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Part of Summary of articles / Polska Sztuka Ludowa - Konteksty 2002 t.56 z.3-4
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Summary of articles
neous m o v e m e n t i n w h i c h a c t i o n and awareness are one, and
reflexivity, i n w h i c h the central meanings, values and goals o f
a c u l t u r e are seen i n a c t i o n , as they shape a n d e x p l a i n beha
vior. A performance is declarative o f our shared h u m a n i t y , yet
Dariusz Czaja, Life or Non-transparency. Beyond the A n t h r o it utters the uniqueness o f particular cultures. W e w i l l k n o w
pology of Culture
one another better by e n t e r i n g o n e another's performances
T h e category o f „culture" is one o f the most f r e q u e n t l y used
and learning their grammars and vocabularies".
( a n d abused) terms i n a n t h r o p o l o g y . Its a p p l i c a t i o n is by n o
I n A r e there universals of performance in myth,ritual,and dra
means epistemologically i n n o c e n t b u t u p o n each occasion
ma? T u r n e r presented his U t o p i a n v i s i o n o f w o r l d c o m m u n i
embroils the researcher i n t o a w i d e r c o n t e x t o f m e t h o d o l o
ty based o n m u t u a l respect a n d e n j o y m e n t o f c u l t u r a l diffe
gical a n d even p h i l o s o p h i c a l conjectures. Its e m p l o y m e n t i n
rences, exchanges o f feelings as w e l l as ideas, a n d the i n c r e
a n a n t h r o p o l o g i c a l c o n t e x t carries a f r e q u e n t l y unconscious
asing a b i l i t y o f people t o experience a n d re-experience. H e
b u r d e n o f p o s i t i v i s t i c premises, despite u n i v e r s a l declara
discussed a characteristic d e v e l o p m e n t a l r e l a t i o n s h i p f r o m
tions a b o u t a n a n t i - p o s i t i v i s t i c b r e a k t h r o u g h . A s a r u l e ,
r i t u a l t o theatre, a n d he presented t h e r e l a t i o n s h i p o f b o t h
„culture" relates t o t h a t w h i c h c a n be ..objectively" e x a m i
to social d r a m a .
n e d a n d p r o v e n , a n d penetrates those spheres w h i c h scien
A l l figures i n this essay express schematically some o f these
ce deemed suitable t o study.
connections.
T h e a u t h o r suggests a r e t u r n t o the r a t h e r f o r g o t t e n catego
ry o f „life" c o n c e i v e d by W i l h e m D i l t h e y as w e l l as e n l i v e
Jerzy S. Wasilewski Travelling Ethnology (111)
n i n g t h e conceptions e x p o u n d e d by representatives o f t h e
The Reindeer-People, the Taiga-People, Just People...
so-called p h i l o s o p h y o f life ( B o l l n o w , M i s c h , S i m m e l ) . M o
T h e Caatans - a f o r m e r l y isolated g r o u p o f reindeer-bre-
reover, he demonstrates t h a t „life" is a category m u c h m o r e
aders i n the n o r t h o f M o n g o l i a . Some 3 0 0 people at t h e ed
capacious t h a n c u l t u r e despite the v a c c i l a t i n g n a t u r e o f m e
ge o f e x t i n c t i o n . L o o s i n g t h e feeling o f t h e i r e t h n i c i d e n t i t y
anings, a n d m u c h m o r e useful i n i n t e r p r e t a t i v e a n t h r o p o l o
(they are o r i g i n a l l y a g r o u p o f Tuvans, w h o have escaped
gy. I t extracts f r o m e x a m i n e d reality n o t o n l y t h e semiotic
f r o m Soviet T u v a i n 1944), they call themselves simply „Ta-
aspect b u t also the e x i s t e n t i a l a n d m e t a p h y s i c a l d i m e n s i o n .
iga-People", whereas the M o n g o l s label t h e m „Reindeer-Pe-
By depicting b o t h the simplicity and c o n v o l u t e d nature o f the
o p l e " . P o l i t i c a l a n d e c o n o m i c a l changes o f t h e 90-s made
category o f „life" the author refers to Life. A Manual, the n o
t h e m available for research, t o u r i s m - a n d v u l n e r a b l e t o t h e
vel by George Perec, and u p o n t h e basis o f several selected
impacts o f a strange m o d e r n i s a t i o n , being i n fact a „retro-
motifs presents his theses about the non-transparent nature o f
gression t o t r a d i t i o n " . A f t e r a t o t a l collapse o f p l a n n e d eco
life envisaged as a horizon t h a t still evades scientific t h o u g h t .
nomy, f o r c e d sedentarisation, m a n d a t o r y e d u c a t i o n a n d h e
a l t h p r o t e c t i o n system, they are l e f t alone, facing m o s t se
Antoni Kroh, The Old River Valley. The Prince. Telephones. rious problems o f b i o l o g i c a l a n d c u l t u r a l s u r v i v a l . U n s u p
The Clock
p o r t e d , they r e t u r n e d t o the o l d n o m a d i c lifestyle, based o n
„pictures
reindeer b r e e d i n g a n d h u n t i n g , i n t i p i - l i k e tents. O l d f o l k -
f r o m the past" comprise a f r a g m e n t o f a b o o k whose a u t h o r
-ways are r e i n t r o d u c e d . A f t e r t h e r e m o v a l o f t h e p o l i t i c a l
referred t o his o w n b i o g r a p h i c a l memory. T h e select e x a m
ban, a renaissance o f shamanism is noticeable. Four C a -
ples exceed mere s e n t i m e n t a l „memoirs". T h e a u t h o r offers
atan/Tuva shamans are active, t h e i r silhuettes are presented
the reader n o t o n l y a delectable anecdote a n d a glimpse o f
a n d t h e i r seances described i n the paper.
Three
recollections,
three r e f i n e d a n d concise
the manners a n d morals o f t h e past, b u t also demonstrates
Filip Taranienko Music as speech and speech as music: an es
t h e way i n w h i c h H i s t o r y becomes amazingly i n t e r t w i n e d
say for comprehension of the same nature of both activities.
w i t h the p r i v a t e a n d u n i q u e h i s t o r y o f a n i n d i v i d u a l .
Aleksandra Melbechowska-Luty, A k i n to a Jewel in His
Crown
A me stesso is the t i t l e o f an e x h i b i t i o n o f p a i n t i n g s by Jacek
I n this essay the a u t h o r tries t o e x p l a i n the s i m i l a r i t y betwe
e n t h e activities called i n o u r everyday life „speech" a n d
„musie". H e suggests t h a t the border between t h e m is f l u i d .
