scholarly journals Żywe strefy wyobraźni. Przyjmowanie gości jako praktyka oporu

2020 ◽  
Vol 64 (1) ◽  
pp. 3-23
Author(s):  
Adam Pisarek

This article concerns “living zones of the imagination”—areas of social life in which intensive “interpretive labor” is underway. Thanks to these zones, it is possible to engage in universally accepted exercises that enable a person to “see the world through the eyes of another person” and that yet do not disturb the current socio-cultural order. They provide an important basis for understanding among people, for harmonizing meanings in the sphere of social realities, and for integration that goes beyond certain permanent boundaries and hierarchies. The basic aim of the article is to prove that hospitality, understood as a value in Polish culture, could contribute to a considerable degree to the creation of such zones. The author analyzes the zones’ character, function, and meaning, paying attention to how they resist the expansion of bureaucratic ways of organizing social life. He also draws attention to the influence that an axio-normative pattern could havewithin specific models of behavior and cultural practices.

2017 ◽  
Vol 56 ◽  
pp. 33-49
Author(s):  
Jakub Rawski

Knights-errant by Juliusz Słowacki — Zawisza the Black and Beniowski„Zawisza the Black” and „Beniowski” drama there are one of poorly discussed works by Juliusz Słowacki. The unfinished dramas by the poet, dating from the late, mystical phase of his literature, opens awide field of research. It appears advisable to place the thesis of apossible inspi­ration Słowacki „Don Quixote” by Miguel de Cervantes Saavedra when writing drama „Zawisza the Black” and „Beniowski” drama. Spanish novel, which is amockery of chivalric romances and epics, perhaps, has become for author of „Kordian” point of reference for the creation of the world presented these works. Exemplification of these claims is to analyse „Zawisza the Black”, whose title character is seen as knight-errant possessed by madness and unhappy love, like the character of „Don Quixote”. Reinterpretation of the conditions of polish culture made by Słowacki based on demythologization the most famous knight.


2016 ◽  
Vol 10 (1) ◽  
pp. 29-50
Author(s):  
Robin Attfield

This essay discusses progress and directionality, both in nature, in science and in society, treating as its starting-point the reflections, parallelisms and comparisons of Ruse’s essay, ‘A Threefold Parallelism for Our Time? Progressive Development in Society, Science and the Organic World’, but reaching substantially different conclusions. The essay thus ranges over progress and directionality in the world of natural evolution, in the sciences and the humanities, and in history and society. It defends non-relative progress in science and the humanities, criticising here both the approach to these disciplines of the strongly evolutionary epistemology of Hull and the more moderate evolutionary epistemology of Ruse. It further defends the possibility of progress and directionality in history and society, and also, following Rolston, in the course of evolution within the world of nature, where the kind of directionality to be found has multiple directions rather than being unilinear. Subsequently it relates conclusions about these fields to theological reflections (characteristic of Judaism, Christianity and Islam) about the creation of nature and society by a value-loving intelligence.


Author(s):  
Olga Rvacheva ◽  
Pierre Labrunie

Introduction. The paper deals with studying the formation of culture elements during the Cossacks revival process in the late 20th – early 21st centuries. The cultural pattern of a community is always changing. Cultural practices and traditions of the past get integrated into the modern social conditions, while new values and rituals assume the character of traditional ones. The topicality of the subject derives from the fact that the Cossack culture was subject to a dramatic transformation in the 20th century, while many elements of the culture were wiped out. The transmission of the cultural tradition was interrupted. The Cossacks revival in the late 20th century supposed a return to traditional historical forms. However, this task proved difficult because of the break in the transmission of the ethnic culture. The formation of the present-day Cossack cultural system supposed the selection of some elements of culture from the past and their integration into the new conditions as well as the creation of new forms of culture that would contribute to the cultural identification of the Cossacks. Methods and materials. Historiography has predominantly described the traditional forms of the Cossack culture. The issues of cultural construction were touched upon only occasionally. This paper applies the historical and chronological, historicalgenetic methods as well as the conception of socio-cultural construction. Analysis. During the Cossacks revival process its participants demonstrated a sharp increase of interest in the traditional forms of culture. The attempts at their integration into the present-day conditions led to the deformation of cultural forms. They lost their authenticity and transformed themselves into secondary forms of culture, thus cultural patterns of the modern Cossacks got changed. At the same time, new cultural traditions and norms were “invented”. Their function was to fix Cossacks identity and to show that the Cossacks do exist in the social life of the country. The adaptation of the traditions and historical elements of the Cossack socio-cultural system had its peculiarities. The traditions and elements were taken from different epochs and formed an arbitrary composition of different cultural phenomena. Traditions played an important role in the Cossacks revival process because they acted as cultural identification markers for the Cossack community. For that reason even new cultural practices were given the appearance of traditions. Results. In the late 20th – early 21st centuries the restoration of the Cossack culture was actually its construction. A number of trends can be traced in the process. They developed concurrently and contributed to the creation of new cultural milieu.


