Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 17

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  Anthropology and history
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

Historia „samorosła”: narracje o powojennym podziemiu zbrojnym w Łomżyńskiem

100%
Kurkowska-Budzan M.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
45-56
EN
The author tackled the question of the post-war anti-communist armed Underground movement in Poland, which up to now has been the domain of studies conducted mainly by experts on political history operating with traditional methodology. After the introduction, which develops the methodological motif, the author went on to present historiographic narrations collected during several research projects ( with different themes) conducted in 2001–2008 in north-eastern Mazovia and the Podlasie region. The article considers history stemming both from individual experiences of the past and a historical and contemporary cultural, social and political context. “Autogenic history ” is analysed by referring to communication genres and narration strategies, applied by the narrators of historical categories, and the properties, which they ascribe to history and its protagonists. The author asks about the impact of present-day and past public discourses upon such folk narrations (by way of example, communist propaganda, the language of the contemporary media, etc.).
2

Historia i kultura – problemy antropologii kulturowej i antropologii historycznej

100%
Libera Z.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
21-25
EN
Every socio-cultural order constructs history in its own way. Such history is always the outcome of a semiotic transformation of the past in texts of culture. Historical knowledge becomes rendered inedible in assorted ways and in multiple forms of culture. The latter is a form of an articulation of the world, but also a programme of conduct, a ”semiotic network” determining the sequence of events and their results in practical life. The recreation of culture, especially its maximum symbolic forms: the myth and the ritual, sets history into motion. The events, persons and things that constitute it must be treated as significant structures, referring to the model of the world binding in a given tradition (together with its assessment of time and space, chronology, casuistic, etc.) so that they could be regarded as sensible and purposeful. Are such theories of the history of culture acceptable for historians seeking in ethnology and socio-cultural anthropology solutions for their problems?
3

„Cudowne lata”

63%
Kossowski Ł.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
120
EN
The protagonists of this exhibition are not celebrated figures or representatives of elites, but anonymous inhabitants of villages and small towns, accidental passers-by, workers, peasants and young hippies. It was they who in the 1980s rose up from their knees, claimed their dignity and successfully struggled for freedom. Over a hundred photograms on display capture their lives: banal, dramatic, happy or nostalgic, suspended between conformism and heroism. We discover the same faces at weddings, dances, pilgrimages, May Holy Mass services, bus stops, on grey winter city streets, among people queuing up in mud to buy sausages and marching in a May Day parade or in crowds facing ZOMO (Motorized Militia) units in clouds of tear gas. The photograms correspond to more than 200 works of art: paintings, examples of the graphic arts and sculptures, which in an artistic abbreviation show the difficult two last decades of People’s Poland. This image of the “wonder years” would be incomplete without the accompanying sound track prepared by Marek Gaszyński and composed of the powerful rock music and blues of the 1970s and 1980s. For the young generation of the period, such music was a sui generis enclave of freedom and hope as well as friendship and cultural identification. It still resounds with youthful nonchalance and courage and, predominantly, with an immortal wish for constructing yet another republic of dreams, contrary to common sense and the depressing daily life of the “wonder years”.
4

Arystokraci wszystkich krajów – łączcie się! Szkic do antropologicznej opowieści o Łodzi Kaliskiej

63%
Nowina-Sroczyńska E.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
81-92
EN
In the cultural landscape of Łódź, the already thirty-years old avant-garde Łódź Kaliska group remains an exceptional phenomenon transcending the framework of critical refection on art. The group’s paradigm was always contestation aimed against trends nobilitated in art, ideologies, cultural norms and fashions, habits of social thought, conformistic behaviour in life and art, or the social compulsion of productivity; in doing so, the group used assorted forms of laughter, an approach that was extremely difficult considering that the first years of the activity of Łódź Kaliska coincided with the martial law period. The text discusses the first decade, accepting as an interpretation strategy the cultural categories of the carnival and carnivalisation, present in the reflections of M. Bakhtin and those of his later exegetes and polemicists. Although Łódź Kaliska described itself as apolitical, reality rendered this feature impossible. In a society that during the marital law years recalled Romantic myths, biographies, symbols and gestures, the carnivalisation of life and art was a hazardous undertaking. Already in the early 1980s Łódź Kaliska proposed new forms of participation in public life – neither heroic nor conformist – that called for the courage to “be funny”.
5

