scholarly journals Między klasyką a awangardą. Szpital Morski na Oksywiu projektu Mariana Lalewicza

2020 ◽  
Vol 11 ◽  
pp. 278-292
Author(s):  
Weronika Szerle
Keyword(s):  
World War Ii ◽  
Wide Spectrum ◽  
Spatial Arrangement ◽  
Easy Access ◽  
Military Hospital ◽  
Avant Garde ◽  
Medical Security ◽  
Hospital Building ◽  
Modern Hospital ◽  
Architectural Detail

Between the classic and the avant‑garde. The Maritime Hospital in Oksywie designed by Marian Lalewicz The aim of the article is to present the architectural legacy of the Maritime Hospital in Gdynia, a military investment from the early 1930s, which was created in the office of a significant and renowned architect, Marian Lalewicz. A distinguished designer, representative of academic classicism, he had in his portfolio, among others, several buildings in Gdynia so crucial for the Polish Navy. In 1930 he accepted an extraordinary challenge which was to build a military hospital of a wide spectrum of operations. It was to be the answer to the demands of the growing personnel and their families while at the same time constituting a form of medical security for the naval port. The project, realised as the first modern hospital building in the developing port city, was modernistic and exceptionally functional. It was presented at an opinion‑forming national exhibition and in professional magazines, as it complimented the most important proposals in terms of construction and inventory of hospitals, taking into consideration the influence of nature on treatment and comfort quality improvement of patients. Generally, the hospital comprised two wards: surgical and internal diseases, with additional infectious diseases subdivision. Also, a dental clinic operated there, perhaps also a venereal clinic, an operating theatre, an X‑ray facility, physiotherapy surgery, a laboratory, a pharmacy, a dissection room and a mortuary. From the ground floor of the building there was an easy access to a terrace as well as to verandas, which were duplicated on the first floor. The loggias on two of the storeys were also exceptional. A good location of the hospital on a hillside, strong insolation and the fresh sea air were all elements of the processes of treatment and convalescence. The facility was manned with mixed personnel, both civilian and military. The text broadly describes the architectural values of the structure, spatial arrangement and facade composition adjoining the function it served and juxtaposed with similar European realisations. Also, the architectural detail is brought to attention, both in the layer of the facade as in the interior of the building, which have been destroyed in the last few years due to renovations. Opened in the spring of 1932, the building served its function until the outbreak of World War II and has remained a medical facility until today – currently it serves as a medical clinic. In itself, it is the proof of the timelessness of the project and its functional arrangement, after nearly 90 years of its completion.

scholarly journals Lend-lease Program through the Prism of Official and Ego Sources

2021 ◽  
pp. 53-73
Author(s):  
O. Lysenko ◽  
O. Fil ◽  
L. Khoynatska
Keyword(s):  
World War Ii ◽  
Soviet Union ◽  
Large Scale ◽  
Two Dimensions ◽  
Industrial Complex ◽  
Avant Garde ◽  
Global Challenge ◽  
Military Equipment ◽  
The Soviet Union ◽  
Red Army

Discussions around various aspects of World War II in the world’s scientific space and memory field have continued throughout the postwar decades. Initially, they were determined by polar and antagonistic ideological paradigms, and after the end of the Cold War – the discovery and introduction into scientific circulation of previously classified sources, testing of avant-garde methods of scientific knowledge, the development of interpretive tools. In the late 1930s, the Soviet Union found itself virtually isolated, alone with the Axis bloc and their allies. It was difficult for the Soviet leadership to overcome the existing threats on its own, especially after the German attack. Only the realization by the Western Allies that Berlin’s aggressive course had become a global challenge made it possible to find a constructive way to join forces in the fight against a common enemy. One of the channels of cooperation between the states of the Anti-Hitler Coalition was the organization of supplies to the USSR of military equipment, ammunition, food, and materials necessary for the facilities of the Soviet military-industrial complex within the framework of the land lease program. Until recently, the problem of land lease was more in ideological discourse than in purely scientific. The currently available source base allows for an unbiased analysis of this phenomenon and elucidation of the place and role of foreign revenues to the USSR in strengthening its defense capabilities during the war against Germany and its allies. However, to this day, the researchers look out of focus, because of the perception of this phenomenon by veterans who fought on foreign military equipment, ate food from overseas. The authors of the article sees their task as combining these two dimensions of the lend-lease and finding out its impact not only on the scale of the large-scale armed confrontation, but also on the moral and psychological condition of the Red Army, for whom the war was an extremely difficult test.

