scholarly journals “Kumoterki”, tradition, sport and cultural heritage

2021 ◽  
Vol 4 (1) ◽  
pp. 75-86
Author(s):  
Maciej Baraniak
Keyword(s):  
Cultural Heritage ◽  
19Th Century ◽  
Interwar Period ◽  
Newborn Baby ◽  
World War ◽  
World War 2 ◽  
Social Events

In the dialect of Polish Tatra highlanders the word “kumoterki” indicates a small two-person sleigh traditionally harnessed to one horse. It is derived from the word “kumotrzy” which is godparents who used the horse team to get with a newborn baby to church to have the child baptised.Since the mid-19th-century horse-drawn sleighs used by Tatra highlanders have been the masterpieces of woodcarving art. A lot of attention has been paid to the precision of workmanship, the choice of material and ornamentation. Initially, they were used as the means of transport during snowy winters in the Polish Tatra region. During the Interwar period, due to the development of mass motorization, horse-drawn sleighs lost their utilitarian character and people started to use them in racing events. The first horse-drawn sleigh race took place in Zakopane in 1929. It was an annual event until 1939. After World War 2, horse-drawn sleigh races were reactivated in 1962 in Zakopane and after that, after a few-year break, in 1972 in Bukowina Tatrzańska.In the 1970s horse-drawn sleigh races were treated mostly as social events and folk festivities rather than sports competitions. Horses that took part in the races at that time were used to work mainly on the farmland and were not specially prepared for the races. This situation changed completely at the beginning of the 1990s after sport horses had been brought to Podhale. Since then horse-drawn sleigh races have become typical sports competitions; older highlanders started to resign from speed racing leaving the place for young contestants. Sports rivalry and willingness to achieve the best time of a ride displaced the fun and entertainment factor of this event.

scholarly journals De islandske museers placering i kulturdebatten

1970 ◽  
pp. 39
Author(s):  
Ragnheiður H. Þhorarinsdóttir
Keyword(s):  
Cultural Identity ◽  
19Th Century ◽  
Public Culture ◽  
Nordic Countries ◽  
The Other ◽  
National Museum ◽  
World War ◽  
World War 2 ◽  
Romantic Movement ◽  
The 19Th Century

Icelandic museums and their position in public culture Icelandic museums are rooted in the national romantic movement of the 19th century and - as in the other Nordic countries - in the romantic search for a cultural identity. The National Museum was founded in 1863 in a period when the struggle for independence from Denmark culminated. Icelandic nationalism was again challenged in World War 2 which was also coincided with a period of an accelerated modernization. 

scholarly journals Losy Sakramentarza Tynieckiego podczas II wojny światowej

2019 ◽  
Vol 25 ◽  
pp. 327-340
Author(s):  
Katarzyna Sijka
Keyword(s):  
World War Ii ◽  
Cultural Heritage ◽  
19Th Century ◽  
Capital City ◽  
Nazi Germany ◽  
World War ◽  
National Library ◽  
German Culture ◽  
Illuminated Manuscript ◽  
Military Unit

The SacramentoriumTynecensis was written in circa 1060-1070, probably in Cologne. It was located in the Benedictine Abbey in Tyniec from 11th century to 19th century. In 1814 the illuminated manuscript was bought by Stanisław Kostka Zamoyski, then in 1818 he located the codex in the Zamoyski Ordynacja Library in Warsaw. It stayed there to the end of World War II. Two formations of Nazi Germany were as follows:  a military unit led by Professor of Archaeology, Peter Paulsen and a group led by art historian Kajetan Mühlman. Both were responsible for the plundering of Poland's cultural heritage. They wanted to get the Sacramentorium Tynecensis because it was connected with German culture. The employees of the Zamoyski Ordynacja Library have tried to rescue the codex, sometimes at the risk of their own lives. In 1944 during the action of rescuing library collections from the ruins of the capital city of Poland (action called ‘Pruszkowska’), the manuscript codex was exported and hidden by Stanisław Lorentz in the Cathedral in Łowicz. Thankfully that the ST returned to Warsaw in 1947 and was deposited in the National Library of Poland.

scholarly journals Echa międzywojnia w muzycznym folklorze powojennej Lubelszczyzny. Na podstawie zapisów Włodzimierza Dębskiego

2019 ◽  
Vol 16 (1/2) ◽  
pp. 63
Author(s):  
Agata Kusto
Keyword(s):  
Music Education ◽  
Interwar Period ◽  
School Age ◽  
World War ◽  
Musical Culture ◽  
World War 2 ◽  
Wedding Songs ◽  
Written Form ◽  
Post War