H e passes over all the o p i n i o n s d i v i d i n g „language" a n d „spe
Sempoliński organised i n t h e Warsaw Z a c h ę t a G a l l e r y a n d
ech", considering all language firstly as a spoken or i m a g i n e d
c r o w n i n g t h e heretofore oeuvre o f the artist. T h e r e v i e w d i
w o r d . H e analyses some m o m e n t s f r o m the w h o l e o f h u m a n
scusses w o r k s f e a t u r e d i n the showrooms a n d c o m m e n t s o n
history w h i c h c a n t e l l us about people's attitudes towards
t h e f o r m o f t h e display - impressive, w e l l - c o n c e i v e d a n d
speech a n d music, such as i n v e n t i o n s o f musical a n d l i n g u
r e n d e r i n g the e x h i b i t i o n a t h e a t r i c a l spectacle o f sorts. T h e
istic w r i t i n g systems, o p i n i o n s o f some philosophers, poets
second p a r t o f the t e x t presents Sempolinski's b o o k Władz
a n d musicians, a n d finally l i t u r g i c a l usage o f languages, be
two i służba ( D o m i n i o n a n d Service), a c o l l e c t i o n o f 89 te
i n g for h i m a very i m p o r t a n t p o i n t . L i t u r g y is considered as
xts f r o m 1 9 5 8 - 2 0 0 1 , b r i l l i a n t „miniatures" about art w r i t t e n
a p a t t e r n s i t u a t i o n for all o t h e r h u m a n activities c o n n e c t e d
i n a d e f i n i t i v e a n d concise style.
w i t h c o m m u n i c a t i o n , speech a n d art, a n d i n this way also as
a base for analysis o f the n a t u r e o f e x a m i n e d n o t i o n s .
Victor Turner A r e there universals of performance in myth, riT h e t e x t is d i v i d e d i n t o t w o parts: t h e first p a r t e x a m i n i n g
tual, and drama?
the p r o b l e m f r o m t h e l i n g u i s t i c p o i n t o f v i e w a n d t h e se
T h i s essay is a f u r t h e r step i n the process o f exploring some o f
c o n d from t h e m u s i c a l one. T h e first p a r t concerns t h e i n
the interweavings o f ritual a n d theatre, a process V i c t o r T u r
t o n a t i o n i n everyday, poetic a n d l i t u r g i c a l language a n d t h e
ner h a d been e x p l o r i n g for some t i m e . I n 1980, T u r n e r arti
Semitic i n v e n t i o n o f alphabet, changed a n d accepted by
culated very clearly w h a t he saw as t h e goal o f his writings.
Greeks. T h e second o n e c o n t a i n s some remarks a b o u t o r a l
H e stated: „Cultures are most fully expressed i n a n d made
t r a d i t i o n i n l i t u r g i c a l music a n d t h e first a t t e m p t s t o w r i t e i t
conscious o f themselves i n their ritual a n d theatrical perfor
d o w n ; i t presents some reflections o f c o n t e m p o r a r y m u s i
mances. A performance is a dialectic o f flow, t h a t is, sponta
cians e x e c u t i n g early music, i n p a r t i c u l a r m e d i e v a l a n d ba-
287
SUMMARY OF ARTICLES
r o q u e , t r y i n g t o p e r f o r m i t i n c o n f o r m i t y w i t h aesthetics o f
t i c a l j o i n t t i t l e : „Carnivals i n C u l t u r e " - is a n a t t e m p t at a n
the times. T h e t w o parts are separated by a short r e f l e c t i o n
i n i t i a l s u m m a r y o f three years o f seminar w o r k , a n d at i n d i
o n t h e n a t u r e o f memory, a n indispensable c o n d i t i o n o f
c a t i n g exemplary problems considered d u r i n g the w e e k l y d i
b o t h music a n d speech.
scussions h e l d by t h e p a r t i c i p a n t s o f t h e c o n v e r s a t o r i u m .
T h e c o n c l u s i o n is a m o r a l o n e . I t avoids repeating the i n t r o
T h e p u b l i s h e d texts - translations f r o m assorted languages
d u c t o r y thesis. O f course, the p r o b l e m needs some more re
( p e r t i n e n t Polish l i t e r a t u r e is exceptionally sparse i n this re
flection
spect) - were selected i n such a m a n n e r as t o demonstrate
to be better u n d e r s t o o d .
as broadly possible various p h e n o m e n a via c o n c r e t e e x a m
Piotr M a c h u l , The Gardzienice Manuscripts
ples, t o refer t o t h e o r e t i c a l i n t e r p r e t a t i o n s f u n c t i o n i n g i n
I n this text, r e f e r r i n g t o t h e „Gardzienice" C e n t r e f o r T h e
science, a n d t o present n e w research perspectives w h i c h co
atrical Practice - t h e p r i m e theme o f t h e previous issue o f
u l d inspire f u r t h e r studies.
„Konteksty" - t h e a u t h o r tries t o analyse, u p o n t h e basis o f
T h e first article: Carnivals- festivities, play spectacles by
select examples, the „Gardzienice m a n u s c r i p t s " , i . e. t h e e n
Wojciech Dudzik recalls briefly t h e h i s t o r y o f the Polish usa
deavours made by actors t o create t h e i r o w n musical r e c o r d
ge o f t h e t e r m „carnival", the place o f the festival, a n d the
i n t h e course o f t h e a t r i c a l v e n t u r e s . M u s i c was registered, at
original forms o f its celebration. T h e a u t h o r goes o n t o i n d i
least partially, f r o m t h e very onset o f t h e „Gardzienice" gro
cate research perspectives ( t h e theories o f festivity, play a n d
u p , b u t a t t e m p t s at registering i t grew i n t e n s i f i e d at t h e t i
spectacle) a n d trends o f r e f l e c t i o n r e l a t i n g t o the c a r n i v a l
me o f w o r k o n t h e latest spectacle - Metamorphoses after
conceived as a t o t a l holiday. T h e article poses questions t h a t
A p u l e i u s . U p o n t h e request o f M a c i e j Rychły,
responsible
must be answered i n order t o come closer t o u n d e r s t a n d i n g
for the musical score o f this p a r t i c u l a r p r o d u c t i o n , almost
the essence o f the p h e n o m e n o n , i . e. i n w h a t m a n n e r does
every actor created a n a u t e u r musical r e c o r d . T h e „manu-
the periodical „upside d o w n " t r e a t m e n t o f the w o r l d i n f l u e n
scripts" are n o t , however, a universal code f o r d e c i p h e r i n g
ce social order a n d the consciousness o f the participants o f
classical music. N o r are they a n u l t i m a t e l y d e f i n e d a n d m e
the event? W h a t are t h e consequences o f the presence or ab
t i c u l o u s l y devised code, b u t r e m a i n merely a n e x t r e m e l y i n
sence o f c a r n i v a l ideas a n d practices f o r social life i n a g i v e n
teresting a n d o r i g i n a l a t t e m p t a t r e c o r d i n g c e r t a i n elements
country? H o w are w e t o e x p l a i n g r o w i n g global interest i n
o f t h e actors' t r a i n i n g - p r e d o m i n a n t l y musical a n d v o c a l .
