Search results

1

Sarah Sophia Banks oraz Bella Clara Landauer — kolekcjonerki efemerycznego dziedzictwa piśmienniczego

100%

Firlej-Buzon A.

Roczniki Biblioteczne

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2015

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vol. 59

25-42

EN

The article contains information about the ephemera collections of Sarah Sophia Banks (1744–1818) from England and Bella Clara Landauer (1874–1960) from the United States. Although differing in terms of their contents and, to some extent, their typology, the collections, amassed in various locations and historical periods, built up of passion bordering on mania, are unique as sources, appreciated by contemporary scholars. Worthy of note from the point of view of book and library scholars are both the figures of the two collectors and the original materials which attracted the attention of Banks and Landauer. The same can be said of the way they pursued their unique hobby and their pioneering work with materials which from the point of view of library practice are regarded as difficult, requiring special measures in the process of acquisition, collecting, study, storage and protection. Thus the experiences of the eponymous collectors, who amassed, selected, systematised and arranged various types of ephemera, become all the more interesting and worthy of popularisation. Worthy of note is also the very fact that the unconventional collections were given to research institutions. Of particular significance in this respect is Sarah S. Banks’ collection, which despite its size was incorporated into the British Library collection already in 1818 owing to its source potential and need to protect it. The ephemeral publications amassed by Sarah S. Banks are currently kept in the British Library. Bella C. Landauer’s collection, owing to the huge number of items, was divided and given to various institutions and research libraries, e.g. New York Historical Society, Smithsonian Institution Libraries, New York Public Library or Baker Library at Harvard University. Some of these institutions make digitised items from these collections available online, thanks to which the growing public domain resources can be used to initiate and develop new research. The aim of this article is to introduce the figures of the two collectors and the ephemera — the object of their collecting passion.

2

Digital Games, Collectors and (Artificial) Scarcity: The Digital Future Might Be a Bit Physical After All

88%

Macák M., Šašalová V.

Communication Today

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2022

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vol. 13

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issue 2

4-23

EN

Among other things, digital games can be considered valuable cultural artefacts, and in their physical form, they are inherently collectable. The study aims to reflect on digital game collecting and investigate the impact it has on the contemporary digital games industry. The current trend we would like to focus on further is the influx of ‘limited-print run’ companies and their products, i.e., small-scale companies that produce physical copies of otherwise digital-only games in a limited quantity or within a limited time frame. The study aims to examine the impact of limited-print game distribution on the digital games market, as well as explore what the emergence of this trend can mean in terms of the current state of the digital games industry from the collectors’ perspective. The study is largely theoretical; the methods of logical reasoning, i.e., analysis, synthesis, specification, comparison and wider generalisation are used to address the given topic. The discussed issues are then interpreted in relation to today’s digital games industry, more specifically to some of its key products.

3

Kształtowanie się księgarskiego rynku wtórnego po 1989 r., jego formy, funkcjonowanie i rola w procesie upowszechniania książki na tle przemian społeczno-ekonomicznych (podsumowanie projektu badawczego)

88%

Nieć G.

Annales Universitatis Paedagogicae Cracoviensis Studia ad Bibliothecarum Scientiam Pertinentia

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2017

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vol. 15

341-349

EN

The description of a research project, the aim of which was to perform a multi-aspect analysis of the second hand market of books in Poland, including describing its structure in the qualitative, quantitative and spatial aspects, characteristics of the offer, client base and its place in the general process of publishing dissemination

4

Kolekcjonowanie kontra szybkie konsumowanie

75%

Siuda P.

Przegląd Socjologii Jakościowej

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2012

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vol. 8

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issue 3

58-75

EN

The goal of this article is to show that collectors constitute a specific category of consumers. The article treats consumption through the lenses of high-speed society in which time becomes more and more important and scarce resource that people are constantly searching for. One of the reasons of this scarcity is that producers compete with each other. They want to grasp consumers’ time in order to make them spend it for consumption, and that is why one can speak about acceleration of time. Passionate and active acquiring is a thing that makes collectors similar to consumers, but the act of collecting is, in fact, opposed to fast consumption. It is based on different behaviors than those promoted by contemporary and very fast culture. Therefore, one who collects is engaged in a set of acts that are opposed to the time-consuming acquisitions. Collecting allows people to disengage from consumer culture that wants them to destroy old and acquire new goods. To collect is to selectively try to form a “whole” which constitutes a collection. Collecting reveals one’s assumption that objects are to be unique, not utilitarian, they are to be more than pure commodities. Given that collecting requires a lot of free time that is not used for consumption, it might be perceived as an act that is opposed to fast consumption.

