The Universal Declaration of Human Rights (UDHR) was created in response to the travesties of World War II. The United Nations adopted it in 1948 and it still stands to this day as a cornerstone of human rights for the world. In the text, Joseph Wronka "argues that human rights are are the bedrock of social justice."  He also "identities the five core notions of human rights as suggested by the UDHR"  that will be discussed in this paper. They are: 1. Human dignity, 2. Nondiscrimination, 3.Civil and political rights, 4. Economic, social, cultural rights, and 5. Solidarity rights.
In reading Manisha's case study, it is ripe with violation after violation of her human rights.
However, due to the rural nature of her village, the inability to make decisions or even be told about issues in the political realm, she was sheltered from a lot of the preamble that may have helped focus the Nepali women, and enabled them to work on change in their homeland.


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Gay Men In Varnell
May 23, 2022 October 13, 2019 by Gay Cam Chat
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2. It Violates Natural Law. Marriage is not just any relationship between human beings. It is a relationship rooted in human nature and thus governed by natural law.
Dec 10, 2011.
In 1985, in his role with ILGTF, Varnell said there were legitimate reasons that some gay men would want to know their antibody status.
The Tuesday HOT LINKS are here with a record-breaking Obama tweet, Texas A&M, Shonda Rhimes, Chris Hemsworth, Samantha Bee, God's Own Country and more.
Paul Varnell, an activist in the gay community who voiced his many strongly.
As an activist, Mr. Varnell was able to work with people of varying.
Browse Profiles & Photos of Gay Single Men in Dalton, GA! Join Match.com, the leader in online dating with more dates, more relationships and more marriages.
Male homosexual behavior has no particular connection to acting like a female. It is not thinking or feeling or acting like a woman. It is about a man (whether top or bottom) being attracted as a.
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Theodore Bruce Bawer (born October 31, 1956), who writes under the name Bruce Bawer, is an American writer who has been a resident of Norway since 1999. He is a literary, film, and cultural critic and novelist and poet who has also written about gay rights, Christianity, and Islam.
Heraldry on the Internet, Coats of Arms, Family Crests. Heraldic research on the Internet. Related topics: heraldic research, charges, dictionary of heraldry ,
The art of heraldry. Heraldry Links.
And while Rick Sincere, president of Gays and Lesbians for Individual Liberty, remembers Varnell as "a man of many and varied interests".
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Russ Varnell & His Too Country Band. The Man & The Band Keeping REAL Country Music ALIVE!! New Live CD in Store Selection! Contact him at [email protected] or 252-363-3755 OR www.facebook.com – Russ Varnell & His Too Country Band.
Gay Men In Spring Garden Find Gay Support Groups in Philadelphia, Philadelphia County, Pennsylvania, get help from a Philadelphia. Fairmount-Spring Garden. . Gay Men's Group. Oct 20, 2014. All three suspects accused of attacking of a gay couple in Center City. was there as all three left Philadelphia Police Central Detectives in Spring Garden. 11th attack on two gay men
Oct 4, 2019.
Over the past two decades, gays and lesbians have won enormous U.S. Supreme Court victories that pulled the LGBTQ community ever closer.
modifier – modifier le code – modifier Wikidata Ayn Rand [ˈ a ɪ n ˈ ɹ æ n d] , de son vrai nom Alissa Zinovievna Rosenbaum (russe: Али́са Зино́вьевна Розенба́ум [a ˈ l ʲ ɪ s a z ʲ ɪ ˈ n o v ʲ ɪ v n ə r ə z ʲ ɪ n ˈ b a ʊ m] ), est une philosophe , scénariste et romancière américaine d'origine russe , juive athée , née le.
Jerry Drake Varnell was arrested in August after he twice dialed a cell phone that he believed would remotely detonate a van he helped load with 1,000 pounds of explosives before parking it outside a bank only six blocks away from the scene of the deadly 1995 terrorist attack, court documents say.
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Tributes are rolling in for one of the pioneers of gay journalism in Chicago and nationwide, Paul Varnell. He was 70. Tracy Baim of the Windy City Times–where Varnell was a columnist in the 1990s–has a great obituary and tribute.
Brandon Varnell when you grow up and get out in the real world you will see why people are scared Brandon Varnell one of the reasons i stopped going to the movie theaters . its full of stupid remakes About two weeks after Feder's appearance, one of the men Varnell stabbed was acquitted of violating.
Oct 16, 2006.
by Paul Varnell on October 16, 2006.
That many openly gay men also prefer the inserter role, and many others switch roles easily–thus being.
Journalist and activist Paul Varnell has died, as Brandon mentioned in his round-up. The Windy City Times writes that Varnell died from pneumonia and a stroke, and posts a lengthy article on his.
For example, Bailey says gay men were feminine in childhood. In a culture suffused with notions of gay femininity, gay men likely recall more feminine behavior (and heterosexual men less) than was actually the case. Some of Paul Varnell's previous columns are posted at www.indegayforum.org.
When Word of God explains that a character was actually LGBTQ outside of the series, choosing to keep them Ambiguously Gay (at most) in the actual story. This may be because of Media Watchdogs, local laws preventing stories with gay characters from being sold, or fear of backlash.It can also be due to Conservation of Detail.On the other hand, most readers will assume a character is.
LGBT History Month is an annual month-long observance of lesbian, gay, bisexual and.
See also: Lesbian American history, Gay men in American history , Bisexual American history, and Transgender American history.
of the Gerber/ Hart Gay and Lesbian Library and Archives in Chicago; Paul Varnell, writer for the Windy.
by Paul Varnell First published in the Chicago Free Press on September 27, 2006 In the early 1980s when the Centers for Disease Control created the term "Men who have sex with men" (MSM) to refer to an AIDS risk group, many of us criticized the term as a euphemism for gay men.
Kentucky Ancestors. GENEALOGICAL QUARTERLY. OF THE KENTUCKY HISTORICAL SOCIETY. Listed below are the contents of Kentucky Ancestors from the first issue in 1965 to the current issue in a searchable PDF format.
Gay foreign policy, as Paul Varnell, writing in the Chicago Free Press (May 30), would have it: "So long as the United States has an ambassador to the Vatican, that person should be gay. It is high time those men in cassocks at the Vatican secretariat met a gay man who is not repressed, closeted or a.
Synopsis: List of important LGBT+ community awareness remembrance dates and coming events in respect to sexual orientation, gender identity, transgenderism, transsexualism, and intersexuality. Harvey Milk Day is organized by the Harvey Milk Foundation and celebrated each year held May 22.
We are the only international conversation about the changing roles of men in the 21st century.
Republican Chokes Up At Gay Marriage Debate In Washington.
For Jack Varnell, the best.
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The railroading of same-sex "marriage" on the American people makes increasingly clear what homosexual activist Paul Varnell wrote in the Chicago Free Press: "The gay movement, whether we acknowledge it or not, is not a civil rights movement, not even a sexual liberation movement, but a moral revolution aimed at changing people's view of.
Inside the Mind of People Who Hate Gays by Karen Franklin.
In describing the three assaults on gay men that he committed while alone, Eric used shorthand explanations that assumed a shared cultural belief that his.
. (Varnell, 1991, p.4).
In 1996, Bawer edited a collection of writings by mostly gay men and women titled Beyond Queer: Challenging Gay Left Orthodoxy. The authors–including Sullivan, Jonathan Rauch, Stephen H. Miller, Paul Varnell, and Norah Vincent–covered a wide range of topics and did not have one
by Paul Varnell on May 28, 1998.
Some men apparently undertook homosexual "marriages" in which the men swore fidelity to each other.
Ещё.
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Despite the Netherlands' reputation as a world leader with respect to gay rights, homosexual Dutch men have much higher rates of mood disorders,
View Gay Varnell's business profile as Xx at Truist. Find contact's direct phone number, email address, work history, and more.
News clipping courtesy Rex Wockner. Varnell co-founded the Independent Gay Forum blog with the subtitle "Forging a Gay Mainstream." Among the writers there are some of the LGBT community's leading intellectual conservatives, including longtime gay rights attorney David Link, writers Jonathan Rauch and John Corvino, law professor Dale Carpenter and blogger-in-chief, Stephen H. Miller, a self.
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RAYKO
Spanish producer extraordinaire Rayko has been a leading light in the disco edits scene since 2008, the year he launched his magnificent Rare Wiri imprint.
Since then his name has appeared on literally dozens of great records scattered across labels like Eskimo, Is It Balearic? and Nang.
Deeply rooted in '70s and '80s disco, funk, boogie and rock, Rayko's influences are masterfully interpreted and transformed into modern day dancefloor bombs.
His mind-blowing edit of Candi Staton's 'Broadway' came in at number 1 in Juno's best of 2011 disco chart, proving he's right at the crest of the disco edit wave.
But his talents don't stop there. He's delved into original productions and remixes, being asked to lend his skilled hand to tracks by Psychemagik, Space Ranger, Beatfanatic, or Ilya Santana, to name a few,...
As a DJ, he's been shipped over to the USA, Africa, Asia, South and North America and all around Europe, and his global following is quite obviously illustrated by his massive following on SoundCloud.
His love and appreciation for top quality tunes, along with a true talent for revitalising the music of yesterday and adding his own personal flavour, make him stand out from the crowd in an overpopulated sea of edit-makers.
As the months go on and his catalogue expands, Rayko is rapidly becoming one of the most loved names in modern day disco
Fakestagram
Rayko Remix (6:14)
Dawad, K10
La dame Noir Records
Vocal Mix (7:44)
Rayko, Tania Haroshka
Boite Music
Tania Haroshka
Rayko, Fran Deeper
Fran Deeper
Bioluminiscence
Rayko, Elena Hikari
Spa In Disco
Elena Hikari
A Different Day
2022 Version (9:03)
Anyway U Wanna
Can't Wait (For Your Love)


