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Na styku epok. Porównanie warsztatu twórczego Josepha Riepla i Marcina Józefa Żebrowskiego na przykładzie utworów pro processione

Author(s): Wojciech Karasiński / Language(s): Polish Issue: 02 (29)/2016

In this paper, the author compares aesthetic and stylistic attitude of two composers who worked in Jasna Góra Monastery at the turn of Baroque and Classical eras. The aim of this article is to capture the differences and similarities between the creative output of both artists by comparison of their pro processione pieces, which are a local variant of a church symphony. Collating complexive analysis, the author points characteristic solutions implemented by the composers, which gives rise to denotation their output as baroque or classical. In this way both composers were located on a stylistic timeline – Riepel as a baroque composer who already has implemented some classical elements into his style, and Żebrowski as a representant of galant style with baroque remainders. Outline of the compositional technique was depicted, what in the future can be a starting point for the further researches.

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Stan zachowania rękopisów symfonii Carla Dittersa von Dittersdorfa w Polsce – rekonesans

Author(s): Miłosz Kula / Language(s): Polish Issue: 02 (29)/2016

Carl Ditters von Dittersdorf (1739–1799) has been remembered in history of music in the 18th century as a significant contributor in developing singspiel (comic opera) genre and as a composer famous among double bass players because of two double bass concertos. But recent studies brought to the fore information about a variety of his instrumental music. Between the others, there are more than 120 symphonies. This paper is a report-attempt about present condition of extant Dittersdorf symphonies’ manuscripts, preserved in the contemporary Polish area. There are nine archives and libraries mentioned, where these manuscripts are stored. The richest collection of Dittersdorf’s symphonies is located in Pauline Monastery Archive in Jasna Góra in Częstochowa (PL-CZ), where seventeen manuscripts are stored. All of them preserved in good condition, arisen in last quarter of the 18th century. Other manuscripts we can find in: Archive of Polish Dominicans Province in Kraków (PL-Kd), Cistercian Abbey in Kraków-Mogiła (PL-MO), Benedictine Abbey in Krzeszów/Grüssau (PL-KRZ), Library of Theological Faculty of Opole University (PL-OPsm), Archdiocesan Archive in Poznań (PL-Pa Muz MM), Diocesan Library in Sandomierz (PL-SA) and Special Collections Department of Wrocław University Library (PL-WRu). There is also a piece of information about the manuscript from Pilica (PL-PIk), presumably lost in recent time, which was one of very few examples Dittersdorf’s manuscripts written in the 19th century.

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„Angels and Men’ assisted by this Art, May Sing together, though they Dwell apart”-Angielskie antologie świeckiej i religijnej muzyki wokalnej z drugiej połowy XVII wieku w kolekcji Biblioteki Jagiellońskiej

Author(s): Róża Zuzanna Różańska / Language(s): Polish Issue: 02 (29)/2016

The article describes the group of seventeen early English prints from the second half of the 17th century. The prints are part of the collection of the former Preußische Staatsbibliothek in Berlin kept in The Jagiellonian University and contain ayres and religious songs. Fourteen of them were published by John and Henry Playford. The first part of the paper shows the biographies of the publishers and brings the state of research on their work. The second part includes the detailed description of the seventeen of early English prints. The final part presents the content of the prints and biographies of its most important composers.

