Wyniki wyszukiwania - Biblioteka Nauki

1

Dar Curarrehue. Obserwacje wdzięczności

100%

Barbaruk M.

Konteksty - Polska Sztuka Ludowa

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2023

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tom 340

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nr 1-2

169-177

EN

"The only possible bond with America, the proper form of American love, is gratitude," said Godofredo Iommi in the lecture Aeneida-Amereida (1981), in which the word "la gratitud" appears several times, seems to be a key category. In the poem Amereida (1967) gratitude is the condition of freedom. Making gratitude the philosophical foundation of America's decolonization is astonishing, provocative, and difficult to understand. The text, however, is not solely devoted to the interpretation of the canonical texts of the School of Valparaíso. The author was interested in how gratitude manifests itself in the practices of poetic inhabiting America, i.e. in expeditions into the depths of the continent, the so-called "travesía". The article is based on observations made at the turn of November and December during a travesía in Curarrehue (Araucania, Chile) and experiences from a travesía in Cochrane (Patagonia, Chile, 2013) by American doctoral student Doris M. Reina Bravo. The author notes that in both cases, obtaining the status of travesía observer was associated with a special sense of gratitude and fear, which is related to the phenomenon of a gift, but also a transaction. Barbaruk attempted to describe the affect associated with the observation of travesía (field research): the one with which she went to Curarrehue and with which she returned. The overriding framework of her relationship with travesía became the question about gratitude as a research tool, about its impact on the research situation and scientific language. The author suggests that gratitude can be treated as an epistemic virtue.

PL

„Jedyną możliwą więzią z Ameryką, właściwą formą amerykańskiej miłości, jest wdzięczność” mówił Godofredo Iommi w wykładzie Eneida-Amereida (1981) w którym słowo la gratitud pojawia się kilkanaście razy, wydaje się kategorią kluczową. W poemacie Amereida (1967) wdzięczność jest warunkiem wolności. Uczynienie z wdzięczności filozoficznego fundamentu dekolonizacji Ameryki zdumiewa, prowokuje, jest trudne do zrozumienia. Tekst nie jest jednak poświęcony wyłącznie interpretacji kanonicznych tekstów Szkoły z Valparaíso. Autorkę interesowało bowiem to, jak wdzięczność objawia się w praktykach poetyckiego zamieszkiwania Ameryki tj. w realizowanych od 1984 roku wyprawach w głąb kontynentu tzw. travesía. Artykuł powstał na podstawie obserwacji sporządzonych na przełomie listopada i grudnia podczas travesía w Curarrehue (Araukania, Chile) oraz doświadczeń z travesía w Cochrane (Patagonia, Chile, 2013) amerykańskiej doktorantki Doris M. Reiny Bravo. Autorka zauważa, że w obu przypadkach uzyskanie statusu obserwatora travesía łączyło się ze szczególnym poczuciem wdzięczności i lęku, co związane jest z fenomenem daru ale też transakcji. Barbaruk podjęła się próby opisu związanego z obserwacją travesía (badań terenowych) afektu: tego z którym jechała do Curarrehue i z którym wróciła. Nadrzędną ramą jej relacji z travesía stało się pytanie o wdzięczność jako narzędzie badawcze, o jej wpływ na sytuację badawczą i język naukowy. Autorka sugeruje, że wdzięczność może być traktowana jako cnota epistemiczna.

2

O przyszłości „Trasy Don Kichota” i krajobrazu mancyjskiego

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Barbaruk M.

Prace Kulturoznawcze

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2013

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tom 15

171 - 185

EN

Literary trails have recently been the focus of particular interest of scholarship and its peripheries (e.g. the conference Creative Cities and Regions. Challenges for Cooperation among the Cities of Literature, Conrad Festival, Kaków, 25–26 October 2012 or the Reading Małopolska project), with people having hopes concerning not only learning but also commerce associated with the development of these trails. An analysis of the phenomenon of the “Don Quixote Trail,” which is over two-thousand kilometres long and over one-hundred years old, has been used by the author to present a model of a literary trial (understood as a cultural trail) and to examine the transformations that affect it today. The author focuses on two phenomena with references to the future: on the one hand, on measures aimed at establishing a “Kingdom of Don Quixote” (a postmodern entertainment park), and on the other — on processes and their recognition, which can be described as the “death of La Mancha” (the death of the Cervantes landscape). She refers these phenomena to the “Don Quixote Trail,” known from descriptions by famous “literary” pilgrims. Does the future of the “Don Quixote Trail” lie in El Reino de Don Quijote, the construction of which has had its ups and downs? Do various speculative investments not obscure what does not change so fast in culture? Is not the empirical reality itself perhaps more resistant to change than we think?

