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1
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EUROPE AS A CRYSTAL PALACE (Europa jako Krysztalowy Palac)

100%
Stanczewski R.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 3(286)
110-111
EN
Fifteen years after the fall of the Berlin Wall, the range of the European Union has expanded after the access of the post-communist countries of Eastern Europe, thus making it necessary to tackle the cultural differences and divergent visions of the Community's development. Undisturbed functioning under the roof of the crystal palace of the Europe of the twenty first century has been undermined, and the palace walls are starting to disclose cracks. Will the myth of the Continent, united against all odds, survive such a confrontation of two different worlds?
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ETHNOREGIONALISTIC MOVEMENTS IN EUROPE: RESHAPED OR DISFUNCTIONAL IMAGE OF EUROPEAN FUTURE? (Ruchy etnoregionalistyczne w Europie: przeksztalcone czy dusfunkcjonalne wyobrazenie europejskiejn przyszlosci ?)

100%
Konarski W. K.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 3(286)
72-79
EN
Recent decades clearly confirm that ethnicity and regionalism become key words for the processes which are developing simultaneously with the European integration. Thus they remain in mutual dependence and demonstrate their impact on the nation-state in its most transparent, i. e. post (French) revolutionary understanding. The European integration in particular generates a tendency towards ethno-political differentiation of regions, which in this way may be encouraged to escalate their educational, economic, legal, and purely political demands. As a consequence it has an impact on the weakening of a nation-state. The term regionalism - relying upon the local specific - may be perceived in several ways. However, the intention of the hereby article is to understand it as an (ethno) regionalistic movement. Such approach justifies to perceive it as a synonymous with a nationalism of small and dependent nations, as well as ethnic and national minorities. These entities are forced to strengthen their existence while remaining under pressure from large (state) nations which dominate in already existing nation-states. In other words the (ethno) regionalistic movements appear as a small ethno-national entities' reply on the above quoted large (state) nations' pressure. It should be here added that the (ethno) regionalistic activities in most cases are typical for many West European states (Faroe Islands and Greenland in Denmark, Bretagne and Corsica in France, South Tyrol in Italy, Basque country, Galicia and Catalonia in Spain, Scotland and Wales in Britain). However, their presence is also noticeable in selected East-Central European (ECE) countries. Bearing in mind its geographical and historical limits it is confirmed by Poland (German minority and Silesians in particular), Austria, Romania, Serbia and Slovakia (Hungarian national minority in those four cases) or on a limited scale by the Czech Republic (Polish national minority). The nature of the ECE quoted examples is irredentist in its character, whereas the Western examples are manifested mostly by their demands towards the regional autonomy, its deepening or in some cases even to an independent status.
3
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EUROPE AND ITS SHADOW. HISTORY AND METAPHOR (Europa i jeje cien. Historia i metafora)

100%
Czaja D.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 3(286)
EN
An attempt at an anthropological view of the history of twentieth-century Europe from the point of view of metaphorology. The author tried to reconstruct its cultural and ideological idiom via the prism of two metaphorical figures: the 'ome' and the 'spirit'. Consequently, he conducted a more detailed analysis of the contents of such expressions as: 'the European Home' (an instructive example being the book by the French politologist T. Delpech: 'Savage Century: Back to Barbarism') and the 'Spirit of Europe' (an important vision from a collection of lectures by the Czech philosopher and theologian Tomás Halik: 'Summoned or Not, God Shall Appear'). The knowledge about the essence of the 'European quality' (especially in its twentieth-century form) that emerges from an analysis of the two expressions does not incline towards optismism. The texts by both authors disclose that apparently 'the European Home' denotes not only a safe region, but also the dark 'basements' inhabited by phantoms. In turn, the 'Spirit of Europe' is an expression that, alongside bright connotations, also contains sinister (wild and untamed) regions of the subconscious. Only the inclusion of those undesired and forgotten spaces into living European awareness (a sui generis counterpart of Jung's 'integration of the shadow') can become a condition for its spiritual renascence.
4
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EUROPE DIVIDED OR 'BALANCED' (Europa podzielona czy 'zrównowazona')

100%
Michalski B.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 3(286)
38-44
EN
The author deals with assorted aspects of the integration of contemporary Europe, in which up to now the economy played a priority role. Today, however, the united European project gives pride of place to other fundamental questions: whether the Europeans will become a single nation, or whether the divided memory of Europe will stand in their way? Will it become possible to overcome the different historical experiences of the West and East and discover a joint foundation that will facilitate mutual rapprochement? Finally, will the 'European dream' about a single nation living in harmony and sharing symbols, dreams and targets, come true? All the conflicts and apocalyptic genocides of the twentieth century will remain a warning and a recollection.
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ON THE SEARCH FOR IDENTITY IN AESTHETIC COMMUNICATION BETWEEN CULTURES (O poszukiwaniu tozsamosci w komunikacji estetycznej wiedzy kulturami)

