Search results

1

Travelling to the East: A Nonverbal Communication Account

100%

Buja E.

Acta Universitatis Sapientiae, Philologica

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2015

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vol. 7

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issue 2

59-78

EN

The present paper aims to give some account of the inner life of the East of which a traveller seldom gains more than a passing glimpse, by exploring some differences in nonverbal communication between European travellers and the natives of India and Persia, as they emerge from literary pieces written in the period 1664-1900. The focus will be on two nonverbal codes only, namely use of artefacts and rituals and practices. The analysis indicates both similarities, as well as differences between the two investigated cultures in terms of use of artefacts and rituals.

2

Předpoklady vystavování asijského umění v muzejním kontextu: kuriozity, kořisti a artefakty z pohledu tradice umění východní Asie

100%

Hanzlíková E.

Umění (Art)

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2022

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vol. 70

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issue 1

38-57

EN

How does the West work with a domesticated image of Asia through examples of its art? Since the end of the last millennium a tangible effort has been made to raise overall awareness of art outside the Euro-American canon. Current trends indicate a new direction being taken by the world’s collections of Asian art. In modern museum practice we find alternative ways of looking at things not as static trophies, but as active agents and mediators of other worlds. In the case of exhibitions of Asian art, the transition from passive constellations built on the foundations of an Orientalist or nation-state based understanding of the world to multi-layered installations creating space for new infrastructures between objects from diverse cultures is to be welcomed. This article seeks to outline the issues that are already being or will shortly be addressed by institutions exhibiting collections of Asian art. It draws on examples of exhibitions of East Asian art in the European and North American cultural space, above all within the context of our current knowledge of the tradition of exhibiting Asian artefacts in the countries of origin. In addition to outlining the main theoretical questions, such as where the boundary lies between art and ethnographic artefact, or how the Orientalist view of the art of East Asia arose, the text sketches the trajectory that Asian art has had to follow in Western collections in recent centuries in order to acquire its current autonomy in museum departments. This excursion, which begins with the Western appropriation of Asian artefacts and leads to case studies of the exhibiting of Asian art in its original habitat in China, Japan and Korea, might serve as an investigation into possible traditional yet innovative approaches to the disruption of standardised practices, namely, the chronologically and dynastically arranged installations organised by theme in glass cases that are predominant in Western institutions. This perspective could prove to be an inspiring source of methods of exhibiting Asian art, as well as raising the question of whether it would be possible to disrupt the passivity of artefacts.

CS

Jak pracuje Západ se zdomácnělým obrazem Asie skrz ukázky umělecké tvorby? Od konce milénia je čitelná snaha zvýšit obecné povědomí o umění mimo euroamerický kánon. Současné tendence tak poukazují na nový směr světových sbírek asijského umění. V moderní muzejní praxi nalezneme alternativní způsoby nahlížení na věci ne jako statické trofeje, ale na aktivní činitele a zprostředkovatele jiných světů. V případě expozic asijského umění je vítán přerod z pasivních konstelací, postavených na základech orientalistického chápání světa či národnostních určení, v mnohovrstevnaté instalace, vytvářející prostor pro nové infrastruktury mezi předměty z různých kultur. Snahou tohoto článku je na příkladech vystavování východoasijského umění v evropském a severoamerickém kulturním prostoru, a především v kontextu dosavadních znalostí o tradici vystavování asijských artefaktů v zemích jejich původu, nastínit problematiku, kterou se v současné době zabývají anebo v blízké budoucnosti budou zabývat instituce vystavující sbírky asijského umění. Kromě nástinu primárních problematických teoretických otázek, kde je hranice umění a etnografického artefaktu či jak došlo k orientalistickému nahlížení na umění východní Asie, text stručně postihuje trajektorii, kterou asijské umění v západních sbírkách muselo v uplynulých staletích urazit, aby si vydobylo aktuální samostatnost v muzejních odděleních. Exkurz, který počíná západní apropriací asijských artefaktů a vede k případovým studiím vystavování asijského umění v původním habitatu zemí Číny, Japonska a Koreje, by měl posloužit jako sonda v možných tradičních a přitom inovativních přístupech k narušení standardizovaných postupů, konkrétně chronologicky a dynasticky řazených instalací s tematickým uspořádáním ve skleněných vitrínách, jež jsou dominantní v západních institucích. Tento pohled by mohl být inspirativním zdrojem metod, jak zacházet s uměním Asie, jak je vystavovat a zda by bylo možné narušit pasivitu artefaktů, která jim po přicestování z Východu byla přisouzena v didakticky laděných muzejních strategiích vycházejících z tradice 19. století.

