Źródła narodowości: powstanie i rozwój polskiej świadomości w II połowie XIX i na początku XX wieku
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| Format: | Book |
| Language: | Polish |
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Wrocław
Wydawnictwo Uniwersytetu Wrocławskiego
2006
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| Series: | Monografie Fundacji na Rzecz Nauki Polskiej / Seria Humanistyczna
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| Subjects: | |
| Online Access: | Abstract Inhaltsverzeichnis |
| Item Description: | Na okł. skrócona nazwa serii: Monografie FNP. Seria Humanistyczna. - Zsfassung in engl. Sprache u.d.T.: Sources of nationality |
| Physical Description: | 395, [2] s. il. (niektóre kolor.) 22 cm |
| ISBN: | 8322927576 |
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| adam_text | SUMMARY
SOURCES OF NATIONALITY
BIRTH AND DEVELOPMENT OF POLISH NATIONAL CONSCIOUSNESS
IN THE SECOND HALF OF THE 19th AND BEGINNING OF 20th CENTURY
Theoretical introduction
The main object of the present book is to present a new concept of „national con¬
sciousness . The issue of national consciousness is central to modern Polish history.
Polish modernity is imbued with nationalism. Polish historical literature has shaped
a powerful and relevant notion of national consciousness which can be seen as one of
the major achievements of Polish historiography. The unique Polish historical experi¬
ence has allowed to formulate a concept which is a very useful scientific tool and has
no corresponding notion in foreign literature where the term national identity is preferred.
What is so special about the national consciousness category? I explain this in
Chapter
1.
There are two basic ways of understanding the term:
Consciousness may be defined as an act of thinking that grasps what is outside man.
In this sense, national consciousness is the capability to comprehend a community as being
distinctive, identity-laden and own. (This is how national consciousness is usually defined
in Anglo-Saxon writing, where the term consciousness is usually avoided and identity is
favoured. East European authors prefer consciousness to identity partly because sociolo¬
gy and social psychology have a lesser influence on historiography here than they do in
Anglo-Saxon countries). This objective concept of consciousness is often associated with
the act of thought that grasps something and makes it available to human judgment. This
concept of consciousness is dominant in Polish historiography.
Consciousness may also be understood as a cognitive way of being, i.e. one in
which being and thinking merge. Descartes considered this to be proper to man as dif¬
ferent from animals. In this sense, national consciousness is not a way of understand¬
ing one s belonging to a community but a way to live it (which neither precludes not
implies understanding).
Consciousness belongs to basic and indefinable concepts. Consequently, the
above disambiguation has no wider cognitive ambitions but has been quoted for its
usefulness in addressing the main issues of the present book. Three further issues need
to be underlined:
Without the concept of consciousness, a nation become a community based on bio¬
logical parameters; according to the current state of knowledge, such a notion is ques¬
tionable.
Identifying consciousness with understanding is handy and transparent, but in the
context of national studies it raises too many paradoxes, such as: How to address the
380
issue
of unconscious participation in a nation? Can there be such a thing as uncon¬
scious national consciousness?
Participation in a nation often betrays understanding, hence it is impossible to
define unequivocally what a nation is. This gives way to another paradox: If we can¬
not state what a nation is, how can be participate in something undefined?
This is why national consciousness is better defined in categories of cognitive
being as a mode of living, following the cartesian
/
think, therefore I am. In acts of
national consciousness, the distinction between what is thought and what exists grad¬
ually disappears; consequently, along with the so-called development of national con¬
sciousness it becomes increasingly difficult to distinguish between the national and
non-national. Even nature becomes nationalized in national parks . The nation as
a form of being become the only sensible form of existence; it is difficult to imagine
a non-nationalized reality. The nation digs deeper and deeper in its past and, more
importantly, it increasingly roots itself in man. The concept of dying for the nation
shows how deeply the act of consciousness shapes the existence.
Historical analyses
Although my suggestions are in part theoretical (e.g. concepts of self, body and
corpus ), they stem principally from my source readings and can only be understood
in this context. In the case of Poland, one of the key problems in national studies is the
huge amount of sources. My choice of these was limited by chronological boundaries
of the present book. I have focused my attention on the second half of the 19th centu¬
ry up to the period immediately preceding the establishment of an independent Polish
state in
1918,
trying to show how crucial this period was for the shaping of Polish
national consciousness.
Featured analyses focus on three major issues:
1)
a case study of national con¬
sciousness,
2)
an examination of the social functioning of national consciousness,
and
3)
a historical survey of the evolution of Polish national consciousness up to
the early 20th century. The present book is thus subdivided into three parts. In part
one, I present how the national consciousness of an individual is shaped, on the
example of
Wojciech Kętrzyński.
This research allows to formulate a general the¬
oretical concept, later developed in subsequent parts of the book. In part two,
I address the cult of national heroes as a symptom of how national consciousness
functions in society as a whole. In part three, I analyze the logic of the develop¬
ment of Polish national art to identify the directions of development of national con¬
sciousness.
Part one is subdivided into six chapters. In chapter
2,
1 analyze the biography of
Wojciech Kętrzyński
from the perspective of Polish nationalism, German nationalism
and Mazurian regionalism .
Wojciech Kętrzyński, a.k.a.
Albert
Winkler, was
an
impoverished Polish aristocrat from East Prussia, raised in the spirit of Prussian patri¬
otism. Teenage
Kętrzyński
unexpectedly learned from his sister that his ancestors were
Poles, and as a consequence decided to convert and become a Pole. A document of
381
his conversion is a collection of national poems written in German
(Kętrzyński
at that
time had no knowledge of Polish); they are analyzed in chapter
3.
Ketrzynski s poetry cannot be understood outside the spiritual mood of his time,
marked as it was by the birth of modern subjectivity of the self (as described e.g.
by Charles Taylor in his Sources of the self)
-
this is discussed in chapter
4.
The mod¬
ern understanding of man as self controlling, governing, constructing his world and
located at its center, is clearly visible in Ketrzynski s poetry (chapter
5).
Yet contrary
to individualistic concepts of the self, national consciousness is deeply conditioned
emotionally. Its boundaries are defined by contradictory and extreme emotions: love
and hate, will of life and will of death, existentialist void and fulfillment etc. (chap¬
ter
6).
