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S U M M A R Y OF ARTICLES
J e r z y N o w o s i e l s k i (born 1923 in Cracow), professor at the
Academy of Fine Arts in Cracow, pursues basic types of easel painting
(landscape, figural scenes, nudes, still life, abstraction); he also paints icons
and designs interiors of churches (Russian Orthodox, Catholic and Uniate).
The language of his plastic art is characteristic and original. Nowosielski
resorts to flat forms, based on the natural expression of colour, shape and
texture.
The six following texts were written fifteen years ago, and were to be
included in an album prepared by Z b i g n i e w P o d g ó r z e c , which
was never published.
R y s z a r d P r z y b y l s k i (Matter in Glory) claims that the painting
style of Nowosielski differs from that pursued by other painters of our epoch,
and has been generated by faith. Although it is derived from the old icon (the
Halicz icon), it rejects the latter's symbolism. Nowosielski does not resort to
symbolic signs of the material object or structures, but depicts the actual
presence of transformed matter; he does not gaze towards the sky which
contains pure and unblemished original models of material beings (Platonic
ideas), but in a prophetic vision observes our world, transformed and
rendered beautiful by the Second Coming of Christ.
In a text whose title is derived from Nabokov (Transparent Things),
R o m a n M a z u r k i e w i c z presents the apophasis of Nowosielski and
his art. A revelation of eschatologieal realism can be reached via darkness;
since painting does not offer absolute negation, the artist is compelled to refer
to the formula of "not merely seeing''. As in the case of the icon, a key to the
co-experiencing of his vision is to be found in Incarnation. The compositions
by Nowosielski overcome the opposition between aesthetics and ethics,
eroticism and asceticism, motion and statics. The antithesis of material and
subtle being becomes transparent.
A n n B o c z k o w s k a ("There Is only Beatrice, and She Is not
Here... ") examines the Nowosielski portrait of a woman and the connected
symptom of a crisis of values. The author asks whether the desire to posses
these compositions does not express a readiness to seek truth about oneself.
Paintings by Nowosielski testify to the death of art, both the one which
proved the presence of deities in our midst, and the one which revealed the
mysteries of myth-creating dreams.
In a dialogue entitled A Conversation about Nowosielski, W ł a d y
s ł a w P a n a s demonstrates the composite nature of the artist's creativity.
The discussion starts with a question concerning the language to be used in
talking about Nowosielski (Lolman, Uspienski, Bachelard or Przybylski),
and goes on to consider the language of the paintings themselves.
Nowosielski resorts to various painting languages and in the presented
dialogue is compared to the Levi-Straussian bricoleur; his works comprise
glossolalia, and by "speaking in tongues", he determines their code; owing
to their complexity, order, serial nature and connections, paintings by
Nowosielski are compared to an ieonostasis.
H e n r y k W a n i e k (Art as Sanctity and Sinfulness) shows that
Nowosielski and his works cannot be considered without recalling their
tradition (the Eastern icon) since the artist makes it known that he wishes to
be interpreted in accordance with that tradition regardless whether the theme
of his paintings is religious or secular. One tradition maintains that an artist
works in a state of grace, while another - that he remains in a state of sin,
a duality discovered by the author in the case of Nowosielski.
M a r i a R z e p i ń s k a (Church in Azory) deals with the Byzantine
interior of the church in Azory (Cracow), realised by Nowosielski, with
a highly original Way of the Cross, whose last station - Deposition - and the
Crucifixion are part of the altar.
In there texts: Several Words on the Painting of Jerzy Nowosielski,
Speculum Mundi - the Motif of the Mirror in the An of Jerzy Nowosielski, and
The Vision of Reality in Landscapes by Jerzy Nowosielski, K a t a r z y n a
C h r u d z i m s k a discusses assorted aspects of this particular creativity.
The majority of critics derive the style of Nowosielski's art from the canon
of Byzantine icons. The hieratic and synthetic character of his compositions
is also part of a wider contemporary phenomenon of interest in mediaeval
culture and art - not only of Eastern Europe, but also of the West. At the same
time, the painter makes conscious use of the language of so-called naive
artists (he appears to favour Utrillo and Nikifor).
Upon numerous occasions. Nowosielski returns to permanent themes. One
of them is the mirror which appears on his canvases in a dual form: as an
element of stage designing (an actual mirror in an interior) or as a principle of
composition, justifying the, at first glance, illogical perspective. Quite
possibly, the colourful squares, described by the artist as signs, and present in
his mountain landscape and Trial Betrothal (1963), are also mirrors.
A considerable part of the works of J. Nowosielski consists of landscapes
whose titles, themes and composition makes possible a division into several
groups: Town Landscapes (i.a., Landscapes of Łódź), Airports. Green
Landscapes, Icon Landscapes, and Landscapes with an Orthodox Church
(including those executed with a mosaic technique) Nowosielski uses the
landscape as a background for figural scenes, a component of the still lite, and
an element of a interior. The atmosphere of his town landscape recalls G. de
Chirieo. Despite numerous formal differences, both artists employ similar
motifs (mannequin, train engine, painting within a painting), and a perspecitve with several convergent points.
