Folia Praehistorica Posnaniensia
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Social Network Analysis dzieł Józefa Flawiusza. Studium przypadku dla Galilei w czasie Pierwszego Powstania Żydowskiego
No full textThis article shows the significance of the Social Network Analysis method in the study of Judea in the first century AD. The author presents the method and then shows its application on the example of the role of individual cities of Galilee. The situation concerns the time of the Jewish uprising in Galilee over a period of several months (autumn 66 - July 67 AD). After analyzing the situation in Galilee based on the works of Joseph Flavius, a graph was generated using the Ucinet computer program. The use of SNA in the study of the importance of individual cities in Galilee drew attention to the town of Gamla, which Joseph Flavius considered the most important fortress in this area. In addition, the graph showing the visits of individual insurgents to the cities of Galilee showed that Sepphoris was visited by both supporters and opponents of Joseph Flavius. Despite the fact that the inhabitants supported the Romans, they did not give up any rebel who visited them. The study confirmed the usefulness of the SNA method in undertaking subsequent analyzes of the works of Joseph Flavius.This article shows the significance of the Social Network Analysis method in the study of Judea in the first century AD. The author presents the method and then shows its application on the example of the role of individual cities of Galilee. The situation concerns the time of the Jewish uprising in Galilee over a period of several months (autumn 66 - July 67 AD). After analyzing the situation in Galilee based on the works of Joseph Flavius, a graph was generated using the Ucinet computer program. The use of SNA in the study of the importance of individual cities in Galilee drew attention to the town of Gamla, which Joseph Flavius considered the most important fortress in this area. In addition, the graph showing the visits of individual insurgents to the cities of Galilee showed that Sepphoris was visited by both supporters and opponents of Joseph Flavius. Despite the fact that the inhabitants supported the Romans, they did not give up any rebel who visited them. The study confirmed the usefulness of the SNA method in undertaking subsequent analyzes of the works of Joseph Flavius
„Szaman nigdy nie umiera”. Sztuka naskalna jako wyraz tożsamości w twórczości Jane Ash Poitras
Full text linkThis article discusses the phenomenon of reusing of ancient rock art iconography in modern art on the example of the artworks of Canadian Cree visual artist Jane Ash Poitras. To understand the role the rock art plays in the collages of J.A. Poitras, the first part of the paper is focused on the Indigenous perspective, which provides the clue to reading complexity of history and contemporary art of the First Nations in Canada. Then the painting Shaman never die V is thoroughly analyzed. It is showed that rock art motifs used in this artwork had been very carefully selected and the meanings they evoke significantly go in pair with wider ideas related to traumatic history of Indigenous Canadians as well as ideas related to persistence of Indigenous spirituality symbolized by the image of shaman.This article discusses the phenomenon of reusing of ancient rock art iconography in modern art on the example of the artworks of Canadian Cree visual artist Jane Ash Poitras. To understand the role the rock art plays in the collages of J.A. Poitras, the first part of the paper is focused on the Indigenous perspective, which provides the clue to reading complexity of history and contemporary art of the First Nations in Canada. Then the painting Shaman never die V is thoroughly analyzed. It is showed that rock art motifs used in this artwork had been very carefully selected and the meanings they evoke significantly go in pair with wider ideas related to traumatic history of Indigenous Canadians as well as ideas related to persistence of Indigenous spirituality symbolized by the image of shaman
Historia, archeologia i paleobotanika. O demaskowaniu dziejów w badawczo- artystycznej praktyce Sławy Harasymowicz, Thierry’iego Oussou oraz Michaela Wanga
