Nabywanie świadomości narodowej na wsi polskiej i jej przekształcenia – casus Żmiącej
Michał Łuczewski "Odwieczny naród. Polak i katolik w Żmiącej"
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Michał Łuczewski "Odwieczny naród. Polak i katolik w Żmiącej"
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An analytical overview of the famous work by F. Buslaev “A Historical Anthology of Church Slavonic and Old Russian” is offered. The facts of its creation are given. The structure and the content of the work are considered. Its role in the formation of the professional culture of philologists and its influence on the subsequent tradition of the preparation of historical and linguistic textbooks is noted. Special emphasis is placed on the scientific value of the first complete textbook of historical written documents and the tradition that was developed after Buslaev’s publication.
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The memory of Polish and Jewish relationships is one of the most intriguing issues within sociology and social anthropology. The present study focuses on neighbour relationships and collective memory. By exploring memories of witnesses of the events predating World War II, this paper demonstrates that the cohabitation of Poles and Jews did not generate community-building ties. Due to the extensive cultural alienation of Jews, the spatial proximity was not sufficient for close relationships to flourish. Rather, these groups predominantly showed limited community bonds, marked by a tolerance for otherness that did not translate into solidary actions. Poles remember that Jews were somewhere close but their otherness prevented them from having more intimate, constructive neighbour relationships. Based on witnesses’ memories, the paper demonstrates that the memory of relationships between individuals is more positive than the memory of relationships between the two communities. Built upon stereotypes, the latter reinforced the negative image of Jews as a community despite positive experiences with individual Jews who were close neighbours.
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Late in the twentieth century anthropological research on heritage, which in earlier years had focused on objects (historic monuments) and space (lieux de mémoire), started changing its perspective, concentrating mainly on heritagisation, understood as a process, and on social actors (states, associations, individuals) involved. The research presented in the article is part of this current; it is aimed at grasping characteristics of heritagisation of things related to religious cults in the Serbian Orthodox Church. In the article, I focus on a particular group of historic objects defined both in Serbian expert discourse of art history and by museum practices as ‘zograf icons’. I present the process of grounding their meanings constructed in heritagisation in Serbian national imaginarium. Heritagisation practices such as musealisation of icons and their conservation form the starting point for reflection on their religious setting, as well as the relationships between two sets of practices focused on them, and subsequently two value sets in which they are called ‘heritage’. Because of their specific geographic provenance, some questions of heritagisation of churches and monasteries on Fruška Gora in Serbian Vojvodina have also been discussed.
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Review of: Marcin Kafar, W świecie wygnańców, wdów i sierot. O pewnym wariancie antropologii zaangażowanej, Łódź: Wydawnictwo Uniwersytetu Łódzkiego 2013, ss. 154, ISBN: 978-83-7969-075-6. Review by: Filip Wróblewski
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The purpose of this article is to present the language picture of the woman on the basis of the lyrics of songs classified as a genre known as chalga. The image reconstructed in this manner seems to be particularly interesting from the perspective of the figurative meaning of the lexeme chalga in the Bulgarian language. It then appears as a type of exemplar of anticulture, in which the representation of women’s beauty and the model of male-female relations are displayed in an extremely evocative and archetypal way.
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Generally known as New Museology, the museological methods which appeared in the 1980s in response to the epistemological crisis of the museum sometimes borrow from the tools of contemporary art (conceptual art, institutional critique, performanceetc.) in order to “disenchant” the museum, to turn it into space for public debate and cultural interactions, to use it as a tool for social critique. The article attempts at offering an original typology of the contemporary art interventions in the museum space from the point of view of the different critical reflexivity which they show: to the mechanisms of the museum institution; to the “museum’s perspective” – the means of looking and producing knowledge in the museum; to the museum narrative and its interpretations; to the museum object, its meanings and representations; to the collection and collecting as specific and basic museum practice; and last but not least, to the museum experience. Using various examples of artistic interventions in the museum space, the possible new transformations of the museum and its socio-critical potential are illustrated.
