Folia Praehistorica Posnaniensia
Not a member yet
342 research outputs found
Sort by
Kwestia pierwotności funkcji estetycznej muzyki w świetle znalezisk archeologicznych
Full text linkBony flutes dated back to around 43,000 years old are the clearest examples of musical instruments ever found. There are also other archeological artifacts related to the possible musical activity of Homo sapiens and Homo neanderthalensis, which are the subject of numerous controversies. Bearing in mind that singing is the simplest form of musical activity that does not need any tools, the beginning of music must have been much older than the first musical instruments. Due to the fact that the sonic results of prehistorical hominins’ musical activity have not been preserved, the question of the artistic nature of hominins’ music requires the ethological knowledge as well as archeological findings. One of the widely discussed ethological hypotheses concerning human proclivity to behave artistically is the idea of artification, which has been proposed by Ellen Dissanayake. This idea suggests that the source of the human proclivity for art is the species-specific predisposition of Homo sapiens to transform the mundane non-artistic phenomena into art. However, while in the case of visual arts, the archeological discoveries of prehistorical paintings are by themselves the proof of such transformation in order to recognize the aesthetic function of our ancestors’ sound expressions the interpretation of the archeological discoveries of musical instruments in a broader context seems to be indispensable. The main aim of this article is to indicate that communication that has led to social consolidation has been the primordial function of music. Only together with the accelerating cultural evolution that occurred at the end of the middle Paleolithic period, musical activity was transformed from a simple communicative tool into an aesthetic phenomenon. It is proposed that this transformation could have been possible thanks to the appearance of the proclivityto artification.Bony flutes dated back to around 43,000 years old are the clearest examples of musical instruments ever found. There are also other archeological artifacts related to the possible musical activity of Homo sapiens and Homo neanderthalensis, which are the subject of numerous controversies. Bearing in mind that singing is the simplest form of musical activity that does not need any tools, the beginning of music must have been much older than the first musical instruments. Due to the fact that the sonic results of prehistorical hominins’ musical activity have not been preserved, the question of the artistic nature of hominins’ music requires the ethological knowledge as well as archeological findings. One of the widely discussed ethological hypotheses concerning human proclivity to behave artistically is the idea of artification, which has been proposed by Ellen Dissanayake. This idea suggests that the source of the human proclivity for art is the species-specific predisposition of Homo sapiens to transform the mundane non-artistic phenomena into art. However, while in the case of visual arts, the archeological discoveries of prehistorical paintings are by themselves the proof of such transformation in order to recognize the aesthetic function of our ancestors’ sound expressions the interpretation of the archeological discoveries of musical instruments in a broader context seems to be indispensable. The main aim of this article is to indicate that communication that has led to social consolidation has been the primordial function of music. Only together with the accelerating cultural evolution that occurred at the end of the middle Paleolithic period, musical activity was transformed from a simple communicative tool into an aesthetic phenomenon. It is proposed that this transformation could have been possible thanks to the appearance of the proclivityto artification
Archeologia, pamięć, sztuka. Archeoetnografia i sztuka okopowa związana z obozem jeńców wojennych i internowanych w Tucholi, woj. kujawsko-pomorskie
Full text linkLidar-derivatives gathered during the realization of IT System of Country’s Protection Against Extreme Hazards (so-called ISOK programme) have initialized the non-invasive archaeological research concerning the preservation of the relicts of the former prisoner of war and internment camp in Tuchola, Poland. The camp functioned during the Great War (1914–1918) and the Polish-Soviet War (1919–1921). This paper discusses and summaries the preliminary results of this research. It argues that the use of ethnographic methods can supplement and enrich the historical records related to the camp. The article discusses in detail the assemblage of material culture made, remade, or personalized by prisoners and internees documented during the research. These artefacts are unique examples of trench art. Discussionconcerning the objects is the main goal of this paper. They are the first examples of the trench art related to the Tuchola camp analyzed in the archaeological literature.Lidar-derivatives gathered during the realization of IT System of Country’s Protection Against Extreme Hazards (so-called ISOK programme) have initialized the non-invasive archaeological research concerning the preservation of the relicts of the former prisoner of war and internment camp in Tuchola, Poland. The camp functioned during the Great War (1914–1918) and the Polish-Soviet War (1919–1921). This paper discusses and summaries the preliminary results of this research. It argues that the use of ethnographic methods can supplement and enrich the historical records related to the camp. The article discusses in detail the assemblage of material culture made, remade, or personalized by prisoners and internees documented during the research. These artefacts are unique examples of trench art. Discussionconcerning the objects is the main goal of this paper. They are the first examples of the trench art related to the Tuchola camp analyzed in the archaeological literature
