https://zbiory.etnologia.uw.edu.pl/files/original/ebccb5b1a142b9a09a0f4a9442bba015.pdf c0361964ce6112c50c398a8511dad048 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Polska Sztuka Ludowa - Konteksty Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Relation A related resource oai:cyfrowaetnografia.pl:publication:2646 Rights Information about rights held in and over the resource Licencja PIA Date A point or period of time associated with an event in the lifecycle of the resource 1997 Identifier An unambiguous reference to the resource within a given context oai:cyfrowaetnografia.pl:2461 Title A name given to the resource Summary of articles / Polska Sztuka Ludowa - Konteksty 1997 t.51 z.3-4 Description An account of the resource Polska Sztuka Ludowa - Konteksty 1997 t.51 z.3-4, s.222-224 Language A language of the resource pol. Publisher An entity responsible for making the resource available Instytut Sztuki PAN Format The file format, physical medium, or dimensions of the resource application/pdf PDF Text Text capture metadata for PDF documents Text SUMMARY OF ARTICLES S/awom/r S/kora A n Autobiography C o m p o s e d of Photographs. T h e Meta­ p h o r and the P h o t o g r a p h y The a u t h o r discusses and interprets a n unusual b o o k - a l b u m by J o h n Berger and J e a n Mohr: ДлоГлег kVayof Te#ip"(1982), and in particular focuses on an interpretation of the photonarrative composed of about 150 photographs and conceived as a fictitious a u t o b i o g r a p h y of an old peasant woman. Attention is d r a w n t o the fact that one of the foremost manners of creating m e a n i n g by resorting t o a configuration of photographs can be deciphered as a n a t t e m p t at creating metaphors. T h e latter not only "provide food for thought" and stimulate the imagination but are also a n attempt at bringing t h e viewer-reader and viewed reality emotionally closer. T h e author accentuates the non-linear nature of the narrative c o m p o s e d of t w o s u p p l e m e n t i n g para­ d i g m s - history (chronology) and association proper to h u m a n memory as well as to mythical thinking. A s a result, however, the narrative possesses m o r e of a spatial (image) t h a n a t e m p o r a l (film, book) nature. In the opinion of the author, such a narrative m e e t s t h e r e q u i r e m e n t s of new postmodernist ethnography, outlined by S t e p h e n Tyler, whose task is not so m u c h the depiction or representation of reality as its evoking. R y s z a r d rCaspemw/cz Aesthetic T a u t o l o g y a n d the Primacy of Perception. A Brief R e m a r k o n the Burckhardt Vision of Art upon the E x a m p l e of Елллел/лрел a us R u b e n s The scientific w o r k s a n d personality of Jacob Burckhardt inspired historians of art representing s u c h diverse methodologi­ cal stands as Heinrich Wolfflin, A b y W a r b u r g o r Edgar W i n d , c o n n e c t e d with the milieu c o n c e n t r a t e d around the latter. Burck­ hardt himself conceived art to be one of the m o s t important sources of cognition; in his project of the history of culture, the work of art c o m p r i s e s the most essential point in w h i c h the past meets the present and offers the scholar insight into the m e a n i n g of history a n d the uninterrupted process of rendering it topical in the present. V i a art, the historian of culture is capable of transcending beyond t h e historical fact and the variability of events, s e e k i n g certain anthropological foundations of m a n within history. U p o n the example of Е л л л е ш л д е л aws Rubens, one of the last works by Burckhardt, published p o s t h u m o u s l y , this study tries to indicate the significance of the artistic analysis of the paintings by R u b e n s performed by the Swiss scholar, d e m o n s t r a t i n g , at the s a m e time, the place of art and its perception in the m o d e l of historical cognition, subjected to the ideals of directness a n d the stirring of historical imagination. D a r / u s z Czaya Image a n d R e a l i s m . Notes C o n c e r n i n g B a c o n This text was written on the m a r g i n of a Polish translation of Conversaf/ons и#? Franc/s B a c o n . 