scholarly journals Awangarda we wspomnieniach twórców nowoczesnych

2021 ◽  
Author(s):  
Paweł Stangret
Keyword(s):  
Twentieth Century ◽  
Second World War ◽  
Great Emphasis ◽  
Historical Narratives ◽  
World War ◽  
Avant Garde ◽  
Research Material ◽  
Significant Difference ◽  
The Individual ◽  
Second World

This article is devoted to the analysis of the statements by avant-garde writers formulatedyears later, after 1956, and related to political, social and artistic transformations. It analyses theforms of expression (essays, memories, analyses, interpretative sketches, etc.) employed by formeravant-garde authors. The research material consists of the memories of Julian Przyboś, AnatolStern, Adam Ważyk and Aleksander Wat. What is significant is the analysis of the narrative strategyadopted by each of these authors as well as the position they gained after 1945 and, then again,after October 1956. This article focuses mainly on presenting the problematic aesthetic changesand indicates that, in this context, the attitude of avant-garde writers to neo-avant-garde art, to thenew literary trends emerging after the Second World War, is particularly important. The central issueexamined is the formulation of the concept of the avant-garde and its definition on Polish soil.The poets’ statements presented show concern for the image of the Polish avant-garde as well as theimportance of the competition for historical narratives. This is connected with the individual perceptionof the notion of the avant-garde. Some of the authors, for instance Julian Przyboś, consideredthe program and the theoretical nuances specified a hundred years ago very significant, whilethe others put great emphasis on the synthetic orientation which viewed the avant-garde as a wholeset of heterogeneous trends. It should be observed that there seems to be a significant difference ofopinion between Adam Ważyk and Aleksander Wat. The former sees the avant-garde in the contextof modernism and its changes, whereas the latter shows the degree to which twentieth-century artresulted from the innovativeness of futurists.

Diaries Real and Fictional in Twentieth-Century French Writing

2018 ◽  
Author(s):  
Sam Ferguson
Keyword(s):  
Twentieth Century ◽  
Life Writing ◽  
Second World War ◽  
Andre Gide ◽  
World War ◽  
Avant Garde ◽  
Diary Writing ◽  
Second World ◽  
The Way

This is the first study of the diary in French writing across the twentieth century, as a genre including both fictional and non-fictional works. From the 1880s it became apparent to writers in France that their diaries (or journaux intimes) – a supposedly private form of writing – would probably come to be published, strongly affecting the way their readers viewed their other published works, and their very persona as an author. More than any other, André Gide embraced the literary potential of the diary: the first part of this book follows his experimentation with the diary in the fictional works Les Cahiers d’André Walter (1891) and Paludes (1895), in his diary of the composition of his great novel, Le Journal des faux-monnayeurs (1926), and in his monumental Journal 1889–1939 (1939). The second part follows developments in diary-writing after the Second World War, inflected by radical changes in attitudes towards the writing subject. Raymond Queneau’s works published under the pseudonym of Sally Mara (1947–1962) used the diary playfully at a time when the writing subject was condemned by the literary avant-garde. Roland Barthes’s experiments with the diary (1977–1979) took it to the extremes of its formal possibilities, at the point of a return of the writing subject. Annie Ernaux’s published diaries (1993–2011) demonstrate the role of the diary in the modern field of life-writing, especially in comparison with autobiography. Throughout the century, the diary has repeatedly been used to construct an œuvre and author, but also to call these fundamental literary concepts into question.

Tracing the Relational Internationalist Perspective in Europe After the Second World War

2018 ◽  
Author(s):  
Roxana Banu
Keyword(s):  
Twentieth Century ◽  
Human Rights ◽  
International Law ◽  
Second World War ◽  
Private International Law ◽  
World War ◽  
Analytical Point ◽  
The Individual ◽  
Second World ◽  
Point Of Reference

This chapter describes the internationalist thinking in private international law after the Second World War and the extent to which internationalist scholars of this period took the individual or the state as the analytical point of reference. It shows how, around the middle of the twentieth century, Henri Batiffol in France and Gerhard Kegel in Germany reawakened an interest in theoretical discussions around the justice dimensions of private international law, while also attempting to repurpose and validate private international law methodology and techniques. Furthermore, this chapter provides an in-depth reading of English private international law scholarship after the Second World War in order to show how English scholars tried to reconstruct private international law theories focused on vested rights as human rights theories.

scholarly journals Vladimir Mayakovsky and Frank O’Hara: a Reappraisal

2020 ◽  
Vol 5 (3) ◽  
pp. 144-185
Author(s):  
Ronald Vroon
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Second World War ◽  
New York School ◽  
World War ◽  
Vladimir Mayakovsky ◽  
Frank O'hara ◽  
Avant Garde ◽  
Abstract Expressionist ◽  
Second World

