Academic literature on the topic 'Polish War songs'
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Journal articles on the topic "Polish War songs"
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Andrzejak, Izabela. "Folk dance as a tool of socialist propaganda based on Paweł Pawlikowski’s Cold War." Dziennikarstwo i Media 15 (June 29, 2021): 37–50. http://dx.doi.org/10.19195/2082-8322.15.4.
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The article addressed the issue of using folk dance as a tool of propaganda by the communist party. It is not uncommon to associate the activity of folk groups with the period of socialist realism and the years that followed in. Folk song and dance ensembles have always been a colorful showcase of the country outside of its borders and have often added splendor to distinguished national events with their performances. Nevertheless, their artistic activity was not motivated solely by the beauty of Polish folklore, for folk ensembles formed after World War II were often created to aid the goals of the communist party. Reaching for folk repertoire and transferring regional songs and dances to the stage was seen as opposition to the elite culture. Cultural reform made performances accessible to the working class, and folk song and dance expressed admiration for the work of people in the countryside. In addition to traditional songs from various regions of Poland, the repertoire of these ensembles also included many songs in honor of Stalin and about the Polish-Soviet friendship. Paweł Pawlikowski’s award-winning film, Cold War, which partially follows a song and dance ensemble (aptly named Mazurek), shows many of the dilemmas and controversies that the artists of this period had to face.
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Grębowiec, Jacek. "A jeśli nie "wrocławska piosenka", to co?" Kultura Popularna 3, no. 53 (2018): 41–50. http://dx.doi.org/10.5604/01.3001.0010.8265.
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The topic of the article is music that is strongly connected to the history of post-war, Polish again, Wroclaw — the city and its cultural, social and political landscape. This includes not only songs composed by artists from Wroclaw, but also songs dedicated to this city. In the article, songs from different timespans are analysed: the ones composed in the 1950s, in the pioneering period of restoration, as well as countercultural songs from the 1980s. The paper is complemented by an analysis of the newest songs that pretend to be hits or anthems of Wroclaw, although they have never gained the same fame as classical songs written by Maria Koterbska or new-wave band Klaus Mitffoch.
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Skała, Agata. "O dwu pieśniach kryzysu przysięgowego." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 18 (December 12, 2018): 59–74. http://dx.doi.org/10.24917/20811853.18.5.
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The paper is dedicated to two soldiers’ songs from the second half of 1917, written in the atmosphere of rebellion of the Polish Legions against the Central Powers. The turning point in the history of Polish military units during the First World War, which was caused by the so-called Oath crisis, for the demilitarised and interned soldiers, was the time of fighting by means of word, rather than weapon. However, they manifested their pride and perseverance of the Polish soldier, using mockery. Occasional poetic works – Dziadowska pieśń żałobna o odwrocie legionów spod Warszawy and Santa Lucia – shaped the independence ethos on the basis of a solid foundation of folklore and literary tradition (using e.g. the convention of ‘a beggar’s song’ and ‘a news story’). Arrogance and an ironic attitude, expressed in songs, conceal the real tragic situation of the soldiers – who were deprived of the chance to serve the Nation for being disobedient towards the German army. Szczypiorno and Beniaminów – places to which they were interned – are elevated to the rank of symbols of defiance and contempt for the invaders and constitute a significant element of the legend surrounding Piłsudski’s Legions.
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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.
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Boleslawska, Beata. "Andrzej Panufnik and the Pressures of Stalinism in Post-War Poland." Tempo, no. 220 (April 2002): 14–19. http://dx.doi.org/10.1017/s0040298200009013.
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Like many other composers, Andrzej Panufnik lost his entire musical oeuvre as a result of the Warsaw Uprising. By then he was already the composer of two symphonies, a piano trio, the Five Polish Peasant Songs and Tragic Overture. This last piece, which he had conducted himself in occupied Warsaw in 1944, had brought him considerable success. Listeners felt its terrifying resonance inaddition to appreciating its masterful construction, and the event remained in many people's memory for years, establishing Panufnik's musical position as a composer as well as a conductor. (Before the war, he had graduated from the Warsaw Conservatory with degrees in both fields, and later studiedconducting at Vienna's Hochschule fur Musik with one of the greatest conductors of the time, FelixWeingartner.) His pre-war compositions, premiered in the late 1930s, had already been very well received by the critics. There was no doubt that Panufnik would play a significant role in post-war Polish musical life.
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Ryba, Renata. "Historyja żałosna… Bartłomieja Paprockiego – u progu polskiej epiki historycznej." Śląskie Studia Polonistyczne 14, no. 2 (2019): 83–97. http://dx.doi.org/10.31261/ssp.2019.14.05.
