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1

Antropologiczno-ludowe aspekty kreacji postaci magnetyzera w utworach Ernsta Teodora Amadeusza Hoffmanna i Józefa Dzierzkowskiego

100%

Dylewska A.

Literatura Ludowa

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2017

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issue 6

EN

The fascination with magnetism, both on the scientific and literary levels, was a phenomenon always inextricably connected to Romanticism. Magnetism and the mysterious figure of the magnetiser were a subject of interest for many Romantic writers, including E.T.A. Hoffman and Jozef Dzierzkowski. Both writers made the magnetic doctor their main protagonist. The discourse about magnetic cures became a constitutive issue in their musings. This article offere an analysis of the portraits of the magnetisers in Magnetiseur (1814) by E.T.A. Hoffmann and in The Magnetic Doctor (1844) by Józef Dierzakowski. Its goal is not only to present the title characters in relation to the assumptions of the Romantic anthropology developing at the beginning of the 19th century, but also to show that the elements derived from folklore, which was used by both writers in the creation of the image of the magnetiser, have a crucial influence on the birth of the (urban) legend connected to this figure.

PL

Fascynacja fenomenem magnetyzmu zarówno na płaszczyźnie naukowej jak i literackiej była zjawiskiem nierozerwalnie związanym z epoką romantyzmu. Magnetyzm i tajemnicza postać magnetyzera stanowiły przedmiot zainteresowań romantycznych pisarzy E.T.A. Hoffmanna i Józefa Dzierzkowskiego. Obaj twórcy uczynili lekarza magnetycznego głównym protagonistą, a dyskurs na temat magnetycznych kuracji jednym z konstytutywnych problemów swych utworów. Przedmiotem rozważań niniejszego artykułu jest analiza portretów magnetyzerów w utworach Magnetiseur (1814) E.T.A. Hoffmanna oraz Lekarz magnetyczny (1844) Józefa Dzierzkowskiego. Istotne jest nie tylko przedstawienie tytułowych bohaterów w odniesieniu do założeń i idei rozwijającej się na początku 19 wieku romantycznej antropologii lecz, przede wszystkim, próba wykazania, że elementy zaczerpnięte z ludowego folkloru, z którego obaj pisarze korzystali przy kreowaniu obrazu magnetyzera, mają istotny wpływ na narodziny związanej z tą postacią (miejskiej) legendy.

2

Внесок польських дослідників у вивчення народної медицини українців (друга половина xix–перша половина xx ст.)

84%

Козаченко Т.

Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

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2015

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issue 1

165-177

PL

W artykule przedstawiono analizę historiografii polskich badań etnograficznych z zakresu tradycyjnej ukraińskiej medycyny w drugiej połowie XlX–na początku XX wieku. Na podstawie wiadomości z literatury odtworzono proces powstawania i rozwoju zainteresowania polskich naukowców ukraińskim lecznictwem ludowym.

EN

The article contains historio-graphical analysis of Polish ethnographic researches of the folk medicine of Ukrainians from the second half of the XIX to the early XX century. The process of emergence and development of interest of Polish researchers in Ukrainian folk treatments is considered on the base of literature sources.

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Burza w wierzeniach ludowych

84%

Czyżewski F.

Etnolingwistyka. Problemy Języka i Kultury

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1994

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vol. 6

169–173

PL

Prezentowane teksty z zakresu meteorologii ludowej pochodzą ze zbiorów autora gromadzonych w latach 1990–1992. W niniejszym opracowaniu ukazano materiał z dwóch miejscowości wschodniej Lubelszczyzny: Podhajca i Uhnina. Postawę informatorki ze wsi Podhajec można scharakteryzować jak postawę komentatora zjawisk z zakresu meteorologii ludowej. Ankietowana osoba zachowuje dużo racjonalizmu, etymologizuje, interpretuje określenia sugerowane w kwestionariuszu. Inna jest postawa informatora ze wsi Uhnin. Stara się on przekazać swój aktualny stan wiedzy z zakresu duchowej kultury ludowej przedstawicielowi młodszego pokolenia. Indagowana osoba pokazuje funkcjonowanie poszczególnych zjawisk meteorologii ludowej w różnych warstwach chronologicznych. Znajdują się tutaj z jednej strony rytuały, praktyki, w które wierzy informator oraz jego otoczenie, z drugiej zaś strony takie zjawiska, które ankietowany zna wyłącznie z dzieciństwa. Prezentowane teksty pokazują głęboką wiarę ludu w Boga, mającego władzę nad takimi żywiołami jak burza, piorun, grad. Współczesny wieśniak odrzuca ingerencję „sił nieczystych” (demonów) w owe zjawiska meteorologiczne. Jest to więc zasadnicza zmiana w świadomości mieszkańców wsi w ostatnim stuleciu, XIX-wieczny bowiem lud tłumaczył skutki żywiołów meteorologicznych (burzy, pioruna, gradu) działaniem istot demonicznych.