Gutai

2018 ◽  
Author(s):  
Neilton Clarke
Keyword(s):  
World War Ii ◽  
Technological Advancement ◽  
World War ◽  
Modus Operandi ◽  
Avant Garde ◽  
Post World War Ii ◽  
The World ◽  
The 1960S ◽  
Gutai Art Association

Gutai Art Association [Gutai Bijutsu Kyōkai] [具体美術協会] was an influential post-World War II Japanese avant-garde collective with an outward-looking mindset. Founded in 1954 in Ashiya, near Osaka, by Japanese artist Jirō Yoshihara (1905–1972), it had fifty-nine members over the course of its eighteen-year lifespan. Gutai—meaning ‘‘embodiment’’ and ‘‘concreteness’’—saw its artists engage a plethora of media and presentation contexts, often beyond gallery walls and frequently with more emphasis upon process than on finished product. A unifying factor among its multifarious tendencies was a spirit of adventure, exemplified by Yoshihara’s oft-cited call to ‘‘do what no one has done before.’’ Embracing performance, theatricality, and outdoor manifestations, with a characteristic impromptu modus operandi, Gutai’s experimental tendencies and liberal ideals breathed new life into art and into a society remaking itself following the cataclysm and repressions of World War II. As Japan entered the 1960s, consolidating its economy and engagement with the rest of the world, the decidedly offbeat stance of Gutai’s earlier years assumed a cooler demeanor, due in part to nation-wide technological advancement, growing internationalism, and an evolving audience base and receptivity. The Gutai group disbanded following Yoshihara’s passing in 1972.

scholarly journals View Magazine and the Mass Visual Culture of World War II

Arts ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 41
Author(s):  
Gregory Gilbert
Keyword(s):  
World War Ii ◽  
Media Industry ◽  
Visual Artists ◽  
World War ◽  
American Government ◽  
Avant Garde ◽  
News Reports ◽  
Corporate Advertising ◽  
War Effort ◽  
The Media

Shortly after the bombing of Pearl Harbor in December of 1941, the American government impressed upon the media industry and corporate advertising the cooperative need to boost morale and enlist nationalist support for the war effort. Public opinion was shaped through an active campaign of visual propaganda and media censorship in which the social trauma of war, in particular, representations of death and destructive disorder, was erased from official news reports. However, avant-garde art and writing in View magazine during the early 1940s can be analyzed as a radical form of counter-discourse that challenged the media’s representation of the war. View had been founded in 1940 by the poet Charles Henri Ford, who vowed to create a magazine devoted to what he called the “new journalism”, a form of international reporting by poets and visual artists that would provide visionary critical insight on the forthcoming political catastrophe in Europe. Lacking their own publishing forum, a number of Surrealist émigrés and American adherents of Surrealism gravitated towards View. As this article will examine, Surrealist imagery and prose in View evoked a profound sense of the bodily trauma and physical destruction omitted from mass media, subverting the government’s highly sanitized and ideologically manipulated representations of World War II.

Homage to Robert Aron, 1898—1975

1977 ◽  
Vol 2 (2) ◽  
pp. 131-139
Author(s):  
Annabelle Henkin Melzer
Keyword(s):  
World War Ii ◽  
Communist Party ◽  
World War ◽  
Alfred Jarry ◽  
Avant Garde ◽  
Louis Aragon ◽  
Tristan Tzara ◽  
Philippe Soupault ◽  
Young Wife ◽  
French Communist Party

I went to see Robert Aron in the summer of 1972. He was then seventy-four years old, a tall, striking man in an apartment of stuffed furniture overrun by books. In all my meetings that summer with former surrealists, people who had made avant-garde theatre in Paris in the 1920s, there was always a sense of trembling at reaching out to touch cobwebbed memories. Forty-five years had passed since the events we talked about. Tristan Tzara, recalled by Gide as a charming man with a young wife who was ‘even more charming’, had since fought with the French Resistance during World War II and later joined the Communist Party. André Breton, when he died in 1966, was accompanied to his grave by ‘waves of young men and young girls often in couples, with arms entwined’. They had come from all over France to pay him tribute. Philippe Soupault is a respected editor, critic and radio commentator, Louis Aragon is at the forefront of the French Communist Party and dislikes talking about his days as a Surrealist, Roger Vitrac is an acknowledged and produced playwright while Artaud is a cult figure. There are moments when in looking back, the whole Dada-Surrealist performance world looks like some great Dada swindle perpetrated on the only too fallible researcher and critic. Robert Aron does nothing to dispel this feeling. The man who sent a telegram to Breton warning him that he would stop at no measures to keep the fervent Surrealist claque from disturbing the performance of Strindberg's A Dream Play at the Théâtre Alfred Jarry, was elected a member of the French Academy before his death.