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The subject of considerations in the present article is the work by Bartłomiej Paprocki: Historyja żałosna o prędkości i okrutności tatarskiej […], which appeared in 1575. What can be noticed in the said work is the process of intersecting of generic features of current-novelties song (Polish pieśń nowiniarska) and the epic features, the latter being particularly those that characterise historical narrative poems, such as: verismo, events chronology, using information from contemporaneous sources, recording places and persons who participate in depicted events, moderation when it comes to utilising stylistic devises. At the same time, mainly in the dedicatory letter addressed to Anzelm Gostomski, an endeavour may be noticed to overcome the poetics of current-novelties songs – not least by creating the image of poet as a soothsayer. To the author’s mind, the work by Paprocki appeared at the dawn of Polish heroicum. The narrative poem in question came a few years prior to the poetical renderings from the times of war campaigns of Stephen Báthory, which are considered by this subject’s scholars as first attempts at creating new poetical quality – the historical narrative poem.
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Sulimowicz, Anna. "Listy do Łucka." Almanach Karaimski 2 (December 30, 2013): 37–60. http://dx.doi.org/10.33229/ak.2013.2.03.
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One of the addressees of the letters of Prof. Ananiasz Zajączkowski was Aleksander Mardkowicz (1875–1944), a notary from Lutsk, who was one of the most affluent Karaim activists of the inter-war period. As a young man he moved to Yekaterinoslav, where he worked in a notary’s practice. There he made his debut publishing a few poems in Russian in some literary magazines. After Poland gained its independence, in 1921 Mardkowicz returned to Lutsk, where he started to play an important role in the life of the local Karaim community as a member and, for a time, a president of the Board of the community. But the major focus of his work were literary and editorial activities. As there was a need for literature which would encourage Karaim readers to develop an interest in their own language, tradition and past, towards the end of the 1920s Mardkowicz struck upon the idea of creating a Karaim publishing house. In ten years between 1930 and 1939 he published 15 brochures (most of them written by himself): four short stories, four poems, a collection of religious songs, a calendar, a Karaim-Polish-German dictionary, a grammar of the south-western dialect (written by A. Zajączkowski) and three brochures in Polish on the history and traditions of the Karaims. “Karaj Awazy”, a magazine entirely in Karaim, whose twelve issues appeared between 1931 and 1939, can be regarded as his major work. It had an enormous impact on the cultural life of Karaim communities not only in Lutsk, but in Halicz and in Lithuania as well. The letters written by Zajączkowski to Mardkowicz between the summer of 1933 and the spring of 1939 show us some unknown aspects of the relations between the editors of two Karaim magazines appearing in the same time: “Myśl Karaimska” in Vilnius and “Karaj Awazy” in Luck.
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Pierce, J. Mackenzie. "Zofia Lissa, Wartime Trauma, and the Evolution of the Polish “Mass Song”." Journal of Musicology 37, no. 2 (2020): 231–66. http://dx.doi.org/10.1525/jm.2020.37.2.231.
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Scholars have primarily seen the musicologist Zofia Lissa (1908–80) as a communist ideologue and key instigator of the Sovietization of Polish musical culture after World War II. An examination of materials from seven archives in three countries related to her life reveals a more complex picture of her views and of how she deployed her power. Before World War II she was a fierce advocate for both modernist aesthetics and communist politics, as well as a cutting-edge thinker about issues of social identity. World War II, which forced her to flee deep into the Soviet Union to avoid the Holocaust, transformed her thinking about these topics. Working in Moscow with a Polish and Polish-Jewish diaspora, she saw how popular song could mobilize war-wearied exiles despite seemingly unbridgeable political and social fissures. These ideas became the core of Lissa’s postwar advocacy for the mass song, a genre of accessible socialist music that had deep roots in the USSR. Viewing the Polish mass song from Lissa’s perspective reveals how she believed that the genre could reflect the experiences of widespread loss among Poles and harness these reactions in service of a communist musical culture. In showing how musical performance can enunciate collective identities founded in the experience of trauma, Lissa’s views shed light on a cultural logic that continues to inform commemorations of World War II in Poland to this day.
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Mitzner, Piotr. "The Return of the „Red Donkey Jacket”." Tekstualia 1, no. 48 (2017): 173–77. http://dx.doi.org/10.5604/01.3001.0013.3096.
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The article is devoted to Polish wartime poetry (1939–1945) and its later reception. The term „the third avant-guard” has been used to indicate a singular tendency. Its representatives, who disapproved of banality and stereotypes, themselves wrote texts based on stereotypes. These texts became subject to manipulation in the post-war period so as to serve ideological purposes. The article also examines the category of the patriotic song and a connection between text and music in this form.
