bluuebunny/crossref_metadata_2025 huggingface dataset:
Substantiation of similitude rules of bending stiffness of twisted fishing gear
Authors: Nedostup Alexander Alekseevich , Konovalova Karina , Nasenkov Pavel , Razhev Alexey Olegovich , Fedorov Sergey
Published: March 2020

The article considers the problems of physical modeling of twisted filamentary parts of fishing gear and the similitude rules of bending stiffness of filamentary gear parts (FP). The problems are caused firstly by the scope, high costs and complexity of engineering structures in commercial fishery, and thus it was impossible to use them in full-scale testing. Secondly, the lack of systematic experiments prevented from measuring the bending stiffness of synthetic rope parts of fishing gear (SRP). Thus, it becomes necessary to conduct model experiments related to physical modeling of dynamic processes occurring in twisted fishing gear, as well as to carry out a detailed study of the theory of similarity. An attempt to evaluate the bending stiffness of a full-scale object made of polyamide (diameter = 10 mm, the object length and pin diameter were found using large-scale physical characteristics) based on the analysis of experimental data on bending stiffness of synthetic filamentous gear parts made of polyamide with different diameter and length (length = 0.08; 0.10; 0.12; 0.16; 0.20, 0.24 m and diameter = 1.10; 2.0; 3.10; 4.0; 5.0, 6.0 mm) defined on the pins with diameter = 2.0, 10.0 and 30.0 mm. The obtained data will help to prove the correctness of using the theory of dynamic similarity in the course of justification of similarity rules of bending stiffness of the large-diameter cordage and to determine the basic physical and mechanical properties necessary for modeling industrial fishing gear.
Desakralisasi film horor Indonesia dalam kajian reception analysis
Authors: Debby Yohana , Hartiana Theresia Intan Putri , Krisdinanto Nanang
Published: March 2020

Penelitian mendeskripsikan mengenai penerimaan penonton mengenai desakralisasi agama yang tergambarkan dalam film horor Indonesia pasca Orde Baru. Beberapa film yang akan diteliti diantaranya Asih (2018), Danur 2: Maddah (2018), Pengabdi Setan (2017), Ruqyah: The Exorcism (2017), Hantu Jeruk Purut Reborn (2017), dan Hantu Rumah Ampera (2009) menjadi film-film pilihan peneliti. Desakralisasi dalam film tersebut terbagi dalam tiga hal, yakni: tokoh agama, ritual, dan simbol keagamaan. Desakralisasi merupakan penurunan makna dari nilai atau hal-hal yang dianggap sakral dalam kehidupan sosial. Beberapa adegan di film horor Indonesia, menunjukkan desakralisasi, seperti tokoh agama yang kalah dengan setan, diganggu saat beribadah. Sehingga desakralisasi dikatakan sebagai suatu upaya untuk menurunkan sifat religi benda atau hal yang dianggap suci dan mengedepankan rasionalitas dalam menghadapi suatu konflik pada suatu hal. Pemilihan informan didasarkan pada usia, agama, aliran kepercayaan, pendidikan. Penelitian ini dilakukan metode dengan reception analysis, teknik pengambilan wawancara in-depth interview, serta menggolongkan hasil penerimaan informan nantinya ke dalam tiga kategori posisi yang dikemukakan oleh Stuart Hall, yakni: dominan, negosiasi, oposisi. Hasil penelitian menunjukkan bahwa informan memiliki posisi yang berbeda-beda dalam memaknai film horor. Penonton atau informan berada dalam posisi oppositional ketika memaknai desakralisasi ritual keagamaan. Informan cenderung pada posisi oppositional karena dipengaruhi pengalaman dan latar belakang seperti yang pernah melewati ritual pembukaan mata batin, melakukan ritual atau ibadah.
Representasi ideologi supremasi kulit putih dalam iklan televisi
Authors: Umarela Farid Hamid , Dwityas Nindyta Aisyah , Zahra Devi Rosfina
Published: March 2020

Penelitian ini dimulai dari penemuan karakter blackface di iklan Bukalapak Pengakuan: Pengakuan: Awalnya Coba-Coba, Jadi Untung Terus. Iklan ini ditayangkan pada tahun 2018 dan dianggap rasis dan menyerang komunitas kulit hitam karena menggunakan wajah hitam dalam ceritanya. Penelitian ini bertujuan untuk melihat bagaimana blackface terwakili dalam iklan serta untuk membongkar ideologi yang terdapat dibalik mitos-mitos mengenai ras kulit hitam. Konsep ideologi dalam iklan mengacu pada konsep yang diajukan oleh Storey, bahwa ideologi merupakan suatu bentuk gambaran ideal yang bertujuan untuk menarik perhatian melalui cara-cara seperti digunakan dalam teks termasuk iklan televisi sebagai produk media massa untuk mempresentasikan citra tertentu tentang dunia. Penelitian ini menggunakan metode analisis teks kualitatif dengan metode Semiotika. Iklan dianalisis melalui analisis semiotik Roland Barthes, yang dikenal melalui denotatif, konotatif, dan mitosnya. Tanda-tanda dalam iklan dikaji secara bertahap untuk mendapatkan makna pesan dan juga membongkar mitos yang bersembunyi di balik ideologi yang terkandung dalam iklan. Hasil analisis semiotik menemukan bahwa iklan Bukalapak menunjukkan unsur rasisme yang terlihat dari penggunaan blackface sebagai wahana untuk menyampaikan komedi. Lelucon yang menjadikan ras hitam sebagai objek telah menjadi mitos. Praktek merendahkan ras kulit hitam menjadi hal yang biasa karena kepercayaan pada ideologi supremasi kulit putih yang tanpa disadari dipercaya oleh masyarakat Indonesia. Di mana gagasan bahwa kulit putih lebih unggul daripada kulit hitam adalah keyakinan yang tidak berdasar untuk merendahkan ras kulit berwarna.
La epidemia de tifo y la guerra insurgente en el oriente de Michoacán, 1813-1814.
Authors: González Flores José Gustavo
Published: March 2020

