Search results

1

Osadnictwo kultury mierzanowickiej na stanowisku 2 w Zagórzu, pow. wielicki, woj. małopolskie

100%

Jarosz P.

Raport

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2017

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vol. 12

25-32

EN

The paper presents an analysis of the Mierzanowice Culture settlement at the multicultural site 2 in Zagórze. A sepulchral feature with grave goods was discovered there (no. 3122), as well as 20 pottery fragments found in secondary context (in features, cultural layers and natural layers). The sepulchral feature did not contain a skeleton, and the grave goods included a fragment of a copper object and two flint arrowheads found in the central part of the pit. Although the grave cannot be dated precisely on the basis of the grave goods, loose pottery fragments discovered at the site are chronologically attributable to the classical and the late phase of the Mierzanowice culture.

2

An anthropological analysis of a skeleton from the Lublin-Wołyń culture grave in Książnice, site 2, the commune of Pacanów, Świętokrzyskie voivodeship

100%

Szczepanek A.

Analecta Archaeologica Ressoviensia

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2014

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vol. 9

259–262

EN

The paper presents an anthropological analysis of a skeleton from the Lublin-Volhynia culture grave – item 3/08. The skeleton was severely secondarily damaged. The preserved elements allow to determine that the bones belonged to an adult female individual of about 144–149 cm stature intra vitam

3

Szkieletowe groby późnej fazy kultury przeworskiej z Czeladzi, pow. górowski. Uwagi o obrządku pogrzebowym kultury przeworskiej na Dolnym Śląsku

88%

Bohr M.

Slavia Antiqua: rocznik poświęcony starożytnościom słowiańskim

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2015

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issue 56

183-196

PL

The skeletal graves from Czeladź in Górowo county represent an interesting element of the burial rites in the late stage of the Przeworsk culture. One of the graves was equipped with ceramic utensils (both hand-formed and thrown on a potter’s wheel) as well as clips with bevelled hoops, which were probably analogous to artefacts discovered in other archaeological sites in Lower Silesia. Two of the graves contained no equipment typical of other Lower Silesian burials in the late Przeworsk culture. Perhaps the habit of not equipping the dead with any items should be attributed to the specific posthumous garment or shroud worn. The stones found in the graves were probably inspired by the Wielbark culture or the Scandinavians.

4

Silver disc-shaped plaque depicting a rider with a bird from the early medieval period found at Staré Město (Moravia, CZ)

88%

Galuška L.

Przegląd Archeologiczny

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2015

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vol. 63

195-207

EN

In 1955, while research was being carried out at the remnants of an early medieval (9th century) church in Staré Město na Moravě (CZ), one of the best known artefacts and also symbols of Great Moravia was found – a silver disc-shaped plaque with a figural motif featuring a rider on a horse with a bird of prey sitting on his arm. This rider became known as “the falconer”. Since the comprehensive evaluation of the disc by K. Benda in 1962, several important researchers have expressed their opinion on the interpretation of the disc, particularly in recent years. Our study pays greater attention to two of them, namely the Hungarian archaeologist Cs. Bálint and the Czech zoologist J. Mlíkovský, after which a conclusion is provided by the author.

5

Motyw brzozy w twórczości Juliusza Słowackiego

88%

Adamkowicz-Iglińska B.

Prace Literaturoznawcze

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2020

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issue 8

33-44

EN

This article is devoted to the motif of birch trees in the works of Juliusz Słowacki. It presentsthe importance of trees in the poet’s writing. It draws attention to the relationship between the birchand the image of the grave, death and crying. It shows the musical qualities of birch trees. In Słowacki’sworks they are metamorphosing into “God’s harps.” Another important issue considered isspeaking nature. Birds, associated with the birch, are viewed as an important element of the landscape.The poet’s writing is dominated by the motif of nightingales singing on birch trees. The birch islinked primarily to the space of the cemetery and that of the forest.

6

Dom i grób. Pozostałości osadnictwa „późnowstęgowego” ze stanowiska Sikorowo 29, gm. Inowrocław

88%

Rzepecki S., Chlebda D., Czubla P., Domańska L., Lorkiewicz W., Waszczuk K.

Raport

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2016

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vol. 11

57-68

EN

Authors of the article would like to present the discovery of a fragment of a settlement and a grave of the late Linear Pottery culture from Sikorowo, site 20, Inowrocław commune, Cuiavia region. The grave, or rather its equipment, is particularly interesting, as it allows us to carry out detailed chronological and chorological analyses.