5

Między tym, co „nasze” a atrakcją turystyczną. Prywatne kolekcje i izby regionalne na Śląsku Cieszyńskim w perspektywie antropologicznej

75%

Studnicki G.

Rocznik Muzeum "Górnośląski Park Etnograficzny w Chorzowie"

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2014

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vol. 2

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issue 2

23-69

PL

Artykuł poświęcony jest prywatnym izbom regionalnym, kolekcjom, muzeom zakładanym przez stowarzyszenia społeczne i osoby będące fascynatami lokalnej przeszłości, historii, kultury i dziedzictwa. Z jednej strony są one rodzajem miejsc pamięci, z drugiej zaś są atrakcją turystyczną. Ich pojawienie się można wyjaśniać jako manifestację tożsamości kulturowej oraz reakcję na zmiany, jakie przyniosła nowoczesność i globalizacja.

EN

The article discusses private folk exhibition rooms, collections and museums founded by non-governmental organizations or enthusiasts of local communities’ past, history, culture and heritage. On the one hand, those places are a kind of sites of memory (lieux de mémoire), on the other, they are tourist attractions. Their appearance can be described as manifestation of cultural identity and response to changes introduced, by modernity and globalization.

6

Voldemar Sumberg ja Eesti Tervishoiu Muuseumi rahvameditsiinikogu

75%

Gorshic A.

Mäetagused

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2018

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vol. 72

81-106

EN

The Estonian Museum of Hygiene (predecessor to the current one) was established in 1922. One of its principles was to collect and analyse knowledge of folk medicine to inform the public about incorrect treatment and to enhance proper, advanced medical knowledge. The museum’s contributors were voluntary private persons as well as schools and medical students. The exact number of contributors is not clear. By 1935 around 16,000 lines of folk medicine data had been collected, and various folk medicine equipment was displayed as part of the permanent exhibition. The article introduces physician Voldemar Sumberg’s efforts as a student in 1921 (together with other medical students), and as the museum’s director in 1924–1925 in collecting folk medicine information, and gives an overview of the remains of the collection that are currently preserved at the National Archives of Estonia. The museum stressed the need to save folk knowledge and data and to map the locations and activities of folk healers. The physicians tried to learn about the ‘enemy’ to point out the false treatment used among people. The 1921 and possibly also the 1924 collecting campaigns were conducted in collaboration with the Estonian National Museum, and probably also the Estonian Folklore Archives was consulted; the collecting strategies for folk medicine data did not differ much. The main difference lies in the attitude of the physicians to detect true and false in folk treatment, while the ethnographers-folklorists proceeded from the point of view of a ‘complete collection’, thus trying to collect every piece of information possible without adopting a disparaging attitude. V. Sumberg proved that medical professionals also tried to understand folk medicine, and to bring both folk and medical medicine close together without creating superfluous opposition. Considering the still strong position of folk healers in Estonia between the two world wars, it made perfect sense to gather such data to be preserved in the collections of the Museum of Hygiene. The remaining documentation of the museum, which began to wane at the end and after the Second World War, does not clarify the extent to which folk medicine material, either manuscripts or healing devices, were on display at the exhibition. It is certain though that some of the medical tools were on display. It is not ungrounded to argue that this section of the exhibition drew response from the visitors. Today, there are approximately 2000 lines left of all the materials concerning the folk medicine collection in the funds of the National Archives preserving files on the Museum of Hygiene. This involves both direct folk medicine data with names of collectors, notes without clear authorship, and data of folk healers’ names, places of residence, and fields of activity. Additionally, there are corresponding newspaper clippings, offprints of newspaper articles, handwritten notes by Sumberg, etc. The article also presents examples of folk treatment. The rest of the materials, field diaries of medical students hired by the museum, photographs, etc., were destroyed at the end of the Second World War or later. On the other hand, what is left of the collection is very versatile and offers both confirmation and addition to other such data in different folklore collections.

