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Author(s):  
Oleksiy Kresin

The article is devoted to the extremely rich and insufficiently studied heritage of Polish legal thought. The political and geographical determinants of the chosen research topic are the restoration of statehood in central Polish lands in 1807 (Duchy of Warsaw and the Kingdom of Poland) and the defeat of the November Uprising (1830-1831) followed by measures taken by the Russian authorities to limit the autonomy of the Kingdom of Poland. The intellectual milestones are the founding of the School of Law in 1807 (later the Faculty of Law of the University of Warsaw), and the closure of the University of Warsaw in 1831, as well as the significant emigration of scientists in the same year and the liquidation of the Society of Friends of Science in 1832. The intellectual milestones are also European (and first of all Central European) processes of legal thought evolution in the second half of the XVIII – first third of the XIX century, which led to the formation of the first and still insufficiently understood and studied positivism in jurisprudence, being a profound phenomenon that reveals the essence of positivism in legal thought in general. The study found that the basic principle of jurisprudence in the vision of most Warsaw scholars during the study period was its independence from a priori and metaphysical philosophizing, and vice versa, the formation of its own philosophical and legal discourse (philosophy of positive law) based on generalization and understanding of research results. It was recognized that legal science should be a fundamentally new system of legal knowledge – positivist and social. Recognizing the historical and modern pluralism of such an organization of knowledge, Warsaw scholars have unequivocally identified themselves with the Central European jurisprudence, the core of which is the German. Warsaw scholars believed that jurisprudence was based on historical, dogmatic and philosophical approaches. Accordingly, they considered three relatively separate areas of scientific knowledge, which together can be considered as a single legal science or a system of interrelated legal sciences. Depending on the emphasis in the views of scholars on the fundamental or applied side of legal science, this system was seen differently, as well as the subject of jurisprudence – universal or more national. It can be argued that this to some extent correlated with the predominance in the views of certain scholars of the principles of historical-philosophical or historical schools.


Artifex Novus ◽  
2021 ◽  
pp. 118-135
Author(s):  
Urszula Dragońska

Abstrakt: W artykule omówiona została graficzna twórczość młodopolskiego malarza Jana Skotnickiego, przypadająca na lata 1909–1914. W 1908 r. artysta wraz z żoną Teodorą z Trenklerów wyjechali z Krakowa do Zakopanego. Pobyt artysty zbiegł się w czasie z intensywnym rozwojem kulturalnym kurortu. W miejscowe inicjatywy Skotnicki angażował się osobiście, przy finansowym wsparciu swego teścia, łódzkiego przemysłowca i kolekcjonera, Henryka Grohmana. Jednocześnie tutejszy krajobraz i popularna w owym czasie góralska sztuka ludowa, zupełnie artysty nie inspirowały, przez co niemal zarzucił malarstwo, a zainteresował się grafiką i kilimiarstwem. Polem nowych zainteresowań stała się otwarta staraniem Grohmana eksperymentalna pracownia wyposażona m.in. w prasy drukarskie. W kolejnych latach Skotnicki prezentował swoje ryciny na licznych wystawach, także tych towarzyszących organizowanym konkursom graficznym (1911, 1914), a po wyjeździe do Warszawy (1912) przyłączył się do Towarzystwa Przyjaciół Sztuk Graficznych. Skotnicki uprawiał techniki metalowe, bardzo szybko osiągając w nich wysoki poziom zauważony przez krytyków. Łączył akwafortę, akwatintę, suchą igłę i ruletkę, eksperymentował z drukiem barwnym i kolorował odbitki, mocno indywidualizował prace podczas ich odbijania, stosując tintę. Jego dorobek graficzny oszacowany zastał na ponad 50 kompozycji, przy czym w kolekcjach publicznych znajduje się ich obecnie przynajmniej 36. Są to pejzaże, widoki miasteczek i architektury, akty, studia postaci i zwierząt, w wielu przypadkach wzorowane na własnych szkicach i obrazach. Tematycznie i kompozycyjnie wykazują one wiele podobieństw do prac twórców młodopolskich, zarówno z grona profesorów (J. Stanisławski), jak i rówieśników podejmujących próby graficzne (W. Skoczylas). W sposobie budowania kompozycji, kadrowania, asymetrii i fragmentaryczności przedstawień widoczne są wpływy sztuki japońskiej, stanowiącej ważne źródło inspiracji za sprawą kolekcji i działalności Feliksa „Mangghi” Jasieńskiego. Znacząca była również kolekcja Grohmana, za pośrednictwem której Skotnicki mógł poznać twórczość XIX-wiecznych odnowicieli sztuk graficznych, jak i artystów kolejnych pokoleń (J.M. Whistler, F. Rops, E. Carrière), co znalazło odbicie w jego rycinach. Nieco zapomniana działalność Skotnickiego wpisuje się w ogólniejszą tendencję: zainteresowania młodopolskich artystów sztukami graficznymi i zaangażowania na rzecz ich popularyzacji na przełomie XIX i XX w. Jest przykładem poszukiwania własnego języka wypowiedzi w nowym medium, samodzielnie podejmowanego eksperymentu. Choć Skotnicki nie był pionierem sztuk graficznych na ziemiach polskich, to z pewnością stał się ich propagatorem. Summary: The article discusses the graphic output of Jan Skotnicki, a painter of Young Poland, which he created in the years 1909–1914. In 1908, the artist and his wife, Teodora née Trenkler, left Cracow for Zakopane. The artist’s stay there coincided with the intensive cultural development of the resort. Skotnicki was personally involved in local initiatives, with the financial support of his father-in-law, an industrialist and art collector from Łódź, Henryk Grohman. However, the local landscape and the highland folk art popular at that time did not suit him at all. As a result, he nearly gave up painting and became interested in prints and kilims. An experimental studio, opened thanks to Grohman’s efforts, became Skotnicki’s new field of interests. It was equipped with, among other things, printing presses. In the following years, Skotnicki presented his prints at numerous exhibitions, including those accompanying print competitions (in 1911 and 1914), and after moving to Warsaw (in 1912), he joined the Society of Friends of Graphic Arts. Skotnicki used metal techniques and quickly achieved a master level, which was noticed by critics. He combined etching, aquatints, drypoints and roulette, experimented with colour printing and coloured prints. He strongly individualised his works while creating prints by using tint. His graphic output was estimated at more than 50 compositions, with at least 36 currently in public collections. They include landscapes, views of towns and architecture, nudes, studies of figures and animals, which in many cases were modelled on his own sketches and paintings. In terms of themes and composition, they show many similarities to the works of Young Poland artists from the group of professors (J. Stanisławski) as well as peers undertaking graphic attempts (W. Skoczylas). The way of building the composition, framing, asymmetry and fragmentation of the representations reveal the influence of Japanese art, which was an important source of inspiration thanks to the collection and activity of Feliks "Manggha" Jasieński. Grohman’s collection was also significant, as Skotnicki could learn from it about the works of 19th-century restorers of graphic arts, as well as about the artists of subsequent generations (J. M. Whistler, F. Rops, E. Carrière), which was reflected in his prints. The somewhat forgotten activity of Skotnicki was part of a more general trend: the interest of Young Poland artists in graphic arts and their involvement in their popularisation at the turn of the 19th and 20th centuries. His output is an example of searching for one’s own language of expression in a new medium, and an experiment he performed independently. Although Skotnicki was not a pioneer of graphic arts in Poland, he certainly became their promoter.


