired a worship of the old masters and a perfect command of his trade, first of all a perfect ability to draw. Apart from the St Petersburg school trends of classicism came to Polish art from Paris, where they first could be noticed in the circles connected with the periodical Museion (1911-1913), and with the artists belonging to the Polish colony, such as Henryk Kuna, Edward Wittig and Eugeniusz Zak. In the article I reconstruct Sleńdziński's stays in Italy, and I remind about the exhibition of Polish modern art that he staged in 1925 as part of Terza Biennale Romana. His personal contact with old and modern Italian art became an important moment in his artistic formation, stimulating his departure from academic towards modern classicism, in which the artist starts playing a game with the present day and with tradition, consciously using stylistic elements that belong to different epochs. In conclusion it must be said that Ludomir's trips inclined him to introduce many new solutions (sometimes surprisingly close to works by well-known Italian artists with a similar orientation) and decided the final shape of his mature work.
Źródło:
Roczniki Humanistyczne; 2012, 60, 4; 37-56
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 17

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