7

Grób z Łazówka koło Sokołowa Podlaskiego – ślad nieznanego cmentarzyska kultury wielbarskiej?

75%

Andrzejowski J., Cędrowski R.

Wiadomości Archeologiczne

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2015

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vol. LXVI

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issue 66

338-348

EN

The cremation burial dated to the Roman Period was discovered in 2014, during agricultural drainage work, at the village of Łazówek, ca. 100 km NEE of Warsaw, in Sokołów Podlaski County. The find spot lies on the high, left-bank flood terrace of the Bug River ca. 2,5 km to the east of the valley of a minor stream, the Cetynia (Fig. 1). The upper level of the grave pit had been partly ploughed out, and was damaged to small extent by the mechanical digger; the surviving fragment was documented and excavated in full (Fig. 2). Underneath the topsoil, the pit was detected as a circular outline, ca. 95 cm in diameter, its section basin-like, with a depth of ca. 35 cm. Cutting fully into the culture deposit of a Przeworsk Culture settlement layer, the pit had a uniform, dark brown fill, without charcoal. Inside it was a cluster of pottery fragments, most of them not affected by fire with, next to them and below them, a small quantity (ca. 120 g) of cremated bones of a woman (?) age adultus (25–35 years old), resting in a compact concentration suggesting deposition inside an organic container. The grave goods consisted of (Fig. 3): 1. Fragments (approximately a half) of a large, wheel-made pottery bowl, weakly profiled, not affected by fire. Surface light brown, carefully smoothed. H. 9 cm, D. 18 cm. 2. Fragments (approximately ¼) of a large, wheel-made bowl, weakly profiled, not affected by fire. Surface light brown, carefully smoothed with on the shoulder, a burnished triple wavy line. H. 10 cm, D. ca. 21 cm. 3. Small wheel-made vessel (ca. ¾ complete), affected by fire, deformed. Surface originally smooth, brown (?) with on the shoulder, a row of delicately engraved chevrons. H. ca. 7,5 cm, D. 7 cm. 4. Hand-made vessel (ca. ¾ complete) affected by fire. Surface dark brown, smooth, irregular. H. 8 cm, D. ca. 10 cm. 5. Uncharacteristic fragment of coarse, hand-made pottery. Surface rough, brown in colour. 6. Copper alloy wire ring with extremities coiled into a flat spiral bezel and wrapped around the shoulders; affected by fire. D. ca. 30 mm. 7. Globular or round bead in pale green, transparent glass, melted down and deformed. 8. Two polyhedral beads in purple, translucent glass, burnt through. 9. Small fragment of an antler plate from the grip of a composite comb, deformed by fire. 10. Biconical clay spindle-whorl, not affected by fire. D. 30 mm. The grave inventory recovered at Łazówek may be safely dated to the Late Roman Period and attributed to the Wielbark Culture. At the same time, wheel-made vessels are quite rare in this culture, especially as compared to the pottery recorded in the territory of the Przeworsk and the Chernyakhiv cultures. Most of the wheel-made vessels found in Wielbark Culture sites date to phases C1b–D1, and are recognized as imports from the territory of the Chernyakhiv/Sântana de Mureş Culture, transferred via the Masłomęcz Group. Each of the wheel-made bowls from Łazówek finds good analogies in Chernyakhiv Culture pottery, this applies also to the wavy decoration on one of them. In contrast, the miniature vessel has no closer analogies. The engraved chevron decoration is typical for the hand-made pottery of the Wielbark Culture but is very rarely seen in wheel-made pottery, this is true also of the Chernyakhiv and the Przeworsk cultures. The deposit from Łazówek is unique because of the presence inside a single grave inventory of three wheel-made vessels, given that Wielbark Culture burials usually hold one, more rarely, two vessels. Two large cemeteries near Łazówek – at Jartypory and at Cecele – yielded only individual wheel-made vessels or sherds of such pottery (respectively, 11 out of ca. 450 and 6 out of ca. 580 graves). Their larger number is known from graves from cemeteries in the southeasternmost reaches of the Wielbark Culture, graves of the Masłomęcz Group, and in particular, graves of the Chernyakhiv/Sântana de Mureş Culture. Characteristic of the wheel-made vessels from Łazówek, and the chronology of the glass beads attributed to type TM128, and – to some extent – chronology of the metal rings type Beckmann 16, allow us to refine the dating of grave from Łazówek to phase C1b and the older stage of phase C2. The grave must belong to a larger cemetery, given that in the light of our present understanding of the burial customs of the Wielbark Culture people it is unlikely that this was an individual, isolated burial. This supposed cemetery would be associated with the settlement microregion in the valley of the Cetynia River, known only from surface fieldwork and random discoveries (Fig. 4). Nevertheless, some traces of Wielbark Culture occupation have been recorded in several sites in the region, of which a few (Ceranów, Sabnie and Zembrów, also coins from Sabnie and Hołowienki) may be dated reliably, or at least with some confidence, to phases B2/C1–C1 (cf. Fig. 5). In the immediate vicinity, just on the northern side of the valley or the Bug River, we have two larger and partly investigated sites of the Wielbark Culture: the cemetery at Nur, and the settlement at Kamianka Nadbużna.

