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1
Content available 4'33" Dźwięki ciszy
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EN
August 29, 1952, in Maverick Concert Hall, Woodstock: a historic event takes place. The pianist David Tudor closes and opens the piano lid three times, without touching the keyboard itself, during the premiere performance of John Cage’s new composition. This piece, called 4′33″ has been written for a “silent piano.” It is a composition that is NOT to be played! Critics and the audience find he joke poor. Today, depending on the individual point of view, 4′33″ might be interpreted in hundreds of different ways.
PL
29 sierpnia 1952 roku w sali Maverick Concert Hall w Woodstock w stanie Nowy Jork ma miejsce historyczne wydarzenie wielkiej wagi. Podczas premierowego wykonania nowego dzieła Johna Cage’a pianista David Tudor trzykrotnie otwiera i zamka klapę fortepianu ani razu nie dotykając jego klawiatury. Kompozycja zatytułowana „4’33” napisana jest na „milczący fortepian”. To utwór, którego się NIE gra! Dla krytyków i publiczności żart jest kiepski. Dziś, w zależności od indywidualnego punktu widzenia „4’33” można interpretować na setki sposobów.
XX
Report on the proceedings of the cultural heritage section of the 1st Anthropological Congress in Warsaw (October 23-25, 2013).
XX
Review article of the book "Antropologia antyku greckiego. Zagadnienia i wybór tekstów", red. W. Lengauer, P. Majewski, L. Trzcionkowski, Warszawa 2011, ss. 737.
XX
Review: Katarzyna Majbroda, Clifford Geertz’s Interpretative Anthropology. Between text, experience and theory, Frankfurt am Main 2016.
EN
The research of cultural transmission between Russia and Poland has been carried out since 1990 in wide range of contexts as a) sociological; b) psychological; c) political; d) cultural anthropology; e) religiousness.
XX
Reprint: "Konteksty. Polska Sztuka Ludowa", 2004, R. LVIII, nr 3-4, s. 206-208.
EN
Each of the artefacts mentioned in the title is an exemplification of products of the anthropological “Other”. Each of them comes from a distinct geographical region and represents an entirely different culture. However, all of them have been connected together in the Western culture realia as a result of a particular type of displacements. The first displacement involved their physical migration – first to European museums of natural history and ethnological museums. The next one resulted in their emergence on the market of exotic “oddities” whereas yet another displacement located them within the conceptual framework delimited by the artistic discourse. This last displacement shows that it is very difficult to understand or “translate” one culture into another because the conceptual framework of the “translator” is always determined by their own culture.
PL
Interdisciplinary studies on disability are conducted in the world by scholars from different disciplines and sub-disciplines, including special education. This article deals with an analysis of the evolution of the concept of disability studies and its’ implementation in anthropology that was narrowed to cultural anthropology, primarily of American roots with references to British social anthropology. The basic question, which I answer from the perspective of the cultural anthropologists, is formulated as follows: why cultural anthropology is important in the disability studies? I give answers in the context of: ontological, epistemological, rhetorical and political issues. Anthropological analyzes are preceded by definitions of disability studies after Stteven aylor, Bonnie Shoultz, Pamela Walker; Colin Barnes; Dan Goodley; Sharon L. Snyder; David T. Mitchell and Ronald J. Berger.
XX
Introduction to the volume Rocznik Antropologii Historii, in which the relations between contemporary anthropology and contemporary history are discussed. According to the authors, anthropology and history inspired by each other have a special role to play in the reflection on contemporary culture.
PL
The article centres on the documentary works of Andrzej Fidyk. The director is fascinated by cultural anthropology. Showing diff erent aspects of social life in a theatrical manner is an omnipresent motif in his movies. A fi lm in general, by its nature, is a spectacle, but the director depicts within its reality diff erent kinds of spectacles: parades, as in the title of Th e Parade, musical scenes in Yodok Stories, and carnival in Carnaval…. Th e crown jewel in this double, increasing spectacularity is Carnaval. Th e Biggest Party In Th e World, and the movie inside the movie – Cameramen from Calcutta. A religious spectacle can be found inside Staszek’s Dream  abstracts314 in Teheran. Scenes of muslim grief three years aft er the death of Chomeini, inside a country considered to be exemplary in its religiousness are compared to “the trend of going to orthodox churches” in Russia. Th e most interesting by the criteria of spectacularity is Carnaval…, which has been the subject of many analysis and interpretations by cultural theorists, anthropologists and sociologists. Fidyk in his movie shows the nature of this spectacle with great fi nery. 
EN
The paper revisits two theories from the cultural anthropology. The first theory is by Bronisław Malinowski, and the second one by Karl Homann. Malinowski criticizes economism and moralism. I present further stages of this criticism, with special importance placed on the concept of homo oeconomicus. Malinowski demonstrates how moral norms are implemented in primitive cultures by means of magic, cults, customs and rituals and rites. Malinowski also argues for the significance of cultural institutions in stabilizing the functioning of primitive communities. These institutions sheltered the communities from the kind of crises that are also experienced in the present times, thus, giving the older schools of thought in cultural anthropology their deserving place within the contemporary thought.
XX
Report from the conference "Anthropology and history: Panorama symmetries of the past" (Toruń, November 14-15, 2013).
EN
The paper presents two theories from the area of cultural anthropology. The first is B. Malinowski, who criticized economism and moralism. I present further stages of this criticism, with special importance placed on the concept of homo oeconomicus. Malinowski also showed how moral norms are implemented in primitive cultures by means of magic, cults, customs and rituals and rites. Another important section is devoted to Malinowski’s analysis of how cultural institutions were important for stable functioning of primitive communities. They sheltered those communities form crisis of the kind that we experience today. The second theory is economical ethics of K. Hofman, one of the newest achievements of German business ethics. So works of cultural anthropology are worth being read again.
XX
Reprint: Cz. Robotycki, Historia, tradycja, antropologia – tezy na nowo przemyślane, [w:] Atena i Arachne, która z nich piękniej tkaninę wyplata. Historia i antropologia, red. J. Eichstaedt, K. Piątkowski, „Colloquia Ethnologica”, t. 2, Ożarów, s. 31-40.
XX
Review of the book "Teren w antropologii. Praktyka badawcza we współczesnej antropologii kulturowej", red. Tarzycjusz Buliński, Mariusz Kairski, Wydawnictwo Naukowe UAM, Poznań 2011, ss. 340.
EN
The article is dedicated to culinary practices in Stanisław Ignacy Witkiewicz's drama. They are considered in relation to the idea of metaphysical insatiability and a “creative hunger” of exceptional individuality. Culinary tastes that dominate in Witkacy's writings are being ana-lysed on the bases of the critical approaches of Lévi Strauss and Barthes as well as Malinow-ski's important works on cultural anthropology (Argonauts of the Western Pacific, 1922; The Sexual Life of Savages in North-Western Melanesia, 1929). The article concentrates also on the works of some well-known representatives of the inter¬ war period (Čapek, Schulz, Kafka) that are relevant to the subject.
XX
Report on the activities of the Methodological Section of the Polish Ethnological Society.
XX
The text is a record of answers to questions posed to leading representatives of Polish humanities related to cultural anthropology and history. The questions were as follows: 1. What do you think is the anthropology of history / historical anthropology? 2. What heritage, sources of inspiration and research categories can be considered the most important for the anthropology of history / historical anthropology? 3. What are the perspectives for the development of anthropology of history / historical anthropology in the field of Polish humanities?
XX
A review of Claude Lévi-Strauss's book "We Are All Cannibals".
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