https://zbiory.etnologia.uw.edu.pl/files/original/0448928f7850842d58a305a8ba0d8e51.pdf 61faf3e00d8f6d2e5aac8bdb4f5270c8 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:2290 Date A point or period of time associated with an event in the lifecycle of the resource 1990 Identifier An unambiguous reference to the resource within a given context oai:cyfrowaetnografia.pl:2125 Title A name given to the resource Summary of articles / Polska Sztuka Ludowa - Konteksty 1990 t.44 z.3 Description An account of the resource Polska Sztuka Ludowa - Konteksty 1990 t.44 z.3, s.71-72 Language A language of the resource pol. Publisher An entity responsible for making the resource available Państwowy Instytut Sztuki Format The file format, physical medium, or dimensions of the resource application/pdf PDF Text Text capture metadata for PDF documents Text SUMMARY Grzegorz Olesiak, OF I M A G E OF A "LITTLE H O M E L A N D " . THE M O R P H O L O G Y OF A N IDEAL W O R L D ARTICLES Volksgeisl, the m a n o r - h o u s e w a s of pure Polish descent, e n c o m ­ passing w i t h i n its w a l l s a " p r i v a t e h o m e l a n d " a n d e m b o d y i n g t h e A c c o r d i n g t o the considerations of S t a n i s ł a w O s s o w s k i a n d spirit of Polish nationality. In v i e w of t h e s e c o n d o n e , t h e Stanisław Vincenz, h o m e l a n d is a n o t i o n associated w i t h t h e m a n o r - h o u s e w a s of c o s m o p o l i t a n o r i g i n t o be i d e n t i f i e d in t h e g r o u p ' s subjective p e r c e p t i o n of reality. E m b o d i e d in images, the 1 9 t h century even w i t h the architecture of Poland's alien a n - n o t i o n is t h u s close t o t h o s e of m y t h a n d s y m b o l . F o l l o w i n g nexers. In the O s s o w s k i , t h e a u t h o r makes a d i s t i n c t i o n b e t w e e n the i d e o l o g i c a l s u p p o r t e d by e v o l u t i o n i s m (idea of progress) a n d f a s h i o n for and private (little) h o m e l a n d . T h e first one w a s initially c o n e c t e d folklore. T h u s , t h e m a n o r - h o u s e w a s t o be a c o n t i n u a t i o n of t h e 19th c e n t u r y the first c o n c e p t i o n was also w i t h the image of a certain n a t i o n as a g r o u p t o be derivately peasant's hut, w h i c h s t e m m e d directly f r o m the Piasts architec­ c o n n e c t e d w i t h a certain areas, territory. The images of a little ture (typically Polish w o o d e n architecture: hut - m a n o r - h o u s e h o m e l a n d are analysed o n the basis of diaries and folk poems. It - c h u r c h ) . A n d it w a s the literature of the R o m a n t i c i s m t h a t had takes t h e shape of a " c o u n t r y of one's c h i l d h o o d " t o w h i c h no primary s i g n i f i c a n c e in creating a m y t h of t h e m a n o r - h o u s e s ' return is possible (Cz. M i ł o s z ) . A specific space, it is a l w a y s homeliness. This c o n f i r m s J . J e d l i c k i ' s thesis that m o d e r n Euro­ saturated w i t h events, sacralized ( s u c h elements as a c h u r c h or pean nations are the creation of poets a n d ideologists. T h e bells are f o u n d in d e s c r i p t i o n , w h e r e the paradisecharacter of this mechanisms of this m y t h i z a t i o n are analyzed in t h e article. space is e m p h a s i z e d ) , a n d associated w i t h Providence. M o r e o ­ ver, the image of M a n ' s natural state, his relation w i t h l a n d is d e v e l o p e d . A natural m a n is associated w i t h G