105 research outputs found
Między tradycją a nowoczesnością. Maciej Buszewicz jako projektant książki
No full textBetween tradition and future. Maciej Buszewicz as a book designerThe article is devoted to the oeuvre of Polish designer Maciej Buszewicz 1952– , who is still operating on the publishing. The author of the article focused on life and the oeuvre, in particular, the design of illustrated books for children, poetry editions and albums. She analyses Buszewicz’s drawing and design style on the basis of the most distinctive for this artist edition. All books that are described in the article are known to the author from her personal observation. The research can be concluded that Buszewicz has its own style of illustration. Between tradition and future. Maciej Buszewicz as a book designerThe article is devoted to the oeuvre of Polish designer Maciej Buszewicz 1952– , who is still operating on the publishing. The author of the article focused on life and the oeuvre, in particular, the design of illustrated books for children, poetry editions and albums. She analyses Buszewicz’s drawing and design style on the basis of the most distinctive for this artist edition. All books that are described in the article are known to the author from her personal observation. The research can be concluded that Buszewicz has its own style of illustration
Grzegorz Czaradzki, Rytmy o porodzeniu przenaczystszym Bogarodzice Panny Maryjej, wydali i opracowali R. Mazurkiewicz i E. Buszewicz, Warszawa, Neriton, 2009 (Humanizm polski – Inedita, 1), 269 pp.
No full textPresentazione del volume Grzegorz Czaradzki, Rytmy o porodzeniu przenaczystszym Bogarodzice Panny Maryjej, wydali i opracowali R. Mazurkiewicz i E. Buszewicz, Warszawa, Neriton, 2009 (Humanizm polski – Inedita, 1), 269 pp., che fa parte della sezione di pubblicazione di fonti del progetto europeo Humanizm
Klasycyzm w liryce staropolskiej
No full textArtykuł został opublikowany w serii Humanizm. Idee, nurty , paradygmaty humanistyczne w kulturze polskiejWe wstępie autorka dokonuje przeglądu różnych stanowisk definicyjnych w odniesieniu do pojęcia klasycyzmu, by zestawić je z analogicznymi ujęciami przystającymi do liryki nowożytnej (renesansowej i barokowej). Celem artykułu jest wyznaczenie przejawiających się w praktyce literackiej dominujących staropolskich doktryn, którym przypisać można tendencje „klasycyzujące”. Omówiony zostaje więc postulat naśladowania poezji antycznej – imitatio antiquorum (zarówno jako naśladowania dzieł starożytnych, jak i struktur gatunkowych), jak i dawne pole znaczeniowe określenia „klasyczny” rozumianego jako 'wzorcowy, pierwszorzędny'.
Rozdział drugi poświęcono klasycyzmowi renesansowemu. Autorka, dokonując przeglądu dotychczasowych badań nad zagadnieniem, ukazuje klasycyzm jako program twórczy i jedną z funkcji humanizmu. Określa go także jako postawę antropologiczna, której regułą jest nie tylko naśladowanie się klasyków, ale i rozumienie oraz przyswajanie ich kategorii myślowych i kulturowych. Poszukuje także cech określających te tendencje w utworach polskich, szczególna jest tu rola „prostoty”. Autorka podkreśla rolę wyborów językowych twórców: podobnie jak francuscy poeci Plejady, polscy autorzy renesansowi uznają, że ideały klasyczne można wyrażać także w językach rodzimych
Rozdział trzeci poświęca autorka Janowi Kochanowskiemu, który przedstawiony zostaje zarazem jako klasycysta i klasyk. Wśród cech konstytuujących klasycyzm w utworach poety dostrzega kategorie: blandum („czaru”), harmonii pomiędzy eksperymentem a decorum (stosownością) i umiaru. Omawiając Kochanowskiego jako klasyka, autorka wskazuje na późniejszą recepcję jego utworów, zwłaszcza Psałterza.
Klasycyzm barokowy na gruncie polskim omówiony w rozdziale czwartym uznany zostaje za niezbadany i trudniejszy do uchwycenia niż renesansowy. Przegląd badań ukazuje, jak różnie rozumiany jest klasycyzm barokowy w dotychczasowych studiach nad zagadnieniem. Autorka podkreśla rolę antyklasycznej kategorii zadziwienia (maraviglia), która nie wypierała jednak całkowicie ideałów klasycznej harmonii.