The “New York School” refers to a group of poets and painters, mostly of the Abstract Expressionist movement, who congregated in New York in the first two decades following the end of the Second World War. They constitute a coterie that has been characterized as America’s “last avant-garde”. Among its most prominent members was Frank O’Hara (1926–1966). Like other members of the New York School of poets, he was strongly influenced by the French and Russian avant-garde movements of the early twentieth century. He was particularly drawn to the works of Vladimir Mayakovsky, whose persona and poetry are frequently referenced in his own oeuvre. The present study seeks to establish the origins of O’Hara’s interest in the Russian poet, the sources he consulted in familiarizing himself with Mayakovsky’s work, and the trajectory of references to Mayakovsky that documents how his avant-garde aesthetic both accommodates and distances itself from that of his Russian forebear.

Finnish refugee children’s experiences of Swedish refugee camps during the Second World War

2015 ◽  
Vol 12 (1) ◽  
pp. 28-37
Author(s):  
Merja Paksuniemi
Keyword(s):  
Well Being ◽  
Second World War ◽  
Refugee Children ◽  
Refugee Camps ◽  
World War ◽  
Daily Routines ◽  
Decisive Importance ◽  
Significant Difference ◽  
Camp Life ◽  
Second World

This article seeks to demonstrate how Finnish refugee children experienced living in Swedish refugee camps during the Second World War (1939–1945). The study focuses on children’s opinions and experiences reflected through adulthood. The data were collected through retrospective interviews with six adults who experienced wartime as children in Finland and were evacuated to Sweden as refugees. Five of the interviewees were female and one of them was male. The study shows, it was of decisive importance to the refugee children’s well-being to have reliable adults around them during the evacuation and at the camps. The findings demonstrate that careful planning made a significant difference to the children´s adaptations to refugee camp life. The daily routines at the camp, such as regular meals, play time and camp school, reflected life at home and helped the children to continue their lives, even under challenging circumstances.

Marie Ulčová and her Contribution to the West Bohemian Museums

2018 ◽  
Vol 56 (1) ◽  
pp. 13-23
Author(s):  
Nela Štorková
Keyword(s):  
Twentieth Century ◽  
Second World War ◽  
World War ◽  
The West ◽  
West Bohemia ◽  
Long Time ◽  
Second World

While today the Ethnographic Museum of the Pilsen Region represents just one of the departments of the Museum of West Bohemia in Pilsen, at the beginning of the twentieth century, in 1915, it emerged as an independent institution devoted to a study of life in the Pilsen region. Ladislav Lábek, the founder and long-time director, bears the greatest credit for this museum. This study presents PhDr. Marie Ulčová, who joined the museum shortly after the Second World War and in 1963 replaced Mr. Lábek on his imaginary throne. The main objective of this article is to introduce the personality of Marie Ulčová and to evaluate the activity of this Pilsen ethnographer and the museum employee with an emphasis on her work in the Ethnographic Museum of the Pilsen Region. The basic aspects of the ethnographic activities, not only of Marie Ulčová but also of the Ethnographic Museum of the Pilsen Region in the years 1963–1988, are described through her professional and popularising articles, archival sources and contemporary periodicals.

Alien Internment in John Galsworthy’s ‘The Bright Side’ and ‘The Dog It was that Died’

2021 ◽  
Vol 30 (1) ◽  
pp. 45-61
Author(s):  
Jill Felicity Durey
Keyword(s):  
Twentieth Century ◽  
Short Stories ◽  
Human Nature ◽  
Second World War ◽  
World War ◽  
Historical Sources ◽  
Internment Camp ◽  
Bright Side ◽  
Second World ◽  
John Galsworthy

This article illuminates two short stories by John Galsworthy through examining them with the help of his diaries and letters, a handful of unpublished letters by his nephew from an internment camp and secondary historical sources. It argues that the stories, when read in conjunction with these sources, are highly revealing about human nature during Second World War and also about Galsworthy’s prescient fears concerning a second twentieth-century world war, which he did not live to see.

