Two «practical dreamers» in the field of medical social reforms: Tomás Judym and José Tomás de Sousa Martins

Depois do romantismo, o passado mítico-lendário foi questionado pela Ciência positivista e pelo espírito de reformas sociais, ganhando novos contornos literários nas obras sensíveis aos problemas da sociedade, patriótica e politicamente empenhadas. A obra de Stefan ?eromski (1864-1925), que, nas primeiras décadas do século xx, era considerado o maior romancista polaco, fez com que a função puramente estética da Literatura perdesse terreno, instigando o lado emocional e a consciência social dos seus leitores, a sua compaixão e vontade de agir. O protagonista do romance Ludzie bezdomni (1900) (Os homens sem teto), doutor Tomás (Tomasz) Judym, é um self-made man que, assumindo a responsabilidade pela miséria das massas do proletariado (primeiro, em Paris, depois, em Varsóvia, em Cisy e na Silésia), renuncia à sua própria felicidade e ao amor de Joaninha, e dedica a sua vida de médico aos pobres e à luta contra a injustiça social. O inconformismo e o empenhamento do doutor Judym como o primeiro «sonhador prático» da causa social tornaram-se proverbiais em polaco, conotando a atitude romântica livre da vontade de lucro financeiro na época do progresso desenfreado do capitalismo. José Tomás de Sousa Martins (1843-1897) foi um «sonhador prático» real, uma figura ímpar da Ciência portuguesa, médico e professor catedrático na Escola Médico-Cirúrgica de Lisboa, empenhado gratuitamente no combate à tuberculose. Em 1910, Jaime Cortesão traçou o perfil de Sousa Martins, sublinhando que, em Filosofia, foi positivista, materialista e determinista-fatalista, indo muito além da superstição científica que levava os que prezavam a Ciência para além dos limites do razoável, acrescentemos que também para além do limite da humanidade. Na verdade, Sousa Martins era um pasteuriano convicto e partilhou as ideias científicas do mestre francês. Para Sousa Martins, Pasteur era um dos santos a adorar na vasta religião da Ciência. O doutor Tomás Judym e Sousa Martins entraram, respetivamente, na Literatura polaca e na História da Saúde Pública em Portugal como «santos laicos», figuras paradigmáticas da ação no campo das reformas sociais, médicos ao serviço do Homem, que não viam na religião o caminho para a sua salvação, mas antes na Ciência. E, também por isso, as figuras dos dois «sonhadores práticos» se tornam ainda mais fascinantes e recomendáveis à apresentação no tempo do debate sobre o espírito das reformas e a (re)construção da modernidade.After Romanticism, the mythi-callegendary past was questioned by Positivist Science and the spirit of social reforms, gaining new literary contours in patriotically and politically committed works that were sensitive to the problems of society. The work of Stefan Żeromski (1864-1925), who in the first decades of the twentieth century was considered the greatest Polish novelist, caused the purely aesthetic function of Literature to lose ground, instigating the emotional side and social consciousness of its readers, their compassion and willingness to act. The protagonist of the novel Ludzie bezdomni (1900) (Homeless Men), Doctor Tomás (Tomasz) Judym, is a self-made man who, assuming responsibility for the misery of the masses of the proletariat (first in Paris, then in Warsaw, in Cisy and Silesia), renounces his own happiness and the love of Joaninha, and dedicates his life as a doctor to the poor and to the fight against social injustice. The nonconformity and commitment of Dr. Judym as the first «practical dreamer» of the social cause became proverbial in Polish, characterizing the romantic attitude free of financial gain in the time of capitalism’s unbridled progress.José Tomás de Sousa Martins (1843-1897) was a real «practical dreamer», an unparalleled figeure in Portuguese Science, a physician and professor at the Medical-Surgical School of Lisbon, who fought tuberculosis free of charge. In 1910, Jaime Cortesão outlined the profile of Sousa Martins, emphasizing that in Philosophy he was positivist, materialist and determinist-fatalist, going far beyond the scientific superstition that took those who prized Science beyond the limits of reasonable, beyond the limit of mankind. In fact, Sousa Martins was a committed pasteurian and shared the scientific ideas of the French master. For Sousa Martins, Pasteur was one of the saints to be worshiped in the vast religion of Science.Dr. Tomás Judym and Sousa Martins entered, respectively, in Polish Literature and in the History of Public Health in Portugal as «lay saints», paradigmatic figures of action in the field of social reforms, physicians at the service of Man, who did not see in religion the way to their salvation, but rather in Science. And so the figures of the two «practical dreamers» become even more fascinating and recommendable to the presentation of the debate over the spirit of reforms and the (re)construction of modernity.Esta publicação foi financiada por Fundos Nacionais através da FCT — Fundação para a Ciência e a Tecnologia, no âmbito do Projeto «UID/ELT/00077/2013»info:eu-repo/semantics/publishedVersio

