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Polish contemporary art to the anti-semitism of Poles and its political significance

100%

Minkner K.

Przegląd Narodowościowy – Review of Nationalities

2016

issue 6

195–221

This article presents artistic creativity which worked through the problem of Polish anti-Semitism Almost all discussed works, performances, films, projects appeared after 2000, when Jan Tomasz Gross published his book Neighbors, in which he described the massacre in the village of Jedwabne (1941) launching a public debate about the responsibility of Poles in the Holocaust of the Jews In the text, I showed as art, which is conventionally called “post-Jedwabne” was part of this debate Its political status on possibly general level was associated primarily with the revision of conventionalized historical memory and national identity formed on romantic patterns The text shows that the debate with the participation of artists formed part of the rules of socalled ritual chaos, so the highly polarized positions, in which anti-Semitism was considered as an obvious and determining such events as the ones in Jedwabne (the opinion was adopted by artists), or it was denied Even those works that sought to break away from this dichotomy, as Ida by Paweł Pawlikowski were placed secondarily in it as a part of the public debate In the text, I explained that the post-Jedwabne art worked through primarily so-called secondary anti-Semitism The political potential of these gestures was related to the disclosure of social antagonisms and tensions arising from the fact that Poles denied phenomenon of their own anti-Semitism and put the blame on the Jews for the fate, which they met A very important aspect (political as well) also proved the psychotherapeutic function of post-Jedwabne art In this perspective, events such as the pogrom in Jedwabne appear like trauma, which disintegrates the national identity Translating it into artistic strategies many artists applied measures that were to deprive the viewer the secure role of an observer in favor of an active, working through participant.

Prisca Theologia Mickiewicza

80%

Seweryn D.

Roczniki Humanistyczne

2019

vol. 67

issue 1: Literatura polska

107-127

Artykuł, będący fragmentem przygotowywanej większej rozprawy, skupia się na operacjach – raczej symbolicznych aniżeli pojęciowych – jakie Mickiewiczowi w pierwszym kursie Literatury słowiańskiej służą do konstruowania obrazu przedchrześcijańskiej kultury duchowej Słowian wedle pożądanego, apriorycznego wzorca. Zjawisko to, rozpatrywane w kontekście wykraczającego poza romantyzm procesu kulturowego, znajduje analogię w humanistycznym koncepcie mitologicznej monogenezy, wyczerpująco opracowanym przez Macieja Kazimierza Sarbiewskiego w traktacie Dii gentium. Mickiewicz dowodzi pierwotnego monoteizmu Słowian w trybie podobnym do tego, jaki w tradycji humanistycznego mitoznawstwa służył dowodzeniu pierwotnego monoteizmu Greków i Rzymian. Zbieżność ta nie jest motywowana bezpośrednią filiacją, lecz raczej wspólnotą pojęciowo-symbolicznego aparatu apologetycznej tradycji, której cechą znamienną jest kamuflowanie aporii generowanych przez pojęcie pierwotnej teologii. W związku z utrzymującym się nieporozumieniem, jakoby stanowisko Mickiewicza w tej kwestii było w zasadzie tożsame ze stanowiskiem Joachima Lelewela, artykuł, analizując założenia argumentacji obu autorów, wykazuje, że bliski im obu koncept pierwotnego słowiańskiego monoteizmu wynika w obu przypadkach z odmiennych, przeciwstawnych przesłanek i pełni odmienne funkcje.

The article, which is a fragment of a larger dissertation under preparation, focuses on the operations – symbolic rather than conceptual – which Mickiewicz uses in the first course of Literatura słowiańska [Slavonic Literature] to construct an image of the pre-Christian spiritual culture of Slavs according to a desired, a priori model. This phenomenon, considered in the context of a cultural process going beyond Romanticism, finds analogy in the humanistic concept of mythological monogenesis, thoroughly developed by Maciej Kazimierz Sarbiewski in the treatise Dii gentium. Mickiewicz proves the original monotheism of the Slavs in a manner similar to the one used in the tradition of humanistic mythology to prove the original monotheism of the Greeks and Romans. This convergence is not motivated by direct filiation, but rather by a common conceptual and symbolic apparatus of the apologetic tradition, whose characteristic feature is the camouflage of aporias generated by the concept of primordial theology. Due to the ongoing misunderstanding that Mickiewicz’s position on this issue is basically the same as that of Joachim Lelewel, upon analysing the assumptions of the arguments of both authors, the article shows that the concept of original Slavic monotheism, which is close to both of them, in both cases results from different, contradictory premises and performs different functions.

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1 Przegląd Narodowościowy – Review of Nationalities

1 Roczniki Humanistyczne

1 Minkner K.

1 Seweryn D.

1 2019

1 2016

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Polish contemporary art to the anti-semitism of Poles and its political significance

Prisca Theologia Mickiewicza