Klejnot miasta zaginiony. Zarys dziejów krakowskiego kościoła Wszystkich Świętych do końca XVI wieku

Author(s): Katarzyna Walczak / Language(s): Polish Issue: 1/2013

Jeden z najstarszych krakowskich kościołów, kościół pod wezwaniem Wszystkich Świętych wznosił się na skrzyżowaniu ulic Grodzkiej i Franciszkańskiej. Zbudowany w XIII wieku, był prawdopodobnie budowlą zastępczą dla pierwszej krakowskiej parafii, przeniesionej z kościoła św. Trójcy przekazanego dominikanom. Wiadomo, że prawa parafialne posiadał w roku 1327, wtedy też po raz pierwszy dowiadujemy się o zasięgu tej najmniejszej, a zarazem najgęściej zaludnionej krakowskiej parafii. W źródłach wezwanie kościoła pojawia się po raz pierwszy w Żywocie św. Stanisława, po raz kolejny w roku 1278 wymieniony został jako świadek proboszcz Arnold. Interesującym faktem jest, że w kolejnym źródle – spisach świętopietrza z 1325–1327 roku pojawia się już dwóch proboszczów, posiadających osobne uposażenie, oraz nazywanych proboszczami części drewnianej i murowanej. W 1490 roku kościół uzyskał tytuł kolegiaty. Wtedy to zostało zniesione podwójne proboszczowstwo zamienione na dziekanię i preopozyturę. Przy kościele funkcjonowało powołane przez bp. Zbigniewa Oleśnickiego Bractwo Ubogich oraz szkoła parafialna datowana na wiek XIV.Zachowane przekazy ikonograficzne, w większości sporządzone w okresie postępującej ruiny kościoła, oraz w czasie decyzji o jego rozbiórce ukazują budowlę dwunawową, orientowaną z płasko zakończonym prezbiterium. Do budowli przylegała wieża, zakrystia, skarbiec oraz kaplica, nazywana capella antiqua. Opis wnętrza kościoła pochodzi z wizytacji sporządzonej w 1599 roku na polecenie biskupa krakowskiego Jerzego Radziwiłła.W związku z decyzją Komitetu Upiększania Miasta kościół został rozebrany w roku 1835. Sprzęty kościelne zostały zlicytowane. Ostatnim jego śladem była wieża, która przetrwała do roku 1840, kiedy to podzieliła losy budowli. /One of the oldest churches in Krakow, dedicated to All Saints, was situated between Grodzka and Franciszkańska Street. It was build in the XIII century, could had been replacement church for first Cracow’s parish, which was transferred from Saint Trinity church. The name of All Saints church was mentioned for the first time in Vita S. Stanislai. The second time in 1278 his rector Arnold was noted. Most interesting fact is that in the Tables of Pence from 1325–1327 you can find two rectors, who had separate salary and were called rectors of wooden and brick churches. In 1490 church got a collegiate title. Than double rectory was liquidated and positions of provost and dean were established. Church was a place where Brotherhood of the Poor created by Bishop Zbigniew Oleśnicki used to work.Our knowledge of churches looks comes from iconography which was made when the building was already a ruin. According to those sources church had two naves, was oriented and had simply completed presbytery. The building had adhered tower, sacristy, treasure and chapel, called capella antiqua. Description of the interior of the church comes from 1599, when Jerzy Radziwiłł, Bishop of Cracow had visited it.According to the decision of the City Beautification Committee, the church was demolished in 1835, and church’s equipment was sold on auction. The tower survived till 1840, when it shared the fate of the rest of the building

Znaczenie historyczne i wartość artystyczna szat liturgicznych z opactwa benedyktynów w Tyńcu