This specific emotional character directs the self to the national community
understood as the fatherland , i.e. a substantial and holistic body-corpus . This lat¬
ter term is a useful analytical tool first suggested by Ernst Kantorowicz in his book
The King s Two Bodies and his research on medieval political thought, which can be
fruitfully used to analyze modern national consciousness (chapter
7).
In the second part of this book, I synthesize on how subjectivity and fatherland
function in a general social context. The research area for this discussion is the cult
of national heroes which shaped the national consciousness of Polish folk at the end
of the 19th and beginning of the 20th century (chapter
8).
In my analyses, I have tried
to show that the cult of national heroes is shaped by the very same structures that are
found in Ketrzynski s poetry, and the idea of the self and fatherland-body is in
evidence here (chapters
9
and
10).
In the third and last part of the book, I have traced the logic of development of
Polish national consciousness between
1850
and
1914
(chapters
11-13).
Here I dis¬
cuss the painter
Artur Grottger,
whose patriotic drawings dedicated to the January
1863
Uprising have become a foundation of Polish national art. Grottger s biography shows
several analogies to that of
Wojciech Kętrzyński,
and in his art, subjectivity and nation¬
ality merge in a way similar to that of Ketrzynski s poetry.
The central issues of Grottger s art, „self and nation, have proved an impulse
for further developments in Polish art. Grottger s followers have focused on the rela¬
tion of the self to the fatherland, hence their main endeavour has been a quest for
a national landscape which would reflect the subjective spirit of the nation .
Interestingly, other trends within national visual arts which were disregarding the issue
of the self
-
historical and allegorical painting
-
have quickly died out (chapter
14).
Conclusion. Why did Nietzsche want to be a Pole?
I draw attention to the fact that biographies of young Poles that have been shaping
national consciousness bear a resemblance to an episode from
Friedrich
Nietzsche s
life. As is generally known, Nietzsche would convince his friends that he was a Pole.
He mentioned several times that his family stemmed to the aristocratic
Niecki
fami¬
ly, causing headaches to his biographers. Genealogical studies of Nietzsche s family
have excluded the possibility of any Polish origins. An unexplainable problem was
382
thus created. While mentions of Polish roots could be attributed to Nietzsche s many
eccentricities, critics have preferred to indicate his hard feelings towards his own
nation as a cause, together with a need to underline his separateness and an apotheo¬
sis of the idea of freedom which Poland symbolized at the time.
Yet Nietzsche s Polish sympathies cannot be explained solely on philosophical
grounds; we need to address his biography and the Germany of his time. In the young
Nietzsche s biography, elements are shared with his contemporaries
Wojciech
Kętrzyński
and
Artur Grottger.
Nietzsche was raised on the peripheries of German cul¬
ture, he lost his father early, went to a grammar school. His outstanding talent was
combined with a feeling of unfulfillment and declassification, sparkling aspirations to
transcend his social and material status. His youth is also marked by poetry, a fasci¬
nation for antiquity, masculine friendship, and a will of action. All these were typical
elements of a generation which witnessed the raise of national consciousness. Yet
Nietzsche quickly transcended the horizons of his contemporaries, and substituted
national consciousness with the consciousness of overman.
To solve the mystery of Nietzsche s Polish sympathies is more than just to add
a completing touch to his biography. Today, Nietzsche is seen as the prophet of moder¬
nity in its most varied, often contradictory, aspects. It can be argued that Nietzsche
was the first to realize the situation of man against modernity. The recurring Polish
issue shows that national consciousness is a constituent part of modern thought. In
Nietzsche s philosophy we find two trends within this concept. The first one seeks lib¬
eration from the situation of the last man and total liberation of the self from any
earthly or human power. The second trend aims at uniting the self with the world in
a perfect communion. The history of the 20th century is stretched between collective
totalitarianism and radical emancipation of the subject, illustrating this tension.
Between these two extremes we shall find national consciousness.
Translated by
Wojciech Bońkowski
FUNDACJA NA RZECZ NAUKI POLSKIEJ
NIKODEM BOŃCZA TOMASZEWSKI
ŹRÓDŁA
NARODOWOŚCI
POWSTANIE I ROZWÓJ POLSKIEJ ŚWIADOMOŚCI
W II POŁOWIE XIX I NA POCZĄTKU XX WIEKU
WROCŁAW 2006
SPIS TREŚCI
WSTĘP 5
Rozdział 1 Rola pojęcia świadomości w badaniach nad narodem Problemy
metodologiczne 9
CZĘŚĆ I
NARODZINY ŚWIADOMOŚCI NARODOWEJ JEDNOSTKI
Rozdział 2 Trzy biografie Alberta von Winklera 25
Rozdział 3 Poezja jako źródło historyczne 42
Rozdział 4 Podmiotowość nowoczesna 52
Rozdział 5 Narodziny podmiotu 62
Rozdział 6 Gra uczuć 86
Rozdział 7 Wspólnota ciała 104
CZĘŚĆ II
ŚWIADOMOŚĆ NARODOWEGO HEROIZMU
Rozdział 8 Chwała bohaterom 143
Rozdział 9 Świadomość heroiczna 164
Rozdział 10 Heroiczne ucieleśnienie podmiotu 194
CZĘŚĆ III
OBRAZY OJCZYZNY
Rozdział 11 Twórca sztuki polskiej 223
Rozdział 1 2 Podmiot sztuki 243
Rozdział 13 Narodowa rewolucja Arthura von Grottgera 268
Rozdział 14 Obrazy Ojczyzny 313
ZAKOŃCZENIE
Dlaczego Nietzsche chciał być Polakiem? 359