El lustro de 1810-1815 es recordado por la historiografía como el periodo en que inició el movimiento insurgente del cura Miguel Hidalgo. Este fenómeno histórico ha acaparado la atención de la mayoría de los estudios históricos, pero ignora una terrible epidemia que asoló a la entonces Nueva España: las fiebres epidémicas o el tifo de 1812-1814. El objetivo de este trabajo es hacer un análisis demográfico de esta epidemia a partir de los casos de tres parroquias del oriente del obispado de Michoacán. Las acciones de la guerra y la epidemia son dos factores que deben ser consideradas para entender este momento histórico. Mientras la población enfermaba, la guerra dispersaba la enfermedad debido a  los movimientos de soldados y la gente que huía de la guerra.
Nube de tempestad, tormentas torrenciales y tornados de tierra: relación de mangas o culebras de agua en Oaxaca (1830-1885)
Authors: González Pérez Damián
Published: March 2020

Se presentar un fragmento del Cuadro Sinóptico Geográfico y Estadístico del Estado Libre y Soberano de Oaxaca, el cual corresponde a un apartado titulado “Catálogo de Mangas de agua desde 1830 hasta 1885”. La obra completa se encuentra resguardada, junto con la mayoría de sus textos manuscritos, en la Sala de Asuntos Oaxaqueños Genaro V. Vásquez de la Biblioteca Pública Margarita Maza de Juárez de la ciudad de Oaxaca. Para la presentación del documento se recurre a diversos tipos de fuentes, con el fin de contextualizar los fenómenos meteorológicos que se describen como parte de lo que en el documento se nombra “magna de agua” o “culebra de agua”.
Reproduction and Its Discontents in Mexico. Childbirth and Contraception from 1750 to 1905. Por Nora E. Jaffary. Chapel Hill: University of North Carolina Press, 2016, 302 pp.
Authors: Fagoaga Hernández Ricardo A.
Published: March 2020

Reseña.
Tres propietarios extranjeros y un proyecto ecoturístico: historia de San Antonio, Colima
Authors: Tello Díaz Carlos
Published: March 2020

El trabajo reconstruye la historia de la hacienda de San Antonio, propiedad situada en el municipio de Comala, a 30 km al norte de Colima, en el occidente de México. Desde fines del siglo XIX ha sido propiedad de tres extranjeros residentes en el país: un hacendado alemán, un empresario boliviano y un financiero franco-inglés. La hacienda está enclavada en la Zona de Protección Forestal y Refugio de la Fauna Silvestre El Jabalí. El trabajo describe su historia con una metodología basada en la investigación de fuentes primarias para, al final, abordar las controversias políticas que, en torno a la participación del capital extranjero privado, han tenido lugar en esta área natural protegida de México.
The Ambivalent Subject: Reconciling Contradictory Subjective Experiences of Surveillance
Authors: Ciofi Joy
Published: March 2020

This article discusses the surveillant assemblage operating within the brandscape of two American mega–casinos and the ways in which the mechanisms of this surveillance impact the subjective experiences of older adults who frequent these facilities in retirement. Based on ethnographic fieldwork conducted at these sites from 2015 to 2017, I argue that these immersive and all-inclusive spaces deploy a variety of intensive surveillance methods to ensure profitability but largely avoid many of the negative associations that this level of surveillance engenders in other settings. Older adults present an especially interesting demographic when examining intensive surveillance. While they often benefit from increased oversight and security, they are generally opposed to accessing it through other institutions, such as assisted living or nursing facilities. This apparent contradiction produces ambivalent subjects who dislike the notion of intrusive surveillance but simultaneously appreciate the benefits it can convey. This paper contributes to the ongoing dialogue in surveillance studies about the complexities of surveillant subjects, as well as presents a new perspective on the attitudes of senior citizens towards institutionalized surveillance in private and public space.
Fusing Race: The Phobogenics of Racializing Surveillance
Authors: Ritchie Marnie
Published: March 2020

This paper sets up a framework to assess how purportedly passive state surveillance comprises an infrastructure of active racialization. Frantz Fanon’s concept of “racial phobogenics,” or the process of making a raced body into an object of anxiety, can be useful for scholarship at the intersection of communication, race, data, security, policing, affect, and biopolitics. To read how local state surveillance justifies the aggregation of data by means of phobogenics, I analyzed 120 hours of field observations and conducted fourteen interviews from June 2017 to March 2018 in one US Homeland Security Fusion Center, part of the integrated intelligence system and national security strategy after 9/11. I argue that Fusion Centers’ use of “situational awareness,” the trained ability to know what is deemed “suspicious” in everyday life, fuses race or taxonomizes what is out of place and what is inflammatory according to nonconscious racializing affects. I therefore urge for a critical scholarship that attends to “prelogical rationality and affectivity” (Fanon 1986: 133) as exercises of power.
Dis-ease Surveillance: How Might Surveillance Studies Address COVID-19?
Authors: French Martin , Monahan Torin
Published: March 2020

We are currently in the midst of a global pandemic with the spread of Coronavirus Disease 2019 (COVID-19). While we do not know how this situation will unfold or resolve, we do have insight into how it fits within existing patterns and relations, particularly those pertaining to sociocultural constructions of (in)security, vulnerability, and risk. We can see evidence of surveillance dynamics at play with how bodies and pathogens are being measured, tracked, predicted, and regulated. We can grasp how threat is being racialized, how and why institutions are flailing, and how social media might be fueling social divisions. There is, in other words, a lot that our scholarly community could add to the conversation. In this rapid-response editorial, we provide an introduction to the framing devices of disease surveillance and discuss how a surveillance studies orientation could help us think critically about the present crisis and its possible aftermath.
Telewizyjne gry z Pirandellem
Authors: Łubieniewska Ewa
Published: March 2020

