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Ostrożnie z wyobraźnią. Uwagi o antropologii i demonologii

100%

Zowczak M.

Stan Rzeczy

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2011

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nr 1(1)

131-145

PL

Demonologia w antropologii a refleksyjność zwrotna. Teodycea jako kosmologiczna egzegeza i strategia społeczna: zrzucenie na kogoś–coś winy za niesprawiedliwość świata; punkt wyjścia oskarżeń o praktyki magiczne (Michael Herzfeld). Teodycea ślepym zaułkiem racjonalizacji wiary religijnej w hermeneutyce Paula Ricoeura: krytyka schematu odpłaty. Przemiany w polskiej etno-antropologii ostatnich 30 lat na przykładzie stosunku do demonologii. Systematyka demonów Kazimierza Moszyńskiego a doświadczenie „niewidzialnego ludu” Kirsten Hastrup: opozycja wyjściowa dla konstrukcji typu idealnego, przedstawiającego stosunek badacza do zjawisk nadnaturalnych: pomiędzy rejestracją faktów a ich konstruowaniem, irracjonalną fantazją ludu a wyobraźnią jako potencjalnym czynnikiem społecznej zmiany. Mechanizm bricolage’u techniką wyobraźni – i myśli symbolicznej. Uniwersum demonologii opracowane w polskiej etnologii lat 70/80. otwarte na analizę w kategoriach faktów społecznych.

EN

Demonology in anthropology and the reflexivity. Theodicy as a cosmological exegesis and a social strategy blaming someone/something for the injustice of the world; the starting point for accusations of magical practices (Michael Herzfeld). Theodicy as a cul-de-sac of rationalizing religious faith in Paul Ricoeur’s hermeneutics; critique of the retribution scheme. Transformations of Polish ethno-anthropology in the last 30 years from the perspective of demonology. Between the Kazimierz Moszynski’s taxonomy of demons and the Kirsten Hastrup’s experience of the „invisible people”: the basic dichotomy for constructing of the „ideal type” of the anthropologists’ attitude to the supernatural phenomena; between the recording of facts and their construction, irrational folk fantasy and imagination as a potential agent of social change. Bricolage as a technique of imagination and of symbolic thinking. The universe of demonology elaborated by Polish ethnology in the 70s and 80s open to analysis in terms of social facts.

2

Nové příběhy dobrého vojáka Švejka. Podrývání státu a kulturní blízkost v ukrajinsko-polském pohraničí

85%

Grygar J.

Sociologický časopis. Czech Sociological Review

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2013

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tom 49

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nr 4

521-549

EN

This article sets out to study creative works of collective memory in contrast to state-backed representations of the past. It takes as examples for analysis the erection of statues of the title hero of Jaroslav Hašek’s novel The Good Soldier Svejk in the border region of western Ukraine. It looks at the political and social contexts of creative readings of this novel and how such readings interfered with the dominant state-backed representations of the past and upset historical interpretations that had become deeply anchored in the national discourse. The erection of these statues also had the effect of expanding room for the imagination and fostering discussion of local cross-border cooperation. Activities of this nature tend to dowplay rather than emphasise the state border that cuts through the Urkainian-Polish border region. Methodologically the article is based on an ethnographic study of the unveiling of Svejk statues in Skelivce, Uzhhorod (Ukraine) and Przemyśl (Poland). These new contextualisations of Svejk help to establish an alternative representation of the past and political geography of the borderland area and make Svejk into an object that emphasises the differences between the inhabitants of the Ukrianian-Polish borderland on the one hand and the inland populations of these two stages on the other.

3

Bricolage and Social Entrepreneurship to Address Emergent Social Needs: A “Deconstructionist” Perspective

85%

Zollo L. , Rialti R. , Ciappei C. , Boccardi A.

Journal of Entrepreneurship, Management and Innovation

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2018

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tom 14

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nr 2

19-47

EN

Social entrepreneurship is one of the most discussed issues in recent management literature. In particular, social entrepreneurship has recently gained the attention of management scholars interested in understanding its sociological and anthropological aspects. This paper focuses on Claude Lévi-Strauss’s notion of “bricolage” and the way it can represent a significant opportunity to address emergent social needs. Building on a postmodernist philosophical perspective, namely Jacques Derrida’s “deconstructionism,” we attempt to unpack the bricolage phenomenon within the social entrepreneurship field. Following the findings of an in-depth longitudinal case study, we provide a theoretical conceptualization of possible entrepreneurial solutions to social needs, exploring the significant role of bricolage that is consequently interpreted as a suitable entrepreneurial opportunity to address particular types of social needs that we shall define, in a way, as emergent.

4

Means of reproducing the individual past in W. Sebald’s novel Austerlitz

71%

Megela I.

Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

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2022

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nr 4(1)

81-86

EN

The article is devoted to the coverage of the problem of bricolage as a method of memory reconstruction in the novel “Austerlitz” by the greatest German writer Winfried Sebald. The article notes that “Austerlitz” marks the transition from trauma to conscious identity as part of the historical memory of the Holocaust. It shows how the hero of the work, Jacques Austerlitz, acquires his identity by assembling from scattered information his personal history, reflecting a significant part of the collective tragedy. The genre feature of the work as a travelogue, memoir, investigation, as literature bordering on documentary and artistic experience, where the real is combined with the fictional, is highlighted. The article describes in detail the content of the technique of bricolage as a form of “wild”, “pre-rational” way of thinking, as a technique of fitting auxiliary materials (old photographs, newspaper clippings), a montage of disparate episodes, the technique of collage. The structure of the work’s storytelling is analyzed when the narrator does not tell the story but describes what he hears from Jacques Austerlitz. It is as if it is not a text, but the story itself, which someone tells, and also shows pictures for authenticity. The functions of the hero in the novel gradually shift from people to things, documents, bearers of the memory of individual and collective civilizational catastrophe. These indescribable witnesses break the blockade of traumatic silence around the childhood of Austerlitz, embodied in images of blindness, dumbness, oblivion. Before the protagonist of the work, the “man without a past,” the history of his family, the ghostly happy childhood that was rudely cut short by the separation from his biological parents, is suddenly revealed. Sebald demonstrates a contemporary form of novel narrative in which the truthfulness of the Holocaust narrative is revealed by incorporating the exile’s personal authorial biography, pain, and guilt into the memory of this tragedy. The role of photographs and descriptions of architectural structures in revealing the immanent semantic content of the subject, not manifested verbally, is analyzed. The latter is the key document that unites and structures the important for the writer themes of memories, memory, indifference, oblivion, return to the ghostly past, overcoming of the psychological trauma. Based on the analysis the author concludes that the attitude to the reader as a co-author brings Sebald’s novel closer to the tradition of the European intellectual novel and postmodern hypertexts, in which meaningful units are not presented in a traditional linear sequence, but as a multiplicity of links and transitions. The author notes that the acute experience of humanitarian catastrophe, the multilayered text, the density of meaningful meanings make this work a notable phenomenon in the context of artistic comprehension of traumatic memory.