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It ain't no lie! Joey Fatone's still got it in surprise 'Bye, Bye, Bye' drag brunch performance
Lester Fabian Brathwaite
You never know who's gonna drop in for drag brunch in South Beach.
Joey Fatone, My Big Fat Greek Wedding guest — and secretly the best member of *NSYNC — looked like a snack when he paid a visit to Miami Beach's world famous Palace restaurant on Sunday. But unlike other boozy brunch guests, the drag queens didn't mind him stealing the spotlight.
Joey Fatone
Kevin Winter/Getty Images
Fatone joined local queen Tiffany Fantasia, who was in sneakers but times are hard, for an impromptu performance of one of the boy band's biggest hits, 2000's "Bye, Bye, Bye." And he was not lip-synching for his life.
Not only was the mic on, but Fatone proved he still had the moves, busting out that iconic choreo amid a shower of cash and applause. Palace shared video of Fatone's brunchtime slayage with the caption, "What a weekend it's been already!"
"Bye, Bye, Bye" was the lead single from *NSYNC's blockbuster third album No Strings Attached, which saw the group taking more creative control over their music and image. The video memorably featured the boys as marionettes before quite literally being cut loose by their malevolent puppeteer. The song peaked at No. 4 on the Billboard Hot 100 and was nominated for Record of the Year at the 2001 Grammy Awards. More importantly, 22 years later: still a bop.
Backstreet Boys and NSYNC members join forces as 'Back-Sync' for Pride performance
Inside the making of NSYNC's iconic 'Bye Bye Bye' music video
Nick Lachey wins The Masked Singer as Piglet, reveals advice from Joey Fatone about doing the show
LifestyleWomen's Health
EntertainmentHuffPost
CelebrityYahoo Life
CelebrityPrevention
CelebrityMarie Claire US


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Early Spotify Investor Contributes to Blockchain Art Registry in $7 Mln Funding Round
April 22, 2019 TradingBTC
The blockchain-based art registry startup Artory has reportedly raised over $7 million in Series A funding round from an early Spotify investor among others. The development was announced by art-focused publication the Art Newspaper on April 22. Artory — ledger of which enables users to trace provenance and title data, as well as record sales of works of art — has reportedly secured $7.3 million from a group of investors, including private investing firm 2020 Ventures, which backed Swedish audio streaming platform Spotify, American logistics company Postmates, and luxury goods…
Coinbase Files to Close Its Political Action Committee
Major United States-based cryptocurrency exchange Coinbase has filed to close its political action committee (PAC) on April 3. According to a filing with the Federal Election Commission (FEC) — the regulatory agency in charge of enforcing election laws — Coinbase's PAC received no funds nor made any disbursements, and is seeking to terminate the PAC. Per FEC regulations, a PAC must file a termination report in order to cease operations once it no longer intends to make or receive contributions or expenditures. In the U.S., PACs are independent organizations,…
Chinese City of Guangzhou Issues Business License Using Blockchain and AI
Major Chinese city Guangzhou has issued a business license using blockchain and artificial intelligence (AI) technology, local news agency Sohu reports on April 22. The license was issued at the administrative center of Huangpu District, Guangzhou, and represents the first blockchain and AI-powered business license in China, according to the news outlet. The type of the license, touted as "scan the code and start the company in one click," reportedly allows startups to not only file an application, but also to open a bank account and to submit a tax…
Vitalik Buterin Proposes Higher Staking Rewards for Upcoming ETH PoS Algorithm
Ethereum co-founder Vitalik Buterin proposed a higher staking reward for the upcoming proof-of-stake (PoS) algorithm implementation on the Ethereum blockchain on GitHub on April 20. Per the proposal, 2,097,152 ether per year would be issued when 134,217,728 ether is staked and validating transactions, resulting in an annual return for stakers of 1.56%. The current circulating supply of the coin is 105,764,762 ETH, which means that this amount of stacked ether is a theoretical maximum of sorts. The proposal also estimates the annual return for various quantities of validating ether. For…
Crypto Project Takes on 'Nonethical Hackers' With Tech to Stop 51% Attacks
A crypto platform says "pioneering technology" known as command chain protocol (C2P) is going to be instrumental in ensuring the industry is protected with strong security in the future. ILCoin says C2P was designed to prevent 51% attacks — one of the biggest risks that cryptocurrencies face today. This is when malicious actors acquire the majority of the computing power in a network, create a new chain and potentially double spend funds. As reported by Cointelegraph, Ethereum Classic fell victim to such an incident back in January. In its white…
South Korea's Largest Car Supplier Hyundai to Use DLT in Smartphone-EV Pairing Tool
South Korea's largest car manufacturer, Hyundai Motor Group, will use blockchain in its new tech for pairing electric vehicles (EVs) with smartphones. Sustainable mobility-focused news agency Green Car Congress reported on the development on April 22. Hyundai reportedly announced development of smartphone-EV pairing based performance adjustment technology that allows users to customize primary functions via a smartphone application. In the claimed industry-first, Hyundai will reportedly implement blockchain technology to prevent security issues while users upload and share their custom settings on the server. As such, the upcoming system is set…
Protocol Labs and Ethereum Foundation Team Up to Research Verifiable Delay Functions
Filecoin owner Protocol Labs is collaborating with the Ethereum Foundation to develop a Verifiable Delay Function (VDF). The company announced the partnership in a blog post on April 19. VDFs are a relatively new cryptographic primitive that can protect systems relying on the generation of (pseudo) random values from manipulation strategies or attack. Examples of everyday use cases include picking a lottery winner on the blockchain, as VDFs could help stop miners from intervening with a block hash to win the jackpot. Dan Boneh, one of the researchers who introduced…
Bitcoin, Ethereum, Ripple, Bitcoin Cash, EOS, Litecoin, Binance Coin, Stellar, Cardano, TRON: Price Analysis April 22
The views and opinions expressed here are solely those of the author and do not necessarily reflect the views of Cointelegraph. Every investment and trading move involves risk, you should conduct your own research when making a decision. Market data is provided by the HitBTC exchange. Legendary tennis player Serena Williams disclosed that she has invested in cryptocurrency exchange Coinbase through her investment business Serena Ventures. South Korean investors are using low crypto prices to buy more. Their average investment has increased by about 64% compared to 2017, according to…
Adviser to President of Russia Proposes Digital Currency in Crimea
An adviser to the President of Russia has proposed to adopt a digital currency in Crimea to attract investors and avoid sanctions, local news agency TASS reports April 19. Sergey Glazyev, advisor to Russian President Vladimir Putin on regional economic integration, urged the government to adopt "digital money technologies" to reduce "cross-border barriers," the official said at the Yalta International Economic Forum (YIEF). According to Glazyev, adoption of digital currencies will "sharply reduce cross-border barriers" and will attract foreign investors who "are afraid of sanctions," which are "generally carried out…
'The Cutest Crypto Game' to Support Online Education for Kids
A decentralized crypto collectible game Blockchain Cuties Universe has put its unique digital pet named DartaNyan up for auction, which was specially created for it. The team says that all the raised funds will be spent on an education online platform, where kids and teens can start their own project. Online education for youth as priority The sale of a Blockchain Cuties' character named DartaNyan will be hosted by Auctionity, the blockchain auction house for crypto collectibles, such as gaming items and nonfungible tokens (NFTs). The digital pet will be…


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Q: iOS Objective-C: Using URLConnection multiple times I have an array of objects.  My object contains a URL(NSString) and an image (UIImage).  I call a webservice to populate all the urls for the images and then I want to asynchronously get the image and update the object with the image.
I am stuck while I am trying to determine the index of the array which I need to update when the data is received from URLConnection.  Any thoughts?

A: You need to map the NSURLConnection to your Array. You could either subclass NSURLConnection to add a member, wich allows storing a tag identifier, such as an index.
Probably it would be simpler to create a NSDictionary, where each NSURLConnection acts as key and the arrayIndex in an NSNumber would be stored as the value.
In the callback-method you are using, you could access your dictionary with the according NSURLConnection as its key.
int arrayIndex = [[myDictionary objectForKey:urlConnection] intValue]

A: For getting UIImage from net use this instead of URLConnection multiple times.
 UIImage *image=[[UIImage alloc]initWithData:[NSData dataWithContentsOfURL:[NSURL URLWithString:@"URL of the image"]]];

Then load your image asynchronously in the UIImageView.

A: I would suggest you to use GCD to download image in background. Here is the tutorial if you want to refer:-  http://blog.slaunchaman.com/2011/02/28/cocoa-touch-tutorial-using-grand-central-dispatch-for-asynchronous-table-view-cells/
Following is the Code you can use:-
dispatch_queue_t queue = dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_HIGH, 0ul);

dispatch_async(queue, ^{
    UIImage *image = [UIImage imageWithContentsOfFile:imagePath];

    dispatch_sync(dispatch_get_main_queue(), ^{
        [yourImageView setImage:image];
    });
});

redpajama_set_name: RedPajamaStackExchange


Wrap up some spooky treats and cast a spell with witches brew this Halloween. It's that tie of the year to start brewing up some wicked treats for your ghouls and goblins. How about some sweet and salty Mummified Popcorn to add to the basket?
As I discussed in my original post "You've Been Boo'd", every year we deliver a package of Halloween goodies to my kid's neighborhood friends. I decided that we would use the same concept from the "Grinch Popcorn", since the kids loved it so much during Christmas, but I changed the recipe up a bit to make the popcorn a sweet and salty Halloween treat that we could add to our You've Been Boo'd basket.
1. In a large pot with a glass lid, heat the oil. Add one kernel when you think the oil is ready to test it out. When it pops, add the 2 tbsp. of butter and popcorn kernels.
2. Once all of the popcorn has popped, place the popcorn in large bowl. Salt the popcorn to taste and set aside to allow it to cool. Pick out any kernels and half-popped kernels.
3. Melt the 1/4 cup of butter in a large sauce pan on medium heat. Add the mini marshmallows to the pan and stir until nice and melted. Turn off the heat and add the red and yellow food coloring to the marshmallow mixture. Add one drop of color at a time until you get the orange color you are looking for in your mixture.
4. Pour most of the marshmallow mixture over the popcorn in the bowl and mix well. Pour the coated popcorn onto a cookie sheet layered with parchment paper. Drizzle the remaining marshmallow mixture over the popcorn and add some unmelted mini marshmallows and the 1/4 cup of mixed yellow, orange, and brown mini M&M's over the popcorn while it's still warm. I also added mini eyeball candies to the mix for creepy look.
5. Allow to cool before placing the yummy treat into the Popcorn Treat Boxes.
Check out how we made our You've Been Boo'd goodie baskets this year in the next post.