Czy archeologia potrzebuje sztuki? Jak teoretyczne spojrzenie otwiera nowe możliwości współpracy. Sztuka jako użytkowanie
Full text linkIn the following paper, a question was asked if archaeology needs art, precisely – in what way is this art needed? The author determines the value of the artistic act since we want to participate in this experiencing and even co-create this experience. Another issue is what we have from the contact with the art. The art is treated as continuously changing which imposes the transformations in the definition. The answer points out the proper understanding of the art functions, which is as using. It is significant when indicating various connections and transfers between art and other academic disciplines. It helps to notice mutual connections and relations, also with archaeology.In the following paper, a question was asked if archaeology needs art, precisely – in what way is this art needed? The author determines the value of the artistic act since we want to participate in this experiencing and even co-create this experience. Another issue is what we have from the contact with the art. The art is treated as continuously changing which imposes the transformations in the definition. The answer points out the proper understanding of the art functions, which is as using. It is significant when indicating various connections and transfers between art and other academic disciplines. It helps to notice mutual connections and relations, also with archaeology
Archeoakustyka. Pomiędzy słuchaniem przeszłości a przepisywaniem historii
Full text linkThe main problem presented in the article is archeoacoustics understood as a modern subdiscipline of archeology. The aim of the research was to outline the theoretical map of ideological references used by this young, still developing field. In order to understand the complex interdisciplinary nature of the archeoacoustic approach, ideological concepts were indicated and described, which, starting from various research assumptions, reflected on the role and methods of the impact of the sound in culture.The main problem presented in the article is archeoacoustics understood as a modern subdiscipline of archeology. The aim of the research was to outline the theoretical map of ideological references used by this young, still developing field. In order to understand the complex interdisciplinary nature of the archeoacoustic approach, ideological concepts were indicated and described, which, starting from various research assumptions, reflected on the role and methods of the impact of the sound in culture
Pamięci Profesora Tadeusza Makiewicza
Full text linkPamięci Profesora Tadeusza MakiewiczaPamięci Profesora Tadeusza Makiewicz
Czysto ludzka sprawa? Archeologiczne przywracanie pamięci o trudnej przeszłości przez tropienie naturo-kulturowych przemian cmentarzy wojennych
Full text linkIn this article the outcomes of historical, archaeological, spatial and anthropological research concerning material remnants of the war cemeteries left by the Great War in Central Poland, in the area of Rawka and Bzura are presented. On the example of one of the four communes (Nowa Sucha) subjected to research under the project Archaeological Revival of Memory of the Great War (ARM), the processes of creation, transformation, decay, destruction and re-making present the resting places of the soldiers fallen between December 1914 and July 1915 are shown. In the first part, we sketch the output atmosphere that accompanied the primary context in which war cemeteries were established and place the war cemeteries in the network of social, formal and legal determinants. In the second part, we frame the historical and social contexts in which the resting places of the fallen soldiers of the German and Russian armies were massively created. Than, we show the difficulties associated with locating particular war cemeteries and signal strengths and obstacles in correlating results of archival research and use of remote sensing and archaeological methods in order to restore the memory of war cemeteries and establish their current and future condition as material warnings. Also we stress the looping of cultural and natural factors both in the process of protecting and destroying material condition of war cemeteries. Finally, on the example of one of the cemeteries we show how slow and arduous but at the same time promising can be the process of transformation from a forgotten/plowed cemetery into a place of/in memory, and as an agent struggling with the continuous nature-cultural transformations.In this article the outcomes of historical, archaeological, spatial and anthropological research concerning material remnants of the war cemeteries left by the Great War in Central Poland, in the area of Rawka and Bzura are presented. On the example of one of the four communes (Nowa Sucha) subjected to research under the project Archaeological Revival of Memory of the Great War (ARM), the processes of creation, transformation, decay, destruction and re-making present the resting places of the soldiers fallen between December 1914 and July 1915 are shown. In the first part, we sketch the output atmosphere that accompanied the primary context in which war cemeteries were established and place the war cemeteries in the network of social, formal and legal determinants. In the second part, we frame the historical and social contexts in which the resting places of the fallen soldiers of the German and Russian armies were massively created. Than, we show the difficulties associated with locating particular war cemeteries and signal strengths and obstacles in correlating results of archival research and use of remote sensing and archaeological methods in order to restore the memory of war cemeteries and establish their current and future condition as material warnings. Also we stress the looping of cultural and natural factors both in the process of protecting and destroying material condition of war cemeteries. Finally, on the example of one of the cemeteries we show how slow and arduous but at the same time promising can be the process of transformation from a forgotten/plowed cemetery into a place of/in memory, and as an agent struggling with the continuous nature-cultural transformations
