The image of gypsies in Polish collections of iconographic materials (19th century - first half of the 20th century) : reconnaissance

The image of Gypsies in Polish collections of iconographic materials (19th century - first half of the 20th century) - reconnaissance. At least since the Middle Ages the people of Europe have shared their space with the nomadic Gypsy people. Its long, often troublesome neighborhood resulted in the formation of two parallel, though different, stereotypical images of the Roma in European culture. In one of them one, they are portrayed negatively, as the personification of all the pejorative and demonic qualities. Two words describing Roma Stereotypes in this language context are as follows: dangerous vagrants, thieves, criminals, living without any moral rules. Under the influence of romantic ideas in European culture a different picture of the Gypsies began to take shape. According to this ideal, they were considered to be free people, living itinerant lives and in harmony with nature, free from hard work, colorful, cheerful, independent and artistic. In this paper we would like to present how the ideas existing in the nineteenth-and twentieth century culture reflected in the iconography of Roma. On the basis of Polish collections we will show the most important themes and motifs associated with the iconography and mythology of this minority. At the same time, we will try to show to what extent the European images coincided with the real culture and tradition of the Gypsies. In the analysis we will use both engravings, woodcuts, paintings, graphics press and photographs found in public collections in Tarnow, Sejny or Krakow, as well as in various private collections

Austria w dyplomacji polskiej po 2004 roku

Die polnisch-österreichischen Beziehungen nach dem Ende des Zweiten Weltkrieges entwickelten sich in der Atmosphäre von gegenseitigem Interesse und politischer Unterstützung. Obwohl die Volksrepublik Polen und die Republik Österreich während des Kalten Krieges auf gegenüberliegenden Seiten des Eisernen Vorhangs standen, bemühten sie sich seit dem Jahr 1945 um die gegenseitige Anerkennung und die Möglichkeit der Handel Zusammenarbeit. In der ersten Etappe der polnisch-österreichischen Kooperation nach 1945 ist es sehr selten zu den Besuchen auf dem höchsten Niveau gekommen. „Abweichungen” unter den westlichen Staaten, die eine Chance für den wirtschaftlichen und politischen Austausch geben würden, so notwendig für die junge Volksdemokratie. In den Archiven des Ministeriums für Auswärtige Angelegenheiten sind Materialien zu finden, die detailliert die Vorbereitung und Durchführung des ersten österreichischen Besuchs auf höchster Ebene in Polen beschreiben. Im Dokument „Thesen für Gespräche”, das speziell für das Ministerium für Auswärtige Angelegenheiten im Februar 1960 vorbereitet wurde, lesen wir, dass die polnische Regierung nicht die Eventualität der Zusammenarbeit mit den West-Länder ausschloss (auch mit den NATO-Mitgliedern), und wollte sich richtig für so eine Zusammenarbeit vorbereiten. Gemäß den polnischen Diplomaten konnte die Republik Österreich dazu helfen, die politische Isolation, in der sich die Volksrepublik befand, zu brechen.Udostępnienie publikacji Wydawnictwa Uniwersytetu Łódzkiego finansowane w ramach projektu „Doskonałość naukowa kluczem do doskonałości kształcenia”. Projekt realizowany jest ze środków Europejskiego Funduszu Społecznego w ramach Programu Operacyjnego Wiedza Edukacja Rozwój; nr umowy: POWER.03.05.00-00-Z092/17-00

Nikifor Zbigniewa Herberta i Jana Józefa Szczepańskiego

Zbigniew Herbert and Jan Józef Szczepański showed interest in art and were friends with outstanding artists. Both of them learned to paint in their youth. In their texts, they revealed the competence of the experts. The author of the article analyses the literary works and journalistic texts of the two writers, resulting from their meeting with Nikifor and the experience of his works. She shows that the two writers, despite an imposed ideological context, negative for them and for the work of the painter (the decree of socialist realism in art) found their own key to Nikifor’s work: Herbert embedded it in myth, Szczepański in metaphysics

Polnische Bibliothek: Völkerverständigung und Kulturpolitik in der Verlagspraxis

The Polnische Bibliothek, founded by the German Institute for Polish Culture in Darmstadt, financed by Robert Bosch Foundation and published by the Suhrkamp Publishing House, remains a unique attempt at presenting Polish literature in the German book market. This paper focuses on the historical, political and cultural background of the series and the conflicts at the backstage of its initiation. The analysis, based mostly on the so far unpublished archival correspondence of the publishing house has two aims: on the one hand, a historiographic description of the so far unknown processes of Polish literature transfer lies at its centre, on the other, it addresses the need for appropriate conceptualisations of such phenomena. The study is framed in the category of Histoire croisée in this case applied to an analysis of translation production. Activities of all the actors involved, the conflicts and solutions to them constitute the starting point. These generate an argumentation space which offers insights into the history of production of the series that had since its beginning been marked by conflicting expectations.Dieser Beitrag wurde durch das polnische Nationale Forschungszentrum (NCN, OPUS 2017/25/B/HS2/00109) sowie die Alexander von Humboldt- Stiftung finanziert.https://www.degruyter.com/journal/key/slaw/html?lang=enam2021Afrikaan

