Ten serwis zostanie wyłączony 2025-02-11.
Nowa wersja platformy, zawierająca wyłącznie zasoby pełnotekstowe, jest już dostępna.
Przejdź na https://bibliotekanauki.pl
Ograniczanie wyników
Czasopisma help
Lata help
Autorzy help
Preferencje help
Widoczny [Schowaj] Abstrakt
Liczba wyników

Znaleziono wyników: 144

Liczba wyników na stronie
first rewind previous Strona / 8 next fast forward last
Wyniki wyszukiwania
Wyszukiwano:
w słowach kluczowych:  Antropologia
help Sortuj według:

help Ogranicz wyniki do:
first rewind previous Strona / 8 next fast forward last
1
Content available remote Uwagi o współczesnej antropologii społecznej
100%
XX
Wydaje się, że pojęcie "kultura" odzwierciedla historię samej kultury, jej złożoność i sprzeczności. W połowie lat 30. zaczęto badać kulturę z integralnego punktu widzenia. Było to następstwo interdyscyplinarności. W efekcie pojawiła się antropologia społeczna (antropologia kulturowa) jako nauka nomotetyczna, nomotetyczna wiedza o człowieku i jego dziełach. Koncepcja L.A.White'a, jego integralizm jako swoista forma funkcjonalizmu może posłużyć tu za przykład. L.A.White (1900-1975) przez osiem lat (1932-1940) zajmuje stanowisko integralne. Za słusznością tej tezy przemawia fakt, że opisuje kulturę Indian Acoma jako ściśle spojoną i oświadcza, że może ona być rozpatrywana tylko jako całość. W duchu integralizmu prowadzi także badania Indian Pueblo w Nowym Meksyku. Wówczas zarysowuje dwa poziomy w terminach, w których organizacja społeczna może być nazywana "the kinship ( an clan ) level and the socio-ceremonial level. Jednak tam gdzie następuje rozwój jakiegokolwiek kierunku w naukach społecznych, tam pojawiają się trudności. Nie ominęły one również antropologii społecznej a w szczególności ewolucji kulturowej. (fragment tekstu)
XX
"W niniejszym opracowaniu pragnę rozświetlić i przybliżyć szeroki wachlarz myśli Karola Wojtyły dotyczących pojmowania człowieka jako osoby oraz ukazać pewnego rodzaju przejście od konkretnego, podmiotowego "Ja" (personalizm), do "Ja" relacyjnego, czyli odniesionego do innych "Ja", których osobowe spełnienie dokonuje się poprzez solidarność w kreowaniu wspólnego dobra i poprzez to dobro wzrastaniu ku pełni bycia."
EN
Karol Wojytła's concept, contained in the work The Acting Person, includes both the idea of the human individual as a person fulfilling himself in action and through action, as well as solidarity, which in the social dimension is supposed to contribute to the common good; together with the principles of love, support and dialogue, its creates a community of free individuals. The experience of the act is understood by Wojtyła as a sphere in which a person reveals what is inside and shows the truth about himself. Through action, persons realise their humanity. As a concrete, multi-dimensional and unique social entity, a person co-operates and co-exists with others through so-called participation. Wojtyła uses this term for the category in which an acting individual maintains the personal value of his own act whilst manifesting that which results from a community of acting persons. Solidarity in the social context has meaning and value if people in a given society acknowledge each other as persons. This vision of man in the context of solidarity eliminates the reification and instrumentalisation of the person, respecting his dignity and fundamental rights. According to Wojtyła, solidarity has many layers and should be examined from different points of view. It is not only a social principle but also an ethical reality in which free and responsible persons can act and move in the direction of what is morally good, beautiful and worthy. The more a person fulfils the principle of solidarity, the more he becomes free, just and authentic. (original abstract)
3
Content available remote Człowiek w świetle Soboru Watykańskiego w ujęciu profesora Henryka Pilusia
80%
XX
Jak pisze profesor Henryk Piluś godność ludzka od wielu stuleci stanowi jeden z głównych tematów, którymi interesuje się Kościół, dlatego też kwestia ta znalazła się w orbicie zainteresowań Henryka Pilusia. Swoje spostrzeżenia w tej sprawie opiera profesor o dokumenty i pisma teologiczne Soboru Watykańskiego II, które zdaniem profesora wyznaczają kierunek dla współczesnego Kościoła katolickiego. W tym miejscu zaznacza profesor rzecz znamienna, a mianowicie fakt, że Sobór nie wyodrębnił godności ludzkiej z wielu innych poruszanych spraw. Okazuje się bowiem, że zagadnienie to zostało wpisane w kontekst innych problemów jakie poruszane były podczas obrad. Dzięki dogłębnej analizie dokumentów soborowych, jaka stała się udziałem profesora, zauważa on, że człowiek jest tematem prawie każdego z dokumentów. Zdaniem profesora fakt, że nie powstał żaden osobny dokument poświęcony temu problemowi może świadczyć tylko o tym, że "(...) godność osoby ludzkiej i jej zagrożenia w świecie współczesnym była dla nich na tyle oczywista, iż nie wymagały osobnego dokumentu." [Piluś, 1999: 5] (fragment tekstu)
4
