The Loneliness and Isolation of the Parentified Child in the Family

Parentification is a phenomenon that occurs in family life, consisting of a reversal of the roles of the child and their parent or parents (Böszörményi-Nagy & Spark, 1973). It is understood as a functional and/or emotional change of roles in which the child subordinates their own needs in order to adapt to and take care of the instrumental or psychological needs of the parent. The presented research is embedded in the interpretive paradigm. The research material allows the author to distinguish specific stages of parentified childhood (proper childhood, transition phase, adult childhood), within which appear categories such as responsibility, involuntary heroism, self-containment and loneliness. With regard to the last two categories, the author wishes to construct the image of a lonely child experiencing the reversal of family roles. There is a peculiar paradox at work: the loneliness of the child within the family environment. There is a lonely struggle for the survival and proper functioning of the family, while keeping up the appearance of a normally functioning family, maintaining family homeostasis, and meeting their own needs and those of their loved ones.Samotność i izolacja dziecka parentyfikowanego w rodzinieParentyfikacja to  zjawisko  występujące w życiu rodzinnym, które polega na odwróceniu ról między dzieckiem a rodzicem/rodzicami (Böszörményi-Nagy i Spark, 1973). W realizowanych przez autorkę badaniach, osadzonych w paradygmacie interpretatywnym, parentyfikacja staje się głównym przedmiotem zainteresowania. Na podstawie zgromadzonego materiału badawczego autorka wyróżnia etapy dzieciństwa parentyfikowanego, a w ich ramach takie kategorie jak: odpowiedzialność, niedobrowolny heroizm, samoradzenie sobie i osamotnienie. W odniesieniu do dwóch ostatnich kategorii autorka konstruuje obraz osamotnionego dziecka doświadczającego odwrócenia ról w rodzinie.  Na uwagę zasługuje fakt, że dochodzi tu do swoistego paradoksu – osamotnienia dziecka w rodzinie, środowisku mu najbliższym. Toczy ono samotną walkę o przetrwanie i właściwe funkcjonowanie rodziny, zachowanie pozorów normalności, utrzymywanie rodzinnej homeostazy, zaspokojenie potrzeb swoich i bliskich

Bolesław Lewański (1881-1952) - „malarz rzeczywistości i baśni”?

Bolesław Lewański graduated from the Berlin School of Fine Arts (Berliner Kunstschule) in 1905. He completed his art education in Munich and Paris. At first, he was connected with the artistic community of Poznań. In 1920, Lewański settled permanently in Bydgoszcz. Starting from the early 1920’s, he actively participated in the artistic life of Bydgoszcz, becoming involved in organising the State School of Art Industry (1920-1923) and the Zachęta Fine Arts Association (1921-1923). After liquidation of the school in 1923, Lewański stayed in Bydgoszcz and worked as a drawing teacher at the State Classical Grammar School. The Bydgoszcz stage of his creative works includes the controversial painting The Sacred Heart designed for the high altar of the Sacred Heart Church. Of particular importance to familiarisation with the paintings of Lewański are two exhibitions presented at the Bydgoszcz Municipal Museum in 1926 and 1933. Zygmunt Malewski named Lewański ”a painter of reality and fairy-tales”. He identified two principal thematic trends dominant in his paintings. Landscapes and genre scenes from Polesie, Wielkopolska and Pomerania, and portraits are the first one. The second trend includes symbolic-metaphorical paintings and works inspired by mythology, legends and fairy-tales, often referring to the Slavonic beliefs and traditions. The artist’s works include an interesting thread of ecclesiastic painting, where religious plots are the basic topic of composition, e.g. the composition entitled Autumn - decease (1922) and a famous painting frequently reproduced depicting Our Lady with the Child Jesus in a landscape. The artist created innovative thematic depictions set in the reality of the local landscape, folklore