Bibliografia 361
Summary 380
Spis ilustracji 384
Spis tablic 385
Indeks nazwisk 389
SPIS ILUSTRACJI
Czesław Tański, Artysta i jego świat (1897) Muzeum Narodowe, Poznań, s 224
Władysław Jarocki, Portret własny na nartach (1909) Muzeum Narodowe, Wrocław,
s 225
Artur Grottger, Na przejażdżce Portret Aleksandra Pappenheima (1860) Lwowska
Galeria Obrazów, s 233
Artur Grottger, Portret mężczyzny [b d ] Lwowska Galeria Obrazów, s 261
Jan Matejko, Rok 1863 - Polonia (1864) Muzeum Narodowe, Kraków Zbiory Czar
toryskich, s 276
Artur Grottger, Powitanie powstańca (1865) Muzeum Narodowe, Kraków, s 288
Artur Grottger, Pożegnanie powstańca (1866) Muzeum Narodowe, Kraków, s 290
Jan Matejko, Bohdan Chmielnicki z Tuhaj-Bejem pod Lwowem (1885) Muzeum Na
rodowe, Warszawa, s 314
Maksymilian Gierymski, Rzeka (1868-1870) Muzeum Górnośląskie, Bytom, s 327
Artur Grottger, Wedeta w nocy (1865) Państwowe Zbiory Sztuki na Wawelu, s 328
Maksymilian Gierymski, Pejzaż z zagajnikiem brzozowym (1868-1869) Muzeum Na
rodowe, Warszawa, s 330
Maksymilian Gierymski, Patrol powstańczy - pikieta (1872-1873) Muzeum Narodo
we, Warszawa, s 331
Józef Chełmoński, Babie lato (1875) Muzeum Narodowe, Warszawa, s 344
Stanisław Kamocki, Babie lato (1904), s 345
Franciszek Żmurko, Z rozkazu padyszacha (1881) Muzeum Narodowe, Warszawa,
s 347
Henryk Rodakowski, Chłopka międląca len przy pomocy tarlicy (1859) Muzeum Na
rodowe, Warszawa, s 352
Ferdynand Ruszczyc, Ziemia (1898) Muzeum Narodowe, Warszawa, s 354
Stanisław Masłowski, Dumka Jaremy (1879) Muzeum Narodowe, Warszawa, s 354
Avit Szubert, fotografia Zakopanego (koniec XIX w ) Muzeum Tatrzańskie, Zakopa
ne, s 357
SPIS TABLIC
Tablica 1 Biedermeier szlachecki, s 252-254
Juliusz Kossak, Mohort prezentujący stadninę księciu Józefowi Poniatowskiemu (1858)
Muzeum Narodowe, Warszawa
January Suchodolski, Pierwsze wyścigi konne na Polu Mokotowskim w Warszawie
(1849) Muzeum Historyczne Miasta Warszawy
Juliusz Kossak, Kafarek (1855) Muzeum Narodowe, Poznań
Juliusz Kossak, Maurycy Potocki na polowaniu (1855) Muzeum Narodowe, Warszawa
Artur Grottger, Tatarzy w ucieczce Muzeum Narodowe, Warszawa
Artur Grottger, Utarczka ze Szwedami Muzeum Okręgowe, Toruń
Tablica 2 Artur Grottger, Warszawa I (1861) Muzeum Narodowe, Warszawa,
s 270-271
I Błogosławieństwo
II Lud w kościele
III Chłop i szlachta
IV Żydzi warszawscy
V Pierwsza ofiara
VI Wdowa
VII Zamknięcie kościołów
Tablica 3 Artur Grottger, Warszawa II (1862) Victoria and Albert Museum, Lon
dyn/s 274-275
I Płac zamkowy
II Chłop i szlachta
III Lud w kościele
IV Wdowa
V Zamknięcie kościołów
VI Więzienie księdza
VII Sybir
Tablica 4 Artur Grottger, Polonia (1863) Orszagos Magyar Szepmuveszeti
Muzeum, Budapeszt, s 278-279
I Karta tytułowa
II Branka
III Kucie kos
IV Bitwa
V Schronisko
VI Obrona dworu
VII Po odejściu wroga
VIII Żałobne wieści
IX Na pobojowisku
Tablica 5 Artur Grottger, Lituania (1864-1866) Muzeum Narodowe, Kraków,
s 280-281
I Puszcza
II Znak
III Przysięga
IV Bój
V Duch
VI Widzenie
Tablica 6 Artur Grottger, Wojna (1866-1867) Muzeum Śląskie, Wrocław, s 284-285
I Pójdź ze mną przez padół płaczu
II Kometa
III Losowanie rekrutów
IV Pożegnanie
V Pożoga
VI Głód
VII Zdrada i kara
VIII Ludzie czy szakale
IX Już tylko nędza
X Świętokradztwo
XI Ludzkości, rodzie Kaina
Tablica 7 Artur Grottger, cykle - Typologia przedstawień I, s 294-296
Bohater
Pierwsza ofiara (V, cykl Warszawa I)
Kucie kos (III, cykl Polonia)
Bitwa (IV, cykl Polonia)
Przysięga (III, cykl Lituania)
Bój (IV, cykl Lituania)
Lud
Chłop i szlachta (III, cykl Warszawa 1)
Żydzi warszawscy (IV, cykl Warszawa 1)
Lud w kościele (II, cykl Warszawa I)
Chłop i szlachta (II, cykl Warszawa II)
Lud w kościele (III, cykl Warszawa II)
Obrona dworu (IV, cykl Polonia)
Tablica 8 Artur Grottger, cykle - Typologia przedstawień II, s 298-300
Melodramat - kobieta, eros, śmierć
Branka (II, cykl Polonia)
Schronisko (V, cykl Polonia)
Po odejściu wroga (VII, cykl Polonia)
Znak (II, cykl Lituania)
Widzenie (VI, cykl Lituania)
Pożegnanie (IV, cykl Wojna)
Już tylko nędza (IX, cykl Wojna)
Melodramat - kobieta w żałobie
Wdowa (VI, cykl Warszawa I)
Wdowa (IV, cykl Warszawa II)
Żałobne wieści (VIII, cykl Polonia)
Na pobojowisku (IX, cykl Polonia)
Tablica 9 Artur Grottger, cykle - Typologia przedstawień III, s 302-304
Sacrum
Błogosławieństwo (I, cykl Warszawa I)
Zamknięcie kościołów (VII, cykl Warszawa I)
Zamknięcie kościołów (V, cykl Warszawa II)
Więzienie księdza (VI, cykl Warszawa II)
Widzenie (VI, cykl Lituania)
Świętokradztwo (X, cykl Wojna)
Ludzkości, rodzie Kaina (XI, cykl Wojna)
Pejzaż
Plac zamkowy (I, cykl Warszawa II)
Puszcza (I, cykl Lituania)
Sybir (VII, cykl Warszawa II)
Kometa (II, cykl Wojna)
Tablica 10 Artur Grottger, cykle - Typologia przedstawień IV, s 308-309
Alegorie i sceny alegoryczne
Karta tytułowa (I, cykl Polonia)
Pójdź ze mną przez padół płaczu (I, cykl Wojna)
Losowanie rekrutów (III, cykl Wojna)
Sceny rodzajowe
Głód (VI, cykl Wojna)
Zdrada i kara (VII, cykl Wojna)
Ludzie czy szakale (VIII, cykl Wojna)
Pożoga (V, cykl Wojna)
Tablica 11, s 322-325
Stanisław Kamocki, Kłosy (ok 1907) Galeria Obrazów, Lwów
Feliks Brzozowski, Krajobraz leśny z jeleniem, fragment (1875), Muzeum Narodowe,
Warszawa
Jan Nepomucen Głowacki, Zarzecze (1832) Galeria Obrazów, Lwów
Franciszek Ksawery Lampi, Krajobraz górski z wodospadem (Zachód słońca) (1820)
Muzeum Narodowe, Warszawa
Jan Nepomucen Głowacki, Morskie Oko (1837) Muzeum Narodowe, Kraków
Franciszek Ksawery Lampi, Krajobraz romantyczny (1820)
Józef Szermentowski, Pieniny (1868) Muzeum Narodowe, Kielce
Tablica 12, s 334-337
Aleksander Kotsis, Giewont I (1870) Muzeum Narodowe, Warszawa
