This thesis explores the late-nineteenth century partnership between Bradford worsted manufacturers the Briggs brothers and the German merchant Ernst Posselt, and their subsequent foreign direct investment in a modern factory and workers’ community at Marki, near Warsaw, in Russian Poland. Protectionism and increasing foreign competition are discussed, among many complex economic pressures on British industry, as likely catalysts for this enterprise and the general historiography of the Polish lands is explored to reveal a climate of extraordinary opportunity for well-capitalised foreign industrialists in this period. This thesis provides fresh perspective on the role of the consular service in facilitating British foreign enterprise and, in context of the Bradford partners’ strategy for local integration through social networking and religious affiliation, presents unique findings regarding the character and operations of Warsaw’s elite commercial community in the late-nineteenth century. Through the development and domination of market and raw materials sources, this venture is shown to have monopolised worsted manufacture in the Russian Empire, using state of the art technology to create, and modern marketing techniques to promote, its product range and evolving image. Aspects of British and Polish social history are compared to assess the efficacy of introducing the model-community concept, in combination with a radical employment policy, to less industrially-developed Russian Poland. The instrumentality of an expatriate community of skilled Yorkshire foremen in diffusing British industrial technology throughout the Russian Empire is described, against a backdrop of political instability and social upheaval which dramatically impacted on business behaviour after 1905. / The full text was made available on 29th Nov 2017

This is a study of the ways in which the past is inscribed in sound. It is also an examination of the role of concert music in the invention of cultural memory in the wake of the Second World War. And finally, it is a study of the creation and early American reception of A Survivor from Warsaw, a cantata written in 1947 that became the first major musical memorial to the Holocaust. It remains uniquely significant and controversial within the larger oeuvre of its composer, Arnold Schoenberg (1874-1951). Historians interested in the chronologies and modalities of Holocaust memory have tended to overlook music’s role as a carrier of meaning about the past, while other media of commemoration have received far greater scrutiny, be they literary, cinematic, or architectural. And yet, A Survivor from Warsaw predated almost all of its sibling memorials, crystallizing and anticipating the range of aesthetic and ethical concerns that would define the study of postwar memory and representation for decades to come. It also constituted a uniquely personal memorial that may be read not only as a work of Holocaust art but also as a profoundly autobiographical document, one that sheds light on constellations of particularist identities often hidden beneath the “universalist” veil of one of the twentieth-century’s most iconic musical figures. Ultimately, this study seeks to articulate an under-examined linkage between modernism and memory, while arguing methodologically for the importance of sound in the contemporary practice of cultural history.

This book is a monograph about Anna Świrszczyńska’s poetry. It may be described as one woman’s attempt to read another woman’s literary work by taking into account established canons as well as the tools of feminist literary analysis. Part One begins with a discussion of Świrszczyńska’s biography (Chapter One). It then moves on to an overview of critical (mainly male) reactions to Świrszczyńska’s work (Chapter Two), with special regard to Czesław Miłosz’s contribution to its interpretation and popularization (Chapter Three). In Part Two there are three principal discussions: 1) of Anna Świrszczyńska’s early work Wiersze i proza [Poems and Prose] (1936), in which the poet develops her specific female view of European art and culture as disintegrated into incongruent fragments. Her premonition of the apocalypse, which is soon to be fulfilled in the events of World War II, finds its expression in the poet’s desperate attempts to unite the fragments of a shattered culture into individualized versions of myths (Chapter Four); 2) of the collection Budowałam barykadę [Building the Barricade] (1974), in which what is most crucial to the poet (biographically and poetically) is expressed – the encounter with human suffering in an inhuman world. Following this, her poetic view of the mortal body exposed to suffering under an empty sky becomes a well established motif in her work (Chapter Five); 3) of the collection Jestem baba (1972), in which Świrszczyńska introduces into poetry, by making the non-poetical “baba” her lyric heroine, the “outlawed feminine” and, as a result, revolutionizes the language of poetry and poetic representation, which leads in turn to liberating herself from the hegemony of the totalizing male gaze. In this way her anti-world is created (Chapter Six). The “world” is understood here as a male term – one might say that Świrszczyńska creates a “woman’s anti-world” as a place where the woman herself has to regain the right to name things according to her own terms.

Thesis (Ph. D.)--Carleton University, 2002. / Includes bibliographical references (p. 458-485). Also available in electronic format on the Internet.