W rozdziale piątym autorka rozpatruje formy gatunkowe (zwłaszcza te naśladowane z literatury antycznej) jako przestrzeń do badania tendencji klasycyzujących. Przejawy tych tendencji omówione zostają na przykładzie wybranych gatunków, które współcześnie zalicza się do liryki (nieposiadającej ówcześnie statusu rodzaju). Są to: elegia, hymn, oda (pieśń), tren.
Autorka konkluduje, że na przełomie XVI i XVII stulecia w literaturze polskiej dominują tendencje antyklasyczne, co przejawia się w częstym posługiwaniu się gatunkami hybrydalnymi i synkretycznymi. Nie przekreśla to jednak ich współistnienia z klasycyzmem, objawiającym się „podskórnie” także w świadomości twórców odchodzących do klasycyzującej estetyki.Elwira Buszewicz
Classicism in Old-Polish Lyric Poetry
In the introduction, the author presents a survey of different attitudes to the definition of the concept of classicism to compare them with analogous approaches to early modern (Renaissance and Baroque) lyric poetry. The purpose of the article is to determine the dominant Old Polish doctrines present in the literary practice to which it is possible to attribute “classicising” tendencies. The author discusses both the postulate of imitating ancient poetry – imitatio antiquorum (understood both as imitation of ancient works and genre structures), and the old semantic field of the term “classic” understood as “exemplary, superior”.
The second chapter is devoted to Renaissance Classicism. After surveying the research on the issue, the author presents classicism as a creative programme and one of the functions of humanism. She also regards it as an anthropological attitude which is not only to imitate the classics, but also to understand and assimilate their mental and cultural categories. She looks for the features defining these trends in Polish works, with a special role of “simplicity”; emphasises the role of language choices by the authors: just like the French poets of the Pléiade, Polish Renaissance authors decided that it was possible to express classical ideals in native languages.
The third chapter is devoted to the author Jan Kochanowski, who is presented as both a Classicist and a Classic. Among the elements constituting Classicism in the works by the poet, she perceives the following categories: blandum (charm), harmony between an experiment and decorum (suitability) and moderation. Discussing Kochanowski as a Classic, the author points to the later reception of his works, especially the Psalter.
Baroque classicism in Poland, discussed in chapter four, she regards as unexplored and harder to grasp than the Renaissance one. The review of research into the problem shows many different understandings of Baroque classicism. The author emphasises the role of the anti-Classical category of wonder and astonishment (maraviglia), which, however, did not completely superseded the ideals of Classical harmony.
In chapter five, Buszewicz examines the genre forms (especially those imitated from ancient literature) as a space to study Classicising tendencies. The manifestations of these tendencies are discussed on the example of selected genres that today are categorised as lyric poetry (at that time without the genre status). They include: elegy, hymn, ode (song), threnody.
The author concludes that at the turn of the seventeenth century, anti-Classical tendencies dominated in Polish literature, which is manifested in the frequent use of hybrid and syncretic genres. This, however, did not exclude their coexistence with Classicism, manifesting itself “subconsciously” in the minds of artists departing from Classicising aesthetics.Ewa Kuczyńsk
Problem humanizmu barokowego. Reminiscencje i uwagi
No full textArtykuł ukazał się w serii "Humanizm. Idee, nurty i paradygmaty humanistyczne w kulturze polskiej"We wstępie autorka zastanawia się nad definicjami pojęcia humanizm pod kątem odniesienia go do baroku. Polemizuje ze stereotypem świeckości i antropocentryzmu humanizmu. Za ciekawszą dla badacza baroku uznaje teocentryczną, heroiczną i chrześcijańską koncepcję J. Maritaina, widzącego humanizm jako dążenie do pełni człowieczeństwa, obejmujące zarówno posłuszeństwo naturze ludzkiej, jak i jej ujarzmianie w imię wolności. Badaczka dystansuje się jednak i od tej opinii, stwierdzając, że humanizm nie zakłada postawy ani religijnej, ani antyreligijnej. Omawia też poglądy G. Toffaina, który uznaje komponent chrześcijański, ale zawęża humanizm do Italii XIV – XVI w.
Autorka zauważa, że historyk kultury dawnej musi balansować między różnymi definicjami, zwłaszcza E. Garina i P. O. Kristellera. Pierwszy podkreślał znaczenie w humanizmie godności ludzkiej, drugi – programu edukacyjnego i recepcji literatury antycznej. Badaczka za A. Borkowskim zakłada, że humanizm to prąd ponadczasowy, który dominował w renesansie.
W drugiej części tekstu autorka omawia badania nad barokowym humanizmem w Europie. Podaje przykłady jego przedstawicieli w Anglii, Hiszpanii i Francji.