Author(s): Karolina Stanilewicz / Language(s): Polish Issue: 2/2015

Zachowane do dziś szaty liturgiczne z opactwa benedyktynów w Tyńcu świadczą o wysokim poziomie rozwijającej się w tym ośrodku kultury religijnej i artystycznej. Na skutek kasaty austriackiej klasztoru w 1816 roku zabytki te uległy rozproszeniu. Odnajdziemy je dzisiaj poza Tyńcem, przede wszystkim w katedrze tarnowskiej i Muzeum Diecezjalnym w Tarnowie oraz w kościołach archidiecezji krakowskiej i diecezji tarnowskiej. Do nowo odkrytych, zachowanych w opactwie tynieckim należą trzy ornaty: zielony z włoskiego aksamitu cyzelowanego z 1. ćw. XVII wieku (il. 1), czerwony z weneckiego lub genueńskiego aksamitu z 3 ćw. XVII wieku (il. 2) i czerwony z adamaszku broszowanego (il. 3), należący do opata komendatoryjnego i prymasa Stanisława Szembeka oraz pięć makat, uszytych za opata Placyda Galińskiego (1969–1977) z tkanin z XVII i XVIII wieku (il. 4). W katedrze tarnowskiej znalazł się ornat oznaczony kartuszem herbowym opata komendatariusza i prymasa Teodora Potockiego. Z kościoła parafialnego we wsi Brzozowa w diecezji tarnowskiej pochodzi najpewniej tyniecki ornat ufundowany przez króla Stefana Batorego. Ponadto „tynecjana” odnajdziemy także w Tuchowie, gdzie benedyktyni mieli swoją prepozyturę w latach 1460–1821. W obecnym Sanktuarium Najświętszej Maryi Panny, nad którym opiekę sprawuje zakon redemptorystów, znalazło się pięć ornatów, ozdobionych rodzimym haftem w okresie od końca XVII do połowy XVIII wieku. Dwa podobnie wykonane ornaty zachowały się także w kościele parafialnym pw. św. Jakuba. Preserved to this day vestments of the Benedictine Abbey of Tyniec prove a high level of the religious and the artistic culture which was developed in this environment. These monuments were dispersed as the result of Austrian dissolution of monastery in 1816. We can find them today outside Tyniec, most of all in the cathedral and Museum of Diocese in Tarnów as well as in the churches in Archdiocese of Cracow and Tarnów. To the newly discovered chasubles preserved in the Abbey in Tyniec belong: the green chasuble made from Italian ciselé voided velvet from 1st quarter of 17th century (il. 1), the red chasuble made from Venetian or Genoese velvet from 3rd quarter of 17th century (il. 2) and the red chasuble from brocaded silk damask (il. 3) owned by the commendatory Abbot and the Primate Stanisław Szembek and also five hangings sewn in the times of Abbot Placyd Galiński (1969–1977) made from 17th and 18th century fabrics (il. 4). There was found in the cathedral in Tarnów the chasuble marked by cartouche with the coat of arms of Teodor Potocki, the commendatory Abbot and Primate. From parish church in the village Brzozowa in diocese of Tarnów most probably comes the chasuble founded by King Stefan Batory. Furthermore we can find the monuments of Tyniec in Tuchów where Benedictines had their prepositure in the years 1460–1821. In the current Sanctuary of the Blessed Virgin Mary which is under the care of the The Congregation of the Most Holy Redeemer (Redemptorists) there was found five chasubles decorated with native embroidery in the period between the end of 17th century and half of the 18th century. Two similarly made vestments were also preserved in the parish church of St. James.

Изобразительный и текстографический источник как метод определения типа молдавской монеты XIV – XVI вв.

Author(s): Stepan P. Sadovnikov / Language(s): Russian Issue: 6/2004

Analysis of images and legends on first Moldavian coins minted by Peter I Musat (1377-1392) enabled the author to infer that they were creation of a foreign engraver from Poland. Working upon iconography of Moldavian stamps and money, the master used as a model some visual elements of Polish and, to a smaller degree, of Hungarian coins. In researcher’s opinion, a peculiar interpretation of the main figure on the stem – head of the legendary aurochs – as an animal similar to bison is indicative of a link with heraldry of German and Polish lands extending north and north-west of Moldavia.

