18 research outputs found
Investigating the case of <i>Śmierć świętego Józefa (The Death of St Joseph)</i>
No full textThe author of the text presents his opinion about Jan Zieliński's book entitled Obraz pogodnej śmierci. Norwid – Rafael – Maratti i śmierć świętego Józefa (A Picture of a Cheerful Death. Norwid – Raphael – Maratti and the Death of St Joseph). He considers its author's care of credibility of the proposed interpretations the main advantage of the book. It is seen in the method of research as well as in the way it is presented. Pniewski has associated Zieliński's argument with the method described by Robin Collingwood that was held in high regard by historians throughout nearly all of the 20th century. Collingwood thought that investigation of crimes is a model to be followed in conducting historical research. Hence he made evidence the only elements shaping the process of inference. Zieliński also conducts an “investigation” that is based on analysis of facts of Cyprian Norwid's, Raphael Santi's and Carl Maratti's lives and the fates of their works, as well as on analysis of documents (letters, magazine articles, occasional publications). On the basis of a developed network of such testimonies he constructs a credible picture of the art market from the end of the 1850s and the beginning of the 1860s. In this way, when conducting the basic research he also offers the reader a well prepared source material. Pniewski emphasizes that in Zieliński's book it is important that he presents a psychologically probable, inferred from the letters and consolidated by detailed examination of proper cultural phenomena, analysis of the reasons for the interest Norwid showed in The Death of St Joseph, the alleged painting by Raphael. Presenting the process of passing from unreasonable admiration to stating the fact of mystification takes up the second part of the book, devoted to finding the traces of that process in Norwid's literary works. In Pniewski's opinion Zieliński's book has one more advantage: it is pleasant to read. The way the narration is conducted reminds of classical detective novels, as the author reveals his actions and the motivation for the presented opinions in its course. Loyally to his reader he also points to the fragments of his argument that have to remain hypotheses because of lack of an indisputable factual confirmation of them. Such a mechanism is an advantage if we assume that the motivation for its use was to forestall the readers' possible reservations. Pniewski does not think the fact that Zieliński's publication is not very modern is its disadvantage, as the reader gets a credible message based on facts, focused on drawing Norwid's image
Wiedereingliederung nach der Entlassung aus dem Strafvollzug: Evidenzbasierte Perspektiven
No full textMöglichkeiten zur Prävention im Bereich Wohnungseinbruch – Ergebnisse einer multiperspektivischen Studie
No full textChemische Kastration und andere medikamentöse Interventionen zur Desexualisierung von (potentiellen) Sexualstraftätern in Deutschland
No full textNorwid’s opinion about art on the example of his allusions to Paul Delaroche’s last paintings
No full textThe text is an analysis of an excerpt from Norwid's Czarne kwiaty (Black Flowers) connected with Paul Delaroche's last paintings. The author points to differences between Norwid's description of the painter's last work and the painting itself. The differences are also concerned with the facts connected with Delaroche's last series of pictures. There are a lot of mistakes, but – as the author points out – they constitute a logical whole. They were supposed to serve Norwid as proof that Delaroche was one of the most outstanding painters of his epoch – according to the hierarchy set up by the poet. The author expresses his opinion, based on the example of Black Flowers, that Norwid often applied this method. He willingly used biographies of artists that were popular at the end of the 18th and in the first half of the 19th centuries; he also used their works, as well as well-known and much discussed currents in art, or artistic schools, in this way making his meanings sharper or multiplying them.
For correct understanding of the meanings present in this type of presentations it is necessary to turn to the knowledge that all people in the times of Norwid had; people who were interested – even as amateurs – in art, that is. The author reproduces that knowledge (in the degree that is limited to the needs of this short article) using a variety of documents and other evidence. Owing to this, strange and often obscure allusions to Delaroche’s works become much clearer. Norwid proves to have a great knowledge from the area of history of art and to know a lot about contemporary debates and about artistic life. He used the information he had in a consistent, logical – and hence convincing – way. The interpretation made in the text also points to possible causes of the artistic choices he made.
