Obrazy z przeszłości: hermeneutyka sztuki naskalnej
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Poznań
Wydawn. Naukowe UAM
2009
|
| Ausgabe: | Wyd. 1. |
| Schriftenreihe: | Seria Archeologia / Uniwersytet im. Adama Mickiewicza <Poznań>
50 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Images from the past Includes bibliographical references |
| Beschreibung: | 315 S. Ill. |
| ISBN: | 9788323219668 |
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| 490 | 1 | |a Seria Archeologia / Uniwersytet im. Adama Mickiewicza <Poznań> |v 50 | |
| 500 | |a Zsfassung in engl. Sprache u.d.T.: Images from the past | ||
| 500 | |a Includes bibliographical references | ||
| 650 | 4 | |a Petroglyphs / History | |
| 650 | 4 | |a Geschichte | |
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Datensatz im Suchindex
| _version_ | 1804143593223356416 |
|---|---|
| adam_text | Spis treści
Od
autora
.............................................................................................................................. 7
Wstęp. Dlaczego sztuka naskalna?
.................................................................................... 13
Część pierwsza
Sztuka naskalna
........................................................... 27
1.
Definicje wstępne
-
sztuka naskalna, jej formy i metody określania wieku
.......... 29
2.
Fenomen sztuki naskalnej
............................................................................................. 52
Część druga
Od analogii ku strukturze
.......................................... 75
3.
Początki dyskursu
-
przeszłość przez pryzmat współczesności
............................. 77
4.
W stronę struktury
-
krytyka analogii etnograficznych
........................................... 99
Część trzecia
Wokół metafory tekstu
............................................... 121
5.
Od syntaktyki do semantyki
......................................................................................... 123
6.
Krytyka tekstu
................................................................................................................ 144
Część czwarta
Przestrzeń i czas
........................................................... 161
7.
Miejsce
-
tekst unieruchomiony
................................................................................... 163
8.
Rozpięcie czasowe dyskursu
-
poszukiwanie ciągłości kulturowej
........................ 191
Część piąta
Psychologia i historia
-
pytanie o szamanizm
....... 211
9.
Umysł, trans i sztuka
-
pierwsza odsłona szamanizmu
........................................... 213
10.
Szamanizm historyczny
-
odsłona druga
................................................................... 243
11.
Historia
versus
fenomen
-
wnioski i implikacje
.......................................................... 276
Zakończenie
-
rozumienie i świadomość
......................................................................... 282
Literatura
............................................................................................................................... 290
Images from the past: Hermeneutics of rock art
(s u m m a r y)
.................................... 313
Fotografie
............................................................................................................
postronie
316
Summary
This book is the Polish response to world-wide advances within rock art research that
have not yet been addressed within the fields of Polish archaeology and anthropology.
Consequently, the aim of this work is twofold: first, to fill the gap in rock art research
within the Polish humanities and, second, to outline a conceptual framework for under¬
standing the meaning of images from the past . Not aiming to be a compendium of rock
art research (the lack of rock art in Poland does not need a field guide), this volume fo¬
cuses upon the issues of how we seek to understand the reasons for painting and engrav¬
ing images onto natural rocks in the landscape.
Accepting that the final goal of any rock art research is to understand what the im¬
ages meant semantically or socially to their creators, we must examine the hermeneutics
of how such interpretations are derived. Hermeneutics is understood here in its classic
form, i.e. the study of theories of interpretation and a critical reflection of the act of inter¬
pretation. Rock art as such can be seen as a message that cannot be understood without
interpretation as it is crucial that understanding is generated through interpretation.
Thus, it is essential to analyze the factors which shape and determine our understandings
of these images from the past.
