579 research outputs found
Intonation of Conversational English (Educated Southern British) by Wiktor Jassem (1952)
No full textBook.Author: Jassem, Wiktor.Date: 1952.Title: Intonation of Colloquial English (Educated Southern British).Publisher: Wrocław, Nakładem Wrocławskiego Towarzystwa Naukowego; Skład Glówny: Dom Ksiązki.Series: Prace Wrockławskiego Towarzystwa Naukowego. Travaux de la Société des Sciences et de Lettres de Wrockław Seria A.Number: 45.Pages: 122Livre.Auteur: Jassem, Wiktor.Date: 1952.Titre: Intonation of Colloquial English (Educated Southern British).Editeur: Wrocław, Nakładem Wrocławskiego Towarzystwa Naukowego; Skład Glówny: Dom Ksiązki.Series: Prace Wrockławskiego Towarzystwa Naukowego. Travaux de la Société des Sciences et de Lettres de Wrockław Seria A.Numéro: 45.Pages: 12
Wiktor Grygorenko
No full textWiktor Grygorenko was born on March 6, 1927. He passed his final high school exam in Katowice in 1949 and after a military training he began his studies at the Military School of Topographers. Then he studied geodesy at the Military Engineering Academy in Moscow. Having returned to Warsaw in 1959, he worked in the Military Cartographic Works and later in the Topographic Board of the General Staff of the Polish Army. Simultaneously, he took a lecturer post at the Military Technical Academy in Warsaw where he elaborated student textbooks on maps editing, cartographic reproduction, and mathematical cartography. His comprehensive manual Elaboration of general geographical maps was published in 1970. He was a member of the editorial staff at the popular World Atlas, published in 1962-1968 and also known under the name of Pergamon World Atlas. A new and innovative projection devised by Wiktor Grygorenko was used in the World Atlas, nowadays known as the projection of the Polish Army Topographical Service. In 1971 he obtained the degree of a Doctor of Technical Sciences in cartography at the Warsaw University of Technology. The subject of his thesis were theoretical fundamentals of the automatic cartographic data processing. Wiktor Grygorenko was one of the Polish pioneers of computer usage in cartography and was the author of many valuable papers on the subject. He began to work at University of Warsaw in 1972, In 1978 he completed his habilitation procedures on the basis of his dissertation entitled Quantitative Parameters of the Cartographic Content Composition in which he formulated the idea of the quantitative model of a map, thus drawing a new direction of theoretical and practical works in cartographic design and evaluation. Many papers on cartographic generalisation with usage of computer methods were created under his guidance. In 1980, three years after the unexpected death of professor Lech Ratajski, Wiktor Grygorenko became the Head of the Chair of Cartography at the Faculty of Geography and Regional Studies. In 1981 he became the Vice-dean for student affairs and served two terms. His first term fell in the difficult period of the martial law when he defended students on many occasions, gaining their gratitude and respect. In autumn 1982 he also became the Head of the Department of Cartography at the Maria Curie-Skłodowska University in Lublin, which he administered until 1992. Making a good use of his broad didactic experience, he published several absorbing articles on educating cartographers with the geographic training. He actively participated in conferences, conventions, and cartographic trainings, animating discussions with his inspiring speeches. In summer 1982, during the 11th conference of the International Cartographic Association in Warsaw he presented the paper Cybernetic model of cartographic communication that was in certain degree a continuation and an explication of professor Lech Ratajski's idea of communication model. The main field of professor Grygorenko's (he obtained the professorship in 1992) scientific interest were theoretical issues related to the automation of the maps editing and usage processes. His interest in the history of cartography resulted in the publication of several interesting papers on the subject and participation in meetings of cartography historians. He served many social functions both at the University of Warsaw and among the geodesists and cartographers. Professor Wiktor Grygorenko died on February 25, 2008
Wiktor Steffen i jego Słownik warmiński
No full textThe paper presents Słownik warmiński of Wiktor Steffen as an unique work of the Polish dialect lexicography. It shows also the figures of the author and his brother Augustyn who rendered great service in research of the culture of Warmia. It discusses the editorial principles of the dictionary and its rich content. It relates to the charges of the first critics of the vocabulary. The paper treats Słownik warmiński as a personal, subjective work strongly influenced by the biography of the author – autochthon. It presents the different ways of use the content in the dialectological studies on multi-volume Słownik gwar Ostródzkiego, Warmii i Mazur conducting in the Institute of the Polish Language in the Polish Academy of Science (IJP PAN)
