CNS Czasopisma Naukowe w Sieci
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Przymiotniki odrzeczownikowe z podstawowymi formantami sufiksalnymi w języku rosyjskim, polskim i macedońskim
No full textThe article analyzes denominal adjectives with basic formatives in contemporary Russian, Polish and Macedonian languages. The suffixes discussed in the text are -ny, -ski, and -owy, and their respective equivalents in each language. Adjectives with these formants are the most frequent and form very productive classes. The paper is an attempt to concisely present the results of the comparative analysis in terms of the distribution of individual suffixes. I take into account the morphological structure and semantics of the derivational base. In each of the discussed languages there is a strong preference for one suffix, and its distribution depends on both morphological and semantic factors.Przedmiotem artykułu są przymiotniki odrzeczownikowe z podstawowymi formantami sufiksalnymi w języku rosyjskim, polskim i macedońskim. Szczególną uwagę poświęcono sufiksom -ny, -ski i -owy oraz ich ekwiwalentom w poszczególnych językach. Przymiotniki z tymi formantami są częste i stanowią produktywną klasę. W językach słowiańskich tworzą szczególną pod względem słowotwórczym klasę. Celem artykułu jest zwarta prezentacja wyników badania porównawczego dystrybucji poszczególnych sufiksów. Pod uwagę wzięto strukturę morfologiczną i semantykę podstaw słowotwórczych. W przypadku każdego z omawianych języków ma miejsce wyraźna preferencja jednego z sufiksów, zaś jego dystrybucja zależy od czynników morfologicznych i semantycznych
Obecność idei kontemplacji w malarstwie Michaela Willmanna
No full textThis article discusses the idea of contemplation in the paintings of Michael Willmann. Though contemplation does not make itself present immediately in his works, the nature of his painting may both stimulate the practice of contemplation and visually exemplify the contemplative practice. In the paper, I consider several alternative ways of understanding contemplation which may be found exemplified in Willmann’s work. I discuss the role of visual representations in the prayer practices of the time as well as the changes in the very idea of contemplation that followed the publication of St Ignatius Loyola’s Spiritual Exercises in 1548. The outlined here account of Willmann’s painting as anchored in the context of historical circumstances steers away from any categorical judgment and is meant as an invitation to personally experience his art
Neutralność polityczna sił zbrojnych w wymiarze prawnokonstytucyjnym
No full textThe principle of neutrality of the armed forces is one of the pillars of their functioning as the body guarding Poland’s security. Members of the armed forces, as well as the armed forces as a whole, are absolutely obliged to comply with this principle. This article discusses the legal, in particular constitutional, regulations of the political neutrality of the armed forces. An analysis of statutory provisions relating to the subject matter is also provided
Общественно-политическая активизация женщин Волыни с конца XIX по 1920-е годы
No full textAt the turn of the 19th century, the situation in Volhynia was not conducive to Volhynian Ukrainian women’s political engagement or, in fact, to their presence in the public sphere as such. Tsarist Russia’s anachronic and repressive policies left Volhynia underdeveloped in civilisational terms and its population almost stripped of any national awareness and largely illiterate, with the illiteracy rate among women topping 80%. Besides, the fact that there was no tradition of women’s organising there and that the dominant cultural models reduced women’s vocation in life to the role of wife and mother was an additional obstacle to Volhynian women’s political and social involvement. Nevertheless, there were notable exceptions: outstanding women whose artistic and public work was an important contribution to Ukrainian life. This group included, for example ,Lesya Ukrainka, her mother Olena Pchilka, who sought to transplant the ideas of the emergent women’s movement into Volhynia int he 1880s, Helena Levchanovska, who was a senator during the first term of the Parliament of the Second Polish Republic, and the leaders of the Union of Ukrainian Women in Volhynia.