Powrót do „afrykańskości” w interpretacji południowoafrykańskiej sztuki naskalnej i jego implikacje teoretyczne

Rozwadowski, Andrzej

dc.contributor.author	Rozwadowski, Andrzej
dc.contributor.editor	Pawłowska, Aneta
dc.contributor.editor	Sowińska-Heim, Julia
dc.date.accessioned	2022-09-01T12:17:42Z
dc.date.available	2022-09-01T12:17:42Z
dc.date.issued	2016
dc.identifier.citation	Rozwadowski A., Powrót do „afrykańskości” w interpretacji południowoafrykańskiej sztuki naskalnej i jego implikacje teoretyczne, [w:] Sztuka Afryki. Afrykańska tradycja – afrykańska nowoczesność, Pawłowska A., Sowińska-Heim J. (red.), Wydawnictwo Uniwersytetu Łódzkiego, Łódź 2016, s. 39-69, https://doi.org/10.18778/8088-321-5.03	pl_PL
dc.identifier.isbn	978-83-8088-321-5
dc.identifier.uri	http://hdl.handle.net/11089/43040
dc.description	Artykuł powstał w ramach realizacji projektu finansowanego ze środków Narodowego Centrum Nauki przyznanych na podstawie decyzji numer DEC-2011/01/B/HS3/02140.	pl_PL
dc.description.abstract	The South African rock art related to Bushmen (San) tradition is today one of the best understood rock arts all over the world. This situation results from theoretical advances proposed and elaborated by David Lewis-Williams, who was a founder of new school in rock art research. Careful analyses of ethnographic data of the !Xam Bushmen, in particular of the curing dance and the beliefs related to this ritual, have opened new ways of insight into semantics of the South African rock paintings. A key aspect of the new way of reading rock art concerned the decipherment of San metaphors of trance experience which transcended rock art, myths, and rituals. These concepts came also to be important stimulus for rethinking rock art in other parts of the world, like in the case of European Palaeolithic cave art, rock art in North America or Central Asia. Finally it became inspiration for rethinking of fundamental questions in human history, like origins of art and Neolithic revolution. All in all, theoretical advances in interpreting rock art as developed in the South Africa became crucial not only for African rock art, but they marked new area in global rock art research.	pl_PL
dc.description.sponsorship	Udostępnienie publikacji Wydawnictwa Uniwersytetu Łódzkiego finansowane w ramach projektu „Doskonałość naukowa kluczem do doskonałości kształcenia”. Projekt realizowany jest ze środków Europejskiego Funduszu Społecznego w ramach Programu Operacyjnego Wiedza Edukacja Rozwój; nr umowy: POWER.03.05.00-00-Z092/17-00. Publikacja dofinansowana przez Fundację Uniwersytetu Łódzkiego oraz Katedrę Historii Sztuki Uniwersytetu Łódzkiego.	pl_PL
dc.language.iso	pl	pl_PL
dc.publisher	Wydawnictwo Uniwersytetu Łódzkiego	pl_PL
dc.relation.ispartof	Pawłowska A., Sowińska-Heim J. (red.), Sztuka Afryki. Afrykańska tradycja – afrykańska nowoczesność, Wydawnictwo Uniwersytetu Łódzkiego, Łódź 2016;
dc.rights	Attribution-NonCommercial-NoDerivatives 4.0 Międzynarodowe	*
dc.rights.uri	http://creativecommons.org/licenses/by-nc-nd/4.0/	*
dc.subject	African art	pl_PL
dc.subject	rock art	pl_PL
dc.subject	rock paintings	pl_PL
dc.subject	Bushmen tradition	pl_PL
dc.subject	South Africa	pl_PL
dc.title	Powrót do „afrykańskości” w interpretacji południowoafrykańskiej sztuki naskalnej i jego implikacje teoretyczne	pl_PL
dc.title.alternative	Return to ‘africanity’ in interpreting the South African rock art and its theoretical implications	pl_PL
dc.type	Book chapter	pl_PL
dc.rights.holder	© Copyright by Authors, Łódź 2016; © Copyright for this edition by Uniwersytet Łódzki, Łódź 2016	pl_PL
dc.page.number	39-69	pl_PL
dc.contributor.authorAffiliation	Uniwersytet im. Adama Mickiewicza w Poznaniu, Instytut Wschodni	pl_PL
dc.identifier.eisbn	978-83-8088-322-2
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dc.identifier.doi	10.18778/8088-321-5.03
dc.discipline	nauki o kulturze i religii	pl_PL
dc.discipline	nauki o sztuce	pl_PL