o d , a n d nature itself takes t h e shape of a b o o k of d o v i n e w i s d o m . The o p p o s i t i o n b e t w e e n t h e c o u n t r y s i d e a n d t h e t o w n (nature - c u l t u r e ) appears w i t h the first element evaluated positively. Ryszard P r z y b y l s k i , FORGE O F A M Y T H The difference b e t w e e n here a n d there, b e t w e e n h o m e ( s t a b i l i ­ ty, means of existence) and a p a r t m e n t (temporariness) helps t h e author describe t h e e m i g r a n t s ' flats. He focuses his a t t e n t i o n o n Fryderyk C h o p i n ' s and J u l i u s z S t o w a c k i ' s apartments, p r e s e n t i n g the attempts t o " t a m e " t h e m a n d t r a n s f o r m i n t o a h o m e . C h o p i n Jerzy Bartmiński, H O M E L A N D IN P E A S A N T S ' SONGS w a s deeply c o n s c i o u s of t h e association b e t w e e n a h o m e a n d In f o l k Polish t h e n o t i o n of h o m e l a n d had a different course of t h e p u b l i c one, w h i c h t h r o u g h its f u r n i s h i n g , d e c o r a t i o n , a n d AND POEMS one's character. The place he lived w a s d i v i d e d i n t o t w o spheres: d e v e l o p m e n t t h a n in t h e general l a n g u a g e . Never has the link guests c o u l d be called a T e m p l e of t h e Aristocracy of t h e Spirit, b e t w e e n t h e n o t i o n s of h o m e l a n d and father's l a n d , p a t r i o m o n y , a n d private one, he himself referred t o as a " l a i r " . been b r o k e n . T h a t is w h y h o m e l a n d is of greater s i g n i f i c a n c e in the f o l k l a n g u a g e , f u n c t i o n i n g as a " l i t t l e h o m e l a n d " ( S . O s s o w ­ ski, C z . M i ł o s z ) . Paradoxically, in f o l k songs c o l l e c t e d by Oskar Kolberg in t h e 1 9 t h century, the usage of t h e w o r d " h o m e l a n d " in its general m e a n i n g is far more popular. For h o m e l a n d as a p a t r i m o n y appears o n l y t w i c e . This can be explained t h r o u g h the analysis of the texts since almost all the s o n g s w e r e s u n g by Kosciuszko's troops, Pilsudzki's legions, a n d the insurgents. Similary, in later s o n g s a n d p o e m s t h e n o t i o n of h o m e l a n d is used in its general meaning. Homeland often appears as being threatened by external enemies a n d requires b l o o d sacrifice, whereas in peace t i m e it d e m a n d s one's w o r k . In b o t h cases w e can f i n d the s y m b o l of t h e scythe, a t r a d i t i o n a l peasant's w e a p o n and o n e of the essential f a r m i n g t o o l s at the same t i m e . In more Aleksander J a c k o w s k i , M A R G I N A L NOTES The purpose of the c o l u m n is t o present causeries, miniessays based o n the author's memories a n d reflections. A sort of a n o t e - b o o k , it tells a b o u t the events w h i c h , t h r o u g h interesting themselves, are t o o i n d i v i d u a l a n d personal t o f i n d any g e n e r a l i ­ zation in an article. Like the w h o l e issue, t h e present remarks c o n c e r n h o m e . T h e author answers t h e q u e s t i o n w h e t h e r h o m e has a heart. He also m e n t i o n s various examples of h o w h o m e c a n be regarded, e.g.home - v i s i t i n g card ( d e s c r i p t i o n of t h e s o - c a l l e d " M a l b o r k s " , a r c h i t e c t o n i c f a s h i o n f r o m S u w a ł k i ) , h o m e as t h e expression of its creator's personality, home of life, home - ideology. recent p o e m s w e c a n also c o m e across