t h e active practising o f c a r n i v a l t r a d i t i o n s , observed i n re
T h e „Gardzienice m a n u s c r i p t s " m a k e i t possible, at least t o
c e n t years? Is there a dependence b e t w e e n t h e degree o f the
a degree, t o f o l l o w t h e paths o f musical m o t i f s rendered i n
i n s t i t u t i o n a l i s a t i o n a n d f o r m a l i s a t i o n o f c u l t u r e , o n the one
delible centuries ago o n stone or papyrus, described i n M a r
h a n d a n d the diversity a n d i n t e n s i t y o f the c a r n i v a l , o n t h e
t i n West's Ancient Greek Music, a n d p a r t i a l l y r e c o n s t r u c t e d
other? Finally, w h y have c a r n i v a l customs a n d rites almost
for the needs o f t h e „Gardzienice" T h e a t r e .
completely disappeared i n c o n t e m p o r a r y Poland?
Suzanne Chappaz-Wirthner, t h e Swiss a u t h o r o f t h e a r t i c
le From the history of research on the carnival (translated
Robert Darnton, Introduction to the Great Cat Massacre
T h e r e n o w n e d A m e r i c a n h i s t o r i a n proposes a masterly histo
rical analysis o f an i n c i d e n t t h a t t o o k place i n e i g h t e e n t h - c e n t u r y France. A t the e n d o f the 1730s a Parisian p r i n
ter's w o r k s h o p became t h e site o f a unprecedented a l l - n i g h t
massacre o f cats c o m m i t t e d by apprentices. I n his meticulous
r e c o n s t r u c t i o n o f the w h o l e event D a r n t o n t r i e d t o explain
the reasons for t h e i n c i d e n t , its determinants a n d p o t e n t i a l .
Since t h e a u t h o r is a n h i s t o r i a n o f m e n t a l i t y his analysis is
n o t l i m i t e d t o a mere c r i t i q u e o f sources a n d t h e establish
m e n t o f „what really t o o k place". B y m a k i n g extensive use
of ethnographic
sources a n d d o c u m e n t i n g t h e f o l k l o r e
b a c k d r o p o f t h e d e m o n i s a t i o n o f cats as w e l l as their links
w i t h magic a n d sorcery, D a r n t o n c o n v i n c i n g l y shows w h y
the cats suffered t h e i r c r u e l fate a n d w h y a d u e l b e t w e e n t h e
workers (plebeians) a n d t h e employer (a representative o f
t h e p r o p e r t i e d class) assigned t h e animals t h e role o f a sub
stitute v i c t i m .
A n excellent example - alongside w o r k s by L e Roy L a d u r i e
or G i n z b u r g — o f a creative use o f t h e c o m b i n e d i n s t r u m e n t s
o f a h i s t o r i o g r a p h e r a n d a n a n t h r o p o l o g i s t , t h e b o o k rema
ins a s t a n d a r d specimen o f m i c r o - h i s t o r y a n d h i s t o r i c a l a n
thropology.
f r o m F r e n c h by Łada Jurasz-Dudzik) considers t h e m o s t i m
p o r t a n t theories o f the c a r n i v a l , d i v i d i n g t h e m i n t o t w o gro
ups: c o n c e p t i o n s w h i c h recognise t h e c a r n i v a l as a festivity
o f pagan o r i g i n , a n d those w h i c h g r a n t i t t h e d i m e n s i o n o f
a C h r i s t i a n holiday. A m o n g t h e f o r m e r she recalls o p i n i o n s
v o i c e d by m e d i a e v a l a n d Renaissance theologians w h o tre
ated the c a r n i v a l as pagan frenzy a n d a p e r i o d i c o u t l e t for
social e m o t i o n s . T h e a u t h o r t h e n presents n i n e t e e n t h - c o n
ceptions o f „relics", w h i c h envisaged t h e c a r n i v a l as o n e o f
the r e m n a n t s o f t h e o r i g i n a l rituals o f agrarian magic, a n d
the c o n t e m p o r a r y calendar t h e o r y devised by C l a u d e G a
ignebet w h o c l a i m e d t h a t t h e c a r n i v a l is a r i t u a l s a n c t i f y i n g
the r e t u r n o f spring a n d t h e s p r i n g t i m e l i b e r a t i o n o f souls.
T h e second p a r t o f t h e study discusses c o n c e p t i o n s f o r m u
l a t e d by H a n s M o s e r ( t h e c a r n i v a l as a secular t o w n h o l i
d a y ) , w o r k s by N a t a l i e Z e m o n Davies, M u r i e l L a h a r i e a n d
J e a n - M a r i e Fritz o n t h e c o n n e c t i o n s b e t w e e n t h e c a r n i v a l
a n d t h e mediaeval feast o f fools, t h e radical i n t e r p r e t a t i o n
by D i e t z - R u d i g e r Moser, w h o treated t h e c a r n i v a l as a n i n
s t i t u t i o n a l i s e d l i t u r g i c a l holiday, t h e t h e o r y o f t h e c a r n i v a l
a n d c a r n i v a l i s a t i o n proposed by M i k h a i l B a k h t i n ( t h e h o l i
day o f reversal), a n d t h e s o c i o p o l i t i c a l contexts o f t h e car
n i v a l described by E m m a n u e l Le Roy L a d u r i e u p o n t h e
"Carnivals in Culture" was t h e name g i v e n t o a conversat o r i u m (seminar) h e l d i n 1999 by Wojciech Dudzik at t h e
I n s t i t u t e o f Polish C u l t u r e at Warsaw U n i v e r s i t y , a n d d e v o
ted t o e x a m i n i n g c a r n i v a l t r a d i t i o n s a l l over t h e w o r l d , t h e
social f u n c t i o n s o f this f e s t i v i t y a n d its assorted contexts.
T h e accepted w i d e a n t h r o p o l o g i c a l perspective exceeds far
beyond the traditional ethnographic interpretation of the
example o f t h e F r e n c h t o w n o f Romans.