Content available remote Some Anthropological Elements in Chekhov's Theatre
80%
EN
The theatre, an enigmatic world in which the actors can transform for a couple of hours the reality of the spectators in an astonishing universe. Anton Chekhov, Russian dramatist is reveling his magical wings over the creation of the theatre with one of his plays, The Seagull. The time in his plays seems unbearable and it continues endlessly without novelty. One of the character from the theatre play The Seagull is Nina Zarecinaia and represents the single woman in this play that has the power to convert her life. The Chekhov's character, Nina chose to live, love and suffer a manner to win wisdom and to find her way in life. She is more powerful that she thinks and is capable to endure her hard life without giving the possibility to come back to her old home. In this case, she is showing courage to take life as it is. Most important things about this character is that she comes back for a short period and penetrate the quiet space of the other characters, leaving behind at her leaving the appearance of death. Relying on the actions that Nina takes, we can find four elements of anthropology: empathizing, expression patterns, releasing the psychic energies and the art to detect and to avoid the unconscious traps.(original abstract)
EN
Anus ebria is an image founded on anti-ideas, clichés that break or openly violate the cultural taboo, such as women’s drunkenness, sexual freedom, or emancipation from norms moulded by tradition. In its capacity as a jeering and comic “divulger” of norms and principles it becomes one of the more characteristic signs of the “eschatology of inebriation”. This is the case not so much of an “old drunk” as of an “old rebel”. In its visual and logistic dimension it assumes the form of a lascivious and old drunken woman, whose vulgar behaviour is a distinct reversal of the natural state of being desired by society.
XX
Antropologia kulturowa należy do tych dziedzin wiedzy, których uprawianie rzadko kiedy pozostaje bez wpływu na życie i prywatną biografię badacza. Nie od dziś wiadomo, że "historia antropologii to również historia antropologów", których teoretyczne horyzonty są z reguły dość mocno ukształtowane poprzez ich osobiste biografie i z nimi się splatają. Najczęściej biografie antropologów i antropolożek stają się przedmiotem zainteresowania szerszego grona odbiorców oraz namysłu historyków dyscypliny wtórnie w stosunku do naukowych osiągnięć i rozpoznawalności postaci w środowisku akademickim. Kilkadziesiąt lat po opublikowaniu angielskojęzycznej edycji "Dziennika" Bronisława Malinowskiego dowodzić nie trzeba, że pochylenie się nad prywatną biografią badacza przynieść może zasadnicze dyskusje dotyczące natury antropologii i wiedzy etnograficznej. Na tym tle zainteresowanie biografią S. Ann Dunham to oczywiście przypadek szczególny3. Ta do roku 2008 niezbyt znana amerykańska antropolożka kulturowa, autorka obszernej rozprawy doktorskiej poświęconej tradycyjnemu rękodziełu na Jawie i nielicznych artykułów publikowanych w pismach branżowych, a przede wszystkim osoba przez sporą część swego życia związana z opartymi na etnograficznej wiedzy projektami rozwojowymi realizowanymi przede wszystkim w Indonezji, ale również w innych częściach Azji oraz w Afryce, stała się obiektem zainteresowania amerykańskiej opinii publicznej, a także amerykańskiego środowiska antropologicznego przede wszystkim jako matka pierwszego niebiałego prezydenta Stanów Zjednoczonych. To właśnie zwycięstwo wyborcze Baracka Obamy spowodowało pośmiertne odkrycie Dunham i mimo iż tabloidowe media natychmiast przyprawiły jej łatkę "wyrodnej matki", która miała zaniedbać, czy wręcz porzucić swego syna dla własnego rozwoju osobistego i zawodowego, wkrótce pojawiły się rzetelne publikacje przybliżające tę niejednoznaczną i barwną postać oraz jej biografię. (fragment tekstu)
EN
This article recalls a discussion about Barack Obama's mother and her biography which emerged during the course of the American presidential elections in 2008. S. Ann Dunham was a cultural anthropologist holding a PhD from the University of Hawaii and specializing in Indonesian peasant blacksmithing and cottage industry. She passed away in 1995 relatively unknown to the American anthropological world and totally unknown to the American public. Interest in Obama's family made Dunham and her biography as well as her anthropology appear publicly. Even though she was labeled an "uncaring mother," who was to "abandon" small Barack, a biographical book by Janny Scott published in 2011 depicts a deep and complex portrait of Dunham which does not go along with popular opinions. It is interesting to observe how Dunham's biography has been constructed and how her family history mirrors transformation of American society and reveals entanglement between private life and anthropological interests. (original abstract)
XX
Wyjaśniono pojęcie 'tanatopraksji' oraz omówiono jej proces i znaczenie w świadomości ludzi.