Televisions Play with PirandelloAbstractIn the beginning of 1960s, the Polish press witnessed a discussion on Pirandello’s rightfor innovation, which was started by Zygmunt Greń who harshly attacked the writer for„pseudointellectualism” and using the metaphor of a mask as an empty stage effect. At thesame time, however, in Polish theatres, the author witnessed great prosperity. This includedalso Teatr Telewizji (Television Theatre) which in the course of 30 years showed his mostimportant plays, i.e.: Six Characters in Search of an Author, Henry IV, Right You Are (If You Think So), and comedies The Man, the Beast and the Virtue, Cecè, Il berretto a sonagli, The Manwith the Flower In His Mouth, and Tutto per bene.When analyzing two of them – Right You Are (If You Think So) from 1967 directed by IreneuszKanicki and Henry IV directed by Maciej Prus and shown as late as 1989 – it should be notedthat in both plays political undertones could be noticed. A characteristic interpretativefeature of adaptations of Pirandello in Polish theatres was the manifestation of the “role”his characters are doomed for, which happens at the price of their internal truth. Society,often using the institutions of power, tries to trespass the intimate space in order to conformit to predictable stereotypes uncovered by – real or pretend – “madness” of Pirandello’scharacters. Both Right You Are (If You Think So) and Henry IV gave us two different faces ofresistance of an individual in the context of pressure of collectivity, regardless of whether it isgoverned by institutions or stereotypes of worldview.Even though in the contemporary (almost non-existent) Teatr Telewizji it is difficult toimagine new adaptations of the author’s plays, in spite of gloomy prognosis of criticism, Polishtheatres are still interested in the author. Six Characters in Search of an Author treating abouta destruction of subjective structure and attempts of rebuilding it is especially constantlypresent in theatre programme. The play was even used in an experiment with theatre therapyin Lublin – a disabled group prepared the production.Therefore, maybe the Italian Nobelist still has a lot to offer to contemporary theatre?Keywords: innovation, myth, reception, truth, illusion, mask, theatricality, collectivity,stereotype, power, madness
Ofelia Pirandella: rozważania nad kobiecym szaleństwem
Authors: Koman Aleksandra
Published: March 2020

Ophelia of Pirandello: reflections around female madnessAbstractThe article is devoted to an analysis of Luigi Pirandello’s drama As You Desire Me which drawsinspiration from an actual event connected with questions on the identity of a person sufferingfrom amnesia. Unlike the real incident, the main character of Pirandello’s is a woman knownonly by her alias Stranger, as the main theme of the drama is establishing her true identity. Thepresent article aims at proving that Pirandello’s drama is not a criminal mystery, but rathera deep reflection on the notion of human personality which in the case of a woman receivesnew, interesting meanings. One of them is spotting the correspondence between Pirandelli’sStranger and Shakespeare’s Ophelia, as madness of both characters appears to have similarroots: female’s insanity seen through the prism of both dramas appears as defiance againstthe culture of patriarchy, but also stems from the conviction of one’s own emptiness andundefinedness. In this context, referring to studies on feminist criticism (E. Shawalter,K. Kłosińska, K. Woźniak), including studies on female hysteria is of relevance. Even thoughthe structure of drama appears to lead to a finale in which the truth about the character isuncovered, Pirandello does not reveal her true identity. However, questions on female identityand female madness are worth reflecting upon, even if they remain unanswered.Keywords: Luigi Pirandello, As you desire me, impersonality, Ophelia, tarantism, Jean-MartinCharcot, Aleksandra Mianowska, female madness, female identity, Elaine Showalter, feministliterary criticism
Za kulisami sądu. Ugo Betti, "Trąd w pałacu sprawiedliwości" ("Corruzione al Palazzo di Giustizia")
Authors: Latawiec Krystyna
Published: March 2020

Behind the scenes of Court. Ugo Betti, Corruzione al Palazzo di GiustiziaAbstractThe article concerns the Polish reception of Ugo Betti’s drama Corruzione al Palazzo di Giustizia.It presents the comparison of the two performances: the theatrical one, directed by MariaWiercińska (1958), and the television one, directed by Gustaw Holoubek (1970). The firstspectacle was determined by the political context in post-Stalinist times, the second wasconcentrated on moral conflicts and personal attitudes. Both performances searched for ananswer to the question about the meaning of justice.Keywords: Ugo Betti, Polish theatre, reception, television performance, justice
Różne twarze Kurta Suckerta - o twórczości Curzia Malapartego w Polsce
Authors: Liszka-Drążkiewicz Agnieszka
Published: March 2020

Various faces of Kurt Suckert – Curzio Malaparte’s works in PolandAbstractThe article aims at showing the presence of Curzio Malaparte’s prose in Poland, mainly bycharacterizing subsequent Polish translations of individual works of the writer, as well as reactions to them exhibited by critics and interest of the readers. Out of necessity, the articleis only an outline, however, it can be a base for further analysis of reception of Malaparte’swriting in Poland. From the information gathered on publications of the Italian authors aninteresting model emerges. It links the changes in popularity of Malaparte in Poland withhistoric events and political situation.Keywords: Curzio Malaparte, Kaputt, Polish press, reception, translation
Wśród gruzów
Authors: Pytel Ewelina
Published: March 2020

Among the rubbleAbstractTerremoto is a literary documentary devoted to earthquakes that have struck Italy in recentyears. The author mixes accounts from travels to places affected by the disaster, interviewswith experts on various aspects of the phenomenon and thought on cultural methods oftaming the constant threat. One of the main characters of the text is Luca Cari, a spokespersonfor Italian fire department and civil-protection services who accompanies the author in histravels Mikołajewski’s book is one of the very few Polish publications that do not replicatethe stereotypical view on the Italians. It is also an important base for a discussion on therelationship of Poles towards the Mediterranean culture.Keywords: earthquake, Italy, sentimentalism, natural disasters, Polish-Italian relations
"Goffred – Gerusalemme Liberata" XII 59–68. Un'analisi stilistica
Authors: Cabras Francesco
Published: March 2020