Dystrybucja i rola sztyletów krzemiennych wśród społeczności grupy kościańskiej kultury unietyckiej – analiza typologiczno-chronologiczna materiałów z Niziny Wielkopolsko-Kujawskiej oraz studium przypadku znaleziska z Bronikowa (gm. Śmigiel)
Full text linkThe article focuses on the matter of significance of flint daggers on the area settled by Early Bronze Age societies connected with Únětice Culture Kościan Group. Analytical part is separated into two sections. The first is a case study of a stray find from Bronikowo (com. Śmigiel) and the second involve typological analysis of flint daggers from western part of Polish Lowlands. Results gathered give an overview of an issue propounded in a title.The article focuses on the matter of significance of flint daggers on the area settled by Early Bronze Age societies connected with Únětice Culture Kościan Group. Analytical part is separated into two sections. The first is a case study of a stray find from Bronikowo (com. Śmigiel) and the second involve typological analysis of flint daggers from western part of Polish Lowlands. Results gathered give an overview of an issue propounded in a title
Symbolizm i funkcja Okna Pojawień w okresie amarneńskim
Full text linkDuring the reign of the Amarna spouses, giving gold necklaces to royal officials took place (almost always) from the so-called Window of Appearance. From them, Akhenaten and Nefertiti, often with princesses, honoured deserved and devoted dignitaries. The popularity of the Window of Appearance closely relates to the introduction of a new religious system introduced by Akhenaten and Nefertiti. According to the new religion, Akhenaten and Nefertiti were a pair of divine twins like Shu and Tefnut, who in the Heliopolitan theology, were the children of the god Atum – replaced by Aten in Amarna. The royal couple prayed to the main solar god, while their subjects prayed to the king and queen. Since Akhenaten performed the role of a priest through whom ordinary people could pray to the god, it was necessary to createa construction that would allow the king to meet with his subjects publicly. The Window of Appearance was such architectural innovation. It was crucial because the king was an intermediator between the people and the only right sun god, Aten. The Windows of Appearance were probably located in various places in Akhetaten, including the Great Palace, the King’s House, the North Palace, the Small Aten Temple and in the temples of the Sunshades of Re in the Kom el-Nana and Maru-Aten. The characteristic shape of the Window of Appearance often appears in the architecture and the art of the Amarna Period. The structure resembles the Axt hieroglyph, which is the morning sun rising between two hills. This symbol is a part of the name of the new capital Axt-itn – The Horizon of Aten.During the reign of the Amarna spouses, giving gold necklaces to royal officials took place (almost always) from the so-called Window of Appearance. From them, Akhenaten and Nefertiti, often with princesses, honoured deserved and devoted dignitaries. The popularity of the Window of Appearance closely relates to the introduction of a new religious system introduced by Akhenaten and Nefertiti. According to the new religion, Akhenaten and Nefertiti were a pair of divine twins like Shu and Tefnut, who in the Heliopolitan theology, were the children of the god Atum – replaced by Aten in Amarna. The royal couple prayed to the main solar god, while their subjects prayed to the king and queen. Since Akhenaten performed the role of a priest through whom ordinary people could pray to the god, it was necessary to createa construction that would allow the king to meet with his subjects publicly. The Window of Appearance was such architectural innovation. It was crucial because the king was an intermediator between the people and the only right sun god, Aten. The Windows of Appearance were probably located in various places in Akhetaten, including the Great Palace, the King’s House, the North Palace, the Small Aten Temple and in the temples of the Sunshades of Re in the Kom el-Nana and Maru-Aten. The characteristic shape of the Window of Appearance often appears in the architecture and the art of the Amarna Period. The structure resembles the Axt hieroglyph, which is the morning sun rising between two hills. This symbol is a part of the name of the new capital Axt-itn – The Horizon of Aten
Wyniki analiz spektrometrycznych dwóch dzbanów fenickich z kolekcji gołuchowskiej
Full text linkThis paper presents results of the spectrometric analyses of two Phoenician jugs from the Gołuchów collection. A non-invasive portable X-ray fluorescence spectrometer (pXRF) has been used to determine the chemical composition of the jugs. The aim of this work was to add new results to a database of spectrometric data of Phoenician pottery from central and western Mediterranean. Good agreement obtained between the chemical results of the two jugs suggest that they could have been made from the same clay
Andrzej Rozwadowski, Obrazy z przeszłości. Hermeneutyka sztuki naskalnej, Poznań 2009
Full text linkThe review of A. Rozwadowski’s „Images from the Past: Hermeneutics of the Rock Art” underlines its innovative approach to the complexity of the problem presented in this studyThe review of A. Rozwadowski’s „Images from the Past: Hermeneutics of the Rock Art” underlines its innovative approach to the complexity of the problem presented in this study