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Kadry muzyką opatrzone

Author(s): Wioleta Muras / Language(s): Polish Issue: 01 (28)/2016

Creation of film music is only an episode in all of Witold Lutosławski’s way of oeuvre. He composed music to five films – three of which were not preserved (short films from the 1930s), two others that have been preserved were middle-feature films from the 1940s. This article is an attempt to reconstruct the character of the cooperation between Lutosławski and the directors, outlining the historical context and the circumstances of the works’ creation, and in case of the preserved films, to discuss their musical aspect. Uwaga – komunikat filmowy z frontu pracy (Beware! A Film Communiqué from the Front Lines of Work, 1934) and Gore! (Fire!, 1936) were directed by Eugeniusz Cękalski in cooperation with Stanisław Wohl. Zwarcie (Short Circuit, 1935) was created by Franciszka and Stefan Themerson. We know very little about Lutoslawski’s music in these films, but it was always appreciated in press reviews. After the Second World War documentary films became popular, but they contained propaganda features, which aimed to inform about the scale of devastation of Polish territory. One of them was Odrą do Bałtyku (Via the Oder to the Baltic, 1946) directed by Stanisław Urbanowicz. The sound element of the film has largely an illustrative character (in neoclassical style), it is a background for the narrative’s comment. Various arrangements of songs (Zasiali górale [The mountain people have sown], Przybyli ułani pod okienko [The lancers have come to the window]) which are incorporated in the soundtrack, underline the propaganda message of the film. The last film with Lutosławski’s music was Suita warszawska (Warsaw Suite, 1946) directed by Tadeusz Makarczyński. Again we can hear illustrative music, even real music (urban folk – polka and waltz), but sometimes music is more independent and abstract. After that the composer got several proposal to write film music, but he did not undertake this anymore (mainly for financial and time reasons).

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Muzyka polska w repertuarze Leopolda Stokowskiego

Author(s): Oskar Łapeta / Language(s): Polish Issue: 01 (28)/2016

Nowadays, Leopold Stokowski is recognized as one of the most important conductors of the 20th Century. The artist was very proud of his Polish origin and conducted twenty two compositions written by eleven Polish composers, including Chopin, Wieniawski, Fitelberg, Szymanowski, Tansman, Szabelski, Moniuszko, Lutosławski, Panufnik, Jarecki and Paderewski. During his career Stokowski visited Poland four times. The first two visits (1924 and 1958) were private. The conductor’s first Polish concert took place in Warsaw in May 1959 – on this occasion Stokowski conducted Lutosławski’s Symphony No. 1 and Szymanowski’s Stabat Mater. The press praised Stokowski for bringing from the orchestra his own rich sonorities and for his great sensitivity, and at the same time criticized him for lack of formal discipline. Also Lutosławski was dissatisfied with Stokowski’s interpretation. Stokowski conducted in Poland also in May 1960, when he gave a couple of concerts in Zabrze and Bydgoszcz. Both programmes included compositions by Polish composers – Szabelski and Moniuszko. The conductor was also a close friend of Andrzej Panufnik. Stokowski collaborated with Panufnik when conducting his Symphony for peace and later led the world premiere performance of revised version of the work, entitled Sinfonia Elegiaca. He also conducted Sinfonia sacra and two other world premiere performances of Panufnik’s works – Katyń Epitaph and Universal Prayer. Stokowski recorded some of Polish compositions – both in studio and during concerts. Some of these performances are still unpublished (Fitelberg’s Polish rhapsody, Moniuszko’s Fairy tale overture and Szymanowski’s Stabat Mater), while others have been published (Panufnik’s Universal Prayer, Lutosławski’s Symphony No. 1 and Szabelski’s Toccata). Stokowski’s Polish episodes are intriguing and the present study is the first one to bring to light this forgotten episodes from the great conductor’s biography.

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Kilka uwag o Mszy F-dur Józefa Poniatowskiego

Author(s): Karol Rzepecki / Language(s): Polish Issue: 01 (28)/2016

The music of Polish composers of the Romanticism is still quite a forgotten and undiscovered area. One of the examples of that issue are the works of Joseph Poniatowski (1816–1873), a composer who spent a significant part of his life abroad. His work concentrates mainly on the opera music, which was largely dictated by the environment from which he descended and in which he stayed. The purpose of this article is to draw attention to one of the composer’s forgotten works – Mass in F major, and also to presently selected topics related to this work.

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“If These Walls Could Talk”: Street Art and Urban Belonging in the Athens of Crisis

Author(s): Myrto Tsilimpounidi / Language(s): English Issue: 2/2015

Political street art and slogans appear as visual markers of the shifting, complex discourses of power struggles, marginality, and countercultures that establish a new reality which must be seen and heard. As an art form, it is largely connected to and inspired by the existing social conditions. In the era of crisis, the central Athens of bygone years is now a terrain of conflict and metamorphosis, and the city’s walls are screaming a thousand stories. In other words, city walls are the canvas, and social conditions are the paint in a gallery of untold stories. Redefined symbols, decomposed stereotypes, re visioned aesthetics, and antiracist slogans are the tools for the transformation of walls into social diaries. In this light, street art is examined as a form of social diary, a visual history of marginalized and minority groups. Street art captures the need for self-expression in a changing environment, and street artists actively participate in the production of culture in the micro level by consciously contributing to the need for urban re-visions.

