This short fiction by Belgian scholar Oscar Mandel follows the life of Sigismund, the lost prince of Poland. Beginning as a play in 1988, improved in 2002, Sigismund finally comes to prose, where it plays freely with Polish history to bring alive a fanciful tale rooted in philosophy.
The first major study of the early Reformation and the Polish monarchy for over a century, this volume asks why Crown and church in the reign of King Sigismund I (1506-1548) did not persecute Lutherans. It offers a new narrative of Luther's dramatic impact on this monarchy - which saw violent urban Reformations and the creation of Christendom's first Lutheran principality by 1525 - placing these events in their comparative European context. King Sigismund's realm appears to offer a major example of sixteenth-century religious toleration: the king tacitly allowed his Hanseatic ports to enact local Reformations, enjoyed excellent relations with his Lutheran vassal duke in Prussia, allied with pro-Luther princes across Europe, and declined to enforce his own heresy edicts. Polish church courts allowed dozens of suspected Lutherans to walk free. Examining these episodes in turn, this study does not treat toleration purely as the product of political calculation or pragmatism. Instead, through close analysis of language, it reconstructs the underlying cultural beliefs about religion and church (ecclesiology) held by the king, bishops, courtiers, literati, and clergy - asking what, at heart, did these elites understood 'Lutheranism' and 'catholicism' to be? It argues that the ruling elites of the Polish monarchy did not persecute Lutheranism because they did not perceive it as a dangerous Other - but as a variant form of catholic Christianity within an already variegated late medieval church, where social unity was much more important than doctrinal differences between Christians. Building on John Bossy and borrowing from J.G.A. Pocock, it proposes a broader hypothesis on the Reformation as a shift in the languages and concept of orthodoxy.
To readers familiar with Lars Gustafsson's work, the playful philosophizing of Sigsmund will come as no surprise, as he leisurely pulls together seeming fragments into a narrative of 1970s Berlin that at once looks back to Homer, Dante, and the Faust legend and ahead to space warfare and intergalactic travel, childhood memories of Sweden, Marxist-Leninism, sports competition, art, epistemology, daydreams--nothing is excluded from the purview of Gustafsson's lighthearted humanism. And behind it all broods the restless spirit of the author's alter ego, the warring king, Sigismund III of Poland (d. 1632).
Drawing on rich source material in several languages and three scripts (Arabic, Cyrillic, and Latin), this book presents a broad picture of international relations in early modern Eastern Europe, at the crossing point of Genghisid, Islamic, Orthodox, and Latin traditions.
This study explores the representation of international migration on screen and how it has gained prominence and salience in European filmmaking over the past 100 years. Using Polish migration as a key example due to its long-standing cultural resonance across the continent, this book moves beyond a director-oriented approach and beyond the dominant focus on postcolonial migrant cinemas. It succeeds in being both transnational and longitudinal by including a diverse corpus of more than 150 films from some twenty different countries, of which Roman Polański’s The Tenant, Jean-Luc Godard’s Passion and Krzysztof Kieślowski’s Trois couleurs: Blanc are the best-known examples. Engaging with contemporary debates on modernisation and Europeanisation, the author proposes the notion of “close Otherness” to delineate the liminal position of fictional characters with a Polish background. Polish Migrants in European Film 1918-2017 takes the reader through a wide range of genres, from interwar musicals to Cold War defection films; from communist-era exile right up to the contemporary moment. It is suitable for scholars interested in European or Slavic studies, as well as anyone who is interested in topics such as identity construction, ethnic representation, East-West cultural exchanges and transnationalism.
He shows that serfs did not actively participate in the civil war and that the abolition of serfdom was never a rebel goal. Instead, most rebels were petty gentry, professional soldiers, townsmen, and cossacks who were united in fierce opposition to tsars they believed to be illegitimate usurpers.".