Wyniki wyszukiwania - Biblioteka Nauki

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Erotic images and motives as a broadcast of the dominant social status (Based on the “Kazakh Erotic Novel” by Berik Dzhilkibaev)

100%

Safronova L. , Nurbayeva A.

Przegląd Wschodnioeuropejski

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2022

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tom 2

285-294

EN

In the time leading up to and immediately following the collapse of the USSR, processes of national self-identification in the formerly Soviet republics were revived anew. Ideologues and culture workers mined the distant past for the raw materials with which to re-activate new forms of national identity, and also to distance themselves from the traumas of imperialism. Written and published in the midst of these processes, Berik Dzilkibayev’s 2001 work Kazakh Erotic Novel is something of a mythological text, with ritual elements symbolizing the constant evolution of the fate of nations. This article analyzes Kazakh Erotic Novel from the perspective of psychoanalytic and cognitive literary criticism, while also situating the work historically in post-independence Kazakhstan. The novel narrates the emergence of the newly-independent Kazakh state, with its heightened energy potential, onto the world stage, while simultaneously exploring the act of returning to one’s roots – to the origins of one’s ethnic group – by replicating the act of creation of a society and its accompanying sovereignty. To broadcast the competitiveness of a young Kazakh country on the world stage, the author uses erotic images and motives that have an increased aggressive potential. In Dzilkibayev’s novel the image of the enemy, the hated Soviet Empire, which served as a unifying force for the Kazakhs, takes on the form of another opponent – the West – which is presented as fundamentally opposed to an imagined Eastern mentality. This difference is attributed to structural differences between Western monotheism and Tengrism, the animist religion of the Kazakhs, which took on renewed significance in the post-Soviet era.

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Inne życie wiersza – twórczość Darka Foksa

99%

Kałuża A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2014

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nr 24

293-306

EN

In the article “Inne życie wiersza – Darek Foks” focuses on the description of a postmodern poem as an object saturated with life, reified and anthropomorphized. The phenomenon of the recurrent reification, the inclusion in the context of cultural processes aimed at dematerialization of medium is shown on the example of the poetry by Darek Foks. What must be emphasised is the principle of a totemic thinking determining the process of reification in the poetry of this author.

3

Kangur – totem czy esencja? Dwie koncepcje krajobrazu

86%

Smyrski Ł.

Etnografia. Praktyki, Teorie, Doświadczenia

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2021

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nr 7

287-295

EN

The paper analyzes landscapes of indigenous societies. Howard Morphy, in his work focusing on the Aborigines, treated the landscape as a representation of past mythical events. Such an approach involves taking a closer look at the material aspects of landscape and emphasizes the existence of realties between contemporary Aborigines and the past. A different theoretical approach was developed by Tim Ingold, conceptualizing landscape as a human-land relationship based on essence, where all beings derive their essential form and substance directly from the land, which embodies the creative forces of the ancestors. Ingold’s understanding of landscape led me to rethink my research in the Altai Mountains of Southern Siberia, conducted 25 years ago. I argue that the relationship with the land is crucial for the Altaian people. The land’s essence is not changeable and all living beings are its emanation. The landscape is therefore not a record of the past, but an active field in which the relationship between human and non-human subjects and the land is established.

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Początki sztuki w świetle antroplogii René Girarda

86%

Kowalski A. P.

Rocznik Antropologii Historii

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2013

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nr 2(5), Genealogie kultury

97–110

XX

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.

5

Ni kaczka, ni bóbr, czyli słów kilka o dziobaku w symbolice i wierzeniach Aborygenów

72%

Wesołowski D. R.

Zoophilologica. Polish Journal of Animal Studies

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2020

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nr 6

85-108

RU

Животные уже с древних времен вызывали большой интерес у людей, поэтому невозможно пройти мимо такого близкого человеку элемента биосферы. Признание животных сакральными существами и их культ является одним из основных элементов тотемизма, то есть убеждений определенной группы о ее происхождении от звериного предка. Именно такую картину представляет культура аборигенов. Настоящий текст сквозь призму мистической связи «аборигены–животные» указывает, какую роль в культуре коренных жителей Австралии играет утконос, и является попыткой заполнить пробелы в гуманитарных исследованиях о животных, потому что до сих пор об этом животном нет монографий в области религиоведения, культуроведения или animal studies. В работе проанализированы рассказы из Времени сновидений, рассказывающие о происхождении этого млекопитающего, а также указаны его характерные черты (как с мифологической, так и с биологической точки зрения) и функция в жизни членов племени, особенно в свете водной символики.

