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Journal articles on the topic 'Polish folk art'
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1
Klekot, Ewa. "Etnodizajn a ludowość w polskim wzornictwie." Artium Quaestiones, no. 32 (December 15, 2021): 229–50. http://dx.doi.org/10.14746/aq.2021.32.9.
Full textAbstract:
In the first decade of the 2000s, a new wave of “folk inspirations” became visible in the work of Polish designers, which was celebrated by exhibitions, publications, conferences and a special festival. Interestingly, all the Polish-language coverage of these events almost unanimously avoided Polish vocabulary suggesting any connection with “folk” (n.: lud, adj.: ludowy) and used the English-sounding term “etnodizajn” (or “ethnodesign”), which actually did not exist in any official Polish or English dictionary. “Etnodizajn” is definitely not the first case when Polish designers have used the “natural resources” of the “folk art tradition”. This article discusses the early 21st century etnodizajn as embedded in the Romantic tradition of understanding the meaning of the folk, pointing at its endurance both in design practices and cultural politics. Following the design strategies of companies and studios linked to etnodizajn, the author presents, on one hand, projects that neatly fit into a century-old strategies of purely formal inspirations, and on the other, those projects that search beyond the beaten track of folk art.
2
Wójcik, Agata. "Edward Trojanowski: The Search for Style in Early 20th-century Furniture Design in Poland." Ikonotheka 28 (August 6, 2019): 67–95. http://dx.doi.org/10.5604/01.3001.0013.3344.
Full textAbstract:
Three sources of inspiration are discernible in early 20th-century Polish furniture design and especially in the output of artist-designers associated with the Polish Applied Art Association (TPSS), namely, folk art, the historical styles, and the modernistic/geometrical current. Edward Trojanowski’s oeuvre in that area combines all these three tendencies and embodies the evolution of a Polish approach to designing furniture; hence it may serve to illustrate the history of Polish furniture design in the early 20th century. Although initially Trojanowski turned to folk art, he did not passively copy its decorative motifs. His study of folk craft persuaded him to simplify the forms of pieces of furniture and to experiment with the use of colour in furniture design and interior decoration. Later, his search for a national style encouraged him to seek inspiration in Biedermeier furniture design, which added elegance to his designs, as evident in the proportions of the pieces of furniture and in the use of decorative veneers or sophisticated geometric ornaments. In this manner Trojanowski, while following his own artistic path, developed forms of furniture that effortlessly bear comparison with the avant-garde designs of the Modernist geometric current, as proposed by the Wiener Werkstätte and the Werkbund, which heralded the arrival of Art Déco.
3
Kostrzyńska-Miłosz, Anna. "Czym jest polski design?" Załącznik Kulturoznawczy, no. 6 (2019): 91–104. http://dx.doi.org/10.21697/zk.2019.6.04.
Full textAbstract:
The article touches upon the question of the history of Polish industrial design. It analyses its genesis since the second half of the nineteenth century as well as the crucial problem of how ‘Polish’ and nationally rooted were, in fact, the forms presented by the Polish designers at the time. Further reflections on the topic show two main tendencies – inspirations emerging from Anna Kostrzyńska-Miłosz folk art and the search for modernity (characteristic of the entire European design during the period). Both tendencies are still present in Polish design.
4
Tokarska-Bakir, Joanna. "WHY IS THE HOLY IMAGE "TRUE"? THE ONTOLOGICAL CONCEPT OF TRUTH AS A PRINCIPLE OF SELF-AUTHENTICATION OF FOLK DEVOTIONAL EFFIGIES IN THE 18TH AND 19TH CENTURY." Numen 49, no. 3 (2002): 255–81. http://dx.doi.org/10.1163/156852702320263936.
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AbstractThe present article examines the twofold material provided by analyses of the borderline between the ethnology of religion and the history of folk art. It refers first of all to the etiological legends of holy images venerated in Central and Eastern Europe in the post-tridentine period, and secondly to folk holy images, in particular woodcut prints, self-declared as "true images," which were widespread until the last century, and richly represented in Polish folk piety.
5
Jackowski, Jacek, and Piotr Grochowski. "Etnofon. Jak udostępniać dokumentalne nagrania muzyki ludowej? Z Jackiem Jackowskim rozmawia Piotr Grochowski." Literatura Ludowa, no. 4 (February 21, 2022): 93–109. http://dx.doi.org/10.12775/ll.4.2021.006.
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Jacek Jackowski is a musician and ethnomusicologist, and the head of the Phonographic Collection at the Institute of Art of the Polish Academy of Sciences. He specializes in the conservation, digitization and archiving of old sound recordings. He is a field researcher and author of many academic articles on traditional, Catholic and folk religious culture associated with musical behaviours. He also published numerous articles and books on early folk music recordings and their digitization (Zachować dawne nagrania, Warszawa 2014; Polska muzyka tradycyjna – dziedzictwo fonograficzne, t. 1, Warszawa 2017; t. 2, Warszawa 2019), as well as 17 CD albums of folk songs and music from Kashubia, Kurpie, Podhale, Łowicz, Orava, South Wielkopolska and many other regions of Poland. Since 2014 he has been managing the Etnofon project, the goal of which is to create, develop and maintain a central digital repository of documentary phonographic and film recordings capturing Polish traditional songs and music as well as folk dance.
6
Wójcik, Agata. "Projekty wnętrz i mebli zaprezentowane na „wystawie Architektury i wnętrz w otoczeniu ogrodowem” w Krakowie w 1912 roku." Roczniki Humanistyczne 67, no. 4 (2019): 109. http://dx.doi.org/10.18290/rh.2019.67.4-4.
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The aim of this study is to analyze the architecture of residential interiors and furniture making presented at the exhibition in 1912, to indicate the sources of inspiration for designers and to place them in the context of foreign furniture making. The sources of information were the exhibition catalog, press articles, and the archival materials stored in the National Archives in Krakow that had not been used so far, as well as photographs from the collections of the Print Room of the Academy of Fine Arts in Krakow and the Museum of the Jagiellonian University.The interiors and furniture presented by the artists from the society for Polish applied arts (TPSS) at the Krakow exhibition in 1912 perfectly matched the trends prevailing in designing around 1910. How far they were from the curvy-line Art Nouveau. The designers consciously and creatively used their native tradition, especially the furniture making of the Biedermeier period and folk art. On the one hand, Polish artists drew from the architecture of manor interiors, and on the other they were close to the inspiration of an English home. Their projects can be compared with the works of Austrian artists from the circle of the Vienna Workshop and German artists associated with the Deutscher Werkbund. They were a harbinger of simplified, geometrized, folk-inspired, influencing the beauty of the material, Polish furniture of the interwar period. The equipment for the house of a worker and a craftsman being an example of cheap furniture was characterized by solidity, modesty, operating with economical, but noble forms, inspired by folk ornamentation. They were the beginning of attempts by Polish designers to create minimalist, functional, solid and cheap equipment that were continued in the interwar period.
7
Zychowicz, Karolina. "The Exhibition-Organising Activity of the Committee for Cultural Cooperation with Foreign Countries (1950–1956) Based on the Example of Selected Exhibitions at the Zachęta Central Bureau of Art Exhibitions." Ikonotheka 26 (June 26, 2017): 63–94. http://dx.doi.org/10.5604/01.3001.0010.1673.
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The documentation of the Committee for Cultural Cooperation with Foreign Countries, which was an offi cial agency active in the years 1950–1956, is currently deposited at the Central Archives of Modern Records in Warsaw and constitutes an invaluable source for any Polish scholar interested in the history of exhibitions. It contains large amounts of interesting data which make it possible to ascertain the character of Polish exhibitionorganising activity in the fi rst half of the 1950s. In the six years of its existence the Committee organised ca. one hundred exhibitions. The essay concerns exhibitions hosted in the main building of the Central Bureau of Art Exhibitions, i.e. the Zachęta. Foreign exhibitions prepared by the Committee were intended to justify the state’s cultural strategy based on promoting the aesthetics of Socialist Realism, which programmatically referred to 19th-century Realism and its historical traditions. Exhibitions of art produced in the countries of the Eastern bloc presented the local version of Social Realism plus 19th-century painting that could be described as “Critical Realism”. Bringing to Poland exhibitions of folk art from the “brotherly” countries of the Eastern bloc was an important element of the Committee’s policy, as in the years 1949–1956 attempts were made to use folk art in the process of remodelling the country in the Socialist spirit. The Committee for Cultural Cooperation with Foreign Countries was established in 1950 in order to centralise, expand and politicise artistic exchange. On the whole, however, the idea to centralise all of the cultural exchange with foreign countries turned out to be a utopia. In 1955, just as the so-called thaw was beginning, the Ministry of Culture and Art offered the proposal to decentralise the exchange and to dissolve the Committee.
8
Myśliński, Michał. "Inspiracje sztuką i kulturą Podhala w powojennej galanterii i biżuterii polskiej." Artifex Novus, no. 5 (December 13, 2021): 66–77. http://dx.doi.org/10.21697/an.9370.
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Abstrakt:
 Zainteresowanie sztuką ludową Podhala wśród polskich artystów i badaczy sięga lat osiemdziesiątych XIX wieku. Wynikało ono z dostrzeżenia artystycznej wartości tworzonych tam dzieł oraz poszukiwań tzw. sztuki narodowej i rodzimej, tak bardzo ważnych dla polskiej kultury i tożsamości. Inspiracje kulturą materialną i artystyczną Podhala przyczyniły się m.in. do wielkiego sukcesu polskiej ekspozycji na Wystawie Sztuki Dekoracyjnej w Paryżu w 1925 roku.
 Zainteresowanie to nie zmniejszyło się po 1945 r., ale przybrało inne formy. W tym czasie powstawały w Polsce liczne spółdzielnie, których zadaniem było tworzenie przedmiotów codziennego użytku i dzieł sztuki ludowej, zgodnie z lokalną tradycją rękodzielniczą, ikonograficzną, zdobniczą itp. Pewną część produkcji stanowiła tzw. metaloplastyka – sprzączki do pasków, spinki do koszul, zatrzaski do torebek, noże, okucia fajek i in., których forma była inspiracją dla artystów tworzących dzieła biżuterii – bransoletki, broszki, wisiory itp. Asortyment ten uzupełniony został także o inne elementy – wykonywane z blachy, kości bydlęcej, galalitu i drewna broszki, wisiorki i breloki, które były przede wszystkim pamiątkami przywożonymi z tego bardzo popularnego regionu turystycznego.
 Summary:
 The interest in the folk art of the Podhale region among Polish artists and researchers dates back to the 1880s. It resulted from the perception of the artistic value of the works created here, as well as the search for the so-called national and native art, very important for Polish culture and national identity. Inspiration with the material culture of Podhale came from, among others a great effect in the form of the success of Polish art at the Exhibition of Decorative Art in Paris in 1925.
 This interest did not diminish after 1945, but took other forms. At that time, numerous cooperatives were established in Poland, whose task was to create everyday objects and works of folk art, in line with the local tradition in terms of technology, iconography, ornaments, etc. In Podhale, among many produced works, a certain part was the so-called metalwork – belt buckles, shirt clips, purse fasteners, knives, etc., the shape of which was an inspiration for artists creating bracelets, brooches, pendants, etc. This assortment was supplemented with other items – made of sheet metal, bovine bone, galalite and wood, brooches, pendants, and key rings, which were primarily souvenirs brought from this very popular tourist region.