Poza instytucją i salonem. Wystawy sztuki w międzywojennej Bydgoszczy

Interwar Bydgoszcz hosted art exhibitions organized by the following societies and institutions - the Society for the Encouragement of Fine Arts (1921-1923), the Municipal Museum (1923-1939) and the Society of Friends of Fine Arts (1931-1939). Until the second half of the 193 Os, Bydgoszcz had no galleries or exhibition rooms, which activities could contribute to enrichment of the local exhibition offer, impacting the dynamics of development of artistic life in the community. However, the city had different places that exhibited paintings, sculptures and objects in the field of applied art, usually rather accidental venues that were not designated for this purpose. Exhibitions and displays were organized by various societies and companies, which were not founded to look after art, as well as schools and private individuals. The article presents less known art shows, freąuently ephemeral, taking place outside the exhibition rooms of the Society for the Encouragement of Fine Arts and the Municipal Museum, supplementing the exhibition map of Bydgoszcz.W międzywojennej Bydgoszczy wystawy z zakresu sztuki organizowały towarzystwa i instytucje - Towarzystwo Zachęty Sztuk Pięknych (1921-1923), Muzeum Miejskie (1923-1939) i Towarzystwo Przyjaciół Sztuk Pięknych (1931-1939). Do drugiej połowy lat 30. XX w. w Bydgoszczy nie funkcjonowały galerie i salony wystawiennicze, których działalność mogłaby przyczynić się do wzbogacenia oferty wystawienniczej, wpływając na dynamikę rozwoju życia artystycznego. Jednak w mieście zaistniały także inne miejsca, w których eksponowano malarstwo, rzeźbę, grafikę i obiekty z zakresu sztuki użytkowej, najczęściej miejsca dość przypadkowe, nieprzeznaczone do wypełniania tej funkcji. Wystawy i pokazy organizowały różne towarzystwa i firmy, niepowołane do opieki nad sztuką, a także szkoły i osoby prywatne. W artykule przedstawiono ekspozycje najmniej znane, często efemeryczne, odbywające się poza salonami Zachęty i salami Muzeum Miejskiego uzupełniające wystawienniczą mapę Bydgoszczy

Przekraczanie granic subsystemowych w rodzinie – analiza doświadczeń młodych opiekunów (young carers) w kontekście praw dziecka

The main problem of the presented analysis is the phenomenon of caretaking by children (young carers) in the family considered on the basis of the idea of children’s rights. Young carers realised the number of tasks supporting parents and the entire family system, sometimes even taking responsibility for it. Two-phased analysis was carried out here. Firstly, based on autobiographical narrative interviews, the categories of young carers’ experiences were distinguished. Next, these categories were collated with areas of children’s rights recognised by the content analysis of documents defining them. The conclusions drawn from the analysis could constitute the core of considerations on the situation of young carers as a threat to or at least a significant limitation of the realisation of children’s rights.Głównym problemem, wokół którego koncentrują się niniejsze rozważania, jest zjawisko opieki podejmowanej przez dzieci w rodzinie, rozpatrywane w kontekście idei praw dziecka. Młodzi opiekunowie (young carers) wykonują szereg zadań, wspierając rodziców i cały system rodzinny, a niekiedy nawet przejmując za niego odpowiedzialność. Dokonano tu dwuetapowej analizy. W pierwszej kolejności, na podstawie autobiograficznych wywiadów narracyjnych, wyodrębniono kategorie doświadczeń młodych opiekunów. W drugim etapie zestawiono owe kategorie z obszarami praw dziecka, opierając się na analizie treści dokumentów je określających. Wnioski płynące z przeprowadzonych analiz stanowią podstawę do uznania sytuacji młodych opiekunów za zagrożenie lub przynajmniej istotne ograniczenie realizacji praw dziecka

Marian Kiersnowski (1873-1949). Projektant wnętrz, mebli i wyposażenia kościołów, pedagog