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Wang, Yuan-kang. "Explaining the Tribute System: Power, Confucianism, and War in Medieval East Asia." Journal of East Asian Studies 13, no. 2 (2013): 207–32. http://dx.doi.org/10.1017/s159824080000391x.
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In this article I remedy the popular misconception that the East Asian international system was hierarchical and non-egalitarian in history. I argue that the tribute system is mainly a function of power. Backed by power, Confucian norms and rules became the rules of the game in the system. Power asymmetry gave rise to hierarchy in foreign relations while power symmetry led to diplomatic equality between great powers. East Asia during the tenth to the thirteenth centuries was a multistate system without a regional hegemon. In the Song-Liao international system (960–1125), due to power symmetry, the two great powers conducted their foreign policy on the basis of formal equality. In the Song-Jin international system (1127–1234), the weaker Song China became a Jin vassal state and acknowledged its inferior status in the Jin-derived hierarchy. In studying historical East Asia, Confucian rhetoric needs to be examined against power reality. Only by taking power seriously can we get a better understanding of the East Asian international system.
Dissertations / Theses on the topic "Polish War songs"
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FRANCOEUR, David. "FUELLING A WAR MACHINE: Canadian Foreign Policy in the Sino-Japanese War, 1937-1945." Thesis, 2011. http://hdl.handle.net/1974/6865.
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The subject of Canada’s policy-making in relation to the Sino-Japanese War (1937-1945) has been neglected for over half a century. Therefore neither the scope of Canada’s official assistance to the Chinese during their War of Resistance against Japan nor the motivations behind this assistance have been fully explained or adequately contextualized. Through research using archival records and other primary and secondary sources, the thesis sheds light on the ways in which Canadians chose to respond to Chinese efforts to secure an ally against Japan. Revealing unscrupulous opportunism on the Canadian side during China’s struggle against Japan, the thesis contributes to a revisionist trend which takes aim at romantic mythology about Canadians’ virtuous role in the Second World War.
From 1931 to 1941, the Government of Canada sought to maintain a neutral position regarding Japanese encroachments in China. This was partly to honour a friendship established in the First World War but also to protect Canadian exporters’ valuable sales of strategic minerals to Japan. After the attack on Pearl Harbor, pro-Japanese sympathy among Canadians eroded and trade with Japan became politically untenable. In 1942, already five years after the beginning of full-scale war between Japan and China, the Canadian government began preparations to provide material assistance to the beleaguered Chinese. Increasing dialogue between Mackenzie King and Chiang Kai-shek, especially communications through Chiang’s wife Song Meiling, nurtured a promising friendship despite King’s unwillingness to commit “the lives of white men” to war in China and apparently ensured that several shipments of arms and munitions were provided to Chiang’s armies. As the research reveals, the assistance was motivated by hopes of cultivating “goodwill” in China that would favour Canadian businesses after the war. However, the official decision to assist China against Japan sparked a new controversy. Doubts about China’s postwar political stability gave rise to questions about the danger that Canadian munitions would be used in an imminent Chinese civil war. Such warnings, as it turned out, were merited. A bloody conflict between the Communists and Nationalists would erupt in China shortly after the end of the Second World War, in part waged with Canadian weapons.<br>Thesis (Master, History) -- Queen's University, 2011-05-05 15:23:06.094
Books on the topic "Polish War songs"
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Makuszyński, Kornel. "Bo Polska zapamięta najdroższe swe chłopięta!": Wiersze i piosenki żołnierskie 1919-1920. 2nd ed. LTW, 2012.
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"Przed złotym czasem": Szkice o poezji i pieśni patriotyczno-wojennej lat 1908-1918. Społeczny Instytut Wydawniczy Znak, 1990.
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Sielicki, Franciszek. Co śpiewali kościuszkowcy i czym radowali dusze: Z folkloru Pierwszej Dywizji WP. Wydawn. Uniwersytetu Wrocławskiego, 1995.
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In search of a childhood song: Buried memories, my German mother's girlhood, escape from communism. KAMBook Pub., 2007.
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Paulsen, Gary. The Glass Cafe, or, The stripper and the state: How my mother started a war with the system that made us kind of rich and a little bit famous. Laurel Leaf Books, 2003.
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Paulsen, Gary. The Glass Cafe, or, The stripper and the state: How my mother started a war with the system that made us kind of rich and a little bit famous. Wendy Lamb Books, 2003.
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Padowicz, Julian. A ship in the harbor: Mother and me, book II. Academy Chicago Publishers, 2009.