Codzienność peryferyjna. Pamięć o PRL mieszkańców Ustronia – studium przypadku

63%
Kałwa D., Klich-Kluczewska B.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
57-64
EN
The article presents a micro-historical interpretation of daily life in the People’s Republic of Poland comprehended as peripheral research space contrasted with macro social historiography. The source basis is composed of oral accounts possessing the features of biographical narrations, collected at the time of research carried out in Ustronie, a frontier locality in Cieszyn Silesia. The text includes two divergent case studies of the experiences of a “woman from here” and an “alien” in Ustronie. The first instance makes it possible to analyse daily life and the role it plays in the construction and shaping of local identity. In the second case, the centre of attention is focused on the process of building and the functions fulfilled by apocryphal memory. A comparative analysis of the interviews indicates a genuine need for embarking in Poland upon micro-historical studies of the epoch as well as a redefinition of daily life, up to now described in historiography with the assistance of traditional sociological methods that reduce a person to a number and a statistical variable. In the context of contemporary historiography, the protagonists of history – people and places – are subjected to multiple marginalisation. First, the local experiences of the epoch of the People’s Republic of Poland are recorded via the adaptation of a model devised by political history on a macro scale. Secondly, the protagonists undergo a double marginalisation – as the inhabitants of geographical peripheries and as individuals.
6

Wesołego alleluja, Polsko Ludowa!

63%
Kroh A.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
112-117
EN
Socialist realism was proclaimed in 1949 as the binding and sole correct programme intended for all domains of culture, and although several years later it ceased being officially in force, it never died. Ridiculed, it was recalled as resolutely as it had been previously announced. The post-1970s inaugurated a strange time for folk art. In the wake of the Gomułka-era drabness, which ended with the bloody events along the Baltic littoral, the authorities were compelled to offer the people something in return: Coca-cola, the Royal Castle in Warsaw, the Fiat family car, prefabricated housing estates, an opportunity to travel to the West. Supporting folk art fitted the reconstruction of society performed in a new spirit, and thus assumed the rank of a state issue and part of the cultural policy.
7

Estetyka PRL: ludowość i groteska

63%
Piątkowski K.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
70-74
EN
The article considers the aesthetics of the People’s Republic of Poland and proposes certain interpretations from the perspective of the anthropology of culture. Accepting that the code of culture at the time included two functioning “circulations”: official and unofficial, there must have occurred a certain duality of thinking. Assorted artistic undertakings were granted a suitable framework (i.e. a convention making it possible to distinguish certain contents, associated with daily reality). Folklore qualities and the grotesque, comprehended as sui generis cultural categories (not solely aesthetic), modelled ways of thinking, behaviour and artistic expression in both circulations.
8

Estetyka PRL – teksty wizualne i znaki w propagandzie

63%
Piątkowska K.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
75-80
EN
In the totalitarian system propaganda creates a cohesive, mendacious world, easily controlled. A unification of the visual language codes facilitates capturing differences – subjugation renders ”invisible” while non-adaptation or rejection of the established pattern produces the effect of disclosure. Particular fragments of existence in People’s Poland contain two discernible categories used for the introduction of order, which comprised the foundation of propaganda and originally were the foundation of the success of totalitarian authorities and then contributed to their downfall. Both in some way belong to each other: myth and hero, the cultural hero. Images of leaders were the constructs of mental portrayals whose realisations assumed an arbitrary and canonical character. The formula of such texts produces the impression of texts “encoded” in folk-type culture. The hieratic nature of portraits is particularly exasperating within the context of public ceremonies, and visual texts are modelled by, for all practical purpose, the only formal directive characteristic for the religious iconographic theme in its most perfect version, i.e. The Last Supper: a long table, the presidium rostrum, with a charismatic protagonist performing the gesture of a greeting and the party apostles gazing at the deity. A further part of the text analyses illustrations of state visits and “semi-private” likenesses, with wives or informal circumstances. The indolence of the propaganda of People’s Poland, incapable of creating a single meaningful sign, a pictogram that would be universally recognisable and stir emotions, offers much food for thought. While striving towards symbolization, propaganda concentrated on the natural language, ignoring visual metaphoric, which once again refers us to the folklore type of culture.
9