Muzealnictwo ◽  
2021 ◽  
Vol 62 ◽  
pp. 258-266
Author(s):  
Jarosław Łuczak

The beginning of historical-military museology in Poznan dates back to the mid-19th century when the Poznan Society of Friends of Learning assumed the responsibility to save historic monuments, and began to establish the Museum of Polish and Slavic Antiquities in the Grand Duchy of Posen (Poznan). The task was to collect archival, library, and museum materials, including militaria. As a result of these efforts, in 1882, the Mielżynski Museum was established which boasted an exquisite painting gallery, containing historical painting, a rich archaeological and military collection, and a sizeable collection of so-called historical mementoes: weapons, orders, decorations, etc. In the aftermath of the Greater Poland Uprising 1918 –1919, the Hindenburg Museum founded in 1916–1918 was transformed into a Military Museum. The ceremonial opening was held on 27 October 1919 by Józef Piłsudski, Poland’s Chief of State. The quickly growing collection was moved from Marcinkowskiego Avenue to the barracks in Bukowska Street, and subsequently to a new seat at 1 Artyleryjska Street in Poznan. The solemn opening of the Wielkopolska Military Museum was held on 22 April 1923 by the Commander of the 7th Corps District Major-General Kazimierz Raszewski. In 1939, anticipating the threat of war, the most precious objects were evacuated eastwards, and looted there. The items which stayed behind ended up in German museums. The mementoes connected with the history of the Polish military were destroyed, and the Museum was wound up. The first attempts at reactivating the Museum following WW II failed. It was only with the 1956 revolt that civil and military authorities changed their approach, The National Museum in Poznan undertook the first efforts. The Museum did not go back to its pre-WW II seat, but found home in a modern building in the Old Market Square in Poznan, to be ceremoniously launched on 22 February 1963 by the Commander of the Operational Air Force in Poznan Brigadier General Pilot Jan Raczkowski. Having recreated its collection, the Wielkopolska Military Museum, already as a Branch of the National Museum in Poznan, has held many exhibitions and shows. Moreover, it has released many publications, and run a broad range of educational activities. Among other projects, it has also made reference to the pre-WW II Museum. On 27 December 2019, a new jubilee exhibition ‘Wielkopolska Military Museum 1919–2019’ recording the 100-years’ history of the oldest historical-military museum in Poland was inaugurated.


