Drawing on newly accessible archives as well as memoirs and other sources, this biographical dictionary documents the lives of some two thousand notable figures in twentieth-century Central and Eastern Europe. A unique compendium of information that is not currently available in any other single resource, the dictionary provides concise profiles of the region's most important historical and cultural actors, from Ivo Andric to King Zog. Coverage includes Albania, Belarus, the Czech and Slovak Republics, Hungary, Estonia, Latvia, Lithuania, Poland, Romania and Moldova, Ukraine, and the countries that made up Yugoslavia.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1976.
Perverse Memory and the Holocaust presents a new theoretical approach to the study of Polish memory bystanders of the Holocaust. Drawing on psychoanalytic theory, it examines representations of the Holocaust in order to explore the perverse mechanisms of memory at work, in which surface a series of phenomena difficult to remember: the pleasure derived from witnessing scenes of violence, identification with the German perpetrators of violence, the powerful fear of revenge at the hands of Jewish victims, and the adoption of the position of genocide victims. Moving away from the focus of previous psychoanalytic studies of memory on questions of mourning, melancholy, repressed memory, and loss, this volume considers the transformation of the collective identity of those who remained in the space of past Holocaust events: bystanders, who partook in the events and benefited from the extermination of the Jews. A critique of ‘perverse memory’ that hampers attempts to work through what is remembered, this book will be of interest to scholars across the social sciences working in the fields of Holocaust studies, memory studies, psychoanalytic studies, and cultural studies.
Jan Salamucha was born on the 10th of June 1903 in Warsaw and murdered on the 11th of August 1944 in Warsaw during the Warsaw Uprising very early on in his scholarly career. He is the most original representative of the branch of the Lvov-Warsaw School known as the Cracow Circle. The Circle was a grouping of scholars who were interested in reconstructing scholasticism and Christian philosophy in general by means of mathematical logic. As Jan Lukasiewicz’s successor in the area of logic and Konstanty Michalski’s student in the area of the history of medieval thought, Salamucha had an excellent preparation for this task. His main achievements include a masterful logical analysis of the proof ex motu for the existence of God, a modern interpretation of analogical notions and a comprehensive approach to the problem of essence. He also contributed several historical studies: he examined Aristotle’s theory of deduction (and found contradictions in it), he reconstructed William Ockham’s propositional logic and established the authenticity of his treatise on insolubilia, and he identified the historical sources of the antinomies in Antiquity and the Middle Ages. He did not shy away from popularizing philosophy, and in that work he was able to elucidate rather than oversimplify the complexities of philosophy.
The House of a Thousand Floors is one of the earliest science-fiction novels in European literature, published first in 1929. Besides being a pioneer in its genre, the book is highly regarded for its general merits as psychological literature. The novel tells the story of a dream in fever of a soldier wounded in World War I. He finds himself in the stairway of a gigantic (and kafkaesque) tower-like building, which is a metaphor for modern society. He learns that his task is to rescue Princess Tamara from Muller, the lord of the edifice. After a number of surrealistic encounters in the building, during which he is hailed as a liberator by many and is hunted by the cruel security guards, the main character finds Tamara and faces the cruel lord of Mullerdom. The novel makes fine use of a range of experimental styles and techniques. At times, linear storytelling gives way to a collage of incongruous elements: excerpts from fictitious books, encyclopedia articles, radio broadcast transcripts are used as a shortcut to describe places or events; other narrative ingredients include fanciful advertisements, ludicrous administrative documents or political slogans which highlight the idiosyncrasies of this decadent world.