7

Plansze komiksowe w kolekcji muzeum historycznego (na przykładzie zbiorów Muzeum Historii Żydów Polskich POLIN)

75%

Kaniecki P.

Rocznik Antropologii Historii

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2019

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issue 12, Historia publiczna

91-107

XX

The essay deals with collecting original examples of comic book art by historical museums—it puts forward arguments for building such collections. These arguments have their source in the Polish Act on Museums—such objects may represent key values indicated in the Act: historical, artistic and scholarly. The nature of comic book panels and their value as potential exhibits and research material is well illustrated by the example of a collection of original panels from the comic book titled Achtung Zelig! The Second War by Krzysztof Gawronkiewicz (drawings) and Krystian Rosenberg/Rosiński (script). The panels held in the POLIN Museum of the History of Polish Jews collection are being analysed as a record of subsequent changes implemented in the course of the creative process (variants). It turns out that some of the changes can be interpreted as auto-censorship, which might have something to do with the social debate on the subject of Polish-Jewish relations that was ripe in the 1990s. Thus, these objects can indeed serve as a testament to the social history at the turn of the twenty-first century, which further justifies including them into a museum collection.

8

W oczekiwaniu na Niepodległą – działalność kolekcjonerska Heleny Dąbczańskiej

75%

Gruchała I.

Z Badań nad Książką i Księgozbiorami Historycznymi

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2019

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vol. Tom specjalny: Dla Niepodległej / Special Issue: For an Independent Poland

207-233

EN

During the period following the Partitions of Poland, the partitioning powers took control of cultural institutions, using them to deprive Poles of their national identity. Therefore, an unofficial cultural life had to be organized by the Polish people themselves. The current paper presents the activities of Helena Dąbczańska (1863-1956), a well-known book collector from Lwów, who established a museum in her house. The museum held a large library, a collection of paintings, china, furniture and other works of art. Dąbczańska’s example shows how an energetic and committed individual could make an immense contribution to Polish culture during this period. The sources referred to in the article are H. Dąbczańska’s memoirs, the materials she bequeathed to the National Ossoliński Institute in Wrocław, the existing literature about the collector’s life and legacy, and the results of preliminary research conducted in several museums. During her lifetime, the collector transferred her collections to various museums. The largest portion of her legacy went to the National Museum in Kraków, the Industrial Museum in Kraków and the National Museum named after King John III in Lwów. Smaller bequests went to the Wielkopolska Museum in Poznań, the Podole Museum in Tarnopol and the Ethnographic Museum in Kraków. Today, artefacts from Dąbczańska’s collections are still on display in museums and libraries.

9

WACŁAW FEDOROWICZ – ZAPOMNIANY KOLEKCJONER Z WITEBSKA

75%

Ajewski K.

Muzealnictwo

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2014

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vol. 55

118-130

EN

Wacław Fedorowicz (1848–1911) – sworn advocate, one of the most prominent collectors of Polish and Borderlands antiques. Living in Vitebsk, he created a unique private museum at home, gathering relicts of former Eastern Borderlands of the Republic of Poland (the so-called ancient Poland). The collections were catalogued, labeled and presented in special showcases. The collections comprised specialised library (ca. 1000 volumes) and museum collections (between 4500 and 7000 collectibles according to diverse estimations), including: archaeological collection, historical collection dating from the 13th to 19th century, armoury (ca. 300 pieces of military equipment), numismats (ca. 2000 pieces), sigillographic and ethnographic collection, civil orders, hunting gear, stove tiles, antique door handles and Gdansk locks, plaques and statuettes of historical figures, antique women’s and men’s clothes, vessels, lighting devices, jewelry, collection of pipes and snuffboxes dating from the 17th - 18th century, and antiques related to art and science: manuscripts, drawings, pictures of temples, churches, chapels of Borderlands etc., as well as a couple of old Polish oil portraits. The unique collection of masonics dating from 18th and 19th century was one of the biggest in Russia (157 showpieces). Being also active in the field of science, Fedorowicz published i.a. Armorial of Orsha, contributed to the publication of Armorial of the Vitebsk nobility, and initiated the joint publication From the area of Dvina in 1909, presenting the national achievements of the so-called Borderlands. He was one of the founders, and afterwards a member and vice-president of the Vitebsk Archaeological Committee, an associate member of the Polish Sightseeing Society in Warsaw, and from 1885 an associate member of the Society for the Encouragement of Fine Arts of the Kingdom of Poland. After the collector’s death, his collections were nationalised in 1917 and moved to other locations in 1918. In the years 1921–1923 the collection had been re-catalogued and made available to the museum. Nowadays, the items of Fedorowicz’s collection are stored in several institutions in Belarus, mainly in the Vitebsk Regional Museum of Local History, while some items (masonics) were recently presented at special and thematic exhibitions.