2019 ◽  
Vol 22 (4) ◽  
pp. 83-97
Author(s):  
Bartosz Ślosarski

The mobility of protest artifacts: The Guy Fawkes mask in the cycle of contestation in the years 2008–2017The aim of the article is to present the process of protest artifacts’ mobility using the example of the social biography of Guy Fawkes’ mask. The applied theoretical approach is based on a three-ele­ment concept of the social biography of the artifact which includes transformations in the field of cultural practices what is done with an object, industrialization of an object how and by whom it is made, and the change and acquisition of new meanings by the given artifact in which cultural contexts it is located. The example of the Guy Fawkes mask, as well as masking policy in general, is considered in the context of protests against ACTA in Poland and the other events in the world from the 2008–2017 contestation cycle. The mask leads its own social life, being active and mobile, both in the spaces in which it occurs, social groups that use it and what they do with it, and the forms that it takes.


Author(s):  
M Riswan

The occurrence of Coronavirus disease (Covid-19) has become a serious worldwide health hazard. This newly invented virus or respiratory illness has affected 216 countries so far. This pandemic has caused economic, political, psychological, and cultural impacts across countries, especially among middle-class, lower-class, poor migrants who have been suffered a lot due to this pandemic worldwide. All affected countries are now battling against this tragedy and inventing proper medicine to overcome this very solemn health calamity from the world. Thus, this paper aimed to explore the social implications which occurred due to Covid-19 widespread globally. This article is an initial attempt to study and examine numerous social impacts of Covid-19 and generally interpret the ways how people are adjusting their social life during a lockdown scenario everywhere. Without previous literature contribution, this study intends to input knowledge to the existing fields. It found that people associated with the concept of social distance, lockdown, self-isolation or quarantine, sanitation, etc. In this situation, most of the communities in the world are now distorted, and it has been found that social interaction and social network were disrupted, source of income and job were dislocated, cultural practices and religious institutions are dysfunctional, and people lose their lives daily and affected seriously across global. The study will provide basic facts on social implications of Coronavirus prevalence to use as key ideas for future studies.


Antiquity ◽  
1973 ◽  
Vol 47 (187) ◽  
pp. 197-209 ◽  
Author(s):  
Chêng Tê-K'un

The origins of man and the beginnings of culture in China were taken for granted in traditional Chinese history. Man was either simply evolved in the creation of the world or created by supernatural beings. In historical times all the peoples of China were recognized as the descendants of Huang-ti, the Yellow Emperor, and the basic cultural practices were attributed to the various rulers in remote antiquity. They formed a continuous sequence with its beginnings in the third millennium BC, followed by a succession of dynasties for some 5,000 years until the present day.


2010 ◽  
Vol 31 (1) ◽  
Author(s):  
Erna Oliver

Not many Protestant countries in the world have been as influenced by faith as South Africa. Although South Africa was never officially a Christian country, politics, economic development, social life and the culture of the �rainbow nation� was either moulded on, or influenced by, the Calvinistic Christianity that came to the country along with the European merchants. The privileged position of Christianity ended in 1994 when South Africa became a neutral state with guaranteed religious freedom for all. Although more than 80 per cent of the population claim that they are Christians, it seems as if the word is not meant any more as a religion with a value system and moral obligations, but only as a convenient label. The reason behind the contrast between theory and practice must be investigated. One possible reason could be found in the traditional Afrikaans-speaking churches� participation of, and contribution to, the �empire� concept. The responsibility of the individual to practise his or her faith was taken over by the power of the state and church.Bokriste bja Maafrikanere le kgopolo ya mmu�o wo maatlaGa se dinaga t�e nt�i t�a Protestante mo lefaseng t�e di huedit�wego ke tumelo go swana le ka fao naga ya Afrika-Borwa e huedit�wego ke tumelo ka gona. Le ge Afrika-Borwa e sa ka ya ba naga ya Sekriste semmu�o, dipolitiki, tlhabollo ya t�a ekonomi, bophelo bja leago le set�o sa �set�haba sa molalatladi�, se ka ba se bopegile godimo ga, goba se huedit�we ke Bokriste bja Secalvine bjo bo tlilego le bagwebi ba Yuropa. Maemo a go phagama ao a bego a filwe tumelo ya Sekriste a fedile ka ngwaga wa 1994 ge Afrika-Borwa e eba naga ya kemelathoko ya go fa bohle tokologo ya bodumedi. Le ge diphesente t�a go feta 80 t�a set�haba di ipit�a Bakriste, go bonala nke lent�u leo ga le sa �omi�wa go hlalo�a tumelo ye e nago le meetlo le maitshwaro a it�eng a setho, eup�a le no �omi�wa e le seka sa go re mponeng ke Mokriste. Lebaka la thulano magareng ga teori le mediro ya ka mehla le swanet�e go nyaki�i�wa. Le lengwe la mabaka ao e ka ba ge dikereke t�a set�o t�a Maafrikanere di na le seabe le go hlohlelet�a kgopolo ya �mmu�o wo maatla� goba �bogo�i�. Maikarabelo a motho yo mongwe le yo mongwe go phela go ya ka tumelo ya gagwe a ile a fedi�wa ke maatla a magolo a mmu�o le a kereke.


