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Taniec to (nie) walka. Agonistyka i antagonistyka a choreografia na przykładzie turniejów rycerskich i mieszczańskich w Niemczech

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Talaga M.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2020
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vol. 111
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issue 4
157-173
EN
What is dance? This is one of the key questions in dance research to which the relevant literature provides no definite answer. The classic approaches highlight the central role of movement, rhythm, and a slight excess of expressivity as the criteria for recognising a given practice as a dance. Seeking to deepen our understanding of the nature of dance, one should take a closer look at phenomena that escape or even contest the definitions accepted thus far. This article is an attempt at such an analysis of two historical European forms of martial arts, knightly tournaments and urban fencing competitions, in the late medieval and early modern Germany. Alongside their socio-cultural context their specific ‘kinetic sensitivity’ is also taken into account. The unfolding discussion leads to the central question: What made the viewers of contemporary knightly tournaments associate the opponents’ movements with a dance routine? In fact, the relevant literature began to describe them with terms derived from ballet de cour; however, they were never used to discuss the urban fencing competitions. In light of this, it is proposed to supplement the existing definitions of dance with the category of antagonistics defined here as a movement in which the essential criteria for the participants’ assessment and success, and therefore also the main driver of innovation, are not as much determined by aesthetic conventions as by factors not subject to social negotiations. Consequently, while easily encompassing the classically understood agonistics, the dance seems to end where antagonistics begins.
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A Kampfschwert from the 15thcentury – a reinterpretation of the so called 'Teutonic estoc' from the Princes Czartoryski Collection in Cracow, Poland

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Talaga M.
Acta Periodica Duellatorum
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2013
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vol. 1
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issue 1
7-27
EN
The paper aims at reinterpreting the so called ‘Teutonic estoc’ (inventory number: MNK XIV-49) from the Czartoryski Princes Collection, Cracow, Poland. Due to the weapon’s unusual construction it has been necessary to draw up precise documentation - written, drawn and photographic. It has been supplemented with research in historical sources and scholarly literature on the subject. The results obtained indicate that the researched weapon is not a typical estoc. It seems that it is a specialized anti-armour sword (Kampfschwert in German) designed for fighting against a heavy armoured opponent in judicial combat. If this conclusion were correct, the ‘Teutonic estoc’ from Cracow would be the only known artefact of this kind to have survived from the Middle Ages. In order to falsify this hypothesis the artefact’s authenticity has been examined. An analysis of Royal Inventory records spanning from the year 1475 to 1792 and younger remarks about the researched weapon in press, private letters and scholarly literature has been conducted and briefly reported hereby. Its results seem to indicate that it is not a hoax.
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I po szpilkę warto się schylić. Znaleziska późnośredniowiecznych i wczesnonowożytnych szpilek z wykopalisk na zamku w Pucku

100%
Talaga M.
Kwartalnik Historii Kultury Materialnej
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2012
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vol. 60
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issue 1
3-20
EN
The ongoing progress in techniques of archaeological exploration results in increasing numbers of late medieval and early modern pins being discovered. 164 such pins were obtained during recent excavations at castle site in Puck, Poland. Since this kind of artifacts has been only rarely researched this paper aims at assessing the potential they carry for studying the culture of Middle Ages and Modern Era. It presents the archaeological literature concerned with describing, classifying or publishing pins. Since such literature is scarce outside Great Britain mainly British researchers are quoted. Due to this fact the methodology of description and classification has been based on British, most notably C. Caple’s, works. However, the typology based on forms of pin heads proposed by C. Caple proved insufficient to grasp all the examples of pins from the Puck assemblage. Thus the introduction of some additional types has been necessary. The assemblage from Puck has been characterized including the historical and archaeological context. The material used, traces of coatings visible on the surfaces of the artifacts, metric traits and state of preservation were all described. The analysis started with gathering the available information on the techniques of production employed in pin-making. Due to the limitations of the sources only the production of pins with wound-wire heads could be precisely inferred. The connection between pin-making industry and early attempts at labor division and mechanization has been briefly discussed. Then the evolution of pin forms, observed by the author and other researchers, has been examined. Moreover, an attempt at solving the problem of what craftsmen in Poland were responsible for producing pins has been made. Comparisons with the analogies from German Empire and examination of written, iconographical and linguistic sources lead author to the hypothesis that it was the iglarze (needlers), who were producing pins in Poland. Finally many written, ethnographic and iconographic sources from Western Europe and a few archaeological discoveries from Poland have been quoted in order to present the ways the pins were used in the past. Especially their sepulchral functions have been closely studied. The paper ends with an attempt at inferring the specific functions fulfilled by pins in an unusual household which was the castle in Puck.
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