EN

The texts in the area of folk meteorology presented in the article come from the author’s collection. The texts were collected between 1990-1992. In the present paper, the author presents the material from two localities in the Eastern Lublin region, i.e. Podhajec and Uhnin. The attitude of the informant from the village of Podhajec can be characterised as an attitude of a commentator of the phenomena from the realm of folk meteorology. The informant can be characterised as rational, she provides etymologies, interprets expressions suggested in the questionnaire. The attitude of the informant from the village of Uhnin is different. He tries to communicate his current state of knowledge of spiritual folk culture to a representative of a younger generation. The inquired person describes how particular phenomena within folk meteorology function at different chronological levels. On the one hand, in his account, one can find rituals and practices the informant believes in, on the other such phenomena that the informant knows solely from his childhood. The texts presented in the article show a deep rooted belief of the people in God that rules over such phenomena as thunderstorms, thunder, and hale. The modern peasant rejects the interference of ‘sinister forces’ (demons) into the said meteorological phenomena. Thus, it is a crucial change in the awareness of village inhabitants that took place within the last century. In the 19th century, the inhabitants of villages explained the negative effects of metrological (climatic) elements (e.g. thunderstorms, thunder, or hale) in terms the interference of demonic creatures.

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Kosmogoniczne źródła muzyki w kontekście autoklasyfikacji tradycyjnych instrumentów muzycznych Hucułów. Nowa perspektywa analizy

67%

Cząstka-Kłapyta J.

Łódzkie Studia Etnograficzne

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2023

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vol. 62

217-236

EN

The Hutsul tradition divides musical instruments into two categories: the divine and the devilish ones. This classification serves as a starting point for a multifaceted analysis of the sources and products of traditional music. The analysis concerns various factors, including an attempt to reconstruct the original design idea of the instrument’s creator, the choice of material for the instrument, and the way in which its sound properties are used. Of key importance to these considerations is a thorough analysis of these qualities in various performance contexts, in relation to the archaic belief worldview that refers to cosmogony (myth), i.e. the relationship between man and nature (macrocosm) and with his conscious musicalized microcosm. The article addresses the issue of how these relationships are reflected in the form, matter, sound qualities, and the musical performance of both groups of instruments.

PL

W tradycji huculskiej instrumenty muzyczne dzielą się na dwie kategorie: boże i diabelskie. Podział ten stanowi punkt wyjścia do wielopłaszczyznowej analizy źródeł i wytworów muzyki ludowej. Refleksje badawcze dotyczą próby zrekonstruowania pierwotnego zamysłu konstrukcyjnego twórcy instrumentu, uzasadnienia wyboru odpowiedniego tworzywa instrumentu i sposobu wykorzystania jego właściwości brzmieniowych. Kluczowe dla rozważań jest dokładne prześledzenie tych jakości w różnych kontekstach wykonawczych w związku z archaicznym światopoglądem wierzeniowym, który odwołuje się do kosmogonii (mitu), czyli relacji łączących człowieka z naturą (makrokosmosem) i z jego uświadomionym umuzycznionym mikrokosmosem. W artykule podjęta została próba odpowiedzi na pytanie, w jaki sposób te relacje odzwierciedlają się w formie, materii, jakościach dźwiękowych, wykonawstwie muzycznym obu grup instrumentów.

5

Niech gra muzyka – o filmie Andrzeja Barańskiego. Powracający temat

67%

Piątkowska K.