8

Metsamor: report after the 2019 season

75%

Jakubiak K.

Polish Archaeology in the Mediterranean

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2020

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vol. 29(2)

267-280

EN

The 2019 season in Metsamor confirmed the functioning of the settlement in the Urartian period. House II, discovered during the fieldwork, is the first architectural structure built at the beginning of the Early Iron Age period which, after some possible rearrangements, retained control over the Aras valley during the Urartian kingdom. Pottery discovered there confirms that the already excavated part of the settlement was extensively used after the fall of Urartu. A pit grave dated to the 7th century BC yielded a late Urartian cylinder seal.

9

Gorgias and Isocrates’ Grave

75%

Gemin M.

Peitho. Examina Antiqua

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2018

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vol. 9

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issue 1

31-35

EN

Gorgias, the teacher of Isocrates, is rarely mentioned in Isocrates’ works and never in a flattering way. He is also presented, among other masters and poets, on Isocrates’ grave in a way that appears to be consistent with his pupil’s thought. Thus, the author of the iconographic plan of the grave may have been either Isocrates himself or someone who sufficiently knew his works and properly understood his tempestuous relationship with his master.

10

Grób kultury wielbarskiej z cmentarzyska z wczesnej epoki żelaza w Tynwałdzie na Pojezierzu Iławskim

75%

Żórawska A.

Wiadomości Archeologiczne

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2006

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vol. LVIII

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issue 58

201-2007

EN

The region around Lake Tynwałd is one of the best investigated archaeologically in the Iława Lake District. This is mainly thanks to lively activity in 1930ies of Waldemar Heym, head of the Heimatmuseum in Marienwerder (now, Kwidzyn) and Alfred Ruppelt – schoolteacher at Tillwalde, Kr. Rosenberg (now, Tynwałd), subsequently head of the Heimatmuseum in Marienburg (now, Malbork). An outstanding concentration of Early Iron Age sites east of Lake Tynwałd, on a small elevation known as Mittelwald, included the largest flat cemetery of Westbalt Barrow Culture as yet recorded, numbering no less than 109 features (Tynwałd, distr. Iława, woj. warmińsko-mazurskie, site XXVII), situated on the southern and south-western slope of the elevation. The material from the site was analysed and interpreted by A. Łuka basing on surviving pre-1945 documentation. A deposit of special interest at the cemetery at Tynwałd is grave labelled ‘no. 102’; not published in full the assemblage gave rise to some confusion in its identification and culture attribution. The grave had the form of an urn deposited in natural sand; the urn, type XVIIIB was covered by a bowl, type XaA in the classification system of R. Wołągiewicz. Grave goods consisted of a bronze bucket-shaped pendant fashioned from horizontally profiled sheet foil (Fig. 1), type HI in I. Beilke-Voigt’s classification (at present in the Museum in Kwidzyn). The vessel forms and the pendant classify the assemblage unmistakably as Wielbark Culture of the Late Roman Period; this overthrows earlier culture attribution and dating of the feature to Westbalt Barrow Culture of the Late Pre-Roman Period or the beginning of AD 1st century. At the same time archaeologists lose their main argument in favour of survival of Westbalt settlement in the Iława Lake District until AD 1st century, a hypothesis largely based on the cited incorrect dating and culture attribution of ‘grave no. 102’ at Tynwałd. Equally interesting is the geographic context of the grave. It is the only Roman Period site recorded in this part of the micro-region of Lake Tynwałd. Zones of ‘Early Iron Age’ and ‘Roman Period’ settlement visibly do not overlap ie, Westbalt settlement clusters east of Lake Tynwałd, Wielbark settlement – south and west of the lake. Given the thoroughness of investigation of the Mittelwald it is highly unlikely that a larger gravefield of the Wielbark Culture should have escaped detection. It is a perplexing question why ‘grave no. 102’, with its Wielbark inventory, was deposited in an older, ‘strange’ burial ground rather than in one of the gravefields of the Wielbark Culture then in use in the region. Answering this question calls for some strenuous mental exercise and a separate discussion with little hope for much assistance from archaeological evidence at present available.

