Wyniki wyszukiwania - Biblioteka Nauki

1

J. Dziewit, Aparaty i obrazy. W stronę kulturowej historii fotografii

100%

Fereński P. J.

Rocznik Antropologii Historii

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2015

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nr 8, Antropologia i historia

326-329

XX

Review of the book by Jakub Dziewit "Apparatus and pictures: towards the cultural history of photography".

2

Established characteristics and expected directions of visual anthropology in Slovenia

85%

Lunaček S.

Český lid: etnologický časopis (Český lid: Ethnological journal)

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2014

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tom 101

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nr 1

35-56

EN

The article aims to present and analyse the current situation of visual anthropology in Slovenia. In the first part the author is discussing ethnographic filming, as it is the most established area of visual anthropology in Slovenia. This is particulary so in terms of documentation by organised visual material and uses of video in museum presentations. The author exposes focus of "our own" culture as their common trait.

3

Mezi obory: vizuální kultura

80%

Křížová A.

Národopisný věstník

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2009

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tom 26_(68)

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nr 1

58-62

EN

In the field of the folk and popularized art, ethnography and art history cooperated for the entire 20th century, especially in the iconographic and iconological studies. However, the folk and popularized art remained a subject matter of ethnology, while the art history was concerned with the professional art. This was the reason that mass culture and visual art were marginalized until the 1960s, regardless of the social groups which are consumers of this type of culture, and regardless of the aesthetic rating. This barrier was broken only within the last three decades under the influence of the increased interest in everyday culture and its manifestations such as mass graphic, occasional prints, greeting-cards, souvenirs, recently also advertisement and new media products. The whole sphere of the so-called visual culture became an object of interdisciplinary research with participation of sociology, psychology, cultural history, art history, musicology, theatrology and filmology, visual anthropology as well as ethnology. Within the frame of ethnology, the new specialization was named Bildlore or Bildforschung.

4

Kresba a malba v antropologii

80%

Soukup M.

Národopisná revue (Journal of Ethnology)

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2014

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tom 24

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nr 1

3 - 14

EN

The subject of the study is to analyze the use of native drawings as a gnoseological tool in cultural anthropology taking into account the developmental transformations in visual anthropology. This was established as an independent anthropologic sub-discipline aimed at the study of culture especially by means of film and photograph. Native drawing is still rather undervalued in visual anthropology even though it disposes of considerable potential for the research of culture by visual means. This is documented by results of the research conducted by Mead, Bateson, Fortes, Alland and many others whom the contribution pays a special attention. In his study, the author will proceed not only from the analysis of implemented researches focused on native drawings, but he also will build on his own empiric experience with using the native drawings in the research of the Nungon ethnic group of Papua New Guinea. The aim of the study is to introduce the status of using the native drawings in anthropologic research, possibilities of using, analyzing, and interpreting the collected data and wider connections with visual anthropology.

5

Wizualne migracje: refleksje o metodzie i braku metod w wizualnych badaniach nad doświadczeniem imigracyjnym

80%

Grzonka D.

Państwo i Społeczeństwo

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2016

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nr 1

41-57

EN

This paper is a an anthropological and methodological impression about the production of a cultural knowledge grounded in the different types of a visual data. The purpose of this paper is to highlight a potential of image-based methods for carrying out research into some hidden dimension of immigrant experience connected with visual perception. This paper explores the imaged-based methods as crucial in understanding how immigrants are framing as „others” and on the other way, how immigrants compare their cultural knowledge with different cultural backgrounds.

6

Vizuální reprezentace království Benin a jeho vládce: od období britské koloniální vlády až po současnost

70%

Půtová B.

Národopisná revue (Journal of Ethnology)

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2014

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tom 24

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nr 1

32 - 45

EN

The study presents the image of the Benin Empire and its king through photographs and artworks that contribute to the construction of social reality and have the ability to capture cultural changes visually. Visual representations of the Benin Empire presented in this study encompass particularly the period from British colonial dominance to these days. Depicting the Benin king has been a frequent motif used in traditional as well as contemporary art (bronze sculptures, relief plaques or oil paintings). The study also analyses photographs taken by colonizers, court photographs and anthropologists during their research at the palace courtyard. Special attention is paid to the continuity in Benin bronze artefact creation and the development of contemporary Nigerian art – works and artists who continue the traditional depiction of the Benin king enriching it with their specific view of the world. The analysis also focuses on photographs seen as symbolic systems capturing the colonial and post-colonial situation – historic events relating to the British invasion, European colonial dominance, power relations, asymmetry, injustice and everyday life. The study presents photographs not only as mere period documents, artefacts and historic source that serve to the purpose of scientific analysis and interpretation, but also the purpose of inspiring the contemporary artistic work.

