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1
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Herod Wielki i „nowa” Jerozolima

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Maciudzińska-Kamczycka M.
Studia Europaea Gnesnensia
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2013
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issue 8
179-206
PL
The focus of this paper will be on the Jewish experience with Roman art in the late Second Temple period, from Herod’s reign ( 37-4 B.C.E.) to the destruction of the Jerusalem Temple in 70 C.E. Herodian architecture of Jerusalem, existing in the archaeological artefacts and the writings of ancient authors, is reflective of both full Jewish participation in Roman art and a level of local conservatism
2
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Narodziny „żydowskiej archeologii” i nowoczesna interpretacja antycznej sztuki żydowskiej

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Maciudzińska-Kamczycka M.
Studia Europaea Gnesnensia
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2014
|
issue 10
9-29
PL
The focus of this paper will be on the Jewish experience with art during the late 19 th and early 20 th centuries when Zionist scholars attempted to promote their own vision of Eretz Israel as the ancestral homeland. Jewish archaeology became an important propaganda tool designed both to generate nationalistic pride and provide scientific argument that Jews had possessed a rich and significant visual culture in the antique period of this “Old-New Land”. This is how the need of promoting Jewish nationalism made archaeology and art a very important aspect of the revival process.
3
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Sztuka katastrofy; rec. książki: Jurgen Kaumkotter, Śmierć nie ma ostatniego słowa. Sztuka w tragicznych latach 1933-1945

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Maciudzińska-Kamczycka M.
Studia Europaea Gnesnensia
|
2016
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issue 13
386-392
EN
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4
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Żydzi i obrazy w późnym antyku; rec. książki: Lee I. Levine, Visual Judaism in Late Antiquity: Historical Contexts of Jewish Art

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Maciudzińska-Kamczycka M.
Studia Europaea Gnesnensia
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2016
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issue 13
374-379
EN
.
5
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Wszystko, co chcielibyście wiedzieć o Partenonie, ale baliście się zapytać; rec. książki: Mary Beard, Partenon

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Maciudzińska-Kamczycka M.
Studia Europaea Gnesnensia
|
2021
|
issue 23
127-134
6
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„I will survive” – reprezentacja Holocaustu w sztuce współczesnej

