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  1. 54 Konteksty - Polska Sztuka Ludowa

  2. 10 Anthropos?

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  4. 2 Slovenský národopis (Slovak Ethnology)

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  1. 3 Rzasa A.

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1

THE SPACE OF THE LOST HOME (Przestrzen domu straconego)

100%
Barbur E.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
49-52
EN
The author recollects the successive homes and places where he lived: Paris, Warsaw (50 Nowy Swiat Street), Copenhagen and Tel Aviv. In this manner, he spins a tale about lifelong wanderings and searches for his own home-place, a lost childhood...
2

THE HOME - THE WORLD OF SERIOUS LIFE (Dom swiat zycia powaznego)

63%
Baranski J.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
84-94
EN
The thesis of this article focuses on the ritual function of the home. The point of departure are the findings made by researchers studying the functions of the home, primarily Danuta and Zbigniew Benedyktowicz, who indicate the overwhelming mythical role played by the home (the home-centre, the home-dream, the home-cosmos or even the home-chaos), its magical-ritual role (the zakladziny practices, the site of carrying out the rites of transition and fertility, the archetypical foundation of processes of individuation, the holy corner conceived as a prolongation of liturgical rituals) or social role (the place of the formation of basic competences for living in a group, interaction with the outer world, the storehouse of clan tradition). The above-listed functions are confirmed by suitably formalised practice that, however, constitutes only a small part of symbolic interactions, in which the residents remain with their homes. An interpretation category applied to indicate un-formalised interactions is the concept of rituality, derived from la vie sérieuse expounded by Durkheim and le mythique formulated by Barthes. Thus understood rituality is a variety of ritual behaviour - scattered, unconscious, stream-like - that acts as an intermediary between our relations with the outer world; at the same time, it serves the shaping of personal and group identities. This is the case of communication (self-communication - Lotman), whose partners (intermediaries) are also material objects, including the home. Due to its indistinct nature one should speak about this instance of rituality/communication first and foremost in the categories of causality, the individual emotional/cognitive act. The symbolic of the home and all sorts of artefacts that make it up obtains in this manner an intimate form, and the home itself assumes the form of an indexical cipher applied by the person (persons) living in it. This is a home inscribed into individual (collective) personality. A reverse process also takes place: personalities are moulded by the symbolic baggage of the home. In this interpretation, we may ascribe to it the role of the generalised other (Mead).
3

AFRICAN HOUSE AS A SACRED SPACE. ETHNOLOGICAL STUDY OF THE NORTH-TOGO (Afrykanski dom jako przestrzen swieta. Studium etnologiczne z pólnocnego Togo)

63%
Pawlik J. J.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
95-106
EN
The house can be considered as a metaphor of life. It is a place where human life begins and ends. It is also the proper place for preparing food and a place to eat a meal. This paper, based on ethnological data from the North of Togo, presents African house as a sacred space, separated from the outside world by the compound wall and is sanctified through the regular offering of sacrifices being done inside. The comparative description of the house building in the different ethnic groups shows multiple similarities. The only difference concerns the presence or absence of vestibule and the position of granary inside or outside courtyard. The African household forms members of family living in the compound. It is a group of kin bound through the common goal, the surviving. The group of kinship includes also the defunct who support and protect living members of family. The sacrifices offered in the honor of ancestors ensure material prosperity and procreation capacity of women. The house is also a place of ritual enacting, especially in case of rites of passage and rites of crisis. The African house is a proper place for maintaining the life - physically, psychologically, socially and spiritually.
4

BEING-AT HOME. JARMUSCH'S PHENEMENOLOGY OF HABITATION (Bycie-w-domu. Jarmuscha fenomenologia zamieszkiwania)

63%
Barbaruk M.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
298-303
EN
A phenomenological analysis of dwelling, being-at-home, based on Jim Jarmusch's The Limits of Control. The author maintains that this film also draws attention to the exceptional status of hotels in Spanish culture.
5

A LETTER TO MR. STANISLAW MORAWSKI (List do Pana Stanislawa Morawskiego)