a d e v e l o p e d m y t h of l a n d , the holy l a n d , the land - mother, and c o n s e q u e n t l y , of h o m e l a n d , patrimony, sanctified t h r o u g h its e m b o d i m e n t i n t o the sacral conception of the w o r l d order, w h o s e t o p o g r a p h y is g o v e r n e d by the semiotic rules of the m y t h i c a l space. Eleonora B e r g m a n , THE Z A D D I C K ' S C O U R T IN KOCK A n extraordinary person, M e n a c h e m M e n d e l Morgensztern ( 1 7 8 9 - 1 8 5 9 ) w a s referred to as a zaddick of t h e g e n e r a t i o n by the Hasidim. His c o u r t in Kock ( L u b l i n district) is described o n t h e g r o u n d s of the detailed analysis of its c o n s t r u c t i o n . N o d o c u ­ Grażyna Wianecka, MARIA KOZLOWA'S LIFE AND ments c o n c e r n i n g its c o n s t r u c t i o n (alteration) have been preser­ v e d . Moreover, t h e date of its c o n s t r u c t i o n is d i f f i c u l t t o deter­ ACTIVITY Maria K o z ł o w a nee W i ę c e k w a s b o r n in 1 9 1 0 in a peasant family of a l o n g t r a d i t i o n of social and political activity (her father was even a senator in t h e p r e - w a r P o l a n d ) . B r o u g h t u p in s u c h mine, for the c o u r t had no stylistic dominant, the feature characteristic of J e w i s h architecture. T h e b u i l d i n g ranks a m o n g most interesting examples of t h e k i n d in P o l a n d . a patriotic t r a d i t i o n , she became a social a n d cutural activist. A selection of her poems ( w i t h Jerzy Bartminski's i n t r o d u c t i o n ) R y s z a r d C i a r k a , A H O L Y P I C T U R E IN A GREY B L O C K O F about her native village of M a c h ó w neai Tarnobrzeg, w h i c h w a s FLATS ( A SKETCH TO A F I L M S C R I P T ) destroyed in 1 9 6 9 o w i n g t o the c o n s t r u c t i o n of a s u l p h u r plant, as In Poland the c u s t o m of t h e peregrination of a holy picture of Well as her life history w r i t t e n by Grażyna W i a n e c k a are p u b l i s h e d Our Lady of C z ę s t o c h o w a can be observed. T h e present text 'n the present issue. ( t h o u g h t of as a sketch t o a f i l m script) s h o w s the c u s t o m o n the example of a big c o m p l e x of blocks of flats ( W a r s a w - B r ó d n o ) . In MANOR-HOU­ the d e s c r i p t i o n w e read a b o u t t h e c o n t a c t of the holy picture w i t h SE...", T H A T IS A B O U T M Y T H I Z A T I O N IN S C I E N C E S O N C E t h e sphere of p r o f a n u m - a n e g l e c t e d , dirty staircase that b e l o n g s AGAIN to nobody. Marta L e ś n i a k o w s k a , "I A M A POLISH It was already in the 1 7 t h a n d 1 8 t h centuries that two contradictory o p i n i o n s a b o u t the o r i g i n of the m a n o r - h o u s e w e r e ^ p r e s s e d . The c o n f l i c t b e t w e e n the t w o w a s gradually g r o w i n g tc A n t o n i P e l c z y k , IN S E A R C H O F T H E S Y S T E M S O F P R O ­ P O R T I O N S IN FOLK A R C H I T E C T U R E > reach its a p o g e e in the 1 9 t h - a n d 2 0 t h - c e n t u r y literature o n the In the so far research in folk architecture the q u e s t i o n of the subject. In v i e w of t h e first one, based o n Herder's c o n c e p t i o n of p r o p o r t i o n of t h e b u i l d i n g ' s b o d y has been almost c o m p l e t e l y 71 �i g n o r e d , c o n c e n t r a t i n g o n their t y p o l o g y a n d regionalization. T o above rituals the creationist value of t h e s y m b o l i s m associated discern t h e relationship