CNS Czasopisma Naukowe w Sieci
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La littérature française de la post-Shoah au prisme du postmodernisme | Helena Duffy (2022). « The Holocaust in French Postmodern Fiction. Aesthetics, Politics, Ethics ». Cambridge : Legenda
No full textPourquoi la littérature ? Incursions dans l’interprétation | Colin Davis (2024). « Literature, Interpretation and Ethics. » Abingdon–New York : Routledge
No full textMuseum of Theatre in Wrocław – a small, but remarkable collection
No full textThe paper explores Małgorzata Bruder’s curatorial concept for the permanent exhibition of the Museum of Theatre in Wrocław. The institution has operated since 2017 as a branch of the Wrocław City Museum. The main thesis is that the exhibition’s narrative is unique among Polish museums devoted to artists associated with the theatre. Its distinctiveness lies in its curatorial strategy, which focuses not on performances but on the people who create theatre and its backstage world. At the centre of the exhibition space sits the legacy of Henryk Tomaszewski, founder of the Wrocław Mime Theatre. His personality is presented through the reconstruction of his private apartment and the objects it contained, including his rare toy collection
Semiografia i pismo asemiczne w praktyce książki artystycznej. Studium autoetnograficzne
No full textGraficzne ilustracje w dziełach Angelusa Silesiusa
No full textThe most important works of Angelus Silesius contain frontispiece illustrations with figural representations. We can find them both in the poetry volumes Geist=Reiche Sinn= und Schluß=Reime... (Wienn 1657), Heilige Seelen=Lust... (Breßlau 1668) and Cherubinischer Wandersmann... (Glatz 1675), as well as in the collection of thirty-nine Counter-Reformation polemical writings by Scheffler entitled Ecclesiologia oder Kirche=Beschreibung... (Neiß und Glatz 1677) and Köstliche Evangelische Perle... (Glatz 1676), which was Angelus Silesius’ German translation of the Dutch mystical treatise Margarita evangelica. These illustrations were designed and graphically developed by the most prominent artists active at the time in Vienna (Gerhaert Boutatts, Tobias Sadeler, Johann Martin Lersch) and Silesia (Michael Willmann, Johann Baptista Paravicinius). The iconography of graphic illustrations in the works of Angelus Silesius is closely linked to the text. The spiritual journey of the ‘awakened’ Human Soul towards the Divine Being shown on the frontispiece pages in both editions of Cherubinischer Wandersmann perfectly illustrates the purpose of the work, which was, as Angelus Silesius himself writes in the Preface admonishing the reader, to encourage the reader to “ardently love God”, so that they could begin eternal life “as far as possible, already in this mortal shell”. Furthermore, in the preface to the treatise Köstliche Evangelische Perle, translated by Angelus Silesius, we find an explanation of the meaning of the work’s opening title depiction and the pearl shown therein, in the centre between the figures of Jesus Christ and the human Soul as Bride. The work – “treasure beyond compare, through which man can become eternally rich in God” – is in fact repeatedly likened to a “delicious pearl of great value”. Moreover, this “evangelical pearl” was at the same time intended to symbolise the spiritual perfection to which the human soul aspires, namely, “likeness to Christ (which is the kingdom of heaven within us)”. On the other hand, the open book shown in the frontispiece representation in the Ecclesiologia, with the title of the work held in its beak by the dove of the Holy Spirit, allows us to directly relate the symbolic meaning of this extended scene of the heretics’ ineffective assault on the Catholic Church to the theological work of Angelus Silesius. At what point, then, was Angelus Silesius involved in the preparation of the graphic illustrations included in his most important works? There is no doubt that they were created on the initiative of the publishers of these books, as they were responsible for organising the whole process and for providing the appropriate graphic setting. The integral relationship between the iconography of the graphic representations and the textual content of Angelus Silesius’ works, however, clearly indicates that it was most likely the author himself who prepared written instructions for the artists as to what should be depicted in these representations. The Silesian poet and mystic was keen on the presence of the pictorial elements in his poetic and theological works, for he was fully aware of the enormous role of art in the propagation of the Catholic faith, something he expressed more than once in his polemical works. Only the subsequent 1701 and 1713 publications of Angelus Silesius’ most important work, the Cherubinischer Wandersmann, prepared by the Lutheran theologian and precursor of pietism, Gottfried Arnold, contained frontispiece graphic illustrations that, in terms of composition and content, referred to the frontispiece representation from the second, expanded edition of this work from 1675. By contrast, none of the later 18th and 19th-century publications of the works of Angelus Silesius, whether poetic or theological, contain any more graphic illustrations. The original creations by Bouttats, Paravicinus, Willmann, Sadeler, and Lersch did not find their continuations, and thus the Silesian iconography passed into oblivion soon after its creation
Septem principum angelorum. Przykłady kultu archaniołów w rzeźbie dolnośląskich klasztorów cysterskich w 4 ćw. XVII w.
