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Recepcja egzotycznych stworzeń i ich wizerunków we wczesnonowożytnej Europie. Przykład indyjskiego nosorożca

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Bielecki K.

Rocznik Antropologii Historii

2013

issue 2(5), Genealogie kultury

259–276

In the 15th and 16th centuries, in the era of early geographical discoveries, animals that were increasingly often brought to Europe, which had been unknown or known only from obscure accounts of ancient philosophers, were becoming something more than just curious species of living creatures. Among them, the animal that deserves special attention is the Indian rhinoceros (Rhinoceros unicornis), which aroused not only considerable interest but also consternation of naturalists at the time and in years to come. The uniqueness of the specimen is emphasised by the very well-known wood engraving by Albrecht Dürer, depicting the animal in great detail. This work places the rhinoceros in a certain symbolic convention which influenced the way it was perceived in Europe in the 16th and 17th centuries. This paper is an attempt to interpret the image of the animal in the categories of a carrier of meanings exceeding what is experienced visually. Using the category of participation created by Lucien Lévy-Bruhl, the author places the rhinoceros in a multi-layer order of reality, similar to the category of semiophore created by Krzysztof Pomian. Such an approach, which assumes looking for a deeper, metaphorical message carried by the rhinoceros, demonstrates that exotic creatures in the 16th century were perceived not so much as natural curiosities but as a kind of references to other, peripheral worlds. These peripheries had long been imagined as legendary, magical places, which therefore filled the gap in the unity of the world, as the space for all that is inexplicable.

THE INSTITUTION OF MUSEUM, MUSEUM PRACTICE AND EXHIBITS WITHIN THE THEORY OF POSTCOLONIALISM – PRELIMINARY RESEARCH

86%

Michalik M.

Muzealnictwo

2018

vol. 59

28-33

The article contributes to considerations on the exhibits of colonial origin that exist in Western culture, and on the institution of museum with regard to the terms of postcolonial theory. Moreover, it addresses practical issues concerning museum’s policy towards artefacts of non- European origin. I referred to the basic concepts used in the theory of postcolonialism, such as: otherness, hybridity, mimicry, the Third Space, and to the interpretation of collectibles – “semiophores” (carriers of meaning) – as named by Krzysztof Pomian. I presented issues related to museum exhibitions, and the existence of museums in countries affected by colonialism, using the examples of: the return of Maori heads (mokomokai) from French museums to New Zealand, permanent exhibitions of the Cinquantenaire Museum in Brussels and the Rijksmuseum in Amsterdam, activities of the AfricaMuseum in Tervuren, and the temporary exhibition in Berlin – “Deutscher Kolonialismus: Fragmente seiner Geschichte und Gegenwart” from 2017. The problems that have been examined reveal the hybrid structure of “semiophores” coming from outside Europe, which makes both their reception by the viewer and the way of their presentation by the museum difficult. The article helps to realise that displaying the “otherness” of the non- European cultures is quite a challenge for curators, similarly as the concept of such institution like museum must be for these cultures. This results in creation by the museum of the so-called Third Space. The soonest research should give an answer to the question asked by Professor Maria Poprzęcka: To what extent history of art co-created the massive structure of cultural supremacy and intellectual and artistic domination, which found its institutional and material form in museums that were being erected all over the world.

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1 Bielecki K.

1 Michalik M.

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Recepcja egzotycznych stworzeń i ich wizerunków we wczesnonowożytnej Europie. Przykład indyjskiego nosorożca

THE INSTITUTION OF MUSEUM, MUSEUM PRACTICE AND EXHIBITS WITHIN THE THEORY OF POSTCOLONIALISM – PRELIMINARY RESEARCH