63%
Czajka A.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 3(286)
54-59
EN
The article is concerned with the problems of European identity, as defined in the process of aesthetical communication among cultures. Such an approach to the question of identity is based upon a conception of culture centred about the aesthetical experience (Vico, Schiller, Brzozowski); in this centre we see the forming of the autotelic kernel (Ossowski, Kloskowska) of those symbolic systems (leading imagines, musical intensities, apriorical structures of aesthetical perception) which are constitutive for the single national cultures. The aesthetical forms contained in such kernels are especially predisposed for the relationships of communication, in which new fusions often occur and new forms develop themselves, which represent an increase of prior forms and denote a common horizon for until now distinct cultures. An activation of aesthetical communication, possibly based upon cultural polyvalence (Kloskowska), would be the first step to perform in our global and intercultural situation, in order to facilitate the mutual understanding in the political, legal or economical domain. Aesthetical communication marked the stages of European history (Italian Renaissance, French and European Classicism) and is particularly intense today (even with the momentaneous character of aesthetics in our times), especially in the domain of art production (examples will be analysed), although it does not enough influence the 'sensus communis' because of the marginalisation of this culture sphere, in which the horizons of culture are designated by art.
6
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GEORGES DUMÉZIL AND THE CONCEPT OF EUROPE (Georges Dumézil i koncept Europy)

63%
Zlocka-Dabrowska M.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 3(286)
60-64
EN
The ideas proposed by Georges Dumézil could prove useful in the current discussion about Europe, which asks whether European culture is an expression of the unity or the multiplicity of cultures. His theory about three social functions is based on material representing assorted Indo-European cultures, but becomes an expression of the unity and community of the cultural complex that is Europe. Dumézil's classical work remains interesting even if should be transferred onto a shelf with the belles lettres.
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'FLAMMANS PRO RECTO'. SEVERAL REFLECTIONS ABOUT THE LAST MEMBERS OF THE LANCKORONSKI FAMILY, OR ON PATRIOTISM, EUROPEAN ARTISTIC CULTURE AND CLASSICAL TRADITION (Polish title - below)

63%
Miziolek J.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 3(286)
90-109
EN
(Title in Polish - 'Flammans pro recto'. Kilka mysli no ostatnich z rodu Lamckoronskich, czyli o patriotyzmie, europejskiej kulturze artystycznej i tradycji antyku'). In October 1994 and June 2000 a significant number of Italian paintings from the collection of Count Karol Lanckoronski (1848-1933) in Vienna were donated to the Royal Castles in Kraków and Warsaw. This generous gift was made by Count's daughter Karolina Lanckoronska (1898-2002), then the only surviving member of the family. The Warsaw Castle received Baroque and Neoclassical paintings whereas Renaissance paintings - including works by such artists as Simone Martini, Bernardo Daddi, Apollonio di Giovanni, Jacopo del Sellaio, Garofalo and Dosso Dossi went to Kraków. They depict, among others, Orpheus, Odysseus, Paris and Helen of Troy, Narcissus, Marcus Curcius, Horatius Cocles, the vestal Tuccia, Scipio Africanus, Vergil and Julius Caesar. Thus the rooms of the Kraków residence of the Polish kings, built in the first half of the 16th century by two Italian architects, Francesco Fiorentino (d. 1516) and Bartolomeo Berecci (d. 1536), were enhanced by the paintings of their compatriots. The Lanckoronski donation complements beautifully the all'antica and all'italiana 'aura' that exists in the Castle. It was on the Castle (or not far from it) that Filippo Buonaccorsi, known as Callimachus wrote a letter to his friend Marsilio Ficino calling him 'the new Orpheus', it was here that in 1515 and in 1522 a play was performed about Odysseus/Ulysses and Paris, and even earlier the song of the Sirens had been written about. In 1518 it was also here the King Sigismundus I married Bona Sforza. To mark the occasion of that famous wedding, Andrzej Krzycki wrote a charming verse, in which he describes Bona as 'radiating' the best characteristics of all the three goddesses known from the Judgement of Paris - Venus, Pallas Athena and Juno. The splendid and memorable gift of the last of the Lanckoronskis to the Royal Castle was indeed the crowning point of the many activities undertaken by Karol Lanckoronski such as the restoration and conservation of the buildings on the Wawel Castle Hill. In 1994, Karolina so wrote about her father: 'Together with a group of friends (...) he fought (...) at the beginning of this (the 20th) century a Homeric-like work to release the former residence of the Jagiellons from its use as Austrian barracks'. At the beginning of the 21st century, nearly 100 years after the Castle was rid of foreign armies (in 1905), the former residence of the Polish monarchs which had been ruined by the partitioning powers, once again emanates an atmosphere of the Italian Renaissance, as in the 16th century, the Golden Age of Polish culture, and all thanks to the collection amassed in Vienna and the generosity of Karolina Lanckoronska.
8
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THE MYTHS AND SYMBOLS OF CENTRAL EUROPEAN CULTURES (Mity i symbole Europy w kulturach Europy Srodkowej)

