J. Dobrowolska
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引用次数: 0

摘要

在我的文章中,我重建了1918年至1939年间克拉科夫文学和戏剧的画面,这些画面在纪念馆Młodości mej stolica中有所体现。Pamiętnik krakowianina z okresu między wojnami(1984年扩充版),Tadeusz编写Kudliński。作者是这个城市文化生活的积极参与者,也是1918年波兰恢复独立后巨大的社会和历史变化的旁观者。我试图将他对两次世界大战之间重要艺术事件和过程的主观看法与历史研究的客观主义相对抗。Kudliński呈现了一个完整而详细的形象,但自然地,他只关注了一些事实,而忽略或简要地提到了其他事实。我想了解主题选择材料背后的动机。在本文的第一部分,我分析了Kudliński的克拉科夫作家和戏剧人的“肖像画廊”,特别注意了应用类型惯例和描述方法。在第二部分,我介绍了克拉科夫文学全景的一些个别元素:文学生活的专业组织和制度化,出版市场的运作,地方报纸和期刊的发展,作家的财政状况以及传统和前卫的意义。第三部分对克拉科夫的戏剧形象进行了重构,并阐述了作者对戏剧哲学和美学的看法。我的主要目的是展示Kudliński的记忆的伟大的文献价值-由于他们的因素的可信度和内容的多样性Młodości mej stolica可以是关于克拉科夫历史知识的宝贵来源。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
„Młodości mej stolica”, czyli Kraków literacki i teatralny we wspomnieniach Tadeusza Kudlińskiego
In my article I reconstructed the picture of literary and theatrical Cracow in the years 1918– 1939, represented in the memorials Młodości mej stolica. Pamiętnik krakowianina z okresu między wojnami (the extended edition, 1984), written by Tadeusz Kudliński. The author was an active participant of the cultural life of this city and a bystander of the great social and historical changes after Poland regained its independence in 1918. I tried to confront his subjective view of the important artistic events and processes in the interwar period with the objectivism of historical studies. Kudliński presented a complete and detailed image but, naturally, he paid more attention only to some facts, disregarding or briefly mentioning others. I wanted to understand the motivation behind thematic selection of the material. In the first part of this article, I analysed Kudliński’s „gallery of the portraits” of Cracovian writers and theatre people, paying special attention to the applied genre convention and description method. In the second part, I presented some individual elements of the literary Cracow panorama: professional organisation and institutionalisation of the literary life, the functioning of the publishing market, the development of local newspapers and periodicals, the financial situation of the writers and the meaning of tradition and avant-garde. In the third part, I reconstructed the image of the theatrical Cracow and the author’s views on the philosophy and aesthetics of the theatre. My main objective was to show the great documentary value of Kudliński’s memories – due to their factographic credibility and variety of content Młodości mej stolica can be a valuable source of knowledge about the history of Cracow.
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