Cyfrowa Etnografia

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SUMMARY OF ARTICLE
Stanisław Cichowicz
The Sartre Problem
According to testimony by Simone de Beauvoir, the wife of J. P. Sar­
tre, the French philosopher was fascinated by Objects from the very out­
set of his interests; this is the reason why he fell under the spell of the slo­
gan Zu den Sachen selbst, repeated constantly during the 1930s by Ger­
man phenomenologists. Delighting in the writings of E. Husserl, the yo­
ung Sartre rapidly learned from his master how to refer to phenomena that
astonish human consciousness. The first examples of phenomenological
explorations are found in the early texts of the Parisian philosopher, such
as The Fundamental Idea of Husserl 's Phenomenology and Imaginaire.
Teresa Grzybkowska
Finis Poloniae and The 1905 Revolution by Jacek Malczewski or
a Confession of Love?
Jacek Malczewski is one of the most outstanding painters from the
turn of the nineteenth century. Since he left his canvases untitled, some
of them have different titles, a feature which was associated with the in­
terpretation of a given work. The author is aware of her own doubts as re­
gards the interpretation of mythological and symbolical paintings, which
oscillates between patriotic and personal mythology. She also suggests
that the canvas The 1905 Revolution , heretofore interpreted politically,
could be described as the Apotheosis of the Artist and His Muses. Mytho­
logy, which in the case of Malczewski played a fundamental role, once
again proved to be the inspiration of his art. The myth permitted the ar­
tist to view life as poetry, in which he too participates.
Witold Dobrowolski
The Malczewski Mythology
This text was conceived a speech given during a promotion of the album
Świat obrazów Jacka Malczewskiego (The World of Paintings by Jacek
Malczewski) by Teresa Grzybkowska. In a presentation of the canvases by
Malczewski, Dobrowolski indicates, i . a. patriotic-Romantic, folklore and
folk motifs (following the example of K. Wyka); he also emphasises the im­
portant fact that Prof. T. Grzybkowska drew attention to the Greek myths,
which in the works by Malczewski often function under local disguise
(Orpheus and Eurydice, Pythia and Nike). No other scholar has devoted so
much attention to the role of the sub-consciousness and the impulses, fully
unaware or intentionally stilled, which steered the imagination of the artist.
Maria Janion
The Pond in Wielgie, or Between Laughter and Death
Prof. Janion derives the symbolic paintings by Jacek Malczewski
from his youthful confession to a "wish to paint differently than the old
masters, a wish to paint reality". This desire is expressed in domestic
forms contrasted to Western ones. Malczewski resorted to folklore, albe­
it the latter is not treated as a pretext—we are dealing with integral pro­
ducts of the imagination, a cohesive creation of fantasy in daily life. Ja­
nion compares such an approach to folklore with the way in which it was
treated in Klechdy Polskie (Polish Folk Tales) by the excellent poet B. Les'mian. Its outcome is not ascribed actual being, but treated as contact be­
tween the individual and the world. Folk qualities are enhanced with an
element of irony, existential experience. The canvases by Malczewski al­
so introduce a category of Romantic aesthetics—artistic irony. The pain­
ter started with figures borrowed from Slavonic folklore, subsequently
supplanted by Greek motifs. In both cases, Malczewski and Les'mian
combined laughter and death, a demonic and an ironic aura.
Zygmunt Kubiak
The Hellenism of Jacek Malczewski
This consecutive opinion concerning Jacek Malczewski is voiced by
an acclaimed expert on antiquity. Poetry is closer to philosophy than to
history, and speaks about things which could occur on the level of proba­
bility or necessity. The author ponders on the reception of Malczewski's canvases (which resorted to motifs and figures from the Greek
world: harpies, chimeras and Orpheus) by anciem Greeks. In conclusion,
he claims that, paradoxically, the greatest difficulties would occur with
the understanding and "deciphering" of the Greek motifs.
Tomasz Żukowski
May I be Consumed by Fire Like a Wood Shaving Ablaze in the Bre­
ath of the Night. The Occupation-era Experiencing of the World in the
Poetry of К. K. Baczyński
Poems by Baczyński are treated as a record of inner experience, orga­
nised around two images: the archetypical plenitude and its distorted

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contradiction, which paradoxically becomes the lot of the warrior strug­
gling for the national cause. This fullness is closely connected with the
gift of poetry, and is expressed in mythical landscapes. The rejection of
Arcadian images, visible in the Baczyński poems, is caused by progres­
sing self-cognition, in which the armed deed reveals its dual, ironic natu­
re. A battle undertaken in the name of defending the idea of the fullness
of humanity turns into its contradiction. The place of Arcadia is assumed
by the Inferno. Enclosure in exit-less space, the futility of gTace, and apo­
calyptically deformed bodies are signs of squandering the image of per­
fection and ensuing self-hatred. In this context, death loses the dimension
of the gateway of transcendence, and can become mere nullity which
frees from suffering.
Lech Sokół
Henrik Ibsen—a Personal Myth
The works of Ibsen are universally and unambiguously associated
with common sense and realism, an attachment to the concrete and the
detail, the emancipation of women, a struggle for the sake of truth in
individual and collective life, as well as religious and political libera­
lism. The author of the article shows how those conceptions concerning
Ibsen as a writer remain incomplete and, to a considerable degree, fal­
se. By applying the term "personal myth" (only partially concurrent
with conceptions expounded by psychoanalysts), the author is intere­
sted in the experiences and mythical places which possess essential si­
gnificance for Ibsen: imagery, which accompanied him, motifs of his
thought and works, and, finally, moments of illumination in contact
with nature and art.
The departure for Italy exerted a foremost impact on the intellectual
development of Ibsen. This contact granted the arrival from the distant
northern province profound liberation from the traumatic aspects of Nor­
wegian experiences as well as spiritual enlightenment, and rendered po­
ssible a transition to a prominently different phase of creativity.
Dariusz Czaja
Tuscany. Three Journeys
The author proposes a detailed characteristic of three descriptions of
journeys to Tuscany made by Pavel Muratov, David Herbert Lawrence
and Albert Camus. Emphasis is placed on the similarity and differences
of perception in texts representing different genres. Reflections on Tusca­
ny are situated within the Arcadian myth of Italy, which has a long Euro­
pean tradition. The author demonstrates its steadfastness in descriptions
by Muratov and Lawrence, and partial destruction performed in the re­
marks by Camus. The closing part of the study considers the possible exi­
stence of a myth of Tuscany as a "realised Paradise", a land of aesthetic
and existential harmony, within contemporary culture and reflections
marked by wartime trauma.
Marzena Gierga
Syracuse—The Town of Great Women (Part I)
Syracuse is a town created by deities, saints, historians, travellers,
apologists, theologians, photographers, and, primarily, its own residents.
It comprises a phenomenon located above a division into an urban and
social subsystem, an area of eloquent meanings, a space for the realisa­
tion of concrete and specifically identical attitudes.
The metaphorical, mystic-symbolic space of Syracuse is that of three
women. This is the birthplace of Artemis, the refuge and site of the eter­
nal rest of Arethusa, and the town of the birth, life and martyrdom of Lu­
cia. By demonstrating the constant presence of the patron in the life of
the city, which provokes assorted forms of group imagery, a process of
rendering space mythical, and a creation of a world of values shared by
its residents, Syracuse gains new meaning. It appears as a town of light,
a land of purity, saintliness and glory, a city of luminescence and joy. Its
topography is superimposed upon that of its inhabitants, and vice versa,
while observed behaviour is granted a double meaning, and comprises an
example of the observation of a distinguished place, but also of a trans­
formation of a myth into a ritual, frequently without social awareness. Its
outcome assumes the form of the specific dramaturgy of the everyday l i ­
fe of the population of Syracuse, whose sense of existence is restricted to
an encounter with the three patrons, advocates, guides and friends, a fact
which entitled the author to describe it as "the town of great women".
The presented cult of St. Lucia is more of a cult of her image than the
worship of a saint, while a version of the hagiographic legend becomes
a reference to a myth. That what, at first glance, appears to be contradic­
tory, is encountered on the ethical level of a symbolic structure. By refer­
ring to an analysis of the fundamental structure of those transmissions,