b e t w e e n particlar elements of t h e c o n s t ­ w i t h h o m e , the reference t o the story a b o u t t h e creation of the r u c t i o n may, in t h e author's o p i n i o n , be of s o m e h e l p t o learn t h e w o r l d , are also discussed. T h e a u t h o r s p o i n t o u t t o t h e rule " p a r e rules d e t e r m i n g a r c h i t e c t o n i c f o r m s . T h e analysis of a r o u n d 3 0 0 pro t o t o " , that governs t h e s y m b o l i s m of h o m e in particular b u i l d i n g s ( l a y - o u t , p r o p o r t i o n b e t w e e n the b u i l d i n g ' s h e i g h t a n d c u s t o m s , beliefs, a n d rituals. T h e s y m b o l i c image of h o m e is its l e n g t h a n d w i d t h ) enabled h i m t o perceive c o n s t a n t p r o p o r ­ c o n d e n s e d in s u c h elements as a t r e s h h o l d , corner, holy corner, t i o n s . T h e above studies can also have s o m e partical m e a n i n g table, w i n d o w , door, stove, etc. In t h e s e c o n d part of t h e article (e.g. r e s t o r a t i o n ) . the a u t h o r s w i l l analyse other s y m b o l i c d i m e n s i o n s of home recorded in f o l k t r a d i t i o n like " h o m e as a n t r o p o c o s m o s " , " h o m e Danuta Benedyktowicz, Zbigniew Benedyktowicz, a n t r o p o m o r f i z a t i o n " , " h o m e - tree of l i f e " , " h o m e - f a m i l y " , " h o m e - place of t h e souls of t h e d e a d " , " h o m e - g r a v e " , " h o m e H O M E S Y M B O L I S M IN FOLK T R A D I T I O N (I) T h e a u t h o r s analyse the n o t i o n of h o m e as a peculiar a n t h ­ - demonic space". r o p o l o g i c a l category (C.Levi-Strauss, J . Ł o t m a n , Yi Fu T u a n ' s h u m a n i s t i c g e o g r a p h y ) , a key t o u n d e r s t a n d c u l t u r e . F o l l o w i n g A . K. B a j b u r i n , s u c h scholars as M.Eliade, G.van der L e e u w , a n d G. Bachelard, TURE OF THE SLAV B U I L D I N G RITUAL. ON THE DESCRIPTION OF THE STRUC­ t h e y reconstruct a s y m b o l i c structure of t h e peasant's h o m e T h e ritual of b u i l d i n g can serve as a m o d e l example of man's preserved in f o l k t r a d i t i o n . H a v i n g presented t h e so far for­ a d a p t a t i o n of space, presenting a n u m b e r of analogies t o the m u l a t i o n s of t h e s y m b o l i c d i m e n s i o n s of h o m e ( M . E I i a d e ' s h o m e c o s m i c tree (creation of the w o r l d ) . T h e a u t h o r is of the o p i n i o n in t h e " s y m b o l i s m of t h e c e n t r e " , G.Bachelard's oniric experience that the ritual is inseparable f r o m t e c h n o l o g y , their resembing that of h o m e , H.Heidegger's existential experience of h o m e ) the of c o n t e n t plane a n d expression plane. It is precisely t h e ritual that a u t h o r s reconstroct t h e m e a n i n g s a n d essential s y m b o l i c m o t i f s gives sense t o an object. Successive stages of b u i l d i n g f r o m the associated w i t h t h e space of the pesant's h o m e o n t h e g r o u n d s of c h o i c e of t h e place t o t h e c o n s t r u c t i o n of t h e roof a n d semiotiza- e t h n o g r a p h i c sources f r o m the e n d of t h e 1 9 t h a n d t h e b e g i n n i n g t i o n of the house at the same t i m e are analysed here. T h e ritual of of t h e 2 0 t h centuries. A folk a p o c r y p h t e l l i n g a b o u t t h e creation of house b u i l d i n g consists of three parts: c o n s t r u c t i o n of the first t h e w o r l d is analysed