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This research is inspired by the practice of U.S. based museums, whose main mission is to interpret the cultural heritage and living traditions of various cultural communities for different types of audiences. The author studies different methods and forms of museum interpretation as well as possible strategies for their applications in the museum practice. Modifications of interpretative methods are considered integral part of the gradually transformed perceptions of the museums’ role in the contemporary societies, their orientation towards more meaningful communication with their partners, local communities, artists and visitors as well as their strive for a more comprehensive presentation of the museum content in context. The article is structured around several main topics: 1. Interpretation in the museum Dialogue, 2. Principles and Forms of the Museum Interpretation, and3. Polyphony of the Museum Interpretation. The last topic provides an opportunity fora further discussion on the co-existence of “voices“ that are heard in the museum and that contribute in various ways to the specific nature of the museum communication: a. the voice of the museum experts, b. the voice of the cultural communities, c. the voice of artists, and d. the voice of visitors. The author examines certain changes in the characteristics of the museum dialogue when one or the other of these voices dominates, when they are in harmony as part of an enhanced interpretation of museum exhibitions and programs or when they are in dissonance – as part of alternative, even conflicting interpretations of objects or activities. The article also offers arguments clarifying the leading role of the exhibition themes and narratives in shaping the museum dialogue. It also provides considerations for the need of more active engagement of artists, visitors, cultural communities and institutional partners in the creation of unique museum experiences and for the establishment of the museum as an institution that is relevant to the people who enter its halls.
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As we hear increasing demands to include more diverse voices in our institutions can find inspiration in museums that were made by and for the communities they serve. This article presents two such museums in the United States, the National GreatBlacks In Wax Museum and the Burlesque Hall of Fame, where the founders built their own venues for cultural representation. These sites rely on emic interpretation as visitors are given tours by members of the communities whose culture is on display, providing representation, education, and visitor engagement.
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The article attempts to propose a reflexive approach towards the communist legacy in museums. By comparing the trend of decolonization in museums of Western Europe with particular attention to the practices in the Netherlands the author draws attention to the potential solutions and mechanisms for reassessing the traumatic institutional past. The search for new museum identity in the 21st century in Europe reflects the social turbulence and follows an academic critique to reform the institution profoundly. The lack of visitor flow and problematic interaction between Bulgarian state-funded museums and their local audiences are perceived as a signal for the institutional struggle with communist legacies in museological theory and practice. The article pretends to examine the main areas affected by the legacies and to outline the need for post-communist museum studies in Bulgaria, as well as the need for a critical approach towards Bulgarian museums’ identity.
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Since the time of Homer, “Pygmies” have been a literary motif in scientific disputes as short stature peoples that no one has ever seen. It wasn’t until 1870 that, in search of the sources of the Nile, G.A. Schweinfurth combined the Homer name “Pygmies” with specific people he met on the edge of the forests of Africa. Since then they have become the subject of scientific research. There are two policies regarding the “Pygmies”. One demands keeping them “in the natural state”, the other requires settling and learning agriculture. Each group has its name, history, language, etc. Unfortunately, they remain a construct – everyone has heard of them, but no one really knows them. The aim of the article is to present the complexity of the “Pygmy” case and show how much the fate of given populations depends on the state of knowledge, awareness of the problem and adopted strategies.
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The Seweryn Udziela Etnographic Musem in Cracow holds an impressive collection of old engravings, among which there are also copperplates by Cornelis Galle. He used selected prints from Amorum emblemata (1608) and Amoris divini emblemata (1615) by Otton van Veen and Pia desideria (1624) by Herman Hugo to create his own emblematic cycle on metaphysical relations between the Soul and Amor Divinus. The drawings from the works of Veen and Hugo were very popular in the seventeenth century and inspired numerous poets and editors around Europe. In the Polish-Lithuanian Commonwealth, it was Hugo’s Pia desideria that aroused particular interest. The cycle was imitated and translated by e.g. Mikołaj Mieleszko SJ, Zbigniew Morsztyn, Aleksander Teodor Lacki, and Jan Kościesza Żaba. On three of Galle’s prints stored in the Cracow museum an anonymous author wrote epigrams, unknown until now, that accompany the icons taken from the cycle by Veen (no. 8 and 21) and by Hugo (II 5). This emblematic microcycle was, with all probability, written down at the end of the seventeenth or at the beginning of the eighteenth century by a nun or a monk in one of the Lesser Polish convents or monasteries. Possibly, the origins of the cycle may be linked with the Carmelite convent in Cracow. And whether it is the actual place where the cycle was created or not, it is a good point to begin studies on the employment of emblematic practices in Catholic convents and monasteries in the Polish-Lithuanian Commonwealth from the sixteenth to the eighteenth century. Imported copperplates and woodcuts were a typical piece of the equipment of a cell. They were hung on the cell walls or were simply collected in sets of prints and often exchanged as gifts among nuns or monks, e.g. on the occasion of the New Year (an example of such a gift from 1724 is given in this paper). It was a common practice to write notes of diverse character on the reverse side of such prints, e.g. autobiographic details, short prayers or excerpts from sacred texts and religious literature. Still, the main purpose of the emblems was their application in everyday meditations and other forms of personal prayers. The three subscriptiones in the Ethnographic Museum in Cracow are also prayers of this kind, combining word and image.