3

Don Kichot niewierny: kontrkulturowość niespełnienia

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Barbaruk M.

Prace Kulturoznawcze

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2018

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tom 22

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nr 3

27-39

EN

The author analyzes the cultural status of the unfinished adaptations of Don Quixote of Miguel de Cervantes, which were worked on for years by Orson Welles (1955–1985) and Terry Gilliam (1991–2018). Although there are many films about the errant knight, these two projects still arouse interest of critics, viewers and filmmakers. Barbaruk initially puts these perplexing obsessions in the context of the idea of film maudit and the romanticism of interpretations of Don Quixote, but considers that only referring to modernity, which is the embodiment of the film industry, makes it understandable. In the unfinished projects of Welles and Gilliam the author sees the potential for self-creation and interpretation (underlining of openness of Cervantes’s novel and the autonomy of its heroes) and a counter-cultural, critical force aimed at contemporary finality.

4

Miejskie wydmy. Zapiski z utopijnego Miasta Otwartego

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Barbaruk M.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2019

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tom 106

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nr 3

55-66

EN

This paper is a result of several days of on-site empirical observations conducted in the Open City (Ciudad Abierta) in Chile. The author studied the present practices and operations of the local academic community that in 1970 led to the creation of this utopia-like space. Associated with the School of Architecture and Design at the Pontifical Catholic University of Valparaíso (Escuela de Arquitectura y Diseño Potificia Universidad Católica de Valparaíso), the so-called ‘School of Valparaíso’, the community itself was established in the second half of the 20th century by the founders of Amereida: architect Alberto Cruz and Godofredo Iommi. The author suggests that these ‘urban’ dunes of the Pacific coast may serve as a point of exploration and reflection on utopia (by definition a cultural concept rather than a social or civilisational one), as well as on the essence of the university and new ways of practising and studying culture.

5

Don Kichote jako homo culturalis

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Barbaruk M.

Prace Kulturoznawcze

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2011

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tom 12

173-190

EN

The author makes Don Quixote a patron of today’s theory of culture — which increasingly draws on an etymological understanding of culture — in order to demonstrate how the modern, hegemonic notion of culture can be undermined through him. We can pass from the Ciceronian metaphor of culture as cultivation of the spirit to the quixotic practising of values, the most important among them is freedom — the basis of man’s second birth in culture. Don Quixote as a model of homo culturalis is the subject who creates himself and builds his own authenticity in axiocentric madness. This authenticity is expressed by: “I know who I am.” A reflection on the quixotic “cultivation of the spirit” leads to a definition of quixotism as the maximum level of culturing the individual. The article ends with a presentation of the figure and work of the Spanish humanist Juan Luis Vives, who restored the term cultura animi, forgotten in the Middle Ages, to the reflection on human nature, thus giving an impulse to reflection on culture becoming independent in modern European thought.

6

OPÓR NATURALNY. AMEREIDA JAKO NIEHEROICZNA WYPRAWA I UNIWERSYTET BEZWARUNKOWY

100%

Barbaruk M.

Praktyka Teoretyczna

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2019

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tom 32

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nr 2

110-128

EN

Through the metaphorical phrase "natural resistance", the author indicates still valid belief in the necessity of discovering the "internal sea" of Latin America, the constant effort of "the reinvention of America" (M. L. Pratt). She reminds the ambivalent consequences of A. von Humboldt’s descriptions of nature for the identity and history of the New World (growing cultural consequences of colonization and, at the same time, the political decolonization of the continent). This historical context is important for the understanding of the decolonization project called Amereida, in which the "weak", poetic, artistic tools of resistance were used. She describes travesía from Tierra del Fuego to Santa Cruz de la Sierra (Bolivia), carried out in 1965 by architects, poets and artists associated with the Universidad Católica de Valparaíso, and the Open City, founded in 1970, in which they combined work, life and education of students. According to the author, the subordination of the architecture of poetry is a deconstruction practice aimed at achieving resistance to the world assigned to the university. The Open City can form the model of "unconditional university" (Derrida), but also the Latour's "resistant object" (the problem of the group's separation from the socio- political reality in the time of A. Pinochet's dictatorship).