Aleksander Kotsis, Giewont II (1872) Muzeum Narodowe, Kraków
Julian Fałat, Świteź (1888) Muzeum Narodowe, Warszawa
Julian Fałat, Las (1888) Muzeum Narodowe, Kraków
Wojciech Gerson, Zwał skalisty w Dolinie Białej Wody w Tatrach (1892) Muzeum
Narodowe, Warszawa
Wojciech Gerson, Wyschnięty potok w Tatrach (1893) Muzeum Narodowe, Warszawa
Stanisław Witkiewicz, Potok w lesie (1894) Muzeum Narodowe, Kraków
Tablica 13, s 338-342
Leon Wyczółkowski, Mnich nad Morskim Okiem (1904) Muzeum Narodowe, Kra
ków
Stanisław Witkiewicz, Czarny Staw - kurniawa (1892) Muzeum Narodowe, Kraków
Julian Fałat, Krajobraz zimowy z rzeką (1907) Muzeum Narodowe, Warszawa
Julian Fałat, Śnieg (1907) Galeria Obrazów, Lwów
Stanisław Wyspiański, Chochoły (Planty nocą) (1898-1899) Muzeum Narodowe,
Warszawa
Stanisław Wyspiański, Widok z okna pracowni artysty na Kopiec Kościuszki w zimo
wy pogodny dzień (1905) Muzeum Narodowe, Kraków
Stanisław Wyspiański, Widok z okna pracowni artysty na Kopiec Kościuszki w zadym
ce śnieżnej w szary zimowy dzień (1905) Muzeum Narodowe, Kraków
Stanisław Wyspiański, Widok z okna pracowni artysty na Kopiec Kościuszki w okre
sie roztopów (1905) Muzeum Narodowe, Warszawa
Tablica 14, s 346-349
Wojciech Kossak, Siostra miłosierdzia na linii bojowej pod Warszawą (1910) Mu
zeum Narodowe, Warszawa
Władysław Podkowiński, Szal uniesień (1894) Muzeum Narodowe, Kraków
Franciszek Żmurko, Z rozkazu padyszacha (1881) Muzeum Narodowe, Warszawa
Jacek Malczewski, Ojczyzna (Tryptyk Prawo, Ojczyzna, Sztuka) (1903) Muzeum Na
rodowe, Wrocław
Jacek Malczewski, Polonia (1918) Muzeum Narodowe, Kielce
Jacek Malczewski, Polonia (1914) Własność prywatna, Kraków
Jacek Malczewski, Polonia 2 (1914) Własność prywatna, Poznań
|
| adam_txt |
SUMMARY
SOURCES OF NATIONALITY
BIRTH AND DEVELOPMENT OF POLISH NATIONAL CONSCIOUSNESS
IN THE SECOND HALF OF THE 19th AND BEGINNING OF 20th CENTURY
Theoretical introduction
The main object of the present book is to present a new concept of „national con¬
sciousness". The issue of national consciousness is central to modern Polish history.
Polish modernity is imbued with nationalism. Polish historical literature has shaped
a powerful and relevant notion of national consciousness which can be seen as one of
the major achievements of Polish historiography. The unique Polish historical experi¬
ence has allowed to formulate a concept which is a very useful scientific tool and has
no corresponding notion in foreign literature where the term national identity is preferred.
What is so special about the national consciousness category? I explain this in
Chapter
1.
There are two basic ways of understanding the term:
Consciousness may be defined as an act of thinking that grasps what is outside man.
In this sense, national consciousness is the capability to comprehend a community as being
distinctive, identity-laden and own. (This is how national consciousness is usually defined
in Anglo-Saxon writing, where the term consciousness is usually avoided and identity is
favoured. East European authors prefer consciousness to identity partly because sociolo¬
gy and social psychology have a lesser influence on historiography here than they do in
Anglo-Saxon countries). This objective concept of consciousness is often associated with
the act of thought that grasps something and makes it available to human judgment. This
concept of consciousness is dominant in Polish historiography.
Consciousness may also be understood as a cognitive way of being, i.e. one in
which being and thinking merge. Descartes considered this to be proper to man as dif¬
ferent from animals. In this sense, national consciousness is not a way of understand¬
ing one's belonging to a community but a way to live it (which neither precludes not
implies understanding).
Consciousness belongs to basic and indefinable concepts. Consequently, the
above disambiguation has no wider cognitive ambitions but has been quoted for its
usefulness in addressing the main issues of the present book. Three further issues need
to be underlined:
Without the concept of consciousness, a nation become a community based on bio¬
logical parameters; according to the current state of knowledge, such a notion is ques¬
tionable.
Identifying consciousness with understanding is handy and transparent, but in the
context of national studies it raises too many paradoxes, such as: How to address the
380
issue
of unconscious participation in a nation? Can there be such a thing as uncon¬
scious national consciousness?
Participation in a nation often betrays understanding, hence it is impossible to
define unequivocally what a nation is. This gives way to another paradox: If we can¬
not state what a nation is, how can be participate in something undefined?
This is why national consciousness is better defined in categories of cognitive
being as a mode of living, following the cartesian
/
think, therefore I am. In acts of
national consciousness, the distinction between what is thought and what exists grad¬
ually disappears; consequently, along with the so-called development of national con¬
sciousness it becomes increasingly difficult to distinguish between the national and
non-national. Even nature becomes nationalized in "national parks". The nation as
a form of being become the only sensible form of existence; it is difficult to imagine
a non-nationalized reality. The nation digs deeper and deeper in its past and, more
importantly, it increasingly roots itself in man. The concept of dying for the nation
shows how deeply the act of consciousness shapes the existence.