Machina ex homine, homo ex machina

2018 ◽  
Vol 8 (2) ◽  
pp. 207-228 ◽  
Author(s):  
Fabio I. M. Poppi
Keyword(s):  
World War Ii ◽  
Human Body ◽  
Japanese Society ◽  
Japanese Culture ◽  
Conceptual Representation ◽  
World War ◽  
Social Deviance ◽  
Social Phenomena ◽  
Avant Garde ◽  
The Social

Abstract In this article, I identify and describe multimodal hybrid metaphors—the conceptual representation of two elements represented as merged into a new single ‘gestalt’—represented by the machine and human body domains in “Tetsuo: The Iron Man” (鉄男: Tetsuo), a Japanese avant-garde film. Since “Tetsuo: The Iron Man” portrays the genesis of a man whose body becomes a human-machine hybrid, I explore to what extent this film can act as an example of how hybrid metaphors are conveyed. In line with the ideological function of metaphors, where the use of alternative metaphors may produce different meanings and potentially have different effects on the recipient, I also try to interpret how these hybrid metaphors reveal information about the contemporary Japanese society. Specifically, the ideological analysis considers how the notion of ‘artificial’ and the social phenomena of misogyny, homophobia and social deviance are held to characterise the post-World War II Japanese culture.

scholarly journals Transatlantic crossing in the 1920s and 30s – the trajectories of the European poetic and scientific avant-garde in Brazil

Gragoatá ◽  
2016 ◽  
Vol 21 (41) ◽  
Author(s):  
Ellen Spielmann
Keyword(s):  
World War Ii ◽  
Sao Paulo ◽  
São Paulo ◽  
World War ◽  
Avant Garde ◽  
Blaise Cendrars ◽  
The University ◽  
Fernand Braudel

This article focuses on four paradigmatic cases of travelers. The central part concerns Dina Lévi-Strauss who gave the first course on modern ethnography in Brazil. She transfered the very latest: her projects include the founding of an ethnographic museum modeled on the “Musée de l`Homme”. Claude Lévi-Strauss and Fernand Braudel traveled to São Paulo as members of the French mission, which played an important role in the founding of the University of São Paulo. For political reasons Claude Lévi-Strauss’ contract at the University was not renewed in 1937. Blaise Cendrars was already a famous poet when he crossed the Atlantic in 1924. Fascism in Europe and World War II interrupted the careers of these four travelers as well as their interchanges with Brazil and their Brazilian friendships. But Brazilian experiences of Claude Lévi-Strauss and Braudel are crucial for their successful careers, after 1945.----------------------------------------------------------------------------------------------------Travessia transatlântica nos anos 1920 e 1930: as trajetórias da vanguarda poética e científica europeia no BrasilO artigo trata de quatro casos paradigmáticos de viajantes. A parte central está dedicada a Dina Lévi-Strauss, quem ministrou o primeiro curso de etnografia moderna no Brasil, apresentando nele o que havia de mais recente em sua época; seus projetos ainda incluíam a fundação de um museu etnográfico concebido a partir do modelo do “Musée de l’Homme”. Por sua vez, Claude Lévi-Strauss e Fernand Braudel viajaram a São Paulo como membros da Missão francesa, que teve um papel importante na fundação da Universidade de São Paulo, mesmo que, por razões políticas, o contrato de Claude Lévi-Strauss não tenha sido renovado pela Universidade em 1937. Antes deles, Blaise Cendrars era já um poeta famoso quando cruzou o Atlântico em 1924. O fascismo na Europa e a Segunda Guerra Mundial interromperam as carreiras destes quatro viajantes tanto quanto seus intercâmbios com o Brasil e com seus amigos brasileiros. Contudo, as experiências que Claude Lévi-Strauss e Braudel levaram a cabo no Brasil foram cruciais para o sucesso de suas respectivas carreiras após 1945.---Artigo em inglês.

scholarly journals Straight into the Eyes – Jacek Łumiński and the Silesian Dance Theatre(1991-2011)

2020 ◽  
Vol 3 (1) ◽  
pp. 31-46
Author(s):  
ALICJA IWANSKA
Keyword(s):  
20Th Century ◽  
Turning Point ◽  
Wide Spectrum ◽  
Educational Activity ◽  
Contemporary Dance ◽  
Educational Activities ◽  
Avant Garde ◽  
Professional Dance ◽  
In The Beginning