Архаический головной убор (археология, этнография, народное искусство)

Author(s): Natalia V. Zhilina / Language(s): Russian Issue: 6/2010

An archaic headgear made of natural materials is a work of folk art. It has similar stages of development in different regions. These stages are known by archaeological and ethnological material. Delineations of Medieval Ages and modern history reflect the forms of archaic headgear. Creative activity of 19—20 centuries also repeats these forms. So, the retrospective method, based on different sources of the same phenomena, can be used.The main types and stages of the headgear characterized in the article are: maiden wreath, female band gear, width-like gear, kichka-like gear, cap and kokoshnik. Typical characteristics of headgear in the whole and its decorations are defined for every stage.The purpose of the article was to show the retrospective method of research, using sources of different epochs and regions.

Artyści na uniwersytecie. Sytuacja zawodowa twórców zatrudnionych na wydziałach nieartystycznych (na przykładzie pracowników Uniwersytetu w Białymstoku). Marzanna Morozewicz i Dorota Świdzińska w rozmowie z Joanną Sacharczuk

Author(s): Marzanna Morozewicz,Dorota Świdzińska,Joanna Sacharczuk / Language(s): Polish Issue: 2/2017

The conversation focuses on the current professional situation of visual artists, musicians, film makers and dramatists employed at non-artistic faculties of universities, illustrated with the example of the Faculty of Pedagogy and Psychology of the University of Białystok. The texts discusses the difficulties these artists experience, as well as the needs and expectations of the University as their employer. The goal of the interview is to describe the professional situation of artists employed at non-artistic faculties before and after the introduction of parametrization of scientific output. We will point to the problems that may arise in their jobs, resulting from the fact that artistic work at non-artistic faculties is not subject to parametrization. We will outline the differences between artistic work and research work and we well enumerate the benefits of artistic education of students at non-artistic faculties.

Two Cinematic Portrayals of Teachers: John Keating in Dead Poets Society and Terence Fletcher in Whiplash

Author(s): Kaja Zabłocka / Language(s): English Issue: 1/2016

This paper is devoted to two selected teacher figures appearing in American film. John Keating (Dead Poets Society) and Terence Fletcher (Whiplash) are going to be analyzed with regard to their beliefs, their methods, and their impact on students. The introduction refers to the prevailing cinematic image of teachers as heroes who inspire and support their students. Another feature common for many onscreen teachers, including Keating and Fletcher, is their being based on real-life figures. The first section describes Keating’s and Fletcher’s beliefs influencing their work. Keating believes his role is to build students’ confidence, make them feel they can change the world, and convince them they should seize the opportunities life provides them with. Fletcher is in favor of the view that students should not be praised, but pushed to their limits for the sake of results. The next part deals with the differences in Keating’s and Fletcher’s methodologies. Keating aims at replacing a traditional approach to education with demonstration and involving students in practical activities. For Fletcher, maintaining a sense of threat in his students is the key to motivating them. Finally, the analysis turns to Keating’s and Fletcher’s impact on their students. Keating’s teaching makes his students pursue new interests or manage their personal matters effectively. Fletcher’s influence is best reflected by his students’ anxiety, exhaustion, and – in some cases – the increased drive to practice.

My City, My ‘Hood, My Street: Ghetto Spaces in American Hip-Hop Music

Author(s): Lidia Kniaź / Language(s): English Issue: 1/2017

As a subculture created by black and Latino men and women in the late 1970s in the United States, hip-hop from the very beginning was closely related to urban environment. Undoubtedly, space has various functions in hip-hop music, among which its potential to express the group identity seems to be of the utmost importance. The goal of this paper is to examine selected rap lyrics which are rooted in the urban landscape: “N.Y. State of Mind” by Nas, “H.O.O.D” by Masta Ace, and “Street Struck,” in order to elaborate on the significance of space in hip-hop music. Interestingly, spaces such as the city as a whole, a neighborhood, and a particular street or even block which are referred to in the rap lyrics mentioned above express one and the same broader category of urban environment, thus, words connected to urban spaces are often employed interchangeably.