"Goffred – Gerusalemme Liberata" XII 59–68. Interpretacja stylistycznaArtykuł skupia się na ściśle stylistycznej analizie epizodu śmierci Kloryndy z Jerozolimywyzwolonej w tłumaczeniu Piotra Kochanowskiego.Riccardo Picchio w 1977 r. opublikował nowatorski artykuł z punktu widzenia metodologicznego,pozostawiając na boku rozpowszechnione aż dotąd podejście do interpretacji polskiejwersji tego poematu, a mianowicie podejście za mocno uwarunkowane stosunkiem pomiędzydwoma tekstami, Tassa i Kochanowskiego. Włoski badacz postarał się przedstawićw nowym świetle arcydzieło polskiego poety: zamiast podkreślić domniemane usterki jegotłumaczenia, Picchio udowodnił, że bardzo często Kochanowski nie przełożył Tassa wedługnaszych oczekiwań nie z tego powodu, że nie umiał dorównać Tassowskiemu mistrzostwu,a raczej dlatego, że miał inne zamiary co do ogólnej koncepcji swojego poematu.Także w przypadku epizodu śmierci Kloryndy okazuje się, że poeta unikał najwyraźniejszychcech stylistycznych tekstu Tassa (ciągła i prawie obsesyjna obecność krwi oraz seksualnośćbohaterki), aby przedstawić czytelnikom raczej grę Losu/Szczęścia z postaciami, przedewszystkim z Tankredem, który walczy, nie będąc tego świadom, ze swoją ukochaną i w końcują zabija.Słowa kluczowe: Piotr Kochanowski, Tasso, Gerusalemme Liberata, Goffred, Klorynda,Tankred, stylistyka "Goffred – Gerusalemme Liberata" XII 59–68. A stylistical interpretationand some methodological observationsAbstractThe article focuses on the strictly stylistic analysis of the episode of Clorinda’s death inGerusalemme Liberata translated by Piotr Kochanowski.In 1977 Riccardo Picchio published an article that was innovative from the methodologicalpoint of view, leaving behind the prevalent approach to interpretation of Polish version ofthe poem, i.e. an approach too strongly conditioned by the relationship between two texts –Tasso’s and Kochanowski’s. Italian researcher attempted at presenting the masterpiece of thePolish poet in a new light: instead of highlighting the alleged faults of the translation, Picchioproved that Kochanowski did not translate Tasso according to our expectations most oftennot because he could not achieve Tasso’s perfection, but rather because he had a differentplan for a general concept of his poem.In the case of the episode of Clorinda’s death it turns out that the poet avoided the mostdistinct stylistic features of Tasso’s text (constant and almost obsessive presence of blood and the sexuality of the character). It was done to present to the readers the way Fate/Luckplays with the characters, most notably with Tancredi who, unknown to him, fights with hislove and finally kills her.Keywords: Piotr Kochanowski, Tasso, Gerusalemme Liberata, Goffred, Clorinda, Tancredi, stylistic
La Polonia nelle opere letterarie di Giacomo Casanova
Authors: Palmarini Luca
Published: March 2020

Polska w dziełach literackich Giacoma CasanovyStreszczenieNiniejszy artykuł stanowi analizę części dzieła literackiego Giacoma Casanovy, w którejpojawia się Polska. Wenecki uwodziciel miał okazję gościć w państwie polskim przez kilkamiesięcy, zanim zniknęło ono w następstwie rozbiorów. Owe doświadczenie opisał szerokow swoich wspomnieniach pt. Histoire de ma vie, jak również w Il Duello, kronice zdarzenia,które przytrafiło się mu z księciem Branickim i które zmusiło go najpierw do pojedynkuz księciem, a później do opuszczenia kraju. Znajomości zawarte na terenie Rzeczypospolitejzachęciły Casanovę do napisania Istoria delle turbolenze della Polonia, historycznego traktatuo kraju; dzieło jednak zostało nieukończone, co było powodem gorzkiej polemiki. Dziękiwnikliwemu obserwatorowi możemy uzyskać cenne uwagi nie tylko dotyczące charakteruautora, ale również Polski tamtych czasów. Informacje te w większości przypadków mająswoje odzwierciedlenie w dowodach historycznych i ukazują nam piękny portret ówczesnegospołeczeństwa polskiego.Słowa kluczowe: Giacomo Casanova, Giacomo Casanova w Polsce, Histoire de ma vie, Istoriadelle turbolenze della Polonia Poland in the literary works of Giacomo CasanovaAbstractThe present article contains an analysis of Giacomo Casanova’s literary work, in which Polandappears. The Venetian seducer had stayed in Poland for several months before the countrydisappeared due to partitions. He described his experience in memoirs entitled Histoire dema vie, as well as in libretto Il Duello which chronicles an incident involving duke Branickiand which forced him to first duel the duke and later to leave the country. ConnectionsCasanova made in Poland stimulated him to write Istoria delle turbolenze della Polonia,a historical treatise about the country. However it was never finished which resulted in bitterdispute. Thanks to the soul of inquisitive observer we are given remarks concerning not onlythe author’s character but also those on Poland of that time. Said information is most oftenreflected by historical evidence and give us a perfect picture of Polish society of that period.Keywords: Giacomo Casanova, Giacomo Casanova in Poland, Histoire de ma vie, Istoria delleturbolenze della Polonia
"Zobaczyć niebo opiewane przez poetów całej ziemi, zobaczyć Włochy" - północna Italia w relacjach Stanisława i Władysława Bełzów
Authors: Sadlik Magdalena
Published: March 2020