PL

Fedorowicz (1848–1911), adwokat przysięgły, był jednym z najwybitniejszych kolekcjonerów zabytków polskich i kresowych. W swoim domu w Witebsku stworzył wyjątkowe prywatne muzeum, w którym gromadził pamiątki przeszłości dawnych kresów Rzeczypospolitej (tzw. starożytności). Zbiory były sklasyfikowane, opisane i prezentowane w specjalnych gablotach. W ich skład wchodziły: biblioteka specjalistyczna (ok. 1000 tomów), oraz zbiory muzealne (wg różnych wyliczeń, od 4500 do 7000 muzealiów), w tym: archeologiczne, historyczne XIII-XIX w., zbrojownia (ok. 300 militariów), numizmaty (ok. 2000 sztuk), kolekcje: sfragistyczna, etnograficzna oraz ordery cywilne, przybory myśliwskie, kafle piecowe, stare klamki i zamki gdańskie, plakiety i figurki postaci historycznych, dawna odzież męska i damska, naczynia, przyrządy oświetleniowe, biżuteria, zbiór fajek i tabakierek z XVII-XVIII w., a także zabytki z dziedziny nauki i sztuki: rękopisy, ryciny, dokumentacja fotograficzna świątyń, kościołów, kaplic kresowych itd., oraz kilka olejnych portretów staropolskich. Wyjątkowym był zbiór massoników – jeden z największych na terenie Rosji (157 eksponatów) z XVIII i XIX wieku. Fiedorowicz działał też na niwie naukowej – wydał m.in. Herbarz Orszański, pomagał w wydaniu Herbarza szlachty witebskiej, a w 1909 r. zainicjował wydanie księgi zbiorowej Z okolic Dźwiny, przedstawiającej dorobek narodowy na tzw. kresach. Był jednym z założycieli, a następnie członkiem i wiceprezesem witebskiej Komisji Archeologicznej, członkiem korespondentem Towarzystwa Krajoznawczego w Warszawie, a także od 1885 r. członkiem korespondentem Towarzystwa Zachęty Sztuk Pięknych w Królestwie Polskim. Po śmierci kolekcjonera jego zbiory zostały w 1917 r. znacjonalizowane i w 1918 r. przeniesione w inne miejsca. W latach 1921–1923 dokonano ich nowej inwentaryzacji i udostępnienia muzeum. Obecnie to, co pozostało z kolekcji Fedorowicza znajduje się w kilku instytucjach Białorusi, głównie w witebskim Okręgowym Muzeum Krajoznawczym, a niektóre przedmioty (massonika) były ostatnio pokazywane na okolicznościowych i tematycznych wystawach.

10

«Kołysałem się tą myślą»: Historia niezrealizowanego projektu fotograficznego Michała Chomińskiego

75%

Wanicka A.

Pamiętnik Teatralny

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2021

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issue 1(277)

37-72

EN

This article discusses an unrealized photographic project by Michał Chomiński (1819–1886), an actor and chronicler of the Warsaw State Theaters. Based on primary sources (partly included in the appendix), this reconstruction of the hitherto untold story of Chomiński’s Gallery of Dramatic Artists of Warsaw Theaters broadens our knowledge of the beginnings of Polish theater historiography. Chomiński is shown as the first collector of theater iconography who appreciated the documentary value of the photograph. The methodological framework of the article is based on selected aspects of research on collecting practices from the perspective of cultural studies.