No full textAndrzej Kozieł’s monograph on connections between Johannes Scheffler’s mysticism with Silesian baroque art brought an innovative view on the matter. One of the effects of Rosa’s and Scheffler’s cooperation was the mystical concept of “seraphic life,” which postulated communing with God through imitation of the heavenly existence of Seraphim, who remain in direct proximity of the Creator, in mortal life. The concept resulted in the Krzeszów monastery developing a cult of archangels, which in turn manifested in a number of artistic initiatives. The most recognisable ones are sculptures from the Loretan Chapel, created in 1677 and considered to be works of Georg Schrötter, a sculptor employed in the service of the monastery. However, notable stylistical differences and contents of the monastery’s accounting books suggest that they could’ve been a product of Schrötter’s cooperation with an otherwise unnamed Hungarian sculptor. Similarly, in regard to another project – tabernacle of the main altar of the monastery church – the issue of who to attribute the work is a complex one, because according to archival evidence, the person responsible for carpentry and wood carving was Sephan Kose, a carpenter also employed in service of the monastery, while Schrötter worked on sculpted decorations of the tabernacle itself. Multiple series of angelic figures were created in Krzeszów over the years; however, most of them did not survive into the modern day, and the only information we have on them has been extracted from archival sources. The cult of archangels was also reflected in projects undertaken by other Cistercian monasteries across Silesia. The relations maintained between these monasteries resulted in Kose and Schrötter being hired for the construction of the main altar in Henryków and in the propagation, as well as further development of the concept created in the Krzeszów tabernacle. The question of whether similar solutions were applied in the construction of the main altar of the monastery church in Lubiąż remains unanswered due to that altar’s destruction. Certainly, however, the cult of archangels has been visualised in Lubiąż in a monumental form, through the Guardian Angel altar decorated with sculptures of the angelic host. Rebutulum, sold to the parish church in Prochowice midway through the 20th century, survived into modern day and is a priceless example of the influence of Scheffler and Rosa’s mysticism on the Silesian monastic society in the last quarter of the 17th century
Biblioteka w sfabularyzowanej nowoczesności: powstanie i zmierzch
No full textThis paper analyzes the evolution of the idea of library in the context of philosophical discourse on modernity. Using a genealogical method, the author traces how library fits into the process of “narrativization” (or “fictionalization”) of reality, its transformation into a “novel”, a “fable” or a “world picture”. Modernity, with its dialectical contradiction, shapes library, and free access to books becomes a tool for the formation of the self-reflective self, a catalyst for its emancipation, but also for its adaptation. In the face of this aporia, philosophical discourse on books and library – from Erasmus to Foucault – can only operate in the language of intuition and metaphors, such as pharmacy, laboratory or the workshop of imagination. The romantic vision of library introduces the figure of the collector succumbing to the magic of chaos, relying on chance, loving books for their own sake. Walter Benjamin said in 1931 that “night falls” over such a collector. Today, in the digital age, are we still mourning his loss? Or have we already forgotten him – neither he nor his library are needed for anything anymore
Bezpieczeństwo żywnościowe w ujęciu teoretycznym — rozważania definicyjne
No full textThis article aims to organize the state of knowledge regarding food security and its various levels and pillars, specifically focusing on the physical, economic, health and social availability of food (availability, accessibility, and utility). Through conducted theoretical research, the author is committed to conceptualizing the notion of food security and its related concepts, namely, food security and nutritional security. The article also strives to familiarize the reader with the most crucial components of food security within the environmental, political, and socioeconomic spheres. Ultimately, it serves as an introduction to a broader study aiming to create a coherent theoretical matrix for future empirical research. The publication itself is, therefore, a critical synthesis of secondary research material, compiled using the desk research method