with different contents but similar form and meaning, the author demon­
strates the symbolic continuum of elements characterising Syracuse
across the ages. The point of departure for such journeys was the ascer­
tainment of the "strangeness" of this place, disclosed by the omnipresent
cult of St. Lucia and her pagan companions in assorted aspects of cultu­
re. Their outcome assumed the form of a co-existence of the literary-me­
taphorical topos of Syracuse and its real, magical-ritual counterpart.
Jerzy Wojciechowski
The Sketchbook of Jan Potocki from His Journey to the Moroccan Em­
pire
Count Jan Potocki (1761-1815) was a man of many talents, endowed
with extraordinary intellectual temperament, and a highly original erudi­
te. Although associated primarily with the excellent novel The Saragossa Manuscript (written oryginally in French), it seems worth remembe­
ring that the legacy of this researcher and traveller contains notes and dra­
wings from his journeys. The author discusses a heretofore unpublished
sketchbook dating from a journey to Morocco, made in 1791. The origi­
nal is to be found in the Illustrations Room of the Warsaw University L i ­
brary.
Marta Miskowiec
Kano. Dreadful Heat, Exhaustion and Dust
The author invites the reader to visit the Nigerian town of Kano; the
Berbers claim that it is one of the three towns in Africa (next to Fez and
Cairo) about which it could be said that "there is nothing in the world that
could not be found here". Historical information is accompanied by the
impressions and emotions of the author, which become part of her "pri­
vate mythology", and reveal a strange, magical, alien but, at the same ti­
me, curiously attractive town.
Jarosław
jot-Druiycki
The Town, its Curiosities and their Collectors
This essay examines the urban Tourist, whom the author calls
"a collector of town Sehenswurdigkeiten" (German: things worth see­
ing, curiosities), and his peculiar manner of viewing the world via po­
ssessions. Drużycki cites the words of Edgar Morin: "The purchase of
a few symbolic objects, known as souvenirs, such as miniature towers
of Pisa [...], an ashtray [...] enables him [the tourist] to magically po­
ssess Spain or Italy". The object of the collection is the nostalgic "am­
bience of a city", produced for tourist purposes; hence, an important ro­
le is played by the "mystic, cult town", which emerged in "high" or po­
pular culture, a town "for a fleeting moment", a destination of contem­
porary peregrinations.
Sławomir Sikora
In Lisbon as in a Village
Images of the town in the film Lisbon Story by Wim Wenders do not
depict the titular town as an ordinary, conventional tourist site. It would
be difficult to find picturesque vistas or places associated with the ci­
ty's history (churches, castles, monuments). The director creates an in­
dividualised vision of an archaic lane, a "village", one of whose sources
might be the works of Fernando Pessoa. An even more important cause
of such an operation could be an attempt to portray Lisbon as mythical,
paradisiacal city, where time stands still, a town "withdrawn" in time.
The author presents examples testifying to "archaisation"(both of Lis­
bon and Portugal), and although its justification could be sought in a j o ­
urney into "the history of the cinema" (the film was made upon its hun­
dredth anniversary), an even more significant pretext would be the allochronic discourse about the other ("anthropology is a science of other
men in another time"), and its distance both in space and time, which,
according to J. Fabian (Time and the Other), is universal in anthropolo­
gical description (although.evidently, not only). The author claims that
by creating the image of Lisbon-Eden, Wenders conceives a nostalgic
town of "our" childhood, a village, a paradox of a place that one would
not so much want to visit as to return to. An integral part of the article
is also a discussion on the connection between sound and image in the
examined film.
Jan Gondowicz
Cartography and Certain Writers
Old maps have something in common with recorded hallucination.
The author indicates the connections between literature and journeys,
and suggests that a study on Cartography and Certain Authors still rema­
ins unwritten. The perspective of this sketch should favour books, whose
plot is composed of the journey. The author mentions several examples
that could act as milestones in this endeavour; unfortunately, the only Po­
lish author would be Jan Potocki, with his The Saragassa Manuscript.

