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Wytwórczość ludów pierwotnych w świetle pragmatycznych koncepcji sztuki

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Kowalski A. P.
Folia Praehistorica Posnaniensia
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2019
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vol. 24
137-147
EN
The article is devoted to the function of the primordial art in the pragmatic concept. The pragmatism ennobles the unprofessional forms of artistic activity. It makes it following the deconstruction of the modern definitions of the art. It presents the aesthetic values of primordial art. In the article, there are included its characteristics made by J. Dewey and É. Durkheim who used the first ethnographic data. Their description of the Australian autochthones shows its social contexts. It served to intensify certain emotions. It was the art of movement and dynamics. It harmonized with the whole experience of the life of the primordial hunters. It did not operate on symbols as understand these days. The pragmatic approach makes the aesthetic notion of the manufacture more important than its cognitive aspects. It does not eliminate the dilemmas of the character of the art in the cultures beyond Europe. It does not give archaeologists any simple tool to interpret the prehistoric facts.
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Kulturoznawcza archeologia i prehistoria Kontynentu sztuki

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Kowalski A. P.
Filo-Sofija
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2011
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vol. 11
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issue 1(12)
291-310
EN
The paper presents an attempt at application of Jerzy Kmita’s achievements in philosophy of art, aesthetics, axiology, and history of culture to the research on genesis of art. The problem of cultural genealogy of art shall be addressed in following contexts: 1. The context of the so-called ‘end of art in postmodern culture’ which manifests itself in the thesis concerning elimination of “grand narrations”, myths, and ideologies. According to J. Kmita, the art takes recourse to idea-meanings which are not ascribed to a handicraft. The meanings of superior axiological level express themselves in the art only. 2. The context of Bild-Anthropologie developed by H. Belting. Works of art are regarded here as images, especially—images of a cultural type. The accent lies here on genealogy of iconoclasm and theological discourse which uses Greek philosophical terminology. Ontology of “image as a presence” is analyzed with regard to magical realism and symbolism. Primordial and prehistoric images do not operate with signs of objects but instead they constitute objects themselves. 3. The context of structural anthropology where the art is interpreted within the horizon of mytho-logics and metaphoric-metonymical transformations. Kmita’s adjustment shows that metaphorical and metonymical meanings are indistinguishable. The art—which was ascribed a classificatory meaning—provided also socio-morphic categories. Totemic signs were more appreciated than totems themselves. It shows that the art transcends the reality which itself becomes a subject of the image. 4. The context of shamanistic origins of art. This conception universalizes results of neuropsychological research. Trance-practices are considered here as the origin of cave painting which presents a scheme of shamanistic visions. However, in folk cultures not all imaginary objects originate from trance-experience and the acceptance of their reality does not presuppose sensory deprivations (which is one of ethnological arguments showing limits of such interpretation).
3
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Z badań nad mitologią Słowian

100%
Kowalski A. P.
Literatura Ludowa
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2023
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vol. 67
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issue 1-2
193-203
4
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Z badań nad zakresem transcendencji głównych bóstw w religii germańskiej

100%
Kowalski A. P.
Przegląd Religioznawczy
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2022
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issue 4/286
3-13
EN
The article attempts to define the scope of the transcendence of the main gods in the religion of ancient Germans. Testimony of G.J. Caesar and P.C. Tacitus differ on this point. Caesar describes the germanic gods as visible and material phenomena. Tacitus gives them the rank of mysterious, inaccessible creatures without a name or an image, giving signs read by means of fortune-telling. Various beings were denoted as gods in Germanic languages. Aesir are primordial images of ancestors or beings having a divine substance of life for the entire tribe. Ragina is a deity personifying decision and resolution. Like the Tīwaz, which came from the Indo-European era, it was related to judgments at war meetings. Odin and Thor, as gods of war, marginalized Tyr / Tīwaz. Their functions show the process of the god’s immanence, their indispensable presence for groups of warriors. This tendency is confirmed by the historic replacement of the old name of the heavenly supreme god deiwos with a new – guda. Guda is a being that is called upon, whose presence is experienced. In the history of the religious life of the ancient Germans, there is a tendency to define gods as creatures who have a clear influence on the everyday problems of people engaged in war.
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