An additional important conclusion is the statement that it is impossible to charge Norwid with obscurity since he used the knowledge that was common in his times
Was Norwid the „Colourist of Our Verse”? Some Remarks on Colour and Light in Cyprian Norwid's Quidam
No full textThe author considers the question of „colourfulness” of Norwid's poetic images on the example of Quidam. He notes that students of Norwid have often remarked, albeit in rather general terms, on a feature linking his poetry and his pictorial art; this was his ability to combine Neo-Classicist and Romantic tendencies (traditionalism, linearity, ancient models vs. innovation and colour). The author seeks to identify the rules Norwid followed in constructing his „colourful” poetic images; he also tries to identify the most likely pictorial sources of those images. The analysis shows that Norwid constructed his images very capably and consistently by harnessing the effects of colour and light. Colour appears only in Norwid's representations of space (mostly interiors), which is shaped jointly by the two factors. As the author observes, this limited use of colour accords with the neo-Classicist theories, while the choice of colours, their combinations and their intensity derive from Romanticism. The study shows furthermore that Norwid's „handling” of colour and light approximated to that found in Baroque Venetian painting, which had served as a model for the Romanic colourists. The feature of Norwid's work studied here is yet another proof that he was well versed in art history and followed contemporary discussions on the subject
Computer aided synthesis of reversible logic in traffic control systems
No full textCurrently traffic control systems in place relay systems used microprocessor systems. A better solution may be the use of reversible logic in the synthesis of digital control systems. The main problem in the design of reversible logic is the transformation of the description of the system from the form of Boolean equations to the reversible form. The article presents error-proof reversible gates and software supporting the automatic synthesis process. The presented programs were developed and launched by the author of the article. The article presents the algorithms used to describe the description of circuits. The results of the programs’ operation and results of simulation of systems with reversible logic are presented
The tools of Norwid’s moralizing. Sublimity, <i>pàthos</i>, and <i>paideia</i> in <i>Wielkie słowa (Great words)</i> and <i>Modlitwa (Prayer)</i>
No full textThe aim of the analyses presented in the article is an attempt to prove that Norwid's moralizing may be explained by his conscious referring to the ancient categories of pàthos, éthos, paideia and to the category of sublimity that had been reinterpreted for centuries. According to the principles of rhetoric a sudden emotion, that is pàthos, that is revealed during a speech, was supposed to ensure the public that the speaker was earnest. In Great words Norwid explicitly indicates that he speaks for idealistic reasons. In this way he behaves like an orator: he exposes an idea, and not himself; he does not appear as a master, a prophet, someone who is initiated into something; he also does not pronounce himself to be the discoverer of that idea. A bombastic emotionality of an utterance indicates involvement of the orator who considers himself a guard or defender of everlasting values coming from the Absolute. The speaker's personal éthos is tantamount to a universal law. Defined in this way pàthos is given a moral sanction.
Norwid's moralizing approach may also be explained by paideia – the ancient idea of spiritual and emotional development of an individual. Origen, transferring this category into the area of Christianity, recognized it as a concept describing the way of the Christian spirit in time. The development of civilization and culture was to be the trace of this passage. In the tradition of paideia reflections concerning the role of writing in education occupied an important place. Because of the fact that it conveyed and constructed personal models, literature was perceived as a form of paideia. Reference to the written culture in the poem was supposed to lead Norwid's contemporaries to this trace.
In ancient times pàthos i éthos were connected with sublimity understood as an experience of the absolute or an attempt to “show” transcendence, “an inexpressible expression”, and speaking “for idealistic reasons”. Interest in sublimity in the period of European Romanticism also helped to remind the categories that supported it. Sublime became popular in the last quarter of the 18th century and proved to be exceptionally long-lived. The inspiring power of this category was to a large extent due to Immanuel Kant's reflections. The Author of the article looked for arguments supporting the suggested interpretation of Great words in such opinions voiced by Kant in which he connected sublimity with ethics (although the Author remarked that the Königsberg thinker was attracted by amorality of sublimity). Among others, because of the influence of Kant's conception sublimity was significantly reinterpreted in the third quarter of the 19th century, especially by Mallarmé.
The article is first of all an attempt at indicating the causes of Norwid's moralizing approach and at describing the tools he used for it. Interpretations conducted along these lines also reveal the analysis of the way the poet used the convention of sublimity and they give a reconstruction of his own original formulas of sublimity. For this reason the Author subjected to analysis its diametrically opposed definitions. Great words are an example of one of them; the Author explains its persuasive emphasis by its connections of sublimity with pàthos, éthos and paideia. The intimate, subjective sublimity of Modlitwa that is rather close to its modernistic version, is an example of the other one
The cleanliness of Lord Singelworth
Get PDFThe paper presents an analysis of the protagonist of Tajemnica Lorda Singelworth [Lord Singleworth’s Secret] in terms of the 19th-century imagology. The analysis shows that the character was created on the basis of stereotypes of the British that were popular in Europe at that time. They account for Singleworth’s oddities such as flying in a hot air balloon or his obsession with cleanliness. They also explain why the majority of those who observed Lord’s balloon passion unanimously accepted its surprising justification – the need to deal with his gastric problems. This is then complemented by the peculiar arrogance, moral motivation for action, sense of mission and escapism. The author of the paper assumes that the character of an Englishman developed in such a way and placed in Venice on the threshold of historical changes might be a literary self-portrait of Norwid