Each Tells the Other that He is not God... A Dialogue between Professor
Maria
Janio n and Professor Ryszard
Przybylski
This discussion is an aftermath of The Stavrogin Case, a book which
presents two entirely different interpretations of the hero mentioned in the
title. M. Janion sees him as a tragic figure and R. Przybylski - as a pubertal
figure, the product of relations prevalent in tsarist Russia of the period. The
discussion deals with values and evaluations, which lie at the foundation of
the two divergent interpretations; it goes on to focus on important questions
in former studies by both authors, i.a. anchoretism (Przybylski, Hermits and
Demons) and its relation to matter, body and spirit as well as Przybylski's
planned book on experiences of ageing.
L e o n i d U s p i e n s k i , The Icon in the Contemporary World
This text is the seventeenth chapter of the book entitled Bogosloviye
pravoslavnoy Tserkvi. The icon is an extremely significant form of
expression in the Eastern rite Church. Both the old and new icon give
evidence to the same truth and once they free themselves from the canon, they
cease to be testimony of the Orthodox Church. We should perceive in the icon
only that what was seen by the Fathers and Councils of the Church - the
Triumph of Orthodoxy. The icon demonstrates the mission of man, says who
he should be, and places him in another perspective; by disclosing the paths
of man, it simultaneously turns towards him, admonishes him, and shows
new routes. The author proves that the principle of icon composition is not
simple reversal but a new quality that determines the contents. The space of
the icon enters into actual space (in which it is installed), and there is no
divergence between the two.
"The Renaissance of the Ukraine": Conference
The conference, organized by the Bathory Foundation, was held in
Warsaw on 18-19 May 1996. The prime themes of this meeting of leading
Polish and Ukrainian politicians and intellectuals were economic reform,
foreign policy, and social and political transformations at the turn of the
1980s. This text sums up and cites the chief motifs and topics of the debates.
Prepared by A n d r z e j K a c z y ń s k i . We also publish two opinions
from the conference voiced by Roman Shporluk and Yevhen Sverstiuk.
R o m a n S h p o r l u k , professor at Harvard University, shares his
reflections concerning the Ukrainian renaissance. In his opinion, such
expressions as ..invention" or ..remaking", applied in relation to the
emergent (renascent) Ukraine are not insulting; on the contrary, it is
frequently maintained that the construction, creation and redefinition of
nations and states comprise their permanent features. Speaking about the
rebirth of Ukraine, the author claims that the most important role in the
regaining of independence by a state is played (apart from the will of the
nation) by the „market conditions" which could be defined succinctly as
a configuration of political relations. The speaker also pondered on assorted
factors which led to the collapse of the Soviet empire.
Y e v h e n S v e r s t i u k deals with the complicated renewal of values
and the ensuing spiritual revival of Ukrainian society. It is his intention to
demonstrate the complex nature of the creation of new man by means of an
attempt at injecting old values connected with Christianity, which had been
ousted with considerably success for the last three generations. Such values
cannot be "transplanted" automatically. The author also examines the
complex issue of Ukrainian nationalism.
B r u n o C h o j a k , Les Kurbas
Les (Alexander Zenon) Kurbas, born in 1887, was one of the greatest
individualities of the Ukrainian theatre, actor, translator into the Ukrainian
(from a number of languages), and director. He was engaged predominantly
in the „Young Theatre" and „Berezil" (first in Kiev and then in Kharkov),
where he concentrated his attention on changing the existing repertoire
theatre into an entirely new type of theatre, to a considerable degree
independent from literature, and focused on new means of expression and
unconventional stage designing, exceeding beyond the heretofore framework
of the realistic-illusionistic theatre. Kurbas was the author of 'peretvorennie'
(transformation), different from the conception proposed by Meyerhold. In
1933, he was forbidden further theatrical activity, and in 1937 killed during
Stalinist purges. Research on the life and works of Kurbas still contains
numerous gaps, and his person has been discussed by a relatively small
number of studies.
We also publish The,,Berezil" Course and Problems of Its Technology by
Les Kurbas.
V a l e n t y n a S t r i l e t s , Theatrical Legend
This is a brief history of the Youth Theatre in Kiev - a theatre devoted to
quests and trials, and full of creative zeal during the years of the „Iron
Curtain", which proved to be sufficiently insecure to let through news about
the theatrical experiments of Jerzy Grotowski. A group of actors and directors
in the Youth Theatre tried to follow the Grotowski method and attained
a higher level of professionalism. The outcome of these endeavours was an
attempted presentation of Elprincipe constante by Calderon de la Barea, with
which the theatre wished to commemorate the 300th anniversary of the death
of this outstanding playwright. Due to intrigues and the absurd logic of the
early 1980s, the spectacle was doomed, the cast dispersed, and the actors and
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directors scattered throughout the world and Ukraine. The only traces of the
spectacle are photos and a legend.
T a t i a n a K i k t i e v a , Forgive Us
Already as a child, the author heard about Les Kurbas - her father took part
in the Kurbas laboratory of theatrical direction. Later, she too was employed
in the same theatre. In her sketched portrait of the director, Kiktieva
concentrates on the last, tragic moments in the life of the artist banished from
the theatre.
