„Mowa obrończa” metodologii archeologów Uniwersytetu im. Adama Mickiewicza w Poznaniu

This text contains an interpretation of the intellectual activity of methodologists of archaeology from the Adam Mickiewicz University in Poznań. The idea they implement is – in my opinion – a way of thinking: from an object to thinking about an object, addressed both to archaeologists who are not convinced of methodology and to representatives of cultural archeology, in order to finally signal their contribution to integrated humanities. I tried to highlight the effects of this activity in such a way that its real benefits for each of the recipients mentioned were visible.This text contains an interpretation of the intellectual activity of methodologists of archaeology from the Adam Mickiewicz University in Poznań. The idea they implement is – in my opinion – a way of thinking: from an object to thinking about an object, addressed both to archaeologists who are not convinced of methodology and to representatives of cultural archeology, in order to finally signal their contribution to integrated humanities. I tried to highlight the effects of this activity in such a way that its real benefits for each of the recipients mentioned were visible

Dyskursywizm archeologii według Henryka Mamzera: ograniczenia orientacji konstruktywistycznej a mit etniczny w archeologii

Henryk Mamzer’s conception is an interesting new contribution to the development of socalled constructivist approaches in archaeology. As such it is a good example of the basic assumptions underlying its theory and methodology. In this article I will argue with some basic assumptions of Mamzer’s theory, trying to show that constructivism doesn’t rescue archaeology from the problems, which he would like to avoid. In fact, it deals with the same problems.Henryk Mamzer’s conception is an interesting new contribution to the development of socalled constructivist approaches in archaeology. As such it is a good example of the basic assumptions underlying its theory and methodology. In this article I will argue with some basic assumptions of Mamzer’s theory, trying to show that constructivism doesn’t rescue archaeology from the problems, which he would like to avoid. In fact, it deals with the same problems

Recenzja: Aleksandra Bystry, Dzikie barwy. O naturalnym farbowaniu tkanin roślinami, Wydawnictwo Dzikie Barwy, Łódź 2019

Review: Aleksandra Bystry, Dzikie barwy. O naturalnym farbowaniu tkanin roślinami, Editor: Dzikie Barwy, Łódź 2019Recenzja: Aleksandra Bystry, Dzikie barwy. O naturalnym farbowaniu tkanin roślinami, Wydawnictwo Dzikie Barwy, Łódź 2019

Rozważania o narracji budowanej wokół argumentu: „w świetle archeologii”.

“In the light of archaeology…” means a statement or conclusion based on archaeological sources, its practice and theoretical models used in it. But the range of possibilities and persuasiveness of all such statements is very wide. A typical lack of contemporary historiographic literature is the writer’s failure to define his own research attitude. Researchers also rarely want to confront their own subjectivity and define their views before they start presenting their explanations for the topic under study. This applies to both the research attitude, evaluation and purposefulness of the sources used, the scope of using the achievements and workshop of anthropology, and the issue of the narrative nature of archaeological writing itself. The aim of this article is to discuss the need for a more substantive attention to theoretical assumptions in archaeological writing, especially in the aspect of creating a historiographic narrative in historical archaeology. While attention is put on belonging to a given theoretical trend, the issues of narrative, persuasive procedures and noticing the narrative style that is chosen are less frequently analyzed. These are very significant characteristics of a given text, as they are directly directed to the reader, i.e., the person to whom our research and conclusions are presented. This text is, in accordance with the above considerations, also a commentary on the existing state and an attempt to draw attention to the need for the most conscious approach to one’s own scientific workshop.“In the light of archaeology…” means a statement or conclusion based on archaeological sources, its practice and theoretical models used in it. But the range of possibilities and persuasiveness of all such statements is very wide. A typical lack of contemporary historiographic literature is the writer’s failure to define his own research attitude. Researchers also rarely want to confront their own subjectivity and define their views before they start presenting their explanations for the topic under study. This applies to both the research attitude, evaluation and purposefulness of the sources used, the scope of using the achievements and workshop of anthropology, and the issue of the narrative nature of archaeological writing itself. The aim of this article is to discuss the need for a more substantive attention to theoretical assumptions in archaeological writing, especially in the aspect of creating a historiographic narrative in historical archaeology. While attention is put on belonging to a given theoretical trend, the issues of narrative, persuasive procedures and noticing the narrative style that is chosen are less frequently analyzed. These are very significant characteristics of a given text, as they are directly directed to the reader, i.e., the person to whom our research and conclusions are presented. This text is, in accordance with the above considerations, also a commentary on the existing state and an attempt to draw attention to the need for the most conscious approach to one’s own scientific workshop

Archeologia odpowiedzialna społecznie. Działania z zakresu public i community archaeology w Polsce