Harmonia kakofonii, czyli co śpiewa Europa Środkowo-Wschodnia (o dialogu kultur w polskim przekładzie "Ministerstwa Bólu" Dubravki Ugrešić)

Prijevod se oslanja na rekontekstualizaciju te interpretaciju originalnog teksta. Drukčiji kulturni, jezični, povijesni uvjeti su osnova prevodilačke interpretacije. Prijevod koji je pośrednik između dvije kulture i dva semantičkia univerzuma omogućava međukulturni dijalog. Cilj je takve komunikacije saznati drugačiju osjetljivost, nove načine i oblike ekspresije te najzad proširiti vlastitu interpretaciju stvarnosti. Prema mišljenju Y. Winkina komunikacija je utvrđivanje uzajamnih odnosa i zajedničkih vrijednosti te dokazivanje pripadnosti jednoj kulturi. Ovako shvaćen prijevod je otkrivanje novoga te utvrđivanje postojećega (već upoznatog, urođenog) simboličnog poretka. U članku se na osnovi poljskog prijevoda romana Dubravke Ugrešić Ministarstvo boli raspravlja o problematici interpretacije i komunikacije kultura „u” i „preko” prijevoda

Harmonia kakofonii, czyli co śpiewa Europa Środkowo-Wschodnia : (o dialogu kultur w polskim przekładzie "Ministerstwa Bólu" Dubravki Ugresić)

Translation relies on the recontextualisation and interpretation of the original text. Different cultural, linguistic and historical impacts determine the foundation of the translator’s interpretation. Translation enables cross-cultural communication as it mediates between two cultures and two semantic universes. The aim of such a dialog is to experience the understanding of different sensitivity and to learn new forms of expression as well as ways of perceiving the world. The object is to develope one’s own interpretations of reality. According to Y. Winkin communication is a confirmation of collective values and relations of the group members belonging to the same culture. This statement results in understanding translation as a new symbolic order discovery and affirmation of the existing one. The issue of interpretation and culture communication „in” and „through” the translation is discussed in the article on the basis of the Polish translation of a novel written by Dubravka Ugrešić titled The Ministry of Pain

Geografia, historia i pamięć : upamiętnianie przeszłości w pisarstwie Andrzeja Stasiuka

Jednymi z częściej wywoływanych pojęć w ostatnich, dyskursywnych, tekstach Andrzeja Stasiuka są niewątpliwie: geografia, pamięć, historia, fikcja. Powtarzane, przepisywane, ponawiane, poddawane analizie, nie stanowią li prostej statystyki; stają się słowami-kluczami budującymi projekt określony przez autora jako „moja Europa”. Według deklaracji samego pisarza, projekt ów osadzony jest przede wszystkim na kategorii geografii

Tematyka cygańska w polskich zbiorach ikonograficznych (wiek XIX – I połowa XX wieku) – rekonesans

The image of Gypsies in Polish collections of iconographic materials (19th century – first half of the 20th century) – reconnaissanceAt least since the Middle Ages the people of Europe have shared their space with the nomadic Gypsy people. Its long, often troublesome neighborhood resulted in the formation of two parallel, though different, stereotypical images of the Roma in European culture. In one of them one, they are portrayed negatively, as the personification of all the pejorative and demonic qualities. Two words describing Roma Stereotypes in this language context are as follows: dangerous vagrants, thieves, criminals, living without any moral rules. Under the influence of romantic ideas in European culture a different picture of the Gypsies began to take shape. According to this ideal, they were considered to be free people, living itinerant lives and in harmony with nature, free from hard work, colorful, cheerful, independent and artistic. In this paper we would like to present how the ideas existing in the nineteenth-and twentieth century culture reflected in the iconography of Roma. On the basis of Polish collections we will show the most important themes and motifs associated with the iconography and mythology of this minority. At the same time, we will try to show to what extent the European images coincided with the real culture and tradition of the Gypsies. In the analysis we will use both engravings, woodcuts, paintings, graphics press and photographs found in public collections in Tarnow, Sejny or Krakow, as well as in various private collections