Suchergebnisse

Fryderyk Chopin's fame today is too often taken for granted. Chopin lived in a time when Poland did not exist politically, and the history of his reception must take into consideration the role played by Poland's occupying powers. Prior to 1918, and arguably thereafter as well, Poles saw Chopin as central to their "imagined community." They endowed national meaning to Chopin and his music, but the tendency to glorify the composer was in a constant state of negotiation with the political circumstances of the time. This dissertation investigates the history of Chopin's reception by focusing on several events that would prove essential to preserving and propagating his legacy. Chapter 1 outlines the indispensable role some Russians played in memorializing Chopin, epitomized by Milii Balakirev's initiative to erect a monument in Chopin's birthplace Żelazowa Wola in 1894. Despite their political tension, Russia and Poland came together in the common cause of venerating Chopin. Chapter 2 examines two instances of the Russian-Polish cooperation: Chopin centennial celebrations in 1910 and 1949. These celebrations featured speeches and commemorative concerts that later became the norm. Chapter 3 considers the International Chopin Piano Competition, founded in independent Poland in 1927. As one of the earliest international musical contests of its kind and scale, the Chopin Competition effectively turned Chopin from a national into an international figure. Furthermore, the public nature of the competition led to the engagement of the entire society, involving spectators and the press. Besides the three main chapters, two Interludes survey the representations of Chopin and his music in Russian and Polish literature. In addition to literature, this dissertation analyzes works of visual art and music to consider the process of mythmaking and its implications.

"Sonderabdruck aus: Detusche Monatsschrift für Politik und Volkstum 'Der Panther,' 3. Jahrgang 1915, Heft 8." ; Mode of access: Internet.

In many works of fiction, the connection of the Mother of God with the natural world is pointed out, which is due to the influence of the mythological worldview on traditional religious ideas about the Virgin Mary. The article demonstrates how the indicated peculiarity reveals itself in the choice of the names of the Blessed Virgin, and studies the role of the nature motifs in creating Her image in Polish literature. Folk legends (The Queen of Heaven. Folk legends about the Mother of God edited by M. Gawalewicz and P. Stachiewicz), works of medieval religious literature (apocrypha of the 15th century The Przemyśl Meditation and the Marian hymns) and fiction created in different periods (poetry books Songs Sung to Oneself by K. Benisławska, Song of My Christ and Marian Hymns by R. Brandstaetter, poetry by M. Sęp Szarzyński, T. Lenartowicz, W. Gomulicki, C.K. Norwid, K.K. Baczyński) are analyzed in detail. The names related to the natural world are classified according to the standard of comparison: Saint Mary is compared with flowers and trees, celestial bodies, precious stones, and birds. The article explores how the choice of names reveals the author's intention. Thus, flowers are designed to illustrate Her beauty, nobility, and purity, trees - majesty and power, birds - chastity and simplicity, the sun and the moon - uniqueness and inaccessibility, and the morning star - hope for salvation. It shows how the ancient and biblical symbolism is actualized in the names and how the original names give the image a national flavor. Based on the material, a conclusion is made about the continuity of the tradition of perceiving the Mother of God as part of the natural world.

The article concerns the inclusion in the broadly understood Polish literature ofthe theme and motif of the Confinement Centre in Bereza Kartuska (1934–1939).I discussed in it the formation of the image of the concentration camp since itceased its operation (in 1939), mainly defined by ideology and politics, includingthe politics of memory. I particularly focussed on works of literature regarding theConfinement Centre created after the Centre ceased its operations. Those includeboth recollections, mainly by communists (e.g. by Michał Mirski and Jan Wójcik),and works of fiction, including the short story Jestem by Leon Pasternak, the playBereziacy by Karol Obidniak and Roman Sykała, and novels: Wzbierająca fala byCzesław K. Domagała, Król by Szczepan Twardoch, and Szakale by Robert Żółtek. ; Artykuł dotyczy obecności w szeroko rozumianej literaturze polskiej tematu i motywuMiejsca Odosobnienia w Berezie Kartuskiej. Omówiono w nim kształtowaniewizerunku tego obozu koncentracyjnego od chwili zaprzestania jego działalności(w 1939 roku), dyktowane w zasadniczej mierze przez ideologię oraz politykę,w tym politykę pamięci. Wśród analizowanych utworów są zarówno wspomnienia,głównie komunistów (m.in. Michała Mirskiego i Jana Wójcika), jak i utwory fikcjonalne,w tym opowiadanie Jestem Leona Pasternaka, dramat Bereziacy Karola Obidniakai Romana Sykały oraz powieści: Wzbierająca fala Czesława K. Domagały, KrólSzczepana Twardocha i Szakale Roberta Żółtka.

The article concerns the inclusion in the broadly understood Polish literature of the theme and motif of the Confinement Centre in Bereza Kartuska (1934–1939). I discussed in it the formation of the image of the concentration camp since it ceased its operation (in 1939), mainly defined by ideology and politics, including the politics of memory. I particularly focussed on works of literature regarding the Confinement Centre created after the Centre ceased its operations. Those include both recollections, mainly by communists (e.g. by Michał Mirski and Jan Wójcik), and works of fiction, including the short story Jestem by Leon Pasternak, the play Bereziacy by Karol Obidniak and Roman Sykała, and novels: Wzbierająca fala by Czesław K. Domagała, Król by Szczepan Twardoch, and Szakale by Robert Żółtek. ; Artykuł dotyczy obecności w szeroko rozumianej literaturze polskiej tematu i motywu Miejsca Odosobnienia w Berezie Kartuskiej. Omówiono w nim kształtowanie wizerunku tego obozu koncentracyjnego od chwili zaprzestania jego działalności (w 1939 roku), dyktowane w zasadniczej mierze przez ideologię oraz politykę, w tym politykę pamięci. Wśród analizowanych utworów są zarówno wspomnienia, głównie komunistów (m.in. Michała Mirskiego i Jana Wójcika), jak i utwory fikcjonalne, w tym opowiadanie Jestem Leona Pasternaka, dramat Bereziacy Karola Obidniaka i Romana Sykały oraz powieści: Wzbierająca fala Czesława K. Domagały, Król Szczepana Twardocha i Szakale Roberta Żółtka.