“To see Heaven praised by poets of the whole world, to see Italy” –Northern Italy, as described by Stanisław and Władysław BełzaAbstractItalian voyages of the 19th and 20th centuries have already been described many times. Thatis why this paper has been devoted to those accounts which so far have not been particularlypopular with literary historians, but are still worth mentioning: Z Wenecyi do Neapolu.Wrażenia z podróży by Władysław Bełza and Za Apeninami, Na lagunach, Obrazy i obrazkiWenecyi by Stanisław Bełza. The paper consists of two parts: the first one presents Veniceas seen by the above mentioned authors, while the second one, entitled Z Polski do ziemiwłoskiej, z ziemi włoskiej do Polski follows the Polish traces on foreign land. Voyages of theBełza brothers, just like romantic voyages had two routes: the first one led through theEuropean cultural heritage, while the other one followed the track of national memorabilia.Keywords: cultural heritage, travel, memories, patriotism
Tadeusza Kudlińskiego lektura Biblii, czyli "Gniew o Soszannę"
Authors: Olszewska Maria Jolanta
Published: March 2020

The novel Gniew o Soszannę was wriitten in the period 1947–1962. It came out in 1963. The writer had some difficult war and postwar experiences. First, he was repressed by the Nazis and then by the Stalinist authorities. These experiences became a source of the novel from the days of the former Israel. The story is based on the episode from the Bible, Jeph’s History. He made an unheard of Yahweh’s oath and he had to sacrifice his own daughter. However, Kudliński’s novel goes beyond the colorful of the biblical story, it carries deeper reflections on human life and relationships with Yahweh. It is also a settlement with totalitarianism. From the formal point of view, it is an apocryphal narration based on Kudlinski’s principle of «symultaneity», thus realizing the ‘three-times principle’ of spatial composition. The character becomes a collective hero. Kudliński’s work fits into the search for a modern novel form in Polish literature of the twentieth century.
Militarne reprezentacje w prozie Tadeusza Kudlińskiego
Authors: Rozmus Jacek
Published: March 2020

The view of Europe betweeen 19th and 20th centuries was shaped mainly by militarism. It is confirmed by the works of Michael Howard, Ian F.W. Beckett, Martin van Creveld, and also material culture, which is the heritage of those times. Architecture, technology, as well assculptures and paintings created shortly before the First World War are an illustration of how Polish literature reacted to the conflict of 1914–1918. In Tadeusz Kudliński’s novel Smak świata, where the main character is an officer of the Austro-Hungarian artillery, the world is dominated by machines: railway, telephone etc. According to Bjonar Olsen, those things represent material culture in the view of Tim Dant, allowing the main character to keep his identity. The collection of essays Młodości mej stolica. Wspomnienia krakowianina między wojnami provide the reader with a historical view of the war in the Carpathian Mountains and on the Italian front.
O teatrze i kulturze dwa teksty Kudlińskiego
Authors: Gajda Kazimierz
Published: March 2020

The first text (Teatralne przewidywania, ”Miesięcznik Literacki” 1942) concerns mainly the theatre, while the second one (O cyrkulacji piękna, „Tygodnik Powszechny” 1945) basically relates to cultural issues. They complement each other. Due to the common motif of social perception of creative work, they are significant for a more general reflection upon socialartistic phenomena in the collective life of a given society. The reality of war and occupation are not directly visible in Kudlinski’s views, as he emphasised, above all, the ideologicalorganisational aspect of theatrical life in the upcoming years. Taking into consideration folk theatre, professional and artistic-amateur theatre, he was convinced that they should be somehow combined, but remaining distinct. He regarded this option as a potential implementation of ”the idea of harmonious circulation of beauty by Norwid”. From this perspective, restoring value to folk art corresponds to the concept of circulation of artistic phenomena and understanding creation as «encouraging one another to work», and as «a flag on the tower of man’s work», stressed by the author of Promethidion, That is how Kudliński turned his work into a kind of art manifesto in the predictable realityof postwar years.
Poeci i uczeni w wierszach okolicznościowych Wincentego Pola
Authors: Gurbiel Andrzej
Published: March 2020

The first part of the paper is dedicated to Wincenty Pol’s occasional poems, dedicated to poets and poetry, and on that basis, it is possible to reconstruct the author’s perception of the situation of poets and poetry, as well as their role in society deprived of political identity. The second area of discussion are Pol’s works, which are addressed to scholars and, at the same time, emphasise the significance of their activity for the spiritual condition of the Poles, and indicate the originality of the poet’s (and an active researcher’s) reflections in relation to individual and collective research initiatives.
Dwa „łzawe” apele Marii Ilnickiej ("Do sióstr moich")
Authors: Samborska-Kukuć Dorota
Published: March 2020

Maria Ilnicka is directly associated with the Manifesto of 22nd January, 1863. As its (co-) author, she expressed her opionion on emancipation issues both in poetry and ”Bluszcz”, which she edited herself. However, contrary to the expectations resulting from the contents of the Manifesto, these are not revolutionay views. In fact, they are more conservative and in line with the convential status quo. Two poems of the same title: Do sióstr moich, clearly reflect her ideas. Ilnicka emphasises first of all: a passive attitude of women towards national matters, suggesting the model of ‘a mournful weeper’, and second of all: abandoning social activity and remaining in the shadow of patriarchy – in the role of ‘a guardian of the hearth’.
Portret „teatrała”. Tadeusz Kudliński – krytyk...
Authors: Łubieniewska Ewa
Published: March 2020