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Turkmenistan – Afghanistan railway modernised
Full screen in popup
ASIA: A ceremony to mark the completion of work to upgrade the 13 km rail link between Serhetabat in southern Turkmenistan and Towraghondi in northern Afghanistan took place on February 23.
This formed part of a pair of ceremonies which were held in Turkmenistan and Afghanistan to mark the completion of the Turkmen section of the Turkmenistan – Afghanistan – Pakistan – India gas pipeline and the groundbreaking for the Afghan section. Electric power and optic fibre links are also being installed on the TAPI route. Guests at the events included the Presidents of Turkmenistan and Afghanistan, the Prime Minister of Pakistan and India's Minister for External Affairs.
The railway to the Towraghondi freight terminal on the Afghan side of the border was originally built by the USSR. Following discussions at the seventh Regional Economic Co-operation Conference on Afghanistan in Ashgabat last November, Turkmenistan agreed to fund and undertake the upgrade as a donation to Afghanistan.
The work has increased capacity on the line, where future traffic from Turkmenistan to Afghanistan is expected to include oil products, food, industrial goods and construction materials. The route could also be used for Afghan export traffic.
A second rail link between Turkmenistan and Afghanistan opened in November 2016, linking Atamyrat and Aqina.
Herat province railway construction contract signed
AFGHANISTAN: A contract for the design and construction of the first phase of the fourth section of the railway being built to link Khaf in Iran with Herat province has been signed by the Afghanistan Railway Authority and Kazak company Integra Construction.
Afghanistan – China rail freight service sets off
AFGHANISTAN: An inaugural service carrying freight for export to China by rail left Hairatan in northern Afghanistan on September 5, carrying 1 100 tonnes of talc in 41 containers.
World rail freight news round-up
Belgian infrastructure manager Infrabel has signed an agreement with Carmeuse to reopen a 3∙35 km section of Line 136 from its junction with Line 132 to a new limestone quarry at Hemptinne. Track had been lifted following closure in the 1980s, and the restored branch is due to enter service ...


text:
Superficiology
50 years of Roman Dziadkiewicz's dialogue with The National Museum in Kraków
Text by: Dominik Kuryłek
social btns
Superficiology springs directly from several months of studies, curatorial practices, artistic experiments, explorations, research, reconstruction processes, encounters and documenting as well as the continuation, analyses, relocations and reinterpretations of them in the field of studies on what there is, on what can be seen on the surface of complex reality, in the broad sense.
Superficiology perceives the picture (with the whole elusive potential of this category) as a morpheme, and contemporary culture as an expanse of images, multi-sided mutual looks and paths/routes directing movements upon their surface – the slipping of eyes, the casting of glances, the crashing into the wall of indifference, invisible barricades, peeking through cracks, looking out of windows or windows jumping out of themselves out of a sudden…
For most of us, mechanisms are increasingly harder to recognize (we have grown to be an ever more helpless and dispersed majority); they are virtual or concealed within perfectly designed ergonomic casings, the disturbance of which entails the risk of losing any guarantee whatsoever that we will be able to understand anything (experts are corrupt). Besides, it is fucking summer and I don't feel like gaining a deeper insight, this is the absolute end of the extremely long twentieth century and I don't have the energy to stir up a revolt right now. Design, fashion, love, loneliness, detachment, death and the surface of water… Some things are just what they are, even if we're not interested or absorbed in them… With a flicker of hope, we are watching Greece wondering whether it would be nice to go there on holiday and extol potential changes or universal stoical traditions built upon hot yellow sand…
Things are exactly what they are, "art is over, and everything is visible". We roam rather aimlessly in full (solar, artificial or infrared) light, not bothered by anything serious, we collect, make, give and exchange images (fantasies), like we're in paradise, money becomes pointless (but it still rules). We've experienced everything that could be experienced, we have all the information we need and much more and we sort of get lost in it…
Dziadkiewicz's series of activities called Superficiology was launched with a performance act presented in the hall of the Main Museum Building, in which the artist stared for eight hours at Jadwiga Maziarska's collage made of pieces of photographs depicting eyes. Dziadkiewicz devoted as much time to the work as a public art institution allows.
The next Superficiology piece was a walk with Jerzy Rosołowicz's Neutronikon. Designed according to the rules of Conscious Neutral Action, the object made of glass with prisms glued to it was borrowed and revived by the artist. Just as Rosołowicz intended, it was used as a peculiar screen through which the world could be looked at. Dziadkiewicz walked with Rosołowicz in Błonia Park and Park Krakowski. They paid a visit to Jasny Dom. They went to Plac Szczepański and Market Square. They took a walk around Planty Park. They had a brief stop by the Vistula and then returned to the Museum. Importantly, this Surfaceology trip also included a meeting with Andrzej Pawłowski, an artist who'd implemented his original idea of Naturally Formed Shapes in artistic practice. During the meeting, which took the form of a multimedia performance, Neutronikon was placed inside a reconstructed machine for light projections, originally built by Pawłowski. Dziadkiewicz used Rosołowicz's 'prisms' to split the rays that produced abstract light forms– Kineforms on the screen.
A few days after the walk with Rosołowicz, Dziadkiewicz took Julian Jończyk's conceptual plate titled Erotyk III – Przygoda ze światłem [Erotica III – Light Adventure] for a ride around the city. A group of people joined the ride with Jończyk, drawn by Dziadkiewicz into a subtle performance carried out in a black limousine that drove from the Museum to the artist's former studio in the district of Nowa Huta. As they were travelling, Dziadkiewicz interacted with Jończyk and his travel companions. He read aloud Bataille's Story of the Eye, thus providing a crucial context for a micro performance involving milk, a piece of string, a mirror, a shoe and eggs – which, according to Bataille, symbolize sexuality and perception (penis and eye). Dziadkiewicz peeled the eggs and put them in various places in the car. He ate them and encouraged the others to do the same. He used eggshells to make ephemeral collages against the background of the mirror, Jończyk's work and Olga Kowalska's face. In a significant gesture, the erotic/mystical act of exposing his feet to sunlight, recorded on the conceptual plate and performed by the artist from Nowa Huta, was repeated. Unlike Jończyk, Dziadkiewicz exposed his feet to eggs.
The last action in the Superficiology series was an eight-hour-long 'ensamble' at the Gallery of 20th-c Polish Art, entitled Superficiology (Landscape with Idyllic Scenes). The announcement preceding the event stated the following:
During a day-long action consistent with the eight-hour workday of the mythological system of full-time employment, the author together with other participants faces the idea of the museum as an idyllic, almost ideal place. During months of artistic, research and literary practice, related to previous interventions in the National Museum in Kraków as well as other institutions in Poland and abroad, he has been constructing a complex vision of a "better world" in slow motion and finer horizontal social relations. Shaped according to the (modern) museum model, reality is full of restraint, sensitivity, empathy, inclusiveness, cooperation, distance, emptiness, anaesthetic indifference and dullness. Revolution and all dreams have come true. Critical regime has been superseded by affirmative regime. The series of actions is summed up by a book with the same title – a sci-fi narrative combined with visual records.
In the room that normally houses reconstructed stage design for Tadeusz Kantor's production of the Return of Odysseus, Dziadkiewicz organized an intermedia, intersubjective, multi-thread, collage-like collective action. The participants in the performance included actors, artists, a dancer, children, a designer, students, a curator from the Museum and the author himself. The event also included the following components: Józef Pankiewicz's painting titled Landscape with Idyllic Scenes, collages created by the artist, a printer, fruit, eggs and ping pong balls.
The book referred to in the description was taking shape as the project was running; it became a peculiar trace of Superficiology. Still, it is worthwhile to regard it as another element of the dialogue that has been going between Dziadkiewicz and the Museum for almost 10 years. For the artist, the publication is a multi-element literary performance, a philosophical sci-fi essay and a multi-sensual, many-sided romance with the institution, people, objects, places and artworks.
Admittedly, the romance is rather perverse and the artist tries to escape alluring but risky discourses, and mostly the Museum's narration. He does it by toying with time that the institution is trying to manage. Interestingly, he takes the hint from avant-garde artists and attempts to operate in future's space; the Museum, which is obviously focused on the past, has no access to it. Dziadkiewicz develops a parallel narrative, situating himself in a surreal but possible continuum of spacetime.
As a narrative – Dziadkiewicz writes – Superficiology is set in indefinite future when the regime of oversensitivity, egalitarianism, transparency and slow motion, developed and internalized by the population as a whole – derived from the space and logic of modern, perfectly air-conditioned art institutions, archives, recreational areas and social media – operates ideally in a post-revolution, global reality.
The new civilization the artist belongs to is:
based on complete redistribution of goods, equality of currencies, people and non-people, as well as unconditioned empathy with living, dead and revitalized creatures – the close and strange ones. All internal and external conflicts have been suspended. Everything remains underneath a mist of sweet boredom and perfect peace resulting from the fact that almost all dialectic tensions in human beings and their environment have been relieved. For the first time in its history, humanity can be and is proud of itself. Strangers – tourists, researchers and immigrants – are arriving on our worn-out planet more and more eagerly, welcomed with open extremities. The natural environment is slowly regaining its original condition from before the long and painful Anthropocene epoch. Locals and strangers live in absolute harmony with each other and the universe in open relationships of various types. At the same time, they have respect for each other's otherness, thus being able to keep distance, hygiene and autonomy which they have come to love just like they love themselves. All people educated in the new system feel, know and understand what they want. They are capable of verbalizing and sharing it with others. They want exactly the same for themselves, their loved ones and their descendants.
Painting a picture of the present day in an idealistic utopian future Dziadkiewicz allows an unanticipated narration into the Museum.
For years, the artist has focused in his work on the essence of the oppressive discourse of power over knowledge, which finds its expression in the institution. As I have hinted a few times before, it mostly applies to time management. Dziadkiewicz's institutional critique is more than just stressing the oppressive nature of the institution. The stance he adopts is post-critical but not cynical. For him, the museum is a very attractive place with critical potential. He does not care for the nostalgic – in spite of its being critical – view on the past even if its purpose is to discuss former times, while his futurist narration is not an avant-garde utopia. Dziadkiewicz's post-critique is heading in a different direction.
The artist comes up with something that could be described as new realism which, as Mieke Bal claimed a long time ago already, strips the Museum of its innocence and reminds it of its responsibility for the story it tells. Dziadkiewicz's actions are meant to encourage the institution to perform a discursive self-analysis. However, unlike Mieke Bal – the self-analysis is to relate not only to narration but, more precisely, to the category of contemporariness (a specific stretch of time) as it is perceived by the Museum.
Dziadkiewicz updates the Museum. Still, he is far from claiming that contemporariness is an underestimated period, a narration to be revealed and brought into the institution. Contemporariness is there already. It has always been there. Contemporariness is for Dziadkiewicz a dialectic method – as Claire Bishop pointed out within the context of the museum. As a result of propagating genuine reflection on contemporariness in the institution we stop perceiving the artworks it houses exclusively as traces of past contemporarinesses; instead, we begin to see them as objects that continue to urge us into getting a different grasp of the present day. Moreover, Dziadkiewicz's activities make us wonder why some qualities of the works of art, old or new – the latter being immediately converted into old in the Museum – may be considered topical in various historical moments.
Contemporariness expressed in Dziadkiewicz's actions is recursive. It relates to the same idea of contemporariness. His work investigates (instant) historization as the main strategy employed by the Museum as regards art created nowadays and futurization as formulation of a new point of arrival for artistic practices. Constructing a futurist – modernist – narration Dziadkiewicz likes to resort to anachronistic means which, as Giorgio Agamben and Terry Smith claimed, transgress (future-orientated) modernism and (historizing) postmodernism. Dziadkiewicz's works also escape market mechanisms that have found their way into the Museum, seizing the strategy for managing the future and the past, promoting exciting novelty or nostalgic past but never unattractive anachronism. In this way, Dziadkiewicz introduces (temporally) multi-faceted contemporariness that does not neutralize the topicality of artworks. He has thus developed a way for contemporariness in the Museum to be a category that is always present, always up-to-date and endlessly active.
R. Dziadkiewicz, Wprowadzenie do powierzchniologii ćwiczenia / oprowadzania / zapisy [Introduction to Surfaceology Exercises / Guided Tours / Records], Kraków 06.07.2015, typescript from the artist's archive.
Roman Dziadkiewicz, Joanna Bednarczyk, Olga Kowalska, Wojciech Ratajczak, Bogusław Sławiński, Dominik Kuryłek, Martyna Nowicka and a driver.
HYPERLINK " https://m.facebook.com/events/1687024748196680?acontext=%7B%22ref%22:22,%22action_history%22:%22null%22%7D&aref=22″ https://m.facebook.com/events/1687024748196680?acontext=%7B%22ref%22:22,%22action_history%22:%22null%22%7D&aref=22 (retrieved 10.10.2015)
R. Dziadkiewicz, Powierzchniologia. Krajobrazy ze scenami idyllicznymi [Surfaceology. Landscapes with Idyllic Scenes], Kraków 2015, p. 2.
Apart from conservation which, focused on the past, is done in relation to the future.
R. Dziadkiewicz, op. cit., p. 2.
M. Bal, The Discourse of the Museum, [in:] Thinking About Exhibitions, ed. R. Greenberg, B. W. Ferguson and S. Nairne, London 1996, pp. 145-158.
C. Bishop, Radical Museology or What is Contemporary in the Museum of Contemporary Art, London 2013.
Cf. ibid, p. 20.
Design: Kaja Gliwa, Code: Smoukin Labs