Petko Todorov’s Plays and the Poetics of European Symbolism

Author(s): Dina Mantcheva / Language(s): English Issue: 1/2018

The paper examines Petko Todorov’s five symbolist plays (Masons, Strahil the Redoubtable Haidout, The Fairy, Bride Boryana, and Dragon’s Wedding) from the perspective of European symbolist drama to emphasize their common aesthetic principles and their specific originality. The comparative analysis thus defined leads to the conclusion that Petko Todorov’s works follows the structural principles of Symbolist drama yet they have their own specifics. The unconventional structure of the dramatic action and dialogue; the wide use of music and painting in the staging of the plays as well as their new genre form make Todorov’s works akin to the francophone Symbolist model. On the other hand, the moral dimension and the pervading national atmosphere in the Bulgarian dramas betray their indebtedness to the Russian Symbolist drama. Finally, the de-valorisation of the fantastic characters and the playing down of Romantic and realistic elements in Petko Todorov’s dramas are totally unknown to the European Symbolist theatre. In this way, Petko Todorov’s dramas are a peculiar combination of Symbolist poetics and influences of the Bulgarian national context. They follow their own development and contribute hereby to the specific evolution of the Bulgarian modernist theatre.

Дисертации 2018

Author(s): Nikola Kazanski / Language(s): Bulgarian Issue: 36/2018

Defended PhD theses in Bulgaria in the field of linguistics, literature, history, folklore, ethnography and art studies

Научни форуми 2018

Author(s): Nikola Kazanski / Language(s): Bulgarian Issue: 36/2018

Data about scientific events in the field of the humanities in Bulgaria in 2018.

Дмитрий Лихачов. Руската култура

Author(s): Dimitrina Lesnevska,Radoslava Lesnevska / Language(s): Bulgarian Issue: 36/2018

“Zur Müllerin hin / so lautet der Sinn?” Power Structures in the Performance Tradition of Franz Schubert’s Die schöne Müllerin and Winterreise

Author(s): Thomas Wozonig / Language(s): English Issue: 04 (35)/2017

Since the middle of the 19th century, Franz Schubert’s song cycles Die schöne Mullerin and Winterreise are not only considered as an outstanding contribution to the Lied genre, but also as “romantic” compositions par excellence, whose protagonists might be depicted adequately only by performances of male singers. The “masculine nature” (Carl Lafite) of these thoughts, emotions and actions might be inappropriate for female singers. This attitude, which is still present today (even amongst professional musicians and musicologists), though, contradicts not only the performance practice of the early 19th century, but even Schubert’s handling of his songs. In fact, the idea of these two cycles as “men’s cycles” has only developed in the course of the 19th century, when various impacts such as the general upvaluation of the Lied genre, the transfiguration of the composer, the interpretation of his songs as being a personal statement, and the idea of Werktreueshaped the reception of Schubert’s compositions. These factors led to the consolidation of strong and still valid power structures, in which men are regarded as the norm, whereas women (and other alternative voice categories like countertenors) appear as deviation from this norm. These structures are tightly related to similar conditions and principles which have been outlined in the past decades by the masculinity studies on higher levels of our society. In this paper, I will set out this whole process by delineating the performance practice at Schubert’s time, his own attitude (insofar as it is possible), the various influences of romantic musical aesthetics, and the development of the mentioned performance tradition towards the end of the 19th and the beginning of the 20th century. Furthermore, a number of statements from the 21st century will demonstrate that these concepts are still common today, and I will correlate them with some certain principles pointed out by masculinity studies from the last decades.

Z problematyki recepcji twórczości Giovanniego Battisty Bassaniego. Charakterystyka utworów kompozytora zachowanych w zbiorze muzykaliów po grodziskiej kapeli parafialnej

Author(s): Karolina Majewska / Language(s): Polish Issue: 04 (35)/2017

The work concerns Giovanni Battista Bassani’s output and its reception with a particular emphasis on manuscripts preserved in the collection from parish church in Grodzisk Wielkopolski. The oeuvre of this composer has been preserved to a huge amount today—there are 441 manuscripts and 67 prints preserved in 287 copies.The article consists of two parts. The first chapter presents a list of sources of the composer’s works, created using the RISM database with special attention to the Polish sources. In addition, a list of sources identified as the transmission of Bassani’s output is presented. The second part of the article characterises the composer’s works preserved in the collection from parish church in Grodzisk Wielkopolski.