Marek Oziewicz (Part I)
What's so to be Found in Wardrobe? Parallel Worlds of C. S. Le­
wis's Chronicles ofNarnia
The autor attempts to analyse parallel worlds describes by Lewis in
his Chronicles of Narnia and focuses particularly on the issue of passa­
ge from one world to another Having initially classified "other realities"
of the Chronicles into secondary and parallel worlds, the author concen­
trates on their status and characteristic features of their spatiotemporality. Attention is then drawn to magic places in which parallel realities
overlap or cohere which broad background allows to examine the mecha­
nics of the characters' passages from one world to another. This done in
the light of Eastern (and partly medieval) theory of the elements: space,
air, fire, water and earth.
In the main part of his work, the author proposes a classification of all
instances of passage between different worlds present in the Chronicles
into four categories: direct volitional, indirect volitional, direct nonvolitional and indirect nonvolitional. The division between volitional and nonvolitional passages is constructed upon the feelings which present themse­
lves to the characters during the procedure of passage, whereas the divi­
sion between direct and indirect ones—upon mutual relationship of the
worlds between which the passage takes place. Drawing on examples
from the Chronicles, the author endeavours to substantiate his thesis ap­
plying in his analysis the technique of gradation of sensory impressions
Krystian Ыра
Mythical Places and Journeys
We publish two fragments from a diary by Krystian Lupa, the accla­
imed theatrical director. Both texts are connected with journeys: the first
refers to travelling to a place connected with childhood, as well as the
oneiros-like journey; the second is a reflection predominantly on space
and travelling in Stalker, the film by Andrei Tarkovsky.
Grzegorz Graff
Miracles of Poland—Mythical Space, Mythical History
Miracles of Poland is the title of more than ten volumes in a popular
series about Polish historical and geographical lands and famous towns.
The series was published in the inter-war period and written by renowned
and highly regarded authors, who in a colourful and light manner descri­
bed the past, national heroic deeds, and ethnographic and geographical
curiosities. In this unique panopticon, the attention of the anthropologist
is drawn to the frequent abuse of nature and history, envisaged in a mythi­
cal manner. The varied group of symbols, stereotypes and romantic myths
contained in the analysed texts compels to justify a truth fundamental for
Polish history—the existence of a certain territory ascribed and offered by
nature to the Poles, who only here can live happily and prosperously. The
presented article is an attempt at outlining the area of cultural memory in
which the texts of the discussed series could come into being.
Maciej J. Dudziak
The Ethnographies of Bruno Schulz. An Attempted Anthropological
Interpretation of The Crocodile Street as an Analysis of the Town
The author attempts to treat the belles lettres as a source of ethnogra­
phic knowledge; with this purpose in mind, he analyses 77!? Crocodile
Street, a novel by Bruno Schulz. Dudziak performs a formal operation in­
tent on spanning a bridge between the belles lettres and scientific litera­
ture, in an attempt at seeking arguments which would remain in formal
agreement with the principles of interpretative anthropology proposed by
Clifford Geertz. In doing so, the author postulates that the source of eth­
nographic knowledge (in this case, the Schulz novel) does not necessari­
ly have to become the material of an analysis, which, after having rejec­
ted its literary nature as the "product of the writer's imagination", beco­
mes "useful" for ethnographic analysis/interpretation; already in itself,
this source offers a sui generis ready anthropological interpretation, ren­
dered more profound by means of additional cultural reflection. In this
manner, by making loose reference to the textualism of James Clifford,
the author opts for granting ethnography the privilege of a possible con­
scious participation in literature as such.
Albert Bajburin
Semiotics Aspects of the Functioning of Objects
The article discusses—in the form of general theses—select pro­
blems concerning the pragmatic of objects in archaic and traditional so­
ciety. The author accentuates the fact that man is constantly engaged in
defining the semiotic status of the objects surrounding him. This attitude
discloses itself in particular in commonly held conceptions about the si­
gnificance and prestige of a given object, i.e. its capability to symbolise
something much more important. The process of determining semiotic
status is automatic and, as a rule, takes place at the level of the subcon-

221

sciousness. An example of a different assessment of the semiotic worth
of an object can be a scheme of the distribution of the elements of cultu­
re between two spheres of "material" and "spiritual" culture. This fact te­
stifies that objects are ascribed a different semiotic status. At the same ti­
me, however, emphasis must be placed on the fact that in this case we de­
fine a certain "normative" semiotic status, which is composed of the ap­
praisals of our experiences in operating with this variety of objects. The
author examines closely the semiotic aspect of the functioning of the ob­
ject by basing himself on a study by P. G. Bogatyniew about the functions
of the folk costume.
Stanisław Cichowicz
Zeno's Koan
In his History of Philosophy (vol. I I , section 2, chapter 2) G. W. He­
gel comments on an anecdote whose protagonist is the stoic Zeno, and
which is cited by Cicero in Academic Books (IV 47); its theme is a les­
son given to readers and listeners with the aid of the movements of the
master's hands, and concerning the essence of impression, experience,
conception and knowledge. Without delving into a discussion on the faul­
tless commentary by Hegel, it is possible to perceive in the gestures and
words of Zeno that which Buddhist teaching describes as Koan, i . e. a co­
nversation between a master and monks, the stating by the teacher of
a certain truth in the presence of his pupils, and then presented to them
by means of a puzzle in a manner not always discursive, but one which
compels to intense meditation. An account of such an event is then intro­
duced into the tradition of teaching for the purpose of uplifting and illu­
minating future students, as in the case of Cicero and Hegel, unaware of
the Buddhist paradigm of Zen.
Jerzy S. Wasilewski
The Secret History of Objects
This article is an attempted reconstruction of the fate of things, and,
simultaneously, the people who handled them. Looking at an object di­
splayed in an ethnographic museum, the visitor will not find out anything
about its fate, past history and meaning for the people who possessed i t —
"from the producer to the collector, who took it from its own context and
installed it into his own, granting new meanings and endowing with new
emotions".
Wasilewski reconstructs the presumed path of "three disks", which
he purchased years ago at a bazaar in Uhlan Bator. The first is a copper
medallion-coin with a Russian two-headed eagle, the date 1863-1864
and the inscription " Za usmirenie pol'skago miatezha" (for stifling the
Polish rebellion). The second is a coin with a square opening in the cen­
tre, which, after being excluded from circulation, served as a weight, to
which tufts of sheep fur were attached, creating a pompon used for play­
ing "tebek", a game consisting of kicking it into the air as long as possi­
ble without interruption. The last mysterious disk, of unknown usage, is
made of jade: "the extreme ascetic quality of the object could serve the
personification of abstract values: the ideal, the absolute, transcendence".
Objects force us to think about eternity in both directions—the future,
longevity, and the past, eternity.
To be or to have? "To have" (a collection of objects) carries the same
spiritual value as "to be" (a collector of objects).
Leonid Stolowicz
The Mirror as a Semiotic, Epistemological and Axiological Model
In its capacity as a universal instrument, the mirror conceals astoni­
shing properties. It reflects the real world and creates its supra-real, illu­
sory counterpart. The "looking-glass" (L. Carroll) reflects and transforms
reality. The left side becomes the right. Mirrored reality creates a sym­
metrical supplementation of the reality found on the other side of the mir­
ror. The article comprises a brief discussion of the motif of the mirror in
literature, art, philosophy and culture in general, including its mythologi­
cal functions.
Yuriy Tsivyan
The X-ray, Surgery and the Microscope in the Semiotics of the Ear­
ly Cinema
The author discusses the coexistence of the titular inventions with the
cinema, which, nota bene , originated in 1895, the same year as the X ray
The Operation by Doctor Doyen (1898), Le dejeneur du savant (1905),
in which a scholar eats his breakfast while simultaneously examining it
under a microscope, or the film about the reaction of red corpuscles to the
Reirich and Commandone microorganisms, all shown at fairs, comprised
an unveiling of the "invisible world".
Tsivyan concludes that the depicted inventions undermined the cultural-semiotic equilibrium between presentation and its object. The inven­
tions signified transcendence beyond the boundaries of everyday semio-