In the first English translation of Still Alive, the renowned Polish essayist and theater critic Jan Kott recounts his perilous odyssey through the endless political crises of Eastern Europe in the mid-twentieth-century, illuminating not only the fate of a whole generation of intellectuals, but also his main concern: how to make sense of one's own existence As a portrayal of turbulent times, the book is priceless, in particular because of its extraordinarily vivid depictions of the atmosphere of everyday life under Communism.-Stanislaw Baranczak, Harvard University An incisive and vivid testimony of a gifted and zestful survival, Still Alive offers a suspenseful story of its author's harrowingly narrow escapes in Nazi-occupied Poland, and an illuminating account of his vicissitudes under the postwar Communist regime. That this widely acclaimed memoir is now available in English is good news indeed.-Victor Erlich, professor emeritus of Russian literature, Yale University Written by a man with literary taste and a sense of the dramatic who knows how to tell a story without ever losing a sense of humor, taste for life, and a kind of gaiety.-Nicole Zand, Le Monde The entire writing resonates with life and its mysteries, some resolved, some not...The rigors and victories of Kott's life somehow offer sustenance to all who question existence.-Library Journal A splendid evocation by an eminent theater critic and philosopher of what it meant to be alive-sometimes barely-during the tremendous upheavals in Europe caused by the Second World War and the installation of the Communist regime in Poland...Kott shows an unerring sense of the telling detail that imprints a scene in the memory. A riveting book.-Kirkus Reviews
Jan Karski’s Story of a Secret State stands as one of the most poignant and inspiring memoirs of World War II and the Holocaust. With elements of a spy thriller, documenting his experiences in the Polish Underground, and as one of the first accounts of the systematic slaughter of the Jews by the German Nazis, this volume is a remarkable testimony of one man’s courage and a nation’s struggle for resistance against overwhelming oppression. Karski was a brilliant young diplomat when war broke out in 1939 with Hitler’s invasion of Poland. Taken prisoner by the Soviet Red Army, which had simultaneously invaded from the East, Karski narrowly escaped the subsequent Katyn Forest Massacre. He became a member of the Polish Underground, the most significant resistance movement in occupied Europe, acting as a liaison and courier between the Underground and the Polish government-in-exile. He was twice smuggled into the Warsaw Ghetto, and entered the Nazi’s Izbica transit camp disguised as a guard, witnessing first-hand the horrors of the Holocaust. Karski’s courage and testimony, conveyed in a breathtaking manner in Story of a Secret State, offer the narrative of one of the world’s greatest eyewitnesses and an inspiration for all of humanity, emboldening each of us to rise to the challenge of standing up against evil and for human rights. This definitive edition—which includes a foreword by Madeleine Albright, a biographical essay by Yale historian Timothy Snyder, an afterword by Zbigniew Brzezinski, previously unpublished photos, notes, further reading, and a glossary—is an apt legacy for this hero of conscience during the most fraught and fragile moment in modern history.
The signing of the Gdansk Agreements in August 1980 signaled the birth of the Solidarity independent trae union movement. The sixteen months that followed until the December 1981 declaration of martial law remain one of the most fascinating chapter in the history of communist states. But the events of August 1980 did not materialize from thin air. The groundwork for Solidarity was prepared five years before when a group of dissident intellectuals gathered to boldly proclaim their solidarity with persecuted workers at Random and Ursus. This group called itself the Komitet Obrony Robotnikow (KOR) or the Worker's Defense Committee. What was KOR? What were the social and political circumstances that lead to its formation? And how did it presage a movement that would come to symbolize the hopes of a whole generation of Poles? The answers to these questions lie in the rare insights provided by one of Poland's most respected historians, Jan Jozef Lipski, who was also a found and active member of KOR. His book, translated from the Polish, is a meticulously detailed, insider's account of KOR from its formation in 1976 to its dissolution of 1981 when it was subsumed by the more powerful movement of mass, organized protest, Solidarity. The history of KOR is painted on the broad canvass of Polish society, in a manner which sheds light on the roles of other actors--workers, peasants, government officials, the Catholic Church, the Soviet Union--who also had a hand in shaping events during this period. KOR: A History of the Workers' Defense Committee in Poland is a work of first-rate importance unlike any other published in the West. It provides a deep insight into the origins of events in Poland, and will also inform those intersted in the process of liberation elsewhere in Eastern Europe. Although written with a historian's attention to detail and objectivity, it is a riveting work of sustained dramatic tension. For Lipski is a dissident who writes about Poland from Poland and the history he writes about is till in the making. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1985.
Cavanaugh's scholarship is distinguished by several qualities: detailed knowledge, a rare comparative awareness of adjacent disciplines, and of course, a substantial, synthetic knowledge of modern artistic developments in Western Europe and the U.S. Out Looking In will be relevant to a large and varied public."--John E. Bowlt, author of Forbidden Art: Soviet Nonconformist Art, 1956-1988 "This is an essential book for scholars of modernism who are eager, in the wake of post-structuralist and post-modernist reevaluations of the construction of modernism's history, to broaden discussions beyond a narrow French orientation. It will serve as an important stimulus for rethinking European art in general in this period."--Linda Dalrymple Henderson, University of Texas, Austin "Clearly written and well organized, [Out Looking In] will be the indispensable reference work in English on early modern Polish art. Cavanuagh's treatment, based on solid research and critical insight, is illuminating."--Vojtech Jirat-Wasiutynski, Professor of Art, Queen's University "The visual richness and comprehensiveness of Out Looking In will make it a primary resource in the West for images of early modern Polish art as well as arguing for the centrality of Polish art to the discussion of European modernism. This is revisionism at its most insightful."--Wendy Salmond, author of Arts and Crafts in Late Imperial Russia "This book goes a long way in correcting our geographically narrow understanding of European modernism. While arguing for Poland's place in the annals of artistic modernism, Cavanaugh elegantly manoeuvers between the sensitive issues determining national artistic identity and the international context of this debate."--Myroslava M. Mudrak, Ohio State University "This is one of the most important critical analyses of turn-of-the-century Polish art. Out Looking In will inspire a broad response from a wide international cricle of historians of art, literature, and artistic culture."--Wieslaw Juszczak, Art Institute of the Polish Academy of Sciences and Letters and Art History Department, University of Warsaw
What stands out in this memoir is above all the work that he has treated with exceptional seriousness from the very beginning, describing himself as the little screw that drives itself into the grand technology as all round machinist and invincible form grinder. Readers not familiar with modern technology will have to be impressed in this fascinating story by the thoroughness with which the author describes complicated production processes and high-precision items produced by his skilled hands. Also astonishing is his ability to recollect the details of social interactions in the workplace as well as among the neighbors. Besides work, the most important place is occupied by the family. A separate, but an equally important hobby is history and politics, both the grand one and the smaller, local one. Everywhere, whether at work, at home or social occasions, he participated in discussions, impressing everyone with his historical knowledge and his levelheaded outlook on current developments in the USA, the world, Poland, and Iraq. He also was, is, and always will be a great patriot, an ambassador of the Polish cause. After all, as he writes in the closing sentences of his memoirs, neither education nor wealth is important; what is important for us is to represent our country with dignity, wherever we might find ourselves. From the Foreword by Wladyslaw Sobecki
Urodzony 14 lipca 1918 roku w Przewałce na dawnych kresach wschodnich, Jan Łopaciński opowiada swoje losy, które zawiodły go z rodzinnej ziemi grodzieńskiej do sowieckich łagrów aż na Kołymę, gdzie spędził razem ponad 10 lat. Fakty i anegdoty przeplatane są własnymi refleksjami o odczuciach sponiewieranego człowieka, który walczy z nadzieją o przeżycie.