PL

Przez metaforyczne wyrażenie „opór naturalny” autorka wskazuje na wciąż aktualne przekonanie o konieczności odkrywania „morza wewnętrznego” Ameryki Łacińskiej, nieustającego wysiłku „obmyślania Ameryki na nowo” (M.L. Pratt). Przypomina złożone, ambiwalentne, konsekwencje opisów natury A. von Humboldta dla tożsamości i historii Nowego Świata (wzmożenie kulturowych efektów kolonizacji a zarazem wpływ na polityczną dekolonizację kontynentu). Ten historyczny kontekst jest istotny dla rozumienia projektu dekolonizacyjnego zwanego Amereida, w którym wykorzystano „słabe”, tj. poetyckie, artystyczne narzędzia oporu. Barbaruk przedstawia zrealizowaną w 1965 r. przez architektów, poetów i artystów związanych z Universidad Católica de Valparaíso wyprawę (travesía) z Ziemi Ognistej do Santa Cruz de la Sierra (Boliwia) oraz założone przez nich Miasto Otwarte (1970), w którym połączyli pracę, życie i edukację studentów. Podporządkowanie architektury poezji stanowi według autorki praktykę dekonstrukcyjną, która ma na celu realizację przypisanego uniwersytetowi oporu wobec świata zewnętrznego. Miasto Otwarte stanowić może model „uniwersytetu bezwarunkowego” (J. Derrida), ale też latourowskiego „przedmiotu opornego” (problem odcięcia się grupy od rzeczywistości społeczno politycznej za czasów dyktatury A. Pinocheta).

7

Misja uniwersytetu. Walka o reformę na Universidad Católica de Chile

100%

Barbaruk M.

Prace Kulturoznawcze

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2019

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tom 23

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nr 2-3

213-231

EN

The author asks about the mission of the university understood as an axiologically defined way of life. She follows the history of the university reform in Chile in the 20th century, its two key moments from the point of view of university reflection: the strike in 1949 and in 1967. She notes that the strike phenomenon, although contrary to the idea of the university, is a tool for the disclosure of the university community. Both strikes were organized by architecture students at private Catholic universities (in Santiago and Valparaíso, respectively), hence the demands for total reorganization, research autonomy, modernization and democratization can be regarded as radical. The author describes the research and teaching practice of the so-called School of Valparaíso, which can be considered the most important source and largest beneficiary (having been granted the Open City area) of the university reform in Chile. The ideas of architect Alberto Cruz Covarrubias and poet Godofredo Iommi Marini are also a good case for analyzing the problem of university autonomy (the issue of apoliticality) and questions about when the university fails in its mission.

8

Przewodniki błądzenia

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Barbaruk M.

Prace Kulturoznawcze

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2015

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tom 17

171 - 181

EN

The author analyzes the different types of guides on the Route of Don Quixote. As a research material serves the documentary Erroneous Maps (screenplay: M. Barbaruk, director: S. Uliasz). The choice of Don Quixote for a guide — on La Mancha and on culture — means interest in the world of ambivalence of values in which no one knows what is true and what is fiction and good turns into evil. The author asks about the meanings of alternative guides on the trail of Don Quixote.

9

Podróż włoska, dzisiaj

63%

Barbaruk M. , Czaja D.

Konteksty - Polska Sztuka Ludowa

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2023

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tom 342

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nr 3

7-16

EN

Transcript of an interview conducted by Magdalena Barbaruk with Dariusz Czaja in 2013. Its direct cause was the publication of the book "Somewhere Further, Where Else" published by an anthropologist in 2010, which was devoted to Puglia, the Italian South. The conversation concerns, among others: the image of Italy (contemporary and historical), the specificity of the anthropological view of the Italian province (but also the center), the features of the "Italian journey" and the search for a language to talk about the Italian experience.

PL

Zapis wywiadu przeprowadzonego przez Magdalenę Barbaruk z Dariuszem Czają w 2013 roku. Jego bezpośrednią przyczyną była publikacja książki "Gdzieś dalej, gdzie indziej" wydanej przez krakowskiego antropologa w 2010 roku, która poświęcona zostałą Apulii, włoskiemu Południu. Rozmowa dotyczy m.in. obrazu Włoch (współczesnego i historycznego), specyfiki antropologicznego spojrzenia na włoską prowincję (ale i centrum), cech "podróży włoskiej" i poszukiwaniach języka opowiadania o doświadczeniu Włoch.