9
Guzy-Pasiak, Jolanta. "Polish musical life in Great Britain during the Second World War." Muzyka 64, no. 1 (2019): 144–53. http://dx.doi.org/10.36744/m.249.
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The present article is the first attempt to provide a comprehensive – as much as the available sources allow – presentation of Polish music in Great Britain during the war, without any claims to completeness. The main institution attracting Poles in London was, practically from the beginning of the war, Polish Hearth, founded by Polish artists, scholars and writers. The Polish Musicians of London association with Tadeusz Jarecki organised classical music concerts and published contemporary works by Polish composers. The organisation was instrumental in the founding of the London Polish String Quartet. The BBC Radio played a huge role in the popularisation of the Polish repertoire and Polish artists, broadcasting complete performances. What became an extremely attractive form of promoting Polish art were the performances of the Anglo-Polish Ballet, founded by Czesław Konarski and Alicja Halama in 1940. The post-war reality meant that most of the scores published at the time were arrangements of soldiers’, historical, folk and popular songs characterised by simple musical means suited to the capabilities of army bands, but conveying the spirit accompanying the soldiers of the Polish Armed Forces during the Second World War. Polish Army Choir established, as the first among such ensembles, on Jerzy Kołaczkowski’s initiative.The author hopes to prompt further studies into the history of migrations of artists and work on monographs on the various composers and performers. Undoubtedly, there is a need to bring this part of our musical culture to light, especially given the fact that interest in Polish music abroad has been growing in recent years.
10
Markowska, Anna. "Around 1948: The “Gentle Revolution” and Art History." Artium Quaestiones, no. 30 (December 20, 2019): 137–60. http://dx.doi.org/10.14746/aq.2019.30.7.
Full textAbstract:
Just like after World War I Italy experienced a transition from modernism to fascism, after World II Poland experienced a passage from modernism to quasi-communism. The symbol of the first stage of the communist revolution in Poland right after the war, the so-called “gentle revolution,” was Pablo Picasso, whose work was popularized not so much because of its artistic value, but because of his membership in the communist party. The second, repressive stage of the continued came in 1949–1955, to return after the so-called thaw to Picasso and the exemplars of the École de Paris. However, the imagery of the revolution was associated only with the socialist realism connected to the USSR even though actually it was the adaptation of the École de Paris that best expressed the revolution’s victory. In the beginning, its moderate program, strongly emphasizing the national heritage as well as financial promises, made the cultural offer of the communist regime quite attractive not only for the left. Thus, the gentle revolution proved to be a Machiavellian move, disseminating power to centralize it later more effectively. On the other hand, the return to the Paris exemplars resulted in the aestheticization of radical and undemocratic changes. The received idea that the evil regime was visualized only by the ugly socialist realism is a disguise of the Polish dream of innocence and historical purity, while it was the war which gave way to the revolution, and right after the war artists not only played games with the regime, but gladly accepted social comfort guaranteed by authoritarianism. Neither artists, nor art historians started a discussion about the totalizing stain on modernity and the exclusion of the other. Even the folk art was instrumentalized by the state which manipulated folk artists to such an extent that they often lost their original skills. Horrified by the war atrocities and their consequences, art historians limited their activities to the most urgent local tasks, such as making inventories of artworks, reorganization of institutions, and reconstruction. Mass expropriation, a consequence of the revolution, was not perceived by museum personnel as a serious problem, since thanks to it museums acquired more and more exhibits, while architects and restorers could implement their boldest plans. The academic and social neutralization of expropriation favored the birth of a new human being, which was one of the goals of the revolution. Along the ethnic homogenization of society, focusing on Polish art meant getting used to monophony. No cultural opposition to the authoritarian ideas of modernity appeared – neither the École de Paris as a paradigm of the high art, nor the folklore manipulated by the state were able to come up with the ideas of the weak subject or counter-history. Despite the social revolution, the class distinction of ethnography and high art remained unchanged.
11
Mika, Bogumila. "Music of Karol Szymanowski in the intertextual dialogue." New Sound, no. 51 (2018): 64–81. http://dx.doi.org/10.5937/newso1851064m.
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In this paper I delineate how two aspects of the music of Karol Symanowski-subjective and objective-enter into intertextual dialogue with other musical pieces. The subjective aspect of intertextual dialogue is defined as Symanowskis use in his own music of fragments of the works of various composers and of folk music. The objective aspect of intertextual dialogue is defined as citations from or allusions to Symanowskis work by other Polish composers. The problem of intertextuality in music remains important when considering participation of a single musical work in 'the world of musical art in general, as well as in the world of common human experience.
12
Rzepnikowska, Iwona. "FUNCTIONAL AND SEMANTIC CHARACTERISTICS OF SILENCE IN THE FAIRY TALE." Проблемы исторической поэтики 20, no. 1 (2022): 7–29. http://dx.doi.org/10.15393/j9.art.2022.10322.
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This article focuses on the silence of a fairy tale hero, i. e. a deliberate withholding from speaking that is a metonymic manifestation of a symbolic death. The aim of the study was to determine the meanings of silence that are representative of this type of narration and to indicate their probable mythical and ritual connotations. Research materials included mainly Polish and Eastern Slavic tales of a sister whose silence constitutes a precondition for bringing her brothers, previously turned into birds, back into human form. The analysis showed the use of a semantic component essential to silence required to keep a secret and impossibility of revealing the truth. If a spell can be a result of a parental curse, then suspending communication becomes a form of maintaining bonds with the brothers killed by words. It can also be interpreted as a reflection of the speech behaviour of the parents, who violate the basic folk ethics of the word. The analysed narratives preserved the magical functions of silence as the assurance of the effectiveness of objects made in complete silence (in the given example — shirts made for the spellbound brothers). Nevertheless, in other variants of plot type 451, the silence of the heroine is the most significant precondition for her own existential transformation, with numerous narratives describing the multi-stage nature of the rite of passage (a marriageable girl → a married woman → a newly delivered mother → a mother). In this indirect way the fairy tale reveals the limits of female communicative behaviour in folk culture. In order to present the essence of the liminality of the given story’s heroine, the “stasis” category was used, which helped to correlate her (and any other fairy tale protagonist) basic existential experience with a temporal dimension of human existence construed as regular consecutive time passages and pauses, moments of inactivity (stasis).
13
Korczyński, Piotr. "Chołpa w paryji. O wiejskich dziwakach w polskim kinie i nie tylko (bardzo) subiektywnie." Pleograf. Historyczno-Filmowy Kwartalnik Filmoteki Narodowej 27, no. 2 (2022): 1–29. http://dx.doi.org/10.56351/pleograf.2022.2.09.
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Every village has its ‘misfits’ – weirdos living at the outskirts of the community, who are only more or less tolerated by the rest of the residents. The reasons for their isolation are manifold – it can be illness, disability, but also life experiences such as war, unrequited love and political persecution. Many of them found solace and expressed themselves through art, which was often referred to as naive and primitive, as well as Art Brut. This was how they made their living, or searched for the meaning of life. In the process, they also became custodians and chroniclers of village life – its history, customs, problems and beliefs, which formed a peculiar syncretism of past and present. This mixture of the primitive and the modern delighted Ludwig Zimmerer, a German press correspondent turned collector of Polish folk and independent art. This fascination was also shared by filmmakers, including Andrzej Wajda. Some of them, like Wiesław Dymny, Henryk Kluba, Witold Leszczyński, Grzegorz Królikiewicz, Wojciech Smarzowski, and Jan Jakub Kolski, tried to picture this world of ‘village weirdos’ in their films, sometimes resorting to putting them in the role of their protagonists. This was the case in Kolski’s Jańcio Wodnik [Johnnie Waterman], Słońce wschodzi raz na dzień [The Sun Rises Once a Day] by Kluba and Dymny, as well as Leszczyński’s Konopielka Królikiewcz’s Tańczący jastrząb [The Dancing Hawk] and Smarzowski’s Wesele [The Wedding]. Each of these films showcases the village outsider or a character who becomes an outsider in the course of its plot. At the same time, the audience ventures into the seemingly exotic world of the Polish countryside and learns about its history from a hitherto unknown perspective.
14
Markowska, Anna. "Wokół roku 1948: „rewolucja łagodna” i historia sztuki." Artium Quaestiones, no. 30 (December 20, 2019): 367–91. http://dx.doi.org/10.14746/aq.2019.30.22.
Full textAbstract:
Just like after World War I Italy experienced a transition from modernism to fascism, after World War II Poland experienced a passage from modernism to quasi-communism. The symbol of the first stage of the communist revolution in Poland right after the war, the so-called “gentle revolution,” was Pablo Picasso, whose work was popularized not so much because of its artistic value, but because of his membership in the communist party. The second, repressive stage of the continued came in 1949–1955, to return after the so-called thaw to Picasso and the exemplars of the École de Paris. However, the imagery of the revolution was associated only with the socialist realism connected to the USSR even though actually it was the adaptation of the École de Paris that best expressed the revolution’s victory. In the beginning, its moderate program, strongly emphasizing the national heritage as well as financial promises, made the cultural offer of the communist regime quite attractive not only for the left. Thus, the gentle revolution proved to be a Machiavellian move, disseminating power to centralize it later more effectively. On the other hand, the return to the Paris exemplars resulted in the aestheticization of radical and undemocratic changes. The received idea that the evil regime was visualized only by the ugly socialist realism is a disguise of the Polish dream of innocence and historical purity, while it was the war which gave way to the revolution, and right after the war artists not only played games with the regime, but gladly accepted social comfort guaranteed by authoritarianism. Neither artists, nor art historians started a discussion about the totalizing stain on modernity and the exclusion of the other. Even the folk art was instrumentalized by the state which manipulated folk artists to such an extent that they often lost their original skills. Horrified by the war atrocities and their consequences, art historians limited their activities to the most urgent local tasks, such as making inventories of artworks, reorganization of institutions, and reconstruction. Mass expropriation, a consequence of the revolution, was not perceived by museum personnel as a serious problem, since thanks to it museums acquired more and more exhibits, while architects and restorers could implement their boldest plans. The academic and social neutralization of expropriation favored the birth of a new human being, which was one of the goals of the revolution. Along the ethnic homogenization of society, focusing on Polish art meant getting used to monophony. No cultural opposition to the authoritarian ideas of modernity appeared – neither the École de Paris as a paradigm of the high art, nor the folklore manipulated by the state were able to come up with the ideas of the weak subject or counter-history. Despite the social revolution, the class distinction of ethnography and high art remained unchanged.
15
Łapeta, Oskar. "The Ballets of Eugeniusz Morawski in the Context of the Search for Polish National Identity." Polski Rocznik Muzykologiczny 19, no. 1 (2021): 54–66. http://dx.doi.org/10.2478/prm-2021-0010.