t o see h o w the m o t i f s of " h o m e - heavenly c u r b - p l a t e a n d sacrifice (also t h r e e - p a r t i t e ) , c o n s t r u c t i o n of p a l a c e " , " h o m e - paradise", " h o m e - p u r g a t o r y " , " h o m e - h e l l " , a roof b e a m , a n d , finally, c o n s t r u c t i o n of t h e roof, this t h r e e - f o l d " h o m e - u n i v e r s e " are c o n t i n u e d a n d d e v e l o p e d in the s y m b o l s , character h a v i n g analogies t o all the processes of creation. The rituals, a n d beliefs associated w i t h selecting t h e d w e l l i n g place, process of house b u i l d i n g is associated w i t h t h e d i v i s i o n of space its c o n s t r u c t i o n a n d settling d o w n in it. This part of t h e reconst­ i n t o external ( n o n - d i f f e r e n t i a t e d ) and internal ( f o u r - w a l l e d w i t h r u c t i o n concers the f o l l o w i n g s y m b o l i c motifs: " h o m e - univer­ its centre a n d upper permeable limit - t h e sky as the roof of the se", "home - w o r l d " , "home - field", "home - farm", "home w o r l d ) . T h e separated space is n o t o n l y s e g m e n t e d b u t also - w o r d " , " h o m e - b r e a d " , " h o m e - place of t h e S a i n t s " , " h o m e associated w i t h t h e system of m e a n i n g s that f u n c t i o n i n g in erected o n t h e traces of J e s u s " . Beside t h e parallelism of t h e a g i v e n g r o u p c o n v e y t h e sense of its existence. Do Redakcji „Polskiej Sztuki Ludowej" : } j i W z w i ą z k u z moją publikacją o Nikiforze w numerze 1 / 1 9 9 0 r. PSL, pragnę w y j a ś n i ć c o następuje: O d d a ł e m materiał d o d r u k u jeszcze za życia Andrzeja Banacha, licząc na J e g o o d z e w i u s t o s u n k o w a n i e się. Teraz bardzo niezręcznie brzmieć muszą posądzenia o niewiedzę, czy też przemilczenie p e w n y c h s p r a w , a przede w s z y s t k i m zarzut pisania n i e p r a w d y o „ B a t i m e n t s M o d e r n e s " znalezionych w skrzyni Nikifora. J e s t e m przekonany, iż Andrzej Banach o d k ą d zaczął pisać o Nikiforze w i e d z i a ł o n i m w i ę c e j niż k t o k o l w i e k inny. Nie p u b l i k o w a ł d a n y c h m e t r y k a l ­ n y c h , bo z g o d n i e z w o l ą p i e r w s z y c h w t a j e m n i c z o n y c h z przełomu w i e k ó w i okresu między­ w o j e n n e g o osoba ojca Nikofora miała być na zawsze zatajona. Dlatego pisał o „ k u c h c i k u z B o c h n i " , „ z i e m i a n i n i e Т . " , a z n o w u ż w s w e j książce Sztuka Pisania m ó w i w p r o s t , że o j c e m Nikifora był „ z n a n y polski malarz żyjący na przełomie w i e k ó w " . Żeby było o c z y w i s t e , że zna p r a w d ę , ale nie miał m o r a l n e g o p r a w a w y m i e n i a ć nazwiska. W n e k r o l o g u Nikifora zamieszc z o n y m w „ T y g o d n i k u P o w s z e c h n y m " (nr 4 7 / 1 9 6 8 ) Banach pisze, że matka często m ó w i ł a d o Nikifora: „ T w i j otec artist" ( n i b y p o ł e m k o w s k u - t w ó j ojciec t o artysta...) W s p r a w i e „ B a t i m e n t s " , która inną d r o g ą m o g ł a d o p r o w a d z i ć d o poznania p r a w d y (czy u w i a r y g o d n i e n i a niesłusznych p o m ó w i e ń - jak k t o w o l i ) Banach napisał, że dał je N i k i f o r o w i p o w o j n i e , c o może być z g o d n e z p r a w d ą o tyle, że skrzynia p o w o j n i e zaginęła i została s p l ą d r o w a n a , a B a n a c h te rzeczy odnalazł i dał N i k o f o r o w i p o n o w n i e . M a c i e j