11

Pogrzeb i grób w tradycjach o patriarchach zawartych w Księdze Rodzaju. Stan badań

71%

Basiuk M.

Poznańskie Studia Teologiczne

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2019

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issue 34

29-40

EN

In the sanctuary dedicated to the patriarchs in Hebron, according to tradition, there are graves of Abraham, Isaac and Jacob and their wives, Sarah, Rebekah and Leah. The roots of this tradition go back to the Book of Genesis, however, today there are some people who call into question the credibility of this message. On the grounds of analysis of the text describing the circumstances of Jacob’s death, some state that actually his grave has a diff erent location. Others, in turn, will point out that the story of Abraham purchasing a fi eld with the cave of Machpelah for the grave of Sarah (cf. Gen 23) is a very late tradition, which was attached to the pre-existing text. Therefore, in this article, we will analyze existing studies referring to the issue of the patriarchs’ death and its accom-panying events (funeral, mourning, grave) in order to check how they discuss it and to what extent they approach this practice globally.

12

„Tylem wytrwał, tyle wycierpiałem…” Werteriada Carla Ernsta Reitzensteina jako przedmiot odniesień w IV części „Dziadów" Adama Mickiewicza

63%

Paprocka-Podlasiak B., Uniwersytet Mikołaja Kopernika w Toruniu I. L. P., bognap@umk.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2015

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vol. 27

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issue 1

EN

The aim of the article is to complement the research on "Dziady, Part IV" by Adam Mickiewicz with a previously unexplored question of references to two stanzas from C.E. Reitzenstein’s "Lotte bei Werthers Grabe", a youthful work of the poet, which the author of the drama wrongly attributed to Goethe. Considering that the author of this Wertheriad, which was very popular at the turn of the 18th century, is not very well known in the Polish culture, it is necessary to include a few aspects related to his biography. The analysis is concerned with the aesthetics, meaning and idealistic rela-tions that connect Reitzenstein’s poem with "Dziady, Part IV". The paper also contains a comparison of the reception of the German poet’s elegy in German-speaking countries and functionalising it in Mickiewicz’s drama.

13

Unikatowa pochwa miecza z cmentarzyska kultury przeworskiej w Orenicach, pow. łęczycki

63%

Czarnecka K., Siciński W.

Wiadomości Archeologiczne

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2015

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vol. LXVI

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issue 66

320-330

EN

A remarkable sword scabbard surfaced in a cremation burial excavated on the cemetery at Orenice in 2012 by the team from the Museum of Archaeology and Ethnography in Łódź led by W. Siciński PhD. The scabbard, made of two pieces of brass sheet, had been destroyed deliberately. Its mouth is bell-shaped. Originally, the upper part of the scabbard was provided with a decorative plate in an openwork design, now surviving only in fragments, but the very distinct impression left by the now missing fragments permit a fairly accurate reconstruction (Fig. 5, 6). The lower plate of the suspension loop, rectangular of shape, passed to a long, narrow gutter fixed with rivets (Fig. 7), similarly as in specimens from Witaszewice, Łęczyca County, grave 147/1937, or Zemplín, Trebišov County, grave 108 (cf. K. Czarnecka 2014, fig. 1, 3:2, 4). The most remarkable element of the scabbard is its triangular chape, ending in a massive, lightly flattened knob, H. 1 cm, D. 1.5 cm (Fig. 6:2). Chapes with a knob, characteristic for swords type Mainz and a little later, for type Pompeii, were mounted onto the base of scabbards made of organic materials (M. Biborski 1999, fig. 13; C. Miks 2007, p. 222–228; L. Pernet 2011, p. 102, 104, fig. 124). Scabbards of this form were part of the Roman Republican army equipment. At the same time, metal scabbards with openwork plating, but with a different form of chape, appear among the Celtic military gear. The combination of these two evidently divergent traditions and techniques of scabbard making in the specimen from Orenice is unprecedented. The dating of the grave inventory is problematic. Most of the grave goods: spur, knife with a clamp (Fig. 4:5.12) and scabbard, date to the close of phase A3, possibly the onset of phase B1. At the same time, the inventory features a brooch, variant K (Fig. 4:2), datable to phase A2. This chronological discrepancy may be explained in two ways: the brooch could have entered the assemblage by accident or a no longer recoverable cut had been made into an earlier grave.