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Abstract The topic of this article is Eugeniusz Morawski’s ballet music analysed in the context of the search for national identity in Poland after it regained independence in 1918. The author’s reflection is focused on two fully preserved ballet compositions written in the 1920s. In the monumental four-part dance poem Miłość [Love] by Morawski, together with the author of the libretto, Franciszek Siedlecki, presents an allegorical journey of the pair of protagonists in search of spiritual renewal in a world threatened by progressive mechanisation. Their pilgrimage ends on Earth, and Mazurka is the central point of the last part of the composition. The two-part ballet Świtezianka [Fair Maiden from Svitez], written by the composer to his own libretto, contains in the first part a group scene in which the composer stylizes Polish folk dances. Morawski uses in these works numerous archaizing elements, such as col legno articulation in the strings or empty fifths in the bass; he also uses a pentatonic scale and modal scales, these fragments are distinguished by incisive rhythms. The composer’s treatment of folk material brings to mind an analogy between his work and the works of composers regarded as representatives of the national-folkloric trend in Polish music: Karol Szymanowski, Stanisław Wiechowicz and Roman Palester. Similar tendencies can also be observed in numerous literary and art works created during the inter-war period. A return to folklore and combination of its elements with modern composing techniques can also be found in the works of the most ou-standing representatives of the avant-garde: Igor Stravinsky and Béla Bartók.
16
Kal, Elżbieta. "“Sprawa realizmu w plastyce kształtującej”. Design i jego krytyka wobec realizmu socjalistycznego." Załącznik Kulturoznawczy, no. 6 (2019): 121–54. http://dx.doi.org/10.21697/zk.2019.6.06.
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This text concerns itself with Polish design and its criticism in the period of socialist realism (1949/50–1955). The title refers to a terminological proposal by Janusz Bogucki who looked for new terms for his work in the new system. The division into ‘pure’ and ‘usable’ arts was considered as an anachronism in socialism in which all artistic fields were to fulfil social functions. As optimal, the critic considered a division of arts into the ‘imaging’ (painting, sculpture, and graphic) and ‘formative’ (shaping human surroundings and public space – architecture, decoration and interior fittings, and objects of everyday usage). An intermediate ‘semi-imaging’ form was, for example, represented with a fabric or scenography. Bogucki defined the realism of a masterpiece as something that reflects reality by the use of means other than an image – it shapes and expresses reality. By avoiding unwanted associations with functionalism or constructivism, he showed ‘realistic’ features of objects and things: perspicuity, simplicity of composition, purposefulness and the appropriate usage of material and tools, breaking away from the pre-war ornamentation and avant-garde restraint of shapes. Masterpieces of ‘formative’ art were to fulfil the postulate of a national form; hence, the inspiration with a native tradition, folk art and handcraft was recommended. Crucial propagandistic slogans concerned popularization and ‘democratization’ of art connected with both creation and reception; industrial production pursuant to the models of professional artists as well as the working class, and folk and teen ‘collectives’ managed by them. Chosen institutions served popularization and democratization of socialist art. The 1952 Exhibition of Interior Architecture and Decorative Art and especially the criticism linked with it, regarding the assumptions of socialist realism and gradual abandoning the criteria of the doctrine from around 1954, are presented in this text. Reckoning with the method: during the public thaw (1956–1957), when categories of realism and national form were replaced with the imperative of modernity, constitutes a recapitulation.
17
Brusewicz, Anatol. "Iдэйна-мастацкiя пошукi паэтаў беларуска-польскага памежжа: творчасць Адама Плуга". Białorutenistyka Białostocka 13 (2021): 109–22. http://dx.doi.org/10.15290/bb.2021.13.07.
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This article is devoted to the study of the ideological and aesthetic foundations of Adam Ploug’s poetry in organic correlation with the artistic experience of other representatives of the Belarusian-Polish literary borderland (A. Mitskevich, J.I. Krashevsky, etc.). It is worth noting that the formation of A. Ploug’s creative consciousness took place under the direct influence of a number of ideas of Western European Romanticism, including the sacralization of the homeland and its past (historical memory), the idealization of freedom, Christian humanism and non-conformism, the idea of the timelessness of art. At the same time, both the concept of the lyrical hero and the artistic space in A. Ploug’s works are all built on the basis of the traditions of the Belarusian folk culture, which makes it possible to assert that the poet belongs primarily to Belarusian Romanticism.
18
Jarysz, Aleksandra Weronika. "Dzieło sztuki na granicy przeszłości i przyszłości. Historia i patriotyzm w sztuce nieprofesjonalnej." Sprawy Narodowościowe, no. 47 (January 29, 2016): 104–15. http://dx.doi.org/10.11649/sn.2015.055.
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A work of art – a link between the present and the past. History and patriotism in non-professional art In her article, the author discusses art of non-professional artists who shape the national identity in an original way. In the former professional art, the works which illustrated and uplifted history were very popular. This phenomenon is still present among folk, naive, intuitive artists, generally speaking – non-professionals. The work of their hands and imagination is a tool serving the purpose of national values and ideas, and is sometimes the basis for broader considerations on the human condition. They balance between historical facts and ahistorical generalities. The martyrdom of the Polish nation with emphasis on the events of WWII has been inspiring artists, stimulating their imagination and artistic creation. Therefore numerous ‘monuments of patriotic art’ can be found in the wood sculpture, ceramics, painting, and glass painting works from the art collection of the Toruń Maria Znamierowska-Prüfferowa Ethnographic Museum. Dzieło sztuki na granicy przeszłości i przyszłości. Historia i patriotyzm w sztuce nieprofesjonalnejW swoim artykule autorka prezentuje sztukę twórców nieprofesjonalnych, którzy w sposób oryginalny kształtują tożsamość narodową. W dawnej sztuce profesjonalnej dzieła, które ilustrowały i uwznioślały historię były bardzo popularne. To zjawisko jest nadal aktualne wśród twórców ludowych, naiwnych, intuicyjnych, ogólnie nazywając – nieprofesjonalnych. Dzieło ich rąk i wyobraźni jest narzędziem w służbie wartości i idei narodowych, a niekiedy stanowi podstawę do szerszych rozważań nad kondycją człowieka. Balansują oni między konkretem historycznym a ahistoryczną ogólnością. Martyrologia narodu polskiego z naciskiem na wydarzenia II wojny światowej inspirowała i inspiruje twórców, pobudza ich wyobraźnię i zmusza do twórczej kreacji. Stąd też zarówno w rzeźbie w drewnie, w ceramice, na obrazach, w malarstwie na szkle, w zbiorach sztuki toruńskiego Muzeum Etnograficznego im. Marii Znamierowskiej-Prűfferowej możemy odnaleźć bogatą reprezentację „pomników sztuki patriotyzmu”.
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Dobrowolska, Anna Maria. "„Tam jest pamiątek ognisko”. Elementy osjaniczne w twórczości Augusta Antoniego Jakubowskiego oraz Maurycego Gosławskiego." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 55, no. 2 (2022): 133–49. http://dx.doi.org/10.36770/bp.697.
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The aim of the article was to trace the similarities between the Songs of Ossian and the works of selected authors of the Ukrainian school, which allowed Maurycy Mochnacki to create in 1826 the metaphor of Ukraine as "Polish Scotland". We are talking about similarities in terms of building mood, creating images of space, reflecting on history, passing and memory, as well as a special sensitivity and way of feeling nature and the world. This metaphor has already been commented on many times, and it also evoked extreme opinions. Stanisław Makowski and Alina Witkowska, among others, found it unfounded, but its sources seem worth re-examining. The work aims to identify those features of Ukraine which, in the eyes of the authors of early Polish Romanticism, made it similar to Osianic Scotland. In the article, fragments of Songs of Ossian will be juxtaposed with selected works of lesser-known poets from the Ukrainian school, August Antoni Jakubowski and Maurycy Gosławski. Indigenous Ukrainian duma, which is related to the Songs of Ossian in general terms by the presence of epic elements, as well as frequently appearing historical topics, is important research material. The Ukrainian steppe was the space where the Kobzar sitting on the grave praised the heroic deeds of the Cossacks, just as Ossian told the stories of Fingal's warriors. This allowed Mochnacki to believe that the poets of the Ukrainian school, referring to indigenous folk art, would create national literature that would play a decisive role in "recognizing the nation as its own being”.
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Tomaszewska, Ewa, and Marzenna Wiśniewska. "Kronika życia i twórczości Jana Dormana (1912–1986)." Pamiętnik Teatralny 68, no. 3-4 (2019): 13–140. http://dx.doi.org/10.36744/pt.9.
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Jan Dorman (b. Dębowa Góra, now Sosnowiec, 1912–d. Będzin, 1986) was a teacher, director, stage designer, author of texts for theatre, founder of the Experimental Child’s Theatre (ETD) in Sosnowiec (1945–1951) and The Children of Zagłębie’s Theatre (TDZ) in Będzin, which has been named after him (1951–1977), lecturer at the Faculty of Puppetry in Wrocław, Branch of the State Academic School of Theatre (PWST) in Krakow, now Stanisław Wyspiański Academy of Theatre Arts (1978–1986), promoter of culture in Będzin. His theatre practice situated itself between children’s theatre, young spectator’s theatre, puppet theatre, avant-garde art theatre and experiments close to the happening. Dorman’s performances were presented at many festivals internationally; the work of TDZ that he directed represented Poland at the International Exhibition of Stage Design in Amiens, France (1969). Dorman wrote and adapted texts for theatre, composed and selected music, designed the sets (along with his son, Jacek), initiated the “Herody” review of folk productions, maintained extensive contacts with Polish and foreign theatre communities, contributed regularly to theatre magazines (including Scena, Teatr Lalek, Teatr), and he published his book Children Playing at Theatre. Throughout his life, Dorman recorded his practice through meticulously produced archival documentation.
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Baraniak, Maciej. "“Kumoterki”, tradition, sport and cultural heritage." Sport i Turystyka. Środkowoeuropejskie Czasopismo Naukowe 4, no. 1 (2021): 75–86. http://dx.doi.org/10.16926/sit.2021.04.04.
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In the dialect of Polish Tatra highlanders the word “kumoterki” indicates a small two-person sleigh traditionally harnessed to one horse. It is derived from the word “kumotrzy” which is godparents who used the horse team to get with a newborn baby to church to have the child baptised.Since the mid-19th-century horse-drawn sleighs used by Tatra highlanders have been the masterpieces of woodcarving art. A lot of attention has been paid to the precision of workmanship, the choice of material and ornamentation. Initially, they were used as the means of transport during snowy winters in the Polish Tatra region. During the Interwar period, due to the development of mass motorization, horse-drawn sleighs lost their utilitarian character and people started to use them in racing events. The first horse-drawn sleigh race took place in Zakopane in 1929. It was an annual event until 1939. After World War 2, horse-drawn sleigh races were reactivated in 1962 in Zakopane and after that, after a few-year break, in 1972 in Bukowina Tatrzańska.In the 1970s horse-drawn sleigh races were treated mostly as social events and folk festivities rather than sports competitions. Horses that took part in the races at that time were used to work mainly on the farmland and were not specially prepared for the races. This situation changed completely at the beginning of the 1990s after sport horses had been brought to Podhale. Since then horse-drawn sleigh races have become typical sports competitions; older highlanders started to resign from speed racing leaving the place for young contestants. Sports rivalry and willingness to achieve the best time of a ride displaced the fun and entertainment factor of this event.
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Wilczyk, Wojciech. "„Pamiątka, Zabawka, Talizman” czyli Żydzi fantomowi." Studia Litteraria et Historica, no. 3–4 (January 31, 2016): 260–64. http://dx.doi.org/10.11649/slh.2015.013.