<p>Artykuł jest próbą uchwycenia wpływów pieśniowej tradycji międzywojnia, jakim podlegał repertuar udokumentowany po drugiej wojnie światowej na terenie Lubelszczyzny. Inspiracją dla podjęcia tematu stały się niepublikowane zapiski rękopiśmienne Włodzimierza Dębskiego (1922-1998) – kompozytora, teoretyka muzyki, etnomuzykologa, animatora edukacji muzycznej. W latach 1963-1976 Dębski aktywnie współtworzył szkolnictwo muzyczne w Lublinie, jednocześnie dokumentował i badał lubelski folklor muzyczny. Większość wykonawców, których Dębski uwzględnił w swoich badaniach, to osoby urodzone w przedziale lat 1910-1925. Byli to więc przedstawiciele pokolenia, którego wiek szkolny przypadł na okres międzywojenny. Konstrukcja niniejszego tekstu opiera się na porównaniach kultury muzycznej w międzywojennym Lublinie i regionie lubelskim z repertuarem lat 70-tych i 80-tych XX w. Na pieśniowy materiał z Lubelszczyzny utrwalony fonicznie i w przekazach pisanych (teksty) w okresie powojennym składają się śpiewy kilku wykonawców. W repertuarze Teresy Sołtys z podlubelskich Zemborzyc znajdowały się pieśni harcerskie, patriotyczne, żołnierskie/wojenne, obrzędowe, m.in.: <em>Cicho w stepie</em>, <em>Do polskiego wojska chłopców zaciągają</em>,<em> Gdy kogut zapiał w kurniku</em>, <em>Gdybym był hulaką</em>,<em> Hej, tam w karczmie, za stołem</em>, <em>Na nowej górze jadą żołnierze</em>,<em> Pod Krakowem czarna rola</em>, <em>Przyszedł nam rozkaz stanąć do boju</em>, <em>Szabla dzwoni o ostrogę</em>, <em>W suterynie daleko za miastem</em>, <em>Wesoła marynarska pragnie powitać nas wiara</em>, <em>Zmarł biedaczysko w szpitalu wojskowym</em>. Innym źródłem powojennego repertuaru przechowującego pieśni z okresu przedwojennego są nagrania Józefa Struskiego, obejmujące śpiewy kolędowe (<em>Za kolędę dziękujemy</em>, <em>Nie bój się królu żadnej</em>), weselne (<em>Już ci teraz, Kasiuleńko, welon zdejmiemy</em>,<em> Uklęknijże, córko</em>), biesiadne (<em>Chociaż są na świecie różne alkohole</em>, <em>Przyjacielu mój, rób bimber swój</em>), żołnierskie/wojenne (<em>Chcąc podwyższyć kadrę armii Beselera</em>, <em>Zawodzą dzwony w kościele</em>), zalotne/miłosne (<em>Szedłem sobie drożyneczką</em>, <em>Zaszło słonko, zaszło za góry</em>) i inne. Do cennych informatorów, zwłaszcza gdy chodzi o tradycję muzyki wojskowej, należeli Bolesław Strawa i Stanisław Zdybała. Ten ostatni pomięta wiele tytułów przedwojennych pieśni, które żyły w powojennym śpiewie wojskowym (<em>Było późno z wieczora</em>, <em>Do polskiego wojska</em>,<em> </em><em>Oj, bieda, bieda</em>,<em> Karpaccy górale</em>,<em> Tam we pękach bzu altana</em>).</p><p><strong>Echoes of the Interwar Period in Music Folklore of Postwar Lublin Province. On the Basis of Włodzimierz Dębski’s Notes</strong></p>SUMMARY<p>The article is an attempt to present the infl uences of the song tradition of the interwar period on the repertoire documented after World War 2 on the Lublin province territory. The unpublished handwritten notes of Włodzimierz Dębski (1922- 1998), a composer, theoretician of music, ethnomusicologist, animateur of music education, were the inspiration for undertaking this subject. In 1963-1976 Dębski actively co-created the music education in Lublin; simultaneously he documented and studied Lublin’s musical folklore. The majority of performers included in Dębski’s studies were born between 1910 and 1925. Therefore, they were the representatives of the generation whose school age fell on the interwar period. The construction of this paper is based on the comparison of musical culture in interwar Lublin and in the Lublin region with the repertoire of the 1970s and 1980s. The song material from the Lublin region phonically recorded and in written form (texts) in the interwar period consists of the singing of several performers. In her repertoire, Teresa Sołtys from Zemborzyce near Lublin had scouts’, patriotic, military/war, and ritual songs, inter alia, Cicho w stepie, Do polskiego wojska chłopców zaciągają, Gdy kogut zapiał w kurniku, Gdybym był hulaką, Hej, tam w karczmie,za stołem, Na nowej górze jada żołnierze, Pod Krakowem czarna rola, Przyszedł nam rozkaz stanąć do boju, Szabla dzwoni o ostrogę, W suterynie daleko za miastem, Wesoła marynarska pragnie powitać nas wiara, Zmarł biedaczysko w szpitalu wojskowym. Another source of the postwar repertoire that includes songs from the pre-war period are the recordings of Józef Struski, which comprised Christmas carols (Za kolędę dziękujemy, Nie bój się królu żadnej), wedding songs (Już ci teraz, Kasiuleńko, welon zdejmiemy, Uklęknijże córko), drinking songs (Chociaż są na świecie różne alkohole, Przyjacielu mój, rób bimber swój), military/war songs (Chcąc podwyższyć kadrę armii Beselera, Zawodzą dzwony w kościele), courtship/love songs (Szedłem sobie drożyneczką, Zaszło słonko, zaszło za góry) and others. Bolesław Strawa and Stanisław Zdybała were precious informants, especially as far as military music was concerned. The latter remembers many titles of the pre-war songs which were present in post-war military singing (Było późno z wieczora, Do polskiego wojska, Oj, bieda, bieda, Karpaccy górale, Tam we pękach bzu altana).</p>