This paper aims to conceptualize the social role of archaeology and archeological heritage in the present. First, it contextualizes the legal and doctrinal background of activities aimed at dissemination of cultural and archaeological heritage and engagement of public in initiatives around that heritage. Next, it describes main forms of outreach activities undertaken by archaeologists in Poland. Further, it presents community-oriented activities and initiatives that go beyond education of the general public about the past and archaeology and strive for engaging local communities in activities centered around archaeology and archaeological heritage. It concludes with a statement that openness of archaeology to society helps to strengthen its current social position, determines its role in the world and attributes social activities of archaeologists with a deeper meaning.This paper aims to conceptualize the social role of archaeology and archeological heritage in the present. First, it contextualizes the legal and doctrinal background of activities aimed at dissemination of cultural and archaeological heritage and engagement of public in initiatives around that heritage. Next, it describes main forms of outreach activities undertaken by archaeologists in Poland. Further, it presents community-oriented activities and initiatives that go beyond education of the general public about the past and archaeology and strive for engaging local communities in activities centered around archaeology and archaeological heritage. It concludes with a statement that openness of archaeology to society helps to strengthen its current social position, determines its role in the world and attributes social activities of archaeologists with a deeper meaning

Art among archeologists. Selected examples

This article presents selected aspects of potential intersections of archeology and art, the potential resulting from it, and also threats. We presented our interpretation of the perception of this issue, which is from the archaeologist’s perspective. We referred to specific examples that refer both to our experience resulting from more than a year of cooperation between the Faculty of Archeology of the Adam Mickiewicz University in Poznań and the Faculty of Art Education and Curatorial Studies of the University of Arts in Poznań, as well as the external sources. An attempt was made to answer the question – how archaeologists can use the knowledge and experience of artists. We focused on the example of museology and the popularization of archaeological knowledge, how to make it more attractive, and to facilitate public reception. At the same time, we presented our observations on the examples of the use of archeology by artists as inspiration.This article presents selected aspects of potential intersections of archeology and art, the potential resulting from it, and also threats. We presented our interpretation of the perception of this issue, which is from the archaeologist’s perspective. We referred to specific examples that refer both to our experience resulting from more than a year of cooperation between the Faculty of Archeology of the Adam Mickiewicz University in Poznań and the Faculty of Art Education and Curatorial Studies of the University of Arts in Poznań, as well as the external sources. An attempt was made to answer the question – how archaeologists can use the knowledge and experience of artists. We focused on the example of museology and the popularization of archaeological knowledge, how to make it more attractive, and to facilitate public reception. At the same time, we presented our observations on the examples of the use of archeology by artists as inspiration

Wytwórczość ludów pierwotnych w świetle pragmatycznych koncepcji sztuki

The article is devoted to the function of the primordial art in the pragmatic concept. The pragmatism ennobles the unprofessional forms of artistic activity. It makes it following the deconstruction of the modern definitions of the art. It presents the aesthetic values of primordial art. In the article, there are included its characteristics made by J. Dewey and É. Durkheim who used the first ethnographic data. Their description of the Australian autochthones shows its social contexts. It served to intensify certain emotions. It was the art of movement and dynamics. It harmonized with the whole experience of the life of the primordial hunters. It did not operate on symbols as understand these days. The pragmatic approach makes the aesthetic notion of the manufacture more important than its cognitive aspects. It does not eliminate the dilemmas of the character of the art in the cultures beyond Europe. It does not give archaeologists any simple tool to interpret the prehistoric facts.The article is devoted to the function of the primordial art in the pragmatic concept. The pragmatism ennobles the unprofessional forms of artistic activity. It makes it following the deconstruction of the modern definitions of the art. It presents the aesthetic values of primordial art. In the article, there are included its characteristics made by J. Dewey and É. Durkheim who used the first ethnographic data. Their description of the Australian autochthones shows its social contexts. It served to intensify certain emotions. It was the art of movement and dynamics. It harmonized with the whole experience of the life of the primordial hunters. It did not operate on symbols as understand these days. The pragmatic approach makes the aesthetic notion of the manufacture more important than its cognitive aspects. It does not eliminate the dilemmas of the character of the art in the cultures beyond Europe. It does not give archaeologists any simple tool to interpret the prehistoric facts

Artystyczna „archeologia” pamięci na przykładzie Nazistów i Prawdziwych nazistów Piotra Uklańskiego

Contemporary artists referring to history often ask questions about what and how is memorised. How tragic events from the recent past are reflected in our cultural archive of memory. Artists are interested in visual memory, which includes, among others, documentary photographs, pictures from history textbooks, historical feature films. However, there is not only historical knowledge but also the popular culture that shapes our ideas about the past. That is why in these imaginations the truth mixes with fiction, and the suggestive images known from movies overlap our knowledge. Thus, the artistic “archeology” takes place in the area of our broadly understood cultural memory. The above problem is discussed in the example of two works by Piotr Uklański: Nazis (1999) and Real Nazis (2017). I reflect on results from the comparison of these works – the first using fictional images of Nazis from feature films and the second one showing portraits of real Nazis.Contemporary artists referring to history often ask questions about what and how is memorised. How tragic events from the recent past are reflected in our cultural archive of memory. Artists are interested in visual memory, which includes, among others, documentary photographs, pictures from history textbooks, historical feature films. However, there is not only historical knowledge but also the popular culture that shapes our ideas about the past. That is why in these imaginations the truth mixes with fiction, and the suggestive images known from movies overlap our knowledge. Thus, the artistic “archeology” takes place in the area of our broadly understood cultural memory. The above problem is discussed in the example of two works by Piotr Uklański: Nazis (1999) and Real Nazis (2017). I reflect on results from the comparison of these works – the first using fictional images of Nazis from feature films and the second one showing portraits of real Nazis

