Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 10

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

MY LOOK AT ETHNOGRAPHY

100%
Sikora S.
Lud
|
2004
|
vol. 88
187-202
EN
The text is a free peregrination trying to answer some questions on ethnology of today and author's 'place' in it. He makes an attempt at expressing his own position on ethnology. Assuming that ethnology is a science with limits that are difficult to be determined, he believes that it should be also open to other languages of the discourse. Writing about his favourite authors (R. Barthes, J. Cliffiord, C. Geertz, K. Hastrup) the author focuses on the problem of the presence of fiction in the language of ethnologists. He also describes a certain evolution of fiction in ethnology. Addressing the issue of field studies, he acknowledges their importance, although he does not claim that they are necessary. An extensive part of the article deals with visual anthropology (which is the main area of his interest), its extent and some translational suggestions.
2

EXPERIENCE OF PHOTOGRAPHY: ROLAND BARTHES

100%
Sikora S.
Rocznik Historii Sztuki
|
2006
|
vol. 31
53-66
EN
Roland Barthes was interested in photography for all his creative life, but the most important result of his interest was his last book Camera Lucida (1980). The author suggests that the most valuable tropes-contexts for its interpretation are works of M. Proust, W. Benjamin, J-P. Sartre, and the earlier texts by Barthes. The criticism of realistic paradigm of description is now observed in anthropology. It has been argued that the description itself should evoke the described reality. This opens up the possibility of literary experiments, and in this way the Barthes' book should be regarded. The enigmatic description of the photograph of Barthes' mother, the experience of her presence in that unpublished snapshot is supposed to create a framework that helps readers find their own emotions (as only these are real - the feelings of others, when too candid, tend to lapse into sentimentality and kitsch), enter the imaginable… But the crucial is that this going 'beyond reality' (along with J.-P. Sartre) should take into account emotions and actions. This quasi-ritual and emotional (synesthesia) character of the Barthes' 'way' is what the author attempts to demonstrate.
3

Staring at the Sun. Things out of Focus

100%
Sikora S.
Kwartalnik Filmowy
|
2008
|
issue 61
174-183
EN
The film 'Kamienna cisza' (The Stone silence) directed by Krzysztof Kopczynski describes the events surrounding the execution a woman (the information provided by the BBC spoke of stoning her to death), accused of infidelity in Afghanistan in 2005. The makers of the film try to reach the truth of what exactly happened and why, but the truth, on various levels, remains vague. The author of the text maintains that the most interesting part of the film, is the portrayal of the other family, the parent of Karim (a single man engaged in the relationship with the woman concerned), who by refusing to accept the judgment pronounced by the community on their son, are forced to deal with all kinds of sanctions. It is a portrayal of a family dealing with a crisis of values, shown on the edge, a borderline of conflicting norms and laws, and on the borderline of the local and the global.
4

'Gugara' Some Footnotes

100%
Sikora S.
Kwartalnik Filmowy
|
2008
|
issue 64
207-210
EN
From the very beginning of their existence, film image as well as photographic one accompany ethnographic research. However despite this apparent closeness, the position of these images in the anthropology is rather ambivalent. This can be explained in a number of ways. On the one hand, sometimes the media are accused of representing other cultures and peoples in a far too simple way, imposing a single interpretation of reality. On the other hand they are accused of being a representation far too ambiguous. The author discusses the role of image and representation in anthropology, in the context of 'Gugara', a film by Andrzej Dybczak and Jacek Naglowski.
5

Philosophical Windows and the Predicament of the Real

100%
Sikora S.
Kwartalnik Filmowy
|
2006
|
issue 54-55
6-15
EN
The author tries to show the evolution (or perhaps the spectrum) of attitudes towards the real in today's world (in the debate on the media). He challenges the validity of some of Baudrillard's ideas and shows that in fact in the place of the decline of references appears (at least sometimes) the search of the real, which does not necessarily mean search for representation. One of the most important arguments is Roland Barthes's 'Camera Lucida'; although in the end Barthes does not show the photo of his mother he describes (that would be a poor representation), he constructs a discourse (kind of a theatre), aimed at evoking rather than representing (what is imagined has always been a component of man's reality). In his discussion the author also makes references to the fetish and relics, the recurring concepts in the debate on culture.
6