Twórczość satyryczna duetu Ryszard Marek (Ryszarda Wierzbowskiego i Marka Grońskiego) w latach 1956-1967 w świetle polityki kulturalnej PRL

Niniejsza rozprawa analizuje twórczość satyryczną spółki autorskiej Ryszard Marek, tworzonej przez Ryszarda Wierzbowskiego i Marka Grońskiego. Satyrycy zadebiutowali wierszem Sonet XIII na łamach czasopisma „Karuzela” w 1956 roku. Ich ostatni wspólny utwór powstał w 1967 roku. Po II wojnie światowej w Polsce obowiązywała instytucjonalna cenzura prewencyjna. Główny Urząd Kontroli Prasy, Publikacji i Widowisk, służebny wobec Polskiej Zjednoczonej Partii Robotniczej, eliminował z publicznego dyskursu głosy deprecjonujące poczynania władz, dlatego poza utworami opublikowanymi w oficjalnym obiegu wydawniczym, podstawowy materiał badawczy stanowią pierwotne wersje tekstów. Nieocenzurowane warianty utworów zostały porównane z tekstami po ingerencjach GUKPPiW. Satyra powstaje w odpowiedzi na bieżące wydarzenia. Analiza tekstów osadzonych w realiach socjalistycznego państwa, powinna zawierać obszerny komentarz edytorski, objaśniający konteksty niezrozumiałe dla współczesnego odbiorcy. Głównym celem niniejszej książki jest przywrócenie pamięci historyczno-literackiej o wspólnej twórczości satyrycznej Wierzbowskiego i Grońskiego. Jak dotąd nie ukazało się całkowite opracowanie satyr Ryszarda Marka. Proponowana rozprawa wypełniałaby więc istotną lukę w badaniach poświęconych satyrze i polskiemu kabaretowi literackiemu czasów PRL-u

The struggle of the non-Soviet self for space in the architecture of Nowa Huta; an analysis of Heterotopian conditions in the Polish-Communist context

This thesis investigates the formation and development of heterotopias in Communism, in the spatial context of the city of Nowa Huta which was initially inspired by Soviet architectural strategies and designed in 1949 to accommodate a steelworks factory next to Krakow, Poland. Heterotopias were first defined by Michel Foucault in 1966 in The Order of things and in this context can be argued to have served as spaces for a re-evaluation of the engagement with the power structures at hand. The research presented in this document explains the role of heterotopias in informing the development of architectural design and that of the self in the civic spaces of Nowa Huta. To reach the aim of this thesis the research explored the situation in 20th century Poland, where a singular idea was to overwhelm all areas of life including architecture. The work presents the Sovietisation of Eastern Europe and the attempts to change the cultural habits of Poland by introducing a stronger paradigm of considering architectural design. Those attempts were based on the Soviet agenda to develop a robust public ethos guided by enhancing the work ethos. Nowa Huta stands as an example of Soviet-inspired architectural and urban planning. This thesis looks into the architectural representation of the subversive tendencies of Polish people who subverted this paradigm. The work interrogates the spatial qualities of the city and reaches beyond a detailed analysis of its initial masterplan. The thesis discusses the civic life of the place and consequent architectural changes to the urban fabric. The inhabitants of Nowa Huta in the 20th Century were caught in a power struggle between the Communist government and the opposition (that was linked with the Catholic Church). As a result the inhabitants sought spaces in which they could avoid the normalising gaze of Communist agents. They were creating heterotopias, initially in informal spaces, out of desire to remain latent from what Foucault would call ‘dispositif’ (or apparatus that the government used to regulate public conduct). The centrepiece of the argument is a narrative of the growth of concealed forms of operation (of Communist and Non-Communist agents) within the city and their entanglement with the official or civic practices. In doing so the research concentrates on spaces that were on the margin of political engagement and aims to present how such spaces ultimately redefined civic engagement in Nowa Huta. Those spaces came to foster heterotopias which came to materialise in underground bunkers and corridors, peripheries of the city, abandoned cinemas and finally churches (the design of which was inspired by the former). It was the explicit subversive quality of church designs that allowed the subverts to conduct non-Soviet life in their depths. By doing so the Church aligned itself with the heterotopian energy of the dissidents