8nvfa//ry of f a c f by D . Sylvester. O n e of the m o s t frequent t h e m e s in Bacon's state­ m e n t s is his conception of painting, the key being realism. T h e a u t h o r tries to reconstruct a n d render m o r e precise the ,,new realism" proposed by the artist. He refers it to the dual c o m p r e h e n s i o n of the category of m i m e s i s in Plato a n d Aristotle, and confronts it with Bacon's opinions about the imitative duties of painting. In its ultimate consequences, the realism expanded by Bacon transcends far beyond aesthetics and remains meta­ physical. Huber/ CzacnowsA; M i r a c u l o u s Photographs On m a n y sites of contemporary M a r i a n revelations, p h o t o g ­ raphs c o m p r i s e one of the most interesting of the assorted m i r a c u l o u s signs of the s a c r u m . Apparently, s o m e of the 222 subsequently developed pictures d e p i c t the s a c r u m , w h i c h a s s u m e s various forms: from irregular w h i t e rays a n d the Host, to the figure of J o h n Paul II and even the face of God the Father. T h o u s a n d s of pilgrims present at the sites of the miracles are c o n v i n c e d abut the veracity of their experiences, an attitude which, to a considerable degree, shapes their religiosity. T h e y perceive a photographed miracle as proof of the truth of the faith and G o d , in accordance with the principle, still universal in folk mentality, that a p h o t o g r a p h cannot lie. 5wa K/etof The Most Holy Heart of Jesus. Scenes from t h e Life of a Symbol The article discusses the changeability of the meaning of the visual s y m b o l u p o n the example of the symbolic depiction of Jesus, k n o w n as the Most Holy Heart. Its d e c i p h e r i n g , conduc­ ted u p o n n u m e r o u s levels, c h a n g e s d e p e n d i n g on the cultural, social, and historical context in w h i c h the d e p i c t i o n appears. This religious symbol, whose tradition dates back to the Middle Ages, b e c a m e involved in politics, a n d to a c o n s i d e r a b l e d e g r e e a s s u m e d t h e role of the visual s i g n of Catholic f u n d a m e n t a l i s m . In turn, the aesthetic d i m e n s i o n of the depictions, whose majority is rejected by art as a s y m p t o m of par e x c e l l e n c e kitsch, d e t e r m i n e d its reception to s u c h a degree that the religious interpretation was no longer possible: images of the M o s t Holy Heart b e c a m e the carrier of caricature-like simplified meanings, and the visual symbol changed into a stereotype. Дло/ze/ P/bfr Kbwakk/ On the Pre-history of the Symbol The author characterises the m o s t significant s t a g e s in the d e v e l o p m e n t of the symbolic, Initially, cultural values were devoid of the status of a s y m b o l a n d r e m a i n e d a n i m m a n e n t c o m p o n e n t of the existence a n d activity of archaic m a n . Symbols appeared in cultures w h i c h had at their d i s p o s a l a dually defined i m a g e of the world. In order to justify this thesis, t h e author refers to historical poetics and presents p r e m e t a p horical forms of being in the w o r l d . T h e oldest forms of m a g i c are represented by m e t a m o r p h o s e s , w h i c h are c o n n e c t e d with thinking that identifies assorted classes of objects. T r a c e s of m e t a m o r p h o s e s c a n be d i s c o v e r e d in t r a n s m i s s i o n s of folklore speaking about the transformation of cultural heroes, in religious views c o n c e r n i n g m e t e m p s y c h o s i s , a n d in early philosophical conceptions about motion and c h a n g e . M d e t a m o r p h i c m a g i c was s u p p l a n t e d by thinking in catego­ ries of c o m p a r i s i o n s . It was comparison w h i c h for first time