If one assumes that rock art is a kind of language (not an alphabet, but a graphic
system of communication), then its understanding depends on both syntax and seman¬
tics, which are the overall subject of discussion throughout this volume. Although rock
art has served as a way of expressing human cognition for thousands of years, there is no
question that its grammar was not homogenous amongst various cultures throughout
the ages. Moreover, by studying rock art in a global perspective through numerous case
studies it is possible to reveal variation in the grammar of this language . This then
enables us to build a theoretical base of possible explanations which might have taken
place in the ancient rock art images.
In analyzing how interpretations are created and which factors determine the very
process of interpretation, the reader is lead through the different branches of human
sciences (archaeology, cultural anthropology, philosophy, religious studies, psychology,
history) that demonstrate the wide spectrum of humanities engaged in this discourse. Al¬
though understanding rock art requires some knowledge of time, chronology cannot be
perceived as a main factor in explanations. Furthermore, as new interpretations are al¬
most always reactions to older intellectual achievements, the narration is significantly
structured by a history of theoretical reflection on interpretation. This volume, however,
is not limited to critical
réévaluation
of previous concepts as it also pursues fresher pers¬
pectives involving the three-dimensionality of text metaphor , the semantic and tem¬
poral dynamics of rock images, and new directions in the ongoing debate about the issue
of the interrelationship between rock art and shamanism.
To begin with Chapter One defines what is rock art, its forms, its execution (painted
or engraved) and how it is dated by both traditional methods as well as
Chronometrie
techniques. This is followed by Chapter Two which outlines the current state of research
across the world and discusses rock art traditions found in Europe, Asia, America, Africa
and Australia.
Chapter Three reviews early hypotheses from the nineteenth and turn of the twen¬
tieth centuries, which were put forward to elucidate function and meaning in prehistoric
art (primarily Palaeolithic parietal art). In particular, the theories of art for art s sake
and hunting magic explained images of the past through the use of examples taken
314
from ethnographic accounts of hunting cultures in the historical present and were, in
turn, universally applied to all rock art phenomena from around the world. Moreover/
this intellectual tension between past and present still informs present day discourses,;
which are ethno-archaeological by nature.
1
The explanatory power of ethnographic analogy, however, was challenged by notions;
of structuralism which arose during the late
1950s.
The application of structuralist me¬
thodologies moved the interpretative discourse to focus upon the form of the art and dis¬
avowed ethnography as a useful source for reconstructing its semantics. Structuralist
ideology rejected the possibility of reconstructing past semantics and gave priority only
to syntactic studies.
This isolation of rock art studies from ethnological contexts, however, has not with-
,
stood the test of time as theoretical directions returned to the issues of semantics. Chapter
Five discusses research conducted in South Africa where the idea of semantics was most
fully and consequently realized. An important aspect of this was challenging the idea of
J
reading rock art as a text with the concept of metaphor : the structuralist model wasf
replaced by a metaphorical one. On this ground, an inspiring critique of textualism was
developed which is discussed in Chapter Six. From a historical perspective, however,
iti
can be said that it was not the rejection of the idea of reading rock art, but rather the
[
seeking of alternative methods of reading the images. Reading rock art should not be
S
solely concerned with the images themselves, but should equally be focused upon the
-
rock surface itself. Speaking metaphorically, if rock art is a kind of text, it cannot be per- *
ceived as being two-dimensional: images placed upon rock surfaces are profoundly
three-dimensional in nature.
,>¡
Another consequence of this movement was a focus upon the local context of rock
=,
art. Art, first of all, needs to be contextualized in the light of local culture. The offshoot of
this way of thinking was the development of landscape studies which is discussed in
Chapter Seven. The shift to semantics revived the old question about the time-span of
ethno-archaeological discourse: can ethnography only be applied to rock art created with¬
in the last few centuries? Furthermore, should research concerned with much older art be
still limited to syntactic studies like that of structuralism? Chapter Eight then discusses
important facets of recent international research into this problem, such as the ecological
basis of stability of symbols in Arctic shamanism,
peyote
pilgrimages associated with the
Pecos
River rock paintings of North America, and the correlation of Central Asian petro-
glyphs with Indo-Iranian mythology. These case studies demonstrate that ethnographic
and historic sources possess potential explanatory value for rock art images even if they
were over four thousand years old.