63%
Rzasa A.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
319
EN
This letter, written by Antoni Rzasa in 1964 upon his return to Poland after a scholarship stay in Italy, is addressed to Stanislaw Morawski, one of the first persons whose acquaintance Rzasa made during his Italian journey; it was Morawski who met the artist at the airport, took him to an hotel and was the first to show the Eternal City. Antoni Rzasa mentioned an interval in sculpting and 'renting a small house'...
6

THE LETTERS AND JOURNEY OF ANTONI RZASA (Listy i podróz Antoniego Rzasy)

63%
Mostek M.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
310
EN
The sketch pertains to the letters of Antoni Rzasa, a Polish sculptor, and his brother, Józef, whose vast correspondence lasted between the mid-1950s and Antony's death at the beginning of 1980. Antoni Rzasa appears to have been an 'extremely human' person - the letters addressed to his sibling do not conceal anything. Hence, they often mention painful and difficult issues, at times probably much too frequently and intensely. The second part of the sketch deals with the journey made by Antoni Rzasa to Italy in the winter of 1962, a key experience in his artistic development. All these factors constitute testimony of the artist's activity; despite the fact that he applied artistic means interpreted as purely folk, Rzasa dealt with all that is universal, regardless of the cultural competences of his recipients. The reason could lie in the fact that the artist strove towards recounting that which is the ultimate truth: he told about man.
7

THE FOREST - THE HOME (Las dom)

63%
Konieczny K.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
304-309
EN
The author - a naturalist and ornithologist - poses the question: 'What is a true forest? Whose home is it? ' and replies: 'The forest is one of my homes, a place where I discover everything that I cannot find in city shop windows. The forest is the home of my thoughts about those aromas, flavours, imagery and people'.
8

A LAMP WITH A TIN SHADE. ON PAINTINGS BY JACEK WALTOS (Lampa z blaszanym abazurem. O obrazach Jacka Waltosia)

63%
Maksymczak M.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
276-282
EN
The topic of this article are three oil canvases by Jacek Waltos featuring the motif of the home: Great Improvisation - Small Stabilisation (1975), Awaiting, Ecstasy, Resignation (1977) and Threefold Pieta and the Fourth (1980). As a member of the 'Wprost' group the artist declared the realisation of painting involved in social issues, commenting on contemporary reality with the assistance of figurative depictions endowed with unambiguous contents. The works by Waltos are, against the backdrop of the 'Wprost' oeuvre, distinguished by their distance towards speaking unambiguously and a direct portrayal of the world. Their characteristic features include a sui generis lyrical approach and a sublimation of the form and contents. The originality of these depictions consists of a presentation of interpersonal relations transpiring in the scenery of the home. Each of the discussed canvases displays a lamp with a tin shade; by possessing a concealed meaning it constitutes a symbol of the space of the Sacrum. The lamp and the portrayed figures share different relations. In Great Improvisation - Small Stabilisation the soaring male figure consistently realises his wish to come closer to the lamp, despite the fact that the bulb is not shining. Awaiting, Ecstasy, Resignation features a contrary situation, since it is the rendered figure of a person, or more precisely, a woman sitting in an armchair, which assumes a passive attitude, while the glowing lamp, hanging from the ceiling, is located in the direct proximity of the sitter. Both motifs are focused in Threefold Pieta and the Fourth, in which kneeling figures assume an active stance and the lamp, once against suspended from the ceiling, draws them forth from the semi-shade. This, in turn, suggests a reference to so-called vertical relations, which connect the figures with empirically inaccessible space that corresponds to the idea of the home conceived as axis mundi and identified with a site that renders possible a link with God.
9

THE STUDIO - PARTIALLY DOMESTICATED, PORTABLE OR TRANSITORY (Pracownia dom czesciowo oswojony, przenosny lub przechodni)

63%
Waltos J.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
31-34
EN
no abstract
10

UNNAMED (Nienazwane)

63%
Bartkowicz R.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
346-347
EN
A reflection about a certain modern building that was supposed to be erected in the 1970s on the Mogilskie Rondo in Cracow. The sole outcome was a 70-meter high steel skeleton, which for years blended with the landscape of the city in the manner of the Eiffel tower. Today, it remains the tallest pillar used for displaying advertisements in Europe.
11

THE ITALIAN NOTEBOOK (Notatnik wloski)