EN

Since ancient times, people have been fascinated by animals. They are such a close element of the biosphere, that it is not possible for them to go unnoticed. Treating animals as sacred beings is one of the primary elements of totemism – belief in kinship with the class of objects (in this case animals). It is clearly visible in the culture of Australian aborigines. The paper presents, through the scope of mystic relation aborigines-animals, the role of platypus in the culture of indigenous inhabitants of Australia. It is also an attempt to fill the gap in the humanist discourse about animals because to this day platypus haven’t had any monographic study in the field of religious studies, cultural studies or even animal studies. By analyzing the stories from the Dreamtime, the text shows the mythical genesis of this mammal, the origin of its characteristic features, and it functions in the life of a tribe, especially in the light of aquatic symbolism.

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MITOLOGIE CZAJKI

71%

Tomczok M.

Porównania

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2018

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tom 23

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nr 2

139-150

EN

In this article I discuss the phenomenon of the mythology of a Polish-Jewish active artist in the second half of the twentieth century. This is a mythology of “long duration”, because it goes back to the interwar period, surrealism, avant-garde and Warsaw’s Bohemia. The example is provided by prose from Izabela Czajka Stachowicz but also statements of literary critics and journalists of Jan Kott, Krystyna Kolińska, and Ryszard Matuszewski. By means of discussing gender stereotypes and stigmas that the works of Czajka were described with after the war, I try to show the negative aspects of her mythology. In turn, I am looking for a reaction to stigmatization in the form of symbols of objects and animals in her prose.

PL

W artykule omawiam zjawisko mitologii polsko-żydowskiej artystki, aktywnej przede wszystkim w drugiej połowie XX wieku. Jest to mitologia „długiego trwania”, sięga bowiem czasów dwudziestolecia międzywojennego, surrealizmu, awangardy i warszawskiej cyganerii artystycznej. Przykładu dostarcza mi proza Izabeli Czajki Stachowicz, a także wypowiedzi krytyków literackich i publicystów: Jana Kotta, Krystyny Kolińskiej i Ryszarda Matuszewskiego. Omawiając stereotypy płciowe i stygmaty, jakimi opisywano po wojnie twórczość Czajki, staram się pokazać negatywne aspekty jej mitologii. Z kolei w jej prozie szukam reakcji na stygmatyzację w postaci symboli rzeczy i zwierząt (totemizm).

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EWOLUCJONISTYCZNA TEORIA KULTURY W ANTROPOLOGII SPOŁECZNEJ

58%

Daszkiewicz W.

Zeszyty Naukowe KUL

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2015

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tom 58

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nr 3

69-84

EN

The evolutionism was the first attempt to synthesize and build theory of the culture in cultural anthropology as a science. Later generations refer to this theoretical direction by making adjustments and additions. Evolutionists have given first attempt of theoretical approach. They envisioned the unity of human psyche and using comparative studies. They have developed a conceptual apparatus, which entered into the composition of each anthropologist (endo-and egzogamia, totemism, tabu, animism, mana, etc.). Today the evolutionism is rather a history of cultural anthropology.

PL

Ewolucjonizm klasyczny był pierwszą próbą syntezy oraz budowy teorii kultury w antropologii społecznej jako nauce. Do tego kierunku odnosiły się późniejsze pokolenia dokonując korekt i uzupełnień. Ewolucjoniści dali pierwsze próby ujęć teoretycznych zakładając jedność psychiki ludzkiej jako punkt wyjścia do badań porównawczych. Wypracowali aparaturę pojęciową, która weszła w skład wyposażenia każdego antropologa (endo- i egzogamia, totemizm, tabu, animizm, mana itd.). Ewolucjonizm stanowi dziś niewątpliwie historię antropologii i nikt na serio nie mógłby uprawiać tej nauki w oparciu o hipotezy, jakimi posługiwali się jego przedstawiciele.