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In the context of Macedonian and Albanian ethnonational discourses functioning in North Macedonia that constitute a significant component of the system of the city’s symbols and semantics, we come upon confrontational strategies between the Slavic and non-Slavic entities that function in the cultural area of Skopje. On the one hand, these confrontational strategies determine the polemic nature of urban space, understood as both material cultural space established on the basis of places of memory and cultural artefacts, and, on the other hand, they are a product of space as an area of activity of actors and social and political networks, often used to construct incoherent self-defining processes within the space defined by the influence of ethnocultural processes.
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In this paper I present some initial findings from my multilocal ethnographic and ethnohistorical research on the “Trikalan Jews”, i.e. Jews living in or originating from Trikala, a city in the Thessaly region of central Greece. In particular, my research focuses on two axes: the historical processes of community formation and its social transition after World War II as well as the recent sense of belonging of the potential members of that “community” and the ways they experience and negotiate their collective memory and identity. On a theoretical level, the first hypothesis grounded in the field is that the “community” tends to appropriate/be appropriated by subjects who currently live “elsewhere”. In this sense, it is reproduced as a glocal network in which Jewishness and locality are interconnected, experienced, and performed in multiple, fluid, and often fragmented ways. On a methodological level, my research is based on the fundamental techniques of ethnographic and ethnohistorical research which have been adapted to the conditions and restraints of a multilocal field.
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For centuries, Azerbaijani Turks or Karapapaks have been densely settled in the city of Tbilisi, the capital of Georgia, and the surrounding regions of Borchali and Karayazi. These Turks, whose number has reached 500 thousand today, continue their existence in the geography of Georgia and continue their religious-cultural traditions. In particular, they observe the legal rules of the country, maintain their religious customs and perform their religious practices. With this fact in mind, the purpose of this article is to illuminate the Muharram Shahsey Vahsey mourning ceremonies that have been performed by Turks in Georgia for centuries. It focuses on condolence, ashure rituals and ceremonies, which have an important place in the religious folk tradition of Muslim Turks. The subject is limited to the city of Tbilisi and the second half of the 19th to early 20th centuries. As primary sources, the relevant articles in the 19th century Tbilisi's Russian and Georgian newspapers and the memories of early 20th century artists are handled.
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The author of the article analyses the dowry inventories from Bessarabia (19th – early 20th century), the main document that provided with dowry and which marked the woman’s statute within marriage. Drafting the dowry inventory and endowing was one of the cultural institutions that shaped the social statutes, mentality, social representations and imagery concerning women. In Bessarabia, during tsarism, thanks to local customs and laws, woman continued to have the same special statute regarding dowry, like in the Moldova Principality. From the analysis of dowry inventories, the author mainly infers a series of rights that assign a high social status for a woman: dowry could not be alienated without her will; the right to regain the dowry in case it was sold by the husband, without wife’s will; the right to bequeath it, if necessary etc. The proof for these equality rights, used by women in Bessarabia, is the frequency of dowry inventories from the 19th century, given by women to their sons and daughters. In practice, the husband managed the estate within marriage. But wisdom and the local tradition offered women possibilities to manage her own estate.
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The article depicts what are the main causes and effect that the modernization process had upon traditional culture in Basarabia. With the mechanization of the agricultural inventory, there seems to be a change in the system of values of the peasant. Because his basic occupation was agriculture, the modernization of the working tools had a big impact. First of all, having more sparing time and more finances, people will value more their comfort to the detriment of the traditional methods of working. Thus, country households suffered many changes regarding furniture, interior design, clothing, musical repertoire, etc. This is society’s natural evolution, but they still lost a lot regarding what we nowadays call tradition and traditional.
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