Kolekcja rękopisów symfonii Carla Dittersa von Dittersdorfa z Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden

Author(s): Miłosz Kula / Language(s): Polish Issue: 04 (35)/2017

Dresden played no role in Carl Ditters von Dittersdorf’s life, but history made this city one of the most significant places regarding preserved sources of his works. In the Department of Special Collections (German: Sondersammlungen) of the Sächsische Landesbibliothek—Staats- und Universitätsbibliothek in Dresden (English: Saxon State and University Library Dresden, abbr.: SLUB), there are, among others, more than thirty archival sources containing Carl Ditters von Dittersdorf’s symphonies. That makes it the third richest collection of symphonic works by this composer. The majority of them comes from court’s theatre of Duke Frederick August Braunschweig-Oels in Oels (Öls, Polish: Oleśnica). It is one of the most representative collections of Dittersdorf’s symphonies from all known archives. There are several composer’s autographs, partial autographs, a large variety of works from all periods of his activity, and a few unique copies of symphonies as well. A minor body of Dittersdorf’s symphonies comes from two different sources, until recently unknown. One group is the set of partbooks (contemporary with Dittersdorf), including—apart from Dittersdorf’s works—several dozen movements of serenades, symphonies, string quartets etc. of G.B. Sammartini, J.G. Graun, J.Ph. Rameau, the Stamitz family and J. Haydn, apparently used in performances on the occasion of court activities, not in concerts. The second, from 1860s, is the set of scores, prepared by C. Mehner.

Arthur Honegger wobec Jeana Cocteau i Grupy Sześciu

Author(s): Mateusz Melski / Language(s): Polish Issue: 04 (35)/2017

The purpose of this article is to present a broad spectrum of relations between Arthur Honegger—a composer, and Jean Cocteau—a poet and playwright. They are often associated with the group under the patronage of Cocteau called Les Six, to which Honegger undoubtedly belonged. The poet gathered young composers around himself and became the initiator of artistic meetings and concerts. Most of them took place between 1917 and 1921. Cocteau wanted to show the path French music should follow. In accordance to that, his aesthetic manifesto Le Coq et l’Arlequinwas published in 1918.In the first section, Honegger’s and Cocteau’s aesthetic views concerning music, its elements expression are presented and confronted. Next, the composer’s as well as poet’s work is presented by the example of their cooperation.The analysis of mutual relations leads to the conclusion that, despite many different views, Honegger and Cocteau respected each other and were very kind. The composer significantly departed from the ideals of Cocteau and developed his own individual style resulting from a wide range of musical inspirations. Les Six was a short-lived group and Cocteau himself was gradually moving away from his controversial and radical views.

Paul Hindemith a idea postępu, tradycja i neoklasycyzm

Author(s): Joanna Księska-Koszałka / Language(s): Polish Issue: 04 (35)/2017

Paul Hindemith is one of the most famous composers of the 20th century as well as the most important thinkers in the field of music. His aesthetic beliefs are inspired mainly by Boethius and Saint Augustine. He raises an issue of ideas of tradition and progress, which seemed quite disputable in the music of the 20th century. Hindemith believes that in the world exist some universal spiritual principles, which must be integrated by composers in the process of creating music. He criticises the approaches in which the technique itself appears to be predominant, therefore he negates such techniques as the twelve-tone chromatic scale. According to Hindemith, the development of music must be based on traditional fundaments, which, however, can be linked to modern styles and ideas. That seems crucial not only in the process of composing, but also in teaching music, both in theory and in practice.