Nostalgia za PRL-em. Próba analizy

63%
Brocki M.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
26-33
EN
Nostalgia for the People’s Republic of Poland (PRL) is a phenomenon whose causes, significance and social function have not as yet been satisfactorily interpreted. The author based himself on ethnographic material created as part of field studies in order to try to situate the memory of PRL within the communication order in which it is ”used”. By resorting to elements of the semiotic theory of the Tartu-Moscow school as regards research focused on memory, and the reflections of Erving Goffman on the permanence of the order of daily and ritualised forms of communication, the author formulated a thesis claiming that recollections of PRL serve as a point of departure for own interpretations of the present-day situation. While analysing field material he concluded that after the turnabout of 1989, changing institutions of daily life were still interpreted within codes once binding in People’s Poland. Since there exists a divergence between those codes and a new way of acting, it became an incomprehensible “foreign tongue” that produced animosity towards the new and sentiment for the already familiar (nostalgia). Nostalgia should thus be deciphered as a sui generis interpretation of the present day from a communication perspective – nostalgia interprets changes within the range of communication forms and, primarily, changes of the number of interpersonal connections (building a feeling of a bond) and the possibility of realising ritualised forms of daily interactions.
10

Pamiątki z Atlantydy. Przyczynek do badań nad jugonostalgią

63%
Majkowska-Szajer D.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
102-110
EN
The text considers ”Yugonostalgia” – a longing for Tito’s dictatorship in communist Yugoslavia. In the former territories of this county postwar trauma has produced an ideal image of the communist past. The author stresses that sometimes it constitutes the only element of shared memories in the culturally, politically and religiously differentiated terrains of former Yugoslavia.
11

Codzienność – lokalność – styl życia. Uwagi o założeniach epistemologicznych antropologii historycznej

63%
Kowalewski J.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
6-20
EN
The fundamental intention of this text is a presentation of the cognitive stand of historical anthropology from the vantage point of selected research premises in a current of Polish historiography known as the history of daily life. The text is composed of two basic parts, with the first encompassing, apart from introductory remarks on the origin and beginnings of historical studies on daily life, a characteristic of selected specific conceptual elements co-creating the historiographic category of daily life. In Polish historical narrations the category of daily life as a rule encompassed a conglomerate of the social conditions of existence, production and consumption, seen ”from below”. In other words, the history of daily life is the history of the family, women and children, the aged and the sick, the history of sexual life, birth, marriage and death, leisure, customs, beliefs and views and, finally, psychologically comprehended mentality. The praxis of historians is dominated by an objectivising description of people and their subjectivisation via a reconstructive and contextual reference to locally existing networks of meanings and cultural values. A thus understood category of daily life was contrasted with the idea of studying daily life built from the perspective of the epistemological assumptions of historical anthropology. In this case, references were made predominantly to the tradition of the phenomenological sociology of Alfred Schütz and Yuriy Lotman’s semiotics of culture as well as the correlated category of common knowledge and the conceit of the lifestyle. As seen by historical anthropology, daily life is an ideational stratum of reality, a sphere of the activity of cultural typisations expressed in local and historical forms of common knowledge. A comparison of those two significantly different perspectives shows, first, the current incommensurability of the strategy of research both into local history deciphered in the domain of the premises and cognitive objectives of historical anthropology; second, as a trend towards which historians of daily life interested in the anthroplogisation of their research perspective should strive.
12

Święte ikony stalinowskie

63%
Milewska M.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
93-101
EN
A presentation of the different ways of portraying Stalin during the period of the greatest intensification of his cult. Portraits played an essential part due to the fact that the leader of the Soviet state, totally devoid of natural charisma, was unwilling to made public appearances. His omnipresence was guaranteed by icons, through whose intermediary the nation remained in a constant and almost mystical contact with its Leader. Stalinist icons possess multiple features of Orthodox icons, and were the object of a truly religious cult best evidenced in accounts about the mourning after Stalin’s death, when, in the one hand, special altars were erected while, on the other hand, his portraits became the target of intentional profanation. The author also considers the complicated history of photographs, whose purpose was to falsify Stalin’s appearance and biography, as well as monuments and the history of their erection and toppling.
13

