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EN
Plant remains collected on the multicultural archaeological site 2 at Zagórze, originated from features of the Linear Pottery, Lengyel and Malice Cultures dated to the Neolithic, the Lusatian Culture from the III or IV period of the Bronze Age, the Tyniec Culture from the La Tène period, and the Puchov Culture from the Roman period. For several features chronology and/or culture were not recognized. The recovered material included charred and uncharred fruits/seeds, wood charcoal and rare impressions in daub. Uncharred diaspores were considered intrusions from younger layers and were ignored in the interpretation of the results. The results obtained for features from different time were of uneven value. Plant remains found in the Linear Pottery culture features included single grains of barley, emmer wheat, bread wheat, and rye and numerous grains of common millet. Wild herbs (about 17 species) belonged to field and ruderal weeds. Anthracological spectrum was dominated by oak and pine, birch, alder, and hazel were relatively frequent, while hornbeam, fir, beech and maple were represented by single specimens. Possible contamination of the samples by the younger intrusions including bread wheat, rye, and common millet as well as hornbeam and beech was discussed. Plant material recovered from features of the early phase of the Lusatian culture dated to the Bronze Age (Table 5) was of special interest because hitherto only very scanty archaeobotanical data were available for that period in Poland. Among the cereals, common millet grains were the most abundant, single grains belonged to barley, emmer and bread wheat. Millet was often found in large quantities on the Lusatian culture sites dated to the Hallstatt period, the now available data support the view that the spread of millet cultivation began already in the Bronze Age and this species became one of the most important cereals at the transition to the Iron Age. The richest plant material was found in the Puchov culture features dated to the Roman Period. People of this culture cultivated different cereals, among which millet and emmer were the most common, less abundant were barley, rye, bread wheat, oat, and spelt wheat.
EN
Influence of aqueous extracts of aboveground organs of common crop weeds Stellaria media on germination and seedlings growth of radish (Raphanus sativus L. var. radicula Pers.) was studied. Three different cultivars of radish (i.e. ‘Rowa’, ‘Krakowianka’, and ‘Półdługa’) were used to investigate if Stellaria media could produce allelopathins and if the impact of allelopathins differs between cultivars. The influence of allelopathins in various form of extracts was checked, i.e. decoction, infusion, and macerate, as the impact on germination rate, seedling growth (length and mass), and electrolyte leakage. Compared to the control group (distilled water used) the germination rate of radish seeds was lower, independently of the type of S. media extracts used. The growth of seedlings differed between cultivars and form of extract. It was noticed the inhibition of seedling growth for ‘Półdługa’ cultivar independently of extract form. The growth of two other cultivars was stimulated by the infusion, and slightly inhibited by the decoction and macerate. The extracts reduced the outflow of electrolytes through the cell membranes of radish seedlings of all but one the analysed radish cultivars. The exception was the macerate, which in the ‘Rowa’ cultivar caused the increase of the electrolyte leakage.
PL
The article describes Karolina Grzywnowicz’s Chwasty (Weeds) project. In order to provoke the recipients to reflect on the life of the resettled people, the artist cut out a piece of the Bieszczady meadow and transferred it to Warsaw, where the installation was accidentally mowed. Attempting to answer the question why Weeds were destroyed, we examine how accurate the artist’s recognition is that the Bieszczady landscape is a carrier of memory of the resettled people, and then we prove that the part of the meadow, which in the Bieszczady co-created the keenly practiced landscape, is alienated and transformed into a commodity, and thus it loses its culture-forming functions. The project and the concept of landscape closely related to it are analysed from two complementary perspectives: field experience and anthropology of art.
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