Historical analyses
Although my suggestions are in part theoretical (e.g. concepts of "self, "body" and
"corpus"), they stem principally from my source readings and can only be understood
in this context. In the case of Poland, one of the key problems in national studies is the
huge amount of sources. My choice of these was limited by chronological boundaries
of the present book. I have focused my attention on the second half of the 19th centu¬
ry up to the period immediately preceding the establishment of an independent Polish
state in
1918,
trying to show how crucial this period was for the shaping of Polish
national consciousness.
Featured analyses focus on three major issues:
1)
a case study of national con¬
sciousness,
2)
an examination of the social functioning of national consciousness,
and
3)
a historical survey of the evolution of Polish national consciousness up to
the early 20th century. The present book is thus subdivided into three parts. In part
one, I present how the national consciousness of an individual is shaped, on the
example of
Wojciech Kętrzyński.
This research allows to formulate a general the¬
oretical concept, later developed in subsequent parts of the book. In part two,
I address the cult of national heroes as a symptom of how national consciousness
functions in society as a whole. In part three, I analyze the logic of the develop¬
ment of Polish national art to identify the directions of development of national con¬
sciousness.
Part one is subdivided into six chapters. In chapter
2,
1 analyze the biography of
Wojciech Kętrzyński
from the perspective of Polish nationalism, German nationalism
and Mazurian "regionalism".
Wojciech Kętrzyński, a.k.a.
Albert
Winkler, was
an
impoverished Polish aristocrat from East Prussia, raised in the spirit of Prussian patri¬
otism. Teenage
Kętrzyński
unexpectedly learned from his sister that his ancestors were
Poles, and as a consequence decided to "convert" and become a Pole. A document of
381
his conversion is a collection of national poems written in German
(Kętrzyński
at that
time had no knowledge of Polish); they are analyzed in chapter
3.
Ketrzynski's poetry cannot be understood outside the spiritual mood of his time,
marked as it was by the birth of modern subjectivity of the "self (as described e.g.
by Charles Taylor in his Sources of the self)
-
this is discussed in chapter
4.
The mod¬
ern understanding of man as "self controlling, governing, constructing his world and
located at its center, is clearly visible in Ketrzynski's poetry (chapter
5).
Yet contrary
to individualistic concepts of the "self, national consciousness is deeply conditioned
emotionally. Its boundaries are defined by contradictory and extreme emotions: love
and hate, will of life and will of death, existentialist void and fulfillment etc. (chap¬
ter
6).
This specific emotional character directs the "self to the national community
understood as the "fatherland", i.e. a substantial and holistic "body-corpus". This lat¬
ter term is a useful analytical tool first suggested by Ernst Kantorowicz in his book
The King's Two Bodies and his research on medieval political thought, which can be
fruitfully used to analyze modern national consciousness (chapter
7).
In the second part of this book, I synthesize on how subjectivity and fatherland
function in a general social context. The research area for this discussion is the cult
of national heroes which shaped the national consciousness of Polish folk at the end
of the 19th and beginning of the 20th century (chapter
8).
In my analyses, I have tried
to show that the cult of national heroes is shaped by the very same structures that are
found in Ketrzynski's poetry, and the idea of the "self and "fatherland-body" is in
evidence here (chapters
9
and
10).
In the third and last part of the book, I have traced the logic of development of
Polish national consciousness between
1850
and
1914
(chapters
11-13).
Here I dis¬
cuss the painter
Artur Grottger,
whose patriotic drawings dedicated to the January
1863
Uprising have become a foundation of Polish national art. Grottger's biography shows
several analogies to that of
Wojciech Kętrzyński,
and in his art, subjectivity and nation¬
ality merge in a way similar to that of Ketrzynski's poetry.
The central issues of Grottger's art, „self and nation, have proved an impulse
for further developments in Polish art. Grottger's followers have focused on the rela¬
tion of the "self to the fatherland, hence their main endeavour has been a quest for
a national landscape which would reflect the subjective "spirit of the nation".
Interestingly, other trends within national visual arts which were disregarding the issue
of the "self
-
historical and allegorical painting
-
have quickly died out (chapter
14).
Conclusion. Why did Nietzsche want to be a Pole?
I draw attention to the fact that biographies of young Poles that have been shaping
national consciousness bear a resemblance to an episode from
Friedrich
Nietzsche's
life. As is generally known, Nietzsche would convince his friends that he was a Pole.
He mentioned several times that his family stemmed to the aristocratic
Niecki
fami¬
ly, causing headaches to his biographers. Genealogical studies of Nietzsche's family
have excluded the possibility of any Polish origins. An unexplainable problem was
382
thus created. While mentions of Polish roots could be attributed to Nietzsche's many
eccentricities, critics have preferred to indicate his hard feelings towards his own
nation as a cause, together with a need to underline his separateness and an apotheo¬
sis of the idea of freedom which Poland symbolized at the time.
Yet Nietzsche's Polish sympathies cannot be explained solely on philosophical
grounds; we need to address his biography and the Germany of his time. In the young
Nietzsche's biography, elements are shared with his contemporaries
Wojciech
Kętrzyński
and
Artur Grottger.
Nietzsche was raised on the peripheries of German cul¬
ture, he lost his father early, went to a grammar school. His outstanding talent was
combined with a feeling of unfulfillment and declassification, sparkling aspirations to
transcend his social and material status. His youth is also marked by poetry, a fasci¬
nation for antiquity, masculine friendship, and a will of action. All these were typical
elements of a generation which witnessed the raise of national consciousness. Yet
Nietzsche quickly transcended the horizons of his contemporaries, and substituted
national consciousness with the consciousness of overman.
To solve the mystery of Nietzsche's Polish sympathies is more than just to add
a completing touch to his biography. Today, Nietzsche is seen as the "prophet of moder¬
nity" in its most varied, often contradictory, aspects. It can be argued that Nietzsche
was the first to realize the situation of man against modernity. The recurring "Polish
issue" shows that national consciousness is a constituent part of modern thought. In
Nietzsche's philosophy we find two trends within this concept. The first one seeks lib¬
eration from the situation of the "last man" and total liberation of the self from any
earthly or human power. The second trend aims at uniting the self with the world in
a perfect communion. The history of the 20th century is stretched between collective
totalitarianism and radical emancipation of the subject, illustrating this tension.