3

Artefacts on Display: Museum Narrative for the Bulgarian National Revival Period

100%

Velikov I.

Zbiór Wiadomości do Antropologii Muzealnej

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2020

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issue 7

EN

Bulgarian museums, which present the National Revival period, form a whole category of exhibitions, the specifics of which are recognizable to a wide range of audiences. Themessages in these museums are not entirely unknown; on the contrary - there are certain preliminary expectations for them, the answer to which leads to satisfaction from the visit. In the minds of many Bulgarians, visiting these exhibitions, as well as the satisfaction of this act, are "mandatory". The artefacts construct an idea of the dynamics of social development, in which the virtues of the "old" society are complemented by modern European ideas of the era, and innovations in the life of Bulgarians happen only for the better. The presence of the exhibits in the museums of the Bulgarian National Revival is completely subordinated to the general presentation idea. Their main function is to illustrate the specific topic - the photograph visualizes a figure or location, the document testifies to them truth, and the personal belonging evokes adoration. From this point of view, artefacts play a supporting rather than a catalytic role - instead of "items with history", museums show "history complemented by items".

4

Materialne artefakty jako narzędzia religijnego myślenia

89%

Sztajer S.

Przegląd Religioznawczy

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2019

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issue 2/272

EN

The cultural spread of religious representations is determined by both cognitive and non-cognitive determinants. While the cognitive determinants have been studied by the cognitive science of religious, much less attention is given to such determinants of religious thought as language, especially written language, and material artefacts. This article focuses on the role of material artefacts in the creation, cultural transmission, cognitive processing and stabilizing of religious representations. It points out to such functions of material artefacts as the extension of memory, externalization of mental representations, anchoring conceptual structures and strengthening the sense of reality of culturally postulated supernatural beings and phenomena.

5

The Problem of Existence of Virtual Objects from the Philosophical Perspective

88%

Mazurek M.

Filozofia i nauka. Studia filozoficzne i interdyscyplinarne

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2022

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vol. 10, zeszyt specjalny

137-156

EN

I consider the problem of existence of virtual objects, mainly their mode of existence, while omitting the issue of the criteria of their existence. I present and analyze the concepts of modes (forms, kinds) of existence of virtual objects proposed in the literature of the subject, and then I demonstrate my own position on the issue. My position on the existence of virtual objects has certain points coinciding with the already postulated views, but at the same time it differs from them in some basic aspects. In my view virtual objects are “born” in human individual consciousness as the objects of specific creative states of the mind. So initially they are private objects belonging to the individual subjective sphere. However, their final and ready forms emerge in complex processes of objectifying and autonomizing the respective private conscious states and their objects. In these processes the private objects are transformed into objects intersubjectively accessible and existing in the collective cultural sphere. In both their forms, initial and final, virtual objects are non-material entities: first subjective, then objective. The ontic status of virtual objects is very similar to the status of intangible ideas and all the non-material objects created by the human mind. The main difference consists in that virtual objects are expressed by the use computers programmes, while other non-material objects created by human beings are expressed by use of words, pictures, literature and art works, etc.

6

Relacja człowieka do jego wytworów w aspekcie etyki środowiskowej

63%

Sztumski W.

Studia Ecologiae et Bioethicae

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2005

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vol. 3

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issue 1

281-294

EN

The subject of ethics should not only be the valuation of different forms of human actions but also the evaluation of their results. Talking about the results of human activity, I mean not only the logical effects and consequences but also the material and spiritual products of our actions, that is different artefacts.It's impossible to include all the problems and evaluation of all the results of our actions. That is why I come down just to one issue - to the responsibility for the excessive intensity of human environment by the new technology products which are used as the assistance to human organism and mind. This type of responsibility fits environmental ethics which relates to the relation between human and the environment and this is why it is something new and wider in comparison with traditionally understood moral responsibility usually limited to the relation “ human - human”. The following issues are taken into consideration in this article: human in artefact environment, threats connected with the growth of artefacts in the area of spiritual culture, biological degradation of a man assisted with artefacts.

7

Charakterystyka zabytków krzemiennych z wielokulturowego stanowiska Zakrzów 8, gm. Niepołomice

51%

Lajs K., Fraś J.