Tadeusz Kudliński remained in the memory of Cracovians, above all, as a theatre critic and the author of books dedicated to this topic, which have been republished many times. Serving the function of an educational mission, they combined a harmonious perspective of a historian, researcher, critic, polemicist and apologist, who was also a great story-teller. The role of a ‘theatre man’, which he assumed, also included contacts with amateur theatre, discussions with audience and cooperation with the Theatre Lovers Club. Views on art which had clashed in the preceding century, were clearly reflected in the monographs and collections of reviews written by the author, for whom the history of the theatre was, in fact, the history of drama. For years, Kudliński consistently carried out his ‘theatre lesson’. It revolved around numerous issues – from the description of various theatrical aesthetics, through the search for ‘a Polish style’ of performance, to the characterisation of experimental groups (e.g. Grotowski’s or student theatre). The critic placed experiment on the side of cultural life, on no account in the popular theatre, therefore, he criticised all Polish directors from the second half of the 20th century who staged ‘experimentally’, especially classics. Being a traditionalist and a supporter of theatrical illusion, he attacked Brecht’s model of epic performance, glorifying ”the process of actor transformation”, although he emphasised that it doesn’t have to ”concern only reality.” He provoked, irritated – and taught, which can be confirmed by the fact that his books about theatre are still widely read nowadays.
„Przemówił dziad do obrazu” – historia pewnej polemiki
Authors: Sadlik Magdalena
Published: March 2020

The following paper is a recollection of a series of articles by Tadeusz Kudliński, published in ”Ilustrowany Kurier Codzienny” (1936–37). “Teatralne mielizny” were very popular with readers, especially young playwrights, supported by the critic. The articles written by the Cracow „teatrał” (theatre man) aroused a heated discussion in the press, and the initiative to create Studio 39 can be regarded as its aftermath. Contrary to previous assurances concerning the final conclusion of the ”sandback” dispute, Kudliński took up the topic again nine months after the publication of the last part of the series, and his text “Przemówił dziad do obrazu” provoked the response by Tadeusz Boy-Żeleński. Thus, the whole discussion on the articles, as well as the theatre initiative brought to life by their soul, ends with three polemical texts, published in press, whose main character has, unexpectedly, become the hero of an old Polish proverb.
Historiograficzne próby Lucjana Rydla
Authors: Budrewicz Tadeusz
Published: March 2020

Lucjan Rydel authored a dramatic trilogy about King Sigismund II Augustus. He described the 16th century with great erudition as regards the material and political history of the period. He had studied numerous historical records as well as scholarly works. He also wrote an academic essay on Charles de Nassau. The main areas of his interest in history were texts of didactic and popular character. He wrote a monograph entitled Queen Hedwig, where he collected the themes of female rule in literature and art. He published brochures on buildings of historical interest in Krakow, Warsaw and Vilnius. He brought out A Short History of Poland and History of Poland for Everybody, both of which were written during the Great War. His ambition was to write accessible textbooks on the history of the Polish nation and Polish state with a view to boosting the patriotism of Poles. In matters of ideology, his works were leaning towards conservative views.
Kwestia miary. O pierwszych odczytaniach "Zygmunta Augusta" Lucjana Rydla
Authors: Kowalczuk Urszula
Published: March 2020

The paper presents an early literary critical reception of 'Zygmunt August', a trilogy by Lucjan Rydel. The analysis includes, above all, reviews whose subject is a literary work as whole, rather than its particular sections. It has been proven that critical remarks on Rydel’s work could be included in the discussion on the possibilities and needs of the Polish historical drama. The most essential problems of the text revolve around the difficulties connected with finding the right assessment and description criteria of Rydel’s work by professional readers. They were situated either against the pattern of national drama, or it was qualified as a popular drama. Some crucial discrepancies related to ‘measure,’ according to which Rydel’s work should be evaluated, also appeared, depending on whether it was treated as a drama or ‘performance.’
„Teatr musi być komunikatywny” – Waldemar Krygier jako dyrektor i reżyser Teatru Ludowego w Nowej Hucie
Authors: Sadlik Magdalena
Published: March 2020

This paper presents the period of artistic activity of Waldemar Krygier in Nowa Huta. Krygier was a director and manager of the Ludowy Theatre from 1971–1974 and before that time he founded a famous student’s theatre, Studio 38, and also cooperated with Jerzy Grotowski. The author briefly analyses those performances by Krygier which became interesting for theatre critics, especially Biesy – his greatest theatrical achievement. As a manager and director, he ambitiously searched for the repertoire. During his term, the stage Nurt 71 was created – an interesting niche initiative.
"Kartoteka" w Grotesce – wyimek z twórczości Zofii i Władysława Jaremów
Authors: Eckert Grzegorz
Published: March 2020

Zofia and Władysław Jarema – the founders of the Groteska Theatre – from the beginning of their artitistic work in Krakow distanced themselves from perceiving the theatre of dolls as exclusively children-oriented. By gathering around themselves a group of distinguished artists, they consistently and reasonably built up the repertoire and Groteska stage for the adult audience. In their search, they included Konstanty Ildefons Gałczyński, Sławomir Mrożek, and Tadeusz Różewicz. This paper is an attempt at analysing and reconstructing the performance of Kartoteka (a drama by Różewicz), which was staged in Groteska Theatre (interpretation by Zofia Jarema, stage design by Kazimierz Mikulski) a few months after its Warsaw preview in the Drama Theatre. The author of the paper also discusses the type of influence which this performance and the Jaremas’ activity in general had on the contemporary theatre of dolls.
Wielopole wielokrotnie: przestrzenna reżyseria afektu
Authors: Pieniążek Marek
Published: March 2020

The article presents the forms of repetition in the creation and reception of Tadeusz Kantor’s performances. Krakow cellars, Kantor’s home in Wielopole and school class in Bielkowo near Łazy in Pomerania connect here the topic of affective searching and finding sources of identity and memory. The process may refer to both the artist and the viewer, seeking in the memory, art and landscape the traces of himself, recorded in the past and projected onto the surroundings. The author’s discovery of the interiors of the cellars under the floor of the house in Wielopole, similar to the Krzysztofory cellars in Krakow where Kantor conducted the rehearsals of the famous The Dead Class, leads to the conclusion that the preexisting in Wielopole under the floor of a childhood room the space of Kantor’s play can be the source of director’s affective repetition. With the use of the repetition mechanism, numerous further artistic discoveries and meetings of the artist with the self and visions of his future performances have been made. The facilitation of this process for viewers of exhibitions and to the recipients of art, both in Bielkowo and Wielopole, seems to be the inclusion of another tool in theatrical and artistic education.
The paradox of death and the Theatre of the Absurd
Authors: Klimczak Dariusz Piotr
Published: March 2020