Between these two extremes we shall find national consciousness.
Translated by
Wojciech Bońkowski
FUNDACJA NA RZECZ NAUKI POLSKIEJ
NIKODEM BOŃCZA TOMASZEWSKI
ŹRÓDŁA
NARODOWOŚCI
POWSTANIE I ROZWÓJ POLSKIEJ ŚWIADOMOŚCI
W II POŁOWIE XIX I NA POCZĄTKU XX WIEKU
WROCŁAW 2006
SPIS TREŚCI
WSTĘP 5
Rozdział 1 Rola pojęcia świadomości w badaniach nad narodem Problemy
metodologiczne 9
CZĘŚĆ I
NARODZINY ŚWIADOMOŚCI NARODOWEJ JEDNOSTKI
Rozdział 2 Trzy biografie Alberta von Winklera 25
Rozdział 3 Poezja jako źródło historyczne 42
Rozdział 4 Podmiotowość nowoczesna 52
Rozdział 5 Narodziny podmiotu 62
Rozdział 6 Gra uczuć 86
Rozdział 7 Wspólnota ciała 104
CZĘŚĆ II
ŚWIADOMOŚĆ NARODOWEGO HEROIZMU
Rozdział 8 Chwała bohaterom 143
Rozdział 9 Świadomość heroiczna 164
Rozdział 10 Heroiczne ucieleśnienie podmiotu 194
CZĘŚĆ III
OBRAZY OJCZYZNY
Rozdział 11 Twórca sztuki polskiej 223
Rozdział 1'2 Podmiot sztuki 243
Rozdział 13 Narodowa rewolucja Arthura von Grottgera 268
Rozdział 14 Obrazy Ojczyzny 313
ZAKOŃCZENIE
Dlaczego Nietzsche chciał być Polakiem? 359
Bibliografia 361
Summary 380
Spis ilustracji 384
Spis tablic 385
Indeks nazwisk 389
SPIS ILUSTRACJI
Czesław Tański, Artysta i jego świat (1897) Muzeum Narodowe, Poznań, s 224
Władysław Jarocki, Portret własny na nartach (1909) Muzeum Narodowe, Wrocław,
s 225
Artur Grottger, Na przejażdżce Portret Aleksandra Pappenheima (1860) Lwowska
Galeria Obrazów, s 233
Artur Grottger, Portret mężczyzny [b d ] Lwowska Galeria Obrazów, s 261
Jan Matejko, Rok 1863 - Polonia (1864) Muzeum Narodowe, Kraków Zbiory Czar
toryskich, s 276
Artur Grottger, Powitanie powstańca (1865) Muzeum Narodowe, Kraków, s 288
Artur Grottger, Pożegnanie powstańca (1866) Muzeum Narodowe, Kraków, s 290
Jan Matejko, Bohdan Chmielnicki z Tuhaj-Bejem pod Lwowem (1885) Muzeum Na
rodowe, Warszawa, s 314
Maksymilian Gierymski, Rzeka (1868-1870) Muzeum Górnośląskie, Bytom, s 327
Artur Grottger, Wedeta w nocy (1865) Państwowe Zbiory Sztuki na Wawelu, s 328
Maksymilian Gierymski, Pejzaż z zagajnikiem brzozowym (1868-1869) Muzeum Na
rodowe, Warszawa, s 330
Maksymilian Gierymski, Patrol powstańczy - pikieta (1872-1873) Muzeum Narodo
we, Warszawa, s 331
Józef Chełmoński, Babie lato (1875) Muzeum Narodowe, Warszawa, s 344
Stanisław Kamocki, Babie lato (1904), s 345
Franciszek Żmurko, Z rozkazu padyszacha (1881) Muzeum Narodowe, Warszawa,
s 347
Henryk Rodakowski, Chłopka międląca len przy pomocy tarlicy (1859) Muzeum Na
rodowe, Warszawa, s 352
Ferdynand Ruszczyc, Ziemia (1898) Muzeum Narodowe, Warszawa, s 354
Stanisław Masłowski, Dumka Jaremy (1879) Muzeum Narodowe, Warszawa, s 354
Avit Szubert, fotografia Zakopanego (koniec XIX w ) Muzeum Tatrzańskie, Zakopa
ne, s 357
SPIS TABLIC
Tablica 1 Biedermeier szlachecki, s 252-254
Juliusz Kossak, Mohort prezentujący stadninę księciu Józefowi Poniatowskiemu (1858)
Muzeum Narodowe, Warszawa
January Suchodolski, Pierwsze wyścigi konne na Polu Mokotowskim w Warszawie
(1849) Muzeum Historyczne Miasta Warszawy
Juliusz Kossak, Kafarek (1855) Muzeum Narodowe, Poznań
Juliusz Kossak, Maurycy Potocki na polowaniu (1855) Muzeum Narodowe, Warszawa
Artur Grottger, Tatarzy w ucieczce Muzeum Narodowe, Warszawa
Artur Grottger, Utarczka ze Szwedami Muzeum Okręgowe, Toruń
Tablica 2 Artur Grottger, Warszawa I (1861) Muzeum Narodowe, Warszawa,
s 270-271
I Błogosławieństwo
II Lud w kościele
III Chłop i szlachta
IV Żydzi warszawscy
V Pierwsza ofiara
VI Wdowa
VII Zamknięcie kościołów
Tablica 3 Artur Grottger, Warszawa II (1862) Victoria and Albert Museum, Lon
dyn/s 274-275
I Płac zamkowy
II Chłop i szlachta
III Lud w kościele
IV Wdowa
V Zamknięcie kościołów
VI Więzienie księdza
VII Sybir
Tablica 4 Artur Grottger, Polonia (1863) Orszagos Magyar Szepmuveszeti
Muzeum, Budapeszt, s 278-279
I Karta tytułowa
II Branka
III Kucie kos
IV Bitwa
V Schronisko
VI Obrona dworu
VII Po odejściu wroga
VIII Żałobne wieści
IX Na pobojowisku
Tablica 5 Artur Grottger, Lituania (1864-1866) Muzeum Narodowe, Kraków,
s 280-281
I Puszcza
II Znak
III Przysięga
IV Bój
V Duch
VI Widzenie
Tablica 6 Artur Grottger, Wojna (1866-1867) Muzeum Śląskie, Wrocław, s 284-285
I Pójdź ze mną przez padół płaczu
II Kometa
III Losowanie rekrutów
IV Pożegnanie
V Pożoga
VI Głód
VII Zdrada i kara
VIII Ludzie czy szakale
IX Już tylko nędza
X Świętokradztwo
XI Ludzkości, rodzie Kaina
Tablica 7 Artur Grottger, cykle - Typologia przedstawień I, s 294-296
Bohater
Pierwsza ofiara (V, cykl Warszawa I)
Kucie kos (III, cykl Polonia)
Bitwa (IV, cykl Polonia)
Przysięga (III, cykl Lituania)
Bój (IV, cykl Lituania)
Lud
Chłop i szlachta (III, cykl Warszawa 1)
Żydzi warszawscy (IV, cykl Warszawa 1)
Lud w kościele (II, cykl Warszawa I)
Chłop i szlachta (II, cykl Warszawa II)
Lud w kościele (III, cykl Warszawa II)
Obrona dworu (IV, cykl Polonia)