A Small Form – the Big Vision. Medals by Wiktor Tołkin
No full textThe article concerns the medals by Wiktor Tołkin, a sculptor known especially as the author of huge monuments commemorating the victims of the World War II, less known as a medallic artist. His first medallions the artist engraved during the War as a prisoner of Auschwitz-Birkenau – a Nazi concentration camp. Within 40 years the artist became the author of 32 medals of different types: anniversary medals, commemorating medals, and medals of honour. There are a few characteristic subject matters appearing on the medals' surfaces: a city view, a portrait, a human figure, graphic symbols, the Polish emblem… Medals by Wiktor Tołkin are quite far from avant-garde in form, however the artist combines synthesis and decorative forms at the same time. Sometimes he contrasts these both features in one medal: one on the averse and the other one on the reverse. The art of medals is an unappreciated domain by the art historians although it requires an enormous discipline and clarity of composition
Stanisław Moniuszko, Wiktor Każyński, and adaptations of Lithuanian folk songs.
No full textStraipsnio objektas – dviejų žinomų XIX a. viduryje Vilniuje gyvenusių ir kūrusių muzikų, Stanisławo Moniuszkos (1819–1872) ir Wiktoro Każyńskio (1812–1867), tikslingai pasirinktų biografinių faktų bei dokumentų analizė, leidžianti peržiūrėti jų kūrybinio palikimo duomenis bei nustatyti, kuriam iš jų priklauso rankraštis, įvardytas „Medžiaga tolesniam lietuvių liaudies dainų perdirbimui“ (Materiały dalsze do obrabiania pieśni ludu litewskiego). Dokumentas, kurio pavadinimas ir turinys suponuoja reikšmingą kompozitorių vykdytą veiklą – lietuvių liaudies dainų rinkimą, yra svarbus atskiro kūrėjo biografijos faktas bei įdėmesnio žvilgsnio vertas Lietuvos muzikos istorijos tyrimų objektas. Publikacijos tikslas – verifikuoti istoriografijoje įsitvirtinusį galimai klaidingą teiginį apie rankraščio autorystę, priskiriant ją Moniuszkai. Straipsnyje pateiktos naujos įžvalgos bei išvada, teigianti, kad minimo rankraščio autorius yra Każyńskis, papildo ir koreguoja žinias apie šių vilniečių kompozitorių kūrybines biografijas, liudija kūrėjų dėmesį savo krašto muzikiniam folklorui. Reikšminiai žodžiai: Wiktoras Każyńskis; Stanisławas Moniuszko; 19 amžius; Vilnius; Lietuvos muzikos istorija; Wiktor Każyński; Stanisław Moniuszko; Nineteenth century; Lithuania; Vilnius; Music history of LithuaniaThe article analyses carefully selected and research-focused biographical facts and documents of two prominent musicians, Stanisław Moniuszko (1819–1872) and Wiktor Każyński (1812–1867), who lived and created in Vilnius in the middle of the nineteenth century. The research enables us to identify which one of them is the author of the manuscript titled “Material for Further Adaptations of Lithuanian Folk Songs” (Pol., “Materialy dalsze do obrabiania pieśni ludu litewskiego”). The publication highlights the importance of this document the title and content of which entail the activity of collecting Lithuanian folk songs that is so significant for the studies into the music history of Lithuania. New insights into the biographies, creative work, and correspondence of the two musicians provide an opportunity to verify the possibly erroneous statement established in historiography, according to which the authorship of this manuscript is attributed to Stanisław Moniuszko. Clarification of various circumstances associated with the origin of the above-mentioned document presented in the article leads to the conclusion that its authorship should be attributed to Wiktor Każyński, a composer and contemporary of Stanisław Moniuszko
From Zenon Przesmycki’s Norwidian archive (3). Descriptions of Norwid’s drawings from Wiktor Gomulicki’s collection
No full textThe article brings an edition of two Zenon Przesmycki's documents (a typescript and a manuscript) that are kept in the collection of the National Library. They contain descriptions of Norwid's artistic works that once belonged to Wiktor Gomulicki. Their greater part is now considered to be lost. The first of these documents gives a list of 20 artistic works by Norwid (drawings, engravings, and one photography of a drawing) that about 1904 belonged to Gomulicki, and the other one – descriptions of 40 Norwid's drawings bought by Wanda and Aleksander Naumann from Wiktor Gomulicki in 1916. The documents allow reconstructing the Norwidian collection the author of Wspomnienia niebieskiego mundurka had gathered, and which then became dispersed, and one part of which, preserved till today, is constituted by works bought by the famous collector, Dominik Witke-Jeżewski; now in the collection of the National Museum in Warsaw.