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Berlin, the City of Saturated Walls

Author(s): Natalia Samutina,Oksana Zaporozhets / Language(s): English Issue: 2/2015

“Saturation” is the term suggested by the authors to describe the present state of the visual environment of Berlin, the city that acquired a reputation as the European capital of street art. Saturation is a consequence of the gradual infiltration of graffiti and street art into everyday life and the visual environment of Berlin, and their acceptance by city residents. Berliners’ fondness for street imagery is enhanced by the experience and memory of the independent reappropriation and rearrangement of urban space the city underwent after unification. The memory of the Berlin Wall plays a significant role in sustaining Berlin graffiti and street art cultures. It makes evident the history of the images and their creators and their role in urban communication. Simultaneously it normalizes the ephemerality of street imagery. Visual saturation in Berlin is complemented by the activities of “mediators,” who draw various audiences’ attention to graffiti and street art and encourage the interaction of all interested parties.

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Alison Young. Street Art, Public City: Law, Crime and the Urban Imagination. London: Routledge, 2014

Author(s): Ekaterina Riise / Language(s): Russian Issue: 2/2015

Review of: Ekaterina Riise - Alison Young. Street Art, Public City: Law, Crime and the Urban Imagination.London: Routledge, 2014. 177 pp. ISBN 978-0-415-53869-5.

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David A. Ensminger. Visual Vitriol: The Street Art and Subcultures of the Punk and Hardcore Generation. Jackson: University Press of Mississippi, 2011

Author(s): A. Kolesnikova / Language(s): Russian Issue: 2/2015

Review of: Aleksandra Kolesnik - David A. Ensminger. Visual Vitriol: The Street Art and Subcultures of the Punk and Hardcore Generation. Jackson: University Press of Mississippi, 2011. 336 pp. ISBN 978-1-6170-3073-4.

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Elke Beyer, Anke Hagemann, and Michael Zinganel, eds. Holidays after the Fall: Seaside Architecture and Urbanism in Bulgaria and Croatia. Berlin: Jovis Verlag, 2013

Author(s): Alexandra Wachter / Language(s): Russian Issue: 2/2015

Review of: Alexandra Wachter - Elke Beyer, Anke Hagemann, and Michael Zinganel, eds. Holidays after the Fall: Seaside Architecture and Urbanism in Bulgaria and Croatia. Berlin: Jovis Verlag, 2013. 272 pp. ISBN 978-3-86859-226-9.

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Kronika

Author(s): Martin Pekár,Mikuláš Jančura,Katarína Matavová,Maroš Melichárek,Nikoleta Dzurikaninová,Ivana Červenková,Adam Gajdoš,Alžbeta Bojková / Language(s): Slovak Issue: 1/2014

SLOVENSKÝ ŠTÁT 1939 – 1945, PREDSTAVY A REALITA. ČESKÉ, SLOVENSKÉ A ČESKOSLOVENSKÉ DĚJINY 20. STOLETÍ IX. ARS MONTANA. UMĚLECKÝ A KULTURNÍ TRANSFER V OTEVŘENÉM PROSTORU ČESKO-SASKÉHO KRUŠNOHOŘÍ NA PRAHU RANÉHO NOVOVĚKU (1459–1620). 19th BIENNIAL BALKAN AND SOUTH SLAVIC CONFERENCE ON LINGUISTICS, LITERATURE AND FOLKLORE. HOSŤOVSKÉ PREDNÁŠKY NA KA TEDRE HISTÓRIE FF UP JŠ. XVIII. ARCHÍVNE DNI V SLOVENSKEJ REPUBLIKE. HOLOKAUST NA ÚZEMÍ DNEŠNÉHO JUŽNÉHO SLOVENSKA. DISKUSNÉ VEČERY ÚSTAVU PAMÄTI NÁRODA A KATEDRY HISTÓRIE FF UPJŠ V KOŠICIACH. VÝUČBA REGIONÁLNYCH DEJÍN NA ZÁKLADNEJ ŠKOLE – FORMY, METÓDY, KONCEPCIE, SKÚSENOSTI. THE GREAT WAR: REGIONAL APPROACHES AND GLOBAL CONTEXTS. INTERNATIONAL CONFERENCE ON THE OCCASION OF THE FIRST CENTENNIAL OF THE BEGINNING OF WORLD WAR ONE.