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Souvenir, Talisman, Toy or phantom JewsThe exhibition Souvenir, Talisman, Toy, prepared by Erica Lehrer and shown in Cracow’s Ethnographic Museum in Summer 2013, deals with the phenomena of Jew figures production and currently extremely popular the "Jew with a coin" image. The phenomenon bears full characteristics of folk art. However, it is Holocaust that took place in Poland during the German occupation that should be its valid reference. This historical context that results in, for example, stereotypical way of portraying the exterminated neighbours (this way is often perceived as intentionally anti-Semitic), is not fully analysed or worked through at the exhibition. The rich ethnographic material shown in Cracow is calling for a comment that would include scientific descriptions of Polish-Jewish relations that are being formulated at, for example, the Polish Centre for Holocaust Research. The phenomena of the evoked images production, which became more intense in the last twenty or thirty years, has all the qualities of "phantom memory" or post-memory, which character, as well origins, should be thoroughly analysed. Pamiątka, Zabawka, Talizman, czyli Żydzi fantomowiPrzygotowana przez Ericę Lehrer wystawa Pamiątka, Zabawka, Talizman, którą można było oglądać w salach krakowskiego Muzeum Etnograficznego latem 2013 roku, traktuje o fenomenie produkcji figurek Żydów i niezmiernie popularnych dzisiaj wizerunków „Żyda z pieniążkiem”. Zjawisko to ma wszelkie cechy twórczości ludowej, jednakże istotnym odniesieniem jest dla niego Zagłada, która rozegrała się na terenie Polski w czasie okupacji niemieckiej. Ten historyczny kontekst, którego efektem jest np. stereotypowy sposób prezentowania wyglądu zgładzonych sąsiadów (odbierany często jako tendencyjnie antysemicki), nie został w pełni na przywołanej ekspozycji zanalizowany czy też przepracowany. Pokazany w Krakowie niewątpliwie bogaty etnograficzny materiał domaga się komentarza uwzględniającego naukowe opracowania dotyczące polsko-żydowskich relacji, jakie powstają np. w Centrum Badań nad Zagładą Żydów. Fenomen produkcji wspomnianych wizerunków, którego nasilenie obserwować można w ostatnich dwudziestu, trzydziestu latach, posiada wszelkie cechy „pamięci fantomowej” czy ewentualnej post-pamięci, której charakter (a także źródła) powinien być poddany gruntownej analizie.
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Gorzelik, Jerzy. "Alegorie Polski w gmachach publicznych i kościołach województwa śląskiego na wybranych przykładach (1922-1939)." Artifex Novus, no. 2 (January 15, 2020): 58–71. http://dx.doi.org/10.21697/an.7828.
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Utworzenie autonomicznego województwa śląskiego w ramach polskiego państwa narodowego oraz diecezji katowickiej wiązało się z reorganizacją systemu władzy, w którym poczesne miejsce zajęły grupy polsko-śląskich duchownych oraz urzędników i świeckiej inteligencji. Ich wzajemna rywalizacja oraz wspólne dążenie do nacjonalizacji Górnoślązaków w duchu polskim inspirowały dwa odmienne, choć spokrewnione dyskursy, w których wykorzystywano środki obrazowe. Wśród nich znaczącą rolę odgrywały alegoryczne wizualizacje Polski, zakorzenione w tradycjach sztuki polskiej przełomu XIX/XX wieku. W wystrojach gmachów Sejmu Śląskiego i Śląskiego Urzędu Wojewódzkiego oraz starostwa powiatowego w Katowicach zastosowano motyw Polonia Triumphans. W pierwszym z przypadków rzeźbiarz Jan Raszka nadał personifikacji wczesnośredniowieczną stylizację, nawiązującą do piastowskiego „złotego wieku”, a u jej tronu umieścił asystę w osobach hutnika i górnika, stylizowanych na kresowych rycerzy. Inna z płaskorzeźb przedstawia Polonię jako Nike i Wolność prowadzącą do boju powstańca śląskiego, zobrazowanego jako hutnik z młotem, oraz żołnierza walczącego z Czechami o Śląsk Cieszyński. Wątek zbrojnej walki o granice pojawia się także w malowidłach Felicjana Szczęsnego Kowarskiego w budynku starostwa, gdzie ukazaną w postaci greckiej heroiny Polonię z mieczem i tarczą flankują postaci śląskich herosów – całość programu ma jawnie rewizjonistyczną wymowę.
 Wyraźnie większe bogactwo wątków prezentuje zespół trzech obrazów Józefa Unierzyskiego, zamówionych do kościoła mariackiego w Katowicach. Ich centralną postacią jest Maria Królowa Korony Polskiej, przybierająca cechy Polonii Triumphans. Fundamentem łączności Górnego Śląska z Polską jest tu wspólna katolicka wiara. Górnośląski lud pod przywództwem bliskich mu kapłanów włącza się u stóp Madonny w nurt polskiej historii, określony dziejową misją przedmurza chrześcijaństwa, wnosząc jako wiano żywą religijność i pracowitość. Na zlecenie proboszcza ks. Emila Szramka malarz zaprezentował zrastanie się z polskością jako naturalny i obustronnie korzystny proces.
 The creation of the autonomous Silesian voivodeship within the borders of the Polish nation state and of the Roman Catholic Diocese of Katowice meant a profound change in the distribution of power, the groups of Polish-Silesian clergy and Polish bureaucrats, as well as secular intelligentsia gaining increasingly in importance. Their rivalry and common effort to polonize Upper Silesians inspired two different, although interrelated discourses, visual means being involved in both of them. Among the motives, implemented in the propaganda, allegorical depictions of Poland - rooted in the traditions of the Polish art of the turn of the twentieth century – played a significant role. In the decorations of the edifices of Silesian Sejm and Silesian Voivodeship Office and of the county authorities they were shaped as the personification of Polonia Triumphans. In the former case the sculptor Jan Raszka represented the allegory as an early medieval figure, reminding of a „golden age” of the Piast dynasty, seated on the throne and accompanied by a coal miner and a foundry-worker, stylized as borderland knights. In another bas-relief Polonia was depicted as Victory and Liberty leading into battle a Polish-Silesian insurgent, rendered as a foundry-worker with a hammer in his hands, and a soldier, fighting against Czechs for Teschen Silesia. The strand of military fighting over disputed territories occurs also in the paintings by Felicjan Szczęsny Kowarski in the Katowice County Hall, where Polonia, depicted as a Greek heroine with a sword and a shield, is accompanied by Silesian heroes and the meaning of the decoration is manifestly revisionist, advocating moving Polish border westwards.
 A conspicuosly wider range of contents is reflected in a series of three paintings by Józef Unierzyski, ordered for St. Mary’s Church in Katowice. Their central figure is Mary the „Queen of the Polish Crown”, assuming the features of Polonia Triumphans. The connection between Upper Silesia and Poland is founded here on the common catholic faith. At the feet of Madonna Upper Silesian folk, led by clergy, that remains faithfull to its popular roots, and bringing its vivid religiosity and dilligence, joins the stream of the Polish history, determined by the historical mission of antemurale christianitatis,. Commissioned by the parson Emil Szramek, the painter represented the growing together of Upper Silesia and Poland as a natural and mutually profitable process.
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Zaatov, Ismet A. "Crym Girey I – the founder of the classical theater in the Crimea (on the issue of 257 years experience of the Crimean Tatar`s first theatrical productions of the European type theater)." Crimean Historical Review, no. 1 (2020): 100–135. http://dx.doi.org/10.22378/kio.2020.1.100-135.
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The formation process of the Crimean Tatar theater can be divided into the following periods: medieval – folk theater (the initial round dance and toy puppet theater of shadows “Karagoz”, the theater of one actor “meddah”, the arena theater “orta oyuny”); Khan`s theater in the middle of the XVIII century (penetration into the Crimea of European theater traditions in the era of the Crimean Khan Crym Girey I); the revival of traditions of the Crimean Tatar theater late XIX–XX centuries (the activities of a theater-goers group of the Jadidist Crimean Tatar youth–followers of I. Gasprinsky, under the leadership of J. Meinov – the efforts of the Crimean Tatar noblewoman-myrzachkas under the leadership of A. Taiganskaya; organization of a professional Simferopol Tatar theater troupe under the People’s Commissar of Education of the Crimean ASSR in 1921 and creation and activities of the Crimean Tatar Drama Theater, headed by A. Taigan, and the Crimean Tatar amateur movement in the Crimea, and among the Crimean Tatar foreign diaspora of 1923–1944 (Soviet pre-deportation period); recreation and current activities of the Crimean Tatar theater in the Crimea,1989 (post deportation period). In this article, for the first time in the art history, is revealed the so-called Khan`s period in the formation of the Crimean Tatar theater, discussed the revolutionary activity in the field of Crimean Tatar art, the ascetic activity of the Crimean Khan Crym Girey I to promote the ideas of European theater traditions and create a classical theater in the Crimea. The picture of the actions undertaken by the Crimean ruler in the construction of theater business in the Crimea, as well as his thoughts and statements about the theater, was recreated according to the text published in the XVIII century, memories of personal meetings and conversations with Crym Girey I of European authors: German – von der Goltz, Polish – Pilshtynova, Russian – Nikiforov, Frenchman – de Tott, Austrian – Kleeman. Based on these recollections is built a clear and explicit picture of a role of Crym Girey I as a pioneer in bringing European theater traditions and creation of a classical theater in the culture of the Crimea, the Turkic and Muslim worlds.
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Kompa, Krzysztof, and Dorota Witkowska. "Construction Of Hedonic Price Index For The “Most Liquid” Polish Painters." Folia Oeconomica Stetinensia 14, no. 2 (2014): 76–100. http://dx.doi.org/10.1515/foli-2015-0004.
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Abstract Art market has been developing in Poland and the first Art Fund was established in 2011. Therefore it seems that investment in art can be considered as alternative form by Polish investors. In order to decide whether art is a good investment, it is necessary to evaluate expected returns which might be obtained from such investment thus an art price index should be developed. The aim of the paper is to discuss artworks as investment assets and evaluate price index of paintings produced by 11 Polish artists whose artworks were traded the most often on auctions that were held in Poland in the years 2007–2010. In our research, employing data concerning 750 objects, we apply the hedonic index methodology to estimate returns from the paintings market. The results of our investigation show that hedonic quality adjustment essentially influences evaluation of artwork prices therefore we propose the aggregated hedonic index which might better describe situation at the art market than the hedonic index biased by the specification of a single model.
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Horbal, Vadym. "The Challenges of Professional Competence of Lviv Region Military Conductors in the First Decades of the XXth Century." Studia Universitatis Babeş-Bolyai Musica 67, Special Issue 1 (2022): 21–32. http://dx.doi.org/10.24193/subbmusica.2022.spiss1.02.