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Julian, Padowicz, ed. A ship in the harbor: Mother and me, book II. Academy Chicago Publishers, 2009.
Find full textBook chapters on the topic "Polish War songs"
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Werb, Bret, and Barbara Milewski. "From ‘Madagaskar’ to Sachsenhausen: Singing about ‘Race’ in a Nazi Camp." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0014.
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This chapter studies the large and varied repertoire of songs created by Polish prisoners in Nazi concentration camps. Most common of these compositions are parodies of songs popular before the war. Drawing on well-known melodies and familiar styles such as the tango, waltz, or foxtrot, prisoners who listened to, created, and performed these songs could reclaim, if only for a moment, some part of their lost popular culture. Yet paradoxically, and as many survivors attest, these same songs, with their unsparing depictions of camp life, helped prisoners push aside thoughts of life before captivity and so preserve their mental balance during those difficult years. The chapter then looks at one parody song, ‘Heil, Sachsenhausen’, and also examines the song parodied, ‘Madagaskar’, itself a satirical consideration of the Jewish predicament in inter-war Poland. ‘Heil, Sachsenhausen’ served not only as a narrative of camp experience, but also as a darkly comic condemnation of Nazi ‘racial purity’ laws. Moreover, this parody song may have functioned as a zone of inquiry for the author's personal reflections on German-Polish and Polish-Jewish relations before and during the Second World War.
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Bohlman, Andrea F. "Orienting the Martial." In Hearing the Crimean War. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190916749.003.0005.
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Bohlman’s chapter explores the fragmented archive pertaining to Polish military involvement in the Crimean War, focusing on evocations of military power and travel in legion songs. The chapter suggests that legion songs were a political technology for preserving and promoting Polish nationhood during a time of partition. Not only did such songs stimulate nationalist sentiment (both at home and abroad) and portray the legion as the fulcrum of Poland’s aspirational sovereignty, they also posited a relationship to land rooted in mobility. The chapter argues that poems and songs served to sing a nation into being, redrawing constantly shifting imaginary borders between Poland and the imperial forces that kept it splintered.
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Adler, Eliyana R. "Singing Their Way Home." In Polin: Studies in Polish Jewry Volume 32. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0023.
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This chapter analyzes the way wartime experiences were reflected in the songs of Polish Jews who escaped the Holocaust by fleeing to the Soviet Union. It introduces both the contours of the controversy and the broad outlines of what the Polish Jews went through during the war years. It also looks into the research about partisans and ghetto fighters that far outweighs their significance and their percentage of the Jewish population in Europe. The chapter investigates the hegemony of armed resistance by introducing the idea of “spiritual resistance,” which encompassed explicitly religious and other actions that raised the human spirit in the face of the Nazi effort to destroy it. It identifies singing as one of the many phenomena to describe spiritual resistance, which is considered an act that could have no possible effect on the war and yet allowed its victims to find the strength to continue living.
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Tuwim, Julian. "Utwory nieznane. Ze zbiorów Tomasza Niewodniczańskiego w Bitburgu: Wiersze, Kabaret, Artykuły, Listy." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0037.
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This chapter assesses Julian Tuwim's Utwory nieznane (Unknown Works), the title of which is somewhat misleading. The book is largely made up of cabaret pieces that were performed and known to the public; they simply were never published in written form. Still, the book's publication in 1999 was an important event, not only for poetry lovers and historians of literature, but also from a Jewish perspective. Jewish topics appear prominently and in many forms in this collection of poems, facsimiles, juvenilia, cabaret skits and songs, and private letters from various periods of the poet's life. This is in clear contradiction to the stereotype, predominant in Jewish historiography, of the pre-war Polish Jewish intelligentsia as thoroughly assimilated and uprooted. Tuwim's example demonstrates that the opposite was the case. Like many other writers, he was in constant dialogue with his Jewishness, defending it when attacked, but also critical of Jewish obscurantism.
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Toltz, Joseph D. "‘My Song, You Are My Strength’." In Polin: Studies in Polish Jewry Volume 32. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0022.
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This chapter investigates the songs in Yiddish and Polish remembered by survivors of the łódz ghetto. It draws on interviews with two teenage survivors of the łódz ghetto who settled in Australia after the war in order to document and preserve personal musical experiences and memories of Jewish Holocaust survivors. It also references long and established literatures on examining witnesses and testifiers in Holocaust and trauma studies that speaks at length of delicate dynamics and ethical responsibilities of representation. The chapter analyzes the claim that sonic experiences remain in memories of people and travel with them throughout their lives, providing moments of nostalgia, evocations of past connections, ties to culture, friends, and family, and frames of reference. It explains how memories of dark, distant, and problematic times are enabled and returned to resonate in the present lives of testifiers and witnesses.