8
Content available remote Given – rozmowa z Jeremym Millarem
80%
EN
A record of a conversation, with Given, the Jeremy Millar exhibition at the National Maritime Museum in Greenwich, as the point of departure.
9
Content available remote Łotewska Łotwa? Sztuka łotewska w Drugiej Rzeczypospolitej
80%
EN
The article discusses the critical reception of an exhibition of contemporary Latvian art opened on 28 March 1936 in the showrooms of the Society for the Encouragement of Fine Arts in Warsaw (Zachęta). The Latvian show was part of a sequence of official art exhibitions of national states, which during the interwar decades functioned faultlessly and linked the central and peripheral centres of the Old Continent into a thick network of exchange. Its reception by Polish authors of reviews exemplified a striving characteristic for the cultural discourse of the 1930s, aimed at capturing in the fine arts certain symptoms of national identity. The presented text is based on a confrontation of several viewpoints concerning the exposition: the perception of Warsaw commentators unfamiliar with the details of transformations transpiring at the time on the Latvian art scene, reflections by Latvian theoreticians of art during the 1930s, and narrations by contemporary historians of Latvian art. An analysis of the exhibition scenario (determined by the cultural policy of the then recently politically constituted Baltic country) and the semantic and morphological qualities of the works on show at the Zachęta defines “national art” and “national style”, and verifies the possibilities of translating critical-theatrical rhetoric into purely art values.
10
Content available remote Porządek identyfikacji. Indeksalność kolekcji / archiwum Józefa Robakowskiego
80%
EN
This text deals with the “archival turn“ and discusses one of the most important Polish private collections of avantgarde art formed since the 1950s by the leading conceptual artist Józef Robakowski. The author’s point of departure is the assumption that the purpose of collecting is the creation of a canon of cultural values, and thus that collecting is the outcome of selecting and systematising facts/objects according to a priori established rules; for this reason it only ostensibly possesses all the features of neutrality. Actually, no collection is neutral since it personifies power inscribed into accumulating, collecting, and gathering as well as encyclopaedic order and rules of the language (Alan Sekula). Private art collections are the effect and image of individual passions, predilections, sometimes manias and obsessions, and build closed and stable testimonies of cultural identity. Archives-collections established by artists are a special case since they are part of artistic strategy, are enrooted in art, and perform work associated with creativity. This fact discloses a certain performative quality of the collection/archive linked with the generation of a private iconosphere, a Derridean “domesticated” archive that constitutes the discourse of the artist-collector with, and about art, also within the domain of “pure” art, which is already only one of the possibilities of artistic strategy. The discussed exhibition was the product of the “domesticated” art collection amassed by Robakowski, and in this manner it builds inter-textual space, ambiguous and connected with its re-[de]-contextualisation. The Robakowski private collection/archive is a conceptual game played with cultural paradigms, originating from the conceptual art of the 1960s and its anti-authoritarian stands conceived as the “great refusal”. The manner of its distribution is part of the conceptual order as a form of artistic organisation and production. At this stage essential questions are yielded by the comprehension of conceptualism by artists living in communist Eastern Europe, where the purpose of conceptualism was not “refusal“ but the involvement of art as a critique of the regime in which it was embedded. This is why the “museum-archival” project proposed by Józef Robakowski, and entailing the collection of objets d’art and documents, focused on memory and history, together with faith in the reanimation ability to “revive” the source and “recreate” the inaccessible past.