Część trzecią autorka poświęca dyskusji z Węgrem Endrem Angyalem, który wprowadził do dyskursu pojęcie barokowego humanizmu i szukał jego wyróżników w słowiańszczyźnie. Zarzuca mu impresyjność, subiektywność, brak precyzji i systematyczności, ale przyjmuje większość wskazanych przez niego cech barokowego humanizmu: idee vanitas, pansofii, uniwersalizmu, syntezę sztuk i dyscyplin, monumentalny heroizm. Przytacza przedstawicieli i nurty słowiańskiego humanizmu. Dostrzega pionierskość i żywy tok narracji pracy oraz jej potencjał jako bazy materiałów.
W części czwartej autorka omawia badania nad barokowym humanizmem w Rzeczypospolitej. Uznaje go za temat niesłusznie niedoceniony; nie wymienia się go wśród głównych prądów epoki. Dowodzi tego hasło Humanizm w Słowniku literatury staropolskiej. Więcej uwagi poświęcił zjawisku C. Hernas w Baroku, widzący jego istotę w filozofii egzystencji, namyśle nad kondycją ludzką, jej tragizmem oraz miejscem człowieka w świecie. Nie docenia jednak znaczenia elementu chrześcijańskiego, ani nawet roli antyku. Jego śladem idą inni badacze, choć J. Pelc przypomina o ciągłości humanizmu w renesansie i baroku oraz możliwości szukania tropów humanistycznych u każdego twórcy, nie jedynie wybranych.
W kolejnej części autorka proponuje zagadnienia do rozważenia w badaniach nad humanizmem w polskim baroku, skoncentrowane wokół kwestii godności ludzkiej, roli wykształcenia i studiów humanistycznych.In the introduction, the author reflects on the definitions of the concept of humanism in terms of its reference to the Baroque period. She argues with the stereotype of secularism and anthropocentrism of humanism. In her opinion, more interesting for the researcher in the field of Baroque is Jacques Maritain's theocentric, heroic and Christian concept of humanism, regarded as the pursuit of full humanity, including both obedience to human nature and its subjugation in the name of freedom. Buszewicz, however, distances herself from this opinion, arguing that humanism does not assume either a religious or anti-religious attitude. She also discusses the views of Giuseppe Toffanin, who recognises the Christian component, but narrows the phenomenon of humanism to Italy in the fourteenth to sixteenth centuries.
The author notes that the historian of ancient culture must balance between different definitions, especially Eugenio Garin and Paul Oskar Kristeller. The first emphasised the importance of human dignity in the humanism, the second – the educational programme and reception of ancient literature. After Andrzej Borowski, she assumes that humanism is a timeless trend that dominated the Renaissance.
In the second part of her text, the author discusses research on Baroque humanism in Europe, giving names of humanists from England, Spain and France.
The next part of the study is devoted to the discussion with Hungarian researcher Angyal Endre, who introduced the concept of Baroque humanism to the discourse and sought its distinguishing features in the Slavonic culture. She accuses him of impressionism, subjectivity, lack of precision and method, but she accepts most of the features of Baroque humanism he distinguished: the ideas of vanitas, pansophism, universalism, the synthesis of arts and disciplines, monumental heroism. She also recognises the pioneering character and lively narrative of his book and its potential as a material base. Then, she cites representatives and trends of Slavonic humanism.
In the fourth part, the author discusses research on Baroque humanism in the Polish-Lithuanian Commonwealth. Considers its a topic unduly underestimated; it is not included among the significant currents of the era. It is evidenced by the entry “Humanism” in the dictionary of old-Polish literature (Słownik literatury staropolskiej). More attention is devoted to the phenomenon by Czesław Hernas in his book on the Baroque (Barok), who saw its essence in the philosophy of existence, reflection on the human condition, its tragedy and the place of man in the world. However, he underestimates the importance of the Christian element and even the role of antiquity. Other researchers have followed in his footsteps, although Janusz Pelc reminded about the continuity of humanism in the Renaissance and Baroque eras, and about the possibility of searching for humanistic clues in every author, not just the chosen ones.