La thèse montre des opinions et avis de Français de l’époque sur le Duché de Varsovie présentés dans les différentes sources françaises des années 1807-1813, tout comme, la correspondance politique et militaire officielle, des mémoires et souvenirs des militaires français, et enfin des journaux parisiens, de la littérature, de la poésie et des pièces théâtrales. La première partie montre comment l’état polonais était vu par les diplomates français séjournant dans le Duché. Elle présente l’image politique assez critique de l’état, de ses institutions, des hommes de pouvoir, du gouvernement, des sentiments du peuple et des opinions des habitants du pays concernant les Français, les nouvelles résolutions politiques et juridiques. Dans la deuxième partie, les descriptions et de nombreux mémoires et souvenirs des militaires fournissent une image critique du pauvre pays polonais, de la vie quotidienne très différente de ses habitants, leurs coutumes. La troisième partie montre Duché de Varsovie par l’intermédiaire de la presse quotidienne, des ouvrages historiques publiés à l’époque en France, des romans et de la poésie, les pièces de théâtre. Cette image du Duché influencée par la propagande napoléonienne montre l’état allié bien gouverné, et l’image positive des Polonais. / The thesis furnishes the opinions of Frenchmen at that time about Duchy of Warsaw presented in different French sources of the period 1807- 1813 such as political and military official letters, memories of military Frenchmen, Parisian press, literature, poetry and theater playwrights. First part of the work shows how the polish country was seen by French diplomats who had been staying in Duchy of Warsaw in that period. The author focuses first on the political image of the country which is rather critical, secondly on the institutions, thirdly on the men in power, then on the government, on the people’s attitudes and the opinions of the inhabitants of the country about Frenchmen, and finally on the new political and legal solutions. In the second part of the work, there many descriptions, as well as memories of military men which form together an critical view of the poor polish country, different lifestyles and customs of its inhabitants. In that part, we can find as well geographical information about the climate and various and vivid descriptions of polish towns and polish countryside. In the third part, we come across the image as it was seen in everyday press, historical books edited at that period in France, fictions, poetry and plays. We find out that the image of Duchy of Warsaw, strongly influenced by the Napoleonic propaganda is positive. It comes out that the polish allied country was well governed.

The purpose of this diploma thesis is to analyse the works Ghetto Warschau by Max Zweig and Revolte der Heiligen by Ernst Sommer. The thematic focus of the thesis is the Warsaw ghetto uprising. The thesis aims to present a systematic analysis and subsequent comparison of both works, with emphasis on the issue of religion. It tries to find out how Judaism together with the inconsistent approach of the Jews to the Jewish faith influenced the approach of the Jews to the revolt in the studied works. The thesis is divided into four chapters. The first chapter presents the history and principles of the Jewish religion as well as the history of the Jewish population. The second chapter focuses on the history of the Jewish population in Polish territory, also on the period of World War II and the emergence of ghettos, including the Warsaw ghetto. The next chapter presents both authors' biographies and works, with particular emphasis on common aspects of their work and life. The fourth chapter deals with the analysis itself. The conclusion of the diploma thesis contains a summary of the analysis and answers research questions.

Subject of this thesis is initial public offering and it’s main goal is describing of obtaining external funds for company’s funding. In the first part of the thesis is description of basic structure of financial markets, especially stock markets. The term IPO and it’s advantages and disadvantages are described. The last part is focused on individual steps of IPO realization. This thesis is focused on evaluation of chosen company’s entry on stock market. Especially macro-economic presumptions for IPO, readiness of chosen company and choice of suitable market are evaluated.

The aim of this diploma thesis, entitled "The Linguistic Picture of Warsaw in Lyrics of Polish Songs", is to reconstruct the image of the Polish capital by analyzing songs by Warsaw hip hop performers. The diploma thesis is divided into theoretical and practical part. The theoretical part consists of three chapters focusing on the linguistic picture of the world, hip hop subculture both in the world and in Poland and the language of hip hop. The main goal of the practical part is to reconstruct the image of Warsaw as perceived by the Warsaw hip hop subculture. There are analyzed phrases with terms such as city, Warsaw, place, concrete, block of flats or people. Key words linguistic picture of the world, picure of the city, song, Warsaw, music, hip hop, rap

The inspiration for this paper came from a walk in Warsaw, Poland - a city that has a very unusual development pattern and owes its character largely to the last 75 years. The visible differences in development patterns occur in almost every neighbourhood and each of them is the result of a different conceptual approach, additionally shaped by the regulations and economic prosperity of the time. This has inspired to further analyse the social structures of these spaces and explore the factors that determine the appearance and characteristics of the different neighbourhoods. The aim of this study is to get acquainted with spatial differentiation and explain the internal structure of the city of Warsaw, to define what social, economic and developmental processes have led to the current spatial-social structure of the city and to determine what potential processes may occur in the space depending on the identified conditions. The research method used for this study is factor analysis, which is an inductive tool used to analyse the relationships between a variety of social, economic, demographic, and housing characteristics in the city of Warsaw. Its aim is to determine what, if and what common patterns exist in the studied subject.

This Thesis is to examine the topic of the Conference on Security and Cooperation in Europe which took place in 1973-1975. The proposals to convene the Security Conference date back to the fifties, when the Soviet Union called on the European countries to attend the Conference in order to resolve the security situation in Europe. During my research, I asked what motives were behind the invitation to convene the Conference and what caused the failure of these initiatives. I prove that the ultimate goal of the Soviet Union was not the conclusion of the collective agreement, but rather to weaken the West. In chronologic order I follow the development of the relations between the Warsaw Pact and the NATO in the sixties, which eventually led to the start of the Conference in 1973. I also describe interests of groups of countries during the Conference and analyze their role in the adoption of the Final Act.