Łódzkie Studia Etnograficzne

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2018

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vol. 57

EN

The director Andrzej Barański can be seen as portraying local, mundane life. His oeuvre presents a personal vision of our reality. It is a vision devoid of emotions, Polish myths andRomantic clichés; instead, it is delicate and filled with a detached humour. The artist interprets the world from afar, so to speak; like an anthropologist. Niech gra muzyka (Let the music play) is a 72-minute film consisting of six etudes relating the fortunes of provincial musicians. The narration is unusual, partly realistic, partly fairy-tale; it presents strange happenings in the lives of the protagonists, village musicians, as if they were heroes of folk tales or creatures from folk belief.

PL

Reżysera Andrzeja Barańskiego można nazwać portrecistą lokalnego, codziennego życia. Jego twórczość to indywidualne spojrzenie artysty na naszą rzeczywistość, pozbawione emocji, polskich mitów i romantycznych klisz – natomiast pełne delikatności i zdystansowanego humoru. Artysta interpretuje świat trochę „z oddali” – jak antropolog. Niech gra muzyka to 72-minutowy film składający się z sześciu nowel opowiadających losy prowincjonalnych muzyków. Niezwykła narracja po trosze realistyczna, po trosze baśniowa, przedstawia niesamowite przypadki bohaterów – wiejskich grajków, jakby byli bohaterami ludowych wierzeń i opowieści.

6

Obrazy eschatologiczne w ludowych pieśniach pogrzebowych w Opoczyńskiem

67%

Kupisiński SVD Z.

Studia Etnologiczne i Antropologiczne

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2018

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vol. 18

200-211

PL

The article was based on the ethnographic field research on funeral rites in the Opoczno Region conducted by the author, and the literature of the subject. The elaboration presents visions of heaven, purgatory and hell described in funeral songs. Songs do not only depict the state of a soul in heaven (joy and eternal happiness with God), but they also present soul’s vision in purgatory (a period of purification and preparation for entering heaven accompanied by suffering), and in hell (a place of despair, sadness and condemnation for eternity, freely chosen by a soul not wanting to convert and ask God for mercy). Singing funerary songs at funeral ceremonies were meant not only to accompany the deceased “on the final path of life” and escort him or her to “the other world”, but they also became an opportunity for the participants to reflect on their own death and possibly correct their own actions to avoid eternal damnation.

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Desakralizacja folkloru − jej przejawy muzyczne i kulturowe

67%

Dadak-Kozicka K., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.

Pro Musica Sacra

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2013

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vol. 11

EN

The religious dimension of traditional culture – crucial to the understanding of the rituals which form a commentary on the cycle of the life of nature (annual rituals) and the life of humankind (family rituals) – is of particular importance, but it is also difficult to research. The ethnologists who documented folklore were sensitive to this aspect of culture (i.e. the suprasensory life) even as early as the eighteenth century, but they did not know how to document it correctly, and imposed their own ideas – e.g., deistic ones – on the mentality and the imagination of the rustic population as revealed in their art. Incomplete (i.e., concerned with selected aspects of culture and art) and not very accurate documentation (searching for folklore’s original versions, e.g., the brothers Grimm) resulted in the creation of standards of fairytales or songs which make reading their content and interpreting their form correctly more difficult today. Yet in folklore the content, the form and the function were organically bound together. This rather inadequate documentation encouraged erroneous interpretations, and even the mythologising of folklore in later periods, Documentation was shaped to fit in with the assumptions and ideas of the researchers, thus falsifying, in particular, the unique character of folk symbolism and poetics, the distinctiveness of folk thinking. In fact, it was not until the nineteenth century that Oskar Kolberg created reasonably full and reliable documentation of folk art – viewed in the context of traditional culture and nature – in his monumental work Lud, jego zwyczaje, sposób życia, mowa, podania, przysłowia, obrzędy, gusła, zabawy, pieśni, muzyka i tańce [People, their customs, way of life, speech, legends, proverbs, rituals, magic, games, songs, music and dances] (1856–1890 – 33 volumes). Ritual folklore, still quite active at that time, reveals both the multifunctionality of forms (associated with the musical and poetic styles), as well as the hierarchical order of functions and values – from the religious, through ethical, aesthetic, cognitive and socialising ones, to the ludic function.At the same time ritual folklore reveals a tendency towards an increasingly prominent emphasis on the ludic function, at the expense of functions concerned with belief, religion and philosophy. This can be seen in the gradual disappearance of archaic ritual chants with original tonal-melodic patterns, slow tempos and a-metric structure. These chants were a manifestation of a contemplative-reflective attitude towards the world and towards life, regarded as sacred. In the twentieth century, harvest chants represented a relic of this attitude. The unique nature of rustic culture expressed in these chants was investigated by E. JagiełłoŁysiowa (Elementy stylów życia ludności wiejskiej [Elements of lifestyles of the rural population], 1978). She emphasised the changes taking place in the attitudes of peasants towards nature, and in particular towards the nourishing Mother Earth and work on the land; these were losing the religious dimension in favour of an economic approach towards all work, while the ritual celebrations were gradually becoming predominantly a form of entertainment. Replacing the ritual chants with ditties, frequently of a lewd character (at one time these forms complemented each other), is a symptom of the changes – the disappearance of the contemplative-reflective attitude to the life of nature and humankind, the loss of the sacral dimension. The archaic style of chanting thus disappears as well.