revealed the necessity of evaluation, a n d d i s t i n g u i s h e d the ontological relation of mutual d e p e n d e n c i e s . The function of s y m b o l i s i n g to the metaphor, w h i c h is a conventional c h a n g e in the characteristic of given objects. T h e m e t a p h o r does not serve a m a g i c a l identification of objects and their m e a n i n g but leads to their minute distinction. T h e author is of the opinion that the symbolic a n d the existence of the ideative sphere of v a l u e s c o m p r i s e a p r o b l e m facing anthropologists and their exegetic thought; this is probably the reason w h y as such it did not exist in archaic culture. JacWpa И/а/б Gilgamesh a n d His Star For four a n d a half millennia, the epic of G i l g a m e s h fascinates with the fantastic adventures of its hero. W h a t does the G i l g a m e s h p h e n o m e n o n consist of? T h i s u n u s u a l tale w o u l d not have survived forso long if it d i d not contain a t i m e l e s s m e a n i n g : the rebellion against d e a t h . A l t h o u g h Ihe s a g e s , shamans, a n d priests of all eras tell us that s u c h defiance is senseless, w e naively hope that G i l g a m e s h will succeed. �His failure is twofold: G i l g a m e s h does not w i n immortality nor does he experience spiritual transformation. He disobeys all teachers of life, and remains a v a n q u i s h e d hero. This defeat is also part of our humanity, a n d despite the abyss of time G i l g a m e s h is o n e of us. Mon/'ka S z n a j d e r m a n T h e A n g e l in Popular Imagination T h e author d e a l s with religious beliefs and images which, usually ignored by a n t h r o p o l o g y , constitute a curious collage blending the religiosity of the A g e of A q u a r i u s with traditional folk religiosity; she d o e s so u p o n the e x a m p l e of popular and thriving angelology. A t the s a m e time, the article proposes the thesis that this unique r e n a s c e n c e of a belief in angels, with which w e deal predominantly (albeit not solely) in present-day A m e r i c a n p o p u ­ lar culture, is closely c o n n e c t e d with religious sensitivity, the angel is a living form of c o n t e m p o r a r y popular religious imagina­ tion. T h e w o r l d of angels has c o m e back; furthermore, it has a c c o m p l i s h e d this feat only in an outwardly c h a n g e d form. Actually, m a n y old beliefs c o n c e r n i n g its nature a n d function have survived a n d inherited the legacy of theology a n d the a p o c r y p h s . T o d a y , m a n needs the angel as m u c h as he did in past centuries. Joanna To/carska-Bak/r T h e Prayer of the E l e m e n t s . A T i b e t a n Buddhist W o o d c u t T h e text outlines the cultural context of the w o o d c u t in Buddhist art of the Great Tibet region (Tibet proper, Nepal, a n d North India). T h e author inquires Into the purposefulness of applying the t e r m ,,art" in reference to Buddhist painting, sculpture, a n d w o o d c u t s . She presents the theology of depic­ tions a n d the so-called effective m e a n s (Sanskrit: upaya ) of Dharma, the Buddhist t e a c h i n g , a n d proposes her o w n clas­ sification of T i b e t a n w o o d c u t s . Finally, the article cites details c o n c e r n i n g the preparation of the matrix and the m a k i n g copies as well as the c e r e m o n y of c o n s e c r a t i n g the prints. И/о/с/есл M/chera B o d y a n d Imagination T h i s text is c o m p o s e d of three scenarios for the television series B o d y a n d Imagination w h i c h W . M i c h e r a directed in 1996-1997 for Polish Television. T h e series (a total of twelve episodes) deals with the history a n d anthropology of imagination, and is an e x a m p l e of popularisation w h i c h uses forms proper for artistic p r o g r a m m e s . T h e p r e s e n t e d scenarios: To B e a tVoman, Го Be а М а л , Л Ш с / а / F a c e are p r e c e d e d by brief c o m m e n t s on the