Historiografia PRL w antropologicznej perspektywie badań historiograficzno-metodologicznych

63%
Piasek W.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
34-39
EN
Similarly to contemporary Polish historiography, its post-war predecessor – usually described as the historiography of the People’s Republic of Poland – was just as variegated. Noticing this variety calls for an approach that will not only make it possible to perceive this feature but, primarily, to evaluate it positively by treating it as “natural” within the range of scientific praxis. It is exactly the absence of the possibility of such a treatment of differences within the universally accepted perspective of research that makes it impossible to disclose its great variety. The consequence assumes the form not only of an inferior image of the historiography of the Peoples’ Poland period but also a restriction of comprehending the research praxis of the historians of that time. More, it makes it difficult to ponder such historiography and to discover an answer to the question: what was the historiography of People’s Poland like, and what should be our attitude towards it? The titular anthropological perspective of historiography-methodological research, which treats distinctness within scientific thought as its “natural” state, opens up a totally different path towards studying and understanding the historiography of the People’s Poland era. Here, the objective is to reach the historiosophic-methodological differences of such historiography, to follow its variety by means of a “thick description” and to formulate diagnoses pertaining to the cultural frames of cognition.
14

„Szli krzycząc: Polska, Polska!”

63%
Kosiński D.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
128-140
EN
The article expands a thesis formulated by the author of the book Teatra polskie. Historie, published in 2010 and maintaining that Poland, comprehended as an ideological-cultural construct, exists as, and continues to be a drama-spectacle. This thesis has been transferred and used for analysing two contemporary forms of experiencing and depicting the national community: a series of socio-political rites and ceremonies, comprising a reaction to, and a consequence of the crash of the airplane carrying the President of Republic of Poland Lech Kaczyński in April 2010, and the behaviour of fans of national sports teams. The first group is shown as a series of activities reviving the traditional national Romantic symbolic associating Polishness with sacrifice and death, with its simultaneous application as a tool for distinguishing “genuine” Polishness, loyal to traditional paradigms, and its radical separation from social groups rejecting that model. Consequently, collective experiences of mourning became an instrument of permanent division. The second group, discussed predominantly upon the example of the activity of fans of national netball and ski jumping teams, is a contradiction of the former and presents an inclusive and joyful experiencing of Poland not as a victim but as a power. The activities in question possess the features of fun, close to carnival festivities that reverse the order dominating in political-ceremonious solemnity. Thanks to the employment of the mechanisms of popular culture and mass communication they appear to exert a much larger impact on moulding stances and attitudes towards the national community than the centralised spectacles of the first variety.
15

Antropologia i historia w Polsce

63%
Robotycki C.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
3-4
16

Ludowe i amatorskie pisanie historii

63%
Robotycki C.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
40-44
17

Etyka aautentyczności jako postulowany styl życia (glossa o krytyce etycznej Stanisława Barańczaka)

51%
Januszkiewicz M.
Konteksty - Polska Sztuka Ludowa
|
2011
|
vol. 65
|
issue 1(292)
65-69
EN
The theoretical stratum of this sketch deals with the relative autonomy of the literary work. This feature consists of the fact that literary texts are not only language-oriented but also wish to speak about the world around us. The thematic stratum is concerned with questions that proved to be significant for representatives of the so-called Generation ’68. The attitude of the representatives of the New Wave appears to pertain to issues associated with poetics and various ways of thinking about literature (poetry). It became obvious, however, that the controversy concerning the character of literature is not a problem resolved simply by those who write poems but goes much further. It relates, above all, to questions concerning our nature, objectives and definitions of the world of values. Responses to such questions delineated fundamentally the lifestyle of the citizens of People’s Poland: should society support so-called small stabilisation by ignoring the mechanisms of the state and socio-political reality or, as the existentialists would say, the unauthentic lifestyle? Or, on the contrary, should people desire an authentic life, a life immersed in truth? Questions of this sort occupy central place in the literary critique of Stanisław Barańczak (predominantly, his two volumes of essays: Nieufni i zadufani and Etyka i poetyka).
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.