Full text linkThe practice of contemporary artists is sometimes similar to the methodology of the researcher of the past. The creators engaged in the discovery of history, generate images of memory using historically or biologically similar methods, among which archival research, archaeological excavations and botanical experiments are a full-fledged artistic method. The reason for the work of Sława Harasymowicz is the nearby history, in which the members of her family and herself participated. Thierry Oussou has recently become famous for the excavation mystic that triggered the diplomatic incident. In his artistic work, Michael Wang raises global themes: climate change and economics. Their projects level the artistic and research work with the process. They reject the dictates of the objectivity, and linearity of the story. The method chosen by them, the questions posed and comments made by commentators are included in the discourse of contemporary humanities, in which the human subject has been included in the system of dependencies between animals, plants, and machines.The practice of contemporary artists is sometimes similar to the methodology of the researcher of the past. The creators engaged in the discovery of history, generate images of memory using historically or biologically similar methods, among which archival research, archaeological excavations and botanical experiments are a full-fledged artistic method. The reason for the work of Sława Harasymowicz is the nearby history, in which the members of her family and herself participated. Thierry Oussou has recently become famous for the excavation mystic that triggered the diplomatic incident. In his artistic work, Michael Wang raises global themes: climate change and economics. Their projects level the artistic and research work with the process. They reject the dictates of the objectivity, and linearity of the story. The method chosen by them, the questions posed and comments made by commentators are included in the discourse of contemporary humanities, in which the human subject has been included in the system of dependencies between animals, plants, and machines
Studia nad pamięcią a archeologia późnego paleolitu. O performatywnym wymiarze praktyk pamięci w pradziejowych społecznościach łowiecko-zbierackich
Full text linkThe researches on the Paleolithic society of hunters-gatherers enter into an inspiring perspective, enriching the reflection on memory. The article considers the forms of the collective memory of the hunters-gatherers community of the Paleolithic era. The author postulates to widen the term of memory with the practices of embodiment and habitual memory. It helps to grasp the ways of memorizing by the communities on a deeper level. Cultural memory is deeply rooted in routine activities, which is more or less conscious. The mnemotechnic power that lives in such activities allows for preserving of cultural models. The archaeological analyses of flint working materials present the very concrete examples of such events.The researches on the Paleolithic society of hunters-gatherers enter into an inspiring perspective, enriching the reflection on memory. The article considers the forms of the collective memory of the hunters-gatherers community of the Paleolithic era. The author postulates to widen the term of memory with the practices of embodiment and habitual memory. It helps to grasp the ways of memorizing by the communities on a deeper level. Cultural memory is deeply rooted in routine activities, which is more or less conscious. The mnemotechnic power that lives in such activities allows for preserving of cultural models. The archaeological analyses of flint working materials present the very concrete examples of such events
Wytwórczość ludów pierwotnych w świetle pragmatycznych koncepcji sztuki
Full text linkThe article is devoted to the function of the primordial art in the pragmatic concept. The pragmatism ennobles the unprofessional forms of artistic activity. It makes it following the deconstruction of the modern definitions of the art. It presents the aesthetic values of primordial art. In the article, there are included its characteristics made by J. Dewey and É. Durkheim who used the first ethnographic data. Their description of the Australian autochthones shows its social contexts. It served to intensify certain emotions. It was the art of movement and dynamics. It harmonized with the whole experience of the life of the primordial hunters. It did not operate on symbols as understand these days. The pragmatic approach makes the aesthetic notion of the manufacture more important than its cognitive aspects. It does not eliminate the dilemmas of the character of the art in the cultures beyond Europe. It does not give archaeologists any simple tool to interpret the prehistoric facts.The article is devoted to the function of the primordial art in the pragmatic concept. The pragmatism ennobles the unprofessional forms of artistic activity. It makes it following the deconstruction of the modern definitions of the art. It presents the aesthetic values of primordial art. In the article, there are included its characteristics made by J. Dewey and É. Durkheim who used the first ethnographic data. Their description of the Australian autochthones shows its social contexts. It served to intensify certain emotions. It was the art of movement and dynamics. It harmonized with the whole experience of the life of the primordial hunters. It did not operate on symbols as understand these days. The pragmatic approach makes the aesthetic notion of the manufacture more important than its cognitive aspects. It does not eliminate the dilemmas of the character of the art in the cultures beyond Europe. It does not give archaeologists any simple tool to interpret the prehistoric facts