The editorial study of Przesmycki's texts is preceded by introductory remarks, in which a characteristic of Wiktor Gomulicki's collection, the circumstances of gathering it, and then of its dispersion are given
A Posthumous Tribute to Professor Wiktor Zin
No full textProfesor Wiktor Zin (1925-2007) ukończył w 1950 studia na Wydziale Architektury w Krakowie. Dwa lata później uzyskał stopień naukowy doktora i wkrótce doktora habilitowanego. W roku 1967 Wiktor Zin otrzymał tytuł naukowy profesora nadzwyczajnego, a 1979 roku profesora zwyczajnego. Od roku 1954 kierował katedrą Historii Architektury Polskiej, a w roku 1970 został Dyrektorem Instytutu Historii Architektury i Konserwacji Zabytków, funkcję tę pełnił do czasu przejścia na emeryturę. W latach 1962-1964 oraz 1971-1978 był dziekanem Wydziału Architektury. Był członkiem Centralnej Komisji Kwalifikacyjnej, Głównym Architektem Krakowa, Przewodniczącym Krakowskiej Komisji Konserwatorskiej, Generalnym Konserwatorem Zabytków w randze Wiceministra Kultury i Sztuki, Przewodniczącym Międzyresortowej Komisji od spraw Rewaloryzacji Zabytkowych Zespołów Miejskich. Był członkiem Rady Stowarzyszenia Architektów Polskich oraz członkiem Meksykańskiej Akademii Nauk, laureatem Nagrody von Herdera. Otrzymał doktoraty honoris causa Politechniki Krakowskiej oraz Uniwersytetu Technicznego w Budapeszcie. Niejednokrotnie dokonania Profesora w zakresie badań nad historią architektury polskiej korygowały dotychczasową wiedzę. Wytężona praca projektowa przyniosła Profesorowi wiele realizacji na terenie całej Polski i poza jej granicami. Był autorem licznych projektów konserwatorskich. Opowieści ilustrowane szybkimi szkicami były dziedziną aktywności prof. W. Zina z pewnością najbardziej znaną. Wydobywanie piękna ukrytego w starych budowlach, rozpadających się chałupach, polskich krajobrazach, a także przybliżanie obrazów świata, z najpiękniejszych architektonicznie i pejzażowo miejsc, było specjalnością Profesora. Przekładał na język zrozumiały i dostępny naukowe wnioski i syntetyczne uogólnienia ze sfery sztuki, filozofii, archeologii, muzyki, budownictwa, a nade wszystko z zakresu ochrony dóbr kultury. Dostrzegał również zagrożenia współczesności. Kierował uwagę społeczeństwa na dewastację otaczającego nas świata, ostrzegał przed erozją techniczną. Owa niezwykła wrażliwość na wszelkie przejawy piękna, ale także zagrożeń stwarzanych przez współczesność, połączona z osobliwą, niespotykaną umiejętnością nawiązywania kontaktu z widzami, słuchaczami, czytelnikami, stwarzała Profesorowi wyjątkowe możliwości przekazywania wartości ponadczasowych przesłań.Professor Wiktor Zin (1925-2007) graduated from the Faculty of Architecture in Krakow in 1950. Two years later, he obtained his PhD and then his habilitation. In 1967, Wiktor Zin received the title of Professor Extraordinarius, and in 1979 Professor Ordinarius. Since 1954 he took the chair of History of Polish Architecture, and in. 1970 he was nominated the Head of the Institute of Architectural History and Landmark Conservation, which function he performed until his retirement. From 1962 to 1964 and from 1971 to 1978, he was the Dean of the Faculty of Architecture. He was a member of the Central Qualification Commission, the General Architect of Krakow, the head of the Cracovian Conservation Commission, the General Landmark Conservator in the rank of viceminister of the Ministry of Culture and Art, the head of the Inter-ministerial Commission on the Conservation of Landmark Municipal Complexes. He was a member of the Board of Polish Architects Association, a member of the Mexican Academy of Science, and a laureate of