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"Internal application and social functions of the orchestras of different military formations on the territory of Ukrainian lands during the first half of the XXth century had their own history, including Lviv Region. This Region as the whole Galicia had gone through the numerous political transformations and changes of political systems. Each of such transformation put forward new requirements to the military musical art, thus, to the activity of military conductors. The aim of the article is the analysis of the tasks, demands, social and cultural background of the conditions of work, potential audience, the peculiarities of performance repertoire, professional training of the membership of the orchestra companies and the conductors of the orchestra’s groups of the Regular Army during the first decades of the XXth century. Such investigation based on historical, structural and systemic methods has been made for the first time. The military subunits of Lviv region of the period of Austrian regime (infantry regiments 10, 15, 23, 30, 55, 80) involved in their units Germans, Czechs, Austrians, Hungarians and less numerously presented Russians and Poles (55 and 80 infantry regiments that had their headquarters in Lviv and dislocated partially in Stryj and Zolochiv). Each of them obligatory had their own musical groups: mainly brass or competent symphony orchestra which included numerous Czech musicians and trumpeters as a separate unit. Each orchestra performer, as a rule, played two different instruments (brass and stringed). Their work was supervised by bandmaster and warrant officer – tambour major (who supervised group’s training as a conductor of the orchestra and their preparation to the defile), they were mainly Austrians, Germans and Czechs. Besides applicable military functions the orchestras took part in the civilian ceremonies, divine services and funeral ceremonies, every week at holidays and Sundays they carried out unmounted and hoarse defile along the city with march and light music of European authors under arrangements of their conductors (namely, arrangements of folk songs and dances), performed programs of European classical music in concert halls; and in public places: in park platforms, skating rigs; they also made guest-performance tours to the recreation resorts. In 1918 with the formation of Polish State there were some transformations in musical sphere of Polish Army and the USS Army. The conductors of military orchestras of Lviv region of the first decades of the XXth century faced the vast complex of tasks: the ability to work with the variety of personnel in the open air (in the field), in the square, hoarse defile and unmounted defile) in the covered concert-theatrical, theatrical buildings; mastering, providing, creation and adaptation of the universal repertoires to the real performance, potential and concert conditions, ensuring the training conditions of the new generation to the range of professional orchestras of academic level, the creation of programs, which provide with image and representative functions of the army, as well as to satisfy the needs of social and cultural topicality. Keywords: military conductors, tambour-major, performance repertoire of military orchestras, social and cultural functions of orchestra music. "
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Suproniuk, Oksana. "BOOK FUND OF THE DEPARTMENT OF FOREIGN UKRAINIAN STUDIES OF THE VNLU AS A SOURCE FOR STUDYING THE HISTORY OF MODERN UKRAINIAN LITERATURE (IHOR KOSTETSKY AND OLEKSANDRA CHERNENKO ABOUT VASYL STEFANYK)." Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 208–14. http://dx.doi.org/10.25264/2409-6806-2020-31-208-214.
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The basis for the study is the book fund of the Department of Foreign Ukrainian Studies of the VNLU, which has become an important information resource for source studies of works by scientists of the Ukrainian diaspora. It gives an opportunity to explore the history and evolution of creative interpretations of Vasyl Stefanyk’s cultural heritage. The article examines the “Stefanykiana” of the Ukrainians abroad, which puts the writer’s legacy in the global context. The works of I. Kostetsky, O. Chernenko, and M. Stekh present V. Stefanyk’s work for the first time against the background of processes that took place in European cultural and art life at the turn of the century, during the prime era of modernism. Stefanyk’s work was discovered by the Poles W. Moraczewski and S. Przybyszewski, who introduced him to their artistic environment and began to translate, print and promote his works. The chief theorist of modernism S. Przybyszewski considered him as a genius and put V. Stefanyk’s name next to the most prominent writers of Europe. The Polish critic H. Hescheles considered his work as more interesting than the work of the Nobel Laureate W. Reymont. However, the reception of Stefanyk’s works by the Ukrainian Galician community was adverse. There were objective and subjective processes of Stefanyk’s rejection from his native Ukrainian environment with its “folk” and “enlightenment” canon (i.e. the writer was to serve the people, write for the people, as well as awaken and develop the people). Stefanyk was an expressionist and a world-class writer who managed to get to the heart of things and phenomena, and portray life and people in a style inherent in European and world writers. The conflict with Ukrainian environment forced him to stop writing. He did not write for 15 years. As a result, the opportunity to bring his own people and literature to the international cultural space and to establish them in world culture was lost. I. Kostetsky believes that the fact that Stefanyk was unable to actualize himself under the pressure of his native Galician environment is one of the most burdensome points of the Ukrainian collective guilt.
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Kostrzyńska-Miłosz, Anna. "Inspiracje podhalańskie w meblach regionalnych Józefa Kulona." Artifex Novus, no. 5 (December 13, 2021): 78–87. http://dx.doi.org/10.21697/an.9371.
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Abstrakt:
 Twórczość Józefa Kulona obejmuje szereg dziedzin związanych ze sztuką użytkową. Najbardziej znanymi jego projektami są meble regionalne, zwane także wiejskimi, inspirowane formami mebli ludowych. Były one wykonywane w spółdzielniach należących do Cepelii. Najliczniejsze tego typu projekty Kulona powstały dla Zakopiańskich Warsztatów Wzorcowych. Analizując ich formy, można wydzielić dwa typy. Pierwszy – najliczniejszy, charakteryzuje się użyciem wyraźnie zaznaczonych elementów konstrukcyjnych z płycinami wypełnionymi deseczkami lub ażurem o pofalowanych krawędziach, naśladujących ornamenty ludowe, do niego możemy zaliczyć takie zestawy jak Janosik, Kierdel, Redyk czy Kacwin; i drugi – różniący się nie konstrukcją, a jedynie ornamentyką, to meble o miękkich liniach zdobionych stylizowanym, wyciętym konturowo dłutem ornamentem animalistycznym. Ich powierzchnia była często opalana i szczotkowana, tak by uzyskać wyraźny, jaśniejszy rysunek słojów. Przykładem mogą być komplet Miś czy nieznane mi z nazwy meble, które można artyście przypisać.
 Od lat 60. artysta tworzył wystrój licznych wnętrz użyteczności publicznej, by wymienić tylko kilka: świetlicę Spółdzielni Pracy „Pieniny” w Krościenku (1968), świetlicę Spółdzielni Pracy AW, Koniaków (1968), część wyposażenia schroniska Ślęża (1966).
 Józef Kulon projektował również pojedyncze sprzęty dla osób znanych, na indywidualne zamówienia, m.in. w 1966 r. ławy dla wiceprezydenta USA H. Humphreya, w 1967 r. łóżko dla gen. Charlesa de Gaulle’a oraz łóżko dla Jana Pawła II w ośrodku wypoczynkowym biskupów polskich w Zakopanem.
 Summary:
 Józef Kulon’s oeuvre includes a number of branches related to applied art. His best known designs encompass regional furniture, also called cottage furniture, inspired by forms from folk furniture pieces. Kulon’s furniture was manufactured in Cepelia-run Cooperatives. The biggest number of his designs were created for the Zakopane Model Workshops. When analysing their forms, two types can be distinguished. The first, and the most numerous, is characterized by the use of clearly pronounced structural elements with panels filled with slats or openwork of wavy edges imitating folk ornaments, which include such sets as Janosik, Kierdel, Redyk, or Kacwin; the second type does not feature a different structure, but differs in ornamentation, with its pieces boasting soft lines decorated with a stylized contour chisel-cut-out animalistic ornament. The pieces’ surface was often scorched and brushed in order to obtain a clear lighter outline of rings. The latter type is exemplified by the set Miś [Bear] or other furniture pieces, unknown to me by their name, and which can be attributed to Kulon.
 Beginning with the 1960s, the artist created the décor of numerous interiors of public service, such as, to name a few: the common room of the ‘Pieniny’ Workers’ Cooperative, Krościenko (1968); the common room of the AW Workers’ Cooperative, Koniaków (1968); and a part of the furnishing of the Ślęża mountain hostel (1966).
 Furthermore, Józef Kulon designed customized furniture pieces for celebrities, e.g. in 1966, benches for US Vice President Humphrey; in 1967, a bed for General Charles de Gaulle; and a bed for John Paul II in the Zakopane Holiday Resort of the Polish Bishops.
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Rzepnikowska, Iwona. "THE DEAD IN POLISH FOLK PROSE." Folklore: structure, typology, semiotics 3, no. 1 (2020): 128–43. http://dx.doi.org/10.28995/2658-5294-2020-3-1-128-143.
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The paper dwells upon the image of the dead in tales of the two plot types, namely, T 366 “Trup upomina się o swoją własność” (АТU 366 “The Man from the Gallows”) and T 470* “Zmarły urażony” (АТU 470А “The Offended Skull”), formally classified by the author of the Polish folk prose index as fairy tales, but they are in fact in full compliance with basic genre conventions of mythological tales (fabulates). Therefore, the dead in those plot types act not as the fairy-tale but mythological character. Nominations, as well as certain other features, of the “otherworld” characters in those narratives reflect the duality of folk perceptions regarding a person’s lot after their demise. The dead are perceived as scary creatures that pose danger – but the reason for that lies in the humans’ own trespassing against the dead: disturbing their rest. The degree to which the dead are portrayed as demonic, that is, ungracious and vengeful towards the humans, varies and is expressed both in the plot types being compared in general and in specific textual realizations of the same plot.
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Davitadze, A. H. "The principles of re-intonation of multinational folklore in the work of Ludwig van Beethoven (on the example of the collection of arrangements “Songs of Different Nations”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 75–91. http://dx.doi.org/10.34064/khnum1-53.05.