Pochodzenie nowobabilońskich dokumentów prawnych z Kolekcji Ashmolean Muzeum

The majority of currently known Neo-Babylonian legal and administrative documents from Kish come from excavations held on this site by the joint expedition of Oxford – Field Museum (Chicago) between 1923–1933. They are now housed in the Ashmolean Museum, Oxford. However, ca. 40 Neo-Babylonian ‘Kish’ tablets, i.e., written in Ḫursagkalamma or Kiš, are present in other collections. How did they end up in these museums assuming that most of them was acquired in the last quarter of the 19th century, 30–50 years before the expedition mentioned above? I suppose that they were not found in Kish, even though their Ausstellungsort indicates quite the opposite. They instead come from nearby Babylon or Borsippa cities. The analysis conducted in the article seems to confirm this assumption, and for most cases, the provided attribution should be considered. Additionally, tablets under discussion are testimonies of the vivid economic life of entrepreneurial Babylonians in the first millennium BC.The majority of currently known Neo-Babylonian legal and administrative documents from Kish come from excavations held on this site by the joint expedition of Oxford – Field Museum (Chicago) between 1923–1933. They are now housed in the Ashmolean Museum, Oxford. However, ca. 40 Neo-Babylonian ‘Kish’ tablets, i.e., written in Ḫursagkalamma or Kiš, are present in other collections. How did they end up in these museums assuming that most of them was acquired in the last quarter of the 19th century, 30–50 years before the expedition mentioned above? I suppose that they were not found in Kish, even though their Ausstellungsort indicates quite the opposite. They instead come from nearby Babylon or Borsippa cities. The analysis conducted in the article seems to confirm this assumption, and for most cases, the provided attribution should be considered. Additionally, tablets under discussion are testimonies of the vivid economic life of entrepreneurial Babylonians in the first millennium BC

Czysto ludzka sprawa? Archeologiczne przywracanie pamięci o trudnej przeszłości przez tropienie naturo-kulturowych przemian cmentarzy wojennych

In this article the outcomes of historical, archaeological, spatial and anthropological research concerning material remnants of the war cemeteries left by the Great War in Central Poland, in the area of Rawka and Bzura are presented. On the example of one of the four communes (Nowa Sucha) subjected to research under the project Archaeological Revival of Memory of the Great War (ARM), the processes of creation, transformation, decay, destruction and re-making present the resting places of the soldiers fallen between December 1914 and July 1915 are shown. In the first part, we sketch the output atmosphere that accompanied the primary context in which war cemeteries were established and place the war cemeteries in the network of social, formal and legal determinants. In the second part, we frame the historical and social contexts in which the resting places of the fallen soldiers of the German and Russian armies were massively created. Than, we show the difficulties associated with locating particular war cemeteries and signal strengths and obstacles in correlating results of archival research and use of remote sensing and archaeological methods in order to restore the memory of war cemeteries and establish their current and future condition as material warnings. Also we stress the looping of cultural and natural factors both in the process of protecting and destroying material condition of war cemeteries. Finally, on the example of one of the cemeteries we show how slow and arduous but at the same time  promising can be the process of transformation from a forgotten/plowed cemetery into a place of/in memory, and as an agent struggling with the continuous nature-cultural transformations.In this article the outcomes of historical, archaeological, spatial and anthropological research concerning material remnants of the war cemeteries left by the Great War in Central Poland, in the area of Rawka and Bzura are presented. On the example of one of the four communes (Nowa Sucha) subjected to research under the project Archaeological Revival of Memory of the Great War (ARM), the processes of creation, transformation, decay, destruction and re-making present the resting places of the soldiers fallen between December 1914 and July 1915 are shown. In the first part, we sketch the output atmosphere that accompanied the primary context in which war cemeteries were established and place the war cemeteries in the network of social, formal and legal determinants. In the second part, we frame the historical and social contexts in which the resting places of the fallen soldiers of the German and Russian armies were massively created. Than, we show the difficulties associated with locating particular war cemeteries and signal strengths and obstacles in correlating results of archival research and use of remote sensing and archaeological methods in order to restore the memory of war cemeteries and establish their current and future condition as material warnings. Also we stress the looping of cultural and natural factors both in the process of protecting and destroying material condition of war cemeteries. Finally, on the example of one of the cemeteries we show how slow and arduous but at the same time promising can be the process of transformation from a forgotten/plowed cemetery into a place of/in memory, and as an agent struggling with the continuous nature-cultural transformations