Karl Friedrich Schinkel

2021 ◽  
Keyword(s):  
French Revolution ◽  
English Language ◽  
18Th Century ◽  
Second World War ◽  
World War ◽  
Urban Planner ◽  
Avant Garde ◽  
Personal Archives ◽  
Historical Moment ◽  
Second World

Karl Friedrich Schinkel (b. Neuruppin, 1781–d. Berlin, 1841) was a celebrated Prussian architect, theatre set designer, artist, furniture and object designer, urban planner, and civil servant. Born into modest yet respectable circumstances as the son of a deacon, Schinkel, by virtue of his talent and work ethic, rose in his own lifetime to become one of Prussia’s most celebrated cultural figures and its chief royal architect. He worked mostly in Berlin and its surrounding territories, including in some areas that are now part of Poland. His built works suffered heavy destruction during the Second World War, but important examples still survive or have been reconstructed, including the Altes Museum, the Friedrich-Werder Church, the Theatre (Schauspielhaus), and the New Guardhouse in Berlin, as well as the Charlottenhof and Glienicke Palaces in nearby Potsdam. His paintings, drawings, and personal archives can be found mostly in collections in and around Berlin, including at various departments of the Berlin State Museums. Recent debates have surrounded the potential reconstruction of Schinkel’s celebrated masterpiece, the Berlin Bauakademie (which was demolished in 1962), bringing a consciousness of Schinkel’s legacy to the fore in German public life once again. Despite his fame in Germany and his noted status as a reference-point for German avant-garde modernism, Schinkel’s work has remained under-explored in the English language (with some notable exceptions) due to difficulties accessing both his buildings and his archives in the years between the Second World War and German reunification. Since the 1990s, however, Schinkel’s international reputation has been steadily restored due to the efforts of a number of scholars and curators who have sought to disseminate his work more widely than ever before. Schinkel’s oeuvre is as eclectic as the tools and media he employed to realize it are versatile. They reveal traces of neoclassicism and the neogothic, French Enlightenment formalism, German Romanticism and Idealism, and 19th-century historicism. But at the same time, his work resists absolute categorization, by virtue of the fact that he lived and worked suspended between two epochs: he was born too late to be immersed in the worldview of the 18th-century Enlightenment and French Revolution, but nor did he live to see Germany’s development as a fully industrialized and unified nation. Occupying this ambiguous historical moment has given Schinkel’s work a versatility, a freedom, and an inquiring rigor that has assured its originality and enduring value.

scholarly journals ‘De ridder is gestorven’

2021 ◽  
Vol 44 (94) ◽  
pp. 25-50
Author(s):  
Dirk van Keulen
Keyword(s):  
Twentieth Century ◽  
Heart Attack ◽  
Second World War ◽  
Karl Barth ◽  
Dutch Reformed ◽  
World War ◽  
Daily Newspapers ◽  
Reformed Church ◽  
The University ◽  
Second World

Abstract Arnold Albert van Ruler (1908-1970) was one of the leading theologians in the Dutch Reformed Church in the second half of the twentieth century. After having worked as a minister in Kubaard (1933-1940) and Hilversum (1940-1947) he was professor at the University of Utrecht (1947-1970). Van Ruler had a special place in the Dutch theological landscape. The development of his views took the opposite direction of the mainstream of Dutch protestant theology, which can be illustrated with his reception of the theology of Karl Barth. Before the Second World War Van Ruler was a Barthian theologian; after the War he distanced himself from Barth. As a result of this, some of Van Ruler’s theological views were controversial. Van Ruler himself felt somewhat lonely and complained that he was neglected by his colleagues. On the morning of December 15, 1970, Van Ruler had his third heart attack and dead sitting at his writing desk. In this contribution the reactions on Van Ruler’s death are documented. In many daily newspapers his death is mentioned and in several the significance of his work is described. During the months after his death in many ecclesiastical weekly’s and in theological journals in Memoriams were published. We find personal memories and praise for his style of theologising, which was experienced as sparkling and bright. Van Ruler’s colleagues recognised his originality. His views on theocracy, however, remained as controversial as they were during his lifetime.

scholarly journals Forgotten Images and the Geopolitics of Memory: The Italo-Ethiopian War (1935–6)

2020 ◽  
Vol 9 (1) ◽  
pp. 72-92
Author(s):  
Caterina Albano
Keyword(s):  
Second World War ◽  
Historical Narratives ◽  
Chemical Weapons ◽  
World War ◽  
Politics Of Memory ◽  
Air Power ◽  
Moving Image ◽  
Second World

The Italo-Ethiopian war (1935–6) had a profoundly destabilising effect internationally and can be regarded as one of the events that led to the outbreak of the Second World War. Benito Mussolini's occupation of the country (then known as Abyssinia) was facilitated by the massive use of air power and chemical weapons – in ways that at the time were still unprecedented. Mussolini's chemical war, occurring in a country at the periphery of geopolitical spheres of interest, has remained marginal to established historical narratives, rendering it anachronistically topical to today's politics of memory. By examining two films based on archival film footage, respectively Lutz Becker's documentary The Lion of Judah, War in Ethiopia 1935–1936 (1975) and Yervant Gianikian and Angela Ricci Lucchi's video work Barbaric Land ( Paese barbaro, 2013), this article considers the significance of the moving image as a trace of events that have mostly remained visually undocumented and questions its relevance vis à vis today's mediated warfare and the ethics of images.

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