scholarly journals Cultural pedagogy and it’s development on the threshold of 3rd decade of 21st century

2021 ◽  
Vol XII (1 (34)) ◽  
pp. 149-166
Author(s):  
Janusz Gajda
Keyword(s):  
Interwar Period ◽  
21St Century ◽  
Theory And Practice ◽  
World War ◽  
World War 2 ◽  
Cultural Pedagogy ◽  
Symbolic World ◽  
Education And Development ◽  
Theory Research ◽  
Further Development

This paper - as stated in the title - covers theory, research and practice of cultural pedagogy in Poland, especially at the beginning of 3rd decade of 21st century. It consists of 2 parts concerning the following issues: History until the end of 20th century Tradition, origin, subject and philosophical assumptions Cultural pedagogy in the interwar period in Poland Cultural pedagogy as a humanistic pedagogy after 2nd World War 2. Return of cultural pedagogy after 1995 and it’s further development Cultural pedagogy, it’s humanistic-anthropological character Important publications and academic centers which popularize cultural pedagogy Summary Connecting theory and practice is a requirement for effective education and development of humanistic-anthropological cultural pedagogy which is open to „real world” and „symbolic world”. The last statement, justified in the Summary, is the main thesis of this paper.

Spiegelbilder des Krieges. Grenzverletzungen als literarische Katalysatoren der nationalen und existentiellen Selbstreflexion

2014 ◽  
Vol 44 (2) ◽  
Author(s):  
Ivy York Möller-Christensen
Keyword(s):  
19Th Century ◽  
National Character ◽  
World War ◽  
German Occupation ◽  
Self Reflection ◽  
World War 2 ◽  
The World ◽  
Ideological Background ◽  
The Rich ◽  
The 19Th Century

AbstractGermany versus Denmark in the years 1864 and 1940. Nationalistic and military confrontations reflected in Danish literature. Border violations as catalysts for self-reflection in relation to nationality and existence.The purpose of this article is to throw light on nationalistic and military confrontations acting as literary catalysts for self-reflection in relation to Danish nationality and existence. Highlighted in this article are two major discourses of this, both originating in the 19th century. One of these is rooted in an idealistic, universal romanticism, and the other is characterized by an existentialistic discourse of modernity.The analysis demonstrates how the first mentioned, idealistic and national-romantic school of thought builds on the identity-creative elements of history, nature, language and national character. These factors form a common ideological frame of reference for two of the most influential writers during the World War 2 German occupation of Denmark: Valdemar Rørdam and Kaj Munk, who nevertheless ended up on either side of the table; the former advocating the national-socialistic ideology, and the latter as an uncompromising critic and opponent of the occupational power.The existentialistic discourse of modernity – of which the author Herman Bang is one of the most significant representatives during the last part of the 19th century – has shown to be the most vigorous and viable, and even to-day it is forming an artistic and ideological background for a critical, existential and national self-reflection which up to now has left its mark on the rich Danish war literature.

scholarly journals Romanian Art Historiography in the Interwar Period. Between the Search for Scholarship and Commitment to a Cause

2019 ◽  
pp. 93-122
Author(s):  
Vlad Ţoca
Keyword(s):  
World War I ◽  
19Th Century ◽  
Interwar Period ◽  
Art History ◽  
Historical Writing ◽  
World War ◽  
The West ◽  
Great Debate ◽  
The Family ◽  
Romanian Art