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Czarna perła. Kino popularne między kolonializmem a nowoczesnością

Author(s): Oliwia Mimi Bosomtwe / Language(s): Polish Issue: 01/2016

Czarna perła, 7lm Michała Waszyńskiego z 1934 roku, w przewrotny sposób prezentuje klimat i nastroje społeczne panujące w międzywojennej Polsce. Dla Modrisa Eksteinsa balet rosyjski Diagilewa oraz wywrotowe i pełne nowej energii Święto Wiosny Igora Strawińskiego były – wraz z oburzeniem towarzyszącym premierze – zapowiedzią Wielkiej Wojny (Eksteins, ;1996, 21-69). Podobnie niepozorny film Waszyńskiego i stojąca za nim historia ilustrują kontrastowość i wielogłosowość polskiej tożsamości pomiędzy wojnami. Korzystając z pojęcia „wernakularnego modernizmu” (Hansen,2008,243-244) oraz kategorii klasy, rasy i kolonializmu Y, chcę przedstawić Czarną perłę jako produkt nastroju polskiego dwudziestolecia międzywojennego. Film ten można traktować jako tekst kultury popularnej syntezujący elementy głównych problemów nowoczesności po I wojnie światowej, takich jak napięcie między klasami społecznymi, geopolityczny układ sił związany z imperializmem czy nowe znaczenie kobiecości. Interesuje mnie to, jak te kwestie przenikały do kultury popularnej w Polsce, kraju peryferyjnym, choć pełnym fantazji i aspiracji wznieconych przez odzyskanie niepodległości w 1918 roku. Postaram się to prześledzić, analizując Czarną perłę.

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W metropolii i poza nią – kina na Dolnym Śląsku przed rokiem 1945

Author(s): Andrzej Dębski / Language(s): Polish Issue: 04/2015

The article addresses issues of regional cinema history in the case of Lower Silesia before the year 1945 and enlivens the discourse on the relationship between metropolis (Wrocław) and periphery. The development and growing significance of cinemas in local communities is shown on the examples of Strzelin – then a city of several thousand residents – and Kloster Street in Wrocław. Discourse of metropolis and periphery is expanded by the examples from Świdnica (“the first stationary cinema in Silesia”), Polanica Zdrój (“the biggest cinema in Kłodzko County”) and Bolesławiec (“the first city in Lower Silesia in which sound films where projected”). The article is concluded with a description of Historical Database of Cinemas in Lower Silesia, which – being a tool for data capturing and analysis – constitutes a substantial support for traditional methods of research in humanities.

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Kino i kultura popularna w Piotrkowie przed pierwszą wojną światową

Author(s): Marta Piestrzeniewicz / Language(s): Polish Issue: 04/2015

In the 19th century Piotrkow was a town where Polish and Jewish society lived together. Poles, however, presented a greater percentage of the whole society, that was 60% . Since1867 the development of economy and culture was directly associated with the administrative functions of the town. Those who organized the cultural life in the town were mainly the intellectuals. They initiated a great number of social enterprises as well as formed the public opinion. Moreover, the news from Warsaw exerted the direct influence on the cultural life of the town. The capital city of Poland affected Piotrkow in nearly each sphere of life. The Warsaw press was subscribed and the Warsaw repertoire of theatres and cinemas was imitated.