7

Problems of the Application of Visual Anthropology in Palestinian Gender Research

70%

Kościańczuk M.

Kultura i Edukacja

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2013

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nr 6(99)

88-110

EN

The article presents the main issues connected with visual anthropology application in research studies carried out in non-European environment. The text is based on author’s research of the Palestinian society. The main topic of the research was connected with the understanding of safety and danger among Palestinian women. The article presents problems, challenges, and chances of using photo-interviews according to the postcolonial and intersectional contexts in social research.

8

Społeczne biografie zdjęć terenowych, czyli antropologia wizualna archiwalnej fotografii

60%

Kubica G.

Lud

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2013

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tom 97

57-86

EN

The text deals with one of the most important issues in visual anthropology which is the analysis of archival field photographs made by ethnographers. The first part of the paper provides an overview and critical assessment of major projects in this area, and the second – an analysis of the circulation of Bronisław Malinowski's field photographs. This project is done in the theoretical frame of the studies of the materiality of photographs and social biographies of things. The text shows what happens with the anthropological field photos, how they "present" themselves in books, albums, exhibitions, documentaries, how they change their meanings according to the context of what is "next to" them, with what they interact in new assemblages, how they are "read" by various "audiences", and how they provoke conflicts and disputes, or open up new spaces of analysis. The author also analyses the issue of moving from the private archives to public and vice versa, and the effects of digitisation.

9

Zaangażowanie jako metoda. Badania artystyczne w najnowszych dokumentalnych publikacjach fotograficznych

51%

Sita M.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2022

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tom 118

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nr 2

106-125

EN

Photography emerging from the documentary tradition has continued to evolve over the recent years, nearing the scientific practices applied in the study of the social and community-based dimensions of culture. Photographers conduct experiments in the social space, reflect on the interactions and dependencies that they intentionally create, and construct languages of communication subordinated to the interpersonal relationships in which they operate. As authors of their art-based research, they are in charge of both methodology of analysis (by adapting the tools employed by the humanities and social sciences) and the ways in which their results are presented and included in the social mainstream as artistic interventions, collective practices, and photography publications. Given that the latter are the subject of this article, it focuses on three selected publications and identifies engagement as a central category for methods used by artists to establish a relationship with the studied social reality, influence it, and create knowledge about it. Engagement, in both its versions – as an attempt to have an impact on the studied social reality and as a method of intentional relationship building within a community, carries a significant learning potential, allowing us to look anew at the role of photography in qualitative social research.

10

Analiza fotograficznego medium w cyklu autoportretów Pawła Żaka pt. Bliski znajomy

51%

Mazela A.

Ogrody Nauk i Sztuk

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2014

|

nr 4

633-638

PL

Celem artykułu jest analiza cyklu fotografi i Pawła Żaka pt. Bliski znajomy, a dzięki temu odkrycie również istoty fotografii i jako fenomenu kulturowego. P. Żak jest artystą, któremu dokumentalizm fotografi i nie wystarcza, używa więc metafory zwierciadła do ukazania gry, jaka toczy się między osobą i jej lustrzanym odbiciem, a także między poszczególnymi zdjęciami. Cały cykl z 2004 r. stanowi metaforę wewnętrznego dialogu człowieka z samym sobą, opowieść o ludziach w ogóle, a także o artyście i jego narzędziu – fotografii.

EN

The aim of this article is commentary on Paweł Żak’s photographic series entitled A Close Acquaintance and, through this, to reveal the essence of photography as a cultural phenomenon. Paweł Żak is an artist, for whom the documentary character of photography is not sufficient. He uses the mirror as a a metaphor to show the game between the person and his mirrored image, as in the case of photographs. All series constitute a parable of an internal dialogue of the human with himself. They constitute a story about both a man in general, and about the artist and his tool, photography.

11

Mieszkanie - przestrzeń prywatna? Praktyki uniformizacji wnętrz

51%

Kowalewski M. , Ostrowski M.

Architecturae et Artibus

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2010

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tom Vol. 2, no. 1

39-45

PL

Przestrzenie mieszkań traktowane są zwykle jako przeciwstawność przestrzeni publicznej, tymczasem prywatność i intymność domostwa to zjawiska stosunkowo nowe. Mieszkanie jest nie tylko miejscem interakcji z innymi, to także przestrzeń reprezentacyjna, atrybut pozycji społecznej. Dlatego też mieszkania z magazynów wnętrzarskich chcą być „ładne”, wzorem zuniformizowanej estetyki stają się kompozycje globalnych sieci meblarskich. Zjawiska te zostały ukazane w pracy, w odwołaniu do autorskiego projektu Pocztówki z miejsc, w którym wykorzystano nadsyłane drogą elektroniczną amatorskie zdjęcia wnętrz mieszkań. Celem projektu było zebranie nieprofesjonalnych fotografii mieszkań - analizie z wykorzystaniem metod socjologii wizualnej poddano ponad 100 fotografii. Pierwotnym celem projektu był eksperyment artystyczny polegający na stawianiu pytań dotyczących „upubliczniania się” przestrzeni mieszkania, a zgromadzone dane stały się impulsem do poważniejszej refleksji, przedstawionej w artykule.