11

A Manuscript Description in Kraków of the ‘Trivulzio Museum’ in Milan

75%

Rambach H. J.

Studies in Ancient Art and Civilization

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2017

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vol. 21

261-274

EN

An early nineteenth-century manuscript is preserved in the Jagiellonian Library in Kraków. This document in Italian, entitled ‘Breve Descrizione del Museo Trivulzio’, describes the contents of a collection of an aristocratic family in Milan, as seen shortly after the death of its builder – Don Carlo Trivulzio (1715-1789). The author compares it to a published text in French by Aubin-Louis Millin, and publishes up-to-date descriptions of the engraved gems evoked in the manuscript. Thanks to various sources, five of those seven cameos and intaglios can also be illustrated together for the first time.

12

Collecting Coins and Medals in 18th-Century Sweden

75%

Haidenthaller Y.

Artium Quaestiones

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2023

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issue 34

111-137

EN

During the 18th century, collections of coins and medals were familiar sights. The collectors ranged from scholars to amateurs, men and women and the collectables tempted collectors for various reasons: they signified wealth and knowledge, they rendered historical events or current politics in material form, or they were miniature artworks and financial investments. Also, the visual and material culture that involved collecting coins and medals consisted of cabinets and numismatic publications. But how were numismatic collections amassed, and how were they used? What did it mean to own a coin and medal collection? This article discusses the practices of collecting numismatics in 18th-century Sweden through various case studies concerning private and public collections, such as the Uppsala University coin cabinet or the possessions of politician Carl Didric Ehrenpreus, numismatist Elias Brenner, medal artist Arvid Karlsteen, and merchant-wife Anna Johanna Grill. These cases illuminate the diverse motivations behind collecting, from intellectual curiosity to social status. These case studies include immaterial facets such as witty discussions and international networks and material aspects such as coins, medals, cabinets, letters, and publications. Based on contemporary written sources, this article sheds light on how numismatic objects were bought, sold and circulated, highlighting the market dynamics of collecting. Furthermore, the examples examine how numismatic publications were used next to the objects, contributing to hermeneutic study and the collecting process. The written records provide insight into the scholarly discourse surrounding these collections, offering a glimpse into the intellectual context of the time. Finally, the article will add to the understanding of values and ideas attached to the practices of collecting coins and medals in early modern Europe. It elucidates the role of numismatics as a collecting practice, as well as how it shaped cultural perceptions, underscoring the intricate interplay between material and visual culture, society, and the production of knowledge during this period.

13

Ksyloteki, czyli patroszenie lasu

71%

Arendt A.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

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2020

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vol. 8

215-229

EN

Taking as a starting point the German tradition of creating xylotheques, i.e. libraries containing wood samples disguised as books, I recall the biography of Wiktor Kozłowski (1791–1858), the first Polish creator of xylotheques, forester, collector and author of dictionaries of forest terminology against the backdrop of the history of the organisation of the governmental forest service in the Kingdom of Poland. I put forward the thesis that the reorganisation of forestry in the spirit of the Enlightenment’s project of dominating nature caused anxiety, which found expression, among other places, in Karol Kurpiński’s opera Leśniczy z Kozienickiej Puszczy [The Forester from the Kozieniecka Primeval Forest]. In the first half of the 19th century, the figure of the “young” and “old” forester was juxtaposed, already heralding the rift between the Enlightenment and romantic approaches to the natural world. Wiktor Kozłowski’s xylotheques represent the Enlightenment approach – related to the passion for cataloguing, preparing and objectifying as tools of control over the natural world.

PL

Obierając za punkt wyjścia niemiecką tradycję tworzenia ksylotek, czyli bibliotek zawierających próbki drewna ucharakteryzowane na książki, przypominam biografię Wiktora Kozłowskiego (1791–1858), pierwszego polskiego twórcy ksylotek, leśnika, kolekcjonera i autora słowników terminologii leśnej na tle historii organizacji rządowej służby leśnej w Królestwie Polskim. Opisuję, jak reorganizacja leśnictwa w duchu oświeceniowego projektu dominacji nad przyrodą wywołała niepokój, który znalazł wyraz między innymi w operze Karola Kurpińskiego Leśniczy z Kozienickiej Puszczy. W pierwszej połowie XIX wieku zestawiano postaci „młodego” i „starego” leśniczego, zapowiadające rozdźwięk między oświeceniowym i romantycznym podejściem do świata przyrody. Ksyloteki Wiktora Kozłowskiego reprezentują podejście oświeceniowe – związane z pasją katalogowania, preparowania i obiektywizowania jako narzędzi kontroli.