222

sis. By becoming part of the situation of a screening, the X ray and the mi­
croscope signified a limit beyond which "life as it is" transforms itself in­
to a spectacle of death.
Tomasz Rakowski
The X-rayed Body—the Magic of Radiography
The essay deals with the concept of the human body obtained thanks
to circulating X-rays or other medical examinations. The very attainment
of such an image is embroiled in the mythological Journey, crowned
with winning an Object that offers insight into that what is concealed,
and in a Place which is not quite of this world—I have in mind The Ma­
gic Mountain by Thomas Mann. It is not surprising that the attitude of
the author's interlocutors to images of their interiors is frequently irratio­
nal. The X-ray is also a point of departure towards a different manner of
thinking about our body, and an experiencing of its presence in a way
whose merits can be discovered in F. Bacon and U. Merlau-Ponly. Quite
possibly, it produces associations leading in an entirely different direc­
tion.
Magdalena Radkowska
The Object, the Journey and the Mythical Place
This attempt at a description of cyberspace and the Internet refers to
literature. Apparently, new phenomena in our culture, associated with the
computer, have much in common with 77ie Crocodile Street and Cinna­
mon Shops by Bruno Schultz, who described a possible, imaginary reali­
ty, which the computer net endows with shape and well-defined images.
Cyberspace can be perceived within the wide context of eternal human
strivings, dreams and visions. Strolling, travelling, sailing and surfing are
the most frequently encountered terms used to describe movement in the
Internet. Are they merely simple metaphors or do they conceal actual si­
milarity to true sea and land expeditions? Is the computer only a techni­
cal instrument, an alternative to reality, or does it render assistance in the
realisation of that which is proposed by the imagination? Those are the
questions which the author tries to answer by resorting to descriptions of
relations between man, his dreams and longings, on the one hand, and cy­
berspace, on the other.
Maciej J. Dudziak
Micro-and Macro Markets. Sketches from the Anthropology of
a Confrontation
With the assistance of a comparison of two types of functioning mar­
kets, situated within two different contexts, the author tries to capture
their specific cultural atmosphere. Upon the basis of observations con­
ducted in a small-town market and its environs, the author contrasts its
openness, clearly outlined social roles and "culture-creating" role with
the large-town supermarket, its anonymity, high level of specialization,
the obliteration of social roles and extra-territorial nature.
By means of a comparative analysis of both types of markets, the au­
thor tries to construct a metaphor of present-day culture based on non-ho­
mogeneity, opposition and a multitude of applied models of behaviour
Magdalena Radkowska
Direct Sale on a Visit
This mini-tale contains copious footnotes about the sale of cosmetics
at home. The author proposes a attempt at an anthropological explanation
of ways to influence clients and entice them to buy a product, as well as
advertisement and manipulation. Emphasis is placed on problems con­
nected with the body and the relation towards it in contemporary culture
Shop on Maisel Street, by M i с h a 1 A j v a z, the Czech wnter and
poet is a fragment of his novel (under the same title).
Krzysztof Cibor
The Walkman. A History of a Certain Transmitter—the Present of
a Certain Transmission
The transmitter mentioned in the text is the popular portable cassette
player. The author proposes an outline of its history without delving into
technological details or following every step of the road pursued by man­
kind in order to create this simple device. The text rather throws light on
the cultural context in which the "walkman" could come into being as
a unique phenomenon. This context has place for, i . a. the poetics of the
video clip, concrete music, Igor Stravinsky and psychiatric drugs.
Wiesław Szpilka
Bicycle, Skis, Boots
The mountain bike, skis and hiking boots can become the objects
of fashion and "trendiness", but in this text they interest the author as

totally asymbolic objects which not so much provide food for thought
as radically force us to face the truth. They co-create a new existence
and constitute a condition for initiation, a different perception of rea­
lity.
Tomasz Rakowski
Three Months in a Fitness Club.
The History of Order, its Malady and the Unknown
This essay attempts to formulate a response to the fashion of body
building, and all types of fitness exercises, to which the author himself
succumbed. The building of a harmonious body is connected with a qu­
est for Pythagorean hidden proportions, a certain ideal harmony. Practi­
ces associated with the "modern" body also serve the purpose of subju­
gation. This image disappears in the very pursuit of a discipline, and in
its stead there emerges frantic activity which no longer recalls its target
and follows quite unrealistic paths. Such fierceness and a growing sequ­
ence of dichotomy and unconquerable aporia incline towards a search for
the Greatest equal to the Smallest, That what is neither This nor That, and
Nullity, where all aporias lose their raison d'etre.
Tomoho Umeda
In The electric guitar, Umeda describes the history of this musical in­
strument and its significance for contemporary culture, treating the gui­
tar as a pretext for contrasting two eras in music—rock and post-rock.
Zuzanna Grebecka-Cwiek
A Lifelike Nail? An Equine Dose of Hyperrealism
The presented description and analysis deal with two objects: a con­
crete cast of an Arab horse, which is a sui generis garden sculpture, and
a stuffed horse, which comprises one of the elements of a diploma work
presented by Katarzyna Kozyra at the Academy of Fine Arts in Warsaw.
The common feature of both inanimate objects is the fact that the artists
intended them to appear "lifelike". The author draws attention to the dif­
ferences between the two realisations. The garden sculpture aims at hy­
perrealism; it deceives in the hope that deceit will become truth. The
"sculpture" devised by Kozyra is situated in an opposition between life
and death: the once living and now stuffed horse was, according to the ar­
tist's premises, to inspire reflection on death and killing.
Dorota Hall
A Pilgrimage to the Old-New Holy Land
The article discusses the journey made by persons connected with the
New Age Movement. By disregarding geographic distances, the contem­
porary world accentuates the destination rather than the journey itself.
The author thus limits herself to a description (initial, and not supported
by conscientious studies) of the destination of pilgrimages undertaken by
supporters of New Age, and writes about places which they recognise as
holy. The latter include ancient cultural centres and regions situated w i ­
thin the range of the impact of a strong electromagnetic field. The special
properties of the site do not have to be linked exclusively with its geogra­
phic location—the very contacts with transcendence generate, or at least
enhance holiness.
Anna E. Kubiak
Dirty Teddies of Pure Relations, or on Nostalgia in Culture
The titular teddy bears are part of the paradigm of nostalgia in cultu­
re, which the author describes upon the example of a flea market. Trea­
ted metaphorically, it reflects the situation of contemporary culture, who­
se characteristic features include detraditionalisation, a mixture of cultu­
res, and the incessant process of the transition of artifacts between gen­
res and traditions. The flea market, envisaged as a metaphor, expresses
also a certain vision of culture described by, e. g. Clifford, Rosaldo, Ricoeur and Steward, which opposes the vision presented by the metaphor
of the museum and the supermarket. The text considers motifs of nostal­
gia in culture as well as in the anthropology of culture itself by referring
to the example of a discussion about the New Age exploitation of tradi­
tion.
Krzysztof Lipka
"Shrukoy" (Szrukoj)
This is a journey to the history of the perception and imagination of
a child. The titular word, heard by the author in a lullaby sung to him du­
ring his childhood (text: M . Lermontov) appeared to be repelling and ter­
rifying. Subsequently, childish imagination ascribed it to a mysterious
object discovered among household brie a brae (reproduced in the dra­
wing). Only much later did the author find out the purpose of this puz­
zling object and the origin of the strange and rough-sounding shrukoy,
produced by a fusion of Russian words.