Perspektywy i wyzwania badań na styku archeologii i sztuki
Full text linkThe main goal of this paper is to reflect on the perspectives and challenges of art and archaeology research. The paper investigates main objectives through the lens of the art historian and archaeologist. Even though, the study on relations between art and archaeology has a long tradition in archaeology and the most famous researchers reflected on those tensions (Colin Renfrew, Michael Shanks, Andrew Jones, Ian Russell, Paul Reilly, Paul Bonaventura), art and archaeology approach is still not a coherent and systematic methodological framework. To deal with this notable lack, the author revises previous studies and points at the possible advantages of the development of studies at the border of art, archaeology and aesthetics. The main problems are illustrated and discussed in reference to archaeological museums and the Polish contemporary art represented by Hubert Czerepok, Agata Ingarden, Agnieszka Kalinowska, Agnieszka Kurant, Robert Kuśmirowski and Joanna Rajkowska.The main goal of this paper is to reflect on the perspectives and challenges of art and archaeology research. The paper investigates main objectives through the lens of the art historian and archaeologist. Even though, the study on relations between art and archaeology has a long tradition in archaeology and the most famous researchers reflected on those tensions (Colin Renfrew, Michael Shanks, Andrew Jones, Ian Russell, Paul Reilly, Paul Bonaventura), art and archaeology approach is still not a coherent and systematic methodological framework. To deal with this notable lack, the author revises previous studies and points at the possible advantages of the development of studies at the border of art, archaeology and aesthetics. The main problems are illustrated and discussed in reference to archaeological museums and the Polish contemporary art represented by Hubert Czerepok, Agata Ingarden, Agnieszka Kalinowska, Agnieszka Kurant, Robert Kuśmirowski and Joanna Rajkowska
Pochodzenie nowobabilońskich dokumentów prawnych z Kolekcji Ashmolean Muzeum
No full textThe majority of currently known Neo-Babylonian legal and administrative documents from Kish come from excavations held on this site by the joint expedition of Oxford – Field Museum (Chicago) between 1923–1933. They are now housed in the Ashmolean Museum, Oxford. However, ca. 40 Neo-Babylonian ‘Kish’ tablets, i.e., written in Ḫursagkalamma or Kiš, are present in other collections. How did they end up in these museums assuming that most of them was acquired in the last quarter of the 19th century, 30–50 years before the expedition mentioned above? I suppose that they were not found in Kish, even though their Ausstellungsort indicates quite the opposite. They instead come from nearby Babylon or Borsippa cities. The analysis conducted in the article seems to confirm this assumption, and for most cases, the provided attribution should be considered. Additionally, tablets under discussion are testimonies of the vivid economic life of entrepreneurial Babylonians in the first millennium BC.The majority of currently known Neo-Babylonian legal and administrative documents from Kish come from excavations held on this site by the joint expedition of Oxford – Field Museum (Chicago) between 1923–1933. They are now housed in the Ashmolean Museum, Oxford. However, ca. 40 Neo-Babylonian ‘Kish’ tablets, i.e., written in Ḫursagkalamma or Kiš, are present in other collections. How did they end up in these museums assuming that most of them was acquired in the last quarter of the 19th century, 30–50 years before the expedition mentioned above? I suppose that they were not found in Kish, even though their Ausstellungsort indicates quite the opposite. They instead come from nearby Babylon or Borsippa cities. The analysis conducted in the article seems to confirm this assumption, and for most cases, the provided attribution should be considered. Additionally, tablets under discussion are testimonies of the vivid economic life of entrepreneurial Babylonians in the first millennium BC
Art among archeologists. Selected examples