14

"Treasures from the Wreck of the Unbelievable" - archeologia jako element strategii artystycznej Damiena Hirsta

66%

Brillowski W.

Artium Quaestiones

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2020

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issue 1

123-170

EN

The most important element of Damien Hirst's multimedia project "Treasures from the Wreck of Unbelivable" was the exhibition, presented from April 9 to December 3, 2017 in Venice, in the galleries of the Pinault Foundation in Punta della Dogana and Palazzo Grassi. It was completed by several book publications and a 90-minute film of the same title, made available globally on the Netflix online platform on January 1, 2018. The exhibition included over a hundred objects, mainly sculptures, made in various techniques and materials in a wide range of sizes. The film, stylized as a popular science documentary, presents the fictional story of their discovery and exploration at the bottom of the Indian Ocean, and their transport to Venice. It develops the main idea of the exhibition – a fictitious vision of the origin of these objects from an ancient wreck, filled with artistic collections, belonging to a fabulously rich ancient Roman freedman, with the significant name Cif Amotan II (anagram from “I am a fiction”). Realizing this fancy artistic vision, most of the works were made as if they had been damaged by the sea waves and overgrown with corals and other marine organisms. Hirst created a comprehensive and all-encompassing narrative using the principle of "voluntary suspension of unbelief," formulated by Samuel T. Coleridge. The artist sets himself and the viewer on a fantastic journey into the ancient past, taking up subjects central to his ouevre for decades: faith, relations of art and science, transience and death. He does this by means of numerous references to the artistic and mythological heritage of antiquity, not only Graeco-Roman, but also of other great cultures and civilizations. Although the formal and technical aspects of the project will also be discussed, the main goal of the author is to analyze how Hirst used the knowledge of antiquity (classics) to create both the exhibition itself and the mockumentary. The artist made archeology an element binding his narrative together, showing in the film not only how artefacts were obtained from the bottom of the ocean. He also presented a number of tasks that scientists deal with at various stages of the project – from the first discovery, through interpretation and conservation, to the presenting at the museum-like exhibition. Of course, his purpose was not to create a study in the methodology of underwater exploration, but to reflect on the cognitive power of science examining remains of ancient times. By juxtaposing two possible attitudes towards relics of the past, i.e. the strict discipline of the scholar and the imagination of the treasure hunter, he concludes that narratives arising from them will both have the character of a mythical tale. The ontic status of the artefacts themselves, as the things of the past, left in a fragmentary state by the passage of time, sets all the stories related to them within the discourse of faith.

15

Księcia Czartoryskiego zakupy rzeźb w Rzymie (1800–1801)

63%

Mikocka-Rachubowa K.

Biuletyn Historii Sztuki

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2020

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vol. 82

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issue 3

403-428

EN

Prince Adam Jerzy Czartoryski’s contacts with Italian sculptors and purchases of sculptures during his stay in Rome from August 1800 to May 1801 are discussed. Resorting to the correspondence of Prince Czartoryski with his mother Izabela Czartoryska, licenses to export art works beyond the Papal States kept in the Archivio di Stato di Roma, and notes in the diary of the Roman sculptor and antique dealer Vincenzo Pacetti, it was possible to reconstruct picture of the then interests of Prince Czartoryski, his relations with Rome’s circle of sculptors and antique dealers, as well as of his purchase of sculptures and efforts made to have, among others, the following transported to Puławy in 1803, where they have been preserved to-date: the statute of a faun (before 1800), figure of a sleeping panther (1801), and the marble sarcophagus by Francesco Massimiliano Laboureur (1797).