63%
Rzasa A.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
311-316
EN
The Italian notebook is a small address book with a rather sombre brown cover. The first pages are full of addresses of persons, the names of Italian institutions, vocabulary, useful expressions and hurriedly noted down sites, both those already seen and those to be toured, which Antoni Rzasa recorded during his journey across Italy in the winter of 1962. The following pages contain detailed descriptions and observations concerning people, art and the landscape.
12

THE CANDOMBLÉ TEMPLE HOME - CULTURAL IDENTITY (Swiatynny dom Candomblé, a problem tozsamosci kulturowej)

63%
Rozalski M.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
304-309
EN
An examination of identity in contemporary anthropological theories. Analysing the example of temple homes in the Afro-Brazilian Candomblé cult, the author considers the continuity and essential qualities of tradition in contemporary cultural reality, subject to changes.
13

MY HOME (Mój dom)

63%
Rodowicz T.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
74-77
EN
Tomasz Rodowicz, a former member of the Centre for Theatre Practices 'Gardzienice' and today the chairman of the' Chorea' theatrical association, speaks about his experiences of the home. The presented reflections concern primarily the expedition made in 1982 to Lapland together with the Gardzienice company, with some of the participants getting lost in the course of a foot trip across the vast empty spaces of the local tundra. The reader learns about a miraculously discovered hone - the small hut of a local reindeer farmer, the connected feeling of safety, and the fall of the Romantic myth of an artist compelled to struggle for survival. The author declares that all those experiences had to a great extent moulded his world outlook and the trends of his subsequent artistic quests.
14

THE HOME IN THE INTELLECTUAL LANDSCAPE OF THE TWENTIETH/TWENTY FIRST CENTURY. FROM PHILOSOPHY TOWARDS ACTIVISM (Dom w intelektualnym krajobrazie XX/XXI wieku od filozofii ku aktywizmowi)

63%
Rewers E.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
41-45
EN
This statement is composed of three parts, with the first introducing the conceit of the relational space that appears between traditional opposites, such as: private space - public space. In relational space the home remains a real place, but its location becomes mobile. Between enrootment and mobility there comes into being a thick network of connections, transitory and hybrid forms. In the second part the Aristotelian conception of the 'good life' is interpreted as an element of the realisation of the modern promesse de bonheur, assuming the form of assorted cultures of dwelling. The last part discusses three vectors of relational space in which we may place - in different forms - modern cultures of residence. Their foundations are composed of: 1. The philosophy of enrootment, 2. The philosophy of the language, 3. The philosophy of activity. Each also possesses its negative version, in which the prime categories are re-deciphered, re-interpreted, deconstructed and, finally, rejected.
15

THE INSANE ASYLUM - SITE AND EXPERIENCE (Dom wariatów - miejsce i doswiadczenie)

63%
Kubat K.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
129-138
EN
The purpose of this text is to depict the sort of mental hospital that emerges from widely understood medical literature - reports, scientific articles, textbooks intended for nurses and psychiatrists as well as special-occasion material. The application of an anthropological interpretation - by referring to the symbolic of the home, mental illnesses, the problem of liminality and otherness, as well as rules organising scientific cognition and treatment, including the mechanism of control, discipline and punishment - makes it possible to treat the 'insane asylum'' as a paradoxical and ambivalent space. The principle of ambivalence may be observed by considering the terrain of the hospital in different interpretations, as an example of a situation of an encounter of the intellect and mindlessness, an asylum and a prison, a refuge and a place of exile. It reflects not only the culturally determined ambiguity of madness, but also the specificity and 'inner rent' of the psychiatric discourse, in which the biological and humanistic perspective constantly confront each other; this, in turn, can affect the way of conceptualising mental disturbances, the perception of the sick and subsequent therapy.
16

TO RETURN HOME? (Wrócic do domu?)

