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class="social-profile-container"><div class="left-panel-container"><div class="user-info-component-wrapper"><div class="user-summary-cta-container"><div class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="Ewa Bugaj" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/830615/290401/349774/s200_ewa.bugaj.jpg" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">Ewa Bugaj</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://amu.academia.edu/">Adam Mickiewicz University in Poznań</a>, <a class="u-tcGrayDarker" href="https://amu.academia.edu/Departments/Archaeology/Documents">Archaeology</a>, <span class="u-tcGrayDarker">Faculty Member</span></div></div></div></div><div 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data-broccoli-component="user-info.followees-count" data-click-track="profile-expand-user-info-following"><p class="label">Following</p><p class="data">591</p></div></a><a><div class="stat-container js-profile-coauthors" data-broccoli-component="user-info.coauthors-count" data-click-track="profile-expand-user-info-coauthors"><p class="label">Co-authors</p><p class="data">4</p></div></a><div class="js-mentions-count-container" style="display: none;"><a href="/EwaBugaj/mentions"><div class="stat-container"><p class="label">Mentions</p><p class="data"></p></div></a></div><span><div class="stat-container"><p class="label"><span class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></span></div><div class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">I am specialist in classical archaeology, prehistoric archaeology in the Iron Age Europe and history of ancient art.<br /><span class="u-fw700">Phone: </span>Phone: +48 (61) 829 1412<br /><b>Address: </b>Adam Mickiewicz University in Poznań (AMU)<br />Faculty of Archaeology<br />Uniwersytetu Poznańskiego 7, 61-614 Poznań, Poland<br />http://archeo.amu.edu.pl<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><p class="ds2-5-body-md-bold">Related Authors</p></div><ul class="suggested-user-card-list"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://amu.academia.edu/Micha%C5%82Pawleta"><img class="profile-avatar u-positionAbsolute" alt="Michał Pawleta" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" 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style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Books" id="Books"><h3 class="profile--tab_heading_container">Books by Ewa Bugaj</h3></div><div class="js-work-strip profile--work_container" data-work-id="127110185"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/127110185/Mi%C4%99dzy_prahistori%C4%85_i_archeologi%C4%85_Kulturowe_uzgadnianie_obraz%C3%B3w_minionego_%C5%9Bwiata_Publikacja_okoliczno%C5%9Bciowa_dedykowana_Profesor_Danucie_Mincie_Tworzowskiej"><img alt="Research paper thumbnail of Między prahistorią i archeologią Kulturowe uzgadnianie obrazów minionego świata Publikacja okolicznościowa dedykowana Profesor Danucie Mincie-Tworzowskiej" class="work-thumbnail" src="https://attachments.academia-assets.com/120891928/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/127110185/Mi%C4%99dzy_prahistori%C4%85_i_archeologi%C4%85_Kulturowe_uzgadnianie_obraz%C3%B3w_minionego_%C5%9Bwiata_Publikacja_okoliczno%C5%9Bciowa_dedykowana_Profesor_Danucie_Mincie_Tworzowskiej">Między prahistorią i archeologią Kulturowe uzgadnianie obrazów minionego świata Publikacja okolicznościowa dedykowana Profesor Danucie Mincie-Tworzowskiej</a></div><div class="wp-workCard_item"><span>Między prahistorią i archeologią</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Between Prehistory and Archaeology. Cultural Reconciliation of Images of the Past World. Occasion...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Between Prehistory and Archaeology. Cultural Reconciliation of Images of the Past World. Occasional Publication Dedicated to Professor Danuta Minta-Tworzowska</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f678fe6895f7df1f6dfa62a4c52f85a7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120891928,"asset_id":127110185,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120891928/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="127110185"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="127110185"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 127110185; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="3205750"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/3205750/Estetyka_w_archeologii_Antropomorfizacje_w_pradziejach_i_staro%C5%BCytno%C5%9Bci_Aesthetics_in_Archaeology_Anthropomorphization_in_Prehistory_and_Antiquity_"><img alt="Research paper thumbnail of Estetyka w archeologii. Antropomorfizacje w pradziejach i starożytności (Aesthetics in Archaeology. Anthropomorphization in Prehistory and Antiquity)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/3205750/Estetyka_w_archeologii_Antropomorfizacje_w_pradziejach_i_staro%C5%BCytno%C5%9Bci_Aesthetics_in_Archaeology_Anthropomorphization_in_Prehistory_and_Antiquity_">Estetyka w archeologii. Antropomorfizacje w pradziejach i starożytności (Aesthetics in Archaeology. Anthropomorphization in Prehistory and Antiquity)</a></div><div class="wp-workCard_item"><span>book</span><span>, 2010</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">"Summary This work is a collection of papers prepared as a result of debates held during regular...