Cornelia "Nellie" Cole Fairbanks (January 1852 – October 24, 1913) daughter of Ohio State Senator Philander Blakely Cole and Dorothy Witter Cole. Cornelia was the wife of Charles W. Fairbanks, who served as the 26th Vice President of the United States from 1905 to 1909. During her husband's tenure she held the unofficial position of the Second Lady of the United States. She was at the forefront of the women's suffrage movement and considered a pathfinder to politics for American women in the 20th and 21st centuries.


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Rocznik Historii Sztuki | 2018 | No XLIII
Images of the Great War. War movies in Polish cinemas in the first decade of the Second Polish Republic
Wojciech Świdziński
Rocznik Historii Sztuki | 2018 | No XLIII | 195-204 | DOI: 10.24425/rhs.2018.124944
From the beginning of the 20th century, images of war were mostly produced through audio-visual methods. This also applies to the Great War, although its earliest on-screen portrayals remain little-known today. Documentary footage filmed during the First World War was often destroyed or dispersed in the interwar period. Nevertheless, it has introduced new cinematic techniques and themes later seen in war reportages. Feature films about the Great War were generally made after it ended. France and Hollywood mostly produced battle scenes and anti-war "posters". Although not addressing the subject of war directly, some German films of the period were described by the film expert Anton Kaes as "post-traumatic cinema" or "shell shock cinema". In the newly independent Poland, the Great War first appeared on the screens in the context of the legend of the Polish Legions. The young and underfunded Polish cinematography had difficulties in dealing with such a demanding theme, which fact is well illustrated by the unfulfilled ambitions of Ryszard Ordyński's film Mogiła nieznanego żołnierza (The Tomb of the Unknown Soldier). At the same time, in the 1920s star Western productions arrived in Poland including such famous films as Abel Gance's J'accuse or Rex Ingram's The Four Horsemen of the Apocalypse. They met with great interest among Polish audiences, reaching the rank of blockbusters. These films also triggered discussions in intellectual circles about the ways and the purpose of showing war on screen. The enthusiastic reception of those films may be a counter-argument to the opinion, that the Great War was not properly scrutinised in Poland both on the symbolic and artistic level.
Photography and the birth of the avant-garde in Poland
Kamila Dworniczak-Leśniak
Rocznik Historii Sztuki | 2018 | No XLIII | 39-63 | DOI: 10.24425/rhs.2018.124935
Polish photography in the first years after Poland regained independence remains a poorly documented area of research. Studies so far had mostly focused on the interpretation of the works of a few key artists from the avant-garde milieu (Witkacy) or photography (Jan Bułhak). It transpires however, that photography – not only as an artistic practice, but as poetic metaphor or an element of a broader aesthetic reflection – has functioned within the circle of the artistic avant-garde. An analysis of the presence of this medium in the consciousness and creativity of Polish artists allows us to see in a new light certain aspects of their technique and intellectual viewpoint. The article focuses on selected characteristics of this assimilation of modern reflection on photography by the Polish avant-garde artists in the first decade after the country regained independence. For the Formists – Tytus Czyżewski and Leon Chwistek – photography was an important point of reference as a metaphor of a new, cognitively uncertain, but also "deeper" way of seeing reality. It was an important help in defining the relationship between reality and its image and subject within a broader theoretical program (the theory of plurality of realities). For the Constructivists in turn – with Władysław Strzemiński and Mieczysław Szczuka at the forefront – photography became the means that enabled them to go beyond the usual schemes of capturing the external world, and as part of the concept of photomontage, it became a new material for creating an artistic reality. The dynamics of the process of assimilation of photography by the avant-garde artists was analysed in the context of the reception of new artistic trends born outside of Poland, primarily Futurism (the theory of photography by Anton Giulio Bragaglia) and Suprematism (reflection by Kazimierz Malewicz).
Grunwaldzki Square and Narutowicz Square in Warsaw – two cases of public spaces in the past and now
Sławomir Gzell
The planning analysis of Warsaw's public squares shows that one cannot talk of a "typical Warsaw square" – it simply doesn't exist. Warsaw squares are not repetitive by nature; they are all different instead. As a result, if we wanted to create guidelines for a new square in Warsaw on the basis of an analysis of the existing squares, it simply can't be done. On the other hand, we can say that the formal diversity of these squares is their strength. As part of a larger interconnected system (best seen on the city map), these squares provide passers-by with an opportunity to look at various urban interiors, and to locate a variety of services for residents. Squares are also an opportunity to create an individual identity for urban spaces, provided that the squares have a characteristic identity. Above all, they must be squares in the most common sense of the word, that is, they should be easily readable fragments of space limited by walls of a height appropriate for the size of the square. It is almost impossible to establish how much time is needed to create a public square in contemporary urban planning. In the archives, there are of course various annotations on plans and some dates entered by architects, but experience suggests that such information should be approached with caution. This is the result of the dynamics of urban life which dominate everything, often conflicts in the competitive effort to secure valuable space. Such processes are rudimentary elements of the planning and urban planning, and should not come as a surprise. It is, however, a real skill in the management of urban space to be able to keep the spirit of the place, or what we otherwise call the identity of the place, despite various events and changes. Two excellent examples are Warsaw's boroughs of Żoliborz and Ochota, although this does not mean that urban planning has always been excellent there. Between 1921 and 1923, two new public squares were planned there – Grunwaldzki Square in Żoliborz, and Narutowicz Square in Ochota. In Żoliborz, this was done in connection with the creation of an entirely new district, built around a new city axis. This axis started in the former Citadel, which lost its role as a defence area, and ended in the new semi-circular Grunwaldzki Square. Narutowicz Square was planned as the official centre of the Ochota district. Both Grunwaldzki Square and Narutowicz Square were created as fragments of larger metropolitan projects built in the tradition of the historical French urban planning. At the same time, the architects used more modern trends in designing cities and green suburbs. The combination of the two produced interesting results in Warsaw – a city full of green spaces designed on a grand metropolitan scale. Thanks to such projects, Warsaw was able to evolve and lessen the difference in living conditions between older and newer boroughs. The civilizational aspect of both projects is evident. The fate of the two squares was different. While Narutowicz Square was carried to completion thus fulfilling its promises, significant parts of Grunwaldzki Square were never completed. An urban truth was confirmed here, that the delay in the execution of a project (regardless of the reasons) causes such far-reaching changes in the space that it loses its initial character. However, if one asked about these reasons, one should look for answers in the prosaic confrontation between intentions and possibilities. Narutowicz Square was located within a defined urban structure more modest in terms of planned buildings, and therefore easier to implement. Grunwaldzki Square was situated in an empty space at the far end of the city plan, and had to wait for the building work to reach it when shifting from the Citadel towards the west. Unfortunately, when this had happened after the Second World War, different urban planning rules were already in place in Warsaw. Such conclusions, however, are not entirely legitimate, since there is no tangible evidence that the events took this turn.
The National Museum in Krakow at the time when Poland regained independence
Diana Błońska
The National Museum in Krakow at the time when Poland regained independence had not yet been an object of academic studies. The author focuses here on the most important events and developments in the institution during that period, and on the professional and moral stance of its director Feliks Kopera. The director's key mission was the complete protection of the collections and the institution itself. Kopera had no hesitation in criticising negligence and impropriety, which was a brave but often unpopular approach. His ideas were seldom in line with those of the decision makers in Warsaw. A fragment of the museum's history discussed here reveals one of its most difficult periods.
Polish artistic graphics around 1918. Graphic artists towards war, independence and a new reality
Katarzyna Kulpińska
Rocznik Historii Sztuki | 2018 | No XLIII | 89-104 | DOI: 10.24425/rhs.2018.124938
The panorama of creative attitudes, the forms of expression and the techniques present in Polish graphic art around the year 1918 was very vast. The graphic artists dedicated to realistic mode of imaging, the visionaries as well as the innovators of the first avant-garde, searching for fresh means of expression in graphic arts worked next to one another. The artwork referring to the fights in the fronts of World War I, the illustrations of everyday prison camp existence, the portraits of the commanders as well as the privates of Legiony (Leopold Gottlieb's file of lithographs, 1916) were created simultaneously to the works by Felix Jabłczyński (who experimented with various graphic techniques, but also referred the current political situation in his works) or the 1st file of lithographs, Bożki Słowiańskie [Slavic Idols] (1918), by Zofia Stryjeńska. Between 1917 and 1921, the artists of the first avant-garde (from Formiści and Bunt art groups) who practiced graphic arts continued their endeavours in searching for a new form, initiated several years earlier. In 1918, Władysław Skoczylas, the author of a woodcut Święty Boże (Wojna) [Holy God (War)] from 1916, a work which opened a new chapter in the history of Polish woodcut, moved permanently to Warsaw. Regaining of national independence and shaping the borders of the Second Repu blic was mirrored in symbolic lithographs by Felicjan S. Kowarski, dating around 1921. Around 1918, the explorations within graphic arts made by the artists from Krakow and Warsaw were enhanced by some new centres, up to then outermost realm of the map of art. One of such places was Toruń, where, in 1920, Konfrateria Toruńska [Toruń Confraternity] was established. Its members practiced artistic and functional graphic art as well. One of them, Felicjan S. Kowarski, founded Artistic-Graphic Workshop "Sztuka". In 1919 in Poznań, the State School of Decorative Arts and Art Industry was established (with the graphic arts department); in 1920 on Bydgoszcz the State School of Art Industry (with Karol Mondral as its graphic arts instructor). In 1919, the Faculty of Fine Arts at Vilnius Batory University created the Studio of Applied Arts (with Decorations and Graphic Arts Studios). The same year, the Association of Polish Graphic Artists, functioning nationwide, was founded. The article signals the wealth of initiatives as well as the formal and ideological diversity of graphic works created around 1918, those referring to the war and independence issues as well as those aimed at perfecting the technique, the novelty of form, and those revealing certain style-genic aspirations. The author attempts to answer the question of the place of creative (and functional) graphic arts in the first years of the reborn Polish state and indicates which concepts (present around 1918) lay at the foundation of the unprecedented blossoming of graphic arts that occurred the Second Polish Republic.