PL

Artykuł poświęcony jest kontaktom księcia Adama Jerzego Czartoryskiego z włoskimi rzeźbiarzami oraz zakupom rzeźb dokonywanym przez niego podczas pobytu w Rzymie od sierpnia 1800 do maja 1801 r. Na podstawie korespondencji księcia z matką, Izabelą Czartoryską, a także licencji na wywóz dzieł sztuki poza granice Państwa Papieskiego przechowywanych w Archivio di Stato di Roma oraz wzmianek w diariuszu rzymskiego rzeźbiarza i antykwariusza Vincenza Pacettiego, udało się zrekonstruować obraz ówczesnych artystycznych zainteresowań księcia Czartoryskiego, jego relacji ze środowiskiem rzymskich rzeźbiarzy i antykwariuszy oraz kupowania przez niego rzeźb i udziału w przywiezieniu do Puław w 1803 r. m.in. znajdujących się tam do dziś: posągu fauna (przed 1800), figury śpiącej pantery (1801) oraz marmurowego sarkofagu - dzieła Francesca Massimiliana Laboureura (1797).

16

Artysta – emigrant – pielgrzym. O norwidowskim autoportrecie „Ipse ipsum”

63%

Chlebowska E.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2021

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vol. 116

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issue 4

181-193

EN

This article offers an interpretation of Cyprian Norwid’s self-portrait Ipse ipsum created in 1857 in Paris. Given its intriguing approach, references to the poet’s biography and literary works, as well as rich symbolism, the drawing occupies a particular place in the collection of over 20 cartoon self-portraits by the author of Promethidion. Its presentation is accompanied by an outline of its turbulent history and a brief literature overview. The circumstances in which it was drawn prove crucial for the understanding of Norwid’s approach to his own image. Selfcreation is adopted as the pivotal perspective in the light of which the self-portrait is interpreted as an image presenting the author of Vade-mecum as an artist, an emigrant, and a pilgrim, with the historical, biographical, and literary contexts playing important roles in all three representations. The poems Czy podam się o amnestię [Shall I Request Amnesty] and Pielgrzym [The Pilgrim] shed some extra light on the drawing of Norwid standing on the map of the world and surrounded by barking dogs, allowing us to search for deeper meanings in the poet’s spiritual profile.

17

Eli Broad and his work: The Broad Museum in Los Angeles

63%

Jasińska A., Jasiński A.

Muzealnictwo

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2021

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issue 62

2-12

PL

W artykule omówiona została sylwetka i działalność Elia Broada, amerykańskiego przedsiębiorcy, kolekcjonera i filantropa, jednego z najbogatszych ludzi na świecie, który większość swojego majątku przeznaczył na cele dobroczynne. Zwieńczeniem jego pasji kolekcjonerskiej jest otwarte we wrześniu 2015 r. muzeum sztuki nowoczesnej The Broad, wzniesione w centrum Los Angeles, które zostało zaprojektowane przez znaną nowojorską pracownię Diller Scofidio + Renfro. Eli Broad ufundował nie tylko muzeum swojego imienia i wiele innych budowli projektowanych przez najwybitniejszych współczesnych architektów, także liczne instytucje muzealne zawdzięczają swoje istnienie jego filantropii.

EN

In the paper the profile and activity of Eli Broad is presented; an American entrepreneur, collector, philanthropist, Broad is one of the wealthiest individuals in the world who has allocated most of his assets to charity. His collecting passion climaxed in The Broad Museum of modern art designed by the New York architects Diller Scofidio + Renfro, and opened in September 2015 in Downtown Los Angeles. Not only has Eli Broad funded the museum bearing his own name and numerous other buildings designed by the most outstanding modern architects, but many other museum institutions are indebted to this charity.

18

Taktyka kształtowania kolekcji obcojęzycznych: bibliotekarz do zadań specjalnych

63%

Meinardi G.

Biblioteka i Edukacja

|

2012

|

issue 2

PL

Artykuł ma celu przybliżenie specyfiki gromadzenia zbiorów w bibliotece filologicznej, traktowanej jako podstawowy warsztat pracy naukowo-badawczej Instytutu Neofilologii, nie tylko dla filologa. Jak taki warsztat zorganizować – dokonać odpowiedniego doboru księgozbioru i na bieżąco go uzupełniać oraz jak wykorzystać nowe źródła poszukiwań – to główne zadania dla bibliotekarza zajmującego się gromadzeniem. Artykuł przedstawia go w różnych rolach, uwzględniając główny profil strategii kształtowania zbiorów filologii romańskiej.