The aim of the article is the presentation of some interesting and stimulating questions connected with the problem of eschatological codes in the Theatre of the Absurd. The main objective of this paper is to discuss the topos of Death in the Theatre of the Absurd. Because the subject has been underexplored so far, the author tries to triangulate the Theatre of the Absurd within the genre of drama first, and then moves on to the short reflection on chosen plays of Beckett and Ionesco, concentrating on the role that eschatological elements, funereal objects and eschatons play in them. The starting point of this paper could be called “eschatology of the Absurd” or “immortality deconstructed”. Meaninglessness, as the value of absolute meaning, the meaning (Sinn) and significance (Bedeutung) of Death in the Theatre of the Absurd, is also discussed. As a method of research, he proposes a short “collective phenomenological analysis”. To analyse the issue from a broad perspective, the author takes into account the relationships between the writers and their times, and refers to cultural sources, specifically the Paradox of Death in the Theatre –particularly in the Theatre of the Absurd.
Lucjan Rydel i piękna książka
Authors: Bąbiak Grzegorz P.
Published: March 2020

Artistic activity at the turn of the 19th and 20th centuries resulted not only in the development of literature and art, but also functional art and crafts, e.g. graphics and book decoration. Apart from artistic press, it was clearly visible in the phenomenon of the so-called beautiful book. The most distinguished artists of that period: Stanisław Wyspiański, Jan Bukowski, Antoni Procajłowicz – designed covers, vignettes and decorations of the best-known literary works. Lucjan Rydel, who found himself among those artists, was a friend of Wyspiański and cooperated with him, which meant that their first joint works heralded the discussed phenomenon at the Vistula River. This big event was the publication of Rydel’s translation of Iliada with the pictures and illustrations by Wyspiański, who also decorated Rydels’ volumes of poetry, using floral motifs, which were typical in his later work. Also other artists in their ornaments have tried to refer to the motifs which were dominant in Rydel’s works. Thanks to this practice, some editions of dramas (1902, designed by A. Procajłowicz) and Bajka o Kasi i królewiczu (1904, designed by S. Dębicki) should be regarded as the most renowned works of the ‘beautiful book’ trend, not only in Poland, but also in East-Central Europe. This paper focuses on the most representative ‘beautiful books’, based on Lucjan Rydel’s works from the period 1896–1911.
Lucjan Rydel jako badacz i wydawca literatury dawnej – dzieje edycji "Jerozolimy wyzwolonej" Torquata Tassa w przekładzie Piotra Kochanowskiego (Kraków 1902–1903)
Authors: Kacprzak Marta M.
Published: March 2020

The article discusses the research and editing work of Lucjan Rydel related to the Old Polish literature – the two-volume edition of Torquato Tasso’s Gerusalemme liberata, translated by Piotr Kochanowski as Goffred albo Jeruzalem wyzwolona, prepared by Rydel and published in Krakow in 1902–1903 by Polish Academy of Arts and Sciences in the series Biblioteka [96] Marta M. Kacprzak Pisarzów Polskich (Polish Writers’ Library). It is the result of Rydel’s research on the life and work of Piotr Kochanowski – Jan Kochanowski’s nephew, Renaissance poet, Polish translator of Ariosto and Tasso. In the Biblioteka Pisarzów Polskich it was planned to publish, in addition to Goffred, a 5-volume edition of Ariosto’s Orlando furioso translated by Piotr Kochanowski and a monograph on Kochanowski. Rydel’s materials for these books were lost during World War II, but they are known from the accounts of Józef Tretiak and Roman Pollak. Rydel’s edition of Goffred was critically reviewed by Adam Antoni Kryński, Ignacy Chrzanowski and Aleksander Brückner.
„A tu rzeczywistość skrzeczy…”, czyli "Na marne" i "Z dobrego serca" Lucjana Rydla
Authors: Olszewska Maria Jolanta
Published: March 2020

Two dramas by Lucjan Rydel 'Na marne' (1895) and 'Z dobrego serca' (1897) were created during the poet’s stay in Western Europe. These pieces are a testimony to changes in his worldview and attitude to life. He left in them his youthful fascination with symbolic and mood drama modeled on Maurice Maeterlinck’s plays. The attempts to transpose these patterns were heavily criticized by his youthful works 'Matka' and 'Dies irae'. Rydel turned to realism in art. In this case, the patterns were provided by Gerhart Hauptmann and Leo Tolstoy. Na marne is based on the confrontation of two life attitudes. The Major, a former insurgent, symbolizes patriotic tradition and deed, and his grandson Adam is a decadent who has lost faith in the meaning of life. It pushes him to suicide. This drama is a warning against passivity and fatalism. 'Z dobrego serca' treats about the sacrifice of a young girl who, after her sister’s death, decides to marry a much older brother-in-law to save her family. It becomes the personification of love of human being. For Rydel, the foundation on which we should build our life is Christian values. The choice made by the poet confirms his subsequent dramas mainly written for the folk theatre of which he was the initiator and creator.
„Zaczarowane koło” w streszczeniu Konecznego
Authors: Gajda Kazimierz
Published: March 2020

