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Zarządzanie w Kulturze

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np. 1234-6789
np. 10.4467/16890027AP.16.022.6009
np. Uniwersytet Jagielloński

Tom 16, Numer 2

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2015 Następne

Data publikacji: 03.02.2015

Licencja: Żadna

Redakcja

Redaktor numeru Ewa Kocój, Emil Orzechowski, Joanna Szulborska-Łukaszewicz

Srkretarz redakcji Ewa Kocój

Redaktor naczelny Emil Orzechowski

Zawartość numeru

Michał Murzyn

Zarządzanie w Kulturze, Tom 16, Numer 2, 2015, s. 107-127

https://doi.org/10.4467/20843976ZK.15.007.3042
Heritage Management – Managing What?
 
Heritage management must begin by defining what is “heritage”. In this paper the author tries to find the best way to understand this term. The heritage is presented in relationship with culture. After analyzing the most popular culture definition and referring to the achievements of Polish theorists in this field, the author presents this problem as a process. The idea or value changes its character from the intangible form to become materialized in nature.  Culture is the process of broadcasting. Heritage is the reverse of this process, and it uses the material elements (e.g. buildings, pictures) and forms of transmission (e.g. profession, works, painting, playing music) to find ideas or values. This perspective changes the image of heritage to portray it only as management of historic preservation. Heritage management in this approach needs to shift focus from the material to the intangible – to the spiritual and social dimensions.
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Cezary Woźniak

Zarządzanie w Kulturze, Tom 16, Numer 2, 2015, s. 129-136

https://doi.org/10.4467/20843976ZK.15.008.3043
Between Ownness and Alienness: Towards the Dialectic of Cultural Heritage
 
The article Between Ownness and Alienness: Towards the Dialectic of Cultural Heritage is an attempt to present cultural heritage, or cultural identity, as an effect of two basic factors: that which is one’s own, and that which is alien. “Ownness” and “alienness” are the most general categories of our interpretation of the world, one of the most important categories that enable us to perceive, describe, and organize reality. The dividing line between the two would define the area of cultural heritage.
Drawing on the thought of Heraclitus (especially fragments B 8 and B 122) the author first discusses the dialectic of the oppositional categories of “ownness” and “alienness”, proceeding to describe the immanently cultural occasion of an “encounter with the alien”, drawing on the ideas of Kant, Scheler, Heidegger, Gadamer, Lacan and Waldenfels, to round up his argument by linking his reflection to the question of cultural heritage, which – in view of the whole reasoning – appears as a historical record of the encounter with alienness. The author refers to the literary oeuvre of Gombrowicz and the paintings of Nowosielski as examples of creative output linked to the question of ownness and alienness.
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Ewa Kocój

Zarządzanie w Kulturze, Tom 16, Numer 2, 2015, s. 137-150

https://doi.org/10.4467/20843976ZK.15.009.3044
Heritage without Heirs? Tangible and religious cultural heritage of the Vlach minority in Europe in the context of an interdisciplinary research project (a contribution to the subject)
 
The revival of topics concerning the UNESCO cultural heritage, which emerged at the end of the 20th century, poses many questions with reference to the need, essence, and discourse on the subject as well as areas beyond it. One of these questions seems to concern the cultural heritage of the nationless communities in Europe, which were doomed to assimilation, persecution or even oblivion in the second part of the 20th century. In recent times, the critical research trend on cultural heritage has pointed out that the essence of heritage is a choice which transforms cultural achievements into “our heritage” – the areas of culture that we choose and often protect and pass on to next generations. However, beyond “our protection,” there is a realm of “oblivion” which may include “alien” tangible and intangible objects about which we do not care, which do not matter to us and which we do not want to pass on to our heirs. It is a space of all forms of “our” degradation and marginalization of “alien legacy,” a space where we often let this legacy to become forgotten. It can be stated that the example of Vlachs perfectly illustrates the complex processes related to cultures which were overwhelmingly subjugated by their neighbors and lost the fight. A neighbor, usually representing the culture of the majority, was stronger culturally, economically, politically and often militarily, too. The following article focuses on the phenomena which classical anthropology used to inspect, claiming that its role is to protect what is fading into oblivion. Thus, the analysis of the Vlach culture presented herein refers to a much wider reflection, which is a synergy of ethnography, ethnology and cultural anthropology, and to the critical studies on heritage which are emerging in Poland. 
This presentation will analyze the principal problems concerning the research on the cultural heritage of displaced communities in Europe from the perspective of the Vlach minority. Based on the field research conducted in several countries of Europe (e.g. Greece, Macedonia, Romania, Ukraine, Slovakia and Poland), I will present the main classification of the Vlach tangible heritage with special attention paid to the most important cultural monuments, including religious building developments (churches, icons, small religious architecture). I will portray difficulties found in protecting this heritage and the role of cultural institutions in its preservation and exposition. 
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Weronika Pokojska

Zarządzanie w Kulturze, Tom 16, Numer 2, 2015, s. 151-163

https://doi.org/10.4467/20843976ZK.15.010.3045

Forgotten Heritage: Urban Exploring

The article attempts to explain the urban exploring movement, which is considered to be controversial, but is constantly gaining more and more popularity, Poland included. It is an urban cultural movement operating on the margin of the law, which makes it often misunderstood as vandalism. From the culture science point of view, urban exploring has to be analyzed from a broader perspective and taking into account its positive aspects. The explorers document their work using photographs, historical descriptions and maps of places which are usually omitted by people responsible for heritage. Thanks to the explorers’ activity it is possible to preserve the memory and popularize a given object of heritage which is usually not accessible for tourists, but which tells a lot about people and their civilization as well as its own history.

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Katarzyna Plebańczyk

Zarządzanie w Kulturze, Tom 16, Numer 2, 2015, s. 165-185

https://doi.org/10.4467/20843976ZK.15.011.3046
Culinary heritage as used in the present. Selected elements of the culinary heritage management in contemporary Poland
 
The issue addressed in the following text has been the subject of research for a long time now, but it has only relatively recently become an element of practical management, as local and regional cuisine is increasingly often used for marketing, tourism product development and for supporting regional and local entrepreneurship.
The text is divided into two parts: in the first part, the author presents a brief history of Polish cuisine. The second part focuses on the contemporary usage of culinary heritage in many contexts, including regional policy.
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Alicja Kędziora, Emil Orzechowski

Zarządzanie w Kulturze, Tom 16, Numer 2, 2015, s. 187-203

https://doi.org/10.4467/20843976ZK.15.012.3047
The management of the memory of an artist on the example of the Foundation for Support of Helena Modjeska’s Life and Art
 
The Foundation for Support of Helena Modjeska’s Life and Art, established in 2009 in Krakow, is an organization whose principal purpose is to preserve and disseminate  the memory of the great artist. This article is a presentation of the Foundation’s structure, its way of functioning, and the most important tasks until now, as well as an attempt to place the organization in the context of memory management processes. The authors try to point out the need to remember about artists as those who build cultural identity, to highlight the role of the past as a tool for the interpretation of the present, and to find the standards that define the ethics of social behavior for generations, the existence of which is made known by the ideas represented by outstanding Polish artists.
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