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Interpretacja stanowisk prahistorycznych Niaux i la Vache w Pirenejach jako „miejsc pamięci” i „krajobrazu pamięci”

100%

Głód A.

tom 23

61-80

This article is an attempt to interpret Niaux prehistoric sites (where rites and rock paintings were discovered) and La Vache (the place where the prehistoric people were camped) in the Pyrenees as “sites of memory” and “landscape of memory”. The article attempts to answer the question of whether cave positions that are the subject of the work can be interpreted and defined as “sites of memory” from a modern point of view, and whether the cave in Niaux could be a kind of “site of memory” for the prehistoric population. Additionally, whether the area within which these two caves are located can be considered as part of the “landscape of memory”.

Świat kolorów ludzi paleolitu jako element intertekstualności „obrazów” w jaskiniach

92%

Minta-Tworzowska D.

Folia Praehistorica Posnaniensia

2017

tom 22

111-142

The article discusses an issue of intertextuality of “pictures” in Palaeolithic art, and colour as its constituent. An important concept in these regards appeared to be that of an open and interdisciplinary approach towards an image, derived from the anthropology of images. In my opinion, essential is an “acting” of an image, based on so called “interimaginal relations”. It is legitimate when referring to prehistory, as numerous images reveal interpenetrating traces of other representations. Either consciously or unconsciously, some solutions had been used repeatedly, copying other representations, including selection of colours as a kind of stereotype deeply rooted in cultural memory. In cave “pictures” there were one or two main colours used, rarely three or even four. It has been acknowledged that the most important features of Palaeolithic “pictures” were movement, colour, especially expressed by a contrast of black and red or yellow, and also an illusion. They were also interrelated with a sound. The world of colours of contemporary people was a significant constituent of cultural meanings and of images “acting” in “mediatisation” of important existential contents between past and present.

Początki sztuki w świetle antroplogii René Girarda

70%

Kowalski A. P.

Rocznik Antropologii Historii

2013

nr 2(5), Genealogie kultury

97–110

R. Girard’s mimetic theory, inspired by the work of S. Freud, is usually regarded as an anthropology that examines the origins of religion, mainly sacrificial rituals and mythologies. The paper discusses such elements of Girard’s theory which can be applied to research on the origins of art. Girard’s thesis about archaic crises leading to violence is pre/historical in character. In the context of discussing a lack of art in Neanderthal communities, a question arises about the cultural conditions of the birth and function of primitive production. The Homo sapiens probably used elements of art (ornaments, figurative and schematic drawing) in order to show group (clan, totemic) differences. The Neanderthal culture was homogeneous, mimetically uniform and repetitive. Group differences could be signaled by acts of direct violence. The Homo sapiens sublimated aggression and created social semiotics of the oldest artistic artifacts. Imitations became more difficult to do, they required specialisation. As a result of primitive art, violence took on a symbolic meaning.