In December 1970, amid a harsh winter and an even harsher economic situation, the ruling communist regime in Poland chose to drastically raise prices on basic foodstuffs. Just before the Christmas holidays, for example, the price of fish, a staple of the traditional Christmas Eve meal, rose nearly 20%. Frustrated citizens took to the streets to protest, demanding the repeal of the price-hikes. Things took an especially dramatic turn in the northern regions near the Baltic shore — later, the cradle of the Solidarity movement, which would eventually spark the fall of communism in Poland and throughout Central and Eastern Europe — where the government moved against their citizens with the Militia and the Army. Forty-one Poles were murdered by their own government when militiamen and soldiers opened fire with live rounds on the crowds in Gdańsk, Gdynia, Szczecin and Elbląg. Jan Polkowski’s moving poetic cycle Głosy [Voices], presented here in its entirety in the English translation of C.S. Kraszewski, is a poetic monument to the dead, their families, and all who were affected by the ‘December Events,’ as they are sometimes euphemistically referred to. In his afterword to the collection, ‘Jan Polkowski’s Voices — The Antigones of the Baltic Coast,’ Józef Maria Ruszar notes that this work, in which Polkowski, as something of a medium, ‘enters the skin’ of the dead, the survivors, and their families to ‘speak from within his narrators,’ is something which ‘has no counterpart in the literature of Poland — or even that of the world.’ In its moving, subtle, yet powerful tribute to those who paid the highest price for the ultimate victory of right over wrong, liberty over oppression, Jan Polkowski’s Voices takes its rightful place alongside other immortal artistic threnodies, such as Pablo Picasso’s Guernica, John Hersey’s Hiroshima, and Henry Górecki’s Symphony III.
“Alphabet of Solidarity” is primarily addressed to young readers who do not remember those events and usually know little about the history of Solidarity We want to explain to them why we – witnesses of that time – insist that this history is still alive, that it is so very important not only for us, but also for young Poles Because, surely, the history of Solidarity is fascinating and inspiring today too It contains a positive narrative about Poland and Poles Each generation gradually grows to respect its ancestors Because, without knowing who preceded us in the generational relay, we cannot understand ourselves Even if, as is the right of youth, we are ridiculing tradition, demonstrating that it means nothing to us – there comes a time when we find ourselves lacking this knowledge And we need it like we need oxygen The history of Solidarity not only inspires, but also enables us to respect our ancestors and our nation It lets us believe in the sense of fighting for an independent state, in the sense of patriotism, civil courage, altruism, love of our fellow man and the clearly understood pluralism and tolerance Such heritage is included in the tradition of Solidarity In order to talk about this, we selected a form that is easier to take in than a scientific book, with hope that it will also be read by those who usually stay away from scientific works Hence, the idea of the “Alphabet of Solidarity” format with short encyclopaedic entries The book contains an alphabetical collection of names, concepts, slogans, and surnames, which constitute a specific, synthetic guide through the history of the Solidarity Carnival of 1980–1981 The texts are not scientific Rather, they are testimonies of the authors, who, usually as an op-ed, describe the phenomena of the freedom revolution employing a variety of styles and conventions The authors who accepted our invitation to participate in this project are a varied and pluralistic group, just like Solidarity However, what they all have in common is the belief that we are all both debtors and heirs of Solidarity, and that it is a story worth telling The purpose of the “Alphabet of Solidarity” is to showcase the brighter side of our history, which still inspires people with the positive energy of that time, because… “There is no freedom without Solidarity” Krzysztof Nowak
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