14

Zespół dewocjonaliów z wykopalisk na cmentarzu przy kościele pw. św. Barbary na Starym Mieście w Częstochowie

63%

Młodkowska-Przepiórowska I.

Acta Universitatis Lodziensis. Folia Archaeologica

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2018

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issue 33

207-245

EN

In 2015, during the reconstruction of Nadrzeczna Street and Bohaterów Getta Square, in the area of the intersection with Jaskrowska Street, it was made the discovery of human bone remains. As a result of the rescue investigations undertaken, an area of approximately 550 square meters was tested. They were discovered among others relics of foundations, made of broken limestone and remains of the cemetery. The historical research showed that these foundations were relics of the St. Barbara church, around which there was a churchyard cemetery called „the cemetery outside the city” in the sources. At the remains they were found rosary beads, medallions, crosses, single glass beads, iron buttons, bronze and bone coins, hooks, buckles, pieces of cloth and textile and haberdashery ornaments. Particularly noteworthy is the collection of religious items. The collection of devotional items includes 14 exhibits. It is a diverse collection in terms of morphological and stylistic, and above all iconographic. Metal medallions and crosses were made from non-ferrous metals in casting or minting techniques. The minted medallions were made from thin badges. Glass medallions were made from two glass panes, bound in a metal frame, between which there was an image reflected on the paper. The remains of rosaries are beads, differing in terms of size, colors and shapes. Only in 9 graves it was managed to set the position of devotional items on the remains of the deceased. Most often, devotions were found at the height of clasped hands folded in the lap. Other places where devotional items are found are: around the head, around the clavicle, around the thigh – above the knees and at the feet level. The subject of images on medallions and crosses is diverse. The sets of images on the obverses and other sides are also interesting. On one picture of a glass medallion it was identified the figure of Saint Josef. The figure of St. Benedict was on two medallions. The figure of St. John the Baptist was presented on one of the most carefully made cast medallions. On its other side it was recognized St. Nicholas. On the next medal, the figure of St. Francis of Paola was identified. St. Francis of Assisi appears on a very poorly legible paper picture. On the medal lion we can see St. Wojciech. On its other side there is a figure of the Guardian Angel holding the child by a hand. Burning Hearts are presented on a cast medal, on the other side of the medal with St. Wojciech. The most popular were the medallions with images of Christ and the Virgin Mary. The Polish images of the Mother of God should be taken in account, first of all, Madonna of Jasna Góra from Częstochowa. On the medallions and crosses except the characters, there are legends – inscriptions, only in Latin, made them by majuskuła with sheriffs. Most often, the medallions were „signed” by the name of the saint. In the seventeenth and eighteenth centuries, they were gladly supplied with medallions with the patrons of good death. In determining the chronology of devotional items from the church cemetery at the church of Saint Barbara, a wide chronological framework was adopted, corresponding to the period of use of the cemetery and the church, from the 17th century to probably the beginning of the 19th century. Częstochowa was the center of worship of Our Lady of Jasna Góra. It can be assumed that most of the medallions with images of the Virgin of Częstochowa, and perhaps even all of them, were probably created in Częstochowa.

PL

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15

Metody wykorzystywane przez polskich kryminalistyków i archeologów przy eksploracji mogił – różnice i zbieżności

63%

Górecki A.

Acta Universitatis Lodziensis. Folia Archaeologica

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2017

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issue 32

23-46

EN

There seem to be a lot of differences between archaeology and forensic science but, when we take a closer look, we may find out that some methods and goals may be similar, especially on the ground of exhumation of graves. Since the early 90s, in Poland, archaeologists more often started to take part in investigations covering mass murders and crimes against humanity committed during the Second World War. It occurred that their methodology is providing best results in this kind of work. At first, archeologists started only as consultants but then they were given a possibility to lead their own field of excavations in that area of interest. Moreover, it led to creating a new subdiscipline called forensic archaeology. It is hard to tell the difference between archaeological and forensical field methods of exhuming graves. Archaeological literature is way more precise in describing that topic, whereas police experts are thought to provide general procedures of securing a crime scene. The most obvious differences between the two fields in question are visible in the methods of documentation. However, there is no doubt that the specialists in each of the disciplines have learned a lot from each other since they decided to cooperate in some specific cases.