Planning and Development in the "New German East". General Government: Warsaw (1939–1945). = Aufbau und Planung im "Neuen deutschen Osten". General gouvernement: Warschau (1939–1945)
Richard Němec
Hans Frank, who had been the Governor General of the Eastern territories since 25 October 1939, relocated his office to Cracow in line with his intentions and with the consent of Hitler. Frank considered Warsaw "prey" at that time and a future "field of rubble". The Führer approved the relocation of the Governor General's office and thus cleared the way for the demolition of the city. Warsaw, which capitulated on 28 September 1939, became a city of secondary importance and one of the administrative centres of the four districts of the newly established General Government. This suggests the conclusion – which is the thesis developed in the present article – that at the beginning there was no official systematic urban development plan for Warsaw. The previous research initiated by Helena Syrkusowa (1973) was based on the assumption of controlled urban development planning; in terms of urban development, parallels with the Gau Wartheland-Poznań model were looked for. The newly discovered source materials do not confirm these assumptions. Warsaw Mayor Oskar Dengel had a plan to commission urban planner Hubert Groß and to make the population dwindle to a minimum, to reduce the city radically through urban planning, to design a "New German City" and to erect new buildings for the party and government while preserving the old town. Such a plan was his private initiative, entirely confined to municipal administration and was not coordinated with Berlin or Cracow. The idea of a "New German City", developed by the Reich planners for German cities such as Würzburg, Poznań and others intended for redevelopment, and for the occupied and annexed cities such as Prague or Vienna, does not apply in this case. A programme for Warsaw comparable with the "New Redevelopment Programme" never existed. The second planning stage is characterised by the plans of the Chief Development Officers Friedrich Papst and Friedrich Gollert in 1942/43 (Hans-Hubert Leufgen architecture firm). These plans were developed with the target to demolish buildings promoting the identity such as the Castle. The "Warsaw Case" is a peculiarity of German urban and space planning in the East European territories occupied by the Nazis; both the plans were designed for different normative reasons and show no continuity. The procedure for Warsaw, conceived seemingly only as bureaucracy, also provides evidence of the highly problematic, charged and hitherto undocumented atmosphere in urban and space planning during National Socialism, and was constantly accompanied by shifts in competences. The present study broadens the already existent discussion about the urban development planning for Warsaw at several levels, among others allowing for the aspects of the spatial planning research, such as urban planning, and considering the backdrop of the occupation practices of the National Socialists in the General Government.
Exhibitions of objects. A reflection on the recent displays of decorative arts and design in Polish museums
Piotr Korduba
A number of large permanent and temporary exhibitions of decorative arts, design and industrial design have opened in Poland over the last two years. They are varied but linked by the fact that they were all (with one exception) shown in major national museums. Permanent displays included The Gallery of Old Masters. European and Old Polish Decorative Arts, Painting and Sculpture, 15th–18th Century (in The National Museum in Warsaw) which opened in 2016, and The Museum of Applied Arts and The Gallery of Polish Design (both in The National Museum in Poznan), inaugurated in 2017. Temporary exhibitions included Organizers of Life. De Stijl, The Polish Avant-Garde and Design (at the Muzeum Sztuki in Łódź, 25 November 2017 – 28 February 2018) and The other Side of Things. Polish Design after 1989 (in the National Museum in Krakow, 6 April – 19 August 2018). On the one hand, these exhibitions make a case for a full and legitimate participation of Poland in this type of pan-European creativity, not as simple replication, but as participation with its own aesthetic and iconographic vision as well as functional adjustment. On the other hand, the exhibitions invite us to ask the question, if the collections of objects are representative enough to justify this claim? In the case of design exhibitions, there is no doubt that the decision to display it in national museums came about slowly, starting around the year 2000, as part of a wider process of establishing its position in the historical and academic sense within the modern artistic output. The layout and character of the two types of exhibitions are not only the result of the state of the existing collections, but of the tension between knowledge and display. In the case of design and craftsmanship, it is incomparably less important than when exhibiting art. This comes from the fact that in the former the experts' perspective still dominates over more theoretical views.
Word and image in moral caricature in Polish press articles during the Great War and after the independence
Karolina Prymlewicz
This article analyses the relationship between word and image in the caricature. The research is centred on the moral caricature, which provides a social commentary on the attitudes of Varsovians during the First World War and later. Examples of cartoons reproduced and discussed in the text come from Polish magazines such as Oset (Thistle), Polski Tygodnik Humorystyczny (Polish Humour Weekly), Sowizdrzał (Eulenspiegel), Szczutek (Fillip), and Świat (World). They were also drawn from graphic albums such as Stanisław Dobrzyński's and Bogdan Nowakowski's Ogonki wojenne (Lines during the War of Occupation), Warsaw 1918; Antoni Romanowicz's and Zygmunt Grabowski's Warszawa podczas wojny (Warsaw During the War), Warsaw 1918; and Bogdan Nowakowski's Ciężkie czasy, czyli: Wspomnienia wojenne warszawianki (Hard Times, or the War Memories of a Varsavian), Warsaw 1922. The paper examines the comical aspect of caricature and the types of humour found in it (from jokes to serious satire). The studied material distinguishes between various types of caricature, including cartoons free of any deformation, where the critique inherent in caricature is solely contained in the title and/or caption, and drawings without captions (the so-called humour without words). Selected pictorial and textual comparisons point to such research problems as the interdependence of image and text, and the context of press cartoons. In the case of the latter, the background for a given image is created by other images and press articles often addressing the same subject or idea, and evaluating people, their behaviour, and situations in a similar way. The formal analysis of the reproduced caricatures poses questions about the individual style of the cartoonists, who gave up their 'manner' for formal means more suitable for the given message.
Who wasn't there? Caricatures by Kazimierz Sichulski in Stanisław Karpowicz's restaurant in Zakopane
Urszula Kozakowska-Zaucha
The special atmosphere of Zakopane was created by successive generations of notable visitors. Each generation became the heir of the previous one, building on its history and tradition. In 1914, the terrors of war arrived in Zakopane with refugees from Krakow and other partitioned parts of Poland, while the statesman Józef Piłsudski, who lived there sporadically between 1901 and 1914, left town. People descended under the Tatra Mountains as if to a "free town of Zakopane". At that time, the Pronaszko brothers Andrzej and Zbigniew arrived, as well as the artists Leon Chwistek and Leopold Gottlieb, whereas Tymon Niesiołowski, Władysław Skoczylas and Jan Rembowski already lived there. Only Stanisław Ignacy Witkiewicz was absent, wandering through Russia. Also authors such as Stefan Żeromski, Andrzej Strug, Kazimierz Przerwa-Tetmajer and Jan Kasprowicz found their own pied-à-terre under the Tatra Mountains. Moreover, Zakopane became a convenient place for politicians, initially the National Democratic Party, and later socialists, when they came to the fore. The meeting point in Zakopane was the famous restaurant Na Przełęczy (On the Pass), owned by the kind-hearted Leopolitan, Stanisław Karpowicz, nicknamed Karp ('the carp'). Karpowicz arrived in Zakopane in 1902 from Lvov, and three year later took over Franciszek Muchowicz's boarding-house and restaurant located at 40, Krupówki Street. The painter Kazimierz Sichulski, who also fled Lvov because of the war, was a regular guest at Karpowicz's establishment. Although impoverished, he lived in the so-called 'Tower' on the premises. At that time, Ludwik Solski suggested to Karpowicz and Sichulski a new joint venture – making caricatures of Zakopane's regular visitors. The prelude to the impressive gallery of cartoons by Kazimierz Sichulski was the portrait of the writer Kornel Makuszyński, dated 1909. The signature 'Sich/09: KAWAL ORD. POLONIA / ASTORIA / RESTAURATA', suggests that the portrait was executed in Lvov, in the famous restaurant of the Hotel Astoria. The remaining caricatures – in total 49 (not counting the portrait of Makuszynski) appeared in the restaurant On the Pass over a period of three years (1914–1917), creating an orderly and densely hung portrait gallery of various characters, all linked by Zakopane and history. After caricatures of writers – poets, novelists and art critics, and then actors, musicians, artists and architects – the caricatures of Galician politicians and legionaries became increasingly numerous.
In Between: the archaeology of research on interwar architecture in Poland as seen from the perspective of the inclusive democracy of the gaze
Marta Leśniakowska
