-
Title
-
Summary of articles / Polska Sztuka Ludowa - Konteksty 1991 t.45 z.1
-
Description
-
Polska Sztuka Ludowa - Konteksty 1991 t.45 z.1, s.64
-
Date
-
1991
-
Format
-
application/pdf
-
Identifier
-
oai:cyfrowaetnografia.pl:2146
-
Language
-
pol.
-
Publisher
-
Polski Instytut Sztuki
-
Relation
-
oai:cyfrowaetnografia.pl:publication:2313
-
Text
-
SUMMARY
OF
K a t a r z y n a K a n i o w s k a , SURREALISM AND ETHNOG
RAPHY
The task of the article is to show connections between
ethnology (through French ethnology) and surrealism. The
begining of the structural ethnology is put up in twentieth. In
these days the intelectual atmosphere of France was dominated
by surrealism. Ethnology of that period, like surrealism, treated the
domain of culture as a mental reality and the best way to study it
was rather linked with intellectual treatment than with the
knowledge of experience. There was the same area of interest for
ethnologists and poets: myth, dream, sacrum. M. Leiris insisted
on the fact, that situation of research is always cocreated by
researchers therefore describing experiences one is to notice the
reality (a person) being examined and the reality of the research
worker as well. There was also underlined the meaning of the
inner experience. (G. Bataille and autobiography as a source).
A ban and its transgressions were the main rule of culture for
ethnology and for surrealists. Surrealism also consolidated in
ethnology the bias to operate the model of culture (model a priori
-created on special, universal rules which govern the domain of
culture).
M o n i k a S z n a j d e r m a n , ON ETHNOGRAPHICAL SURREALISM
The article is a summary of James Clifford ideas concerning
ethnographical surrealism expounded in his book The Predica
ment of Culture. Twentieth-century ethnography, literature and
art, specially in the chapter On Ethnographic Surrealism.
L u d w i k S t o m m a , CHARM OF ONE'S MISTAKE
The author is konwn to the readers of our periodical for his
interest in the presence of myth in history (France) seen with the
eyes of an anthropologist. The present article concerns three
famous tourist attractions, that is the Tour of Eiffel, the Triumphal
Arch, and the Basilica of Sacre Coeur. The author tries to explain
why the Tour of Eiffel has become a symbol of freedom, mostly
sexual (primarily symbol of progress and industrial thought
- change of the subject in ideology), the Triumphal Arch - of
tolerance (was conceivable as an edifice to glorify Revolution
and Empire - change of ideology itself), and why the Basilica of
Sacre Coeur is generally associated by tourists with impres
sionists (the idea to build a basilica - a testimony of conservatism
of the new power - was linked with the thought of concilation for
,,disgraceful days of the Paris Commune" - chronological con
fusion).
Z b i g n i e w B e n e d y k t o w i c z , A SPECTRE OF THE CENTRE
OF THE UNIVERSUM. A CONTRIBUTION TO THE ANTH
ROPOLOGY OF MODERN TIMES
The author concentrates his attention on the Joseph Stalin
Palace of Culture and Sciences. A gift of the Soviet Union and
a monument of the Social Realism, the skyscraper is 230 metres
high and situated in the very centre of the city. Its construction in
the city destryed and ruined by the Nazis started in 1952.
Completed in 1955, the Palace of Culture houses numerous
cultural institutions, theatres, cinemas, an auditorium where the
congreses of the then Communist Party took place, and the site of
the Polish Academy of Sciences. The myth and the anti-myth of
the Palace of Culture is analyzed on the grounds of the records
kept at the Palace's archives, press reports, annual reports of its
construction, panegyrics, and propaganda texts. Moreover, deep
symbolic structures, particularly the motifs of the symbolicism of
the centre, the „centrę of the w o r l d " (motif of the column of
Heaven Axis Mundi) are presented. The author analyzes the
evolution of the motifs of contemporary literature that contribute
to the creation of the myth of the Palace of Culture, emphasizing
the impact and significance of the Palace as a symbol of
contemporary artistic culture and its manifestations, an inter
mediary symbol between the synchrony of the text and the
memory of culture. The contemporary myth of the Palace of
Culture comprizes the ideas referring to the archaic symbols of the
centre of the world (the constant point enabling the transition
between the three levels of reality: heaven - earth - depths of the
earth) and the elements accentuating its unreal, Utopian, blurred
and spectral character.