Studia i Materiały do Dziejów Żup Solnych w Polsce

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2017

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vol. 32

182-249

XX

The following study covers flint artefacts unearthed during the six seasons of archaeological excavations conducted by the Cracow Saltworks Museum in Wieliczka, at the multi-cultural site no. 8 in Zakrzów, Niepołomice municipality, county of Wieliczka. It is intended as the first stage of a wider analysis including the reminder of artefacts, characteristics of archaeological features, and structure of settlements in the microregion. The site was first discovered during surface work within the AZP 103- 58 rectangular area, conducted during 1983 by Antoni Jodłowski, Kazimierz Reguła and Adam Szybowicz2. The site is located at Wieliczka foothills [Pogórze Wielickie], on the south-eastern slopes of the Tropie Góry hills, rolling towards the Bogusława river – also known as the Zakrzówek stream. In the recent years, the area has been under continuous development due to robust expansion of residential areas as well as businesses opening along the national road no. 964. The undeveloped plot no. 495/2, neighbouring the road from the south, was selected for the archaeological work. Its longer axis points approximately towards the S-E direction. The excavations covered an area reaching 60 m in length and 15 m in width. In total, the area of 8 ares was explored, which resulted in the identification of over 100 features, mostly from the Neolithic period. Found underneath the humus layer were deposits with inclusions of historical materials, filling a ground depression between two local humps invisible from the surface. The bottom of the excavated ditch featured formations whose genesis is likely the result of aqueous environment. This allows us to suppose that there was at least a periodically active spring in this region. Further evidence supporting this hypothesis comes from the layout of identified archaeological features, whose placement avoids the likely area of the watercourse. The depression was probably filled gradually, as suggested by the depth-varying numbers and provenance of unearthed artefacts. The substrate consists of hard sandy clay formations, with multiple ferrous inclusions. A large percentage of the unearthed ceramics consists of so-called ‘sandy’ ceramics, which may suggest the spring being used as the source of brine, or perhaps simply of water used in the production of such vessels. This topic will be elaborated upon in the further stages of the study. The site is multi-cultural in its character. Only few among the archaeological finds can be attributed to the final stages of the Palaeolithic and the Mesolithic periods. The core of the finds consists of Neolithic artefacts, present both in the identified deposit strata and within the archaeological features. A small group of artefacts and features is attributable to the Linear Pottery Culture of the Zofipole stage (2nd half of the 6th millennium BCE), with much more numerous finds from the late stages of the Pleszów-Modlnica group (2nd half of the 5th millennium BCE) and the Wyciąże-Złotniki group (1st half of the 4th millennium BCE) of the Lengyel-Polgár circle. Also identified were various numbers of artefacts from the Lusatian Culture, Tyniec group, Przeworsk Culture, and materials dating from the Medieval period up until the modern times, including a rifleman’s strongpoint from 1914. Due to the particulars of the site stratigraphy, the majority of artefacts comes from a secondary fill, which robs them of some cultural and chronological contexts. Consequently, the main part of the analysis of flint material will be focusing on artefacts from anthropogenic features in which culturally homogeneous ceramics were found. The finds were associated with three horizons: Linear Pottery Culture, and Pleszów-Modlnica group and Wyciąże-Złotniki group of the Lengyel-Polgár circle (Table no. I).

8

Selekcja zabytków „masowych” w badaniach archeologicznych – założenia i uwagi konserwatorskie do zagadnienia

51%

Wiśniewski M.

Ochrona Zabytków

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2017

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issue 2

155-174

PL

Selekcja zabytków „masowych” w badaniach archeologicznych jest jednym ze swoistych tabu współczesnej archeologii. W poniższym artykule autor pragnie naświetlić niektóre aspekty zagadnienia wynikające bezpośrednio z rozwiązań prawnych przyjętych w Polsce, w tym z samej definicji badań archeologicznych oraz prawnej definicji zabytku. W dalszej części, posiłkując się przykładami brytyjskimi, autor rozważa kroki konieczne w procesie selekcji zabytków i ich implikacje dla procesu ochrony zabytków od strony służb ustawowo powołanych dla ochrony dziedzictwa.

EN

Selection of mass finds in archaeological research is one of the taboos in modern archaeology. In the article below, the author wishes to highlight some of the aspects of the matter arising directly from the legal solutions adopted in Poland, including the definition of archaeological research itself and the legal definition of a monument. Further on in this article, with the aid of British examples, the author deliberates the measures necessary in the process of artefact selection and the implications thereof for the process of safeguarding monuments on the part of the services legally appointed to protect heritage.

9

Lost in Translation: Discussing the Positive Contribution of Hobbyist Metal Detecting

51%

Ferguson N.