This article, as part of the "new historiography", deals with the beginnings of modern research on interwar architecture in Poland. The author considers said starting point to be in the first edition of Adam Miłobędzki's Outline of the History of Architecture in Poland (1963). Miłobędzki was one of the foremost scholars of architecture in Poland and his book was reprinted three times (1968, 1978, and 1988). Thanks to its modern synthesizing form, it occupied from the start a key position in the Polish literature on the subject, and to this day remains a model academic textbook. A strictly personal work, it used the most up-to-date knowledge of the history of Polish architecture at that time, and underlined Miłobędzki's individualism and intellectual independence from the authorities. The "outline" was not constructed to be a denotative (unequivocal) collection of objects-facts symbols, but rather a connotative (equivocal/polysemous) text open to interpretations. It had, however, the features of a propaedeutic, using cumulative knowledge in an evolutionist manner and according to a phasic model. The history of architecture is narrated through the description of buildings chosen for their innovative role in history. In the system of historical linearity applied therein, the history of architecture breaks off at the beginning of the First World War, thus excluding the interwar period. Its absence was corrected by the addition of a short appendix to the second edition (1968), entitled "Conclusion. Architecture after the First World War". According to Leśniakowska, the inclusion of the appendix was the result of influence by the neo-avant-garde movement in art and architecture, activated by a generation of modernist "resistance" to socialist realism (of which Miłobędzki was part), which appeared in the mid-1950s. Leśniakowska acknowledges the added "Conclusion" to be the founding text for the study of interwar architectural culture, and reveals its complex simultaneous synchro-diachronic connections, intersections, contexts and sociocodes. The author analyses the reasons why the Outline initially ended on the caesura of 1914; it was the result of a directive of post-war academic art history which stipulated a one hundred years distance from the subject of research. This ruled out movements from the mid-19th century and excluded contemporary culture from art historical studies as being more suitable for art criticism than history of art. It was not until the last edition (1988) that Miłobędzki shifted this caesura to around 1950, which could be explained by the influence of revisionist tendencies in the humanities after the Second World War. Among others, James S. Ackerman considered the separation of history and criticism as unnatural and harmful, leading to limitations and negative cognitive effects. Looking at this dispute from the perspective of the "new historiography", so vital for shaping artistic/architectural historiography, Leśniakowska points out that the exclusion of the modern/contemporary art and architecture exposes the mechanism of submitting the studies on art to a system of authority and domination, which teaches the "correct" understanding of the past without the phenomena which could pollute it. The exclusion of the interwar period was therefore a "significant oversight", a decision rooted in the symbolic order of knowledge-authority, a symptom of the problem of "using" art history by a suitably programmed new memory in accordance with the then doctrine of managing tradition. In the theories of text and of seeing (image as text; text as artefact) and in the system of representation, that which is omitted is part of the message, which, with the help of performative practices, provides knowledge about the author of the information. Hermeneutical reading of the Outline by Miłobędzki, and of his index of architectural values, allows us to see how architecture appears as that which is "visible", and is filled with (politically desirable) meaning. In the index of values established by Miłobędzki, the work of modernist architects was sanctioned, showing not only (and not as much as) what but why there were various forms of modernism in Poland, and how they shaped the mosaic or patchwork landscape of the interwar architecture. The appendix to the Outline has the characteristics of a subjective "attendance list", which by questioning the automatism and authoritarianism of the "war" caesuras, points out to a cluster of issues that in the 1960s and the contemporary methodological consciousness outlined the preliminarily image of architecture in Poland. They set out the future direction of research on the arts of the first half of the 20th century, which came to the fore with the "new historiography" and critical history of art/architecture with its inclusive democracy of the gaze.
A great period of transformation. The image of post-war Poland in press articles in 1918–1922
Dorota Kownacka-Rogulska
After regaining its independence in 1918, Poland had to face the task of unifying the vision of its future after 123 years of partitions. Russia, Prussia, and Austria-Hungary, which had occupied the Polish territories during tha t time, had determined or inhibited the evolution of the national culture. Attempts to recreate the common history, with which the national future could be built, proved to bean arduous task. Poland had to redefine its cultural heritage, eliminate its shortcomings, and plan for the future without losing the present. An image of the difficult beginnings of the revived Polishness can be gathered from press articles published between 1918 and 1922. The starting date is obvious; the end of the First World War. The end date was symbolically defined by the assassination of President Gabriel Narutowicz in the Zachęta Gallery, during the opening of an exhibition. The perpetrator of this act was Eligiusz Niewiadomski, art historian, critic, artist and employee of the Ministry of Culture and Art. This, undoubtedly, was the perverse fulfilment of the synthesis of life and art, which was so much discussed and promoted after the war. In addition to seeking common ground, the press tackled key topics on the working strategies for a national culture. The attention of journalists was drawn to traditional symbols of Polishness such as the Wawel Royal Castle in Krakow or the Royal Castle in Warsaw, but also to Polish folk art. As there was a shortage of academic staff in academies and universities, there were no adequate role models. New artistic trends were being reviewed in order to determine which type of avant-garde could be transposed to Poland. The Wawel Castle and the almost Viennese love of tradition on the one hand, and the desire to catch up with modernity on the other, marked the two poles between which the 'independent' Polish art sought once again its place in the world.
Representations of the United States in 19th-Century Warsaw Press. A review of Anna Stocka, "Oblicza Ameryki. Stany Zjednoczone w świetle prasy warszawskiej z lat 1865–1877" [ Faces of America: The United States in the Warsaw Press, 1865–1877], Oświęcim 2016
Paweł Hamera
Rocznik Historii Prasy Polskiej | 2018 | t.21 | z.4 | 141-148
A review of Krzysztof Stępnik, "Sienkiewicz globalny" [Sienkiewicz: A Global Writer], Lublin 2017
Tadeusz Budrewicz
A Review of Tomasz Mielczarek, "Tygodniki opinii w zmieniającej się rzeczywistości" [ Opinion-making Weeklies in a Changing Reality], Kraków 2018
Sabina Kwiecień
The Memoirs of Jan Stankiewicz, Chief Editor of "Ilustrowany Kurier Codzienny"
Adam Bańdo
Lubusz Documentation and Media Research Centre— the latest media studies initiative
Grzegorz Nieć
Women's magazines in 1989–2017: A market analysis
Olga Dąbrowska-Cendrowska
Rocznik Historii Prasy Polskiej | 2018 | t.21 | z.4 | 27-44
Keywords Poland's women's magazines 1989–2017 market analysis international media groups
In 1989–2017 women's magazines were an important segment of Poland's media market dominated by international publishing houses like Bauer Media, Edipresse Polska and Burda International. Each year they launched new leads (a total of about one hundred in that period). Most of them were successful in terms of sales and ad revenue. This article tries to chart the quantitative changes and major trends in the women's magazines market as well as analyze the role of foreign capital in its development.
Wolność i Lud: Press organ of the agrarian People's Party (Freedom)
Arkadiusz Indraszczyk
Rocznik Historii Prasy Polskiej | 2018 | t.21 | z.4 | 5-26
Keywords Polish press in the United Kingdom after World War II Polish émigré community in the UK after World War II Polish political parties in exile after 1945
Wolność i Lud [ Freedom and the People] was the press organ of the agrarian People's Party Freedom (SL-W) published in London in 1948–1949 and 1953–1954. The periodical, which eventually appeared at monthly intervals, propagated the key ideas of the political programme of the SW-L, kept track of the life of the Polish émigré community and commented on world affairs. It provided regular coverage of the developments in Poland, especially with regard to in agriculture, social transformation processes and culture.
Dialog. Magazyn Polsko-Niemiecki: 30th Anniversary of a bilingual magazine (a monographic study)
Paulina Olechowska
Keywords contemporary Polish-German relations bilingual print media Polish-German cultural relations
This article presents a media-studies profile of the bilingual periodical Dialog. Magazyn Polsko-Niemiecki / Dialog. Deutsch-Polnisches Magazin, which is the biggest project of this kind in Europe. In spite of occasional problems with funding, it has been around without a break since 1987. Committed to the goal of building a better understanding between two nations torn apart by war and strife, the editors have opened their magazine to all aspects — political, cultural and economic — of Polish-German relations.
The beginnings of Polish press studies
Tomasz Mielczarek
Rocznik Historii Prasy Polskiej | 2018 | t.21 | z.4 | 91-110
Keywords History of Polish press studies Polish press studies in the early 20th century
This article explores the beginnings of Polish press studies. The boundaries of the early history of the discipline are fixed by reference to some important events; the period itself is divided into two phases. The first, dominated by mere description, was followed by a second phase characterized by the appearance of aggregate data and more theory-oriented approach. The aim of the article is to recount the research in this field, and to refine and verify some of its elements
Ad viewability in daily print media
Barbara Kiljańska
Keywords Press advertising daily newspapers eyetracking fixation gaze
The objective of this project was to evaluate and measure the viewability of various kinds of ads in the daily press. A total of 63 ads was assessed, including 17 in Metrocafe, 28 in Gazeta Wyborcza, and 18 in the Super Express. The analysis of the data made it possible to assess the effectiveness of various formats of press advertising.
"Jutro Polski. Biuletyn Informacyjny" (1940–1942) and the underground press of the Democratic Party in Cracow: Problems of the war and occupation and visions of the political system of post-war Poland
Ewa Fogelzang-Adler
Keywords Polish underground press during World War II party political press the Democratic Party visions of Poland's post-war political system
This article is a contribution to the history of underground Polish press in 1939–1945. It is concerned with the main problems discussed in the periodical Jutro Polski. Biuletyn Informacyjny [ Poland's Tomorrow: Information Bulletin] issued by the Democratic Party — The Rectangle. Published two-three times a week over the period 1940–1942, it informed its readers about the situation at the battle fronts, the latest in international politics and current events in Poland; it also featured articles debating the problem of Poland's post-war political system.