anthropological understanding of imagination and the popu­ larisation of s c i e n c e . Krysfyna Czem/ Token For ages, the tattoo w a s a universal w a y of decorating the body a n d granting a person distinction and significance. T h e author presents n u m e r o u s e x a m p l e s of the application of the tattoo and subsequently d i s c u s s e s the painless and bloodless Tattoos by Z b i g n i e w Bajek in w h i c h the author himself becomes the object. In ensuing n u m e r o u s photographic self-portraits, Bajek s h o w s slides of assorted w o r l d - k n o w n paintings upon his white painted face. In this manner, the latter b e c o m e s a living c a n v a s for c o m p o s i t i o n s by B o s c h , D ü r e r , Brueghel or Dali. T h e author interprets the activity of the artist involving his o w n face, and contrasts it to i.a. the tradition of self-portraits, including those by W i t k a c y or Tne P///ow B o o k by G r e e n a w a y . In an age of bloody experiments, the Bajek p h o t o g r a m m e s are a safe example of the artistic u s a g e of the body. Bajek d e m o n s t r a t e s traces of art u p o n the body, the tokens of culture a n d its illumination. In doing so, he proves that art d o e s not exist w i t h o u t a recipient and that the art w o r k requires an e m b o d i m e n t a n d b e c o m e s subjected to a sui generis m e t e m p s y c h o s i s by p r o p o s i n g a s c r e e n projection of h u m a n thoughts, experiences, and sensitivity. Czes/aw ЯоЬогуск/ T h e Art and P e r s u a s i o n of S o - C a l l e d Billboards T h e article e x a m i n e s billboards as a n element of c o m ­ munication in its persuasive function and as an e l e m e n t of the visual surrounding. T h e aesthetic stratum of billboards m a k e s use of p o s t m o d e r n c o n c e p t s of the fine arts. T h i s role of billboards in Poland deserves further, m o r e detailed analysis. Marc;n S z p o * o Poster-clasm or an U n t a m e d C a m p a i g n This analysis of the p h e n o m e n o n of d a m a g i n g election c a m p a i g n posters is c o n d u c t e d upon the basis of material gathered during the 1995 presidential e l e c t i o n . T h e destruction of posters is closely c o n n e c t e d with their semiotic aspect. A d a m a g e d poster also carries a certain m e s s a g e , w h i c h is usually diametrically different from the o n e intended by its authors. T h e p r e s e n t e d analysis is f o u n d e d on proposals of deciphering the newly p r o d u c e d c o m m u n i q u e s . T h e destruction of depictions - most universal in the p h e n o m e n o n under e x a m i n a t i o n - is a practice frequently e n c o u n t e r e d in culture, starting with the distant past. D a m a g e of a substitute is the root of n u m e r o u s forms of activity from the d o m a i n of negative magic, w h e r e the person of the e n e m y is s u p p l a n t e d by his depiction. T h e conviction about the p o s s e s s i o n of the ,,might" and properties of the portrayed person via his i m a g e led to Byzantine and Protestant iconoclasm a n d executions c o n d u c t e d In effigie. T h e destruction of posters w a s universal, a n d pertained to all candidates. It w a s performed by incurring d a m a g e to s y m ­ bolically m a r k e d fragments of the depiction (face, eyes, mouth ) and the addition of symbols (star of D a v i d , five-armed star, h a m m e r and sickle, swastika) or annotations of various size. T h e posters were also dirtied or defaced with d r a w i n g s , in­ cluding vulgar ones. A specific form of destruction w a s the use of stickers s h o w i n g political rivals. In certain instances, the d a m a ­ ge s t e m m e d from playful sources, but the majority of cases expressed aggression a n d animosity t o w a r d s the depicted person. Oorofa Guf Internet Ethnography T h e article inaugurates a series of texts by the author pertaining to the Internet, Its philosophy, e t h n o g r a