Al-Albab ◽  
2013 ◽  
Vol 2 (1) ◽  
Author(s):  
Abdurrahman Misno Bambang Prawiro

Indonesia is a land of many tribes, with each tribe having different customs. However they have a bond in the form of the state motto, Bhineka Tunggal Ika. This motto is based on a philosophy embraced by every tribe in the form of the teachings passed down from the ancestors such as pantun (Malay poetic form), rhyme, guguritan (Sundanese literary works), history and myths. Myths here are stories about things that happened in the past in the form of the history of the origins of man and nature, or the origin of a nation. Myths as a local wisdom are believed to be the truth by every member of the tribe applied in everyday life. This includes the myth that tells about human cultural diversity (plurality), and the community will implement its content. What about the Baduy community in Banten, do they have myths and apply the myths that deal with pluralism in their life? The Baduy are one of the ethnic groups in Indonesia who have myths about the creation of the universe, human origins, and even myths about the events that will occur. The myth about the origin of humans in the Baduy community begins with the creation of Adam as the first human, and then he had children that gave birth to the whole nation in the world. Because every human in the world is the great-grandsons of Adam, the Baduy believe that all humanity is dulur (brother) despite differences in customs and religion. The reality of social life of the Baduy community, either Baduy Dalam (inner baduy) or Baduy Luar (outer baduy) is that they greatly respect all mankind despite the different cultures and religions. Prohibition to enter the Baduy traditional village for foreigners is because of historical factors, namely the agreement made by their ancestors with the Dutch. This research concluded that the Baduy society is a society that understands the plurality of cultures; it is based on a myth that they believe and apply in their life about tolerance of other religions. Key Word: Pluralism, Baduy, Lebak Banten, myth and reality


