anthropology

  • Ethnicity and ethnicities Part II

    Scientific paradigm changes are frequently accompanied by the reconsideration of central terms and ideas. This article demonstrates how this process is currently underway in Russian anthropological studies [narodovedenie] as part of a broader move away from ethnography to theoretical ethnology. The article also shows lines of succession and divergence between various paradigms currently dominant in Russian anthropology, including primordialism and constructivism, and presents the author’s vision of a definition of “ethnicity”, instruments needed to study ethnicities, the nature of “ethnicity,” the underlying axioms on which ethnicities are conceptualized. An initial attempt has been made in the article to outline the central positions that would provide for a principally new ethnological paradigm by way of a new definition of the phenomenon of ethnicity.

  • Ethnicity and ethnicities Part I

    Scientific paradigm changes are frequently accompanied by the reconsideration of central terms and ideas. This article demonstrates how this process is currently underway in Russian anthropological studies [narodovedenie] as part of a broader move away from ethnography to theoretical ethnology. The article also shows lines of succession and divergence between various paradigms currently dominant in Russian anthropology, including primordialism and constructivism, and presents the author’s vision of a definition of “ethnicity”, instruments needed to study ethnicities, the nature of “ethnicity,” the underlying axioms on which ethnicities are conceptualized. An initial attempt has been made in the article to outline the central positions that would provide for a principally new ethnological paradigm by way of a new definition of the phenomenon of ethnicity.

  • Sztuka „permanentnego zdziwienia” . Wokół języka symboli w Sztuce znikania Bartka Konopki i Piotra Rosołowskiego

    „Art disappearance” (2012)2 is a film by Bartosz Konopka and Piotr Rosołowski, qualified by the authors of the document, but not entirely located within the traditionally understood documentary3. „Art disappearance” combines various genres: classic dokument, found footage and mocumentary. The axis, around which the narrative of the film focuses, is in fact a romantic concept of messianism of the Polish nation by Adam Mickiewicz. Less obviously, however, it is inspired by anthropological reflection of Ryszard Kapuscinski. The author analyzed those topics, associations and inspiration appearing in the film which allow the reader to include „Art of disappearing” among the works of the complicated structure of intertextual references.

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