Badania archeologiczne a obrazowanie wizualne przeszłości

One can say that our times are dominated by visual communication. Usually all day long we have been faced by various pictures, visual forms and symbols. According to the subject of the book 'Archaeology-Culture-Ideologies' I found it interesting to pay attention to the problem of visual representation, or better say visual symbols in nowadays communication and culture, their meaning and importance. From this point of view I would like to show the role of archaeologists who discover, interpret or even create some of them. The subject is not new of course, but the most often it is taken into consideration by the scholars who practice in social anthropology or philosophy and quite rarely it appear in studies of archaeologies, especially in Polish tradition. In my opinion the subject concerning visual symbols communication and archaeology arise several important questions that are also valid for the theme of book 'Archaeology-Culture-Ideologies'. The first is socio-cultural role of our discipline, next the danger of political and propaganda misuse of the results of archaeological research and then also commercialisation of the archaeological activities. The problem of visualisation and visual-communication can be the matter of various studies. In my paper from the beginning I would like to present the general view concerning visual symbols and figural motifs and the main ideas and approaches to study them from different humanistic perspectives. Then in my presentation I am going to discuss the question why in our culture the visual symbols and representations became so popular – compare to other ways of human expression, for example verbal symbol communication. I would like to see the problem in historical perspective as well. There are a lot of evidences, which support the statement about the power of visual symbols in history. In ancient times for example Horace in 'Ars Poetica' suggested that human mind usually is much more impressed by eyes than by ears. In my opinion that is quite often in human culture that visual impression is before mental one. Visual representations and symbols are very powerful, they can show and communicate various phenomena, they act immediately and quite often in easily way they can associate. So for archaeological research it could be very important to make some studies concerning the ancient symbols and general iconography and also it would be grateful to make some attempts for the study what kind of potential meaning could have visual symbols. In my paper I can only make some general statement about it. But the most important for the topic is reflection on prehistoric and ancient visual symbols and representation and their presence in contemporary culture. So after some general statements concerning the visual symbols examined from various perspectives finally I would like to point out with support of some examples how ancient and prehistoric visual symbols and images are still used and captured by contemporary culture and what is or should be the role of archaeologists activity concerning this matter.

Kulturowy charakter czasu i przestrzeni. Analiza średniowiecznego i wczesnorenesansowego elitarnego budownictwa mieszkalnego i obronnego w Irlandii

Wydział Historyczny: Instytut Prahistorii

Zintegrowane podejście dyskursywne do rozwijania sprawności mownych; przedstawienie celów i założeń projektu badawczego

Celem artykułu jest przedstawienie projektu o charakterze badawczo-wdrożeniowym dotyczącego doskonalenia obcojęzycznych kompetencji mownych (wypowiadanie się i rozumienie wypowiedzi ustnych) na poziomie zaawansowanym i przygotowywanym w Instytucie Filologii Romańskiej UAM. Niniejszy projekt zakłada, że istnieją spore możliwości podniesienia skuteczności i ekonomii kształcenia kompetencji mownych, poprzez zintegrowane podejście do celów kształcenia, a także poprzez wykorzystanie narzędzi internetowych. Podejście to zasadza się na integracji trzech zakresów kształcenia, a mianowicie: (1) doskonalenia umiejętności interakcyjnych w zakresie komunikacji półpublicznej, (2) rozwoju kompetencji medialnej oraz (3) rozwoju wiedzy dot. aktualnej, szeroko pojmowanej problematyki społeczno-kulturowej i krytycznego, zobiektywizowanego myślenia w stosunku do prezentowanych ujęć i naświetleń tej problematyki. W niniejszym omówieniu główny nacisk położony zostanie na uargumentowanie zasadności postulowanego zintegrowanego podejścia dyskursywnego, a także na wykazanie wartości dydaktycznej wybranych audycji medialnych. Zaprezentowane zostaną również główne kierunki pracy dydaktycznej oraz wyniki badania pilotażowego.

