ANDA ROTTENBERG PROSZ BARDZO PDF

Every year new studies are published throughout the world on artwork that explores the trauma engendered by the Second World War as well as its collective memory. These studies may in fact already outnumber the works themselves, yet there is no end of them in sight. Successive generations of artists continue to draw attention to ever-new aesthetic aspects that hone, reshape and ultimately refresh those existing patterns of collective memory which have developed over the decades. Successive generations of researchers have likewise returned to well-known works to excavate them for previously overlooked meanings and aspects.

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Every year new studies are published throughout the world on artwork that explores the trauma engendered by the Second World War as well as its collective memory. These studies may in fact already outnumber the works themselves, yet there is no end of them in sight.

Successive generations of artists continue to draw attention to ever-new aesthetic aspects that hone, reshape and ultimately refresh those existing patterns of collective memory which have developed over the decades. Successive generations of researchers have likewise returned to well-known works to excavate them for previously overlooked meanings and aspects. One such aspect, shared by a significant group of artists, relates to that particular period in their lives when they experienced the war, namely during their adolescence.

Adolescence is often perceived as traumatic in and of itself. Such factors as the death of a parent and the demoralizing and obscene experience of war create the conditions for a "syndrome of wartime adolescence" that carries its own unique stigma. Besides being born around the same time and having lost their fathers at an early age, they shared the experience of growing up in a particular place and time.

The Second World War broke out in Poland on 1 September , lasting for six years, and each and every part of the country saw unprecedented crimes perpetrated against its population. My presentation is an excerpt from a larger survey I am conducting with respect to the attitudes of the aforementioned artists toward the Second World War and its memory.

Perspective of adolescence. Institute Fellows Events Wikotheque. Download PDF. Project Judith - Salome - Ophelia: the Representation of Some Female Characters in European Art in the Light of Contemporary Gender Studies Besides the Virgin Mary and a few popular holy saints like Anna, Barbara, Agnes, Maria Magdalena who were depicted in a nice and peaceful manner, several other women characters drew special attention from artists for many centuries.

They were represented in art from the Renaissance period to the 20th century in a great variety of poses and situations. The artists chose biblical heroines like Judith or Yael, real historical figures like Lucretia and Cleopatra or the personalities popular in the Christian tradition like Salome or St.

Theresa d'Avila to become subjects of their art, mainly paintings and sculptures. The 19th- and 20th-century artists extended their interest to cover the only female character that was not derived from the religious Christian tradition, but from drama. In the course of five centuries, the representation of these characters differed not only in accordance with the changes of the consequent historical styles and particular schools, but also due to the different interpretation of the same tale drawn from the current philosophical and theological flows and possibly to political needs in the given period and place.

My interest is to trace these causalities in the light of contemporary gender studies. Recommended Reading Rottenberg, Anda. Cologne: DuMont, Warsaw: Wydawnictwo W. B, Warsaw: Wydawn. Piotra Marciszuka "Stentor", Tuesday Colloquium ,

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Anda Rottenberg , Dr.

I guess anyone realising the level of confession attempted by the author will feel the same. Whoever Anda Rottenberg is, the author's subject guards her secrets well. So well, that it raises the question if maybe one of the reasons why the book was written was the subject's desire to come closer to the object. Publishing House, Warsaw That is not to say the book departs from the truth, not at all. My point is more about the author being aware of the form and of the fact that no form is fit to tell the story of our lives. Truth is formless and therefore inconvenient; truth does not want to be squeezed into the rhythm of the phrase and does not fit in the composition, unlike fiction.

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