НарубежеXIXиXXвековусловия,сложившиесянаВолыни,былинеблагоприятны не только для политической активности волынских украинок, но и для их присутствия в общественной сфере в целом. Наследием анахроничной и репрессивной политики царскойРоссиисталинетолькозначительнаяцивилизационнаяотсталостьэтойтерри- тории и очень низкий уровень национального самосознания населения, но и огромная неграмотность, которая среди женщин составляла свыше 80%. Отсутствие традиции женскихобъединенийидоминированиекультурныхмоделей,сводящихжизненноепри- званиеженщиныкролиженыиматери,такжепредставлялисобойдополнительныепре- пятствиядляполитическойиобщественнойактивностиженщинВолыни.Темнеменее, даже в этой ситуации можно выделить выдающихся женщин-деятелей, творчество иобщественнаядеятельностькоторыхсталиважнымидляукраинскойжизни.Вихчисло входилипоэтессаЛесяУкраинка,еематьЕленаПчилка,котораяв1880-егодыпыталась пересадитьнаВолыньидеизарождающегосяженскогодвижения;ЕленаЛевчанивская, депутат первого созыва Сейма Второй Польской Республики, и лидеры Союза украин- скихженщиннаВолыни
Kresy Wschodnie w filmie polskim okresu PRL
No full textFilms that addressed themes related to the Polish Eastern Borderlands, be it only cursorily, were seldom produced under the Polish People’s Republic. More such films were made in the early 1980s as a the state’s policy became somewhat liberalised. They paved the way for similar productions in the following years, which were largely informed by certain myths of the Borderlands, particularly the Arcadian myth and (to a lesser degree) the heroic myth. The filmmakers undoubtedly found it a challenge to reproduce the realities of the Borderlands. In tackling this challenge, they mainly had actors speak in stylised Borderland dialects and portrayed the area as being multicultural and, in a sense, exotic because of its diversity of national communities. These films add up to a theme-oriented movement in the Polish cinema of the 1980s which holds points of interest in artistic and also social terms
Polityczna ontologia oświeceniowego materializmu: płaska ontologia czy radykalna antropologia?
No full textWhat is the politics of Enlightenment materialism? Or, less ambiguously put, what politics does early modern materialism yield? After examining some misconceptions, including older ideas about the necessary link between materialism and the (French) Revolution, I discuss what one might call the implicit politics of ontology in some examples of thoroughgoing ‘materialist political ontology’. Consideration is given to specific cases, like those of Meslier and Diderot, which articulate an argument for a ‘democracy of matter itself’, according to which, if we are all made of the same matter, there can be no divine right of kings.Na czym polega oświeceniowa polityka materialistyczna, albo, mniej dwuznacznie, jaką politykę niesie ze sobą nowożytny materializm? Po omówieniu niektórych nieporozumień dotyczących materializmu, takich jak przekonanie o jego koniecznym związku z (francuską) rewolucją, przyglądam się temu, co można by nazwać polityką ontologii ukrytą w „materialistycznej ontologii politycznej”. Mam tu na myśli takie przypadki jak Meslier i Diderot, w których pojawia się argument na rzecz „demokracji zawartej w samej materii”, zgodnie z którym, jeśli wszyscy jesteśmy stworzeni z tej samej materii, nie może istnieć boskie prawo królów
Humoralna mapa mózgu w średniowiecznej uroskopii na przykładzie traktatu „De iudiciis urine” czternastowiecznego lekarza Tomasza z Wrocławia
No full textThe article discusses assumptions about brain structure based on the example of a passage from 14th century medical treatise De iudiciis urine by Thomas of Wroclaw. Medieval scientists used to explain functions of the brain relying on humoral theory and uroscopy. They divided the brain into four vessels containing four elements: blood, phlegm, bile and melancholy. This article explains why the brain structure was perceived this way and briefly discusses ancient beliefs about this organ, which influenced medieval theories. The paper also presents a transcription and Polish translation of a passage from Thomas’s work containing description of the brain anatomy
Wrocławska kuria książąt legnicko-brzeskich w epoce nowożytnej – perspektywy badawcze