Feliks Koneczny regarded Lucjan Rydel as a talented and hard-working writer. After the stage success of Zaczarowane koło (1899), he was convinced that the author could rival with Stanisław Wyspiański. In his broad review, published in Przegląd Polski, while reflecting a plot scheme of the work, he was at the same time looking for structural justification of action process. He noticed dramatic, linguistic and psychological values of Rydel’s ‘dramatic fairy tale.’ He appreciated Rydel’s writing skills. However, he also expected the type of art which was uniform in terms of genre. Looking into the way in which realistic and symbolic elements were combined with folklore, he discovered the cause of compositional imperfections of Zaczarowane koło, which he analysed deeply and assessed objectively.
Zjawisko transmedialności w spektaklu Kosmos w reżyserii Krzysztofa Garbaczewskiego
Authors: Kazek Sinitta
Published: March 2020

Niniejszy artykuł jest spojrzeniem na teatr współczesny w kontekście jego przemian dokonanych pod wpływem rozwoju technologii i cywilizacji cyfrowej. Ma na celu ukazać zjawisko transmedialności teatralnej, czyli wykorzystywania nowych mediów w realizacji przedstawień teatralnych oraz określić podstawowe funkcje teatru współczesnego w społecznym odbiorze sztuki. Obecnie wielu jest reżyserów i twórców teatru, którzy pracując nad spektaklem bądź konkretnym wydarzeniem artystycznym, posługują się innowacyjnymi narzędziami medialnymi. Teatr funkcjonujący pod wpływem nowych mediów znacznie różni się w odbiorze od teatru wykształconego na drodze tradycji.
„Teatralność” – zakazany język w teatrze doby performatywnej
Authors: Łubieniewska Ewa
Published: March 2020

Pojęcie „teatralności”, przeniesione przez Goffmanna ze sfery rozważań estetycznych w dziedzinę rozważań socjologicznych, stało się dziś kwintesencją „udania”, „fałszu”, pogrążenia w „iluzji”. Performatywna koncepcja teorii i praktyki teatralnej przeciwstawia tej kategorii „prawdę”, „sprawczość” i zanurzenie w „rzeczywistości”, choć z pewnych efektów teatralnych nie rezygnuje. O ile inkrustowanie nimi performansu wzbogaca jego atrakcyjność, o tyle stosowanie dekonstruujących spektakl działań performatywnych obraca się przeciw naturze teatru. Analizowane w artykule przedstawienia (Na niby-naprawdę, w reżyserii Andrzeja Dziuka, Być jak Steve Jobs, zrealizowane przez Marcina Libera oraz Akropolis, według projektu Łukasza Twarkowskiego) ukazują różne sposoby jakimi teatr, poddawany presji pościgu za współczesnością, radzi sobie z radykalną zmianą sytuacji kulturowej. Spektakl Dziuka konfrontuje poetykę scenicznej metafory („na niby”) z zabiegami o charakterze performatywnym („naprawdę”), lecz odwraca znaki wartości: akt teatralnej kreacji głównego bohatera, aktora Ginezjusza, odkrywa duchowość jako „prawdziwy” wymiar świata, podczas gdy rzeczywistość „prawdziwa” okazuje się życiem „na niby”. W spektaklu Libera drogocennym „reliktem” teatru „starego” jest postać, której brechtowskie pieśni komentują konwulsje świata po transformacji 1989 roku. W jego wizji dominują efekty komputerowe, cieszy oko obrotówka, aktorzy zaś budują figury żywcem wzięte z rzeczywistości „tabloidowej”. W finale jedna z beneficjentek politycznych przemian prowokacyjnie zapowiada przejęcie budynku, likwidację teatru i zwolnienie aktorów: teatr stał się zbyteczny; możemy jedynie obserwować metodyczną dekonstrukcję tego, co stanowiło niegdyś o jego fenomenie. Natomiast w spektaklu Twarkowskiego większość akcji ma miejsce na ekranie wiszącym nad sceną, gdzie głównym partnerem aktora jest wyposażony w funkcję mowy komputer. Reżyser wyznał, że marzy o „aktorze komputerowym”; realizacja tego pomysłu zastąpić może w przyszłości żywą relację między aktorem i widzem. Bezpośredni kontakt z publicznością wnosi w spektaklu jedynie performatywny „przerywnik”, gdy aktorka przekazuje widzom doznania osoby, która przeszła udar mózgu. Czy nadchodzą więc czasy, gdy performans pochłonie teatr bez reszty, a publiczność, powodowana nowymi potrzebami, pożegna wzgardzoną „teatralność” bez żalu? Może zamiast poddania się tej ekspansji należałoby raczej zweryfikować przypiętą „teatralności” etykietę, która sprowadza bogatą tradycję różnorodnych artystycznych konwencji do jednego modelu scenicznego o rodowodzie naturalistycznym i redefiniować pojęcie „teatralności”, w duchu, jaki nadawali mu Artaud, Witkacy, Brecht. Dla nich była ona przeciwieństwem „udania”, stanowiąc demonstrację procesu kreacji artystycznej. „Teatralność” tak rozumiana może – operując metaforą, obrazem poetyckim, działaniami, które pobudzają wyobraźnię – przeobrazić „na niby” w „naprawdę”, przenosząc widza w wyższego rzędu „realność”, w realność sztuki.
Kosmos teorii. Wprowadzenie do konceptu
Authors: Regiewicz Adam
Published: March 2020

Każda grupa społeczna – w tym środowisko naukowe – wytwarza szereg wewnętrznych napięć, które determinują relacje wewnątrz tejże grupy. Można je tłumaczyć teoriami społecznymi, jednak niektóre zjawiska wykraczają poza granice socjologii. Ciekawą propozycję w interpretacji układów wewnątrz grupy przynoszą teorie wszechświata. Przyglądając się modelom i teoriom kosmologicznym, artykuł podejmuje próbę konceptualizacji metafory kosmologicznej w refleksji teoretycznoliterackiej. Na bazie modeli Gutha, Bondiego czy Gödla rozważa się dynamikę rozwoju kierunków badań literaturoznawczych.