text:
Žampach je zřícenina hradu rozkládající se na stejnojmenném zalesněném návrší v obci Žampach, asi 6 km jihozápadně od města Žamberk.

Dějiny hradu

Hrad Žampach byl založen ve druhé polovině 13. století za posledních Přemyslovců v rámci kolonizace řídce osídleného pohraničního pralesa východních Čech, který byl královským majetkem. Kolonizaci pravého břehu řeky Tiché Orlice prováděli příslušníci šlechtického rodu "ze Zebína", kteří měli v erbu loveckou trubku. Nejstarší nepřímá písemná zmínka o hradu pochází z roku 1309, kdy je mezi škůdci lanšperského panství, které patřilo Zbraslavskému klášteru, zmiňován Petr "de Santbach". V roce 1312 je jako majitel hradu zmiňován Křesislav ze Žampachu, před rokem 1324 vlastnil hrad Jan Lucemburský, který jej v tomto roce dal do zástavy Jindřichovi z Lipé. V majetku pánů z Lipé se hrad připomíná i v letech 1340 a 1346.

Po roce 1346 přešel hrad do vlastnictví rytíře Jana ze Smojna řečeného "Pancíř", který jej učinil útočištěm při svých loupeživých výpravách po okolí. Pancířovo počínání zastavila teprve trestná výprava českého krále Karla IV., který hrad oblehl a dobyl, Jana Pancíře nechal popravit a celé panství podřídil vlastní správě. Časové zařazení těchto událostí je nejisté, uvádí se podzim 1355 nebo jaro-léto 1356. Loupeže Jana Pancíře, dobytí hradu i Pancířův konec se staly námětem několika lidových pověstí. V roce 1357 věnoval Karel IV. panství Žampach Čeňkovi z Potštejna náhradou za hrad a panství Potštejn, konfiskované jeho otci, loupeživému rytíři Mikulášovi z Potštejna. Čeňkovými nástupci v držení hradu i panství byli jeho synové Jan a Mikuláš.

Mikuláš Žampach z Potštejna († 1427) se přiklonil k učení Jana Husa a v roce 1415 spolupečetil stížný list české a moravské šlechty proti jeho upálení. V roce 1421 bylo žampašské panství odvetou za podporu husitství ze strany jeho majitelů vypleněno slezskými katolickými oddíly. Není zcela jasné, jakým způsobem se v roce 1425 zmocnil Žampachu Jan Městecký z Opočna, který v téže době ovládl i Lanšperk. Když se později opět přiklonil na stranu českého krále a císaře Zikmunda, s pomocí části hradní posádky se sirotkům podařilo v roce 1429 hrad dobýt a předat Janu Žampachovi z Potštejna, Mikulášovu synovi. Tento majitel hradu se naposledy připomíná v roce 1469.

Když ve druhé polovině 15. století postihly tuto větev rodu Žampachů z Potštejna finanční obtíže, přistoupili majitelé hradu k zástavě části panství. Jan Žampach z Potštejna byl nakonec nucen v roce 1513 zastavit celé žampašské panství Burianovi Trčkovi z Lípy. Po něm se stal v roce 1519 zástavním držitelem hradu a panství Hajman Krušina z Lichtenburka a o dvě léta později bratři Vojtěch a Jan z Pernštejna. Žádný z těchto nových nabyvatelů na Žampachu nesídlil a hrad v této době chátral. Teprve v roce 1539 Zdeněk Žampach z Potštejna († 1562) zástavu vyplatil, jednotlivé části někdejšího panství opět sjednotil a následujícího roku se domáhal u komorního soudu úhrady způsobených škod, které odhadoval na 4000 kop grošů.

V první polovině šestnáctého století na hradě působila penězokazecká dílna. Žampašský kovář Jan v ní vyráběl falešné mince. V červnu 1542 byli zadrženi dva podezřelí muži, kteří po výslechu na mučidlech, uvedeném v nejstarší pardubické smolné knize, popsali provoz dílny a přiznali distribuci falešných peněz. Dílna fungovala pravděpodobně s vědomím vrchnostenských úředníků v době, kdy měli hrad v zástavě páni z Pernštejna, tedy nejspíše do roku 1539. Kovář a dva spolupachatelé byli odsouzeni k trestu smrti upálením. Dílna byla před vyplacením hradu ze zástavy patrně vyklizena, ale při záchranném archeologickém výzkumu v roce 2013 byly nalezeny zlomky technické keramiky a měděných plechů, které existenci dílny se značnou pravděpodobností dokládají.

Po smrti Zdeňka Žampacha se jeho synové, z nichž někteří mezitím dosáhli zletilosti, v roce 1568 o panství podělili, a to tak, že hradu a dvora Žampachu, vsi Budy (připomínané poprvé v r. 1513) ležící pod hradem a osmi dalších vsí se ujal Vilém. Již následujícího roku tuto část panství opět postoupil svým bratrům Janu Burianovi, Karlovi a Čeňkovi a ti ji prodali Janu staršímu ze Žerotína (otci Karla st. ze Žerotína, jemuž patřilo nedaleké panství Brandýs nad Orlicí) a Adamovi Bukovskému z Hustířan. Poté, co se oba noví nabyvatelé mezi sebou vyrovnali, zůstal jediným majitelem panství Adam Bukovský, který si ve vsi pod hradem vystavěl novou tvrz a hrad ponechal svému osudu. Jeho rod panství udržel až do doby třicetileté války. V jejím průběhu hrad značně utrpěl jak od císařských vojáků (1634), tak od Švédů, kteří jej v roce 1639 vydrancovali. Ještě v roce 1648 byl hrad dvakrát obsazen císařskými vojáky. Poté již přestal definitivně plnit rezidenční či obrannou funkci a postupně podlehl zkáze.

Stavební vývoj a zánik hradu

Hrad, stavěný nejprve v raně gotickém slohu, byl založen na výrazném homolovitém návrší, jehož vrcholová partie byla rozdělena příkopem tesaným ve skále na dvě části. Západní část tvořilo předhradí, východní část vlastní hrad. V předhradí, obehnaném kamennou hradbou, stály pravděpodobně jen dřevěné stavby hospodářského charakteru. Jádro hradu bylo přístupné z předhradí po mostě a jeho omezený prostor neumožňoval velkoryse pojaté stavební aktivity. Hlavní stavbou hradního jádra byl napříč postavený věžovitý palác, doplněný snad věží nad vstupní branou. Celý prostor, v němž zbývalo jen málo místa pro nádvoří, obepínala hradba. Přístup k hradu zajišťovala cesta na jižním úbočí kopce.