Full text linkThis article presents selected aspects of potential intersections of archeology and art, the potential resulting from it, and also threats. We presented our interpretation of the perception of this issue, which is from the archaeologist’s perspective. We referred to specific examples that refer both to our experience resulting from more than a year of cooperation between the Faculty of Archeology of the Adam Mickiewicz University in Poznań and the Faculty of Art Education and Curatorial Studies of the University of Arts in Poznań, as well as the external sources. An attempt was made to answer the question – how archaeologists can use the knowledge and experience of artists. We focused on the example of museology and the popularization of archaeological knowledge, how to make it more attractive, and to facilitate public reception. At the same time, we presented our observations on the examples of the use of archeology by artists as inspiration.This article presents selected aspects of potential intersections of archeology and art, the potential resulting from it, and also threats. We presented our interpretation of the perception of this issue, which is from the archaeologist’s perspective. We referred to specific examples that refer both to our experience resulting from more than a year of cooperation between the Faculty of Archeology of the Adam Mickiewicz University in Poznań and the Faculty of Art Education and Curatorial Studies of the University of Arts in Poznań, as well as the external sources. An attempt was made to answer the question – how archaeologists can use the knowledge and experience of artists. We focused on the example of museology and the popularization of archaeological knowledge, how to make it more attractive, and to facilitate public reception. At the same time, we presented our observations on the examples of the use of archeology by artists as inspiration
Artystyczna „archeologia” pamięci na przykładzie Nazistów i Prawdziwych nazistów Piotra Uklańskiego
Full text linkContemporary artists referring to history often ask questions about what and how is memorised. How tragic events from the recent past are reflected in our cultural archive of memory. Artists are interested in visual memory, which includes, among others, documentary photographs, pictures from history textbooks, historical feature films. However, there is not only historical knowledge but also the popular culture that shapes our ideas about the past. That is why in these imaginations the truth mixes with fiction, and the suggestive images known from movies overlap our knowledge. Thus, the artistic “archeology” takes place in the area of our broadly understood cultural memory. The above problem is discussed in the example of two works by Piotr Uklański: Nazis (1999) and Real Nazis (2017). I reflect on results from the comparison of these works – the first using fictional images of Nazis from feature films and the second one showing portraits of real Nazis.Contemporary artists referring to history often ask questions about what and how is memorised. How tragic events from the recent past are reflected in our cultural archive of memory. Artists are interested in visual memory, which includes, among others, documentary photographs, pictures from history textbooks, historical feature films. However, there is not only historical knowledge but also the popular culture that shapes our ideas about the past. That is why in these imaginations the truth mixes with fiction, and the suggestive images known from movies overlap our knowledge. Thus, the artistic “archeology” takes place in the area of our broadly understood cultural memory. The above problem is discussed in the example of two works by Piotr Uklański: Nazis (1999) and Real Nazis (2017). I reflect on results from the comparison of these works – the first using fictional images of Nazis from feature films and the second one showing portraits of real Nazis
Neandertalczyk i człowiek anatomicznie współczesny w ujęciu najnowszych źródeł archeologicznych i paleoantropologicznych
Full text linkThe article summarises recent discoveries regarding Neandertals and anatomically modern humans (AMH), and tries to examine currently leading trends in the fields of archaeology and palaeoanthropology. Collected evidence suggests that modern research focuses mostly on discussions on the origin of symbolism, cultural and cognitive capacities, and analyses of ancient DNA. Although archaeology and palaeoanthropology undoubtedly provide the highest number of sources, other sciences such as cognitive neuroscience also deliver new, equally valuable perspectives and information.The article summarises recent discoveries regarding Neandertals and anatomically modern humans (AMH), and tries to examine currently leading trends in the fields of archaeology and palaeoanthropology. Collected evidence suggests that modern research focuses mostly on discussions on the origin of symbolism, cultural and cognitive capacities, and analyses of ancient DNA. Although archaeology and palaeoanthropology undoubtedly provide the highest number of sources, other sciences such as cognitive neuroscience also deliver new, equally valuable perspectives and information