Eleven carnival theses by t h e above m e n t i o n e d Dietz-Riidiger Moser (translated f r o m G e r m a n by M a r t a Petrzykowska) o u t l i n e s c h i e f arguments i n f a v o u r o f t h e C h r i s t i a n so
urces o f t h e c a r n i v a l , d e r i v e d f r o m t h e „model o f t w o states"
by St. A u g u s t i n e (De civitate Dei).
T h e f o l l o w i n g t w o texts refer directly a n d i n d i r e c t l y t o the
c a r n i v a l as a festival w h i c h belongs t o t h e a n n u a l , f o l k r i t u
theory e x p o u n d e d by M i k h a i l B a k h t i n . I n The frames of co
al cycle. T h e m a t e r i a l presented i n this issue u n d e r a n i d e n
mic „freedom" (translated f r o m English by Włodzimierz K a -
288
SUMMARY OF ARTICLES
r o l Pessel) Umberto Eco analyses the relations between the
Maciej Różalski, Salvador, the Town of Capoeira
c a r n i v a l a n d comicality, w h i l e i n The poetic of the carnival
Capoeira blends together a game, a dance, a battle, a n d me
and the transition rites (translated f r o m the Russian original
d i t a t i o n . I t denotes a group o f people - roda, an orchestra
hy Barbara Chmielewska) Rustam Kasimov points o u t the
playing music - bateria, a n d t w o dancers i n v o l v e d i n a game
differences between the range o f the concepts o f the c a r n i
o f blows and evasion, steered by the master - Mestre. T h e
v a l " , the „carnival q u a l i t y " (the i m p a c t of the carnival u p o n
dancers adapt the exchange of thrusts to the r h y t h m of the
literature) a n d „carnivalisation" (a carnival-like p e r c e p t i o n o f
accompanying music, w h i c h becomes whatever t h e y desire.
the w o r l d ) , a n d proposes to examine the c a r n i v a l w i t h i n the
T h e presented article invites the reader to embark u p o n a j o
perspective o f A r n o l d v a n Gennep's v i s i o n o f rites de passage.
urney to the c o l o u r f u l w o r l d o f Salvador, w h i c h is the cradle
T h e already classical essay Man and mask by K a r l Kerenyi
of the t i t u l a r art. First a n d foremost, however, i t is a n a t t e m p t
(translated f r o m G e r m a n by A n n a Kryczyńska-Pham) does
at c a p t u r i n g the very essence o f Capoeira. By c i t i n g conver
n o t p e r t a i n to the c a r n i v a l directly, b u t has b e e n i n c l u d e d i n
sations w i t h the greatest masters o f the art, and by reaching
..Carnivals i n c u l t u r e " because the a u t h o r analysed the mask
the very core of the p h e n o m e n o n , the a u t h o r tries t o depict
visualised as the p r i m e v a l t o o l o f m a n (used either t o c o n
this complex w o r l d , w h i c h does n o t succumb to facile d e f i n i
ceal oneself or t o p r o d u c e fear, b u t p r e d o m i n a n t l y as a n i n
tions. T h e frenzy of Capoeira, w h i c h has started to reach us,
s t r u m e n t for the u n i f y i n g t r a n s f o r m a t i o n o f the w o r l d o f the
does n o t signify merely striking prowess or l i t h e y o u n g m e n
l i v i n g i n t o the w o r l d o f the dead) - the mask is a f u n d a m e n
capable o f p e r f o r m i n g a series o f starling saltos, a l t h o u g h this
tal c a r n i v a l a t t r i b u t e .
is the image frequently l a u n c h e d by the press a n d television.
Masks are also t h e t o p i c o f a n article by the Swedish resear
Capoeira contains something more - c u l t u r e and history, t o
cher Asa Boholm: Masked performances in the carnival of
Venice (translated f r o m English by Justyna Jaworska). T h i s
analysis o f the f u n c t i o n s f u l f i l l e d by the mask e x e m p l i f i e d by
t h e c a r n i v a l i n Venice c o n f i r m s Kerenyi's ascertainments re
l a t i n g t o the o r i g i n a l c o n n e c t i o n s b e t w e e n t h e mask a n d the
w o r l d o f t h e dead.
T h e n e x t t w o articles by e m i n e n t anthropologists discuss the
c a r n i v a l i n Brazil. I n Carnival, ritual and play in Rio de Ja
neiro (translated f r o m English by I w o n a Kurz) Victor Turner
considers the most i m p o r t a n t c u l t u r a l performance i n Brazil
w i t h i n the c o n t e x t o f the theory of play by J o h a n n H u i z i n g a
a n d Roger Caillois, a n d concludes t h a t this is the o n l y f o r m
gether w i t h their tantalising, v i v i d beauty; w h a t we despera
tely need is t o learn h o w to understand others a n d h o w t o co
exist w i t h t h e m . Capoeira has the power to set free emotions,
previously amassed and stored. T h e forms and masks, b e h i n d
w h i c h we eternally conceal ourselves, a n d w h i c h d e f o r m and
c o n t r o l our relations w i t h the w o r l d , suddenly lose t h e i r me
aning. T h e r e is n o time to t h i n k about w h a t the other person
wants f r o m me, a n d vice versa. M u s i c and speed liberate self-assurance i m p a i r e d by c i v i l i s a t i o n . T h a t w h a t remains is o n
ly I and m y d a n c i n g partner, as w e l l as t h a t special type of re
lationship w h i c h emerges between us, and w h i c h is the re
ason w h y I a m compelled to question m y identity...
of play w h i c h contains simultaneously all f o u r elements d i
stinguished by Caillois: agon, alea, mimicry a n d ilinx. A fur Anna E . Kubiak, New Age Art
ther part o f the article discusses the samba schools i n R i o .
