Artwork Reproductions in Polish Identity Building after World War II

IF 0.3 2区 艺术学 0 ART
Dorota Łuczak, A. Paradowska
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引用次数: 0

Abstract

Reproductions of artworks were a crucial element of official narratives aimed at shaping Polish identity after World War II. In this article, we explore the strategies employed in constructing visual messages in the first volume of the book series Ziemie Staropolski (Old Poland’s Territories) titled Dolny Śląsk (Lower Silesia), published in 1948 and devoted to the Western territories ceded to Poland after the war. In our case studies, we discuss such aspects as, on the one hand, framing, lighting, viewpoint and selection; on the other, geographical, political and social contexts. We propose two notions to explain the political use of reproductions. The first is geohistorical medium, which we employ in reference to how reproductions actualise the meanings of artworks in relation to geography and history. The second is affective reproduction, which we use to address deliberately shocking arrangements of reproductions with photographs that include ruins, artworks or people. We emphasise that both strategies aim at a specific group of viewers whose experiences oscillate between memories of war and hopes for the future. The reproductions we discuss participated in the construction of the postwar geopolitical order in Central Europe.
二战后波兰身份认同建筑中的艺术品复制品
艺术品的复制品是二战后旨在塑造波兰身份的官方叙事的一个关键元素。在这篇文章中,我们探讨了Ziemie Staropolski(旧波兰领土)系列书的第一卷中构建视觉信息的策略,该系列书名为Dolnyšlńsk(下西里西亚),于1948年出版,专门讨论战后割让给波兰的西方领土。在我们的案例研究中,我们讨论了以下方面:一方面,框架、照明、视角和选择;另一方面,地理、政治和社会背景。我们提出了两个概念来解释复制品的政治用途。第一种是地理历史媒介,我们使用它来参考复制品如何实现艺术品与地理和历史的关系。第二种是情感复制,我们用它来处理故意令人震惊的复制安排,包括废墟、艺术品或人的照片。我们强调,这两种策略都针对特定的观众群体,他们的经历在战争记忆和对未来的希望之间摇摆不定。我们讨论的复制品参与了战后中欧地缘政治秩序的构建。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.30
自引率
50.00%
发文量
23
期刊介绍: History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East.
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