64
ARTICLES
J a c e k O l ę d z k i , GESTURES OF HOPE
The author wants to pay his attention for the negligent subject
in Poland - gestures research. The clasp of this article is the
analysis of sport gestures (or rather gestures manifested by
sportsmen during the games). The article begins with the precise
analysis of the modification of the meaning of „Kozakiewicz
gesture", the winner of pole vault during the Olympic Games in
Moscow in 1980. After the winning jump Kozakiewicz had
shown the irritated, whistling audience, cheering their competitor
"a gesture" - putting one of the forearms on the other bent in
elbow - this gesture has become not vulgar anymore but
generally aproved symbol of the resistance and objection against
soviet political domination. It has achieved in Poland almost the
meaning of Churchill gesture during the war (raising hand with
two fingers showing - " V " ) .
The author writes that though sometimes one can say about the
individual influence in creating gestures, usually there are anony
mous, colective, relative and conventional (it would be useful to
write a gesture dictionary for different cultures). Supporting his
constatations he quoted patterns from many cultures. He thinks
that one of the most important classification is repartition for
affirmative gestures and denying gestures (gestures of friend
liness and aversion). He hints the poverty of gestures in a traditio
nal rural society (observations first of all from Ziemia Dobrzyńska
countryside). The article's last part concerns the describing of joy,
triumph and thankful gestures observed during World Football
Championship in Italy in 1990.
A n t o n i K r o h , B a r b a r a M a g i e r o w a , THE PRIVATE LEXI
CON OF CONTEMPORARY POLISH (AN INTRODUCTION
AND SAMPLES OF ENTRIES)
We publish excerpts from the lexicon which is preparated to
print. The lexicon contains about 30000 entries: words, expres
sions, catch words, clap-traps, proverbs, etc. which one can find
out in contemporary polish language in Poland. Lexicon contains
entries (or their new meanings) which can not be find in other
lexicons or dictionaries of Polish. This lexicon is documentation
and testimony of the expresions often use from time to time and
regionally but which are meaningful in some times. It deals with
Polish of the last 45 years.
L u c j a n G r a j n y , AN EXHIBITION OF ŻYWIEC FOLK SCULP
TURE MADE OF STONE
The report on exhibition of sculpture made of stone is pretext to
treat of a contemporary development of the sculpture in Żywiec
area. Region of Żywiec has its long lasting and rich traditions of
sculptures made of stone (presented at the exhibition as well).
The open centres of stone-work have existed over there until the
thirties of this century. Recently these traditions were brought
back to life by Ryszard Biel who his passion for collecting folk art
transformed to his own artistic activity conciously tied with folk
art tradition. In the beginning he created using different tech
niques to approach at last sculpture made of stone. From the
eighties he started his work at the Club in Wieprz where he
established atelier of sculpture of stone. This sculpture atelier was
left by many young talented sculptors.
A l e k s a n d e r J a c k o w s k i , ANTONI TOBOROWICZ
It is difficult to say Toborowicz is a folk artist though traditional
folk sculpture made a great impression on him and his produc
tions are related to it. The great consciousness of self, of his
creative way is characteristic for Toborowicz. Different stages of
his life are connected with different dwellingplaces and different
creative techniques. Finally, he had chosen life in countryside and
its creative tradition was nearest to him. His openness to values is
very characteristic, he is not routinist in any meaning even having
chance for material profits. Nowadays he creates figures of stone
(big and small, using sometimes different materials) and wood
engravings.
A letter from the artist to the author of the article is added.