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Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct or indirect appealing to folklore sources. Studying the classical legacy in the genre of folk song arrangement, theoretical musicology significantly deepens the understanding of this area of the professional composer creativity, revealing the genesis of the phenomena mentioned above. Such a range of issues is considered by A. Gnatyshin (2014), G. Golovinsky (1981), A. Derevianchenko (2005), B. Zabuta (2018), I. Zemtsovsky (1978), I. Konovalova (2007), A. Protopopova and others. Beethoven’s creativity in the context of the chosen theoretical concept is highlighted in the works of L. Kirillina, Ya. Soroker (2012) and others. The purpose of the article is to identify and characterize the principles of re-intonation of multinational folklore in the genre of arrangement a folk song in Beethoven’s creativity (on the example of the collection “Songs of Different Nations”). There are represented the structural-functional, genre, style, intonation types of analysis among the used methods of studying. Results. The main tool of dialogue between the author and the folk music is the method of re-intonation, which in L. van Beethoven’s creativity is implemented in samples of ethnically different folk song (sometimes dance) sources arrangements. The certain logics is observed in the principle of the collection assembly. So, by ethnicity, the composer alternates songs of different peoples, following the logic of contrast and unity. Within the loop, you can also find the manifestations of several more cyclization layers by different traits and the nature of the combination – mini-cycles where the national style is the principle of the choice. Songs of the same nation that are naturally related in intonation, in particular, in melodic-harmonic content, in figurative and genre traits, alternate with one another or dispersed in the collection, forming monocycles and arches (Nos. 1–3, 5–6, 8, 14, 15–16, 24, 17–18). The binary method of connection by the above criteria differs from the first type of cyclization, although it also represented by songs of same nation, but by genre and figurative characteristics these songs contrast sharply with one another, forming “unity of opposites” (Nos. 4, 22; 5, 7, 6–7; 9–10, 11–12). Such a “mini-cyclization” does not exceed more than three ethnically homogeneous songs in a row. The largest part of the collection is the five Tyrolean songs (Nos. 4, 15, 16, 22, 24), and their distribution throughout the collection is like to the principle of “a refrain”. The Songs nos. 15–16 go in succession and united by common features – the type of melody that is similar to the shepherd songs in the yodel genre, by the piano and string accompaniment texture, by the triple meter, the F major tonal basis and by the general content and character of music. The Song № 24 also adjoins by the listed characteristics to the songs nos. 15–16. The mini-cyclization one can also traces in the combination of songs of different ethnicity. Single samples of songs of different ethnicities – Nos. 13 (Swiss), 19 (Ukrainian), 20 (Danish), 21 (Swedish), 23 (Hungarian) correlate dialogically, creating affinity or contrast with their surroundings and with each other at the macro-level of the cycle. The lyrically dramatic Ukrainian song is preceded by a dance Polish song, followed by a knightly Danish song with the chorus, the next is a Swedish lullaby, and the pastoral Hungarian song is framed by two Tyrolean songs. Thus, the tendency to cyclization, based on the principles of contrast and unity, operates in the collection of both micro- and macro-level, which is responsible for the composition of the whole. Interesting for the researcher is the genre content of the collection. Some of the songs are mono-genre - these are those that have the characteristics of the song genre (name, content, melody, harmony, rhythm, texture): nos. 2, 7, 8, 9, 10, 12, 13, 14, 16, 19, 20, 21, 22. The poly genres are those that combine the features of song and dance (conventionally - dance song or song dance): nos.1, 3, 4, 5, 6, 11, 15, 17, 18, 23, 24. The composer’s creative dialogue with the folklore tradition takes place at other levels of the musical text. Beethoven adds instrumental accompaniment to the song tune in the composition of piano, violin and cello (piano trio). The function of “cementing” the form belongs to the piano, which is a constant participant of the ensemble throughout the song, as well as in the additional parts of the form created by the composer – introductory and closing ritornellоs. In addition, the piano performs the function of harmonious accompaniment, development of thematic material, is responsible for the dynamics of development on a whole scale. Indicative for the Beethoven method of folklore processing is the circle of tonalities to which the composer refers. These are the most convenient for the artist sound systems (do not exceed 1–3 key signatures) designed for a wide «consumer» and ease of performance (both vocal and instrumental). The most active dialogue of the composer with the folklore source takes place in the intonational and harmonic spheres. Obviously, Beethoven tried to be adjusting to the unknown and unusual for him musical-theoretical systems. Analyzing samples of the author’s harmonization of folk melodies, we can conclude that the German classic «spoke» with a broad international circle of songs in same language. The key decisions of the German master show a subtle understanding of the folk songs harmony: harmonizing various folk sources, the composer does not burden them with complicated harmonic sequences, in agreement with that, which is supposed in folk melody. In addition, the choice of tonality was very responsible, emphasizing the clarity and simplicity of these songs, their democratic orientation, both in relation to the performer and the listener. Conclusions. Beethoven’s principles of thinking are manifested at all levels of organization of the musical whole. The re-intonation of folklore material occurs both at the level of the form of each individual song (micro level), and at the composition level of the entire collection (macro level), which translates into a tendency toward cyclization, the formation of mini- and macrocycles, and a tendency to build holistic dramaturgy. At the genre level in “Songs of Different Nations”, re-intonation occurs due to the combination of “pure” (song) and synthetic genres (synthesis of song and dance genres in one sample). The instrumental trio accompaniment performs certain functions in the structure of the musical text (thematic development, dubbing of the vocal part, timbre saturation, harmonious component, the introduction of classical performing traditions) and is an active stylistic, genre, and dramatic factor in the сomposition. The composer, as a whole, subdues folk music material to the classical type of musical thinking.
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Karas, Hanna. "MASTER CLASS FROM ACADEMIC VOCAL AS FORM OF ACTIVATION OF EDUCATIONAL PROCESS IN ARTISTIC ESTABLISHMENTS OF HIGHER EDUCATION." Academic Notes Series Pedagogical Science 1, no. 204 (2022): 130–33. http://dx.doi.org/10.36550/2415-7988-2022-1-204-130-133.
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The article reveals the experience of using a master class on academic vocal as a form of activation of the educational process in urban institutions of higher education in Ukraine. Since Ukrainian scholars have not identified theoretical works on the role of master classes in the educational process in the vocal sphere, the disclosure of experience, which is the purpose of our article, should update the development of methodological and methodical principles of research. It has been established that over the last decade the form of master classes has been increasingly used by domestic vocal teachers. The experience of their holding at the Mykola Lysenko Lviv National Academy of Music, the Institute of Arts of the Borys Hrinchenko Kyiv University and the Vasyl Stefanyk Precarpathian National University with the participation of leading foreign opera singers, most of whom are of Ukrainian origin, was summarized. All of them worked on master classes on a volunteer basis. In Lviv they were conducted by the professor from the Academy of Music (Norway), world-famous singer (tenor) Carlo Allemano, in Kyiv – world-famous opera singer (lyric-coloratura soprano) Victoria Lukianets from Vienna, in Ivano-Frankivsk – also world-famous opera singer (baritone) Pavlo Gunka (Great Britain), young singers, soloists of Polish opera theaters Iryna Zhytynska and Stanislav Kufliuk. In each case, the duration of master classes lasted from one to seven days, the number of participants was 4–30 people. A pre-studied program of 1–3 works (aria, solo songs, folk song) was chosen for the work. Some teachers paid more attention to technical problems in voice production, others – to the artistic image, associations, understanding of the works performed. The structure of the master classes included: 1) demonstration by a recognized singer-mentor of his skills and his understanding of the problem in a practical form; 2) involvement of the student in active activity on mastering of skill under the control of the expert; 3) publicity, ie the presence of a wide audience (teachers, students, journalists), who perceived the process of communication between the master and his wards, and who joined this process, asking questions and demanding explanations. The organizational and semantic aspects of the use of master classes in academic vocal in higher educational institutions in the field of art are in need of further consideration.
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Gardiner, John M., and Emma Radomski. "Awareness of Recognition Memory for Polish and English Folk Songs in Polish and English Folk." Memory 7, no. 4 (1999): 461–70. http://dx.doi.org/10.1080/741944923.
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Nagy-Sándor, Zsuzsa, and Pauwke Berkers. "Culture, Heritage, Art: Navigating Authenticities in Contemporary Hungarian Folk Singing." Cultural Sociology 12, no. 3 (2018): 400–417. http://dx.doi.org/10.1177/1749975518780770.
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In Hungary, the decline of traditional peasant culture and its heritage has prompted urban revivals, leading to the acceptance of traditional Hungarian folk singing as a performing arts genre. Drawing from a series of in-depth interviews, this study shows how contemporary Hungarian folk singers navigate (define, learn, police) different forms of authenticity within the field of folk music. While we find that objectified authenticity – heritagized classification systems – is the dominant form of symbolic capital, the broader symbolic economy of authenticity is complicated by competing definitions of folk singing as, variously, culture, heritage, and art. Third-person authenticity is more highly regarded, but it is more difficult for contemporary urban folk singers to achieve because they were not socialized in peasant communities. Therefore, they use objectified authenticity such as ‘original recordings’ as a proxy for learning about living folk culture. Although objectified authenticity constrains the agency of artistic expression, it affords discriminatory creativity (choosing one’s own repertoire) and rationalized creativity (adapting traditional material to external values and contexts).
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Yang, Fuyin. "“Passatempi musicali” by GuillaumeLouis Cottrau as the way Neapolitan song actualization in 19th century music." Aspects of Historical Musicology 19, no. 19 (2020): 268–84. http://dx.doi.org/10.34064/khnum2-19.15.
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Background. In 19th century European music has been enriched by national phenomena, such as Polish mazurka, Austrian waltz, Hungarian czardas, which went into the academic genres system, expanded the boundaries of its intonational fund and audience perceptions. The Neapolitan song participated in this process. It was a real discovery for music lovers in different countries. Canzone Napoletana conquered the music salons area in France, from where it spread in all the Europe, and was reflected in the work of many composers. This genre phenomenon is not fully unraveled, probably due to the distortion of the ingrained ideas about it. This theme is mainly reflected in the publications of Italian experts in the second half of the 20 century D. Carpitella, E. De Martino, R. De Simone, and in the 21 century R. Di Mauro (2013). Interest in this genre intensified in the musical science of China also. This is due to the extraordinary melody of Neapolitan songs, which is consonant with Chinese samples. Chinese singers increasingly include the popular canzone Napoletana in their repertoire. In the musical science of China, this topic has been developed since the last decades of the 20th century in the studies of Song Jing (1985), Wu Shikai (1997), Pei Yisi (2011), Liu Shanshan (2007), Fang Yahong (2011), Chang Jinge (2018). However, many scientific works are of the same type, which is caused by the lack of direct access to the study of musical, poetic, bibliographic material. In the same time, the 19th century deserves attention as a period of the rapid spread of Neapolitan folk songs in the musical art of Europe. The outstanding role in these processes belongs to the representatives of the creative dynasty – Teodoro Cottrau (1827–1879), the author of the famous “Santa Lucia”, and his father Guillaume-Louis Cottrau (1797–1847). Given the current lack of knowledge on this topic, as the research goal of this article, we consider it necessary to get acquainted with the creative figure of G.-L. Cottrau, which contributed to the spread of Neapolitan folk songs in the European music of the 19th century. For the first time in the musical science of Ukraine and China, the collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments” is used as an object of research compiled by G.-L. Cottrau, as well as selected fragments of operatic works by G. Paisiello and D. Cimarosa. In this work, the historicalcomparative and biographical research methods are used, as well as generally accepted models of musicological and performing analysis of music. Results. When studying the Canzone Napoletana, the research problem lies in the difficulties of reconstructing song samples of the 16th–19th centuries. It is necessary to restore their exact chronology, authorship, conduct a comparative analysis of numerous editions, and comprehend the processes of historical evolution. This situation is known to most ethnological scholars, who are actually engaged in musical archeology and bring back almost lost samples of the past from oblivion. Thanks to the processes of national self-determination that swept Italy in the second half of the 20th century, a decisive breakthrough was made in ethnomusicology in the study of the musical and poetic heritage of the Neapolitan region. This is a strong help for any researcher dealing with this topic. The composer and music publisher Guillaume-Louis Cottrau belonged to a famous surname in France. Hisfather served Joachim-Napoléon Murat, Napoleon Bonaparte’s son-in-law. As a child, he ended up in Italy, in Naples, forever falling in love with this land and its culture. Subsequently, Guillaume-Louis adopted Neapolitan citizenship. Being engaged in the affairs of the music publishing house and composing, Guillaume-Louis made up and published in 1824 a collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments”. This includes 104 Canzone Napoletana. Afterwards, the number of songs in different issues was increasing slightly (up to 113), the authorship of some fragments was clarifying, but the main block of tunes remained unchanged. This collection gained immense popularity in the music salons of France. It has been reprinted several times. According to R. di Mauro (2013), about sixty of the 104 songs in the first edition were written by G.-L. Cottrau, the rest are the result of processing of folk originals or songs by other authors. The essence of the undertaken arrangement consisted not only in recording musical and poetic texts (often in several versions), not only in creating a piano accompaniment part in the style of salon music-making. The composer personally collected these cantos and lyrics to them, communicating with servants, peasants, merchants, artisans, direct bearers of the oral musical tradition from different parts of the Neapolitan region. It includes old peasant songs, epic ballads, fragments from operas by G. Paisiello, D. Cimarosa, and other composers of the 18th century, which became truly people’s. This article compares the composer and folk versions of the Serenade of Pulcinella by Paisiello and Cimarosa, which were included in the first edition of the collection under the folk guise. Conclusions. The publication of the Neapolitan songs collection “Passatempi musicali” by G.-L. Cottrau played the role of actualizing this song genre in the musical space of the Romantic era. Its popularization outside Italy, repeated reprints made it possible to “legalize” the song South Italian folklore in the European musical space.