Nostalgia Realised

100%
Sikora S.
Konteksty - Polska Sztuka Ludowa
|
2007
|
vol. 61
|
issue 3-4(278-279)
124-129
EN
Kazimierz Zagórski (1883-1944), a Polish officer and engineer, arrived in Africa in the mid-1920s, and opened up a photographic studio in Léopoldville. Apart from taking standard photographs he also initiated a project which he described as 'L'Afrique qui disparaît' and which involved taking photographs in the course of specially arranged journeys, always in the so-called natural environment. The photographs depict native inhabitants of a given territory, 'unsullied' by Western civilisation. Strong emphasis is placed on portraits, executed with great attention, a feeling for form and exceptional care for lighting. The sitters were almost always carefully posed and, as a rule, are distant from stereotypes. The photographs certainly focused on a person and not a certain larger entity, which anthropologists were in the habit of calling culture. Both those portraits which showed only the face and those of a larger fragment of a person display features of individualisation (arrangement, lighting) although Zagórski frequently appeared to attach just as much attention to the sitter's face as to the hairdo, scars or other ornaments (which, it must be stressed, were their owners' pride). Naturally, the Zagórski photographs are not devoid of certain ideological operations (aestheticisation, hieratisation, operations associated with temporality, sometimes a 'sui generis' objectivisation). The decontextualisation which he sometimes allowed himself in portraits treating particular parts of the body as equal brings the applied operations close to certain phenomena discernible in contemporary photography (e. g. R. Mapplethorpe or I. Penn). The text originally accompanied an exhibition of photographs by Kazimierz Zagórski (National Art Gallery Zacheta 2005, with the author as co-curator); now, it has been expanded by means of an appendix containing an extremely interesting album by Edward Piterek, a Polish airman in Africa (mid-1940s), based entirely on photographs-postcards by Zagórski, subjected to special processing and classification
7

Through the Other's Eyes - Between Science and Social Practice

100%
Sikora S.
Kwartalnik Filmowy
|
2008
|
issue 62-63
307-321
EN
In the 20's of the last century Bronislaw Malinowski wrote that the aim and ambition of the anthropologist should be 'to grasp the natives' point of view, his relation to life, to realize his vision of his world'. The first serious study which tried to embody that postulate was a project of S. Worth and J. Adair described in their book 'Through Navajo Eyes' (1972). Referring to this study the author analyses a few contemporary examples of films taken from outside of the discipline which use 'natives' perspective as a model. He concentrates on 'Born into Brothels' (Z. Briski, R. Kauffman, 2004), 'Kits' (B. Dzianowicz, 2007) and 'Un autre regard' (M. Latallo, 2007)
8

'5 x 2'. Feminine and Masculine Versions

100%
Sikora S.
Kwartalnik Filmowy
|
2006
|
issue 56
203-209
EN
François Ozon's '5x2' is constructed in an interesting way. It tells the story backwards, which means it decontextualizes the recounted events. One may assume that as they are presented in reverse chronology at least some viewers may have problems in contextualizing some events. As a result, some actions of the main hero (especially his) seem to be hardly intelligible. Ozon has also edited the director's copy (available only in a DVD set) that tells the same story in chronological order (the changes are practically insignificant). It is hard to say why the other version was made. One may think that it was made for viewers with a lower IQ. The rub is that in this way the meaning of the story is totally changed - that's why author says we may speak about two versions of the same story: the original one could be a feminine (more interesting and thought-provoking) version and the other chronological story could be called a masculine one, definitely less interesting also psychologically.
9

Sybin - the Centre of Romania, the Centre of Europe, the Centre of the World....

100%
Sikora S.
Kwartalnik Filmowy
|
2008
|
issue 61
203-209
EN
The article is a report from the Astra Film Festival – a festival dedicated to anthropological films and documentaries. The ninth Astra Film Festival took place in Sybin, (in October 2007) - a cultural capital of Europe at the time. The films competed in various categories, there were all kinds of special projections, and the richness and the excellent organization of the festival prove, that this is one of the most interesting event of this type held in Europe.
10

Destiny Carried Me... An Interview with Andrzej Dybczak

63%
Sikora S., Dudek K.
Kwartalnik Filmowy
|
2008
|
issue 64
199-206
EN
'Gugara' by Andrzej Dybczak and Jacek Naglowski is a very interesting, unhurried narration about Eveneks, an indigenous people of Siberia. The film won a number of important prizes at documentary film festivals, and is considered by some to be an anthropological film. In the interview Dybczak talks about various ideas and solutions employed in the documentary, his approach to filming and the use of colour. He also considers the documentary in the context of anthropological cinema.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.