Ola
H n a t i u k , The Fate of the 1960s Literary
Generation
in
Ukraine
The literary 1960s generation in Ukraine - the shestydesiatnyki - was also
known as the generation of the 20th Congress of the Communist Party of the
Soviet Union, when young men of letters shared the euphoria accompanying
the de-Staiinization of social life. A turning point in their lives was the year
1965, when the short-lived period of a thaw was followed by first arrests of
the Ukrainian intelligentsia. Attitudes represented by members of the
generation became polarized - some were dismissed from editorial boards,
publishing houses and writers' unions, while others were favoured by the
authorities. The same year witnessed the appearance of underground
publishing - the samvydav - which to a considerable extent contributed to the
circulation of literary works. Verdicts passed in 1972, during a successive
tide of arrests among the young intelligentsia, denoted not only detention in
labour camps but also literary non-existence; part of the intelligentsia was
terrorised, and the unruly - expelled from the shestydesiutniki.
Y u r i y A n d r u k h o v y c h , Persuasion
This fragment of the most recent novel by Yuriy Andrukhovych, published
at the beginning of 1996, is a quasi-essay, read by the main hero at a seminar
held in Venice and entitled The Post-carnival
on the Horizon?,
О 1 es
Nonsense of the World. What's
comprising a mythical version of the history of Ukraine.
N o h a, The Onset of the Avunlgurde
in Ukrainian
Painting
The Ukrainian painting avantgarde, part of a worldwide phenomenon,
encompasses all currents present in West European culture at the beginning
of the twentieth century. We encounter neo-Impressionism and postImpressionism, as well as Cubism and Futurism, although indubitably in their
own versions, based on national specificity. It would be difficult to enclose
the Ukrainian avantgarde within Ukraine itself (Arkhipenko worked in Paris,
Kandinsky in Munich, Burluk in Moscow, and Sahaydachyny in St.
Petersburg). One of the liveliest art centres was Kharkov (alongside Kiev,
Odessa and Lviv). The author discusses the Ukrainian avantgarde in detail: its
chronology, groups, etc.
Oxana
West
S h p a k , Ukrainian Folk Graphic Art - between the East and the
Owing to its geographic localization, Ukrainian art developed within the
context of Eastern and Western spiritual tradition. In the graphic arts, this
influence was expressed primarily in iconographic, thematic and stylistic
borrowings. The mutual impact of Ukrainian and Polish graphic works is best
seen in iconography. Some of the Polish woodcuts disclose features
characteristic for Eastern tradition (the most typical being the likeness of the
Saviour whose facial features resemble those of Christ-the Teacher in
Ukrainian folk graphic art). The effect of Western iconography on Ukrainian
graphic art is discernible in the adoption of certain themes (the coronation of
the Madonna, the Pieta) as well as assorted details (the crowns worn by the
Madonna and Jesus Christ, or the book held by Christ-the Emmanuel).
M a r i a M a y e r c h y k , The Binar Semantic Opposition
,, There'' in the Construction of a Vision of the Beyond (the
Phase). The Carpathian
Region
„Неге"
and
Transmission
Mythological-poetic imagination perceives the death of man as a transition
to another world. The path pursued and the ..boundary" crossed by the
deceased can be described in categories of „here" and „there". The first
denotes our wold, security and all that is familiar; the category of „there"
signifies life after death, danger and that what remains unknown. The purpose
of the article is to consider the functioning of both categories at the moment of
death as well as their impact upon the form of the funeral ritual (the ritual of
transition).
Roman
Siletskiy,
Ukrainian
Construction
Sacrifices
Sacrifices connected with the erection of buildings, one of the most archaic
symptoms of traditional Ukrainian culture, were preserved in many regions
(Carpathian Mts., Polesie) to the middle of the twentieth century. Ethnograp
hic material includes examples of animal sacrifices and their bloodless
counterparts involving objects which presumably supplanted the first
category. There are foundations for believing that originally Slavs made
human sacrifices.
Oxana
К i s ', The Undine - the Temptation of the
Abyss
The undine is one of the most popular and, at the same time, most
composite and mysterious figures in Slav mythology. For years, the origin of
its image and place in the system of folk demonology as well as the source of
the name itself have comprised the topic of numerous discussions. Undines
are predominantly envisaged as spirits of drowned girls, living in water.
222
forests or fields. They appear as handsome naked girls, with long flowing
hair. The author interprets the water-sprite by inscribing it into a structural
mytho-poetical picture of the world.
Ludmiła
H e r u s , Toys from
Jaworów
Jaworów is one of the oldest toy-producing centres in Europe. The
beginning of organized production dates back to the mid-seventeenth
century. The author describes the way in which the sphere of the functioning
of toys expanded, as well as the growing diversity of types, forms and
ornaments. The toy transgressed the domain of household occupations and
became not only an educational mean and a creative object but a commodity.
H a l y n a S t e l m a s h c h u k , Lace in Ukraine
Only recently is lace, a form of decorative-applied art, treated as an artistic
phenomenon in traditional Ukrainian culture. Its origin in Ukraine dates back
to the tenth-eleventh century; the largest number of extant objects comes
from the nineteenth and twentieth century. Lace was used for decorating
towels, tablecloths, bed covers, shawls, caps, aprons and collars. The oldest
elements of lace were warps, nets, and rhomboidal motifs, which gradually
became realistic plant motifs. Lace production was, and remains popular both
in villages and towns.