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Wielanek, Stanisław. "Szlagiery starej Warszawy: Śpiewnik andrusowski." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0038.
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This chapter describes Stanisław Wielanek's Szlagiery starej Warszawy: Śpiewnik andrusowski (Hits of Old Warsaw: A Songbook of the Streetwise). Wielanek is the leader of Kapela Warszawska, a street band that usually performs for tips in an underpass near the Hotel Forum in the centre of Warsaw. They play mainly pre-war Warsaw urban folk music. Wielanek's 500-page volume contains a richness of material that is not only musical—including both scores and lyrics—but also literary and iconographic: from cabaret monologues and vignettes, jokes, bon mots, and biographical and contextual information, to drawings, posters, photographs, and postcards. Alongside old Warsaw songs and criminal or lumpenproletarian ballads, the book includes a separate section on Jewish folklore in Polish which is nearly 100 pages long, and another fifty-page section on Lwów.
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Lubet, Alex. "Transmigrations: Wolf Krakowski’s Yiddish Worldbeat in its Socio-Musical Context." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0016.
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This chapter examines Wolf Krakowski's legendary CD Transmigrations, which was the first example of Yiddish worldbeat. Transmigrations comprises principally secular songs, although these are at times referenced, as is nearly unavoidable in chronicles of Jewish life. Two songs, ‘Shabes, shabes’ and ‘Zol shoyn kumen di geule’ (Let the Redemption Come), are traditionally devotional, if non-liturgical. The songs that address the Holocaust and other Jewish suffering pose basic spiritual questions that Jews must ask, though not in formal prayer. In determining any music's Jewishness, lessons from the sacred repertoire of Judaism may be applied. On utilitarian grounds, all settings of sacred Hebrew texts for use in Jewish worship are Jewish music. This principle extends to all Yiddish song, since Jewish languages are tools of Jewish community. This includes all twelve songs on Transmigrations. Ultimately, Transmigrations—an album of Yiddish folk songs and works by Yiddish theatre and literary artists, its melodies forthrightly Jewish—defies expectations of Yiddish song in broader aspects of style.
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Gross, Natan. "Mordechai Gebirtig: The Folk Song and the Cabaret Song." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0007.
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This chapter details how Mordechai Gebirtig engraved his name on the history of Jewish cabaret in Poland between the wars. Every singer had his songs in his or her repertoire. These songs spread from the cabaret stages (kleynkunstbine) of Łódź and Warsaw to all of Poland and to the entire Jewish world. Even today they are alive on the stage and in Jewish homes; they are an indispensable part of the repertoire of Jewish singers. They are also arousing increasing interest among non-Jewish audiences in Poland, Germany, the Netherlands, Italy, and the United States. Since the destruction of European Jewry, these songs have become a crucial means of learning about Jewish folklore and the life of the Jewish poor, matters inadequately recorded in Yiddish literature and other sources.
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Holmgren, Beth. "Cabaret Nation." In Polin: Studies in Polish Jewry Volume 31. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781906764715.003.0013.
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Kabaret literacki—’literary cabaret’, a specific form of cabaret consisting of comedy sketches, monologues, and songs with satirical social and political content—was a revolutionary phenomenon in terms of Polish culture, Jewish culture, and notions of Polish national identity. It flourished mainly in Warsaw between the world wars —that is, in the capital of a newly independent nation that was also a great Jewish metropolis with a third of its residents identifying themselves as Jews or ‘of Jewish background’....
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Ansell, Joseph P. "From ‘Byzantine’ Miniatures to the Song of Songs." In Arthur Szyk. Liverpool University Press, 2004. http://dx.doi.org/10.3828/liverpool/9781874774945.003.0003.
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This chapter covers the period after Arthur Szyk's departure from Poland. He left the country for multiple reasons, both political and artistic, and came to settle in Paris by 1921. There was a thriving Polish Jewish artistic community in the region, although Szyk soon began to distinguish himself from them. Despite building close relationships with many of his fellow Jewish artists, Szyk differed from them in several significant ways — most visibly in style and subject matter. All of the artists among whom Szyk moved worked in some variation of contemporary artistic trends. Szyk, on the other hand, while maintaining a professional place within this milieu, eschewed the contemporary approaches and experiments of his colleagues and friends, preferring to look to history for his inspiration and seeking to convey a message rather than to produce art for its own sake. He also focused extensively on Jewish subject matter. The chapter explores his growing artistic fame during this period, including the first of his governmental honours conferred upon him during his artistic career.