T h e author writes about N e w A g e art, c u r r e n t l y increasingly
T h e analysis o f their s t r u c t u r e a n d f u n c t i o n resorted to the
popular. I n her o p i n i o n , widely c o m p r e h e n d e d N e w A g e is
..structure -
anti-structure" opposition w h i c h Turner had
a true c h i l d of c o n t e m p o r a r y c u l t u r e , described by some as
f r e q u e n t l y used i n his research. I n The carnival of equality
postmodern. N e w A g e c u l t u r e , also k n o w n as the c u l t u r e o f
and the carnival of hierarchy (translated f r o m Portuguese by
the A g e of A q u a r i u s , c o u l d be characterised by listing the f o l
M a r t a Kolankiewicz) Roberto DaMatta compares carnivals
l o w i n g features: chance, ambivalence, eclecticism, pluralism,
i n t w o societies d i s t i n c t i v e l y d i f f e r e n t i a t e d as regards i n s t i t u
the b l u r r i n g o f boundaries, the t o p p l i n g of
tions, history a n d ideology: N e w Orleans a n d R i o de Janeiro.
anarchism, fluidity, variability conceived as the essence o f re
classifications,
T h e a u t h o r perceives a sui generis paradox: i n the N o r t h
ality, the a u t o n o m y o f the elements, w h i c h d o n o t comprise
A m e r i c a n society of equality the c a r n i v a l is an exclusive fe
a cohesive w h o l e , but rather participate i n a game o f discour
stivity organised i n a truly aristocratic manner, w h i l e i n Bra
ses, the predominance of the image over the w o r d , epheme-
zil, a l a n d b r i m m i n g w i t h social contrasts a n inequality, i t is
rality, inconsequence, and nonconclusiveness. N e w A g e does
a f u l l y egalitarian festival w h i c h changes all rules o f c o n d u c t ,
n o t fit i n t o any heretofore sociological or a n t h r o p o l o g i c a l ca
r o u t i n e a n d daily a c t i v i t y i n order to make way for a reign o f
tegory. T h e a u t h o r also m e n t i o n s „New A g e s p i r i t u a l i t y " a n d
free expression o f emotions. T h e a u t h o r concludes t h a t the
the role played by assorted traditions used i n the c u l t u r e o f
N e w Orleans c a r n i v a l is a curious a t t e m p t at a re-establish
A q u a r i u s . T h e concept o f N e w A g e art is so w i d e t h a t i t en
m e n t o f the p r i n c i p l e o f d i f f e r e n t i a t i o n w i t h i n a society w h o
compasses every d o m a i n o f life a n d , the a u t h o r claims, c o n
se o f f i c i a l credo excludes i t , w h i l e i n R i o the c a r n i v a l trans
stitutes the art o f life itself. A n n a E. K u b i a k believes t h a t c r i
forms d a i l y hierarchy i n t o the magical equality o f the f l e e t i n g
teria for distinguishing N e w A g e art i n c l u d e the relation be
m o m e n t . T h e article fully confirms the hypothesis t h a t stu
t w e e n the artist and the A q u a r i u s e n v i r o n m e n t s , or at least
d y i n g c a r n i v a l festivities can tell us m u c h about the essence
sharing their interests. T h e presented text brings the reader
of the social system i n e a c h „carnival" c o u n t r y .
closer to N e w A g e art by d e m o n s t r a t i n g its roots, the „paths"
T h e a u t h o r o f the last article e n t i t l e d Origins of rituals and
o f the c u l t u r e o f the O t h e r , f o r b i d d e n c u l t u r e , c o u n t e r - c u l t u
customs in the Trinidad carnival: African or European?
re, a n d c u l t u r e for sale. T h i s is n o t an a t t e m p t at typology, sin
( t r a n s l a t i o n f r o m the English by Błażej D z i k o w s k i ) is Hollis
ce m a n y works disclose m i x e d inspirations, b u t a n endeavour
Urban Liverpool, a researcher specialising i n the c a r n i v a l
to understand a p h e n o m e n o n by going back to its sources.
a n d , at the same t i m e , the „world calypso m o n a r c h " f r o m
T r i n i d a d , w h o m a i n t a i n s t h a t the c a r n i v a l i n T r i n i d a d a n d
Tobago was n o t i m p o r t e d f r o m Europe b u t owes i t o r i g i n to
A f r i c a n slaves w o r k i n g o n sugar cane p l a n t a t i o n s , a n d t h a t
the m a j o r i t y o f customs associated w i t h this f e s t i v i t y is A f r i
Dorota Hall, G o d Loves Fun. The Role of Laughter in New
Age Culture
Laughter resounds extremely frequently among N e w A g e m i
lieus. I n the Society A r t of Life it appears p r o m i n e n t and, at the
can i n f o r m and f u n c t i o n .
same time, involved i n a game of sensual experiences and the
289
SUMMARY OF ARTICLES
adoption o f a new w o r l d o u t l o o k by the followers. T h e author
T h e Soane residence c a n n o t be assessed i n categories o f ar
of the article treats laughter as a ritual performed i n the spirit of
c h i t e c t u r e : its creator transcended a l l l i m i t s o f e x t r a v a g a n
other Aquarius practices associated w i t h corporeal experiences.
ce, e v e n those w h i c h one may e n c o u n t e r i n t h e houses o f
I n a reference to the conceptions launched by Geertz,
Romantic
she
explains t h a t N e w A g e laughter comprises a model i n relation to
artists. T h e
extraordinary character
of
So
ane's o w n house is d e t e r m i n e d by the fact t h a t i t c o n s t i t u
truths pertaining t o the status o f man's earthly existence, reco
t e d the h o m e o f the artist, his f a m i l y a n d servants, c o m b i
gnised by the laughing person. She draws a t t e n t i o n t o the fact
n e d w i t h the „official" seat of a recognised a r c h i t e c t , collec
that the specificity of Aquarius laughter emerges i n its fullest
tor a n d academic teacher, a n d , finally, t h a t i t was i n t e n d e d
f o r m w h e n i t is treated as a ritual model for - and w h e n i t beco
to be a m u s e u m , i n o t h e r words, a n i d e a l v i s i o n o f his a r t .
mes apparent that i t weakens the d e t e r m i n a t i o n o f the adopted
Soane designed t h e house for h i m s e l f a n d his c o l l e c t i o n ,
statements about reality, and relativises contents extracted from
conceived as his „life-long p a r t n e r " , w h i c h was t o i n s t r u c t
other rituals. Laughter renders N e w A g e distant from the possi
students o f a r c h i t e c t u r e a n d create a n u n i f o r m m o d e l for
bility o f constructing a meta-narrative system. I n the A r t of Life
l i n k i n g a l l the arts - a n ideal pursued by the designer.
this anti-system quality is additionally favoured by R a v i Shan
Nevertheless, the c o n t e n t o f the Soane residence-museum
kar, the spiritual authority of the Society, w h o personifies the je
does n o t e n d o n this amazing i n s e r t i o n o f collections i n t o
ster, and thus does n o t posses the power o f building ultimate
residential a r c h i t e c t u r e . T h e object was devised as a special
theories t h a t w o u l d offer an all-encompassing explanation.