Sofiya
B o n k o v s k a , The Origin and Forms of Basic Types of
Crosses on Catholic and Uniate Churches along the Polish Borderland (at
the Turn of the Seventeenth
Century)
The tradition of placing crosses on Ukrainian Uniate churches coincided
with the dissemination of Christian architecture. In the seventh century,
Christian art became divided into Western and Eastern trends. In EastByzantine art, the cross turned into a symbol „in itself and its shape
developed through a decorative embellishment of particular elements,
endings, crossings, etc. The Ukrainian-Polish borderland witnessed a conf
rontation and merge not only of religious tradition but also of Christian art
traditions. This process is particularly visible in the crosses installed on
churches, especially from the end of the fourteenth to the end of the sixteenth
century. The dominating crosses on Polish churches are elongated, and built
according to the principle of mirror-like two-axis symmetry, while the
Ukrainian churches have crosses with equal arms.
Mikhailo
S t a n k e v y c h , The Cross: the Structure of an Artistic
Text
The cross is the most important symbol of Christianity but its symbolic
also possesses a universal dimension (solar symbolism, the tree of life,
anthropomorphism). For the author, the structure of the artistic text denotes
the order of placing visual elements and motifs, the manner of joining
compositional components producing a whole that demonstrates ideological
and emotional-artistic sense. The author distinguishes several types of
crosses, and tries to describe various structural elements within these types.
Korneliy
K u t e l m a k h , „Spasoya
Boroda":
Magic or Reality?
Contributions to Agrarian Motifs in Rites of the Calendar Cycle (upon the
Basis of Material from Central
Polesie)
The population of Polesie did not constitute an exception in the Ukrainian
rituals and customs of the calendar cycle. An important role was played by
objects of daily use: hay, shears of straw, small household items, as well as
farm produce - groats and grain, especially at Christmas and during the
traditional New Year and Epiphany (Vodokhreshche). The customs testify to
ancient Ukrainian farming traditions. The author devotes considerable space
to the harvest customs of Central Polesie, and in particular to the end stage
-the obzhinky, when uncut stalks of oats, called 'boroda' or 'did', were left in
the fields. Upon the basis of ethnographic research and his own observations,
the author proposes a hypothesis about the original form of the boroda and did
as part of the unharvested field which Slavs offered to their ancestors.
Gradually eliminating the taboo of the site by means of customary activities,
farmers reduced this sacrifice made to their forefathers to the present-day
dimensions of the symbolic did or boroda.
D a r i u s z K o n s t a n t y n ó w , Light from the North. On the
of Scandinavian Art by Russian
Modernists
Reception
In Russian modernism interest in Scandinavian culture was so universal
and profound that it almost assumed the form of a cult and could be regarded
as one of the distinctive features of the period. Encounters with Scandinavian
art usually took place in the European art centres of the period - Paris,
Munich and Berlin.
The greatest admirer and propagator of Scandinavian art among the "Mir
Iskusstva" group was Diagilev, organizer of the 1897 St. Petersburg
exhibition of Swedish, Norwegian and Danish works. They also showed
much interest in the art of Finland.
Experiences of the Scandinavian artists taught Russian modernists new
artistic thought and assisted in the formulation of a new conception of art.
They also confirmed the belief that the purpose of art is neither the recounting
of interesting stories, or a precise registration of the material aspect of reality,
accessible to the senses, but a penetration of the ,,spiritual" life, concealed
under the outer stratum of matter, and the perception of elements of the world
as symbols which disclose the „soul of the world". This approach made it
possible to solve the question concerning the way in which the ..national
element" should be displayed in a work of art. Modernists from „Mir
Iskusstva" conceived an „alliance" with the Scandinavians as an oppor
tunity for creating new artistic qualities which would aid them in counter
poising the art of the rest of Europe. Presumably, such a vision of
Scandinavian art was connected with the conviction about the ..spiritual
affiliation" between the Scandinavians and Russians, a view which was
disseminated in Russia at the end of the nineteenth century, and which
emerged upon the basis of the positivistic theory of geographic determinism.
P i o t r P a s z k i e w i c z , The Green Jewel in the Crown. On Russian
Architecture in Finland 1809-1917 (Outline)
Russian rule in Finland lasted for slightly more than a century and its
greatest impact in art was exerted upon architecture. It is discernible best in
the town planning and Classicistic architecture of Helsinki, rebuilt after the
1808 fire, as well as in sacral architecture. Tsarist projects intended Helsinki
to become a miniature St. Petersburg. The greatest development of church
architecture in Finland took place in the last decade of the nineteenth century
and at the beginning of the twentieth century. The author discusses numerous
buildings characteristic for the Russian style, in particular Orthodox
churches.
B a r b a r a F e d y s z a k - R a d z i e j o w s k a , The Eastern and Western
Borderland of Poland. A Meeting of Nations after the Opening of Frontiers
This article is an attempted eomparison of processes occurring along the
eastern and western borderlands of Poland after the opening of frontiers in
1989. Studies on the attitudes of the rural population towards our German and
Ukrainian neighbours make it possible to pose several significant questions
about the reasons, deeper than the category of „tolerance", for differences
between the western borderland and the ..meeting of two nations", and the
eastern borderland of ..uncertain national identity". The author draws
attention to the significance of such categories as the feeling of national
identity, and the stereotype of one's own and „alien" national groups for the
shaped anew Polish-German and Polish-Ukrainian proximity.