At the end of World War I, Romania emerged as a much stronger nation, with a greatly enlarged territory. During the two world wars, the Romanian state was permanently looking for the best way to preserve the newly created national state and defend its frontiers. This was the only matter all Romanian parties seemed to agree on. The threat of territorial revisionism coming from Hungary, the Soviet Union and, to a lesser extent, Bulgaria united all the political actors in defending the peace system of Versailles and supporting the League of Nations as the guarantor of this peace and stability. The interwar period was a remarkable time for Romania’s cultural history. Between the two world wars, the Romanian cultural scene was dominated by what Keith Hitchins calls the ‘Great Debate’ about national identity and development. The opponents were those advocating synchronism with the West, on the one hand, and those pleading for tradition, on the other, with many others looking for a third way. In Romanian interwar culture, the country’s modernity was emphasized in order to place the country within the larger family of European nations. An opposing, and at the same time, complementary line of thought was that of presenting the long and noble Romanian history, tradition and ancestral roots. These two themes have been present in Romanian culture since the mid-19th century. They were used by various authors, sometimes in a complementary fashion, while at others, in a conflicting manner in literature, historical writing or political discourse. This process did not end with the creation of the Greater Romania after the end of World War I. New threats, which are mentioned above, maintained the need to continue this discourse. In this context, historical arguments became political arguments and were used by the Romanians in order to justify the new territorial gains and the Versailles system. Art history, part of the family of historical disciplines, came to play an important part in this. Romanian art historical writing or political discourse. This process did not end with the creation of the Greater Romania after the end of World War I. New threats, which are mentioned above, maintained the need to continue this discourse. In this context, historical arguments became political arguments and were used by the Romanians in order to justify the new territorial gains and the Versailles system. Art history, part of the family of historical disciplines, came to play an important part in this. Romanian art historical writing did not exist as such until the end of the 19th century. It was only in the first years of the next century that the number of scholarly works produced following western standards steadily increased. As part of a general tendency of aligning Romanian academic practices with those in the West, art historiography established itself as a respectable academic discipline, a process which went hand in hand with the establishment of new institutions such as museums, university departments, research institutions and the Commission for historical monuments. All these institutions were founded and financed by the Romanian state, and most scholars were involved with these institutions in one way or another. Although Romanian art historiography of the period is dominated by the desire to produce academic works to the highest standards, the ideas of the Great Debate are present in the works of that time. At the same time, in several texts, the most prominent art historians of the day strongly affirm the necessity of putting their work in the service of the national cause. In this paper, we will be looking at the general histories of Romanian art written between the two world wars. The choice of these texts is motivated by the fact that these works are the result of larger research projects and have a broader scope and as such better summarise the trends of the interwar period.

Pädagogische Ganzheit, Krieg und Frieden

2019 ◽  
Vol 95 (1) ◽  
pp. 24-43
Author(s):  
Jürgen Oelkers
Keyword(s):  
19Th Century ◽  
Educational Theory ◽  
War And Peace ◽  
World War ◽  
Educational Theories ◽  
The World

Abstract Education for Wholeness, War and Peace ›Wholeness‹ is a topic in educational theory since the Baroque age. In 19th century political concepts of ›wholeness‹ came into being. The article asks what happened to educational theories that were bound to concepts like ›volk‹, ›race‹, ›nation‹ or ›the world‹. Those theories appeared before, during and after World War I. The topics were ›war‹ and ›peace‹ and the rhetorics of wholeness were used on both sides. Because of that, educational theory should abandon the suggestive language of wholeness.

Historia leksemu "badylarz" (na marginesie prac nad "Wielkim słownikiem języka polskiego PAN")

Język Polski ◽  
2020 ◽  
Vol 100 (3) ◽  
pp. 100-112
Author(s):  
Jakub Bobrowski
Keyword(s):  
Popular Culture ◽  
19Th Century ◽  
Interwar Period ◽  
Digital Libraries ◽  
Cultural Memory ◽  
Left Wing ◽  
Lexical Unit ◽  
Use Of Data ◽  
Polish Language ◽  
The 19Th Century

The article explores the semantic and pragmatic evolution of the lexical unit "badylarz" (‘vegetable gardener’). The author challenges the generally accepted opinions about its history, making use of data from dictionaries, digital libraries and corpora of the Polish language. It is commonly believed that the word came into existence during the PRL era and belonged to the typical elements of the discourse of communist propaganda. An analysis of the collected data showed that the word "badylarz" existed as far back as the second half of the 19th century. Originally, it was a neutral lexeme, but in the interwar period it became one of the offensive names of class enemies, often used in left-wing newspapers. After the war, negative connotations of the word were disseminated through literature and popular culture. Nowadays, "badylarz" functions as the lexical exponent of cultural memory of communist times.

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