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1

W poszukiwaniu muzyki sfer — o praktykach artystycznych Pawła Tyczyny i Mikołajusa Konstantinasa Čurlionisa

100%
Rybczyńska Z.
Prace Kulturoznawcze
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2012
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vol. 14
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issue 2
163-176
EN
The music of the spheres, derived from one of the oldest concepts of a single, cohesive nature of the world, has had a long history dating back to the Pythagoreans’ writings, and alongside other representations of music as a fundamental principle of the existence and functioning of the world and humans, forms a separate set of ideas that a German musicologist, Walter Wiora, referred to as transmusical. The “cosmic” dimension of musical representations is irreversibly connected with the idea of the musical essence of human soul that baffles all rational interpretations. Such approaches to music correspond thus to the two ways of viewing human beings — looking up towards the stars or inside themselves towards the depth of their souls — which reflect the musical ideas of culture circulating in Europe. Both tendencies were reconciled, to some extent, in the philosophical and artistic practices of the early 20th century, when the representation of the musical became the foundation for a new language of art, especially in poetry and painting. This is perfectly illustrated by works of the Ukrainian poet Pavlo Tychyna and the Lithuanian painter and composer Mikalojus Konstantinas Čurlionis.
2

Potęga i niemoc spojrzenia Meduzy: alternatywne przewodniki miejskie jako realizacja nowej utopii

100%
Rybczyńska Z.
Prace Kulturoznawcze
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2015
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vol. 17
129 - 141
EN
The emergence and popularity of various projects of alternative guides is an expression of the spread of alternative tourism practices, which thrive in opposition to the popular model of romantic tourism used in mass culture. Its modern variety is no longer focused on creating images of cultural landscapes, but only on their reproduction, which leads to their stereotypization and simplification. An alternative, as can be seen in Ukrainian guides, is the return to creating alternative images of the cities. As a result, a tourist transforms from a passive consumer of trivial images and values into a co-author of his own journey, and also actively participates in the reinterpretation of a cultural landscape. During this creative search one discovers that on which the monumentalizing view of Medusa stops — the everyday city life. Its instability and fl uidity, marginality and absence from the official cultural current is a fertile soil on which a new utopia grows — a vision of an “authentic” city, which appreciates not the artificial and used up forms, stiff relationships, unambiguous and established values, but the insignificant forms, constantly appearing and disappearing, referring to living relationships, the ambiguous play on meanings. Close to the so interpreted urban landscape appear to be both examples of contemporary urban “design folk” as well as the alternative artistic practices oriented at the opposition to the state policy of cultural institutions.
3

Aktywizm miejski i nowe rozumienie kultury. Przyczynek do badań miejskich na Ukrainie i Białorusi

100%
Rybczyńska Z.
Prace Kulturoznawcze
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2016
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vol. 19
59-71
EN
In the article the activity of urban activists is presented based on various examples, together with their main subjects and methods of operation. The problems occuring in this field in Ukraine and Belarus are also discussed. At the same time on the basis of this analysis, the author tries to answer a number of questions about the place and the creators of culture, of urban policies and rhetorical strategies defining culture and, finally, how the modern practices of urban activism impact the recognition of culture as a whole.
4

Krajobraz jako cultus agri i cultus animi

100%
Rybczyńska Z.
Prace Kulturoznawcze
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2011
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vol. 12
241-252
EN
The article presents an interpretation of cultural landscape using three related concepts (place, human being, language), which refer to the original meaning of the notion of cultura. Drawing on the results of field studies carried out with a group of Ukrainian students and researchers during a Magurycz Association camp in August 2007 in Grab and Cichania in the Low Beskid region (Poland), the author tries to answer the question of when and how land cultivation becomes cultivation of the soul or, in other words, when and why we become part of a cultural landscape.
5

Dynamiczny model kultury futuryzmu ukraińskiego: „przyszłość teraźniejszości” w manifestografi i Mychajla Semenki

100%
Rybczyńska Z.
Prace Kulturoznawcze
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2013
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vol. 15
187 - 195
EN
Drawing on contemporary reflections on time and temporality (A. Assman, A. Huyssen, R. Koselleck), the author of the article analyses lively discussions about the past, the present and the future of Ukrainian culture that were taking place in the first few decades of the 20th century. Generally opposing cultural projects — national-positivist and modernist — focused on the future which was to be marked by a “national revival.” The author examines its vision as presented by the artistic avant-garde and, in greater detail, the dilemmas, proposals and solutions that can be found in theoretical statements and artistic output of Mikhail Semenko. She explores the inner tensions of the futurist programme as well as external factors preventing its implementation. Despite the failure of this artistic avant-garde of the past, it still proves to be interesting as a bold attempt to break with the casual continuity of the historical process, an attempt made in the sphere of art, but one that had far-reaching consequences, because it concerned, in fact, the temporal experience.
6
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Muzeum przyrodnicze jako backteller antropocenu

63%
Rybczyńska Z., Dziubenko N.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2021
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vol. 113
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issue 1
116-130
EN
The definition of a natural history museum as an institution continues to evolve following the humanistic reflection on the Anthropocene. This article focuses on the history of the State Museum of Natural History in Lviv, one of the oldest institutions of this type, recently reopened after years of reconstruction. The text seeks to analyse the museum concept and operations through the prism of the contemporary debate on the human–nature–culture relationships. The primary questions include: (1) How was the human–nature relationship depicted in the museum space as the latter evolved into its modern concept? (2) Which problems and motives present in the museum exhibitions seem close to the contemporary challenges and vision of the Anthropocene? (3) What museum interpretations are possible in the context of old natural history collections and the contemporary debate on the museum’s function and its transformation? An important conclusion is that natural history collections not only provide a valuable material for natural research, but are also a significant testimony to changes occurring in the contemporary perception of the human–nature relationship and its impact on political, economic and cultural processes taking place in modern societies.
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