PL

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16

Niecodzienne znalezisko (grobowe?) z Roztocza Zachodniego

63%

Libera J., Stachyra A.

Wiadomości Archeologiczne

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2022

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vol. LXXIII

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issue 73

235-240

EN

During agricultural works on one of the loess humps of Western Roztocze, in the village of Kondraty, Biłgoraj County, SE Poland (Fig. 1), three objects were found close to each other on the surface: a five-sided axe made of amphibolite, a quadrangular axe made of Volhynian flint and a sea urchin fossil (Fig. 2−4). The discovery of such specific lithic items in one place may indicate that they came from a destroyed prehistoric grave. Both Neolithic and Bronze Age/Early Iron Age communities manufactured stone and flint axes. Stone axes are primarily attributed to the Corded Ware and Lusatian Cultures, and, to a limited extent, to the Mierzanowice Culture and possibly the Trzciniec Culture, while flint axes are also linked to the Funnel Beaker Culture and the Globular Amphora Culture. On the basis of a typological and comparative analysis, bearing in mind the taxonomic units distinguished in the interfluve of the Middle Vistula and Bug Rivers, the closest analogies for both the axe forms are found among grave goods of the Corded Ware Culture. In the classification of P. WŁODARCZAK (2006), the stone axe bears resemblance to type C, and the flint axe finds analogies among some of the specimens of variants A/B/D of type I. Although no co-occurrence of objects comparable to the Kondraty artefacts, as well as the presence of the fossil, is yet to be recorded in a single feature, the analysed material should be dated within the range of phases II−IIIB in the periodization of P. WŁODARCZAK (2006), i.e., around 2700/2650−2300/2250 BCE. The reference point are the radiocarbon dates determined for two graves: for the flint axe – Łapszów, barrow, grave 1: C14 3870 ± 35 BP; for the stone axe – Wola Węgierska 3, barrow 1: C14 3920 ± 80 BP and 3860 ± 70 BP.

PL

Na jednym z garbów lessowych Roztocza Zachodniego w miejscowość Kondraty, gmina Goraj (ryc. 1) w trakcie prac rolnych, w bliskim sąsiedztwie znaleziono na powierzchni trzy przedmioty: topór pięcioboczny z amfibolitu, siekierę czworościenną z krzemienia wołyńskiego i skamielinę jeżowca (ryc. 2-4). Znalezisko w jednym miejscu tak specyficznych wytworów kamiennych może wskazywać na odkrycie zniszczonego grobu pradziejowego. Kamienne topory i krzemienne siekiery wykazywane są w wytwórczości zarówno społeczeństw neolitycznych, jak i epoki brązu/ wczesnej epoki żelaza. W pierwszym przypadku dotyczy to przede wszystkim kultury ceramiki sznurowej i kultury łużyckiej, w stopniu bardzo ograniczonym kultury mierzanowickiej i być może kultury trzcinieckiej, w drugim, również kultury pucharów lejkowatych oraz kultury amfor kulistych. Na podstawie analizy typologiczno-porównawczej, mając na uwadze wyróżnione jednostki taksonomiczne w międzyrzeczu środkowej Wisły i Bugu, zarówno dla formy topora jak i siekiery, najbliższe analogie odnajdujemy wśród inwentarzy grobowych kultury ceramiki sznurowej. W systematyce P. Włodarczaka (2006) dla topora jest to typ C, dla siekiery niektóre okazy zaliczone do typu I odmian A/B/D. I jakkolwiek nie stwierdzono współwystępowania w jednym obiekcie wytworów porównywalnych do znaleziska z Kondrat, podobnie jak obecności skamieliny, to analizowane materiały należy datować w zakresie fazy II-IIIB w podziale periodyzacji P. Włodarczaka (2006), tj. na lata około 2700/2650-2300/2250 BC. Punktem odniesienia są określenia radiowęglowe dwóch grobów: dla siekiery – Łapszów, kurhan, grób 1: C14 3870 ± 35 BP, natomiast dla topora – Wola Węgierska 3, kurhan 1: C14 3920 ± 80 BP oraz 3860 ± 70 BP.

