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1

Dom na fotografii

100%
Major B.
Konteksty - Polska Sztuka Ludowa
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2010
|
vol. 64
|
issue 4(291)
153-158
EN
The Home in Photography is the fourth and last show in a series of the ”home” exhibitions featured at the VII International Triennale of Art Sacrum held at the City Gallery in Częstochowa:“ Home – the way of existence”. The author-exhibition curator discussed the most prominent recurring motifs.
2

Kartka z dziennika (13 XII 1981): Warszawa, Pożegnanie z Afryką, Sfinks

100%
Bednarski K.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 4(291)
132-135
EN
Three brief texts, which Krzysztof Bednarski added to the photographic documentation of his works from the 1980s, referring to the artist’s individual experiences associated with the communist epoch in Poland.
3

Polska moich rodziców

100%
Sobolewski T.
Konteksty - Polska Sztuka Ludowa
|
2010
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vol. 64
|
issue 4(291)
49-51
EN
”In 1956 Witold Gombrowicz predicted that once communism in Poland collapses, the Poles will be already changed and never return to their nineteenth-century national imagery. This prophecy pertains to my generation – but not to those of its members who today march in the costumes of the Piłsudskiites or the national democrats. I find both those traditions equally alien. And I much prefer the tradition of Wojtyła, Mazowiecki, Tischner, Kuroń and Michnik. (…) This vision of a martyred nation, associated with the suffering of Christ and bringing freedom to the whole world, has for two hundred years burdened the Polish consciousness in the manner of a phantom. The twentieth-century critics of this tradition – such as Czesław Miłosz – blame it for favouring national idolatry and the creation of a perverse megalomania of suffering and a cult of death. After 1956 the young generation wished to cast off this messianistic burden and to turn towards life. The same goal was pursued by successive Polish generations - the generation of ’68 and the Solidarity generation – in their efforts of curing themselves of the national complex in which an awareness of inferiority gives rise to megalomania” – wrote Tadeusz Sobolewski.
4

Hawajczyk tańczy z rezerwą

100%
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 4(291)
66-67
EN
This text about the singer Violetta Villas, popular in the People’s Republic of Poland, was originally presented as part of the cabaret-art programme of the spoken periodical ”NaGłos”, now reactivated after many years. The author traced in Villas’ life and performances ”exotic” motifs transcending the gloomy reality of People’s Poland.
5

Słownik PRL (fragmenty)

100%
Nowakowski M.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 4(291)
52-59
EN
A subjective “dictionary” by a careful observer of the reality of the People’s Republic of Poland.
6

Ukochany kraj

100%
Lewin L.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 4(291)
43-44
EN
In this essay-reminiscence, the author accentuates the unobvious and complicated character of stands and convictions shared by the population of People’s Poland, especially during the early, Stalinist period. Such an approach (which the author - a witness of those years – supports) negates some of the black-and-white historical interpretations written from today’s “objective” point of view.
7

Historia choroby. Historia żałoby: Czarna iluminacja, Madam Frankensztajn (fragmenty)

100%
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 4(291)
60-65
EN
Fragments of novels by Zyta Oryszyn, originally issued by underground publishing houses
8

Żyć trzeba, czyli jak mieszkańcy miast radzili sobie w realiach PRL

100%
Magierowa B., Kroh A.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 4(291)
17–31
EN
This time, the authors of Prywatny leksykon współczesnej polszczyzny (in 2010 their files totalled about 13 mln characters) chose from their archive a linguistic phenomenon illustrating the daily concern of town inhabitants with all sorts of material aspects (in the countryside the situation was slightly different, and thus the vocabulary varied). The mass media spoke a language of their own, as did the people, but for obvious reasons both sides maintained mutual relations; this is the reason why the authors cite the language of the street, private conversations and the press of the period. They present examples of a vocabulary concentrated on the household, money, prices, bribes, rationing, dollars and foreign currency tokens.
9

Dziwny, złożony świat

100%
Stomma L.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 4(291)
38-41
EN
The People’s Republic of Poland as a reality brimming with historical and everyday paradoxes – such an image emerges from a personal account by a Polish anthropologist and feuilletonist
10

Pracownia Działań Dokumentacji i Upowszechniania KwieKulik

63%
Ronduda Ł.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 4(291)
150-152
EN
The independent institution managed by Zofia Kulik and Przemysław Kwiek in their tiny apartment in the Praga district in Warsaw – “The Workshop of Activity, Documentation and Dissemination” – was a domain of a permanent problematisation of the boundary between the public and private sphere, imposed by the Peoples’ Republic of Poland. The artists tried to define the relations between those spheres not upon the basis of binary opposition but permeation and the creation of their unique “community”.
11

Dom, kościół, ulica. Przestrzenie teatru podziemnego w latach 80.