V průběhu třetí čtvrtiny 15. století realizoval majitel přestavbu hradu, která měla definitivně odstranit i jeho poškození z dob husitských válek. Na předhradí byly vystavěny kamenné budovy, zejména pivovar a samotížný mlýn. Prostor předhradí byl rozdělen další zdí, která měla zpomalit postup případných útočníků. Přístup k bráně měla hájit nová tzv. Bílá věž. Není jisté, zda lze do této stavební fáze zařadit i vznik hradní kaple. V hradním jádru se renovace dotkla věžovitého paláce, na jehož pozůstatku byl ještě ke konci 18. století spatřován nárožní kámen s vytesaným letopočtem 1469. Při stavbě nových budov a při rozšiřování stávajících bylo využito kamenných kvádrů, zčásti použitých i na zpevnění hradeb.

V průběhu první poloviny 16. století, kdy bylo panství dlouhodobě zastaveno, hrad chátral, neboť žádný z jeho zástavních majitelů, ani neinvestoval prostředky nutné k jeho údržbě. O míře opuštěnosti hradu svědčí skutečnost, že v jeho prostorách fungovala po dobu několika let před vyplacením zástavy penězokazecká dílna, jejíž činnost byla odhalena až v souvislosti s jiným kriminálním případem v roce 1542. Hmotný úpadek hradu zachycuje zápis vzniklý v souvislosti se snahami Zdeňka Žampacha z Potštejna o náhradu škody z doby pernštejnské zástavy. Václav ze Šonova, komorník desk zemských, hrad v lednu 1540 navštívil a podrobně popsal následky zanedbané péče. Podle jeho údajů, které jsou prvním dochovaným popisem hradu, zůstaly z budov předhradí většinou jen holé zdi, silně poškozená byla i Bílá věž, kaple měla zčásti zřícenou střechu a poničený interiér, zpustlý byl i obytný palác v hradním jádru. Neutěšený stav hradu však přetrvával, neboť Zdeněk Žampach, ani jeho potomci již neusilovali o jeho celkovou obnovu a jeden z následujících majitelů, Adam Bukovský z Hustířan, dal přednost pohodlnějšímu řešení a vystavěl si novou tvrz pod hradem v blízkosti žampašského poplužního dvora.

 Za součást obranného systému hradu Žampachu byla některými badateli považována také fortifikace, která měla chránit přístupovou cestu k hradu v jejích dolních partiích na úbočí hradního kopce. Počátky stavby však nelze blíže datovat. První písemný doklad o tomto objektu, který je nazýván Chudoba, pochází z roku 1540 a vznikl v souvislosti s výše zmíněným popisem škod, způsobených během pernštejnské zástavy panství. Objekt byl v té době již značně zpustlý, tvořila jej nepříliš velká obytná budova s přiléhající věží, obklopená hradbou a parkánem. Chudoba je připomínána opakovaně v druhé polovině 16. století a na počátku 17. století, naposledy pak v roce 1626. Podle dosavadních názorů se z této stavby, která měla zaniknout zřejmě ještě v průběhu 17. století a byla lokalizována s pomocí idealizovaného vyobrazení jezuitské rezidence a trosek hradu umístěného v žampašské zámecké kapli, nedochovaly žádné pozůstatky. Za pozornost stojí radikálně nový názor na existenci hrádku Chudoby, jímž jsou ztotožněny dochované zprávy o tomto objektu se samotným jádrem hradu Žampachu.

V době po třicetileté válce, kdy byl hrad již zcela opuštěn, posloužily doposud stojící objekty jako zdroj stavebního materiálu a to nejprve jezuitům při výstavbě jejich rezidence v podhradí. Jezuité na hradě udržovali již jen kapli, která byla v roce 1672 dokonce ještě přestavěna v barokním slohu. Po zrušení jezuitského řádu, kdy areál hradu přešel do vlastnictví náboženského fondu, pokračoval jeho zánik. V roce 1789 byla stržena hradní kaple a poté pokračovala prakticky až do 19. století těžba kamene ze zříceniny pro stavební účely, dokud z hradu nezůstaly jen základové zdi. Na počátku 20. století byla provedena částečná konzervace dochovaných reliktů zdiva a nad příkopem mezi předhradím a jádrem hradu byla vybudována dřevěná lávka. Na torzu paláce byla vystavěna dřevěná rozhledna, která po několika desetiletích zanikla a již nebyla obnovena.

Současnost
 V hradním areálu, dnes zcela zalesněném, se dochovaly na předhradí pouze nevýrazné zbytky zdí hospodářských budov a obvodové hradby. Mezi těmito relikty staveb nelze bez komplexního archeologického výzkumu spolehlivě identifikovat ani zmiňovanou Bílou věž či hradní kapli. V někdejším hradním jádru se dochovaly valeně klenuté přízemní prostory obytného paláce, přízemní zaklenutý relikt brány, zasypaný až po úroveň klenby a pozůstatky hradeb na severní straně jádra.

Do počátku 90. let 20. století se datují první současné snahy o trvalé zachování hradní zříceniny. Mezi lety 1991‒2002 probíhal na hradě pod vedením archeoložky Východočeského muzea v Pardubicích Mgr. Miroslavy Cejpové záchranný archeologický výzkum, který provázela konzervace některých části dochovaného zdiva a úpravy přístupové cesty na hrad. Zajištěn byl přitom objekt v sousedství hradního pivovaru, v němž bylo nalezeno velké množství střepů středověké keramiky, staticky zabezpečen a dozděn byl masivní opěrák v severní části jádra hradu a konzervován byl dochovaný relikt hradního paláce. Nalezené architektonické články hradu (např. část ostění portálu a části okenních ostění) jsou vystaveny v lapidáriu a v interiéru žampašského zámku.

Další terénní úpravy v prostoru hradu proběhly v roce 2011, kdy byla z důvodu havarijního stavu odstraněna dřevěná lávka spojující od 70. let 20. století předhradí s jádrem a tuto komunikaci nahradila v roce 2013 pěšina s dřevěnými schody vedoucí přes těleso hradního příkopu. Dřevěnými zábranami byla taktéž zajištěna místa, kde hrozil pád ze strmého svahu a podél přístupové cesty na hrad, počínaje areálem zámeckého parku a samotným hradním areálem konče, byly instalovány informační cedule pro turisty. Společně s hrady Potštejn a Litice nad Orlicí se hrad Žampach každoročně stává jedním z východisek turistického pochodu Přes tři hrady.

Odkazy

Reference

Literatura
 ADAMEC, Stanislav. Písečná. Pyesseczna. Pisseczna. Schreibersdorf. Ves pod hradem Žampachem. Popis historie obce a vývoje jejího osídlení, zpracovaný s využitím archivních dokumentů a kronikářských zápisů. Písečná 2006.
 CEJPOVÁ, Miroslava. Oprava hradů Žampach a Lanšperk. In: Sommer, Jan ‒ Samková, Hana (red.). Zříceniny historických staveb a jejich obnova. Příloha časopis Zprávy památkové péče, ročník 58. Praha 1998, 95‒100.
 DURDÍK, Tomáš. Ilustrovaná encyklopedie českých hradů. Praha 2009, 639‒640.
 DURDÍK, Tomáš – SUŠICKÝ, Viktor. Zříceniny hradů, tvrzí a zámků. Východní Čechy. Praha 2012, 176‒179.
 DUŠEK, Radim. Ocenění žampašského panství ve 20. letech 17. století. In: Vlastivědný sborník Ústí nad Orlicí. Sv. 9. Ústí nad Orlicí 1998, č. 9, 30‒56.
 DUŠEK, Radim. Rozdělení majetku pánů ze Žampachu v roce 1568, velikost a hospodářské zázemí jednoho z dílů ‒ kyšperského panství. In: Nové letopisy města Ústí nad Orlicí [3] (2001), č. 1, 20‒26.
 FELCMAN, Ondřej ‒ MUSIL, František (red.). Dějiny východních Čech v pravěku a středověku (do roku 1526). Praha 2009. (podle místního rejstříku)
 MUSIL, František. Hrady, tvrze a zámky okresu Ústí nad Orlicí. Ústí nad Orlicí 1995, 96‒99.
 MUSIL, František. Osídlování Poorlicka v době předhusitské. Kraj na Tiché Orlici, v povodí Třebovky a Moravské Sázavy. Ústí nad Orlicí 2002, 165‒181.
 NISLER, Petr. Hmotová rekonstrukce hradů Lanšperk a Žampach v 16. století. In: Oustecké střípky. Sv. 2. Ústí nad Orlicí: Městské muzeum, 2012, s. 2‒28.
 PÍŽL, Jan. Ztracený hrádek Chudoba. In: Hláska. Zpravodaj Klubu Augusta Sedláčka 16 (2005), č. 1, 1‒4.
 SEDLÁČEK, August. Hrady, zámky a tvrze Království českého. Díl druhý. Hradecko. Praha 1883, 119‒131.
 ŠEBEK, František. Dva příběhy z kriminálního podsvětí: padělatelé peněz na hradě Žampachu a přepadání Židů v roce 1542. In: Theatrum historiae 6 (2010), 285‒308.
 ŠTĚPÁNOVÁ, Marie. Nejstarší historie panství Žampach. In: Dlouhoňovice. Almanach obce. Red. Josef Severýn. Dlouhoňovice 2006, 5‒56. dostupné online
 WOLF, Vladimír. Jan Kolda ze Žampachu. Život táborského hejtmana, loupeživého rytíře, kondotiéra a psance''. Hradec Králové-Trutnov 2002.

Externí odkazy

 )
 Žampach na hrady.cz
 Žampach na hrady.dejiny.cz
 Informace o hradu s bohatou obrazovou dokumentací na stránkách Turistického informačního centra Žampach

Zříceniny hradů v okrese Ústí nad Orlicí
Kulturní památky v okrese Ústí nad Orlicí
Žampach (okres Ústí nad Orlicí)
Žampašské panství

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