EN

Home spaces are usually treated as an opposition of public space, however privacy and intimacy of home, are a relatively new phenomenon. Home is not only a place of interaction with others, but also a space of representation, the attribute of social position. Therefore, homes of the interior design magazines want to be “nice” – global furniture brands style become the new aesthetic compositions. These practices of uniformization are described at the paper, in reference to the “Postcards from the places” project, where the amateur photos of interiors of houses were researched. The aim of the project was to collect photographs of home spaces and to analyze them using the methods of visual sociology. The primary objective of the project was the artistic experiment, consisting the questions of “publicizing” private space, then the data have become an impulse for scientific research, presented in the article.

12

Morze i woda w filmowych topografiach Gdańska

51%

Copik I.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2020

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tom 12

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nr 1

42-58

EN

The purpose of the paper is to analyse film topographies of Gdańsk and investigate the motifs connected with sea and water. I intend to ask myself some questions concerning the ways in which film makers develop aquatic motifs and use waterside location, to what extent film scenery – with water as the dominant element – recreates and creates “the meaning of place”. I treat the sea and water as images and film locations with certain aesthetic, economical and cultural functions. The methodological basis is cultural geography and discovering the relationship film–city–region, film–real and symbolic space, as well as visual anthropology, which makes it possible to capture the methods of coding signs on the screen, pointing to explicit and implicit ideologies, and cultural meanings, constructed in the process of sender–recipient activities. Research material includes selected Polish feature films: Wolne miasto, directed by Stanisław Różewicz (1958); Do widzenia, do jutra, directed by Janusz Morgenstern (1960); Człowiek z żelaza, directed by Andrzej Wajda (1981); Wróżby kumaka, directed by Robert Gliński (2005); Miasto z morza, directed by Andrzej Kotkowski (2009), and others.

PL

Celem artykułu jest analiza filmowych topografii Gdańska i prześledzenie obecnych w nich wątków związanych z morzem i wodą. Chcę sobie zadać pytania dotyczące tego, w jaki sposób filmowcy rozwijają motywy akwatyczne i jak wykorzystują plenery nadwodne, na ile krajobraz filmowy z dominującą rolą wody odtwarza i kreuje „sens miejsca”. Morze i woda są przeze mnie traktowane jako obrazy i jako plenery filmowe o określonych funkcjach estetycznych, ekonomicznych i kulturowych. Podstawą metodologiczną jest geografia kulturowa i odkrywanie relacji film – miasto – region, film – realna i symboliczna przestrzeń oraz antropologia wizualna pozwalająca uchwycić sposoby kodowania znaków na ekranie, wskazujące na jawne i ukryte ideologie oraz znaczenia kulturowe konstruowane w toku czynności nadawczo-odbiorczych. Materiałem badawczym są wybrane filmy fabularne kina polskiego: Wolne miasto, reż. Stanisław Różewicz (1958); Do widzenia, do jutra, reż. Janusz Morgenstern (1960); Człowiek z żelaza, reż. Andrzej Wajda (1981); Wróżby kumaka, reż. Robert Gliński (2005); Miasto z morza, reż. Andrzej Kotkowski (2009), i inne.

13

W parku z Raymondem Rousselem – anamorfoza i ornament

50%

Gołąb M.

Śląskie Studia Polonistyczne

|

2018

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tom 11

|

nr 1

71-88

EN

The article is devoted to the semantic and composition functions of the figure of a park/garden in Raymond Roussel’s novel Locus Solus. The issue discussed in this paper concerns a pretextual function of fictional space for the narration mode and sequential order of the novel. An attempt is made to supplement the dominant structuralist tradition of interpreting Roussel’s work, for example, with the concepts appearing in Maria Gołaszewska’s eco-aesthetic approach and Arnold Berleant’s environmental aesthetics. The proposed direction of reflections allows us to see in the rhetorical aspects of Roussel’s style, among which numerous hyperboles particularly attract the reader’s attention, a narrative method of anthropologically understood imaginary structures. These structures were based on the systems of objects, whose task, apart from rhetorical and cultural deluding, governed by the poetics of absurd, is to determine an anthropological point of observation in the very problem of visual experience connected with the walk in the park, intended by Roussel as an integral element of the plot. The article points out that the main problem of the novel is garden space seen from the perspective of visual anthropology, with the cultural pattern of an imaginary structure determined by the space. This space is given the function of disinterested narrating. According to the author of the proposed analyses, the meaning of such an understood visual metaphor is carried by two primary figures inscribed in the space of the garden: anamorphosis and ornament.