XX
Artykuł omawia genezę człowieka, istotę natury ludzkiej oraz wizję przyszłości ludzkości. W syntetyczny sposób przedstawia główne etapy procesu antropogenezy. Opisuje dwoistą naturę współczesnego człowieka (naturę biologiczną i kulturową). Artykuł odnosi się do pojawienia się Sztucznej Ogólnej Inteligencji (AGI) jako wyzwania dla ludzkości. (abstrakt oryginalny)
EN
The article discusses the genesis of man, the human nature and the vision of the future of mankind. In a synthetic way it presents the main stages of the process of anthropogenesis. It describes the dual nature of modern man (biological and cultural nature). The article refers to the emergence of Artificial General Intelligence (AGI) as a challenge for humanity.(original abstract)
XX
Wiedzę ukrytą trudno jest kontrolować i badać. Nieroztropne byłoby pytanie o nią w ankiecie, nie da się jej też po prostu zaobserwować z zewnątrz, trudno regulować jej funkcjonowanie za pomocą przepisów czy uchwycić ją przy pomocy narzędzi informatycznych. Niniejszy artykuł omawia wykorzystanie etnografii jako sposobu na badanie tego trudno uchwytnego zjawiska.(abstrakt oryginalny)
XX
W pierwszej części artykułu przedstawiono miejsce antropologii pragmatycznej w systemie filozofii Kanta. W dalszej części pracy przedmiotem badań jest człowiek, istota rozumna i samodoskonaląca się. Tematem ostatniej części artykułu jest osoba jako przedmiot moralności.
EN
In the opinion of the author of Anthropologie in pragmatischer Hinsicht, man differentiates himself from other living beings in his ability to perfect himself. This ability is played out on the basis of inborn qualities and dispositions (technical talents, pragmatic tendencies, moral endowments). The objective of this process is the "perfect rational being," i.e., a being that always and everywhere, without any compulsion, is guided by reason. This is the ideal to which a human in his or her earthly life can approach only to a limited degree. The crucial moment in the process of human development is the emergence of the reflexive consciousness, thanks to which one becomes a person. This special internal value also nas a moral dimension. It is only as a person that a human is subject to moral law. In his anthropology, Kant continues the tradition of the essentialist interpretation of man and comes out on the side of sensibility, consciousness, liberty and communion. This selection means both the avoidance of historical factors that extend beyond the sphere of unconscious reason, which may be treated as evidence of the one-sidedness of his concept. (original abstract)
14
Content available remote Mikrohistorie. Mapy bez legendy
70%
EN
A text accompanying Invisible Maps, a book by the photographer Andrzej Kramarz.
16
Content available remote Pierścienie Saturna
70%
EN
Max’s enemy everywhere is the totalising overview. His art is designed to correct or subvert this kind of cognitive aberration which can be so misleading and dangerous. His narratives of East Anglia offer melancholy fragments with a wide historical and cultural range of possibilities. I begin this essay with an example of my own from a masterpiece of German culture in order to frame my account suggestively in relation to Max’s own lifelong struggle with the land that bore him and which he felt impelled to reject, while acknowledging its colossal contribution to human knowledge and experience. Like Walter Benjamin Max values most the kind of quincunx-links that arise intuitively and spontaneously (as in the work of Sir Thomas Browne, the great Norwich writer and thinker) between domains of experience that cannot be connected by a totalising overview. The vivid images that his works embody are similarly at odds with the ever-sharper digitised perceptions that we now experience on a daily basis but which lack any kind of depth of field and so have no experienced life in them. My only quarrel with Max’s way of working is that in his pursuit of his “illuminations” he is inclined to set aside what may already have been thought and said by other writers. The effect of this is a foreshortening that may be a kind of distortion. A historian once said to me that despite his fascination with history Max was not a historian. For me this does not constitute a weakness, but I think it is a fact.