Tablica 8 Artur Grottger, cykle - Typologia przedstawień II, s 298-300
Melodramat - kobieta, eros, śmierć
Branka (II, cykl Polonia)
Schronisko (V, cykl Polonia)
Po odejściu wroga (VII, cykl Polonia)
Znak (II, cykl Lituania)
Widzenie (VI, cykl Lituania)
Pożegnanie (IV, cykl Wojna)
Już tylko nędza (IX, cykl Wojna)
Melodramat - kobieta w żałobie
Wdowa (VI, cykl Warszawa I)
Wdowa (IV, cykl Warszawa II)
Żałobne wieści (VIII, cykl Polonia)
Na pobojowisku (IX, cykl Polonia)
Tablica 9 Artur Grottger, cykle - Typologia przedstawień III, s 302-304
Sacrum
Błogosławieństwo (I, cykl Warszawa I)
Zamknięcie kościołów (VII, cykl Warszawa I)
Zamknięcie kościołów (V, cykl Warszawa II)
Więzienie księdza (VI, cykl Warszawa II)
Widzenie (VI, cykl Lituania)
Świętokradztwo (X, cykl Wojna)
Ludzkości, rodzie Kaina (XI, cykl Wojna)
Pejzaż
Plac zamkowy (I, cykl Warszawa II)
Puszcza (I, cykl Lituania)
Sybir (VII, cykl Warszawa II)
Kometa (II, cykl Wojna)
Tablica 10 Artur Grottger, cykle - Typologia przedstawień IV, s 308-309
Alegorie i sceny alegoryczne
Karta tytułowa (I, cykl Polonia)
Pójdź ze mną przez padół płaczu (I, cykl Wojna)
Losowanie rekrutów (III, cykl Wojna)
Sceny rodzajowe
Głód (VI, cykl Wojna)
Zdrada i kara (VII, cykl Wojna)
Ludzie czy szakale (VIII, cykl Wojna)
Pożoga (V, cykl Wojna)
Tablica 11, s 322-325
Stanisław Kamocki, Kłosy (ok 1907) Galeria Obrazów, Lwów
Feliks Brzozowski, Krajobraz leśny z jeleniem, fragment (1875), Muzeum Narodowe,
Warszawa
Jan Nepomucen Głowacki, Zarzecze (1832) Galeria Obrazów, Lwów
Franciszek Ksawery Lampi, Krajobraz górski z wodospadem (Zachód słońca) (1820)
Muzeum Narodowe, Warszawa
Jan Nepomucen Głowacki, Morskie Oko (1837) Muzeum Narodowe, Kraków
Franciszek Ksawery Lampi, Krajobraz romantyczny (1820)
Józef Szermentowski, Pieniny (1868) Muzeum Narodowe, Kielce
Tablica 12, s 334-337
Aleksander Kotsis, Giewont I (1870) Muzeum Narodowe, Warszawa
Aleksander Kotsis, Giewont II (1872) Muzeum Narodowe, Kraków
Julian Fałat, Świteź (1888) Muzeum Narodowe, Warszawa
Julian Fałat, Las (1888) Muzeum Narodowe, Kraków
Wojciech Gerson, Zwał skalisty w Dolinie Białej Wody w Tatrach (1892) Muzeum
Narodowe, Warszawa
Wojciech Gerson, Wyschnięty potok w Tatrach (1893) Muzeum Narodowe, Warszawa
Stanisław Witkiewicz, Potok w lesie (1894) Muzeum Narodowe, Kraków
Tablica 13, s 338-342
Leon Wyczółkowski, Mnich nad Morskim Okiem (1904) Muzeum Narodowe, Kra
ków
Stanisław Witkiewicz, Czarny Staw - kurniawa (1892) Muzeum Narodowe, Kraków
Julian Fałat, Krajobraz zimowy z rzeką (1907) Muzeum Narodowe, Warszawa
Julian Fałat, Śnieg (1907) Galeria Obrazów, Lwów
Stanisław Wyspiański, Chochoły (Planty nocą) (1898-1899) Muzeum Narodowe,
Warszawa
Stanisław Wyspiański, Widok z okna pracowni artysty na Kopiec Kościuszki w zimo
wy pogodny dzień (1905) Muzeum Narodowe, Kraków
Stanisław Wyspiański, Widok z okna pracowni artysty na Kopiec Kościuszki w zadym
ce śnieżnej w szary zimowy dzień (1905) Muzeum Narodowe, Kraków
Stanisław Wyspiański, Widok z okna pracowni artysty na Kopiec Kościuszki w okre
sie roztopów (1905) Muzeum Narodowe, Warszawa
Tablica 14, s 346-349
Wojciech Kossak, Siostra miłosierdzia na linii bojowej pod Warszawą (1910) Mu
zeum Narodowe, Warszawa
Władysław Podkowiński, Szal uniesień (1894) Muzeum Narodowe, Kraków
Franciszek Żmurko, Z rozkazu padyszacha (1881) Muzeum Narodowe, Warszawa
Jacek Malczewski, Ojczyzna (Tryptyk Prawo, Ojczyzna, Sztuka) (1903) Muzeum Na
rodowe, Wrocław
Jacek Malczewski, Polonia (1918) Muzeum Narodowe, Kielce
Jacek Malczewski, Polonia (1914) Własność prywatna, Kraków
Jacek Malczewski, Polonia 2 (1914) Własność prywatna, Poznań |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Bończa-Tomaszewski, Nikodem |
| author_facet | Bończa-Tomaszewski, Nikodem |
| author_role | aut |
| author_sort | Bończa-Tomaszewski, Nikodem |
| author_variant | n b t nbt |
| building | Verbundindex |
| bvnumber | BV023041304 |
| callnumber-first | P - Language and Literature |
| callnumber-label | PG7053 |
| callnumber-raw | PG7053.N27 |
| callnumber-search | PG7053.N27 |
| callnumber-sort | PG 47053 N27 |
| callnumber-subject | PG - Slavic, Baltic, Abanian Languages |
| contents | Bibliogr. s. 361-379. Indeks |
| ctrlnum | (OCoLC)77513383 (DE-599)BVBBV023041304 |
| era | Geschichte 1900-2000 Geschichte 1800-1900 Geschichte 1850-1918 gnd |
| era_facet | Geschichte 1900-2000 Geschichte 1800-1900 Geschichte 1850-1918 |
| format | Book |
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| geographic | Polen |
| geographic_facet | Polen |
| id | DE-604.BV023041304 |
| illustrated | Not Illustrated |
| index_date | 2024-07-02T19:20:43Z |
| indexdate | 2024-07-09T21:09:37Z |
| institution | BVB |
| isbn | 8322927576 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016244834 |
| oclc_num | 77513383 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 395, [2] s. il. (niektóre kolor.) 22 cm |