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Hua, Wei. "Understanding and Thinking of Contemporary Chinese Folk Art." Tobacco Regulatory Science 7, no. 5 (2021): 4532–38. http://dx.doi.org/10.18001/trs.7.5.2.19.
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Objectives: The development of computer technology has changed the way of traditional folk culture, which provides a positive impetus for the restoration of the whole folk culture. In order to protect and restore the folk fine arts culture in our country, the author analyzes the present situation of the development of folk art culture in our country, and then the author verifies the superiority of the Folk art culture restoration of computer technology, and the result shows that The construction of Folk art cultural works of computer technology can be more easily accepted by students. Therefore, computer technology can improve our national understanding of folk art and thinking. Research aimed to provide reference for the restoration of traditional culture in China.
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Belinska, Lyudmyla, and Semen Kukurudza. "Anatole Vakhnianyn as an educator-geographer, composer, public figure, politician." Visnyk of the Lviv University. Series Geography 53 (December 18, 2019): 13–23. http://dx.doi.org/10.30970/vgg.2019.53.10652.
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Anatole Vakhnyanin is one of the most representative of the Galician intellectuals, who in the second half of the nineteenth and early twentieth centuries in the conditions of the Austro-Hungarian monarchy selflessly worked on the field of awareness of Ukrainians as a separate nation. Scientific and pedagogical, public-political, musical and cultural activities contributed significantly not only to the formation of the cultural and educational level of the population of Galicia, but also to the close unity of the entire Ukrainian people. In his student years, he started the activity of the student community structures “Hromada” (Przemysl) and “Sich” (Vienna), with whom the memory of Taras Shevchenko for the first time was honored. In Lviv, together with the like-minded people, A. Vakhnyanin initiated the cultural and educational organization “Prosvita” and lead its work in the years 1868–70. He also edited the daily “Pravda” newspaper in Lviv, initiated with the assistance of P. Kulish and O. Konysky and collaborated with other publications, including the “Dilo” Lviv newspaper, in which he published historical and pedagogical explorations, organized the work of music societies “Torban” and “Boyan”, for which he prepared a lot of his own compositions and arrangements of folk songs, and later made a lot of effort in the case of opening of the Higher Institute of Music named after M. Lysenko in Lviv. After graduation from Lviv and later the Przemysl Theological Seminary, A. Vakhnyanin received his first pedagogical experience, teaching rus'ka (Ukrainian), Old-Slavic, Old-Polish and Latin languages in the Przemysl High School for two years. However, he became a real teacher after graduating from the Faculty of Philosophy of the University of Vienna in Lviv Academic High School with the Ukrainian language of teaching, where he became a professor. During this period (1873) A. Vakhnyanin prepared a “A Short Sketch of the Geography for the Junior Classes of Secondary Schools”, and later, in 1884, he wrote an original Ukrainian-language textbook on geography “Geography textbook for secondary schools”, which for many years was an important source of geographical knowledge for high school students. A. Vakhnyanin throughout his adult life wrote music, although he did not consider himself a professional. The opera “Kupala”, which was set in Kharkiv in 21 years after the death of the composer, became the peak of his composer's art. Extremely diverse range of public-political activities of Anatol Vakhnyanin, who, with the circle of like-minded people, managed to organize the work of several public-cultural structures, in particular Prosvita, and subsequently the political organization “People's Council”, which made his name in Galicia widely popular among Rusyn-Ukrainians, so they repeatedly elected him as a deputy to the Galician Sejm and the Vienna Parliament (1894–1900). Key words: teacher, Professor, author of the textbook on geography, composer, public figure, “Prosvita”, politician, deputy.
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Gołębiowski, Bronisław. "Naród polski narodem chłopskim." Kultura i Społeczeństwo 62, no. 1 (2018): 101–21. http://dx.doi.org/10.35757/kis.2018.62.1.3.
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The author advances a thesis about the folk pedigree of the modern Polish nation. He sees the present shape of the nation in the history of Polish nationalism and proves that the long period after the nation’s loss of independence favored the nation’s image of itself as an nation “eternally faithful” to the Church, with a common religion, language, and customs. He emphasizes that the struggle for Polishness based on such a view of the nation was folk-oriented, egalitarian, and democratic, and that after the acquisition of statehood the country’s borders were decided by the Greater Poland and Silesian uprisings, which were popular in nature, and by the defeat of the Soviet offensive [sic!] in 1920, thanks to the engagement of the common people. In restored Poland, peasant groupings undertook many political initiatives; a government was formed and announced a revolutionary program for a democratic state. The parliamentary act on agricultural reform, the Constitution of March 1921, and elections according to the new constitution showed that the people’s and workers’ parties had acquired significant power. Thanks to this activeness, the new Polish nation had a peasant face. The author connects his thesis about the folk pedigree of the Polish nation with the present as well. He gives examples of cultural continuity and of the contributions made by classes of the common people. He views the forming middle class as a post-peasant level, unequipped with mature cultural capital but balancing between folk — mainly peasant — culture and mass culture.
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Cheng, Jiaxia. "A comparative Study of Chinese Traditional Folk Paper-cut Art Desigh and Modern Graphic Design Based on Visual Communication." Tobacco Regulatory Science 7, no. 5 (2021): 1028–35. http://dx.doi.org/10.18001/trs.7.5.20.
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Paper-cut, as a traditional folk art, has become a treasure of Chinese folk art in its long history of development. Paper-cut gives people artistic enjoyment visually with its unique creative techniques, full composition and vivid and interesting patterns. Methods: Traditional folk paper-cut art records the folk customs of the Chinese nation and embodies the temperament and national style of the Chinese nation. Its unique way of thinking and expression provide unique creative ideas and rich visual art resources for modern graphic design. Chinese folk paper-cut is an organic combination of decoration and practicality. Results: It can not only show the rich and colorful folk life, but also meet the aesthetic needs of a variety of situations. How to combine rich traditional culture and art with graphic design concepts and the spirit of the times to design works with national style, so as to better integrate folk paper-cut art with graphic design, is the pursuit of graphic designers. Conclusion: Based on visual communication design, this paper discusses the comparison and integration between traditional Chinese folk paper-cut art design and modern graphic design.
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Wilson, Talesha, and Ethan Sharp. "Women, Art, and Hope in Black Lives Matter." Journal of American Folklore 134, no. 534 (2021): 434–43. http://dx.doi.org/10.5406/jamerfolk.134.534.0434.
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Abstract Black women, LGBTQ folx, and artists in Louisville, Kentucky, played key roles in bringing attention to the police killing of Breonna Taylor and ensuring that Breonna became a focus of the Black Lives Matter movement. In this oral history interview, one of the organizers of protest actions in Louisville, Talesha Wilson, remembers how she became involved again in Black Lives Matter in 2020. She discusses the need to address sexism, homophobia, and transphobia while seeking racial justice and describes an action that she organized in an area of the city called NuLu. The action highlighted how the organization of urban space and gentrification have disempowered Black people and forced them to live in areas where they are more likely to be the victims of police violence.
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LUNYO, Yevhen. "PEOPLE'S NARRATIVE TRADITION ON THE DESTRUCTION OF THE POLISH COLONY OF PYSHIVKA IN THE SPRING OF 1944." Contemporary era 8 (2020): 46–76. http://dx.doi.org/10.33402/nd.2020-8-46-76.
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It is investigated how the Ukrainian folk-narrative tradition in various genre records of the beginning of the 21st century reflects and comprehends one of the numerous events of the Polish-Ukrainian armed conflict of the 1940s in the western Ukrainian lands - the destruction of the Polish colony Pyshivka by the Ukrainian armed underground in the spring of 1944. It is stated that the folk epic memory of Ukrainians reproduces the event of sixty years ago quite clearly, in various aspects and numerous details. It is noted that the narrative tradition of understanding the destruction of Pyshivka takes place in two planes - socio-political, military on the one hand, and Christian-moral humanistic - on the other. However, they do not always act in their pure separate essence: either one or the other. It is traced from the stories that in one narrator, they can be organically combined with a certain dominance of one or another component. It was stated that the narrators of the socio-political direction - primarily participants and eyewitnesses, reflected and comprehended the specific event of the destruction of Pyshivka in a broader aspect of the Polish-Ukrainian confrontation under the influence of information about the hostile intention of Poles against their village, as well as stories about previous similar Polish actions against Ukrainian villages. At the same time, there is a tendency that the farther the narrators are from the realities of the national liberation struggle, were not its eyewitnesses, and are not more deeply interested in it from printed or other sources, the more their understanding acquires a humanistic and moral content. They sincerely regret and mourn what happened, show a subconscious complex of guilt, and hence focus more on peaceful, friendly relations before the war, sympathetically speak of the high moral and spiritual qualities and higher economic success of the Polish colonists. Keywords: narrative tradition, Polish-Ukrainian armed conflict, historical memory, Pyshivka, Yavoriv region.
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Yurchuk, Lubov. "The Image of the Pole in the Folk Discourse of the Sebezh District of the Pskov Region." ISTORIYA 13, no. 2 (112) (2022): 0. http://dx.doi.org/10.18254/s207987840019906-5.
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The article studies the perception of Poles by Russians in the ethnocultural border zone in different historical periods, which was reflected in folklore texts. Over the centuries-old history of Polish-Russian relations, a fairly stable negative stereotype of the Pole has formed, supported by the memory of military conflicts and stabilized in the texts of legends. At the same time, there was a tendency in the “mass” consciousness to learn the truth about another culture and overcome its negative perception. The development of this tendency resulted in the transformation of the national stereotype of the Pole (from “alien” to “other”).
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Flotyński, Marcin. "The Profitability of the Strategy Linking Fundamental, Portfolio and Technical Analysis on the Polish Capital Market." Folia Oeconomica Stetinensia 16, no. 1 (2016): 113–46. http://dx.doi.org/10.1515/foli-2016-0008.
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Abstract In the article, several methods of taking investment decisions are described: a fundamental, portfolio, and technical analysis. They constitute different approaches which are convenient for different types of investors with various expectations and time horizons of their investments. The simultaneous combination of these three analyses is not popular. The aim of this study is to test the effectiveness of simultaneous use of a fundamental analysis, portfolio analysis, and technical analysis for shares quoted on the Warsaw Stock Exchange (WSE) in 2000–2007. The research hypothesis is advanced that the concurrent-linked application of a fundamental, portfolio, and technical analysis brings better results than the separate use of these analyses. Models of capital market, such as CAPM and APT, have been used, as well as P/E ratio, Return on Equity (RoE), Relative Strength Index (RSI), and Exponential Moving Average (EMA). The combination of a financial analysis, technical indicators, and models of the capital market in order to invest on the stock exchange is author’s own method. In general, the survey has been carried out on the grounds of quantitative methods (financial analysis, regression model, and multi regression model) and a comparative analysis. The results of the research have been used to create diversified portfolios on the WSE. It occurs that the concurrent use of the three analyses brings the highest rate of return of a portfolio.