63%
Holewińska J.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 4(291)
118-126
EN
The author writes about underground theatrical space in Poland in the 1980s. During the martial law period space was outright oppressive: the situation prevailing in the state forced artists to seek new places where they could cultivate art free from the intervention of censorship. Such space proved to be private apartments, churches, parish halls and streets. The text contains copious documentary material but also tries to show the ways in which those “non-theatrical” spaces influenced the performance of the actors, the repertoire, stage motion and the reactions of the public.
12

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.
13

Cudowna świadomość porażki. O “Wstydzie” Jerzego Beresia

63%
Kaliś N.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 4(291)
136-139
EN
The point of departure of this analysis of Jerzy Beres’ Wstyd, realised in 1989 at the Centre of Polish Sculpture in Orońsko, is a comparison of the feeling of shame experienced by the artist in the course of the performance, and the indignity that is an important component of a masochistic spectacle. Such embarrassment is a confirmation of the unsteady position of the subject, his balancing between two simultaneous positions – that of the object and the subject. This situation in the artist’s activity is interpreted as a private ritual of experiencing freedom while being aware of its actual deprivation.
14

„Uchodzę za przekornego” – rozmowa z Tadeuszem Konwickim

63%
Michnik A.
Konteksty - Polska Sztuka Ludowa
|
2010
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vol. 64
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issue 4(291)
72-79
EN
A record of a meeting between Tadeusz Konwicki and Adam Michnik, which took place in June 2009 while shooting the documentary film What Am I Doing Here? Tadeusz Konwicki (scenario and direction Janusz Anderman, premiere: April 2010).
15

Polska szkoła ilustracji – lata 60., 70.

63%
Olech J.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 4(291)
127-131
EN
In the wake of the systemic transformation, which took place in Poland in 1989, the whole post-war past of the country became the object of critical assessments. Values, views, predilections, stereotypes, achievements and national sins – all were re-evaluated and verified. As a rule, the balance sheet was pitiful – the civilisational progress of our society, tightly constrained by the “sole correct” ideology, could not be compared to Western standards. Nonetheless, there did exist certain enclaves of social life that today do not provoke expiation and embarrassment; on the contrary, they comprise reservations of freedom, which the ideological control of the state did not reach. The more peripheral and distant from politics the activity of the Poles – the greater the freedom enjoyed by artists. Such a “reservation” was undoubtedly the children’s book market in Poland during the 1960s and 1970s.
16

Słowo w zagrożeniu. Wokół interpretacji twórczości Konwickiego w PRL-u lat 70. i 80

63%
Kaniecki P.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 4(291)
80-98
EN
An attempt at an anthropological interpretation of the situation of the milieu of Polish studies at Warsaw University at the turn of the 1970s. The milieu in question is portrayed as a community (in the meaning borrowed from A. P. Cohen), which in the conditions of a threat to its fundamental value – the word – defends its boundaries. The author accomplished this by, i.e. examining the “badly present” authors and phenomena pertaining to domains affected by censorship. The ensuing reading is based on analyses of selected scientific interpretations of works by Tadeusz Konwicki.
17

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.
18

Przeciw PRL. Migawki z życia drukarzy książki zakazanej 1977-1989

63%
Sowiński P.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 4(291)
107-117
EN
This text is an introductory sketch to a presentation of so-called second circulation printing in the People’s Republic of Poland. Maintained in the style of an historical essay, it depicts scenes from the life of underground printers working for the opposition both in Warsaw and in smaller centres. With the assistance of selected examples and generalising commentaries, the author shows certain motivations, stands and experience as well as the conditions of the development and infrastructure of printing. The research was conducted by applying historical methods, and the analysis embraces archival source material from the underground press and reminiscences, including accounts by the participants of the independent publishing movement. Pertinent bibliography has been reduced to historical publications, rarely supplemented with loose observations from other domains.
19

Grotowski polityczny

63%
Modzelewski K.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 4(291)
69-71
EN
A recorded statement made by Karol Modzelewski at an international conference: Grotowski. Narrations (Warsaw, 14-15 January 2010) organised by the Institute of Polish Culture at Warsaw University and the Committee of Cultural Studies at the Polish Academy of Sciences. Prof. Modzelewski recalled Grotowski from the period prior to the latter’s involvement in the theatre – the time when Grotowski was active in the Union of Polish Youth. In doing so, author shows Grotowski’s departure from communism and poses questions about the connection between the disappointment caused by the impossibility of altering the communist system and the beginning of the creative path of one of Poland’s greatest theatre directors.
20

PRL pod Giewontem

63%
Szpilka W.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 4(291)
32-37
EN
The author recalls the communist era in the Podhale region and analyses the phenomenon of the titular period as well as its myths and symbols. In a comparison with pre-war Zakopane, he ironically and by keeping a certain distance depicts the pettiness and grotesque traits of the communist resort town.
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