Irena Huml
The Culture-creating Role of the Academy of Fine Aits in Warsaw in
the Town and on a National Scale. Select Problems.
Inauguration Lecture at the Warsaw Academy of Fine Arts. Academic
Year 1998/1999.
Krystyna Duniec
Ibsen in Television Theatre
In spite of the fact that contemporary manners are so different from
the reality of Ibsen's plays, it does not invalidate the plays themselves.
Television in particular makes them manifest their accuracy and attracti­
veness to the modern audience. T V Theatre is in Poland a very special
and quite exeptional "institution". For more then forty years now it gives
its premieres for the largest possible audience every Monday at 8 p.m. on
Channel 1. The most prominent Polish theatre directors and actors work
for TV Theatre. This seems to decide about the unquestionable success
of "Shakespeare of the North" on TV. Ibsen, considered as the playwri­
ght of the actor, provides modern theatre with great, realistic parts. And
so his plays satisfy traditional expectations of T V audience, who de­
mands classical, already verified plays in realistic productions compati­
ble with the realistic medium of television, presented by the best actors,
who otherwise would not appear in the province of Poland.
The variety of moral attitudes as presented in his plays, the timeless
truth of emotions and defending of individual identity make Ibsen an
exeptional TV playwright. Polish contemporary drama involved in poli­
tics provides us with flat characters deprived of any individual traces. At
the same time T V Theatre willingly stages Ibsen's plays (in the 80s and
90s there were for example: Rosmersholm, Hedda Gabler, A Doll's Ho­
use, John Gabriel Borkman) casting stars and proving that even in the t i ­
mes when the majority of the artists look everywhere for immediate po­
litical contexts, it is still worth to remind certain basic human problems
and search for truth in culture and philosophy. T V productions which in­
vite Ibsen from his oldfashioned parlour to the setting of film studio or
railway station, give a chance to pzerceive psychological, existential and
social attractiveness of Ibsen's ideas.
Elżbieta Waga
Eternal Iconosophy
In June 1997 the Kordegarda Gallery in Warsaw featured an exhibi­
tion of works by the Cracow-based artist Tadeusz Gustaw Wiktor. Altho­
ugh his paintings did not stir my imagination, the enormous graphicworks, at first glance somber, but actually pulsating with an inner light,
made a tremendous impression. The latter feeling soon changed into mar­
ked distaste once I reached for fragments of the theoretical declarations
made by the artist, presented in the exhibition catalogue; this holds true
especially for the text entitled Eternal Iconosophy as Cognition via Pa­
inting. In grandiloquent and excessively knowledgeable terms Wiktor ou­
tlines his conception of art as Eternal Iconosophy, conceived as one of the
offshoots of Eternal Philosophy. More, he describes himself as an Iconosopher, pursuing "absolute painting", whose "cognitive-meditative 'tar­
get' is the expression of the Absolute by means of painting". My own re­
flections on the absurdity of a literal translation of theoretical concep­
tions (which in Wiktor's case bear the symptoms of inner weakness) in­
to creative activity coincided with the freshly read and magnificent book
by Prof. Wiesław Juszczak Fragmenty [Fragments]. Within the context of
the discussed exhibition, which is basically an interesting confrontation
of the theoretical and artistic statements made by Wiktor, three theses
contained in Juszczak's deliberations on art appear to be particularly im­
portant and apt:
- "art is self-restricting, since it assumes reflection about itself;
- "the content of symbolism is embedded in the artwork regardless
of the symbolic sense intentionally inscribed within it";
- it is impossible to transgress art; true, it comprises a striving to­
wards that which is uncognizable, but can lead us only to a certain boun­
dary not to be crossed.
In this issue, we begin to publish Diary of 1914 by B r o n i s ł a w
M a l i n o w s k i (the immediate continuation of which is A Diary in the
Strict Sense of the Term); at the same time, we continue the presentation
of his earlier Diaries. The issue also includes an article by D a n i e l
G e r o u 1 d, an outstanding expert on Stanisław Ignacy Witkiewicz (pa­
inter, man of letters, philosopher and photographer), entitled Witkacy's Journey to the Tropics: a Ceylonese Itinerary, a detailed reconstruc­
tion of the journey made by Malinowski and Witkiewicz (Witkacy) to
Australia. Learning about the outbreak of the first world war, Witkacy re­
turned home, while Malinowski continued on his way to the Trobriand
Islands, which, to cite his own words, were to turn him into a Joseph
Conrad of anthropology.

223

NOTY O AUTORACH
Michał Ajvaz - ur. 1945 w Pradze, prozaik, poeta, krytyk i eseista czeski. Ukoń­
czył studia na Wydziale Filozoficznym Uniwersytetu Karola. Imał się
później różnych zajęć: byt robotnikiem, nocnym stróżem, dozorcą i pracow­
nikiem analizującym jakość wody. Od 1996 r. pracuje jako redator tygodni­
ka „Literami noviny". Zadebiutował tomem wierszy Morderstwo w hotelu
..Intercontinental" (1989). Dobiut prozatorski to tom opowiadań Powrót sta­
rego warana (1991). Pierwsza i jak dotąd jedyną powieścią Ajvaza jest Inne
miasto (1993). Ostatnio ogłosił Turkusowy orzeł (1997). Polskie przekłady
prozy i poezji drukował w licznych pismach, m.in. „Fraza", „Krasnogróda",
„Kresy", „Zeszyły Literackie".
Albert Bajburin (ur. 1947) - ukończył filologię rosyjską na Uniwersytecie
w Tartu (Estonia) w 1972. Habilitował się w 1995 r. Pracownik naukowy In­
stytutu Etnografii Rosyjskiej Akademii Nauk. Autor szeregu prac z zakresu
semiotyki kultury ludowej. Wydal m.in. książkę Żiliszcze w ohriadach
i priedstawlieniach wostocznych słowian. Leningrad 1983. „Polska Sztuka
Ludowa" (nr 3/1990) opublikowała W sprawie opisu struktur słowiańskio
tuału budowniczego.

ry­

Zbigniew Benedyktowicz - antropolog kultury, redaktor „Kontekstów". Kie­
rownik Pracowni Antropologii Kultury, Filmu i Sztuki Audiowizualnej. Au­
tor prac z zakresu wyobraźni symbolicznej i antropologii współczesnej m.in.
książki (z Danutą Benedyktowicz) Dom w tradycji ludowej. Wrocław 1992 .
Krzysztof Cibor - student KEiAK UW
Stanisław Cichowicz - filozof, tłumacz, edytor, poeta, artysta. Autor książki Fi­
lozof i istnienie. U podstaw teodyceii G. Leibniza, PWN 1970, Est modus in
Rebus, Tow. Muzyki Współczesnej 1987, Moje ucho a biężyc.
Diagnozy

i dywagacje, Wyd. Słowo, Obraz i Terytoria 1996, Czy można
rzepak? 67 haiku, Wyd. BWA

przesadzić

1996.

Jurij Cywian - historyk kina z wczesnych etapów rozwoju, absolwent anglisty­
ki uniwersytetu w Rydze, pracownik naukowy Instytutu Folkloru, Literatury
i Sztuki Łotewskiej Akademii Nauk, współpracownik tartusko-moskiewskiej
szkoły semiotyki kultury. Opublikował m.in. Istoriczeskaja recepcija kino.
Kiniematograf w Rossiji IH96-I930, Riga 1991, Dialog s ekranom, Talinin

1994 (wraz z J. Łotmanem). Obecnie wykłada na Uniwersytecie Kalifornij­
skim (Los Angeles).
Dariusz Czaja - etnolog, studia UJ. Napisał pracę doktorską o symbolu w fil­
mie. Pracuje w Instytucie Etnologii UJ i w redakcji „Kontekstów". Redaktor
książki Mitologie popularne.

