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EN
Henryk Mamzer’s conception is an interesting new contribution to the development of socalled constructivist approaches in archaeology. As such it is a good example of the basic assumptions underlying its theory and methodology. In this article I will argue with some basic assumptions of Mamzer’s theory, trying to show that constructivism doesn’t rescue archaeology from the problems, which he would like to avoid. In fact, it deals with the same problems.
EN
The main goal of this paper is to reflect on the perspectives and challenges of art and archaeology research. The paper investigates main objectives through the lens of the art historian and archaeologist. Even though, the study on relations between art and archaeology has a long tradition in archaeology and the most famous researchers reflected on those tensions (Colin Renfrew, Michael Shanks, Andrew Jones, Ian Russell, Paul Reilly, Paul Bonaventura), art and archaeology approach is still not a coherent and systematic methodological framework. To deal with this notable lack, the author revises previous studies and points at the possible advantages of the development of studies at the border of art, archaeology and aesthetics. The main problems are illustrated and discussed in reference to archaeological museums and the Polish contemporary art represented by Hubert Czerepok, Agata Ingarden, Agnieszka Kalinowska, Agnieszka Kurant, Robert Kuśmirowski and Joanna Rajkowska.
EN
Archaeological exhibitions from the last decade reveal a shift in the paradigm of thinking about the past. The role of humans in the narrative about prehistoric times has been decentralised in order to: (1) acknowledge and appreciate the part played by animals; and (2) make visitors more sensitive to the human vs. non-human being-in-the-world. By promoting symmetrical relationships between animals and humans, new archaeological exhibitions correspond to the most recent trends in the theory of archaeology: symmetrical archaeology, relational archaeology, and archaeological animal studies. Through implementing the demands of the current theoretical trends, the exhibitions are in line with the anthropocenic turn in museums displays and the humanities. Two examples of engaged critical archaeological museum studies are discussed: Neues Museum in Berlin and Lascaux IV – Center International de l’Art Pariétal. By joining the discussion on relations between humans and non-humans, biodiversity and past environments, they prompt a reflection on contemporary human attitude to nature and the current condition of the Earth.
EN
The reason for this article was the 90th birthday of Professor Stanisław Tabaczyński (born on April 1, 1930). However, at the last stage of editorial work, the sad news of his death reached us (November 28, 2020). All the more we would like to commemorate the Professor, recalling his achievements and merits, which place him among the most outstanding Polish archaeologists, including actual members of the Polish Academy of Sciences. He made a great contribution to the development of Polish and world archaeology in the area of theoretical and field archaeological research. Many of his scientific initiatives concerned the theory and anthropology of culture as well as the methodology of archaeological research and the syntheses of prehistory and the early Middle Ages. His achievements and influence on shaping the minds of archaeologists of the 20th century and the beginning of the 21st century cannot be overestimated.
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