:
Chapter Nine once again refers to South African studies and their profound conse-;
quences. These studies opened a new debate which spread across the entire field of
worldwide rock art research. As Bushmen art was recognized to be structured by meta¬
phors of trance, the natural consequence of this discovery was the detailed analysis of the
question of correspondences between trance experience and art in a global perspective. This
resulted in the formulation of the neuropsychological model which appeared to be an in-
j
spiration for new discussions on the question of prehistoric shamanism and the
identifica-
<
tion
of shamanism in prehistoric art. The theory developed in South Africa and moved
swiftly to other continents, mainly North America and Europe. In the latter it reexamined
і
the context of Palaeolithic cave art, which in a new way was identified as shamanistic. The ;J
neuropsychological proposal did not only utilize ethnographic analogies like previous
older theories, but built upon them by considering the universality of the human mind and
■
human responses to altered states of consciousness. Thus, the question of shamanism has
been elevated to one of most debated topics in rock art research over last two decades.
315
|
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| id | DE-604.BV036883536 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T22:50:07Z |
| institution | BVB |
| isbn | 9788323219668 |
| language | Polish |
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| oclc_num | 699705775 |
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| physical | 315 S. Ill. |
| publishDate | 2009 |
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| publisher | Wydawn. Naukowe UAM |
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| series2 | Seria Archeologia / Uniwersytet im. Adama Mickiewicza <Poznań> |
| spelling | Rozwadowski, Andrzej Verfasser aut Obrazy z przeszłości hermeneutyka sztuki naskalnej Andrzej Rozwadowski Wyd. 1. Poznań Wydawn. Naukowe UAM 2009 315 S. Ill. txt rdacontent n rdamedia nc rdacarrier Seria Archeologia / Uniwersytet im. Adama Mickiewicza <Poznań> 50 Zsfassung in engl. Sprache u.d.T.: Images from the past Includes bibliographical references Petroglyphs / History Geschichte Hermeneutik (DE-588)4128972-9 gnd rswk-swf Felsbild (DE-588)4016718-5 gnd rswk-swf Felsbild (DE-588)4016718-5 s Hermeneutik (DE-588)4128972-9 s DE-604 Uniwersytet im. Adama Mickiewicza <Poznań> Seria Archeologia 50 (DE-604)BV000017185 50 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020798867&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020798867&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Rozwadowski, Andrzej Obrazy z przeszłości hermeneutyka sztuki naskalnej Petroglyphs / History Geschichte Hermeneutik (DE-588)4128972-9 gnd Felsbild (DE-588)4016718-5 gnd |
| subject_GND | (DE-588)4128972-9 (DE-588)4016718-5 |
| title | Obrazy z przeszłości hermeneutyka sztuki naskalnej |
| title_auth | Obrazy z przeszłości hermeneutyka sztuki naskalnej |
| title_exact_search | Obrazy z przeszłości hermeneutyka sztuki naskalnej |
| title_full | Obrazy z przeszłości hermeneutyka sztuki naskalnej Andrzej Rozwadowski |
| title_fullStr | Obrazy z przeszłości hermeneutyka sztuki naskalnej Andrzej Rozwadowski |
| title_full_unstemmed | Obrazy z przeszłości hermeneutyka sztuki naskalnej Andrzej Rozwadowski |
| title_short | Obrazy z przeszłości |
| title_sort | obrazy z przeszlosci hermeneutyka sztuki naskalnej |
| title_sub | hermeneutyka sztuki naskalnej |
| topic | Petroglyphs / History Geschichte Hermeneutik (DE-588)4128972-9 gnd Felsbild (DE-588)4016718-5 gnd |
| topic_facet | Petroglyphs / History Geschichte Hermeneutik Felsbild |
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