von Herder Prize. He was awarded honorary degrees by the Krakow Polytechnic (Krakow University of Technology) and the Technical University in Budapest. Many times Professor’s achievements in the research on history of Polish architecture altered the previously held beliefs. His intensive project work resulted in numerous realizations all over Poland and abroad. Professor was the author of numerous conservation projects. Telling stories illustrated by quick sketches was the activity for which Professor Wiktor Zin was certainly the best known. Uncovering the beauty hidden in old buildings, dilapidated cottages, Polish landscapes, and popularizing images of the world from the sites with the most beautiful architecture or the most magnificent landscapes were the Professor’s specialty. He translated scientific conclusions and synthetic generalizations from the fields of art, philosophy, archaeology, music, architecture and - most of all - cultural heritage preservation into a generally comprehensible and accessible language. He also perceived modern threats and drew the society’s attention to the deterioration of the surrounding world, warning against technological erosion. This unique sensitivity to all the manifestations of beauty as well as dangers posed by the modern world, combined with the rarely encountered interpersonal skills allowing him to communicate easily with viewers, listeners or readers, enabled the Professor to successfully convey his messages emphasizing timeless values
Małe i średnie przedsiębiorstwa w systemie zamówień publicznych polski na tle unii europejskiej
No full textA Sentimental Aspect of Franciszek Wiktor Dmochowski’s “Napoleonic” Memoirs
No full textCelem artykułu jest ukazanie pamiętnika z epoki napoleońskiej – Pism byłego wachmistrza (1843) Franciszka Wiktora Dmochowskiego – jako jednego z przejawów żywotności sentymentalizmu w latach 40. XIX wieku. Dwupasmowa struktura narracji: zapis faktów historycznych i zapis przeżyć osobistych – wykazuje typową dla sentymentalizmu prawidłowość: im bardziej intensywne jest doświadczanie uczuć, tym bogatsza relacja o zewnętrznym wobec podmiotu świecie. We wspomnieniach Dmochowskiego główną rolę w prowadzeniu narracji odgrywa motyw nieszczęśliwej miłości. Niezależnie od sentymentalnie skonwencjonalizowanej struktury utwór Dmochowskiego jest postrzegany przez jego wydawcę, Andrzeja Edwarda Koźmiana, w sposób typowy dla edytorskiej konwencji sentymentalizmu – wydawca kreuje w swojej przedmowie do Pism ich autora zgodnie z sentymentalnym wzorcem antropologicznym i usprawiedliwia to akceptowaną przez siebie aksjologią sentymentalną.The article focuses on showing memoirs of Napoleonic era – Franciszek Wiktor Dmochowski’s Letters from a Former Sergeant Major (Pol. Pisma byłego wachmistrza; 1843) – as a sign of vivacity of sentimentalism at the end of early part of the 19th century. Two-strip structure of narration – recording of historical data and recording of subjective emotional experiences – shows accordance with typical sentimental regulation: the more intensive inner life the richer description of external reality. The motif of unfortunate love plays an important part in carrying a recollection. Apart of sentimentally conventionalized narrative structure the work of Dmochowski is perceived by its editor, Andrzej Edward Koźmian, in the way that indicates a publishing manner of sentimentalism. The publisher in his Preface creates the author of memoirs according with sentimental anthropological patterns and explains this creation referring sentimental axiology which he consents to
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