house: a sepulchre a n d , simultaneously, a m o n u m e n t o f i m
m o r t a l i t y . To p u t i t differently, i t was envisaged as a r e l i q u
Małgorzata Just, „Art of the Awakened" - Between Magic and ary o f c r e a t i v i t y a n d art, u n d e r s t o o d as sacral activity, toge
Transcendence. Esoteric Art within New Age Circles
ther w i t h its assorted sources, results a n d aids. D e v e l o p i n g
T h e N e w A g e m o v e m e n t has been e x a m i n e d a n d described
the c o n c e p t i o n f o r m u l a t e d ingeniously i n the D u l w i c h m a u
i n assorted manners, b u t u p t o n o w n o t a single study has
s o l e u m a n d gallery Soane created a m u l t i - m o t i f n a r r a t i o n o f
considered its increasingly discernible aspect - the artistic
a h o u s e - m o n u m e n t - m u s e u m . H e added the „ m o r t a l " m o t i f
expression
article at
o f his a r c h i t e c t u r e , m a i n t a i n e d i n the capriccio c o n v e n t i o n ,
tempts t o f i l l this gap.
by p l a c i n g a f i c t i t i o u s grave o f Padre G i o v a n n i ( t h e I t a l i a n
U p o n the basis o f her o w n research, the a u t h o r develops the
p s e u d o n y m o f J o h n Soane) close t o a pharaoh's sarcophagus
o f its p a r t i c i p a n t s . T h e
presented
thesis t h a t the q u e s t i o n f u n d a m e n t a l l y l i n k e d w i t h the es
recently added t o his c o l l e c t i o n .
sence o f the w h o l e p h e n o m e n o n involves the w o r l d o u t l o
B o t h the edifice a n d its i n t e r i o r were t o f u l f i l f u n c t i o n s
o k , the life p h i l o s o p h y o f artists shaped w i t h i n t h e ideology
o t h e r t h a n those o f mere h o m e a n d s t u d i o : they were t o h o
o f t h e A g e o f A q u a r i u s , as w e l l as t h e p a t h w h i c h they h a d
use a c o l l e c t i o n ( w h i c h , i n t u r n , co-creates a n d determines
traversed i n order t o become u n c o n v e n t i o n a l therapists.
the residential i n t e r i o r ) , t o m o u l d t h e resident a n d his g u
T h e artists f i r m l y believe t h a t t h e i r spiritually d e v e l o p e d i n
ests, i n c l u d i n g those w h o w i l l c o m e after his d e a t h , a n d , f i
teriors render t h e m capable o f suffusing t h e i r works w i t h so-
nally, t o e x e m p l i f y the idea that c o n s t i t u t e d the sense o f the
-called positive v i b r a t i o n s , w h i c h are t o exert a beneficial
author's life. T h e Soane house i n i t i a t e d a sequence o f c o m
i m p a c t o n the recipients a n d reality; this is the reason w h y
p l i c a t e d temples o f t h e i m a g i n a t i o n - sites o f o r i g i n a l decla
N e w A g e a r t , or r a t h e r esoteric art, c o n t a i n s a c e r t a i n dose
rations made by R o m a n t i c i s m - whose p a r t i c u l a r l y r i c h y i e l d
o f p r a g m a t i s m , a feature w h i c h is the source of, i . a. a n o n -
t o o k place at the t u r n o f the n i n e t e e n t h c e n t u r y . W i t h i n
- e l i t i s t w o r k s h o p . Creators c a n i n c l u d e b o t h amateurs a n d
this g r o u p i t remains probably t h e m o s t w e l l - c o n c e i v e d
graduates o f a n A c a d e m y o f Fine A r t s , ready t o j o i n a single
example a n d t h e m o s t perfect e m b o d i m e n t o f the ideal of
c u r r e n t i n w h i c h a d i s t i n c t i o n i n t o amateur vel naive a n d
the n a r r a t i o n o f a n artist's h o m e .
professional artists plays a slight role.
A presentation o f the successive stages i n t h e c r e a t i o n o f
Jan Gondowicz, The Wormwood Star
esoteric paintings demonstrates the way i n w h i c h the „awa-
A w i t t y a n d i n f o r m a t i v e gloss t o the e n t h r a l l i n g statement
k e n e d " artists focus o n spiritual matters, and strive towards
made by Josif B r o d s k i w h o , after a m e e t i n g w i t h o t h e r N o
expressing or using their transcendent experiences. A s i n the
b e l Prize laureates,
case o f all canvases, t h e i n s t r u m e n t s w h i c h they e m p l o y are
w o r l d comes f r o m S w e d e n : „It is made o f ' w o r m w o o d '
c o l o u r a n d shape, w h i c h , the artists m a i n t a i n , possess great
I d o n ' t k n o w h o w t o translate this i n t o Russian. I t is n o t
significance for the i m p a c t subsequently exerted by the c o m
transparent b u t has the appearance o f some sort o f a grass
positions. T h e a p p l i c a t i o n o f a g i v e n c o l o u r or symbol takes
a n d resembles a t i n c t u r e . T h e l o c a l p o p u l a t i o n , for reasons
declared t h a t the best v o d k a i n the
-
place due t o t h e painter's reference t o his esoteric k n o w l e d
u n k n o w n , does n o t d r i n k i t " (S. V o l k o v , Conversations with
ge, or, i f he is submerged i n a trance, t o his subconsciousness.
Brodski). I n a c o m m e n t a r y m a i n t a i n e d i n a t r u l y detective
spirit, a n d by f o l l o w i n g l i n g u i s t i c , f o l k l o r e and h i s t o r i c a l t r a
Małgorzata Baranowska, The Postcard. I Was Here
ils the a u t h o r pursues the beginnings a n d delirious h i s t o r y o f
T h e postcard harbours the a m b i t i o n t o encompass the w h o
this n o b l e beverage. I t is t r u l y rare f o r a
le w o r l d . T h i s is the reason w h y i t is ideally suitable for a n
t o c o m e across a connoisseur-glossator.
connoisseur-taster
a b b r e v i a t e d p r e s e n t a t i o n o f every s i t u a t i o n a b o u t w h i c h we
w o u l d like t o i n f o r m the addressee. T h e producers o f post
Mariusz Szymon Czaja, The E n d of the Word, Illness and Ter
cards try t o meet such demands by r e s o r t i n g t o assorted me
rible Doomsday. Afwcalyptic Stones by Tadeusz Shbodzianek
asures. N u m e r o u s examples o f postcards f r o m the t u r n o f
A n a t t e m p t e d i n t e r p r e t a t i o n o f symbolic structures created
t h e n i n e t e e n t h c e n t u r y d e p i c t the p o p u l a r „I was h e r e " m o
i n texts by Tadeusz Słobodzianek, a Polish c o n t e m p o r a r y
tif. T h e a u t h o r discussed the forms o f this m o t i f a n d d r e w
p l a y w r i g h t , f r o m the perspective o f the category o f t i m e . T h e
a t t e n t i o n t o t h e r e q u i r e m e n t s w h i c h i t satisfied.