63%
Nowicki J.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 3(286)
65-71
EN
In Central Europe culture played a fundamental part in creating social bonds and the shaping of identity. Myths and symbols present in literature, painting and music possess a strong political connotation. In contrast to the western part of the Continent, which with the assistance of literature created myths and symbols endowed with a universal quality, in Central Europe they are always firmly associated with national history. The difficulty of studying that which transpires in Central Europe stems from, i. a. the overlapping of the 'western' and 'eastern' models, from which assorted features are borrowed while adding one's own, original solutions. This state of affairs calls for exceptional alertness, since the evolution of Central Europe is the resultant of choices and the direct surrounding, often known as the 'geopolitical situation'. The presented text is an attempt at analysing several myths and political symbols envisaged as the mechanisms of identity and difference. This concrete question - the attitude towards memory and oblivion - is shown as an example of the profound difference between the cultural psychology of Central Europe and the West, Europa felix.
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THE RHINE - NOTES (Ren - notatki)

63%
Bajon K.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 3(286)
121-127
EN
The narrator of this brief sketch spent several hours in Basel before the European Championship quarter final between Portugal and Germany. Sitting on a stone riverbank and dipping his toes in the Rhine, he ponders on Europe, its intellectual-political image and contemporary condition. In this manner, Basel, located along the borderline between three states, becomes the heart of the Continent, and the Rhine, which, the author claims, is a frontier dividing Europe into the West and the Central East (Roman and barbarian), is its main blood vessel. In the presented text, Basel, which survived both world wars untouched, appears to be a sui generis place beyond time (or actually above time) and space. Here, the experience of the gas chambers is not constitutive - something that an inhabitant of Central-Eastern Europe finds, on the one hand, inconceivable and, on the other hand, greatly perspectivistic since it does not create any restraints. This is the reason why the situation of the narrator in Basel differs from the one in places defiled by war; in other words, he is at liberty to do slightly more. This is also the reason why the sketch has the form of loose notes (as if made on the margin of an exercise book), whose outcome and order are determined only by the origin of the author's associations with the Rhine and Basel. Hence also such a wide spectrum of the described figures (the inventor of iperite Fritz Haber, Rembrandt, Nietzsche, Hitler, De Muralt, Frederic Hölderlin) and places (Bolimów, Mauthausen, Dahlem, Ypres) - all to answer, if only partly, the question: what is Europe and what does its phenomenon consist of?
10
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THE 'BRAIN DRAIN' OR THE PRINCIPLE OF COMMUNICATING VESSELS. AN INCESSANT STRIVING TOWARDS AN OPTIMAL SOLUTION (Drenaz mózgów lub zasada naczyn polaczonych. Nieustanne dazenie do optymalnego rozwiazania.

63%
Haftek M.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 3(286)
112-113
EN
The author recalled the story of Maria Sklodowska-Curie, comparing it with present-day intellectual emigration, scientific exchange and the problem of the brain drain.
11
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EUROPA AND ZEUS, WOMAN AND BULL. THE AHISTORICAL AND LAIC VERSION OF THE MYTH OF EUROPE IN PAINTINGS BY HOFFMAN AND LEBENSTEIN (Polish title - below)

51%
Biasio B. d.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 3(286)
45-53
EN
(Title in Polish - 'Europa i Zeus, Kobieta i byk. Ahistoryczna i laicka wersja mitu Europy w malarstwie Hoffmanna i Lebensteina'). The Polish government commissioned from Franciszek Starowieyski, the renowned Polish painter, a composition to embellish the new building of the Permanent Representation of the Republic of Poland at the European Union in Brussels. The monumental 'Divina Polonia rapta per Europa profana', executed in 1998, was put on permanent show in the main hall of the Permanent Representation seat. 'Divina Polonia', the second female figure featured in the canvas next to Europe, is depicted with a halo. F. Starowieyski referred to the classical myth of Europe (a Phoenician princess abducted by Zeus disguised as a bull) in order to emphasize the contrast between secular Europe and 'holy' Poland. What is the source of this combination of nudity and saintliness? Why has this otherwise liberated artist, who in hundreds of compositions obsessively portrays the female nude and remains distant from bigotry or clericalism, suddenly resorted to religious symbols. These intriguing and disturbing questions arose after seeing an exhibition on the myth of Europe shown in Florence. There, works of twentieth-century artists from Western Europe did not contain religious symbols. We seem to be approaching the topical problem of the unity of Europe. The canvas 'Divina Polonia rapta per Europa profana' is a symbolic summary of the two different historical experiences of the East and West of Europe. In Eastern Europe it was precisely culture and religion which proved to be the strongest fortress in the battle waged by the smaller nations of this part of the Continent against the imperialism of their more powerful neighbors. This issue, reflected in myth and expressed in Polish twentieth-century painting, remains an unresolved topic of fascinating interdisciplinary studies (history of art and political anthropology), whose results the authoress shall attempt to present in her dissertation… Polish twentieth-century painting expresses two embodiments of the myth of Europe. On the one hand, the 'western' version, similarly to western art in general, recounts the story of twentieth-century European civilization, describes women's liberation, and comments on the interminable relations between man and woman (Skoczylas, Nacht-Samborski, Manastyrski, Linke, Hoffmann, Lebenstein, Nowosielski). The same myth is also present in a 'Polonised' version (Starowieyski, Hasior, Grzywacz, Dwurnik), and undergoes a transformation into the 'antemurale' myth, which has shaped Polish historical identity for centuries.
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