Szczyrbula, W r o c ł a w iii �Prenumerata Prenumeratę pisma przyjmują w miastach Urzędy P o c z t o w e oraz oddziały P r a s y - K s i ą ż k i - R u c h u , na w s i listonosze. Termin z a m ó w i e ń na II k w a r t a ł 1991 r. u p ł y w a 31 stycznia. Cena zeszytu - 5 0 0 0 zł. Zlecenie z a m ó w i e ń na prenumeratę zagraniczną o 1 0 0 % droższe. W p ł a t ę można d o k o n a ć b l a n k i e t e m przekazu, w p i s u j ą c na o d w r o c i e każdego o d c i n k a adres o d b i o r c y za granicą oraz t y t u ł pisma. Na stronie f r o n t o w e j należy w p i s a ć : Centrala Kolportażu, 0 0 - 9 5 8 W - w a , PBK X I I I O / W - w a , Nr 3 7 0 0 4 4 - 1 1 9 5 - 1 3 9 - 1 1 . Istnieje też m o ż l i w o ś ć prenumeraty rocznej, w z g l . z a k u p u n u m e r ó w , k t ó r y m i d y s p o n u j e redakcja (1 - 2 / 1 9 8 9 , 2 / 1 9 9 0 ) . W t y m celu należy d o k o n a ć w p ł a t y na k o n t o : Instytut Sztuki P A N PBK XIII O / W - w a Nr 3 7 0 0 4 4 - 3 4 9 2 w p i s u j ą c na o d w r o c i e o d c i n k ó w b l a n k i e t ó w : PSL, roczna, e w . żądany zeszyt i koniecznie w y r a ź n e n a z w i s k o i adres zlecającego w y s y ł k ę . Prenumerata roczna z w y s y ł k ą d o d o m u - 2 0 0 0 0 zł. Pismo jest także d o s t ę p n e w w i ę k s z y c h księgarniach ( z w ł . n a u k o w y c h ) w miastach u n i w e r ­ s y t e c k i c h , w kioskach w p o b l i ż u instytucji n a u k o w y c h , w kasach m u z e ó w e t n o g r a f i c z n y c h w Warszawie, K r a k o w i e , P o z n a n i u , W r o c ł a w i u , T o r u n i u , W ł o c ł a w k u , w Krakowie, w księgarni „ L i t t e r a " przy ul. Floriańskiej 2 0 . W Warszawie można kupić p i s m o w portierni I n s t y t u t u Sztuki P A N , ul. D ł u g a 28. Tamże inne w y d a w n i c t w a I n s t y t u t u . ERRATA Przepraszamy C z y t e l n i k ó w , a zwłaszcza A u t o r ó w za błędy korektorskie w p o p r z e d n i m numerze ( 2 / 1 9 9 0 ) . Niestety w y d r u k i szpalt są tak mało czytelne, że nie ł a t w o w y c h w y c i ć wszystkie błędy, z w ł . t z w . l i t e r ó w k i . B ł ę d ó w i n n y c h nic nie u s p r a w i e d l i w i a , zwłaszcza p o m y ł k i w streszczeniu angielskim imienia p. Łysiaka (napisane jest W a l d e m a r zamiast W o j c i e c h ) . Bardzo G o za t o przepraszamy. s. 4 1 , lewa szpalta, 19 w . o d d o ł u p o w i n n o być - K Ł A M S TV 0 s. 6 0 , lewa szpalta, 29 w . o d g ó r y p o w i n n o być - zasadzie s. 6 0 , prawa szpalta, 13 w . o d g ó r y p o w i n n o być - p o r ó ż n i ł o S. 6 0 , lewa szpalta, 3 w . o d d o ł u p o w i n n o być - pozostającymi s. 6 2 , lewa szpalta. 19 w . o d d o ł u p o w i n n o być Turnera, a nie Frazera J e d n o c z e ś n i e dajemy erratę b ł ę d ó w z a u w a ż o n y c h w numerze 1 / 1 9 9 0 w artykule p. Macieja Szczyrbuły o Nikiforze: s. 3 7 , lewa szpalta, 2 w . o d d o ł u p o w i n n o być - „ A r k a d y " s. 3 7 , il. 1 p o w i n n o być Nikifor w latach 1 9 4 0 - 1 9 4 4 s. 3 8 , lewa szpalta, 2 w . od d o ł u p o w i n n o być - Drewniak, a nie D e r w n i a k s. 3 9 , lewa szpalta, 1 8 w . o d góry: p o w i n n o być - w s p ó l n e s. 4 2 , lewa szpalta, 3 4 w . o d góry: p o w i n n o być - od 1 9 2 3 roku s. 4 2 , tamże, 8 w . o d d o ł u p o w i n n o być - tej j e g o f o t o g r a f i i s. 4 2 , tamże, 3 w . o d d o ł u : należy skreślić - po raz pierwszy Instytut Sztuki P A N . Redakcja „ P o l s k a Sztuka L u d o w a " Ark. W y d . 14,8, ark. druk. 9 Druk: Zakł. Graf. „ T a m k a " . Listopad 1990 