Giovanni Battista Bassani—Reception of the Output and Characteristic of the Compositions Preserved in the Musical Collection of Grodzisk Parish Chapel

Author(s): Karolina Majewska / Language(s): English Issue: 04 (35)/2017

The work concerns Giovanni Battista Bassani’s output and its reception with a particular emphasis on manuscripts preserved in the collection from parish church in Grodzisk Wielkopolski. The oeuvre of this composer has been preserved to a huge amount today—there are 441 manuscripts and 67 prints preserved in 287 copies.The article consists of two parts. The first chapter presents a list of sources of the composer’s works, created using the RISM database with special attention to the Polish sources. In addition, a list of sources identified as the transmission of Bassani’s output is presented. The second part of the article characterises the composer’s works preserved in the collection from parish church in Grodzisk Wielkopolski.

The Collection of Manuscripts of Carl Ditters von Dittersdorf’s Symphonies from Sächsische Landesbibliothek— Staats- und Universitätsbibliothek Dresden

Author(s): Miłosz Kula / Language(s): English Issue: 04 (35)/2017

Dresden played no role in Carl Ditters von Dittersdorf’s life, but history made this city one of the most significant places regarding preserved sources of his works. In the Department of Special Collections (German: Sondersammlungen) of the Sächsische Landesbibliothek—Staats- und Universitätsbibliothek in Dresden (English: Saxon State and University Library Dresden, abbr.: SLUB), there are, among others, more than thirty archival sources containing Carl Ditters von Dittersdorf’s symphonies. That makes it the third richest collection of symphonic works by this composer. The majority of them comes from court’s theatre of Duke Frederick August Braunschweig-Oels in Oels (Öls, Polish: Oleśnica). It is one of the most representative collections of Dittersdorf’s symphonies from all known archives. There are several composer’s autographs, partial autographs, a large variety of works from all periods of his activity, and a few unique copies of symphonies as well. A minor body of Dittersdorf’s symphonies comes from two different sources, until recently unknown. One group is the set of partbooks (contemporary with Dittersdorf), including—apart from Dittersdorf’s works—several dozen movements of serenades, symphonies, string quartets etc. of G.B. Sammartini, J.G. Graun, J.Ph. Rameau, the Stamitz family and J. Haydn, apparently used in performances on the occasion of court activities, not in concerts. The second, from 1860s, is the set of scores, prepared by C. Mehner.

Arthur Honegger and His Relation to Jean Cocteau and "Les Six"

Author(s): Mateusz Melski / Language(s): English Issue: 04 (35)/2017

The purpose of this article is to present a broad spectrum of relations between Arthur Honegger—a composer, and Jean Cocteau—a poet and playwright. They are often associated with the group under the patronage of Cocteau called Les Six, to which Honegger undoubtedly belonged. The poet gathered young composers around himself and became the initiator of artistic meetings and concerts. Most of them took place between 1917 and 1921. Cocteau wanted to show the path French music should follow. In accordance to that, his aesthetic manifesto Le Coq et l’Arlequinwas published in 1918.In the first section, Honegger’s and Cocteau’s aesthetic views concerning music, its elements expression are presented and confronted. Next, the composer’s as well as poet’s work is presented by the example of their cooperation.The analysis of mutual relations leads to the conclusion that, despite many different views, Honegger and Cocteau respected each other and were very kind. The composer significantly departed from the ideals of Cocteau and developed his own individual style resulting from a wide range of musical inspirations. Les Six was a short-lived group and Cocteau himself was gradually moving away from his controversial and radical views.

Paul Hindemith and the Idea of Progress, Tradition and Neoclassicism

Author(s): Joanna Księska-Koszałka / Language(s): English Issue: 04 (35)/2017

Paul Hindemith is one of the most famous composers of the 20th century as well as the most important thinkers in the field of music. His aesthetic beliefs are inspired mainly by Boethius and Saint Augustine. He raises an issue of ideas of tradition and progress, which seemed quite disputable in the music of the 20th century. Hindemith believes that in the world exist some universal spiritual principles, which must be integrated by composers in the process of creating music. He criticises the approaches in which the technique itself appears to be predominant, therefore he negates such techniques as the twelve-tone chromatic scale. According to Hindemith, the development of music must be based on traditional fundaments, which, however, can be linked to modern styles and ideas. That seems crucial not only in the process of composing, but also in teaching music, both in theory and in practice.