2021 ◽  
Vol 2 (2) ◽  
pp. 60-66
Author(s):  
Sapna Sharma ◽  
Sonika

English - In the historical context of Indian painting, if we see, then the ancient Ajanta and Bagh painting of India were influenced by Buddhism. It also reflects the activities of Indian social life of that time. Ssimilarly, Mughal and Rajput miniature paintings have presented the true from of the society of that time through their painting. Similarly, the paintings of pattachitra style changed their form by mixing these styles. In Odisha, shri Janannath is worshiped in the form of shri Krishna. This famous style arose due to the establishment of Jagannath’s form in Puri during the time of anantvarman(destruction of Indian culture by muslim invaders) and the propagation of jagannath temple. The confluence of devotion, art and culture here gave birth to a new art style which is famous as pattachitra style. It is a unique, elegant and extraordinary art which has also embraced itself with modernity. Its entrie form has been a specific religious and ritualistic. The creation and development of pattachitra in the from it is today is the result of many ages. Odisha is famous all over the world mainly for pattachitras and mundirs. The paintings which are made for the promotion of jagannath temple, which are painted bt the painters in a very beautiful and ornate form, which are called pattachitra are based on the stories of lord jagannath Krishna. Pattachitra art has been a more elaborate and decorative art. Traditionally, thick and bright colors are used in pattachitra even today. It is influenced by the miniature style. Beautifully in the picture. Colorful clothing adornments usually enhance its beauty. Aesthetic trays as well revealed in these painting. Lord jagannath is specially depicted in pattachitra. The constructions of the structures of these paintings are usually made tall and large. Due to the themes of these pattachitras being adapted to the festivals, happiness and enthusiasm are visible in them. All the festivals, rath yatra, boitavandana and Krishna leelas etc. the shining moon of taraganu purnima twinkling in nilgagan with trees like mango, kadam, kaner coconut etc. made in pattachitra, lotus flower, cow, diran, peacock and Yamuna, floattind in the pond. Look beautiful. Hindi -   भारतीय चित्रकला के ऐतिहासिक सन्दर्भ में अगर हम देखें तो भारत के प्राचीन अजन्ता और बाघ के भित्तिचित्र बौद्ध धर्म से प्रभावित थे। यह उस समय के भारतीय सामाजिक जीवन की गतिविधियों को भी प्रतिबिम्बित करते हैं। उसी प्रकार मुगल और राजपूतकालीन लघुचित्रों ने अपने चित्रों के माध्यम से उस समय के समाज का सच्चा रुप प्रस्तुत किया है। उसी प्रकार पट्टचित्र शैली के चित्रों ने इन शैलियों से मिलकर अपने रुप को परिवर्तित किया। ओड़िशा में श्रीकृष्ण के स्वरुप श्रीजगन्नाथ की ही पूजा की जाती है। पुरी में जगन्नाथजी के स्वरुप की स्थापना अनन्तवर्मन के समय में होने वाले कारणों (मुस्लिम आक्रान्ताओं द्वारा भारतीय संस्कृति को नष्ट करना) व जगन्नाथ मन्दिर का प्रचार-प्रसार से ही इस प्रसिद्ध शैली का उदय हुआ। भक्ति, कला और संस्कृति का जो यहां संगम हुआ है उससे नवीन कला शैली का जन्म हुआ जो पट्टचित्र शैली के नाम से प्रसिद्ध है। यह एक अनूठी लालित्यपूर्ण और असाधारण कला है जिसने अपनी पारम्परिकता को बनायें रखने के साथ स्वंय को आधुनिकता का जामा भी पहनाया है। इसका सम्पूर्ण स्वरुप एक विशिष्ट धार्मिक एवं अनुष्ठानिक रहा है। पट्टचित्र आज जिस स्वरुप में हैं उनका निर्माण व विकास कई युगों की देन है। ओड़िशा मुख्यरुप से पट्टचित्रों व मन्दिरों के लिये विश्वभर में प्रसिद्ध है। जगन्नाथ मन्दिर के प्रचार-प्रसार के लिये जो चित्र बनाते हैं जिसे चित्रकार बहुत सुन्दर व अंलकृत रुप में चित्रित करते हैं जिन्हें पट्टचित्र कहा जाता है और पट्टचित्र के विषय भगवान जगन्नाथ अर्थात कृष्ण की कथाओं पर आधारित होते हैं। पट्टचित्र कला एक अधिक विस्तृत और सजावटी कला रही है। पारम्परिक तौर पर पट्टचित्र में गाढे और चटक रंगों का प्रयोग आज भी होता है। यह लघुचित्र शैली से प्रभावित हैं। पट्टचित्र में सुन्दर ढंग से रंगीनवस्त्र, अंलकरण आमतौर पर उसकी खूवसूरती को बढा देते हैं। इन पट्टचित्रों में सौन्दर्यपूर्णता है साथ ही विभिन्न रंग व विषयों का पता चलता है। पट्टचित्र में भगवान जगन्नाथ को विशेषरुप से चित्रित किया जाता है। इन चित्रों की संरचनाओं के निर्माण आमतौर पर लम्बे और बड़े तैयार किये जाते हैं। इन पट्टचित्रों के विषय उत्सवों के अनकूल  होेने के कारण इनमें खुशी व उत्साह दृष्टिगोचर होता है। वर्षपर्यन्त जितने भी उत्सव, रथयात्रा, बोइताबंदना व कृष्णलीलाओं आदि को विशेष रुप से चित्रित किया जाता है। पट्टचित्र में बने आम, कदम, कनेर, नारियल आदि वृक्षों केे साथ नीलगगन में झिलमिलाते तारागण, पूर्णिमा का चमकता चाँद, तालाब में तैरते कमलपुष्प, गाय, हिरन, मयूर और यमुना का अंकन बहुत सौन्दर्यपूर्ण लगते हैं।


Author(s):  
Roberto D. Hernández

This article addresses the meaning and significance of the “world revolution of 1968,” as well as the historiography of 1968. I critically interrogate how the production of a narrative about 1968 and the creation of ethnic studies, despite its world-historic significance, has tended to perpetuate a limiting, essentialized and static notion of “the student” as the primary actor and an inherent agent of change. Although students did play an enormous role in the events leading up to, through, and after 1968 in various parts of the world—and I in no way wish to diminish this fact—this article nonetheless argues that the now hegemonic narrative of a student-led revolt has also had a number of negative consequences, two of which will be the focus here. One problem is that the generation-driven models that situate 1968 as a revolt of the young students versus a presumably older generation, embodied by both their parents and the dominant institutions of the time, are in effect a sociosymbolic reproduction of modernity/coloniality’s logic or driving impulse and obsession with newness. Hence an a priori valuation is assigned to the new, embodied in this case by the student, at the expense of the presumably outmoded old. Secondly, this apparent essentializing of “the student” has entrapped ethnic studies scholars, and many of the period’s activists (some of whom had been students themselves), into said logic, thereby risking the foreclosure of a politics beyond (re)enchantment or even obsession with newness yet again.


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