The fi nal decade of the 20th century was the turning-point for the development of Polish contemporary dance. In 1991 Jacek Łumiński established the Silesian Dance Theatre in Bytom. The theatre is said to be in the avant-garde of all activities related to contemporary dance development in Poland. It was J. Łumiński and his theatre who pioneered new trends in contemporary dance at the beginning of the nineties of the 20th century, at the same time they have conducted educational activity over the intervening twenty years.The aim of this article is to present the artistic and educational activity of the Silesian Dance Theatre of the recent twenty years. In the beginning the author presents a choreographic por-trait of J. Łumiński, the founder and choreographer of the Silesian Dance Theatre, and creator of the Polish contemporary dance technique. Then an analysis of J. Łumiński’s dance style is car-ried out, and the review of the Silesian Dance Theatre’s choreographic attainments is presented.The fi nal part of the article discusses the wide spectrum of educational activities under-taken in the fi eld of contemporary professional dance by theSilesian Dance Theatre, and the phenomenon of the theatre on the Polish stage.

scholarly journals Identifying the Wasted Spaces within Hospital Buildings in Pakistan

2019 ◽  
Vol 38 (3) ◽  
pp. 799-818
Author(s):  
Javeria Manzoor Shaikh ◽  
Khan Muhammad Brohi ◽  
Sabeen Qureshi
Keyword(s):  
Spatial Organization ◽  
Circulation Pattern ◽  
Simulation Method ◽  
Spatial Arrangement ◽  
Healthcare Facility ◽  
Developed Countries ◽  
Healthcare Facilities ◽  
Healing Environment ◽  
Areal Distribution ◽  
Hospital Building

The built environment of hospital buildings are generally not accepted to be pleasant. In the design of healthcare facility, it is quite important that its design, spatial arrangement and areal distribution must respond to curative needs of people so as the outcome emerge in the form of healing environment in the physical spaces.This kind of healing environment is quite adequately available in the developed countries of the global north. However; in developing countries of the global south like Pakistan, the healing environment in healthcare facilities is neither documented nor evident in any available published literature. Whereas, it needs to be well documented and analyzed. Thus, this study aims to identify the healing environment in two selected hospital buildings in Pakistan that is ICP (Peshawar Institute of Cardiology) and FCP (FC Hospital Peshawar) by determining the percentage of wasted spaces within the building. The selected buildings are analyzed from the following aspects; circulation pattern in the hospital, accessibility, connectivity and barrier free movement within buildings, along with the walkability status of over stressed staff inside the hospital building while navigating, functionality of the schematic designs, the problem of the users concerning repetitiveness in their circulation pattern and the way to increase the efficiency of spaces, their spread and flow in the hospital building. In general, three key factors were investigated in this study, therefore, design determinents, areal distribution and adequate spatial organization. In this regard, total eight design determinants were investigated, i.e. entry, parking, waiting area, connectivity, visibility, walkability, accessibility, and way finding. Study approached the spatial simulation method therefore 3M analysis which is a Japanese model referred as Muda (waste), Muri (over burden), Mura (unevenness) based on the Kaizen theory for eliminating wasted spaces from Hospital buildings. Based on the findings and through the approached tools, the waste spaces within the hospital buildings were removed up to 40%.

scholarly journals Ideology in Polish Translations of Anglo-American Literature

2021 ◽  
Vol 1 (1) ◽  
pp. 109-123
Author(s):  
Paweł Marcinkiewicz
Keyword(s):  
World War Ii ◽  
American Literature ◽  
Virginia Woolf ◽  
Social Order ◽  
Value Systems ◽  
Communist Regime ◽  
Avant Garde ◽  
Realistic Fiction ◽  
Revolutionary Movements ◽  
Anglo American

Ideology has always influenced translation, yet this fact became a topic of scholarly research only in the 1990s. The working of ideology in literary translations most often manifests itself as a conflict of value systems. From vast reservoir of foreign sources, the native axiology absorbs values that it needs to sustain its culture. It is not a coincidence that Anglo-American literature, propagating ideas of democracy and individual freedom, became popular in Poland in the first half of the nineteenth-century when Poland did not exist as a state. Only a century later, American literature was the most popular of all foreign literatures in pre-1939 Poland. World War II changed this situation, and the Soviet-controlled apparatchiks favored translations that were “politically correct.” Yet, because of their connections with earlier revolutionary movements, avant-garde Anglo-American writers were often published during the communist regime, for example Virginia Woolf, whose novels were standardized to appeal to the tastes of popular readers. After Poland regained independence in 1989, the national book market was privatized and commercialized, and avant-garde literature needed advertising to get noticed. Cormack McCarthy’s novels were translated into Polish on the wave of popularity of the Coen brothers movie based on No Country for Old Men. The two Polish translations of McCarthy’s novel try to sound like a typical hard-boiled realistic fiction. This is where the ideology of consumerism meets the ideology of communism: literature is a means to sustain – and control – a cultural monolith, where all differences are perceived as possible threats to social order.

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