| publishDate | 2006 |
| publishDateSearch | 2006 |
| publishDateSort | 2006 |
| publisher | Wydawnictwo Uniwersytetu Wrocławskiego |
| record_format | marc |
| series2 | Monografie Fundacji na Rzecz Nauki Polskiej / Seria Humanistyczna |
| spelling | Bończa-Tomaszewski, Nikodem Verfasser aut Źródła narodowości powstanie i rozwój polskiej świadomości w II połowie XIX i na początku XX wieku Nikodem Bończa Tomaszewski ; Fundacja na Rzecz Nauki Polskiej Wrocław Wydawnictwo Uniwersytetu Wrocławskiego 2006 395, [2] s. il. (niektóre kolor.) 22 cm txt rdacontent n rdamedia nc rdacarrier Monografie Fundacji na Rzecz Nauki Polskiej / Seria Humanistyczna Na okł. skrócona nazwa serii: Monografie FNP. Seria Humanistyczna. - Zsfassung in engl. Sprache u.d.T.: Sources of nationality Bibliogr. s. 361-379. Indeks Grottger, Artur <1837-1867> Criticism and interpretation Kętrzyński, Wojciech <1838-1918> Criticism and interpretation Geschichte 1900-2000 Geschichte 1800-1900 Geschichte 1850-1918 gnd rswk-swf Geschichte Nationalismus Art, Polish 19th century Art, Polish 20th century Nationalism and art Poland Nationalism and literature Poland Nationalism Poland History Polish literature 19th century History and criticism Polish literature 20th century History and criticism Nationalbewusstsein (DE-588)4041282-9 gnd rswk-swf Polen Volk (DE-588)4046497-0 gnd rswk-swf Polen Polen Volk (DE-588)4046497-0 s Nationalbewusstsein (DE-588)4041282-9 s Geschichte 1850-1918 z DE-604 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016244834&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016244834&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Bończa-Tomaszewski, Nikodem Źródła narodowości powstanie i rozwój polskiej świadomości w II połowie XIX i na początku XX wieku Bibliogr. s. 361-379. Indeks Grottger, Artur <1837-1867> Criticism and interpretation Kętrzyński, Wojciech <1838-1918> Criticism and interpretation Geschichte Nationalismus Art, Polish 19th century Art, Polish 20th century Nationalism and art Poland Nationalism and literature Poland Nationalism Poland History Polish literature 19th century History and criticism Polish literature 20th century History and criticism Nationalbewusstsein (DE-588)4041282-9 gnd Polen Volk (DE-588)4046497-0 gnd |
| subject_GND | (DE-588)4041282-9 (DE-588)4046497-0 |
| title | Źródła narodowości powstanie i rozwój polskiej świadomości w II połowie XIX i na początku XX wieku |
| title_auth | Źródła narodowości powstanie i rozwój polskiej świadomości w II połowie XIX i na początku XX wieku |
| title_exact_search | Źródła narodowości powstanie i rozwój polskiej świadomości w II połowie XIX i na początku XX wieku |
| title_exact_search_txtP | Źródła narodowości powstanie i rozwój polskiej świadomości w II połowie XIX i na początku XX wieku |
| title_full | Źródła narodowości powstanie i rozwój polskiej świadomości w II połowie XIX i na początku XX wieku Nikodem Bończa Tomaszewski ; Fundacja na Rzecz Nauki Polskiej |
| title_fullStr | Źródła narodowości powstanie i rozwój polskiej świadomości w II połowie XIX i na początku XX wieku Nikodem Bończa Tomaszewski ; Fundacja na Rzecz Nauki Polskiej |
| title_full_unstemmed | Źródła narodowości powstanie i rozwój polskiej świadomości w II połowie XIX i na początku XX wieku Nikodem Bończa Tomaszewski ; Fundacja na Rzecz Nauki Polskiej |
| title_short | Źródła narodowości |
| title_sort | zrodla narodowosci powstanie i rozwoj polskiej swiadomosci w ii polowie xix i na poczatku xx wieku |
| title_sub | powstanie i rozwój polskiej świadomości w II połowie XIX i na początku XX wieku |
| topic | Grottger, Artur <1837-1867> Criticism and interpretation Kętrzyński, Wojciech <1838-1918> Criticism and interpretation Geschichte Nationalismus Art, Polish 19th century Art, Polish 20th century Nationalism and art Poland Nationalism and literature Poland Nationalism Poland History Polish literature 19th century History and criticism Polish literature 20th century History and criticism Nationalbewusstsein (DE-588)4041282-9 gnd Polen Volk (DE-588)4046497-0 gnd |
| topic_facet | Grottger, Artur <1837-1867> Criticism and interpretation Kętrzyński, Wojciech <1838-1918> Criticism and interpretation Geschichte Nationalismus Art, Polish 19th century Art, Polish 20th century Nationalism and art Poland Nationalism and literature Poland Nationalism Poland History Polish literature 19th century History and criticism Polish literature 20th century History and criticism Nationalbewusstsein Polen Volk Polen |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016244834&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016244834&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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