17

Motyw grobu w pieśniach (lais) Marii z Francji

63%

Gęsicka A.

Prace Filologiczne. Literaturoznawstwo

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2012

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issue 2(5)

221-236

EN

A motif of tomb appears in lais of Marie de France, a writer-poet of the 12th century, in two categories: as a description of tomb really existing or under construction and as the idea of a planned tomb. It seems that for the author the connotation of tomb is of fundamental importance. As this motif occurs in the context of an inseparable triad of love, death and memory, the tomb becomes not only a place-mark of the union of lovers, but also a place-mark of a commemoration of the terrestrial position of the deceased refl ected in constant prayers. The attitude the author takes toward the motif seems to necessitate an active approach of the reader, inviting the reader to look for an adequate interpretation.

18

„Nie znajdziesz tam niczego, prócz śmierci”. Symbole tanatologiczne w twórczości Williama Blake’a (na przykładzie poematu „Czterej Zoa”)

63%

Osińska-Szpur A.

Amor Fati

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2015

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issue 3

19-42

EN

The purpose of this thesis is to present, discuss and interpret the thanatological motifs and themes in William Blake’s poem “Vala, or the Four Zoas”, regarded as crucial in understanding his extraordinary vision of the world, the concept of "The Fall" and salvation. The analysis comprises the following ideas and characters of Blake’s my-thology: “Eternal Death”, symbolizing dying and the watery kingdom of Tharmas, “ressurection in death”, dissolution of Four Zoas and separation from their female Emanations. The article was enriched with illustrations by William Blake depicting various images of death with the reference to his literary works such as: “For the Sex-es: The Gates of Paradise” or “Jerusalem. The Emanation of the Giant Albion”.

19

Prawo do grobu jako publiczne prawo podmiotowe

51%

Masternak-Kubiak M.

Wrocławsko-Lwowskie Zeszyty Prawnicze

|

2017

|

vol. 8

231-241

UK

Культ пам’яті про померлу людину становить частину права на повагу людської гід- ності живих. Однак користування цим правом залежить від наявності права на доступ до місця поховання померлого, тобто права на могилу. Закон «Про поховання та похоронну справу» (в Польщі «Закон про кладови- ща») виділяє комунальні цвинтарі, облаштування і розширення меж яких належитьдо завдань общини (ґміни) (1 ст., 1 п.), і цвинтарі релігійних громад, про заснування яких вирішують очільники конфесійних громад, на підставі наявності попереднього дозволу на подібне призначення земляної ділянки в генеральному плані забудови (1 ст., 3 п.). Норма 5-ї статті 2-го пункту Закону також передбачає, що на кожному цвинтарі повинен знаходитися ритуальний дім або трупарня. Кладовища належать до категорії ґмінних об’єктів і предметів громадського користування. Усі цвинтарі виконують громадську функцію, про що говорить 8 ст., 2 п. Закону про кладовища, який зобов’язує управління цвинтарів релігійних громад, що розташовані в населених пунктах, де відсутні ґмінні цвинтарі, надавати можли- вість поховання для осіб іншого віровизнання та атеїстів. Принципи і механізми використання комунального цвинтаря регламентуються правилами користування цвинтарем, які є актом місцевого законодавства. Згідно із 40 статтею 1 пункту Закону про ґмінне самоврядування, на основі повноважень, на- даних законом, ґміна має право нормотворчості на місцевому рівні з юрисдикцією на території ґміни. В юдикатурі утвердився погляд, що право на могилу має характер цивільного zрава, оскільки договір про поховання померлого є актом цивільного права, який укладається між фізичною особою та управлінням цвинтаря. З договору, зокрема, випливає низка уповноважень, серед яких, зокрема, право на культ пам’яті померлої особи, яка є в гробі, що для фізичної особи є частиною її права на повагу до людської гідності. Сума цих уповноважень і становить право про кладовища. Це право має подвійний характер: особистий та майновий. При цьому на перший план виходять особисті елементи, до числа яких потрібно віднести право на поховання, належне померлій особі у вибраному нею місці, якщо цей вибір стосується місця поруч із по- мерлими близькими їй особами; право догляду за могилою, вшанування культу похо- ваної там особи, прийняття рішень про поховання інших близьких осіб. Джерелом спонтанного набуття права на могилу є виключно цивільний дого- вір, укладений із управлінням цвинтаря, який і є розпорядником місць для поховань, на основі уповноваження директивного органу ґміни. Зважаючи на те, що цвинтар – громадське місце, а його благоустрій – справа місцевої громади, кожна особа має право бути впевненою, що такий договір з нею буде укладено. Місце для поховання є власністю кладовища, однак надання конкретній особі права на таке місце означає скерування розпорядження на ім’я управління цвинтаря про виділення місця для по- ховання, а також його оберігання від наділення іншій особі. Суб’єктивним публічним юридичним правом є передбачене таке суб’єктивне mправо, яке надає особі можливість ефективної вимоги конкретної поведінки або не- втручання у сферу своєї свободи, що визначена правом, від охопленого цією право- вою ситуацією іншого громадського суб’єкта суб’єктивного юридичного права (так звана «претензія»). Претензія, таким чином, становить релевантну передумову існу- вання суб’єктивного юридичного права. Суб’єктивне юридичне право надає можли- вість фізичній особі виразити претензії до органів публічної влади щодо визначеної належної поведінки, яка знаходиться у правових інтересах особи. Змістом суб’єктивного юридичного права є можливість ефективного вимаган- ня особою від держави або від органу місцевого самоврядування за допомогою інди-відуалізованої претензії чітко окресленої поведінки, що перебуває у правовому інте- ресі запитуючої сторони. Отож, можна припустити твердження, що у контексті об’єктивного юридичного права право на могилу становить специфічне суб’єктивне публічне юридичне право. Кожна фізична особа має право вимагати призначення їй місця поховання на кладовищі і укласти щодо цього предмета відповідний договір. Місце, призначене для могили, становить власність цвинтаря, а надання конкретній особі шляхом укладення договору права на це місце – означає водночас зобов’язання з боку управління цвинтаря у наданні такого місця, його оберігання від наділення іншій особі, а також догляду і утримування цього місця у належному стані.