17
Content available remote Ateny nad Izarą. Malarstwo monachijskie
70%
EN
The book: Ateny nad Izarą. Malarstwo monachijskie recalls the role played by the Munich centre in the history of Polish culture at the turn of the nineteenth century. In doing so, J. Sztachelska stressed, above all, those features of the Royal Academy of Fine Arts, which in view of the absence of Polish counterparts guaranteed numerous Polish artists unhampered and comprehensive development, contact with European art and culture, and even – by way of a special paradox - rendered more profound their interest in specific Polish motifs: history and Nature, thus inclining them towards the pursuit of national art. It would also be difficult to exaggerate the significance of Munich in paving the path for Polish art towards general awareness due to the commercial successes of such artists as Maksymilian and Aleksander Gierymski, Alfred Wierusz-Kowalski, Władysław Czachórski, Józef Brandt and many others. The art market flourishing in Bavaria became for many the onset of intellectual acclaim. The book edited by Eliza Ptaszyńska brings the reader closer to the schooling of Polish artists in Munich, depicts their daily life, contributes to familiarity with the question of female artists, leads to painters’ studios, discusses the market mechanisms of their success and, finally, interprets their artistic accomplishments and progress. In doing so, the author portrays the Munich milieu, producing an image both complete and free of all prejudices.
19
Content available remote Karska & Went & Duszeńko. O dwoistej naturze monumentu i jego wystawiania
70%
EN
With the concepts of mise-en-scène, event (Mieke Bal), archival turn, and preposterousness as its points of departure the text embarks upon an extensive interpretation of the newest project by Alicja Karska and Aleksandra Went, who working together often undertake the problem of recovering for culture that which is forgotten, omitted, and excluded. The author took into consideration the fact that the performative dimension of the art studio is included into the museological order together with its ritual of forgetting and recalling: the studio is a repository of objects awaiting their disclosure and introduction into social space, ergo, to be given a new life. The Karska & Went project: Franciszek Duszeńko – Monuments is about an unknown sequence in the oeuvre of Franciszek Duszeńko (1925-2008). The authors of the exhibition extracted from his studio-refuge a dozen small abstract sculpture forms and by treating them as a sui generis archaeological finding transferred them into a specially constructed architectural space, i.e. models imitating museum or gallery interiors of the white cube type. In this way, they staged a mise-en-scène: a model of a museum/exposition situation in which a fragment of the artist’s studio conceived as non-space, i.e. that which is found on the peripheries of the existing orders, has been subjected to institutionalisation and engaged in a construction of a fictional museum/gallery. The essence of the applied artistic strategy is preposterousness: (neo)avantgarde sculptures, traces, documents, and relics pertaining to a certain moment in the artist’s oeuvre are seen from a present-day perspective and subsequently cited. In this fashion they become a contemporary product, causal for making another work of art. Applied/cited in present-day artistic praxis they attempt to solve the way in which, and reason why works of art from the past are always perceived as re-vision mediated by the horizon of contemporaneity. The quotation strategy employed in this assemblage is associated with interpretation and thus with conceptualisation. In other words, it is preposterous. This is also the objective of the Karska & Went project: the creation of a trans-historical artistic (cultural) situation that rejects the radicalism of divisions and severances in the history of art. The diverse strategies applied by Karska & Went: anachronism, preposterousness, mise-en-scène, mise-en-abyme, montage, collage, and quotation served the establishment of a new relation between the history of art and its present-day experiencing.
20
Content available remote Skandale na przełomie wieków
70%
EN
The objective of this text is to demonstrate fundamental differences in comprehending a scandal at the end of the nineteenth century (E. Munch, Madonna) and the scandal strategy in contemporary art (M. Cattelan, La Nona Ora / The Ninth Hour). In the first case an unintended scandal was the outcome of a philosophical stance adopted by artists questioning Cartesian tradition as well as of the use of Expressionist means, considered shocking at the time. In the second instance, the deliberate creation of the scandal strategy assumed the relegation from the discourse about the artwork of all aesthetic and formal deliberations as well as stirring a barren publicistic dispute, which only creates the appearances of a philosophical clash. A context indispensable for the success of such a devised provocation is the ritual chaos prevailing in the media and a milieu of art critics dominated by “political correctness”.
first rewind previous Strona / 8 next fast forward last
JavaScript jest wyłączony w Twojej przeglądarce internetowej. Włącz go, a następnie odśwież stronę, aby móc w pełni z niej korzystać.