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Walther, Luciana, and Carlos Eduardo Félix da Costa. "The Renewal of Arts, Lives, and a Community through Social Enterprise: The Case of Oficina de Agosto." Sustainability 14, no. 1 (2021): 125. http://dx.doi.org/10.3390/su14010125.
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The present work investigates, with a cultural approach, the emergence of an art-based social enterprise and an art-entrepreneurial ecosystem in Southeastern semi-rural Brazil, shedding light on how local private initiatives may build stronger communities and vice-versa, in a mutually transformative relationship. The focus lies on Oficina de Agosto, a folk-art studio, school, and shop. Fieldwork design combined ethnography and art-based research. The thick description of the phenomenon is organized under the acronym P.L.A.C.E., a conceptual framework describing five principles of community development. The contributions of this study are three-fold: (1) it illustrates how social enterprise may work as an alternative market model that could support community building; (2) it raises awareness to the possibility that social enterprises’ initial social focus may not be perennial or unshakeable, in an undesirable change that might require a both/and mindset and a patient management of paradoxes; and (3) it offers practical managerial recommendations to the SE under focus, which might be extended to other local businesses, or to SEs in other semi-rural Brazilian towns, or even in international settings that might bear economic and social resemblance to our researched context.
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Masłowska, Ewa. "Zaprzedać duszę diabłu – reprodukowalność mitu we frazematyce z polskiego obszaru gwarowego i języka potocznego w kontekście kultury tradycyjnej." LingVaria 16, no. 2(32) (2021): 167–83. http://dx.doi.org/10.12797/lv.16.2021.32.14.
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Selling One’s Soul to the Devil – Reproducibility of the Mythical Motif in Phrasematics of the Polish Colloquial Language in the Context of Traditional Culture
 The author of the article discussed reproducibility of the mythical motif of “Adam’s pact with the devil” in Polish traditional culture and in dialectal and colloquial phrasematics. The adoption of the concept of “language narrativeness” in the description of a small piece of reality such as the act of selling one’s soul to the devil, makes it possible to present this piece in a form of a structured image within the frames of a great narrative about the world (based on the Christian belief concerning the soul) which contains small narratives (referring to myths and folk demonology included in stereotypical text motifs) and micro-narratives that are hidden in lexis and broadly understood phrasematics and that reflect a whole range of interpretations and evaluations related to a person’s pact with a demonic being.
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Kiklewicz, Aleksander. "Polish and Russian School of Cultural Linguistics: Similarity and Differences of Approaches." Przegląd Wschodnioeuropejski 10, no. 2 (2019): 273–92. http://dx.doi.org/10.31648/pw.5480.
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The author reviews contemporary cultural linguistics (as one of the fields of anthropological linguistics) in two Slavic countries: Poland and Russia. The first part of the article discusses the general theoretical foundations of cultural linguistics, as well as the circumstances in which it was established in Poland and Russia (USSR). In the second part, the author discusses the distinguishing features of both linguistic traditions. So he writes that in Russia, researchers are more interested in linguoculturology, in particular in the description of concepts and the so-called konceptosphere. In Poland there is a stronger tradition of researching folk culture, folk psychology and folk language, for this reason the methodology of Polish research is based to a greater extent on empirical procedures, such as field research and surveys.
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Svitlenko, Serhiy. "Ukrainian intellectual Trokhym Zinkivskyi and preservation of historical memory of Taras Shevchenko." Chornomors’ka Mynuvshyna, no. 17 (December 31, 2022): 71–78. http://dx.doi.org/10.18524/2519-2523.2022.17.268828.
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The personality of Trochym Zinkivskyi (1861–1891) remains little known and insufficiently developed in modern Ukrainian historiography. The purpose of the article is to study the figure of Trokhym Zinkivskyi in the context of the problem of preserving the historical memory of Taras Shevchenko. Research methods are personalistic, historical-genetic and historical-systemic. Sources: published epistolaries of T. Zinkivskyi and his addressees, memories of contemporaries, biographical articles in the Ukrainian press of the beginning of the 20th century etc. The main results consist in elucidating the peculiarities of the formation of T. Zinkivskyi's worldview under the conditions of the oppression of the Southern Ukrainian lands by the Russian imperial regime, in particular in Berdyansk, Feodosia and Odesa, the establishment of his Ukrainian national-democratic views during his studies and military service in Smila, Shpola and Uman, in Kyiv and St. Petersburg. It is noted that an important factor in the development of his Ukrainian consciousness and identity was his family upbringing, which instilled love for his native language and formed Christian, religious values. A prominent role was played by the reading circle, which included Shevchenkov's «Kobzar» along with other literary works of Ukrainian and foreign writers; as well as Ukrainian folk art. V. Kravchenko, L. Smolenskyi, B. Grinchenko, M. Komarov, and a number of representatives of the Ukrainian colony in St. Petersburg were included in the closest circle of persons who significantly influenced the formation of the worldview of the Ukrainian figure. The article traces the main stages of the intellectual and public activity of the Ukrainian figure in the matter of preserving the historical memory of Kobzar. It is noted that already in the middle and second half of the 80s of the 19th century. T. Zinkivskyi began work in the field of Ukrainian literature, took care of translation activities. In St. Petersburg, he was able to begin wider work for the benefit of Ukrainianism and became an ideological leader of young Ukrainians. The powerful vital energy of the activist was organically combined with consistent and convinced actions in the name of the Ukrainian cause. In the youth group at Shevchenko's anniversary, T. Zinkivskyi read a number of essays, such as «The National Question in Russia», «Shevchenko in the Light of European Criticism», «Young Ukraine» and others. His essay «Taras Shevchenko in the Light of European Criticism», which was read in Ukrainian on the evening of February 25, 1889 in the capital of the empire, was of exceptional importance. This speech, prepared mostly on the basis of French, Austrian, German, and Polish historiographical sources, presented Kobzar as a figure of global poetic scale and destroyed the perception of the Russian metropolitan public about Ukrainians and the Ukrainian language as something provincial and inferior. Conclusions.T. Zinkivskyi became one of the brightest representatives of the «Young Ukraine» generation. The short-lived but important intellectual activity of the ideological leader of young Ukrainians, in particular, speeches at the Shevchenko anniversary, publication of abstracts, epistolaries, drew the attention of contemporaries to the figure of Taras Shevchenko, to his poetic heritage; actualized the issue of preserving the historical memory of Kobzar as a leader of the national values of Ukrainians. It has been proven that during the 1880s and early 1890s, T. Zinkivskyi's intellectual activity contributed to the progress of Ukrainian public affairs and national science, the establishment of Ukrainian national consciousness among the generation of young Ukrainians. The practical significance of the article is that the given material will be of interest to specialists in the context of studying the ethno-national history of Ukraine in the second half of the 19th century. The originality of the article lies in the understanding of insufficiently studied aspects of the activity of the Ukrainian intellectual, who stood at the origins of the idea of «Young Ukraine». Scientific novelty in updating the intellectual activity of T. Zinkivskyi in the matter of preserving Ukrainian national memory and forming national consciousness and identity.
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Huard, Adrienne. "CoC Methodology: Generating Communities of Care Within Indigenous Spaces Through Trauma-Informed Visual Culture." Public 31, no. 62 (2020): 60–74. http://dx.doi.org/10.1386/public_00038_1.
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Interdisciplinary Two-Spirit, Métis/Saulteaux/Polish artist, Dayna Danger establishes Indigenous protocol through their artistic practice, which translates through their Mask series and their digital film Bebeschendaam, as they demonstrate the ways in which community is generated, upheld and maintained through their art works. In particular, these collaborative projects exemplify methodologies that revolve around building and nurturing community, which generates a Communities of Care methodology, formed by feminist theorist and scholar, bell hooks. Through this concept, Danger advocated for the term, CoC Methodology at their keynote at Concordia University’s Art History Graduate Student Association’s (AHGSA) 13th annual symposium on the theme of Communities of Care, held in February 2019. CoC Methodology relates to the stability and growth of Two-Spirit, Indigiqueer, trans, female and gender-variant Indigenous folks. By advocating for CoC Methodology, Danger’s artistic practice not only concentrates on the creative output, but also on the facilitation of community building and safe-keeping.
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Legomska, Julia. "Od czarów nad kołyską do magii językowej usieciowionej matki — ciągłość i zmienność charakteru magii języka matek." Język a Kultura 26 (February 22, 2017): 245–57. http://dx.doi.org/10.19195/1232-9657.26.20.
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From spells over the cradle to linguistic magic of a networked mother — continuity and change of the nature of mothers’ language magic The essay draws attention to the fact that, since the old days, in the case of frustration connected with the child mothers have reached out for words, they have used words to affect both internal, psychic reality and the external one. Magical acts by means of language are based on the world image shared by the sender and the recipient. Polish folk culture positively valued phenomena referring to Polish Catholic symbols, therefore these symbols constitute protective and benevolent powers evoked in folk lullabies. The author suggests looking at contemporary linguistic activities performed by mothers frustrated with staying with the child, which activities are presented in the analysed website magazine Bachor as activities which also make use of the language magic. According to the author, the difference lies in changing the cultural context of linguistic behaviour and associating them in particular with the defining technology. In contemporary mediatised society the power of “obligatory existence”, which was characteristic of magical speech activities, supports and intensifies the equation of media by recipients. Therefore, the author sees Bachor as the act of blocking the language of success which makes room only for parents who are “effective” and affirm positive feelings by introducing into reality — by means of words, words in media — incapable, frustrated parents who are full of negative feelings. The subject is discussed in adescriptive and not in an evaluative way.
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Sawada, Takashi. "A Research on the Craft and its related Policy in Kanazawa, a UNESCO Creative City of Crafts and Folk Art." Journal of the City Planning Institute of Japan 52, no. 3 (2017): 343–48. http://dx.doi.org/10.11361/journalcpij.52.343.
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Votruba, Martin. "Hang Him High: The Elevation of Jánošík to an Ethnic Icon." Slavic Review 65, no. 1 (2006): 24–44. http://dx.doi.org/10.2307/4148521.
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In this paper, Martin Votruba traces the evolution of the Jánošík myth. The highwayman Jánošík is a living legend in Czech, Polish, and Slovak cultures. Contrary to common claims, the modern celebratory myth of the brigand hanged in the eighteenth century is at odds with the traditional images of brigandage in the western Carpathians. Folk songs and The Hungarian Simplicissimus of the seventeenth century often anathematize highway robbery. High literature of the mostly Slovak counties of the Kingdom of Hungary in the Habsburg empire similarly cast Jánošík as a criminal. Yet some intellectuals, such as Pavol Jozef Šafárik, inspired by the robber in German literature, singled out Jánošík from among other brigands and reduced that folklore-based opprobrium. Others, such as Ján Kollár, resisted Jánošík's rehabilitation. Subsequent Central European national revivals and ethnic activism prompted the Slovak romantic poets to reinvent Jánošík as a folk rebel against social and ethnic oppression.