Studia Azjatystyczne
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Safawidzkie adaptacje chińskich talerzy typu kraak
Full text linkDecorative motives known from the Chinese blue-and-white porcelain began to appear massively on Persian ceramics between the 14th and 17th century. Interestingly, the initial role of adaptations being a substitute for an expensive original became something more – a source of inspiration for making new vessels decorated not only in cobalt blue but also in colorful slips. The article is dedicated to an analysis of Persian adaptations of Chinese kraak porcelain made during the Safavid period (1501-1732). Due to the fact that the process of adaptation was very complex and there is no 1:1 copy of a kraak dish in Iran, author in her research has to focus on comparing individual motifs instead of the whole vessels. She introduces new categorization of the adapted designs and divides them into 4 groups depending on how close they resemble the Chinese origi nals: in group 1 called literal adaptations the motifs are most similar to the originals; in group 2 named edited adaptations are those that have an element added or taken away; in group 3, altered adaptations, the designs undergo changes in style but still bear the basic characteristics of the originals; in group 4, free adaptations, are those that only resemble the Chinese ones
Kinematografia w Kurdystanie. Obraz Kurdów w filmach Bahmana Ghobadiego
Full text linkCinematography can be used as a weapon in the battle for identity. Kurdish people are in a constant need to reinvent their national identity. Some of them use cinema as a tool to tell their stories in order not to be forgotten. One of them – a critically acclaimed director from Iran, Bahman Ghobadi is known especially for his cinematic contribution to the Kurdish issue. The article briefly depicts the history of Kurdish cinema and describes in detail the image of Kurds in Bahman Ghobadi\u27s first four feature films - A Time for Drunken Horses (2000), Marooned in Iraq (2002), Turtles Can Fly (2004) and Halfmoon (2006). All these films are not only great pieces of art, full of symbolic images, but they also contain a complex image of the Kurdish nation. Ghobadi uses his camera to tell stories of small, local communities displaced between Iran, Iraq and Turkey, who struggle to maintain their own culture and dignity
Rok 1965 w Indonezji w spektaklach Papermoon Puppet Theatre z Yogyakarty i filmie Scena zbrodni Joshuy Oppenheimera
Full text link1965 is the date that has been disregarded in the recent history of Indonesia and the world. Gerakan 30 September (30th September Movement), self-appointed organization consisting of representatives of the Indonesian army carried out a failed coup on October 1, 1965, killing six generals. The same day evening the Movement fell and Partai Komunis Indonesia (Indonesian Communist Party) was blamed. In the following weeks communists and their supporters began to be removed from public life being arrested and murdered. The 1965 purges have been read in the West as a victory over communism. In Indonesia they remained taboo for almost half of the century.The paper focuses on showing how the events of 1965 are shown in today\u27s Indonesia and in the word. For Papermoon Puppet Theatre 1965 is a key to understand the past, present and future of their homeland. For Oppenheimer meeting with former criminals has provided an opportunity to make the film about the political system in which genocide was erased from the collective memory of those who survived, and the offenders remain unpunished
Polityka językowa i tożsamość etniczna w Tatarstanie
Full text linkTatarstan is a multinational republic in the Russian Federation with complex linguistic and ethnic relations, being at the same time strategically and economically important for the state. Despite the complexity and the threat of potential conflict in the social and political reality in Tatarstan, the region shows an ability to manage ethnic diversities effectively. Tatarstan maintains a balance of interests of different ethnic groups and uses its multinational character as a positive resource, unlike other multiethnic regions of Russia, where recently there have been conflicts between various ethnic groups. This article is devoted to the analysis of language policy in Tatarstan and adaptation strategies for multiethnic population of the state. The ethnic composition of the population of the region determines its complex linguistic situation and makes language policy difficult to implement. One of the most urgent problems of language policy in Tatarstan is the need to consider the interests of languages of different ethnic communities. Each languagehas its own problem areas and needs various support measures. The linguistic situation in Tatarstan is determined primarily by the position of the Tatar and Russian languages as spoken by the most numerous ethnic groups. The article discusses the ways of the common use of Tatar and Russian in various spheres of public life in the region
Nowe życie Orhana Pamuka i Jeśli zimową nocą podróżny Italo Calvino, czyli o książce w książce