Między wykopaliskami rabunkowymi a archeologicznymi. Społeczno-kulturowa funkcja materialnych śladów przeszłości w Dolinie Nilu (na przykładzie plemienia Manasir z północnego Sudanu)

Wydział Historyczny: Etnologii i Antropologii Kulturowej UAM

Demokratyzacja kultury współczesnej

Wydział Historyczny: Instytut Etnologii i Antropologii Kulturowej

Polski a amerykański dyskurs sądowy: śledcze i skargowe procedury przesłuchiwania świadków w procesach karnych

Wydział Anglistyki

Projekty rozwojowe w tubylczej społeczności Meksyku i ich społeczno-kulturowe konsekwencje

Wydział Historyczny

Form, fi gure, and the experience of time in seven southern composers of the 1950s-60s

After the 1980s it is diffi cult, following stylistic criteria, to draw a map of contemporary academic music. All styles are compossible, and all are practiced. In this context, the geographical entity “South of Italy” does not stand out for a musical identity with special technical-stylistic features. Rather, at a socio-cultural level, the South remains today – in music no less than in all areas where there is a gap between top development and stagnation – a land of emigrants: six out of the seven composers treated (Ivan Fedele, Giuseppe Colardo, Rosario Mirigliano, Giuseppe Soccio, Nicola Cisternino, Biagio Putignano, Paolo Aralla) live in the North of Italy. The positive aspect of this is the affi nity of the South with the transnational and superstructural community of contemporary music, which from European and Western has now become almost global. The composers under consideration belong to the generation of the ‘50s, rooted in the serial and post-serial movements (from which Franco Donatoni, Luciano Berio, Luigi Nono, Salvatore Sciarrino, Giacinto Scelsi, are the principals models, to mention only the Italians), dipped in the general phenomenon of timbrism (particularly spectralism), and acquainted with electronics. They draw from these sources various instruments of compositional technique and aspects of their poetics. In particular these composers, active from the ‘80s, develop new ways of construction of the temporal form of music. They share the goal to establish a new continuity, different from the tonal one but at the same time transcending the serial and post-serial disintegration and fragmentation. The primary means to this end is a new enhancement of the category of fi gure, as a clear and distinct, recognizable aggregate of pitches, intervals, register, durations, timbre, articulation, dynamics, and texture. Each composer elaborates the atonal fi gural material in different ways, emphasizing one aspect or another. For example, Fedele (1953) is a master in the management of form per se, Colardo (1953) in the activation of disturbed harmonic effects, Mirigliano (1950) in the creation of a slight tension from the smallest vibrations of sound, Soccio (1950) in the set up of movement by means of accumulations and discharges of energy, Cisternino (1957) in a Cagean-Scelsian emphasis on sound as such, Putignano (1960) in the suspension of time through the succession and transformation of images, Aralla (1960) in the foundation of form from below, from the concreteness of sound.

Some preliminary conjunctural thoughts on countercultures

The article is devoted to analysis of various countercultures aspects. The Author hypothesizes that the forms of contemporary politics are the result of two fundamentally interrelated strategic vectors. First is built upon a politics of ressentiment, setting “ordinary” folks against the socio‐cultural elite which constututed to the “new right” movement. Second vector is originated of counterculture of the 1960s. The author states that counterculture exists without a singular identity. It is a space of hybridity and heterogenity. On the other hand counterculture is related to the concept of contemporary ambivalence as well it transforms of affective experience of everyday life. Another feature of counterculture is connected with the conviction that counterculture stands against of dominant culture. Also the author puts counterculture movements against various aspects of new american modernity including reconstruction of the practice of the hegemony, as well as through popular culture and reconstruction of the „left” and „right” idelogy and practice.

Asymilacja obcokrajowców w Poznaniu

Wydział Nauk Geograficznych i Geologicznych