EN

It is possible to describe public right of subject as the situation in which this subject can succesfully demand stricte defined action or uninterference in the sphere of juridically precised liberty from entangled in this situation another public subject (it is claim). The right for tomb is written in the law of cemeteries and funerals. Contract of dead body’s burying is juridical act between natural person and administration of the cemetery. The effect of act is several rights for natural person. Right for tomb is specific public right of subject. Each natural person has the right to demand the funeral place in communal cemetery. Place is the possession of cemetery’s owner, who has the obligation of place’s protection.

20

Prawne, kulturowe i etyczne aspekty eksponowania szczątków ludzkich w muzeach

51%

Kalka P.

Pomorania Antiqua

|

2023

|

vol. Tom XXXII

7–38

EN

The issue of exhibiting human remains in museums is increasingly becoming the subject of considerations on the legal, ethical and practical side of this matter. Museums where human remains are most often exhibited are archaeological and ethnographic museums, as well as museums of medicine and anatomy. From a legal point of view, different countries around the world have different regulations regarding the status of human remains. Despite the differences, the regulations most often protect the subjectivity of human corpses, and their deliberate desecration or profanation is subject to legal sanctions. Also in the museology specialist community, the question is raised more and more often whether displaying human remains at exhibitions is a proper practice. This applies to both remains obtained as a result of archaeological excavations and ethnographic research. In many countries (USA, Canada, Australia, Great Britain, Sweden, etc.), legal regulations are being developed obliging museum institutions storing remains to repatriate them to representatives of indigenous peoples living in given countries (e.g. Native Americans, Indigenous inhabitants of Australia, Sámi people, etc.). The situation is slightly different when it comes to exhibiting human remains obtained from prehistoric sites, which are difficult to identify with a specific contemporary people or tribe. But also in these cases, decisions are sometimes made to resign from the exhibition, and even reburial. It seems that the institutional practice of museums is evolving towards limiting or even completely abandoning the display of human remains in favour of presenting a digital copy, i.e. a representation of the data of the remains, either in the form of photogrammetric photos, a digital scan, or a three-dimensional hologram. Regardless of the approach to this difficult issue, the most important task faced by the community of both researchers who obtain human remains as a result of their work, and museum specialists, is to find such forms of expression and presentation of the obtained remains that the exhibitions prepared are in line with the principles of ethics and respect for the dignity of death.

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Prawo do grobu jako publiczne prawo podmiotowe

Prawne, kulturowe i etyczne aspekty eksponowania szczątków ludzkich w muzeach