Full text linkThis article presents two aspects of showing the power of literature. Orhan Pamuk, a Turkish Nobel prize winner, in his book New life is more focused on the content of the novel. Main characters of the story are entirely devoted to one book that totally changes their lives. Italo Calvino is more focused on the structure. His characters take part in a great adventure just to find the end of the story that they are interested in. The main goal of this article is to show differences and similarities in showing the same literary issue. Italo Calvino\u27s novel is more optimistic and positive. Literature has good influence on his characters. On the other side, Orhan Pamuk\u27s novel shows a destructive side of literature. Characters in his book seem to be defeated from the very beginning. Those two books show in a very good way the difference between European optimism and Oriental, especially Turkish, sentimentality, which in Turkish language has its own name – hüzün. It can be translated as \u27blues, sadness, spleen\u27.Both novels present the power of literature and its influence on readers
Hasekura Tsunenaga w Europie – sztuka, polityka i propaganda we wczesnych stosunkach europejsko-japońskich
Full text linkThe early relations between Japan and Europe have been established in the period of civil war and turmoil. One of the most interesting events of that time was an envoy organized by Date Masamune and headed by Hasekura Tsunenaga which set to Mexico (1613) and later on Europe (1615). Although the political and economic goals have not been achieved, on the level of cultural relations this visit was a real breakthrough. The various artworks created and exchanged between the Old Continent and Asia have served as important means of visual propaganda. Thanks to them Hasekura has become a “face” of Japan in Europe, spreading new customs and fashions. His baptism can be also understood as a sing of political ambitions, empowering the Catholic missionaries in Eastern Asia. Though in the following decades Hasekura and his mission have been covered up by the isolationist policy of the shogunate, his achievements have been rediscovered and are nowadays commemorated in a number of ways worldwide
Recenzja: James Barr. 2012. A Line in the Sand. Britain, France and the Struggle that Shaped the Middle East. London: Simon and Schuster, 350 stron.
Full text linkZjawisko ikiryō jako przykład podróży dusz w japońskiej literaturze dworskiej (VIII-XII wiek)
Full text linkAccording to ancient Japanese beliefs invisible ghosts could freely travel between the worlds of supernatural and human. However, the travel was not limited to the souls of dead. It was believed that a soul could leave the body of a living person, do mischief and return. Such occurrence was called ikiryō. This paper analyses examples of such phenomenon depicted in two literary sources: Lady Rokujō from Murasaki Shikibu’s (978? 1016?) Genji monogatari (1008) and an unnamed noblewoman from Konjaku monogatarishū (1120).In both instances emotions play great role in creating ikiryō. Women’s souls separate from the body and serve punishment for sufferings caused by unfaithful men. However, there is a distinct difference in the matter of one’s awareness in becoming ikiryō. Lady Rokujō is unaware of her soul’s travels and experiences them as traumatic episodes of psychosis. On the other hand the unnamed noblewoman willingly turns her soul into ikiryō to deliver vengeance on her ex-lover and regains peace afterwards.Ikiryō is a manifestation of one’s true emotions. It shows not only the complexity of Japanese concept of a soul but also touches on the issue of women social status during Heian period
„Wy i my musimy zezwierzęceni nurzać się we krwi”. Obraz konfliktu izraelsko-palestyńskiego w najnowszej poezji hebrajskiej
Full text linkIsraeli literature is replete with examples of politically engaged poetry, written as a voice of protest and an expression of grief caused by the aftermath of Israel’s policy toward the Palestinian Authority. The poems selected for this study were written by several Israeli authors over the last three decades. The works by Yehuda Amichai, Tuvya Rübner, Meir Wieseltier, David Avidan, Aharon Shabtai, Avner Treinin and Aryeh Sivan concern the issues of mourning, forgiveness, wrath and disgust in the face of war. The analysis is an attempt to look at the recent Hebrew poetry through the prism of grammatical forms associated with the first and second person plural (‘we’ and ‘you’). It is an attempt to examine their function in the poems and the way they create the poetic vision of the Israeli-Palestinian conflict
Stambuł w świetle księżyca – Boğaziçi Mehtapları Abdülhaka Şinasiego Hisara1
Full text linkoai:ojs.pressto.amu.edu.pl:article/4765Istanbul is one of the most popular motives in the writings of Abdülhak Şinasi Hisar (1887-1963). The famous Turkish novelist used to complain that even the inhabitants of Istanbul have forgotten the history and traditions of their city. One of his memories, called Boğaziçi Mehtapları, refers to the custom called mehtap, which was still cultivated at the end of 19th century, but has been completely forgotten forty years later. Mehtap was a kind of a trip made in special boats called kayık on waters of the Bosphorus, performed in the moonlight with accompaniment of music. A.Ş. Hisar presents all details regarding to the organizational part of mehtaps, which is really important from the historical and ethnographical point of view, but the article focuses on literary value of these memories, which created a poetic picture of Istanbul in the moonlight