Get PDFThe present seat of the Institute of History of the University of Wrocław is a four-winged complex occupying the northern part of the quarter delimited by Szewska, Uniwersytecka, Kuźnicza and Nożownicza Streets. The buildings in this area date back to the time before the city was granted an urban charter, and in previous centuries the walls of today’s institute housed burgher residences, possibly a synagogue, a ducal curia, a monastery, a Police Presidium office and university teaching rooms. The heyday of the edifice was during the Renaissance and Baroque periods, when the dukes of Legnica and Brzeg had their residence here, followed by the Ursuline Sisters of the Roman Union. In the 16th c. the houses on Szewska Street were transformed into a ducal city palace, which was given representative Baroque forms in the following century through the modernization of the façade and the introduction of stucco and painting ornamentation into the interiors. Based on these, it can be assumed that the leading architects and stucco artists active in Silesia in the early modern period were involved in these reconstructions: Jakub and Franciszek Parr as well as Carlo Rossi and his workshop. The architectural changes made to the former curia at the end of the19th c. and in the first half of the 20th c. resulted in these representative forms ceasing to be recognizable, and the edifice began to be perceived through the prism of purely clerical and didactic functions. This led to an unjustified depreciation of its place and its role in the development of Silesian architecture in the early modern era.
In recent years archaeological and architectural research has made it possible to uncover and expose those elements that determined the rank of the curia in the buildings of early modern Wrocław: walls of three-story houses from the Middle Ages, whose legible door and window openings allow conclusions to be drawn about their original spatial disposition; the beamed ceilings, vaults and architectural details of the Renaissance period; and Baroque stucco ornamentation and painting. These discoveries open up new research perspectives in relation to the forms of the Wrocław curia of the Dukes of Legnica and Brzeg in the early modern period – both in terms of its construction and decoration – and provide an opportunity to verify the assessment of the significance of this building for the development of architecture in the city and the region. The aim of this article is to review key issues for the study of the early modern forms of the palace, their conditions and potential directions of development
Antyczne inspiracje w plastyce figuralnej Georga Leonharda Webera (1672–1739)
Get PDFAppreciation for ancient art in the modern era led to a particular reverence for ancient sculpture. As the process evolved, its scope and scale expanded with the discovery of new statues, the growth of contemporary collections and the emergence of new methods for reproducing classical models. The impact of copies cast in bronze or plaster could not match the popularity and reach of prints depicting ancient figures. Initially published as separate works, over time they also appeared in publishing series (e.g., publications by François Perrier, Jan de Bisschop, Joachim Sandrart, or Giovanni Pietro Bellori and Pietro Santi Bartoli).
The influence of ancient artistic traditions on Baroque artists was not uniform across Europe and depended on many factors. Silesia was not among the privileged regions in this respect, and sculptors working in the area around 1700 had limited possibilities to further their knowledge of ancient art compared to territories closer to Europe’s major artistic centres. This makes the case of Georg Leonhard Weber all the more surprising.
References to ancient art in the figurative sculpture of the Świdnica-based artist are multi-layered. These are usually paraphrases or compilations of ideas derived from several works. His oeuvre reveals numerous references to the most famous ancient statues, such as Belvedere Hermes, Laokoön, Farnese Hercules, Ludovisi Ares, as well as sculptures that are less recognisable but also immortalised in prints: Castor and Pollux, busts of Fauns, Dionysus, or Meleager. The artist acquired his knowledge of ancient works in a manner typical of artists beyond the Alps, mostly through graphic reproductions, and possibly supplemented by studies of copies made in plaster or bronze. Weber also drew on the tradition of modern art assimilating forms taken from ancient visual arts. While these mechanisms were not unusual, the outcomes are exceptional, exceeding the standards of Baroque sculpture in Silesia at the turn of the 17th and 18th centuries. They place the artist from Świdnica at the forefront of a small group of local sculptors of the time – in particular Thomas Weisfeldt and Johann Georg Urbansky – who consciously followed the formula of antiquity-inspired art