a u t h o r uses sui generis detectors o f m e a n i n g i n the f o r m o f
three symbolic constructions t a k e n f r o m t h e analysed texts,
Andrzej Pieńkos - The artist's home — a reliquary of creativistarting w i t h t h e m y t h o f t h e G o l d e n A g e and discovering
the presence o f cyclical t i m e , w h i c h has t o be r e v i v e d by rety: the John Soane Museum
290
SUMMARY OF ARTICLES
Searchers o f the H o l y G r a i l , w h o are already the followers o f
Aleksandra Banaszkiewicz, Magdalena Radkowska,
Tomasz Rakowski, Withering. Creators and Cadavers.
peating archetypical gestures. Subsequently, he considers the
the linear c o n c e p t i o n of t i m e , b u t w h o wish to evade t i m e i n
An Introduction to the Anthropology of Tuberculosis
order to reach the p o i n t o f the w o n d r o u s t r a n s f o r m a t i o n o f
T h e c o n s u m p t i v e is a c c o m p a n i e d by a n extensive c o l l e c t i o n
u n a c c e p t e d reality i n t o its ideal c o u n t e r p a r t . T h e last o f the
o f symbolic associations. T h e appearance o f symptoms
figures cited by the author, the E n d o f the W o r l d , appears to
w i t h e r i n g a n d the loss o f body mass are discernible i n the
of
be d o m i n a t i n g , a n d eschatological t i m e assumes the p a r t o f
m e d i c i n a l m i x t u r e s seeping i n t o the body. Tuberculosis is al
o n t i c a l t i m e i n Slobodzianek's dramas. T h e earlier analysed
so s u r r o u n d e d by metaphors o f hair, p h l e g m a n d m o i s t u r e .
conceptions o f time prove to be the objects o f assessment
T h e body o f the v i c t i m does n o t a t t a i n its status instantly,
f r o m the v i e w p o i n t o f eschatological „encroaching
time",
a n d the emergence o f its new c o u n t e r p a r t possesses symbo
e n t e r i n g i n t o „the present" thanks t o the redeeming force o f
lic premises. S u c h a gradual t r a n s f o r m a t i o n is visible i n The
love. T h i s is n o t to say t h a t the analysed texts are merely m o
Magic Mountain by T. M a n n a n d the novels by M . G r e t k o w
ralising; they cast l i g h t o n c e r t a i n mechanisms o f c u l t u r e as
ska. T h e n e w body becomes a weightless, ethereal substan
sociated w i t h various conceptions o f t i m e a n d
ce. Its d e t e r i o r a t i o n a n d s t r i v i n g towards an ascetic, trans
problems
s t e m m i n g f r o m their c o n f r o n t a t i o n i n history.
l u c e n t f o r m c a n be recognised as one o f the aspects o f the
Robert Kulpa, Carnival? Camp and Gender in Drag Queen
Sliow
o f c o r p o r e a l i t y t o a great e x t e n t preserves such a n aesthetics
Romantic m y t h of consumption. T h e contemporary
image
a n d c u l t i v a t i o n o f the body, r e n d e r e d m y t h i c a l ; its m o d i f i c a
A d e s c r i p t i o n o f drag q u e e n shows c o n c e i v e d as the c a r n i -
t i o n becomes p a r t o f the e t e r n a l m o t i f o f the n e g a t i o n o f
v a l i s a t i o n o f c e r t a i n situations i n c o n t e m p o r a r y social life.
man's b i o l o g i c a l c o n d i t i o n .
References t o c o n t e m p o r a r y gender studies, i . a. gender c u l
t u r a l i d e n t i t y (the „social s u p e r s t r u c t u r e " o f b i o l o g i c a l sex)
Włodzimierz Karol Pessel, Melanesians versus Farmers
assisted the a u t h o r i n analysing the t i t u l a r shows.
A n example o f a t e x t rarely e n c o u n t e r e d a m o n g Polish es
The
e x p l o i t a t i o n o f the category o f c a m p - a sui generis style cha
says, a n d similar to Bystron's m e m o r a b l e b o o k Tematy, które
racteristic for a p r e d i l e c t i o n for all t h a t w h i c h is a r t i f i c i a l
mi odradzano (Topics I was A d v i s e d to A v o i d ) . T h e
a n d extravagant - enabled h i m to compare drag shows w i t h
is n o t afraid to engage the p o l y m o r p h i c k n o w l e d g e a n d t r a
classical c o n c e p t i o n s r e l a t i n g t o the i n s t i t u t i o n o f the c a r n i
d i t i o n a l w o r k s h o p o f the a n t h r o p o l o g i s t o f c u l t u r e for the
v a l . R. K u l p a n o t e d t h a t today i t is rather d i f f i c u l t t o consi
purposes o f s t u d y i n g issues disagreeable n o t o n l y i n a scien
author
der the s t r u c t u r a l similarities o f the t w o p h e n o m e n a (we
tific discourse, b u t e v e n i n a c o n v e r s a t i o n h e l d by friends.
may o n l y observe c e r t a i n fragmentary f o r m s ) , w h i l e e x i s t i n g
H e deals p r i m a r i l y w i t h physical i m p u r i t y ( d i r t a n d b o d i l y
analogies are t o be f o u n d i n the f u n c t i o n s a n d goals o f drag
excretions) contrasted w i t h symbolic ( r i t u a l ) i m p u r i t y . H e
q u e e n shows. T h e most f u n d a m e n t a l differences become d i
also contrasts the Melanesians, t h a t m o d e l p r i m e v a l society,
scernible i n an analysis o f t h e t i m e a n d place encompassed
w h i c h m o d e r n m a n associated stereotypically w i t h u n h y g i e
by b o t h p h e n o m e n a . T h e similarities, o n t h e other h a n d , i n
nic behaviour, w i t h „farming", sexual p a t h o l o g y p r o m o t e d
v o l v e cross-dressing, t h e reversal o f behaviour a n d social
o n t h e I n t e r n e t i n a m a n n e r characteristic for c o n t e m p o r a
a n d c u l t u r a l roles, f u n a n d revelry. T h e best d e s c r i p t i o n is,
ry subcultures. By d o i n g so, he depicts the aesthetic a n d
i n the o p i n i o n o f the author, offered by t h e
scientific obstacles w h i c h the a n t h r o p o l o g y o f the excre
expression
„a t o p s y - t u r v y w o r l d " . I t is impossible to describe drag q u
een shows as a c a r n i v a l , b u t i t is j u s t i f i e d t o speak about
a „carnivalised"
phenomenon.