Open Archaeology

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2016

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vol. 2

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issue 1

EN

This paper will consider the positive contribution from hobbyist metal detecting from both the perspective of the archaeological and metal detecting community. Are we currently opting for a path of least resistance with a ‘better than nothing’ approach to encourage reporting and to maintain good working relationships, even if it risks the loss of valuable archaeological information? Using selected case studies, as well as the results of a recent research project, this paper will draw on the perspective of both archaeologists and hobbyist metal detectorists to further understand what it is to have a responsible and constructive nonprofessional interaction with the archaeological record.

10

Nazewnictwo i symbolika ozdób starogermańskich

51%

Kowalski A. P.

Acta Universitatis Lodziensis. Folia Germanica

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2017

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issue 13

149-166

EN

The paper is devoted to possible concepts that ancient Germans held about ornaments. Cultural categories related to wealth, prestige, gift, sacrifice and deposit are carefully discussed. The main accent is on the etymological analysis of Proto-Germanic names for brooch or fibula, ring, necklace, belt, buckle. These are items found by archaeologists in the areas of Barbaricum dating from the period since the Bronze Age. The changes that led to the development of the Wielbark culture identified with the Goths were very important. The population of this culture did not place weapons and tools in graves, but only ornaments. Such a norm may have resulted from the mythical convictions confirmed in the Poetic Edda. The Old Norse goddess called Gullveig (literally ‘gold strength’) was the reason for the war of the divine generations of Aesir and Vanir.The Aesir were rulers and warriors, whereas the Vanir represented farmers and producers.Aesir used weapons, Vanir tools.Gullveig, burned three times at the stake and three times reborn, seems to be a symbol of ornaments. The Goths used only female burial equipment, putting a taboo on military accessories typical of Aesir.In addition, some Old Nordic poems associate ornaments with a mythical snake.This aspect is confirmed by archeological and linguistic data. The mythical technique of making jewellery is also important. The Old Nordic divine blacksmith called Völundr folds it from the bodies of the dead princes. In this way, he refers to the cosmogonic myth of the sacrifice of Ymir. The techniques of making ornaments, based on the reintegration of elements, resemble folk methods of treatment and are related to the Germanic idea of beauty as a complex whole.

PL

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11

Czy społeczeństwo może uczyć się z doświadczenia? Problem podmiotowości społeczeństwa

38%

Giza A.

Zarządzanie Publiczne / Public Governance

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2014

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issue 3(29)

72-85

PL

Termin „społeczeństwo” powszechnie używany jest jako podmiot różnego rodzaju twierdzeń: „społeczeństwo zmierza w stronę…”, „społeczeństwo nie ufa politykom” itp. Na poziomie teoretycznym przeważa jednak indywidualizm zarówno w wymiarze ontologicznym („społeczeństwo” jest jedynie złożeniem jednostkowych działań), jak i metodologicznym. Przy pewnej opcji teoretycznej możliwe jest jednak ujęcie społeczeństwa jako intencjonalnego, sprawczego podmiotu zdolnego do budowania struktur samowiedzy i poddającego refleksji swoje działania. W artykule dyskutowane są konsekwencje przyjęcia „nastawienia intencjonalnego” (intentional stance) w badaniu społeczeństwa.

EN

The term “society” is usually used as the subject of various statements: “society tends to…”, “society does not trust politicians”, etc. Theoretically, however, individualism prevails both ontologically (“society” is a complex of individual actions) and methodologically. However, there exists a theoretical stance that considers society as an intention-driven agent, a self-reflective subject able to build the structures of self-knowledge. The paper discusses the consequences of adapting the “intentional stance” in the study of society.

Refine search results

Travelling to the East: A Nonverbal Communication Account

Předpoklady vystavování asijského umění v muzejním kontextu: kuriozity, kořisti a artefakty z pohledu tradice umění východní Asie

Artefacts on Display: Museum Narrative for the Bulgarian National Revival Period

Materialne artefakty jako narzędzia religijnego myślenia

The Problem of Existence of Virtual Objects from the Philosophical Perspective

Relacja człowieka do jego wytworów w aspekcie etyki środowiskowej

Charakterystyka zabytków krzemiennych z wielokulturowego stanowiska Zakrzów 8, gm. Niepołomice

Selekcja zabytków „masowych” w badaniach archeologicznych – założenia i uwagi konserwatorskie do zagadnienia

Lost in Translation: Discussing the Positive Contribution of Hobbyist Metal Detecting

Nazewnictwo i symbolika ozdób starogermańskich

Czy społeczeństwo może uczyć się z doświadczenia? Problem podmiotowości społeczeństwa