Witold Dobrowolski - pracuje w Muzeum Narodowym, gdzie kieruje zbiorami
sztuki antycznej, profesor Uniwersytetu Warszawskiego w Instytucie Arche­
ologii; specjalizacja ceramika grecka i sztuka etruska. Autor licznych artyku­
łów oraz książek: Sztuka Etruska (PIW), Malarstwo etruskie (PIW), Mity
morskie antyku (PWN).

Jarosław jot-Drużycki - przygotowuje pracę magisterską w Katedrze Etnologii
UW. Redaktor pisma poświęconego kulturze miasta „KurWar". Zajmuje się
antropologią miasta. Pracuje w „Kontekstach".
Maciej J. Dudziak - student etnologii na Uniwersytecie Adama Mickiewicza
w Poznaniu.
Krystyna Duniec - adiunkt w Zakładzie Teatru Instytutu Sztuki PAN. Autorka
rozpraw i artykułów z zakresu historii teatru i teatru współczesnego, książki
Kaprysy Prospera. Szekspirowskie inscenizacje Leona Schillera.

Daniel C. Gerould - profesor City University of New York, historyk literatury
i teatru, komparatysta i tłumacz. Wykładał w różnych uniwersytetach amery­
kańskich i europejskich, m.in. w Uniwersytecie Warszawskim (anglistyka).
Autor wielu publikacji dotyczących literatury, dramatu i teatru amerykań­
skiego i europejskiego, tłumacz, wydawca i komentator Witkacego, autor
książki Witkacy. SI Witkiewicz as an Imaginative Writer (1981, wyd. pol.
Stanisław Ignacy Witkiewicz jako pisarz, 1981). Ogłosił m.in. Galant and Li­
bertine. Eighteenth-Century French Divertissement and Parades (1983), Do­
ubles, Demons and Dreamers. An International Collection of Symbolist Dra­
ma (1985), Guillotine. Its Legend and Lore (1992, wyd. pol. Historia giloty­

ny, 1996). Tłumacz Przybyszewskiego i Micińskiego, wydawca „Slavic and
East European Performance. Drama, Theatre, Film".
Marzena Gierga - etnolog (studia UJ). Studia doktoranckie w Instytucie Etno­
logii UJ; przygotowuje pracę doktorską poświęconą związkom antropologii
z historią i literaturą w oparciu o Kroniki włoskie Stendhala. Dwukrotna sty­
pendystka do Wioch, staż w Instytucie Antropologii Kultury w Sienie.
Jan Condowicz - krytyk, tłumacz, wydawca, współpracownik „Tygodnika Po­
wszechnego"; wydal m.in. Marmur Josifa Broskiego, Słownik komunałów
Gustawa Flauberta, Zoohgię fantastyczną uzupełnioną. Mieszka w Warsza­
wie.
Grzegorz Graff - etnolog (absolwent UJ). Pracuje w Muzeum Etnograficznym
im Seweryna Udzieli w Krakowie.
Zuzanna Grebecka-Ćwiek - studentka KEiAK i MISH UW.
Teresa Grzybkowska - historyk sztuki o wszechstronnym dorobku i zaintereso­
waniach, założycielka i dyrektor Zakładu Historii Sztuki w Gdańsku, profe­
sor Uniwersytetu Gdańskiego. Autorka licznych wystaw, min. wystawy
Świat Obrazów

Jacka Malczewskiego (Kraków 1996, Radom 1997) i Aurea

Porta Rzeczypospolitej (Gdańsk 1997).
Dorota Hall - studentka KEiAK UW
Zbigniew Herbert - (t 1998) jeden z nawybitniejszych poetów polskich: autor
min. takich zbiorów wierszy Elegia na odejście,

Hermes, pies i gwiazda.

Struna światła. Raport z oblężonego miasta, Rovigio, oraz zbiorów esejów
0 kulturze i sztuce Barbarzyńca w ogrodzie i Martwa natura z wędzidłem.

Maria Janion - historyk literatury i historyk idei, krytyk literacki. Profesor IBL
PAN, wykładowca na UW. W latach 1956-89 zajęcia w WS Pedagogicznej
w Gdańsku, a następnie na Uniwersytecie Gdańskim. Opublikowała m.in.
Zygmunt Krasiński, debiut i dojrzałość (1962), Romantyzm. Studia o ideach
1 sylu (1969), Romantyzm. Rewolucja. Marfaizm. Kolokwia gdańskie (1972),
Hermeneutyka. Poznanie i terapia (1974), Gorączka romantyczna (1975),
Literatura wobec wojny i okupacji (1976), Odnajdywanie znaczeń (1980),
Seria Transgresje. Czas formy otwartej; Wobec zla (1989), Życie
pośmiertne
Konrada Wallenroda (1990), Projekt krytyki fantazmatycznej (1991), Czy bę­
dziesz wiedział, co przeżyłeś; Kobiety i duch inności (1996), Płacz generała.
Eseje o wojnie (1998).

Agnieszka Kamińska - studentka KEiAK UW
Anna E. Kubiak - antropolog kultury, adiunkt w Instytucie Filozofii i Socjolo­
gii PAN. Autorka pracy na temat ruchów religijnych p.t. Delicje i lewa ręka
Kryszny (IFiS, Warszawa 1997). Prowadzi badania nad holistycznymi idea­
mi i praktykami (New Age).
Zygmunt Kubiak - filolog, znawca kultury antycznej, eseista, tłumacz; tłuma­
czył m.in. Wyznania św. Augustyna, Eneidę Wergiliusza, poezję angielską
i nowogrecką, (m.in. pełne wydanie przekładów poezji Kawafisa), wydal
ostatnio: Przestrzeń
dzieł wiecznych (1993), Kawafis Aleksandryjczyk
(1995), Brewiarz Europejczyka (1996), Mitologia Greków i Rzymian (1997)