291
m e n t , projected i n this article, m u s t tackle.
Polska Sztuka Ludowa
KONTEKSTY
• C U L T U R A L A N T H R O P O L O G Y • ETHNOGRAPHY • A R T
2002, V o l . L V I N o 3-4 (256-257). Index 369403. I S S N 1230-6142. Price 24 zt
INSTITUTE OF A R T POLISH ACADEMY OF SCIENCES, CULTURE FUNDATION
Contents 1-2/2002
ZBIGNIEW BENEDYKTOWICZ
DARIUSZ CZAJA
Carnival. Life and Literature
3
Life or Non-transparency.
Beyond the Anthropology of Culture
6
Commentaries and Polemics
WOJCIECH MICHERA
WIESŁAW SZPILKA
CZESŁAW ROBOTYCKI
DARIUSZ CZAJA
ANTONI KROH
The Culture, Empathy and Technics of Slicing up . . . .
23
Live and Let Live
26
Hremeneutics and Life on the Margins of Dariusz Czaja's
Considerations
27
A few Questions cocerning Life
29
The Old River Valley. The Prince. Telephones.
The Clock
33
Events
ALEKSANPARA MELBECHOWSKA LUTY
KRZYSZTOF CZYŻEWSKI
A k i n to a Jewel in His Crown
39
Polish Folk Art by Aleksander Jackowski
47
M I C H A Ł JAGIEŁŁO
BOŻENA ŻÓŁTOWSKA
Ethnology Today
VICTOR TURNER
JERZY S. WASILEWSKI
FlLIP M . TARANIENKO
PlOTR M A C H U L
ROBERT D A R N T O N
Are there universals of performance i n myth, ritual,
and drama?
Travelling Ethnology (3)The Reindeer-People,
the Taiga-People, Just People
Music as speech and speech as music: an essay for
comprehension of the same nature of both activities. . . .
The Gardzienice Manuscripts
Introduction to the Great Cat Massacre
53
60
68
75
83
Carnivals in cullture
WOJCIECH DlJDZIK
SUZANNE CHAPPAZ-WlRTHNER
DlETZ-RUDIGER MOSER
UMBERTO ECO
RUSTAM KASIMOW
Carnivals-festivities, plays, spectacles
From the history of research on the carnival
Eleven carnival theses
The frames of comic „ freedom"
The poetic of the carnival and the transition rites
98
105
130
132
. . . 137
KARL KERENYI
Man and mask
ASA BOHOLM
Masked performances i n the carnival of Venice
147
Carnival, ritual and play i n Rio de Janeiro
159
The carnival of equality and the carnival of hierarchy . . 171
VICTOR TURNER
ROBERTO D A M A T T A :
292
141
MACIEJ RÓŻALSKI
Salvador, the Town of Capoeira
193
New age
A N N A E. KUBIAK
DOROTA H A L L
MAŁGORZATA JUST
MAŁGORZATA BARANOWSKA
ANDRZEJ PIEŃKOS
JAN GONDOWICZ
MARIUSZ SZYMON CZAJA
ROBERT KULPA
ALEKSANDRA BANASZKIEWICZ
New Age A r t
202
God Loves Fun. The Role of Laughter
in New Age Culture
"Art of the Awakened" - Between Magic and
Transcendence. Esoteric Art within New Age Circles . . . .
223
The Postcard. I Was Here
237
The artist's home - a reliquary of creativity: the
John Soane Museum
The Wormwood Star
241
247
211
The End of the Word, Illness and Terrible Doomsday.
Apocalyptic Stories by Tadeusz Słobodzianek
Carnival? Camp and Gender i n Drag Queen Show . . .
Withering. Creators and Cadavers. A n Introduction
to the Anthropology of Tuberculosis
249
263
Melanesians versus Farmers
276
Notes on the Authors
Summary of Articles
284
287
276
MAGDALENA RADKOWSKA
T O M A S Z RAKOWSKI
WŁODZIMIERZ K A R O L PESSEL
293
Errata
Ważniejsze błędy dostrzeżone w numerze 1-2/2002 „Kontekstów"
Major mistakes perceived in volume 1-2 Konteksty 2002
W streszczeniu angielskim artykułu Tomasza Grygiela Zwycięstwo sztuki nad czasem?...(A Victory of Art over
Time?...) па s. 263 zamiast „contemporary art" powinno być „contemporary science"
In the English-language version of Summary of Article p. 263 by Tomasz Grygiel: A Victory of A r t over Time?...
instead of „contemporary art" should be: „contemporary science"
Ostatni akapit powinien brzmieć więc następująco:/These should be as follows:
The accomplishments of contemporary science, including the quantum theory and relativistic cosmology,
which negate "the arrow of time" and even permit the possibility of designating its direction i n certain regions
of the universe, appear to go hand in hand with the philosophical intuition of Schopenhauer, i n which time can
be located also outside the traditional laws of earthly causality. We would like to believe that liberation from
these laws, even if only short-lived, is assisted by experienced contact with art.
Przepraszamy również Pana Tomasza Szerszenia za zniekształcenie jego nazwiska w notach o autorach i Pana
Petera Martyna za dotkliwą literówkę w tytule jego artykułu, który powinien brzmieć tak jak w spisie treści: Tro
ja Brytyjska w centrum kraju? O kwestii świetności i zaniku cywilizacji miejskiej
We also apologyse to Mr Tomasz Szerszeń for mispelling of his name in authors' notes and to Mr Peter Martyn for
the serious mistake we have made in the title of his article which should be the same as the title listed in the Contents:
Troja Brytyjska w centrum kraju? O kwestii świetności zaniku cywilizacji miejskiej.
A British Troy in The Heartland? (On The Flourishing, Dissolution and Ultimate Oblivion of A n Urban Ci
vilisation)
Również w artykule Barbary Czarniawskiej (s. 82) zamiast „etnografia symetryczna" zgodnie z tytułem całego
tekstu powinno być „etnologia symetryczna"
Also in the aniele by Barbara Czarniawska (p. 82) instead of „Symmetrical Etnography" should be: „Symmetrical
Ethnology"
Za te i inne pomyłki Autorów i Czytelników pragnęlibyśmy serdecznie przeprosić.
We would like to apologise to the Authors and the Readers for all these and any other mistakes.
294
I