Boh Adzin, Vier Mnoha (One God - Many Faiths). Conclusions from
Ethnographic Studies in the Grodno Region
This bloc of eight texts is a summary of two years,1993-1994, devoted to
research conducted in the Grodno voivodeship in Belarus by a group of
students of ethnology, sociology, Polish studies and musicology. The
investigations took place in kolkhoz villages in the former Bait-Slav
borderland, which at present comprises also a religious (Catholic-Russian
Orthodox) and language (Belarussian-Lithuanian-Polish-Russian) border
land. The topic was the self-awareness of local communities and, in
particular, ways of classifying the social world into categories.
In the newly emergent Belarussian state, the criterion of the selfidentification of the inhabitants of villages in the Grodno region is neither
modern national awareness or language but religion, a factor typical for
pre-national local communities. The interlocutors, as a rule elder kolkhoz
workers, describe their social world in categories of religious groups, i.e.
nations, which do not correspond to the universal comprehension of that term
( A n n a E n g e I к i n g, ..Each Nation Has its Own Faith". Introductory
Remarks). The Catholics regard themselves, and are considered by others, as
Poles. Religion remains decisive for the identity of a person and his lies with
a social group. The still vividly perceived differences of the social status
between peasant villages and the extant settlements of the petty gentry are
relegated to the background by the commonly held conviction that „every
Catholic is a Pole" ( K a t a r z y n a K o l a s a , Who Are the Poles of the
Grodno Region?). The followers of the Eastern rite Church are described as
Ruscy - Ruthenians or Białorusini - Belarussians. The Ruthenian (Ruski) is
a concept well-embedded in tradition; the Belarussian (Białorusin) is a newer
and still imprecise term. Its ambiguity is additionally complicated by the
current political conditions prevailing in Belarus. An analysis of the
declarations made by the interlocutors permits the distinction of as many as
ten ways of understanding the term "Belarussian" ( K a t a r z y n a D ą b e k. Who Are the Belarussians of the Grodno Region?). Residents of the
Catholic parish of Pielasa pray in two languages: some in Lithuanian and
others in Polish. The first also speak the Lithuanian patois, and talk in
Belorussian with those who do not understand it. It would seem that linguistic
disparity generates a feeling of distinctness also in other domains of life
Studies earned out by J u s t y n a S t г а с z u к (Who Is a Lithuanian ?
A Report from Interviews with the Inhabitants of the Parish of Pielasa in the
Voronov Region in Belarus) and her analysis of such discriminants of identity
as religion, language, social status and descent, show, however, that despite
a clear awareness of a difference between Lithuanians and Poles, their
religious affiliation causes them to conceive themselves as a single group,
different from the Russian Orthodox congregation.
A recording and analysis of the repertoire of songs known to residents of
Orthodox and Catholic villages points to its marked similarity among the
peasants. Both the Ruscy and Pales sing predominantly Belarussian songs,
followed by a Polish and Russian repertoire, while the Lithuanians perform
also Lithuanian songs. On the other hand, the differences between the
repertoire of the peasant villages and the gentry regions remain distinct - the
petty gentry declares its attachment to Polish songs and ascribes to them
greater aesthetic merits, in this way accentuating its social status and
supra-local bond with Polish national culture ( R e n a t a B a n a s i ń s k a ,
The Music Repertoire in Catholic and Russian Orthodox Villages of the Lida
and Voronov Regions).
D a n u t a Ż y c z y ń s k a - C i o ł e k (Confused World) sought an
answer to the question how the inhabitants of the cultural borderland perceive
and assess the variety of nations, religions and languages. Principles
formulated upon the level of a norm, i.e. in mythical order, declare: there is
one God to whom one has to pray by adhering to the faith and languages are
equally good, and each nation has its own religion and language. The level of
practice, a reflection of the holy order, ir ruled by an order known as
confusion. This is the reason for the acceptance of mixed marriages (from the
point of view of religion) and the so-called mixed language, i.e. the
Belorussian patois, a mean of communication for all residents of the
borderland, which is, nonetheless, frequently given a negative appraisal.
K a t a r z y n a D o ł ę g o w s k a examined Catholic and Orthodox
funeral rites (Poles. Ruthenians and Death). The outcome of her research
does not describe differences; on the contrary, the borderland population is
convinced that death - a boundary between this world and the beyond
- liquidates all division lines which the living regard as important It is man
who dies, and not a Pole, a Belarussian, a Ruthenian, a Catholic or a Russian
Orthodox. This is why the living pray for the dead regardless of religious
differences; the power of prayer enables even perpetrators of suicide and
communists to find their way to Heaven.
J a c e k C i c h o c k i (The Catholic and Orthodox Priest as Authorities
of the Local Community) analyzes the role of religious leaders in village
parishes after the "opening of religion by Gorbachev", and compares them
to the model position of religious authority in the traditional community.
Interviews with Catholic and Orthodox priests as well as the adherents of both
faiths lead to the conclusion that, on the one hand, the period of communism
and its repressions weakened the authority of the clergy, while, on the other
hand, it reduced the distance between the Catholic priest and the cong
regation, and rendered his position more similar to that of the Orthodox
priest, traditionally closer to the people. The author emphasizes the fact that
at present the attitude of Catholic priests in Belarus is decisive for resolving
whether "Catholics-Poles" became nationally conscious Belarussians or
a turn into a Polish national minority.
The texts are accompanied by an extensive selection of registered
interviews with the inhabitants of the examined villages, as well as recorded
everyday and ritual songs.