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Dlaczego Superman nie mógł być Żydem? Tożsamość żydowska w komiksie amerykańskim i frankofońskim

Author(s): Martyna Steckiewicz / Language(s): Polish Issue: 03/2015

Beginning with Superman and the Golden Age of American Comic Books, by Will Eisner’s graphic novels and Art Spiegelman’s underground stories, till the most recent examples of artists from both American and Francophone comic schools – there is a long history of Jewish motives in the comic stories. The article presents an analysis of the relations between the identity of the authors and their comic books. Among them are i.a. Art Spiegelman, Michel Kichka and Jérémie Dres who represent both different artistic generations and cultural backgrounds; yet, they all explore the issue of Jewishness and express their thoughts by using the language of comic books.

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Wątki żydowskie w polskim kabarecie na początku XXI wieku

Author(s): Diana Karwowska / Language(s): Polish Issue: 03/2015

The paper deals with the image of Jews in contemporary Polish cabaret. Increasingly, homegrown artists take up the subject of anti-Semitism and intolerance although sometimes they include stereotypical figures, clever Jews. Sometimes you can still find very nostalgic references to the lost past. Generally, this subject does not enjoy the popularity of cabaret performers; their focus on describing the present Polish society rarely takes into account any representatives of other nationalities. The analysis of these representations is supplemented by the reflection on the vitality of prejudices against the Jewish community and the place of their Polish heritage in popular culture.

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Profesjonalni amatorzy. Uwagi o profesjonalizmie e‑recenzji filmu (na przykładzie internetowych recenzji Znaków Manoja Nighta Shyamalana)

Author(s): Leszek Bedkowski / Language(s): Polish Issue: 01/2015

The article investigates the issue concerning determinants of professionalism in movie e‑reviews in the context of theoretical reflection on genre determinants of a journalistic review and practices of past and modern online reviews. Referring to online reviews of the movie by Shyamalan, there was indicated that the presence of their elements and aspects (title, presence of information about the work, discussion on the work, ranking of the movie, review’s language, and usage of the specific nature of mass media) is building the press e‑review professionalism. First of all, the attention was paid to substantive competences of e‑reviewer, which in particular translates into the ability of interpreting the movie‑work and to discuss its different issues, and they were considered to be crucial when issuing expert review. Referring to Signs, the sphere of professional reviews would cover, among others, recognition of „double coding" and intertextuality of the movie, or even the play with conventions of genre and the range of expectations of the audience, being performed by Shyamalan simultaneously.

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„Czciciele torrentów” Rozważania o współczesnym modelu kinofilii

Author(s): Grzegorz Zyzik / Language(s): Polish Issue: 01/2015

Contemporary cinema screen seems to be losing the status of the dominant interface for the viewer of the movie. Digitalization and computerization have contributed to the transfer of a film text in precinct other “media generation” and cultural codes. Susan Sontag predicting the collapse of the movies this process was associated with the disappearance cinephil in its current form. The purpose of this article is to answer the question of whether today we can talk about the experience cinephil. Experience film gains its specificity by the fact that there is a network of different types of discourses. The article aims to present contemporary model cinephily. Its specificity is associated with the activities of network users. Since everything today is changing, it becomes logical to introduce them also in the traditional meaning of the concepts cinema and cinephile. Interesting also seems to question whether the experiences of modern cinephiles enter the canon of human customs and practices of the XXI century, and if so, what will take place. The conclusions of the issues raised will be used to answer questions about the shape of modern cinephily, its implications for changes in the perception of film content and specific to redefine the relationship between reality and media representation.

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Beyond: Two Souls jako medialna hybryda filmu i gry wideo

Author(s): Katarzyna Marak / Language(s): Polish Issue: 01/2015

The introduction and employment of new, advanced technology solutions create new possibilities for a variety of media texts. Furthermore, new technologies allow for blending of not only genres and media forms, but also art forms and industries. Such processes can be observed in the case of film industry and the video game industry. The interactive drama Beyond: Two Souls, directed by David Cage and published by QuanticDream, is an excellent example of such fusion; due to traits characteristic of both cinema texts and video game texts, such as cast that includes actors famous both in film industry and video game industry, complex plot, incredible graphics and the seamlessly integrated interactivity, Beyond: Two Souls illustrates very well the gradual dissolution of the barrier between films and games.

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