Paulo Ivan Rodrigues Vega Junior (UNB)

Polish cultural diversity and richness is a crucial consequence of the country's geographical location plus unique historical marks and transformations closely connected to its complex history of over a thousand years (ZAMOYSKI, 1993). Polish culture developed from the convergence of diverse European cultural influences such as Germanic, Hungarian, Jewish and Latin, but also from Byzantine and Ottoman influences. With regard to Polish artistic manifestations, from medieval Poland to modern Poland, there are a number of historical cultural movements and periods. These have always mirrored European trends without completely mimicking them, mixed with the unique cultural melting pot found within the country's changing borders. From Matejko to Natalia LL, from Chopin to Penderecki, from Kochanowski to Szymborska, from Fertner to Smoczyńska, from Bogusławski to Kantor, among many others, there is not just one Poland, but several Polands refracted from the contexts of art creators and producers of the country over the centuries. This multiplicity of voices and therefore contexts, themes and biases allows the country to be viewed from the perspective of a kaleidoscope in which we can, from movements, combine and recombine, create and recreate different analyzes, histories and trajectories soaked in gradients and nuances that vary from the starting point we decided to adopt. Thus, confluences and intersections of seemingly opposing voices can provide an enriching artistic and historical analysis. Given this perspective, the purpose of this thematic symposium is to stimulate the analysis and discussion of authors, works and artistic manifestations from medieval Poland to modern Poland in the most diverse artistic languages as well as their possible intersections and imbrications.