p h y , v o c a b u ­ lary, etc. Jaros/aw /of-OmźycW T h e Urbl et Orbi B o a r d G a m e T h e author describes g a m e s In w h i c h the players m o v e their p a w n s on the b o a r d along municipal transportation lines (the underground, trams...). T h e purpose is to b e c o m e acquainted with interesting objects in the given ,,town". Within this context, the author recalls the classification of g a m e s p r o p o s e d by R. Caillois - agon, alea, and mimicry. M e n t i o n is also m a d e of the African g a m e of s u m a n g o l o w h o s e participants ,,play in the w o r l d of the future". In c o n c l u s i o n , D r u ż y c k i d r a w s attention to the fact that the players create a real s p a c e , regardless w h e t h e r It is L o n d o n or St. Petersburg, together with its actual spatial configuration, or a mythical ,,world of the future". J e r u s a l e m J e r u s a l e m . A n Interview with N a r m i M i ­ chejda In 1989, Narmi Michejda, a molecular biologist by training, started taking photographs of places c o n n e c t e d with Jewish culture (i.a. Jerusalem, cemeteries). T h i s conversation with Maria J ę c z m y k and M a ł g o r z a t a Baranowska (literary critic) focuses p r e d o m i n a n t l y on p h o t o g r a p h y although 22J �Michejda also talks about her passion a n d departure from science towards t h e humanities a n d poetry. ,.Photography a n d painting c o m p r i s e only a certain stage, necessary i n order to g e t e v e n closer to poetry itself. T h e s e forgotten 'beings' p o s s e s s m o r e a n d more concealed faces (.,.). I b e g a n to s m u g g l e into the b i o c h e m i c a l prison a form of a l c h e m y - Baudelaire, Nerval, Kafka, Gorges o r m y b e l o v e d Cioran. In this manner, I betrayed the natural sciences physically a n d probably spiritually, a l t h o u g h I remained loyal to t h e m , albeit i n a new way. Biochemistry is adescription of life and death. I selected the other half for m y new loyalty. A s usual, it b e c a m e apparent that here too - o n the 'ice flow' of pain a n d death - the t o n g u e fails". Afagda/эла 5/eramska Is this the vision of doomsday a n d paradise afterwards? A n Analysis of o n e of the S y m b o l s of M a n ' s Destiny that A p p e a r in J e w i s h Cult Art in t h e Polish Territories In the article t h e author will analyse the images w h i c h a p p e a r e d in J e w i s h cult art i n t h e territories of central w e s t e r n Poland at t h e beginning of t h e nineteenth century, a n d were found until t h e turn of the twentieth century. It was a scene depicting sheep as they were c o m i n g out of a s h e d a n d m o v i n g towards a well. This picture can be found firstly on t o m b s , but has often b e e n found as a decoration on aronof ha-todea/?. In this analysis, based on biblical texts and fragments of prayers w h i c h were m a d e during t h e holidays of Rosh H a S h a n a a n d Yom Kippur, t h e author will try to prove that the scene is actually the vision of D o o m s d a y a n d the eternal paradise afterwards. S h e will also attempt to trace the g e n e s i s of this i m a g e to areas of P o l a n d . Sondan Poc/e/ Seven G a t e s of J e r u s a l e m This text discusses The S e i / е л Gafes o/^erusa/em, a n oratory by Krzysztof Penderecki, first performed in J e r u s a l e m in January 1997 and in Warsaw in M a r c h 1997. T h e a u t h o r was inspired by the Faith a n d Divinity in t h e W o r d , r e v e a l e d i n t h e Bible (a frequent occurrence in the works by Penderecki), in t h i s case - in the Psalms. A l l composers w h o follow t h e e x a m p l e of Monteverdi by writing music to texts of the P s a l m s a n d proposing a n interpretation of their c o n t e n t s a n d poetic images in some m a n n e r refer to his arch-models. T h e s a m e holds true for Penderecki whose patron is also t h e genius of Monteverdi, The author maintains that T7?e Seven Gafes о / J e r u s a / e m c a n be regarded as the crowning of the c o m p o s e r ' s hitherto experien­ ces, Zof/a Rydef (died 1997) w a s a n outstanding Polish p h o t o g r a p ­ her. T h e best k n o w n series of her p h o t o g r a p h s include L/ff/e Мал (the world of children), Т л е LVor/d of* Emof/on and /лтад/лайол (photo m o n t a g e s dealing with m o t h e r h o o d a n d t h e trepidation of old age), Т л е /лА'л/гу o f O/sfanf Pafns (metaphorical depictions of h u m a n life) a n d Л S o c W o g / с а / Record. W e publish two Opinions concerning Zofia Rydet - by U r s z u l a C z a r t o r y ­ s k a and A n n a B e a t a B o h d z i e w i c z - a s well as her o w n statements c o n c e r n i n g primarily Л 5 о с / о / о р ю а / Record. A dis­ cussion o n these works places e m p h a s i s o n t h e ethical mes­ s a g e a c c o m p a n y i n g the p h o t o g r a p h s a n d their author's d o c u ­ mentary passion. W e also present t h e soundtrack from the o u t s t a n d i n g film about Zofia Rydet W n / r y о/ D/sfanf P a f ń s directed by A n ­ drzej Różycki. The group of texts c o n n e c t e d with the anthropologist B r o n i ­ sław M a l i n o w s k i includes a consecutive fragment of correspondence w i t h Elsie M a s s o n , his first wife, p r e p a r e d by theirdaughter Helena Wayne (T7?e Sfory о/Afamage), a letter by B r o n i s ł a w Malinowski written during his first stay i n London to Aniela Z a g ó r s k a , a relative a n d translator of J o s e p h Conrad. W POPRZEDNICH NUMERACH Problematyce symbolu poświecony byt numer 3/1998 „Kontekstów", kulturze masowej nr 4/1988, filmowi i fotografii nr 3-4/1992, mitowi i literaturze nr 3-4/1995. O symbolu w „Kontekstach" pisali m . i n . : w numerze 1/1980, Z b i g n i e w Benedyktowicz, ЛЛгсед #wzde, /fwabyOm? (Y"W/grzo/wWogü rg/fgf;¿/o/gMomffm/og:i W/f^ry); w numerze 3/1988: Zbigniew Benedyktowicz, 2ymW w efMogra/w, S. A w i e r i n c e w , ¿ y m W , Jurij Ł o t m a n , S y m W и' jyj/wwe Wfwry, M i c h a ł K l i n g e r , 6 } ' m W w feo/ogń, Paul T i l l i c h , Zraczewf f шргдмчаДтчен/б j y r n W / ге/УдУ/нусл, M i r c e a Eliade, Mg/ć%WogfCzne wwagf о б а а Ы ш уулмбоЯЛл reWgfpzg/,' w numerze 3-4/1992: Dariusz Czaja, S y m W Uwag; n#A%WogfczrZ€, D o n Fredericksen, „Ддг Уо&ш"; w numerze 2/1995: W i e s ł a w Juszczak, O длггоро/одн ; aymWw, w t y m numerze o p u b l i k o w a l i ś m y również rozmowę redakcyjną O wzfropo/ogw f j y / n W w ; O fotografii w „Kontekstach" pisali m i n . : w numerze 4/1979: Aleksander Jackowski, /для AfłdgrsJWfgo w/Wzewf az/wW Wowg/; w numerze 1-2/1986: Krzysztof Kubiak, W o W / x o g r a / л n a g r o W - y ; w numerze 1-4/1987: R o c h Sulima, fofogro/Ia cAfopów pokif'c/z; w numerze 3/1990: Aleksander Jackowski, forfr?/ W z t / g g o /агы [o Zofii Rydet]; w numerze 3-4/1992: Małgorzata Baranowska, foczfdw&z m a j o w a //bfogra/fa wczw¿ Sławomir Sikora, Fofogra/wz - p a r n i e - уууобгдглщ A n n a Beata Bohdziewicz, foWzfeMmt czyff ркмелАд о болсы .fwwwo, Józef Szymańczyk, Vfjfcm ybfogro/gm (wywiad przeprowadzony przez A n n ę Engelking, cz. I), fotografie i teksty Mariusza Wieczorkowskiego oraz Ryszard Ciarka, odczwwac, myj/ec. #ozmow%z z 7acA/gm O/gaz&f'm; w numerze 1/1993: Józef Szymańczyk, /gafem _/bfogrq/fw (dokończenie); w numerze 1-2/1994: Hubert Czachowski, O/ixogrq/н / ef/zogra/w, Sławomir Sikora, f b w g r a / m ar/iyftw w/ftff. Fofogro/Za / *»f; w poprzednim numerze 1-2/1997: z a m i e ś c i l i ś m y blok tekstów poświęconych Bronisławowi Malinowskiemu: Grażyna Kubica-Heller, jpoz&omf z cortq Brorfúfowa Mo/fnowjtfggo i^ego 6¿ogrq/gm, Rozmowa z //g/ewg Жау/гс, Rozmowa z М'слде/е/п Kowigiem, Helena W a y n e ( M a l i n o w s k a ) , Wpfyw ма zyc'e / ¿/ztf/o ^ r o n W a n / a Ma/ma^s-Afćgo, Helena Wayne ( M a l i n o w s k a ) , Я ш о п а m a ^ g ^ r w a . 6i\$ry 8гол W a w a Ma/wowjJtfggo / ^/jfg Ma.fja/i oraz Terence W r i g h t , /Wropo/og yato дг/yj/o.' yb/ogra/fg Afa/mowftfggo z ГгоблоЫои/. 224 