NOTY O AUTORACH
Jurij Andruchowycz, (ur. 1961) - pisarz ukraiński młodego pokole
nia. Autor trzech zbiorów poetyckich i trzech powieści, członek literac
kiego ugrupowania na kształt triumwiratu - „Bu-ba-bu". Twórczość
Andruchowycza jest zjawiskiem przełomowym w literaturze ukraińskiej,
exemplumjej reorientacji z „literatury w służbie" na „literaturę w literatu
rze". W Polsce ukazały się nakładem wydawnictwa „Świat Literacki"
i „Tyrsy" dwie jego książki - powieść Rekreacje (wyd. I - 1994, wyd. II
- 1996) oraz eseje Erz.-herz.-perc. Jego prozę i wiersze drukowały pisma
literackie - „Czas kultury", „Exlibris", „Kresy", „Literatura na świecie"
oraz „Więź".
Piotr Andrusieczko, absolwent etnologii (studia U AM w Poznaniu).
Renata Banasińska, etnomuzykolog (UW) i muzyk. Zbiera pieśni
we wsiach Grodzieńszczyzny i Polesia.
Anna Boczkowska, historyk sztuki, doktor, była pracowniezka
Instytutu Sztuki PAN. Autorka wielu prac, min. symbolicznych inter
pretacji dzieł Hieronima Boscha.
Sofija Bonkows'ka doktor historii sztuki, zajmuje się dawna sztuką
ukraińską, kowalstwem. Autorkamonografii Kowalstwo na Ukrainie, oraz
wielu innych prac. Starszy pracownik naukowy sekcji sztuki ludowej
Instytutu Ludoznawstwa Akademii Nauk Ukrainy.
Bruno Chojak, współpracownik J. Grotowskiego w latach 1970-71,
w przygotowaniach do działalności poteatralnej Teatru Laboratorium.
Wykonywał wiele zawodów - m.in. pelnil funkcję psychoterapeuty. Od
jesieni 1990 pracuje w Ośrodku Badań Twórczości J. Grotowskiego
i Poszukiwań Teatralno-Kulturowych we Wrocławiu. Dokonuje prze
kładów z języków rosyjskiego i ukraińskiego.
Katarzyna Chrudzimska, absolwentka historii sztuki sakralnej na
A T K w Warszawie, asystentka na A T K . Zajmuje się sztuką nowoczesną ze
szczególnym uwzględnieniem współczesnej plastyki i architektury sakral
nej.
Jacek Cichocki, socjolog (UW), pracuje w Ośrodku Studiów Wscho
dnich i Forum Europy Środkowo-Wschodniej przy Fundacji im. Stefana
Batorego. Zajmuje się problematyką państw i narodów postradzieckich,
specjalista od obszaru kaukaskiego. Publikował w „Eurazji" i „Obozie".
Dariusz Czaja, etnolog (studia UJ). Pracuje w Katedrze Etnologii oraz
w redakcji „Kontekstów"; napisał rozprawę doktorską na temat symbolu
w filmie.
Katarzyna Dąbek, etnografka (UW), uczestniczka badań na Gro
dzieńszczyźnie, Polesiu i Syberii. Interesuje się tańcem ludowym i tkact
wem.
223
Katarzyna Dołęgowska, z wykształcenia polonistka (UW), z zamijwania badacz terenowy Białorusi i Białostocczyzny. Gra w kapeli Domu
'ańca. Publikowała w „Etnografii Polskiej".
Anna Engelking, etnografka i językoznawca, pracuje w Katedrze
itnologii i Antropologii Kulturowej UW. Prowadzi badania na Grodzieńzczyźnie i Polesiu. Autorka artykułów o ludowych rytuałach słownych
na tematy białoruskie.
Barbara Fedyszak-Radziejowska, etnolog, socjolog (UW), dokarat Etos pracy rolnika. Modele
społeczne
a rzeczywistość
(opublikowany
/ IRWiR PAN, Warszawa 1992), obroniony'w IFIS PAN, adiunkt
/ Instytucie Rozwoju Wsi i Rolnictwa PAN, autorka szeregu artykułów
aukowych, m.in. na temat wiejskiej przedsiębiorczości, samorządności,
ostaw społeczności wiejskich wobec gospodarki rynkowej oraz naszych
ąsiadów po otwarciu granic. Ostatnio ukazała się pod jej redakcją książka
Vies i jej mieszkańcy
(1995). Jako publicystka współpracuje z pismami:
Powściągliwość i Praca", „Arcana", „Tygodnik Solidarność".
Ludmyła Herus, pracownik naukowy Zakładu Sztuki Ludowej
nstytutu Ludoznawstwa Akademii Nauk Ukrainy. Zajmuje się badaniami
ad ukraińską zabawką ludową.
Ola Hnatiuk, ukrainistka, dr nauk humanistycznych, tłumaczka,
utorka wielu tekstów o dawnej i współczesnej literaturze ukraińskiej,
'ublikowała m.in. w „Kulturze", „Kresach", „Literaturze na świecie".
Vydała Antologią
„Rybo-wino-kur"
(1994).