EN

The aim of this article is to present the characteristics of collecting books in a philological library, which is treated as the basic workshop of academic research in the Institute of Modern Languages, but its target users are not only philologists. How to organize such a workshop, to make appropriate decisions about the collected pieces and to keep the collection up to date? How to exploit new sources of research? These are the main challenges for a librarian involved in the process of collection. The article presents the librarian in a variety of roles, taking into consideration the main development strategy profile of forming the collection of the Romance philology library.

19

Manfreda Sommera filozofia zbierania

63%

Nowak W.

Kultura i Wartości

|

2020

|

issue 29

DE

Der Artikel ist der Philosophie von Manfred Sommer und seiner Phänomenologie der Sammelpraktiken gewidmet. Die Grundlage des Entwurfs von Sommer bildet die Unterscheidung von ökonomischem und ästhetischem Sammeln. Das ökonomische Sammeln hat den Charakter einer nicht unterscheidenden Kumulation. Das ästhetische Sammeln ist differenzierend und auf individuelle Eigenschaften des Gegenstands bezogen. Bei näherer Analyse erweist sich das erste als eine unvollkommene, unvollständige Version des anderen. Dem Sammeln liegt die Tatsache zugrunde, dass der Mensch ein homo videns ist – ein Wesen, das seine höchste Freude in der Betrachtung findet und in dieser Betrachtung für immer verweilen will. Die Darstellung des Entwurfs von Sommer endet mit der Zusammenfassung von konzeptbezogenen kritischen Bemerkungen.

EN

This paper is devoted to the discussion of Mannfred Sommer’s philosophy, particularly his phenomenology of the practice of gathering. Sommer’s conception is underlaid by the distinction between an economical gathering and an aesthetical gathering. Whereas the former can be described as an accumulation that is nondifferential in its nature, the latter is essentially differential – it is directed towards individual features of the object. However, on the closer consideration the economical gathering turns out to be imperfect and incomplete form of the aesthetical gathering. Gathering as well as collecting stem from the fundamental fact that we are homo videns – beings that find the ultimate joy in the activity of seeing. As homo videns we also desire that this activity should last forever. The paper ends with the discussion of the critical remarks upon Sommer’s philosophy.

PL

Artykuł poświęcony jest filozofii Mannfreda Sommera i jego fenomenologii praktyk zbierania. Podstawą koncepcji Sommera jest odróżnienie zbierania ekonomicznego i estetycznego. Zbieranie ekonomiczne ma charakter nierozróżniającej kumulacji. Zbieranie estetyczne jest różnicujące, nakierowane na indywidualne cechy przedmiotu. Przy bliższej analizie pierwsze okazuje się ułomną, niepełną odmianą drugiego. Zbieranie i kolekcjonowanie mają u swego źródła fakt, że człowiek to homo videns – istota, która znajduje najwyższą radość w oglądzie i która pragnie trwać w owym oglądzie na zawsze. Omówienie koncepcji Sommera kończy się zebraniem uwag wobec niej krytycznych.

20

Kolekcjonerstwo – atawistyczne zbieractwo a poczucie społecznej użyteczności. Przyczynek do psychologii posiadania

63%

Kruszewski T.

Toruńskie Studia Bibliologiczne

|

2017

|

vol. 10

|

issue 2(19)

67-80

PL

Artykuł porusza tematykę z pogranicza kilku dyscyplin naukowych: m.in. historii, psychologii, zarządzania i socjologii. Jest to próba interdyscyplinarnego spojrzenia na kolekcjonowanie i zbieractwo rzeczy, które są praktykami niezmiennie obecnymi w życiu człowieka różnych czasów i kultur. Publikacja jest skromnym przeglądem wybranych aspektów dotyczących wspomnianych aktywności i głosem w dyskusji nad ulokowaniem zjawiska w określonym dyskursie naukowym.

EN

The article focuses on the theme of the border several disciplines such as history, psychology, sociology and management. This interdisciplinarity allows to look more broadly at collecting that are typical practices in human life, regardless of time and culture in which he lived. The article is therefore a review of certain aspects of that activity, and an introduction to the discussion on locating the issues in scientific discourse.

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