- ta ostatnia byta nominowana do Nagrody NIKE (zwyciężyła w plebiscycie
czytelników).
Grażyna Kubica-Heller - jest pracownikiem Zakładu Antropologii w Instytu­
cie Socjologii UJ. Jest autorką książki Luteranie na Śląsku Cieszyńskim oraz
wspólredaktorką tomu Malinowski Between Two Worlds, CUP 1988. Intere­
suje się problematyką mniejszości religijnych oraz biografią i twórczością
Bronisława Malinowskiego. Mieszka w Krakowie i Ustroniu.
Krzysztof Lipka - muzykolog, historyk sztuki, literat; autor powieści filozoficz­
nej Pensjonat Barataria; redaktor w Polskim Radiu BIS.
Krystian Lupa - ukończy! grafikę na Akademii Sztuk Pięknych w Krakowie
i Reżyserię Teatralną w Wyższej Szkole Teatralnej w Krakowie. Reżyser
w Teatrze Starym w Krakowie (1978-1998). Początkowo specjalizował się
w utworach Witkacego i Gombrowicza, a następnie w literaturze niemiecko­
języcznej kręgu austriackiego (Musil, Broch, Bernhardt, Rilke), którą niejed­
nokrotnie sam tłumaczył i adaptował na scenie. Profesor Państwowej Wy­
ższej Szkoły Teatralnej w Krakowie na wydziałach aktorskim i reżyserskim.
Marta Miskowiec - absolwentka etnologii UJ. Pracuje w Muzeum Fotografii
w Krakowie
Marek Oziewicz - anglista, literaturoznawca, absolwent Instytutu Filologii An­
gielskiej we Wrocławiu. Obecnie doktorant 1FA Uniwersytetu Wrocławskie­
go, przygotowuje pracę doktorską na temat Kronik narnijskkh CS. Lewisa.
Andrzej Pilichowski-Ragno - absolwent filologii polskiej (UJ), fotograf, czlo
nek SPAF
Magdalena Radkowska - studentka KEiAK i polonistyki UW.
Tomasz Rakowski - student KEiAK UW i Akademii Medycznej w Warszawie.
Sławomir Sikora - etnolog (studia UW). Zajmuje się antropologią filmu i foto­
grafii.
Lech Sokół - docent w Instytucie Sztuki PAN, zastępca dyrektora ds. nauko­
wych, wykładowca Akademii Teatralnej w Warszawie, historyk dramatu i te­
atru, komparatysta. Autor publikacji o Witkacym, Strinbergu i Ibsenie, m.in.
Groteska w teatrze S. I. Witkiewicza (1972), August Strinberg (1981), Witka­
cy i Strinberg: dalecy i bliscy (1995).

Leonid Stołowicz (ur. 1929) - ukończy! filozofię na Uniwersytecie w Leningra­
dzie (1952), habilitował się w 1965 г., kierownik katedry filozofii na Uniwer­
sytecie w Tartu. Autor licznych prac estetyki.
Wiesław Szpilka - etnolog (studia UJ), studia doktoranckie w Instytucie Sztuki
PAN, pisze pracę doktorską poświęconą etnologicznej interpretacji kultury
masowej. Mieszka w Kościelisku.
Tomoho Umeda - student KEiAK UW
Elżbieta Waga - ukończyła Wydział Grafiki warszawskiej ASP (dyplom z wy­
różnieniem z grafiki warsztatowej w pracowni prof. Rafała Strenta; aneks do
dyplomu: malarstwo w pracowni śp. prof. Janusza Przybylskiego i rysunek
u prof. Juliana Rączko). Miała dwie wystawy indywidualne i brała udział
w licznych zbiorowych. Obecnie jest studentką w SNS IFiS PAN. Zajmuje
się neoplatonizmem i jego późniejszym dziedzictwem.
Jerzy Sławomir Wasilewski - etnolog, doktor habilitowany, pracuje w Katedrze
Etnologii i Antropologii Kulturowej UW. W latach 1971 -80 byt uczestnikiem
corocznej ekspedycji IHKM PAN do Mongolii. Prowadził też penetrację et­
nograficzną innych krajów Azji. Autor książek: Podróż do piekieł, rzecz
Ł

o szamańskich

misteriach, W-wa 1979, Tabu a paradygmaty etnologii, W-wa

1989.
Jerzy Wojciechowski - historyk sztuki (studia UW), od 1989 r. pracuje w Gabi­
necie Rycin Biblioteki Uniwersyteckiej w Warszawie. Zajmuje sę rysunkiem
europejskim, ze szczególnym uwzględnieniem rysunku włoskiego od XVI
do XVIII w. Publikował w kraju i zagranicą.
Tomasz Żukowski - absolwent Polonistyki Uniwersytetu Warszawskiego,
doktorant Instytutu Badań Literackich PAN. Zajmuje się powojenną poezją
polską.

O podróżach, rzeczach, miejscach mitycznych
w „Polskiej Sztuce Ludowej" i w „Kontekstach" pisali min.:
nr 3-4/1985: Antoni Kroh, Łemkowszczyzna w wierszach Jerzego Harasymowicza
nr 1-2/1986: Sławomir Sikora, Cmentarz. Antropologia pamięci.
nr 1-2/1988: Ludwik Stomma, Piwnica pod Baranami
nr 3/1988: Wojciech Zaleski, Kapliczki błagalne i święte sosny z okolic Supraśla
nr 1-2/1989: Monika Krajewska, Cmentarze żydowskie w Polsce: nagrobki i epitafia: Bogdana Pilichowska, Krakowskie zabawki odpustowe
przedstawiające
Żydów
nr 3/1990: Grzegorz Olesiak, Wyobrażenie „malej ojczyzny". Morfologia idealnego świata, Jerzy Bartmiński, Ojczyzna w pieśniach i wier­
szach chłopskich, Maria Kozłowa, Lamenty po wysiedlonej wsi, Eleonora Bergman, Dom cadyka w Kocku, Ryszard Ciarka, Święty obraz
w szarym bloku (szkic do scenariusza filmowego). Danuta i Zbigniew Benedyktowiczowie, Symbolika domu w tradycji ludowej (cz, I)
nr 4/1990: Danuta i Zbigniew Benedyktowiczowie, Symbolika domu w tradycji ludowej (cz. II), Zbigniew Dalewski, Zakładziny: obrzęd i mit.
0 słowiańsk ch zwyczajach i wierzeniach związanych z budową domu i zakładaniem miasta. Jakub Bułat, Przestrzeń sakralna domu wiej­
skiego albo okno i stół. Hanna Szewczyk-Wierzbicka, Semiotyka stołu w przestrzeni izby weselnej. Roch Sulima, Między Rajem a śmietni­
kiem (Ikonosfera warzywnych ogródków)
nr 1/1991: Ludwik Stomma, Uroda ludzkiej pomyłki, Zbigniew Benedyktowicz, Widmo środka świata. Przyczynek do antropologii współcze­
sności
nr 2/1991: Maria Giedz, Święta Góra Grabarka
nr 3-4/1991: Michał Klinger, Podróż do klasztoru Św. Onufrego w dniu jego święta (24/25 czerwca, gdy schodzi się tam mnóstwo narodu),
Krzysztof Czyżewski, List z podróży. Krzysztof Czyżewski, Podróż na Wschód
nr 3-4/1992: James Clifford, Samokreacja etnograficzna: Conrad i Malinowski, Teresa Rutkowska, Wędrówki Felliniego. Małgorzata Bara­
nowska, Pocztówka masowa i fotografia uczuć. Dariusz Czaja, Wenecja i śmierć: konteksty symboliczne, T. Jefferson Kline, Orfeusz transcendujący. „Ostatnie tango w Paryżu". Ludwik Stomma, Antropologia kultury, historia i Kubuś Puchatek. Zbigniew Benedyktowicz,
„Uciekające zdjęcia ". Rovnowa z Piotrem Skrzyneckim. Piotr Skrzynecki, Szkic do scenariusz filmowego pt. „O Groblach na Groblach"
nr 1/1993: James Clifford, O kolekcjonowaniu sztuki i kultury, Michał Luboradzki, Daty, wydarzenia, komentarze [umierające syreny], Roch
Sulima, Przyczynek do semiotyki śmierci [umierające syreny]
nr 3-4/1993: Stanisław Stomma, Wilno. Vytautas Landsbergis. Vilnius
Grigorij Kanowicz, Wilno, jakego już nie ma, Tamara Gordon, Wilno Żydów, Halina Kobeckaitć, Karaimi w Wilnie i Trokach. Aleksander Jac­
kowski, Wilno - Vilnius
nr 1-2/1994: Umberto Eco, Przemysł i przemoc seksualna w społeczności doliny Padu, Czesław Robotycki, „Piwnica pod Baranami" - an­
tropologiczna interpretacja formuły kabaretu. Wiesław Szpilka, Raj utracony. Joanna Sarnecka, Gusła na Czarnem. Magdalena MichalskaCiarka, Warszawski Krzyż z kwiatów
nr 3-4/1994: Andrzej Różycki, Notatki z podróży po Polsce. Jeremy Rifkin, Anatomia cheeseburgera
nr 3-4/1995: Marek Nowakowski, Miasto. Grażyna Borkowska, Kresy zachodnie: genius loci. Dariusz Czaja, Wenecja jest kobietą, Ludwik
Lewin, Ludwik Stomma, Paryż za dwa Ludwiki
nr 1-2/1996: Władysław Panas, Brama, Witold Chmielewski, Środek świata w Lublinie. Sławomir Sikora, Jak to się robi w Nowym Jorku?
Wystawy (NY), Maryla Sitkowska, Sześć godzin temu (NY), Małgorzata Baranowska, Warszawa. Miesiące, lata, wieki (Fragment)
nr 3-4/1997: ***, Jeruzalem. Jeruzalem. Z Narmi Michejdą rozmawiają Małgorzata Baranowska i Maria Jęczmyk. Bohdan Pociej, Siedem
bram Jerozolimy
nr 2/1998: Kirsten Hastrup, Poza antropologią, antropolog jako przedmiot przedstawienia dramatycznego. Henryk Jurkowski, Lalki w rytua­
le, Agnieszka Kamińska, Tamagotchi - ogniwo między lalką a zwierzątkiem. Wirtualne cmentarze dla cyber-stworzonka.
:

O Bronisławie Malinowskim pisalis'my już
w numerze 3-4/1992: James Clifford, Samokreacja etnograficzna: Conrad i Malinowski
w numerze 1-2/1997: Grażyna Kubica-Heller, Spotkanie z córką Bronisława Malinowskiego i jego biografem, Grażyna Kubica-Heller, Roz­
mowa z Heleną Wayne, Grażyna Kubica-Heller, Rozmowa z Michaelem Youngiem, Helena Wayne (Malinowska), Wpływ kobiet na życie
1 dzieło Bronisława Malinowskiego, Helena Wayne (Malinowska), Historia małżeństwa. Listy Bronisława Malinowskiego i Flisie Masson,
Terence Wright, Antropolog jako artysta: fotografie Malinowskiego z Trobriandów
w numerze 3-4/1997: Helena Wayne (Malinowska), Historia małżeństwa. Listy Bronisława Malinowskiego i Elisie Masson , Bronisław Mali­
nowski, Pisane dla Anieli Zagórskiej
w numerze 1/1998: Maria Ossowska, Bronisława Malinowskiego „Dziennik w ścisłym znaczeniu tego słowa". Clifford Geertz, Zaświadczają­
ce Ja. Dzieci Malinowskiego, Grażyna Kubica-Heller, Wstęp do dzienników Bronisława Malinowskiego 1908-1913, Bronisław Malinow­
ski, Dzienniki, Zeszyt 1
w numerze 2/1998: Bronisław Malinowski, Dzienniki. Zeszyt 2

Z powyżej wymienionych numerów są jeszcze do nabycia w Dziale Wydawniczym IS PAN ul. Długa 28, Warszawa następujące egzemplarze:
3-4/1991, 3-4/1993, 3-4/1994, 3-4/1995, 1-2/1996, 3-4/1996. 1-2/1997, 3^t/l997, 1/1998, 2/1998

Prenumerata „Kontekstów. Polskiej Sztuki Ludowej" za rok 1999
kwartalna - 5 zł; półroczna - W zł; roczna - 20 zł
Wpłaty na prenumeratę przyjmuje firma AMOS, Warszawa, ul. Zuga 12
Konto: P K O BP V I I I Oddział Warszawa nr 10201084-77578-270-1-111 oraz
UJCH, konto: P B K S.A. o/Warszawa, nr 11101053-16-551-2700-1-67 (z zaznaczeniem: prenumerata „Kontekstów")
Prenumerata ze zleceniem wysyłki za granicę jest 150% droższa (AMOS);
podrożona o realny koszt wysyłki (RUCH).

W najbliższych numerach:
Małgorzata Dziewulska, Tadeusz Kantor. Drugie życie przedmiotów
Dariusz Czaja, Krzesło. Szkic do portretu
Krzysztof Cibor, Nieistniejący film, nieistniejące miasto, nieistniejące życie.
Propedeutyka wędrówki poza słownik
Artur Setniewski, Świetlica, rzecz o dwóch królestwach
Joanna Tokarska-Bakir, „Ślepy bibliotekarz". 0pisemnym wymiarze ustności
Maksymilian Rejmer, Święty czas i święta przestrzeń
Marc Shell, 0 Kej, czyli Obracaj ostrożnie
Lew Łosiew, WenecjaJosifa Brodskiego
Ireneusz Kamiński, Autobus
Agnieszka Makarewicz, Piłka
Tomoho Umeda, Hiperaudiofilo...
Danuta Bolikowska, Dym
Katarzyna Kuszyńska, Papieros i popielniczka
Marceli Zygała, Fumare humanum est.
Krótki leksykon używek tytoniowych wokół nas
Marcin Szporko, Krystyna Gieryszewska, Zielone liście na ulicach Berlina
Tomoho Umeda, Polifonia i polifoniczność
Dorota Hall, Uciekanie przy ekranie
Janusz Barański, Pluralis non maiestaticus, czyli ludzie jak rzeczy
Dorota Kołakowska, Planeta Diana - próba analizy
reakcji na śmierć księżnej Walii
Magdalena Radkowska, Hiperrealnośc Lary. Lara Hiperrealności
Jacek Olędzki, Zgredy, rule i ulotna sztuka niewinności
Jarosław jot-Drużycki, Vlepka albo interpretacja swobodna
Marcin Kafar, Żyć w rytmie 230 bitów na minutę
Dorota Gut, Po drugiej stronie ekranu
Iwona Rentflejsz, Dlaczego Henryk V, czyli krótka historia trzech premier
Anna Wieczorkiewicz, Czyja jest kultura, czyje jest muzeum
Wiesława Wierzchowska, Ireneusz Krzemiński,
Jacek Sempoliński, Stefan Starczewski,
0 Obrazach ludowych Aleksandra Jackowskiego
Jurij Łotman, Obraz odwrócony
Wiesław Szpilka, Podróż: „Pod osłoną nieba"

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