Jarosław Isajewycz, profesor, historyk o szerokich, także filologiczych i archeologicznych, kompetencjach, dyrektor Instytutu Ukrainozawstwa Narodowej Akademii Nauk Ukrainy we Lwowie. Wykładowca
akademii Kijowsko-Mohylańskiej. Od 1993 roku Przewodniczący Inter:ational Association of Ukrainian Studies, członek Prezydium Narodowej
Vkademii Nauk Ukrainy i Przewodniczący Sekcji Historii, Filozofii
Prawa. W latach 1988-1989 wykładał w Harvard University (Slavonic
)epartment). Opublikował ponad 400 prac z zakresu szeroko rozumianej
listorii (od średniowiecza po X X wiek). Podejmował w nich m.in.
agadnienia z dziejów książki ukraińskiej, historii kultury ukraińskiej
stosunków między narodami słowiańskimi, a także zagadnienia wzajemlych wpływów kultury łacińskiej i postbizantyńskiej i ich inspiracji
ntycznej.
Maria Janion, historyk literatury i historyk idei, krytyk literacki,
'rofesor w I B L PAN, wykładowca na UW, w latach 1956-89 zajęcia
v WS Pedagogicznej w Gdańsku, a następnie na Uniwersytecie Gdańsпш. Opublikowała m.in.: Zygmunt Krasiński,
debiut i dojrzałość.
W-wa
962; Romantyzm.
Studia o ideach i stylu. W-wa 1969;
Gorączka
omantyczna,
1975; Romantyzm i historia, 1978; Reduta.
Romantyczna
>oezja niepodległościowa,
1979; Odnawianie znaczeń,
1980; Seria Trans
gresje; Czas formy otwartej, 1984; Wobec zła, 1989; Zycie
pośmiertne
ionrada Wallenroda, 1990; Projekt krytyki fantazmatycznej,
1991;,, Czy
tędziesz wiedział
co przeżyłeś'',
Wyd. Sic! 1996; Kobiety i duch
inności,
Nyd. Sic! 1996.
Andrzej Kaczyński, publicysta, dziennikarz „Rzeczypospolitej".
Tatiana Kiktiewa, krytyk teatralny, kierownik literacki Teatru im.
Szewczenki (byłego „Berezilu") w Charkowie.
Oksana Kis', etnograf, pracownik naukowy Instytutu Ludoznawstwa
Akademii Nauk Ukrainy.
Katarzyna Kolasa, etnografka (UW), uczestniczka badań na Białousi. Interesuje się ruchami neoprotestanckimi na Polesiu.
Dariusz Konstantynów, absolwent historii sztuki UW, pracownik IS
A N Pracownia Teorii i Historii Sztuki X I X i X X wieku. Pisze rozprawę
5
loktorską Wileńskie
Towarzystwo
Artystów
Plastyków
1920-1939;
autor
vielu publikacji.
Les Kurbas, wybitny aktor ukraiński, reżyser organizator „Młodego
teatru Ukraińskiego", twórca późniejszego Państwowego Teatru Ukraiń:kiego „Berezil''. Więzień obozu na Wyspach Sołowieckich, rozstrzelany
v 1937 r.
Kornelij Kutelmach, sekretarz Instytutu Ludoznawstwa Akademii
4auk Ukrainy. Zajmuje się badaniami nad duchową kulturą Ukraińców,
v szczególności obrzędami kalendarzowego cyklu.
Maria Majerczyk, pracownik naukowy w Instytucie Ludoznawstwa
Jkraińskiej Akademii Nauk.
Roman Mazurkiewicz, adiunkt w Zakładzie Literatury Staropolskiej
iVSP w Krakowie. Ważniejsze publikacje: Tradycja świętojańska
w literaurze staropolskiej (1993), Decsis. Idea wstawiennictwa Bogarodzicy i św.
lana Chrzciciela
w kulturze średniowiecznej
(1994), Zrozumieć
Średnioviecz.e. Wypisy, konteksty i materiały
literackie dla uczniów,
studentów
nauczycieli (1994). Redaktor serii Dziedzictwo Średniowiecza IW Znak.
Wojciech Michera, archeolog, etnolog (studia UW); prowadzi zajęcia
v Studium Kształcenia Otwartego (UW), w Państwowej Wyższej Szkole
reatralnej. Pracuje w IS PAN. Autor książki AntyDaniken oraz pro;ramów popularyzujących antropologię (telewizja edukacyjna).
Ołeksandr Nona, dr, historyk sztuki, pracownik Zakładu Historii
iztuki w Instytucie Ludoznawstwa. Zajmuje się historią i teorią sztuki
124
LĄ
europejskiej przełomu X I X i X X wieku. Autor m.in.: Iwan
ł.cwyns'kyj,
Dawyd Burliuk i mystectwo wseswitnioho
awangarda,
Try
newidomi postali ukrajins'kolio
awangarda (współautor).
wseswitnio-
Jerzy Nowosielski, profesor Akademii Sztuk Pięknych w Krakowie,
malarz (pejzaż, sceny figuralne, akt, portret, martwe natury, abstrakcje),
maluje także ikony i projektuje wnętrza sakralne. Do najbardziej znanych
realizacji należy polichromia kościoła na Jelonkach w Warszawie (1967)
oraz stacje Drogi Krzyżowej w Wesołej pod Warszawą (1972) i w kościele
na Azorach w Krakowie (1975). Autor tekstów. Pojawiły się dwie książki
rozmów z Jerzym Nowosielskim prowadzonych przez Zbigniewa Podgórca Wokół
ikony (1985), i Mój Chrystus
(1993).