14

The Living Death: ‘Trick or treat!’ The Vivid Presence of Death Symbolism in Contemporary Art and a Philosophical Interpretation of its Existential Role

41%

Piotrowska-Tryzno M.

Art Inquiry. Recherches sur les arts

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2014

|

tom XVI (XXV)

243-255

EN

The paper covers the symbolism of death, which seems to be largely overlooked, trivialized or narrowly read both by the public and by some authors of texts on contemporary aesthetics. Numerous artists of the 20th and 21st century, including those widely known and commented on, try to restore the theme of mortality to the culture of the West, often showing it in the form of intercultural symbols, present in art from the beginning of its documented existence. The aim of this essay is to summon some meanings of such symbols, which are in a comprehensive way traditional, but invariably attractive for contemporary artists and thus freely transformed, and to sketch the possibility of their potential existential impact. The exploration of the possible causes of these meanings has been conducted on the basis of the selected proposals of interpretation in visual anthropology and depth psychology. The symbolism of death and its alleged role in contemporary art and contemporary Western culture have been also confronted with the selected proposals of the philosophy of life.

PL

Artykuł dotyczy symboliki śmierci, która wydaje się w dużej mierze niezauważana, banalizo-wana lub wąsko odczytywana zarówno przez współczesnych odbiorców sztuki, jak i przez estetykę współczesną. Autorka zakłada, że artyści XX i XXI wieku, również ci szeroko znani i komentowani, starają się przywrócić kulturze Zachodu tematykę skończoności życia, podając nam ją często „do widzenia” w postaci zestawień międzykulturowych symboli obecnych w sztuce od początku jej udokumentowanego istnienia. Celem pracy jest ukazanie niektórych znaczeń symboliki śmierci (nieodmiennie atrakcyjnej dla twórców, w sposób szeroko pojęty tradycyjnej, choć swobodnie współcześnie trawestowanej) oraz możliwości jej potencjalnego oddziaływania. Eksploracja możliwych przyczyn aktualności tych znaczeń przeprowadzona została w oparciu o wybrane propozycje interpretacyjne antropologii kultury wizualnej i psy-chologii głębi. Symbolika śmierci i jej domniemana rola w sztuce współczesnej i współczesnej kulturze zachodniej zostały także skonfrontowane z wybranymi propozycjami filozofii życia.

15

Antropologiczna analiza obrazu na przykładzie fotografii

31%

Jędrzejewska P.

Przegląd Socjologii Jakościowej

|

2008

|

tom 4

|

nr 1

36-70

EN

The article presents photography as a method of anthropological analysis, which undergoes interpretation while the interaction with the viewer is taking place. In the first part I concentrate on theoretical assumptions which focus on anthropological problems of the picture, especially semiology. Then, I describe the informants and the tools used – photography and research techniques: definitions of semantic fields; associations’ map and Robert Plutchik’s emotional model. The only formal criterion of the photographic samples was a common occurrence of a man and an animal. The material under analysis in this article, obtained during the interviews, concerns Krzysztof Hejke’s photograph Łódzkie podwórko from 1988. Out of the ten photographs chosen, this was the one that was found most interesting by the interviewed. I analyzed it considering emotions and associations it evoked and I constructed definitions of semantic fields of the photographic concept. I also discussed interpretations of the photograph, conducted taking the author’s intentions into account. In the last part of this text I present conclusions that may serve as a be a basis for future research.

PL

Artykuł porusza tematykę antropologicznej analizy obrazu, jakim jest fotografia, który w interakcji z odbiorcą podlega interpretacji. W pierwszej części skupiłam się na założeniach teoretycznych dotyczących problematyki antropologii obrazu, a w szczególności semiologii. Następnie opisałam osoby badane, użyte narzędzia - fotografie oraz techniki badawcze: definicje pól semantycznych, mapę skojarzeń oraz model emocji Roberta Plutchika. Jedynym kryterium formalnym doboru próby zdjęć było wspólne występowanie całości bądź fragmentu człowieka i zwierzęcia. Materiał poddany analizie w tym artykule, a uzyskany w trakcie wywiadów dotyczy fotografii Krzysztofa Hejke Łódzkie podwórko z 1988 roku, która spośród dziesięciu analizowanych fotografii najbardziej podobała się badanym. Analizowałam go m.in. pod kątem emocji i skojarzeń wywołanych przez kontakt z tą fotografią oraz zbudowałam definicje pól semantycznych pojęcia fotografia. Omówiłam także interpretacje fotografii, której dokonali badani w kontekście intencji jej autora. W ostatniej części niniejszego tekstu przedstawiam wnioski mogące stanowić podstawę dla dalszych badań.