This article devoted to the activity of Marian Kiersnowski (1873-1949) a designer of church interiors, fumiture and fumishings, and a pedagogue - is the first synthetic monograph about this artist. He was educated in St. Petersburg and at first worked in Russia. Later, he moved to Poland, and lived in, among others, Toruń and Bydgoszcz. In the years 1921-1922, he worked in the Luxurious Fumiture Factory of the American Association “Polamerica” in Toruń. Next, he started to work as a teacher in Bydgoszcz schools - State School of the Art Industry and State School of Industry, where he worked in the years 1922-1933. Finally, in 1933, he settled permanently in Kodeń on the Bug River. His life and work was connected with the Missionary Oblates of Mary Immaculate. On the monastery premises, he had St Joseph’s sculp- tural and carpenter’s workshop. He designed and madę a significant part of the fumishings of St Anna’s Basilica in Kodeń. Based on the preserved archival materials, a set of design drawings, old photographs, and facilities mostly still existing, an attempt at reconstructing the gradual shaping of the church decor has been presented - the church presently functioning in the awareness mainly as the Sanctuary of Our Lady of Kodeń

Wystawy sztuki niemieckich towarzystw oraz udział w nich artystów bydgoskich (1878-1912)

This article describes issues related to development of artistic life in Bydgoszcz in relation to art exhibition, and thus a form representative for organizers, artists and viewers as recipients. The time span is outlined by the following dates, 1878 – establishing of the Bydgoszcz Art Society (Bromberger Kunstverein) and 1912 – the last exhibition of the German Art and Science Society (Deutsche Gesellschaft für Kunst und Wissenschaft). All exhibitions organized by the mentioned societies were reported in chronological order, presenting their history and activity in the scope of exhibition, authors and titles of artworks shown at consecutive art shows, particularly artists representing the Bydgoszcz art community. Providing insight into exhibition related activities of German art societies was aimed at learning about their exhibition concept in Bydgoszcz and presenting activity of local artists. Initially, rather fast growing artistic life in Bydgoszcz under the Prussian rule was interrupted for about ten years at the turn of the 20th century. The defeat of Germany during World War I made that German residents of Bydgoszcz, including artists, left town, and the reviving Polish city of Bydgoszcz had to develop its own art community from scratch

Jerzy Rupniewski (1888-1950) - Malarstwo, które jest mi wszystkim na świecie...

Jerzy Rupniewski, during the entire twenty-year interwar period, was a very active co-founder of the Bydgoszcz arts community and its activities. He was a very prolific painter and exhibitor. His artistic legacy, in comparison with other Bydgoszcz artists who worked in the interwar period, is rather well preserved. However, is it representative of his oeuvre? The article describes the artistic activity of Rupniewski based on the preserved groups of his paintings, drawings as well as exhibitions, in which he participated in Bydgoszcz and other art centers, particularly in Zachęta Art Gallery in Warsaw. An analysis of his paintings, both preserved and those known from sources and exhibition catalogs, allowed for deeper interpretation of his work and verification of previous assessments. Series of artworks presented during group and solo exhibitions revealed the artist’s interest in several topics, to which he remained faithful throughout his artistic career. The most interesting thematic group is architectural views of various cities, usually with historic buildings, including views of Bydgoszcz and Pomeranian towns. Equally important for him was marine art, portrayed in a wide-ranging scope: seaside views, depicting the sea and villages located on the coast, port scenes, presentations of ships and vessels, and clear portraits of people of the sea - sailors and fishermen. The underestimated topic in Rupniewski’s artistic activity is presentation of interiors, from stately castle chambers to sacred interiors, through rooms of landowners and burghers, all the way to the simple cottages of fishermen. An extensive thematic group among his paintings is portraits, where we can distinguish two specific groups, commissioned official portraits and images of specific “types of people,” frequently depicted during work. A small group of preserved and those known only from titles landscapes, genre scenes, flowers and still life confirm that these topics were less frequently chosen by the artist