Władysław Panas, literaturoznawca, prof. K U L . Ostatnio opub
likował: W kręgu metody semiotycznej,
0 problematyce
żydowskiej
pracę nad Księgą
(Lublin 1991); Pismo i rana.
w literaturze
polskiej
Szkice
(Lublin 1996); kończy
blasku. Traktat o kabale w dziele Brunona
Schultza.
Piotr Paszkiewicz, historyk sztuki i filolog angielski (UW), doktor,
wicedyrektor Instytutu Sztuki PAN. Interesuje się związkami sztuki
1 polityki. Autor licznych artykułów oraz książek Pod berłem
Romano
wów.
Sztuka rosyjska
w Warszawie
1815-1915
(1991), tłumacz z języka
angielskiego.
Zbigniew Podgórzec, dziennikarz i tłumacz literatury rosyjskiej.
Wydał m.in.: tomy rozmów z Jerzym Nowosielskim Wokół ikony, 1985,
Mój Chrystus, 1993; przetłumaczył dzieła m.in. F . Dostojewskiego, P.
Florenskiego, S. Bulgakowa.
Ryszard Przybylski, prof, w I B L PAN. Opublikował min.: Do
stojewski
ny gość
i przeklęte
problemy,
1964; Ogrody romantyków,
Boga. Esej o poezji Osipa Mandelsztama,
prawdziwy
koniec Królestwa
Polskiego,
Polaków.
Studium o „Dziadach",
1978;
Wdzięcz
1980; Klasycyzm,
czyli
1983, Słowo
i milczenie
Bohatera
1993; Pustelnicy
i demony,
1994.
Maria Rzepińska, (zm. 1993). Wybitny historyk sztuki, profesor UJ.
Autorka licznych książek, m.in. Historia
koloru
w dziejach
malarstwa
Europejskiego,
tłumaczka na język polski traktatów o malarstwie Albertiego i Leonarda da Vinci.
Maciej Rychły, muzyk, kompozytor, członek Kwartetu Jongi, współ
pracownik teatru Gardzienice, Lalka (w Warszawie). Fascynuje się
muzyką ludową.
Roma Sitec'kyj, kierownik Zakładu Karpatoznawstwa w Instytucie
Ludoznawstwa AN Ukrainy, dr. Zajmuje się materialną i duchową kulturą
Ukraińców. Autor monografii Sils'ke
jins'kych
Karpatach
XIX-pocz.
posełennia
XX stolit"
ta sadyba
w
ukra-
(1994).
Wojciech Stanisławski, historyk (UW), doktorant, współpracownik
Studium Europy Wschodniej i Azji Środkowej. Zajmuje się historią Rosji
i emigracji rosyjskiej.
Mychajło Stankewycz, dr nauk historii sztuki, autor monografii
Ukraińskie
wycinanki oraz prac z zakresu sztuki ludowej. Kierownik
Pracowni Sztuki Ludowej w Instytucie Ludoznawczym Ukraińskiej
Akademii Nauk.
Hałyna Stelmaszczuk, etnograf, historyk sztuki, zajmuje się sztuką
ludową. Profesor historii i teorii sztuki w Lwowskiej Akademii Sztuki.
Dmytro Stepowyk, prof, wybitny ukraiński historyk sztuki i znawca
sztuk plastycznych doby baroku.
Justyna Straczuk, absolwentka lituanistyki i etnografka (UW).
Zajmuje się pograniczem białorusko-litewsko-polskim.
Roman Szporluk, socjolog i politolog, dyrektor Instytutu Ukrainoz
nawstwa Harvard University.
Oksana Szpak, etnolog, zajmuje się sztuką ludową. Pracuje w In
stytucie Ludoznawstwa Ukraińskiej Akademii Nauk.
Jewhen Swerstiuk, eseista, krytyk literacki, długoletni więzień,
obecnie prezes ukraińskiego PEN-Club, w Polsce jego eseje opub
likowano m.in. na łamach „Kresów", „Więzi", „Zustriczi".
Leonid Uspienski, (1902-1987). Jeden z najwybitniejszych teolo
gów prawosławnych i znawców ikony, wykładowca ikonografii i ikonologii w Paryżu i Nowym Jorku.
Henryk Waniek, studia w krakowskiej ASP. Zajmuje się malarstwem,
rysunkiem, projektowaniem grafiki plakatowej i książkowej. Uczestnik
wielu wystaw w Polsce, Europie i poza Europą. Znawca filozofii i religii
wschodu.
Seweryn A. Wisłocki, etnolog, krytyk sztuki, eseista. Zajmuje się
problematyką śląskiej sztuki nieelitarnej (wraz z Marią Fiderkiewicz
stworzył w Muzeum Śląskim Kolekcję Sztuki Nieprofesjonalnej) oraz
wybranymi zagadnieniami interetnicznego charakteru kultury śląskiej.
Autor m.in. książki Górnicz
у Śląsk
w sztuce Górnego
Śląska.
Mit,
sacrum,
kreacja, Katowice 1996.
Danuta Życzyńska-Ciołek, socjolog (UW), pracuje w Instytu
cie Archeologii i Etnologii PAN. Zajmuje się problematyką wieloetniczności na Białorusi. Publikowała w „Etnografii Polskiej" i „Etnologia
Polona".