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np. 10.4467/16890027AP.16.022.6009
np. Uniwersytet Jagielloński

Tom 15, Numer 1

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2014 Następne

Data publikacji: 28.05.2014

Licencja: Żadna

Redakcja

Redakcja zeszytu Ewa Kocój, Emil Orzechowski, Joanna Szulborska-Łukaszewicz

Sekretarz redakcji Ewa Kocój

Redaktor naczelny Emil Orzechowski

Zawartość numeru

Joanna Hańderek

Zarządzanie w Kulturze, Tom 15, Numer 1, 2014, s. 1-17

https://doi.org/10.4467/20843976ZK.14.001.2142
Considering tradition and its discourses: the polysemy of the problem
 
The article will analyse the meaning and understanding of tradition. What I will attempt to accomplish, by reference to Rorty, Foucault, Appadurai, Geertz and postcolonial theorists, is to show that tradition is a unique type of construct. It is a construct dependent on history, conditions of temporality, understanding and needs of human being; social attitude and maturity. Such a view of tradition is understood as a composition of different ideas, which not only shape the participants of social life but which are shaped by them as well. 
 
This text will stress the importance of postmodern and poststructural meaning of tradition, as these schools of philosophical thought gave rise to deconstruction and the critical approach towards phenomena and categories, previously considered invariable. These two movements free the understanding of tradition from previous constraints, showing that it is just another narration of cultural understanding of reality. A proposition is thus made to consider studying tradition through understanding how it is formed and how it affects the present.
 
I will try to show  how a changing tradition allows the human being to adapt him/herself to his
/her everydayness, not only providing a possibility of cultural foundation but also allowing a dialogue with different types of cultural life.
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Rafał Maciąg

Zarządzanie w Kulturze, Tom 15, Numer 1, 2014, s. 19-27

https://doi.org/10.4467/20843976ZK.14.002.2143
Cultural heritage as a postmodern issue
 
The article tries to reconstruct possible issues that could appear when the postmodern mode of interpretation is applied to the problem of cultural heritage. The problem is more complicated because the idea of cultural heritage is mostly founded on the humanistic management theory and this theory also tries to use postmodern tools, but in a more general way. Thus, it is impossible to consider connections between heritage and postmodernity without referring  to the discipline of humanistic management. The solution lies in the universal characteristics of postmodernity, especially in its theory of knowledge. The article presents this issue through the concepts of Jean-François Lyotard and Michel Foucault. These concepts underline the relativity and localness of  knowledge. The same attributes can be found in categories  used by postmodernity, like historicity, identity and even genuineness or humanity. In that case it is impossible to treat heritage as a simple order of succession, but rather as a local effect. But there is also a limit in this treatment which is constituted by the subject, the man, who ought to build his subjectivity against the polyphonic and meaningless form of the world. This also refines the fundamental bet between the heir and the testator, much more important than the circular movement of goods within the community which stands behind the modern form of cultural heritage.
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Teodora Konach

Zarządzanie w Kulturze, Tom 15, Numer 1, 2014, s. 29-38

https://doi.org/10.4467/20843976ZK.14.003.2144
Legal Protection of Intangible Cultural Heritage on the example of the Expressions of Folklore
 
The complexity of forms and structures of traditional heritage makes it difficult to create effective tools of legal protection on different levels: national, regional and international. The emergence 
of the  theoretical concept of safeguarding all aspects of heritage, gave also rise to the question whether such a protection is needed and what kind of legal instruments and measures would be appropriate. At the international level, the foremost initiative is the WIPO Model Provisions for National Laws on the Protection of Expressions of Folklore Against Illicit Exploitation and other Forms of Prejudicial Action and UNESCO Convention on the Safeguarding of the Intangible Cultural Heritage, which not only offers the most sophisticated legal definition of intangible cultural heritage and folklore expressions, but also creates a listing mechanism aimed at drawing attention to intangible culture and the need for its safeguarding. Such an analysis would help answer questions whether legal protection is required and would be sufficient; what, if any, are the appropriate analogies in existing law; and whether a sui generis scheme should be developed.
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Magdalena Zych

Zarządzanie w Kulturze, Tom 15, Numer 1, 2014, s. 39-47

https://doi.org/10.4467/20843976ZK.14.004.2145
On Museum, Fondue and Polar Expeditions: Struggling with Swiss Cultural Heritage
 
In Switzerland where the UNESCO convention was adopted in 2008, the term “intangible heritage” was replaced by the term “living tradition.” The list of Swiss “living traditions”  counted 167 items. Among the selected traditions were not only the  national cheese dish, i.e. fondue, but also famous motorbike fan gatherings in the town of Hauenstein near Solothurn, and many more. This list of traditional items was designed during a science project called “Intangible Cultural Heritage: the Midas Touch?”. In response, in 2013, the Ethnography Museum in Neuchatel took for the subject of its exhibition entitled “Hors-Champs” everything that usually stays beyond such  classifications, and also the need of doing such a classification itself. The idea that underlies this  exhibition is that defining heritage is a process that in fact freezes it, and freezes the living culture. This paper gives a look on Swiss thoughts on heritage, a look that is based on the Neuchatel exhibition and on the interview with its authors that was conducted during the museological research in 2013.
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Urszula Lehr

Zarządzanie w Kulturze, Tom 15, Numer 1, 2014, s. 49-58

https://doi.org/10.4467/20843976ZK.14.005.2146
“Uncommon celebration” – an identity phenomenon of regional cultural heritage (An example of Podhale and Beskid Śląski regions)
 
The ritualization of rural life present in  contemporary reality that puts its signature on existential uncommonness favors pondering on the causality of practicing ceremonial celebrations in a form that corresponds to the tradition of olden days. Such ceremonies manifest the clash of the past and  present time, with the latter modifying some sequences of the ceremony; nevertheless, the above-mentioned clash emphasizes the unchanging scenario of a cultural act with its preserved rituals, gestures, verbalized contents and – what may be seen in Podhale – folk dress.
 
The cultivation of  old contents and at times introduction of forgotten rituals is justified by tradition stimulated by a sense of identity (individual or collective) and to a lesser degree by institutionally steered tradition. It allows for placing the individual and the community in a mentally unchanged social-cultural space confirmed by ceremonies held (familial, annual). The presence of symbolic requisites, the behavior of the involved persons perceived by outside observers as a peculiar performance, are on the one hand a ceremonial implementation and a complement of a breakthrough event in the life of  man, a religious act or a custom that is important for a given local group. On the other hand, however, their role is to: 1) maintain and strengthen the vanishing neighborly relations; 2) preserve the cultural continuity; 3) emphasize the regional individuality.
 
The well-marked element of commercialization of regional identification as a signum temporis which is superimposed on the cultural and identity-associated dimension of ‘uncommon celebrations’ does not change the fact that such regional identification remains for a given community a basic and timeless evolving component of the cultural heritage.
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Alicja Kędziora

Zarządzanie w Kulturze, Tom 15, Numer 1, 2014, s. 59-76

https://doi.org/10.4467/20843976ZK.14.006.2147

Theatre atelier photography is one of the few visual sources relating to the theatre of the second half of the nineteenth century; it is the most direct testimony, which, however, requires considerable caution in its interpretation. Science has developed a lot of methods for the study of visual sources, so an attempt – however  schematic and being just a reconnaissance in that research field – to implement them to interpret theater atelier photography seems to be justified. The author refers to methods which are the most interesting and the most relevant for the history of theater, and considers their usefulness in the analysis and interpretation of the photographic testimonies of dramatic performances.

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