In the final part, Buszewicz presents possible issues to consider in further research on humanism in Polish Baroque, focused on the subject of human dignity, the role of education and humanistic studies.Ewa Kuczyńsk
Antica tradizione, leggenda medievale e gloria del nome Polacco nella prima età moderna: Stanisław Temberski e la sua Tiara episcopalis
No full textThe main purpose of the article is to analyze the Latin speech published in Padua in 1642 and delivered at the solemn assembly of the Polish nation at the University of Padua, in the church of St. Anthony of Padua, on May 7 of the previous year. The author of the text was Stanisław Temberski, a Krakow canon and professor at the Jagiellonian University. The author of the article briefly presents his biography and literary works, and then analyzes the speech itself. Avoiding assessing the literary value of the work as such, she tries to present the ideas contained in it and show how the humanistic culture characteristic of the early modern era allows the author to construct eloquent formulas and images that glorify the name of his homeland by praising the glory of its saint. The laudation of Poland is inextricably linked with the praise of its patron, Saint Stanislaus, Bishop and martyr. In Temberski’s oration, ancient tradition and medieval, hagiographic legend intertwine, and everything is processed in accordance with the author’s mentality and the concepts of seventeenth-century rhetoric. The holy martyr is compared to Hercules and the evil tyrant responsible for his death is presented as an instrument of Satan, perceived as “infernal Cerberus.” Temberski’s use of his rhetorical skills for propaganda purposes is noteworthy: on the one hand, he shows his humanistic culture and presents himself as a citizen of the Respublica litteraria. On the other hand, he inscribes the Polish state into the long tradition of Respublica Christiana. In this context, he makes it clear that a country that produces such pious and heroic men as the holy bishop is worthy of appreciation among the nations of Europe.Lo scopo principale dell’articolo è quello di analizzare il discorso latino pubblicato a Padova nel 1642 e pronunciato davanti alla solenne assemblea della nazione polacca presso l’Università di Padova, nella chiesa di Sant’Antonio da Padova, il 7 maggio dell’anno precedente. L’autore del testo fu Stanisław Temberski, canonico e professore all’Università Jagellonica. L’autore dell’articolo presenta brevemente la sua biografia e la sua opera letteraria, quindi analizza il discorso. Evitando valutazioni di carattere letterario del lavoro in quanto tale cerca di presentare le idee in esso contenute e di mostrare come la cultura umanistica caratteristica della prima età moderna permetta all’autore di costruire formule e immagini eloquenti che glorificano il nome della sua patria lodando la gloria del suo santo. La lode della Polonia è inestricabilmente legata alla lode del suo patrono, San Stanislao, vescovo e martire. Nell’orazione di Temberski la tradizione antica e medioevale, la leggenda agiografica sono intrecciate e tutto è elaborato secondo la mentalità dell’autore e i concetti della retorica seicentesca. Il santo martire viene paragonato ad Ercole e il malvagio tiranno responsabile della sua morte viene ritratto come uno strumento di Satana, percepito come “Cerbero infernale”. L’uso che Temberski fa delle sue doti retoriche a fini propagandistici è degno di nota: da un lato manifesta la sua cultura umanistica e si presenta come cittadino della Respublica litteraria, dall’altro, inscrive lo Stato polacco nella lunga tradizione della Respublica Christiana. In questo contesto, mette in evidenza che un Paese che produce uomini così pii ed eroici come il santo vescovo è degno di apprezzamento tra le nazioni d’Europa
Teaching as therapy: cross sectional and qualitative evaluation of patients' experiences of undergraduate psychiatry teaching in the community
No full textObjective To explore the impact of participating in undergraduate teaching in general practice for patients with common mental disorders.Design Questionnaire survey and qualitative in-depth interviews.Setting Community based undergraduate teaching programme for fourth year students at a London medical school doing a psychiatry attachment.Participants Questionnaire survey: all patients involved in the teaching programme over one academic year. In-depth interviews: 20 patients, 14 students, and 12 general practitioner tutors participating in the programme.Results The questionnaire showed high levels of satisfaction with teaching encounters for participating patients, which were corroborated in the interviews. Many patients and general practitioners reported specific therapeutic benefits for patients from contact with students, including raised self esteem and empowerment; the development of a coherent "illness narrative"; new insights into their problems; and a deeper, more balanced, and understanding doctor-patient relationship. For a few patients the teaching caused some distress, which may relate to a lack of insight into their condition or deficits in students' interviewing skills.Conclusions Participation in teaching can have additional positive therapeutic outcomes for selected patients with common mental disorders, although a small minority report negative effects. Testing in a larger sample is needed to determine the characteristics of patients in these two subgroups and establish whether these effects persist