63%
Szpilka W.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
52-56
EN
The presented sketch is an attempt at delving into the present-day condition of the home, with the latter treated as a form of human existence. At the onset of the twenty first century its basic property is the dissolution or loss of the home. The horrific twentieth century, whose spiritual and physical destruction of the home was a significant element and homelessness - a prominent effect, brings forth the gravity of this phenomenon. The author endeavours to demonstrate the way in which the home creates existence and reinforces it, the manner in which it is submerged in a mythical aura, associating it with that which is primary, intensive, obvious and full of sense. The experiences of the last century revealed the fragility of this construction, depriving it of the obviousness of duration. Can such a mythical home be regained, and is there a path of returning to it? How is one to deal with such a loss without negating it and, at the same time, treating it as something ultimate and without a solution? The story about Zakopane is a project of evading the ultimate.
17

'RETURNS TO THE PAST' ('Powroty ku przyszlosci')

63%
Zwierzchowski A.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
185-187
EN
A record of a speech given by a painter and lecturer at the Warsaw Academy of Fine Arts during the conference: 'The Home - the Path of Being' (Czestochowa 2010), on the relations between the word (the process of naming a thing) and the image in contemporary art.
18

LETTERS TO A BROTHER (Listy do brata)

63%
Rzasa A.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
317-318
EN
The archive of the correspondence of Antoni and Józef Rzasa totals some 600 letters - the majority is also available in an electronic version (1.5 million characters on paper recorded for almost 25 years). The letters take up two small metal boxes full of already yellowed envelopes. The examples presented below are a modest selection made from the viewpoint of the recollections and consequences of a trip to Italy.
19

HOME-MUSEUM, MUSEUM-HOME (Dom - muzeum. Muzeum - Dom)

63%
Baranska K.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
214-220
EN
The text commences by focusing on the ostensible contradiction of two concepts - the home and the museum, and goes on to discuss the domains in which these two conceits are connected. First, attention should be drawn to historical relations - collections constituting the beginnings of European museums were created at home and were to serve predominantly its residents. After all, private collections are established up to this day. At times, they comprise, similarly as in the initial period of setting them up, an expression of the interest of the author and an investment of capital, and convey the process of building the prestige and self-presentation of the owner or his family. They are also - or primarily - the carriers of private memory, storing objects of economic and sentimental value. The same holds true for local museums, where souvenirs of the past, of value for society as a whole, are deposited. Is it possible, therefore, to formulate a thesis claiming that a local museum could fulfil the function of a 'family home'? One could indicate an area where the concepts of the home and the museum meet, i. e. museums that feature residential interiors, either a part or a whole. There are several main types of such institutions. The text considers museums-preserved residences of concrete persons (e. g. the Zamoyski Palace in Kozlówka, the Tumidajski manor house in Dolega), reconstructions of interiors ascribed to renowned representatives of the world of culture or science, whose memory is preserved by setting up a biographical museum. The examples of the Matejko Home in Cracow and the Manor in Czarnolas - the Jan Kochanowski Museum - serve to discuss the main exposition errors, which consist of creating spaces that are a projection of the imagination and knowledge of museum experts. A similar interpretation may be applied in the case of the third type of museums, depicting a 'typical interior' from a given epoch or region (the Hipolit town house in Cracow). The creation of museum reconstructions is deeply embedded in history and the topic of theoretical reflections. That which appears to be the most relevant is such a fulfilment of the expectations of the visitors, which would not violate historical truth and good taste and, first and foremost, would protect the original values contained in the displayed exhibits.
20

MY MOBILE HOME. THE TRAVELLING ARTIST (Dom mój ruchomy. Artysta w podrózy)

63%
Czaja D.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
107-118
EN
This anthropological interpretation envisages the outstanding documentary film by Bruno Monsaingeon: Piotr Anderszewski. Voyageur intranquille (Medici Arts International 2008) predominantly as a particular 'text of culture', made up of assorted semantic ingredients. The author analyses not so much a portrait of the artist but, primarily, a story about the home. Or more precisely: about different homes, those enrooted in actual space and those suspended in spaces of a more subtle nature. A story about leaving the home and returning to it. About seeking a home or home-oriented nostalgia. On the literal level: about a train carriage changed into a temporary home. Finally: on the last level of this film: a story about a home created out of sounds, fleeting music constructions, erecting an ethereal albeit real space of a home. The interpreted film is also a story about dwelling, connected with empirical topography, which it is possible to measure by means of geographical parameters; it is also a film about the sort of residence that Martin Heidegger described while commenting on the famous refrain from Hoelderlin: 'Man dwells poetically on this earth'.
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