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Maciudzińska-Kamczycka M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2011
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vol. 9
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issue 17-18
83-105
EN
  Jane Korman, a Jewish artist, filmed the video „Dancing Auschwitz” on a trip to former concentration camps with her three children and her father, Adolek Kohn, who is a Holocaust survivor. The film shows three generations of an Jewish family dancing to the Gloria Gaynor song “I Will Survive” in front of Holocaust land marks in Poland, including infamous rail tracks and “Arbeit Macht Frei” sign and a memorial in Łódź, where Adolek Kohn and his wife spent most of his youth during World War II. This video is a demonstration of the will to survive. Moreover, Korman’film shows other places in Poland like The Main Market Square in Kraków, a Polish synagogue or one of the bus station from eastern Poland. These places may represent the sites and the traces of the History in the contemporary Polish reality which has been radically transformed after Auschwitz. Memories are a way to remain connected to the past. The great power of the images, the clichés of the unimaginable trauma of the Holocaust, is still in our imagination and in the landscape of Polish cities. In my presentation I will not only try to explain the abovementioned case but I will focus also on some others examples of the idea. One of the Polish projects that bring about associations with the Holocaust and the memory of Nazi camps is „Swimming Pool” („Pływalnia”, 2003) by Rafał Jakubowicz (projection, two videos, postcard). By projecting the Hebrew equivalent of the word „swimming pool” on the wall of the former synagogue (in 1940 the Nazis converted synagogue into a swimming pool for the Wehrmacht), the artist managed to reactivate this place, to revive its memory and transform it into a living monument. In his video, entitled „Swimming Pool”(13 min.), Jakubowicz is showing the interior of the building that provokes the associations with the concentration camps.
PL
„I will survive” – Representation of the Holocaust in Contemporary Art   Jane Korman, a Jewish artist, filmed the video „Dancing Auschwitz” on a trip to former concentration camps with her three children and her father, Adolek Kohn, who is a Holocaust survivor. The film shows three generations of an Jewish family dancing to the Gloria Gaynor song “I Will Survive” in front of Holocaust land marks in Poland, including infamous rail tracks and “Arbeit Macht Frei” sign and a memorial in Łódź, where Adolek Kohn and his wife spent most of his youth during World War II. This video is a demonstration of the will to survive. Moreover, Korman’film shows other places in Poland like The Main Market Square in Kraków, a Polish synagogue or one of the bus station from eastern Poland. These places may represent the sites and the traces of the History in the contemporary Polish reality which has been radically transformed after Auschwitz. Memories are a way to remain connected to the past. The great power of the images, the clichés of the unimaginable trauma of the Holocaust, is still in our imagination and in the landscape of Polish cities. In my presentation I will not only try to explain the abovementioned case but I will focus also on some others examples of the idea. One of the Polish projects that bring about associations with the Holocaust and the memory of Nazi camps is „Swimming Pool” („Pływalnia”, 2003) by Rafał Jakubowicz (projection, two videos, postcard). By projecting the Hebrew equivalent of the word „swimming pool” on the wall of the former synagogue (in 1940 the Nazis converted synagogue into a swimming pool for the Wehrmacht), the artist managed to reactivate this place, to revive its memory and transform it into a living monument. In his video, entitled „Swimming Pool”(13 min.), Jakubowicz is showing the interior of the building that provokes the associations with the concentration camps.
7
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Phoenix dactylifera/Judaea dactylifera . Palma daktylowa jako “symbol żydowski” w świecie grecko-rzymskim

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Maciudzińska-Kamczycka M.
Studia Europaea Gnesnensia
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2014
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issue 9
105-126
PL
The aim of this article is to present the development of the date palm (phoenix dactylifera) as a symbol of the Jewish nation, their land Judaea and their separate religious beliefs and distinct culture in the Greco-Roman world. Literary and visual sources of this motif have their origin in very different contexts – Greek and Latin authors, Biblical texts, Roman and Jewish coinage, and synagogue art in Palestine and the Diaspora. 
8
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Królewskie grobowce Hasmoneuszy w Modin. Wzorce grecko-rzymskie a sztuka żydowska w okresie drugiej świątyni

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Maciudzińska-Kamczycka M.
Studia Europaea Gnesnensia
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2012
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issue 6
209-230
PL
The tombs in Modin, described in 1 Maccabees (13:27-29), written towards the end of the 2nd cent. B.C.E., exemplify Hasmonean dynastic rule in Judaea in the following century. The role of the monument was to underline and manifest the importance of the Hasmonean dynasty in ancient time in Judaea. Moreover, the Hasmonean royal tombs in Modin attest to the participation of Jews in Hellenistic culture, the synonym of culture par excellence in that time. The architectural structure of the Hasmonean tombs crowned with pyramids is not unique in the Hellenistic perspective. For example, monuments topped with pyramids have been discovered throughout the Levant. Among the Jerusalem counterparts of the Hasmonean tombs the so-called Tomb of Absalom, the Tomb of Zechariah or the so-called Tombs of the Kings are particularly important. These architectural modules were distinctive for Judaism until the destruction of the Second Temple. Flavius Josephus, a 1st century Jewish historian,  in his descriptions of the Hasmonean royal tombs gives us the picture of Jewish society of the late Second Temple Judaea, who are fundamentally antagonistic towards images. However, the Hasmonean royal tombs in Modin reflect the visual vocabulary of their time which contains popular elements and symbols of power in the Greco-Roman context. The writings of Joshua Ben Sirah and Flavius Josephus, epigraphic and archaeological evidence suggests that Jews fully participated in the Greco-Roman culture of their general environment.
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