Imitacja horacjańska w łacińskiej twórczości Jana Kochanowskiego
No full textHoratian Imitation in Jan Kochanowski’s Latin PoetryThe aim of this study is to show how Kochanowski imitated Horace in various ways and at different levels of his poetry. As to this moment, the matter has been discussed, mainly in regard to the Lyricorum libellus, by Zofia Głombiowska and Józef Budzyński. In this paper, the author briefly summarises their statements and comments upon them expressing her own view. She also mentions some other publications dealing with the Horatianism of the Polish poet to a lesser degree. The text is divided into four sections. In the first one, the author makes a brief comparison between Kochanowski and Petrarca in the context of their mental kinship with Horace that resulted in poetry which is “Horatian” not only in terms of the verba but also some ideas. The second section is devoted to the Horatianism of Kochanowski’s collection of odes (Lyricorum libellus). The author begins with a brief summary of the previously mentioned scholars’ views. She also demonstrates that some of these views may oversimplify the question of Horatian imitation in case of at least several of Kochanowski’s poems. To illustrate this, she presents an analysis of ode XI (In equum) in the context of its Horatian models; the conclusion is that in this poem, as well as in the entire collection, Kochanowski imitates Horace in a sophisticated and polyphonic way. The third part of the text, after a brief mention of the “loci Horatiani” in Kochanowski’s elegies, shows the interplay of ideas between Horatian poetry and Kochanowski’s Elegy III 1. The author puts emphasis on the fact that Kochanowski adapted some of the elegiac themes to the Horatian rhetoric. Concluding her disquisition, the author argues that Kochanowski’s Horatian imitation is neither superficial nor confined to the imitation verborum, but reaches deep in the structures of Horace’s poetry
Dwie Penelopy. Heroidy Owidiusza a elegie epistolarne Andrzeja Krzyckiego i Baltazara Castiglionego
No full textTwo Penelopes: Ovid’s Heroides and Its Two Imitations: Andrzej Krzycki and Baldassare Castiglione’s Epistolatory Elegies
The article presents a bilingual (Latin with a Polish translation) edition of two Neo-Latin imitations of Ovid’s Heroides, preceded by an introduction and provided with a philological and historical commentary. Both poems were written in the first twenty years of the 16th century. The author of the first one is Andrzej Krzycki (Cricius, 1482–1537), who at the time of composing the poem was the secretary of the first wife of Sigismund the Old, Barbara Zapolya. As the queen’s secretary, Krzycki was responsible for the stylistic aspect of her letters, which made it all the easier for him to create a fictional epistolary elegy on her behalf. The elegy commemorates the victorious battle for the Polish-Lithuanian army with the Grand Duchy of Moscow at Orsha (1514). For the poet it was also an opportunity to praise the invincible king and his army.
The author of the second elegy is Baldassare Castiglione (1478–1529), known as the author of Il libro del Cortegiano. He wrote a poetic letter on behalf of his wife, Ippolita Torelli, who was waiting for her husband’s return from Rome. Both authors not only refer to the situation of Penelope in Ovid’s first heroide, but also use Ovid’s other letters of heroines and their neo-Latin imitations. Castiglione also evokes one of Propertius’ elegies (IV 3), which seems to be a “proto-heroide”. Krzycki’s “Penelope” seems to be psychologically less complex, while its Italian counterpart consciously employs allusions, rhetorical games and omissions. Both display a wide range of feelings from despair and sadness to hope, and express deep affection for their husbands. The introduction places the poems in their historical and literary contexts, underlining especially Ovid’s Heroides influence on European Renaissance literature. The commentary indicates some similia and explains many details related to the circumstances of creating these works
Biblioteka Literatury Staropolskiej i Nowołacińskiej - Jan Kochanowski, Opera Latina
No full textEdizione critica dell'opera poetica latina del massimo poeta rinascimentale slavo, Jan Kochanowski (Iohannes Cochanovius, 1530-1584). L'edizione comprende: i facsimile delle edizioni originali ; la trascrizione dei testi, preceduti da brevi introduzioni ; la loro traduzione in polacco ; l'ampio apparato delle note. Le trascrizioni, traduzioni e commenti di ciascuno dei curatori sono contrassegnati con le sue iniziali
Structured pro-active care for chronic depression by practice nurses in primary care: a qualitative evaluation
No full textThis qualitative study explored the impact and appropriateness of structured pro-active care reviews by practice nurses for patients with chronic or recurrent depression and dysthymia within the ProCEED trial. ProCEED (Pro-active Care and its Evaluation for Enduring Depression) was a United Kingdom wide randomised controlled trial, comparing usual general practitioner care with structured 'pro-active care' which involved 3 monthly review appointments with practice nurses over 2 years for patients with chronic or recurrent depression
- …