PL

The religious dimension of traditional culture – crucial to the understanding of the rituals which form a commentary on the cycle of the life of nature (annual rituals) and the life of humankind (family rituals) – is of particular importance, but it is also difficult to research. The ethnologists who documented folklore were sensitive to this aspect of culture (i.e. the suprasensory life) even as early as the eighteenth century, but they did not know how to document it correctly, and imposed their own ideas – e.g., deistic ones – on the mentality and the imagination of the rustic population as revealed in their art. Incomplete (i.e., concerned with selected aspects of culture and art) and not very accurate documentation (searching for folklore’s original versions, e.g., the brothers Grimm) resulted in the creation of standards of fairytales or songs which make reading their content and interpreting their form correctly more difficult today. Yet in folklore the content, the form and the function were organically bound together. This rather inadequate documentation encouraged erroneous interpretations, and even the mythologising of folklore in later periods, Documentation was shaped to fit in with the assumptions and ideas of the researchers, thus falsifying, in particular, the unique character of folk symbolism and poetics, the distinctiveness of folk thinking. In fact, it was not until the nineteenth century that Oskar Kolberg created reasonably full and reliable documentation of folk art – viewed in the context of traditional culture and nature – in his monumental work Lud, jego zwyczaje, sposób życia, mowa, podania, przysłowia, obrzędy, gusła, zabawy, pieśni, muzyka i tańce [People, their customs, way of life, speech, legends, proverbs, rituals, magic, games, songs, music and dances] (1856–1890 – 33 volumes). Ritual folklore, still quite active at that time, reveals both the multifunctionality of forms (associated with the musical and poetic styles), as well as the hierarchical order of functions and values – from the religious, through ethical, aesthetic, cognitive and socialising ones, to the ludic function.At the same time ritual folklore reveals a tendency towards an increasingly prominent emphasis on the ludic function, at the expense of functions concerned with belief, religion and philosophy. This can be seen in the gradual disappearance of archaic ritual chants with original tonal-melodic patterns, slow tempos and a-metric structure. These chants were a manifestation of a contemplative-reflective attitude towards the world and towards life, regarded as sacred. In the twentieth century, harvest chants represented a relic of this attitude. The unique nature of rustic culture expressed in these chants was investigated by E. JagiełłoŁysiowa (Elementy stylów życia ludności wiejskiej [Elements of lifestyles of the rural population], 1978). She emphasised the changes taking place in the attitudes of peasants towards nature, and in particular towards the nourishing Mother Earth and work on the land; these were losing the religious dimension in favour of an economic approach towards all work, while the ritual celebrations were gradually becoming predominantly a form of entertainment. Replacing the ritual chants with ditties, frequently of a lewd character (at one time these forms complemented each other), is a symptom of the changes – the disappearance of the contemplative-reflective attitude to the life of nature and humankind, the loss of the sacral dimension. The archaic style of chanting thus disappears as well.

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2 Łódzkie Studia Etnograficzne

1 Etnolingwistyka. Problemy Języka i Kultury

1 Literatura Ludowa

1 Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

1 Pro Musica Sacra

1 Studia Etnologiczne i Antropologiczne

1 Czyżewski F.

1 Cząstka-Kłapyta J.

1 Dadak-Kozicka K.

1 Delimat W.

1 Dylewska A.

1 Janicki J. J.

1 Karcz B.

1 Kupisiński SVD Z.

1 Malik J.

1 Pasek W.

1 Piątkowska K.

1 Sterczewska L.

1 Tyrała R.

1 UPJPII i.

1 Zając A.

1 Козаченко Т.

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