2021 ◽  

Margaret Fell (nee Askew, b. 1614– d. 1702), Quaker leader, was born in 1614 in Furness, Lancashire (now Cumbria). Her father was John Askew, and little is known of her mother, although she is presumed to be Margaret Pyper because of an extant marriage certificate. At the age of seventeen, Margaret married Judge Thomas Fell (bap. 1599, d. 1658) and moved to Swarthmoor Hall, where she would live for most of the rest of her life. In 1652, the itinerant Quaker preacher George Fox called on the hospitality of Swarthmoor and while there subsequently “converted” Fell, in a process Quakers term “convincement.” Most of her family, and many of the servants, also became Quakers at this point. In the years that followed, Fell’s husband remained an attender at the nearby Ulverston church until his death in 1658, while Swarthmoor hosted local Quaker meetings. Fell was important because of the energy with which she galvanized the wider Quaker body. She set up the Kendal Fund, and a very extensive epistolary network operated because of her commitment to keeping news and communication flowing. She was certainly a leader of the early Quakers, based on her administrative capabilities alone. Marriage to Fox, in 1669, further cemented this position as the “mother” of Quakerism. She was an active polemicist who periodically gained access to England’s rulers and tried to use these audiences to effect greater understanding of the Quaker cause; she also wrote over twenty pamphlets. In common with many Quakers of the period, Fell was imprisoned, in her case due to holding meetings at her house; she served over four years in the 1660s, then another year in the 1670s. Her marriage to Fox was to prove to be unconventional, and it certainly made an already strained relationship to her son, George, who was not a Quaker, worse. Fox and Fell spent very little time together between their marriage and Fox’s death in 1691, though their relationship is presumed to be affectionate. Fell died in 1702. She had composed A Relation of Margaret Fell (1690), and “A Testimony Concerning [her] . . . Late Husband George Fox” (1694), both of which are important accounts of her life. Her letters and published pamphlets were collected together, alongside testimonies of praise, in A Brief Collection of the Remarkable Passages . . . of Margaret Fell (1710). The Fell manuscripts are now held primarily in the Society of Friends’ library, London, and they serve as the basis for many of the studies of the Fell family.


Author(s):  
George V. Dik ◽  

The article examines the problem of the ideological and policy influence of the Church on colonial politics and the establishment of equality during the 1789 Revolution, based on the material of the Parliamentary Archives, memoirs of contemporaries and an extensive body of scientific literature. The author shows that in the first years after the Revolution neither the Church nor the State sought to provide the inhabitants of the colonies with equal rights with the population of the republic, which caused discontent that threatened the success of further revolutionary transformations. It is concluded that the colonial policy did not implement the revolutionary idea of human natural freedom, and the Catholic Church did not advocate the abolition of slavery. Only a few of its representatives, such as Abbot Gregoire, a member of the Society of Friends of Black and an active abolitionist, tried to find a way to enter the colonies and their populations into the new republic.


2021 ◽  
Vol 26 (1) ◽  
pp. 119-135
Author(s):  
Alexis Constantinou

This paper analyses the peacebuilding efforts of the official British Religious Society of Friends representative in Mandate Palestine, Daniel Oliver, and the Palestine Watching Committee (PWC). Previously unexamined documentation stored in the Friends House library and Haverford College archives details the extensive negotiations by Oliver and the PWC, which he co-founded, to influence British, Arab and Jewish senior political and royal officials. Combining individual and collective Quaker values concerning the Peace Testimony with a deep focus on British government colonial policies proved problematic. Internal fractions developed over the conduct of British forces in Palestine and the issue of Jewish immigration. Oliver defended the British government and continued to press for peace, demonstrating how patriotism significantly influenced his own spiritually guided message, while the PWC reduced its activities and became despondent over their lack of success and the decline of the Mandate.


2021 ◽  
Author(s):  
Sydney Van Morgan ◽  
Stan Becker ◽  
Samuel B. Hopkins ◽  
Edward C. Papenfuse

Questions about Johns Hopkins, his family, and their relationship to slavery have been raised by Johns Hopkins University, most directly in the announcement made by President Ronald Daniels on December 9, 2020, that, based on newly discovered records, the university’s founder owned five enslaved people who lived and worked at his properties in Baltimore in the mid-1800s. This announcement and other statements by the university have caused many people to doubt long-held beliefs about Johns Hopkins’ character and his support for anti-slavery causes. This paper investigates three of the primary assertions made in December 2020 by examining: (1) whether or not Johns Hopkins’ parents were slaveholders, (2) whether or not Johns Hopkins opposed slavery, and (3) whether or not census and other records prove that he owned enslaved people. After a careful review of the evidence uncovered to date, we argue that (a) Johns Hopkins’ parents and grandparents were devout Quakers who liberated the family’s enslaved laborers prior to 1800, (b) Johns Hopkins was an emancipationist who supported the movement to end slavery within the limits of the laws governing Maryland, and (c) the available documentation, including relevant tax records, does not support the university’s claim that Johns Hopkins was a slaveholder. We conclude with a discussion of the complex nature of Johns Hopkins’ economic relationship with the institution of slavery and a call for further research on his business networks, investment practices, and membership in the Religious Society of Friends.


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