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">"Summary <br />This work is a collection of papers prepared as a result of debates held during regular scientific colloquia of the Committee of Methods and Methodology of Archaeological Research of  The Committee on Prehistoric and Protohistoric Sciences of the Polish Academy of Sciences, entitled ‘Aesthetics in archaeology`. They started in Gdańsk in 2002 and are organised annually since then. Until now two volumes have been published. They comprise research problems discussed within the mentioned cycle of colloquia, intended to provide a platform for reflection on widely understood prehistoric and ancient art, namely Aesthetics in archaeology, ed. B. Gediga, Andrzej P. Kowalski, 2003 and Aesthetics in archaeology. Copies and imitations, ed. Marian Kwapiński, 2006, both published by Archaeological Museum in Gdańsk. <br />The idea of the colloquia and the publishing series ‘Aesthetics in archaeology’ originated because of a necessity to present new possibilities of research on the art of prehistoric and antique societies, which appear marginally in archaeological reflection. It must also be constantly emphasised that when we undertake studies on the art of societies from remote past, who applied other ways of describing the world than modern categories born in the circle of the European culture, we must seek agreement and exchange of ideas between representatives of various fields: philosophers, culture anthropologists, ethnologists, students of religion or linguists. Therefore such studies need inter- or even transdiciplinary approaches, which open up new research fields that enable overcoming limits present in hitherto existing approaches. <br />The book that we are publishing now as a third volume of the series is a collection of papers which were presented at two subsequent colloquia – the first one was organised in 2005 around the problematic of ‘Anthropomorphism in prehistory and antiquity’, and the other, held in 2006, was devoted to ‘Theoretical problems of archaeological research on figural art’. Hence, the introduction into the issues discussed in this volume is entitled ‘Figuration and anthropomorphization in prehistory and antiquity’, as research perspectives presented here oscillate, on the one hand, around specific human-like artefacts, produced in various cultural circles, starting from the preserved oldest visual images until the present. On the other hand, the papers indicate that anthropomorphism is a much wider and capacious phenomenon, consisting in attributing human characteristics to inanimate world, or, wider, on projecting human qualities onto the whole surrounding reality or even on impossibility of recognizing the reality beyond the anthropomorphising ‘I’.  <br />It must be emphasised that reflections presented in the books are not limited to perceiving archaeology as a discipline interested only in the past studied by the prism of material remains, here preserved relicts of figural art.  On the contrary, they make us realise that those remains (even so meaningful as works of art) are not identical with the culture of these past societies or with them. They constitute just a fragment of the then culture, which did not function autonomously but in connection with other domains, especially symbolic culture, which cannot be studied empirically. Taking under consideration the specificity of archaeological sources, we always have to refer to a theory as a means of mediation between their materiality, past socio-cultural reality, the present and the researcher. <br />The majority of authors of the papers published in the book believe that the cultures studied by archaeologists have a magical-mythic character. Hence, they have specific rules, among which the rule of metamorphosis is one of the most significant. It offers a possibility of transforming ‘everything in everything’, where a human and the world constitute a specific unity and are not subject to sharp categorisations. Magic assumes fundamental unity of the world, and the cultures of this type are characterised by specific syncretism. Within this world there was a field of production which we call art, and it must be emphasised that art should be perceived in its entirety, without separating levels connected only with its technical, utilitarian or purely artistic side. <br />""""</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="3205750"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="3205750"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3205750; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=3205750]").text(description); $(".js-view-count[data-work-id=3205750]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 3205750; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='3205750']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=3205750]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":3205750,"title":"Estetyka w archeologii. Antropomorfizacje w pradziejach i starożytności (Aesthetics in Archaeology. 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The editors decided to select papers presented by Professor Kubczak friends and former students together with those done by researchers dealing with similar problems, i.e. intercultural relations connecting East and West in antiquity and the interpretations of meanings, symbolic and semantics within various aspects of ancient cultures. <br />The contents of this small collection of essays reflect a wide spectrum of professor Kubczak’ research interest. They cover his studies based on both archaeology and art history,  concentrated on Greek jewellery and its relations to the Ancient East, his research of origins and evolution of the Eurasian Animal Style, re-evaluation and creation of aesthetic and semantic interpretations of selected masterworks of ancient art. The title – Eurasia and Antiquity – had been chosen by the Editors to direct the reader’s attention toward the necessity of constant rethinking of the relations between ancient cultures in their universal and specific aspects. <br />The publication has been designed as a meeting place where the representatives of different schools and methodologies can come together to discuss the contemporary state of researches on Eurasia and Antiquity. As it turned out, majority of them represents either art historian of archaeological studies with most valuable inserts from linguists or historians. The collection presented here mirrors the editor’s idea of cross-study researches setting up the foundation for anthropologically oriented ancient historian reflection and interpretation. Only the cross-study research can go across the limitations of necessary specialization and methodological competence. Research like that can provide the means for the establishment of conclusive and reliable answers to the questions put forward by the cross-cultural studies with regard to the complexity of the ancient world, were the fluctuations originated in north-western China reach the shores of the Mediterranean cultures, and where artistic expressions of prehistory find their reflections in the early Medieval myths and aesthetics. <br />"""</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="3205709"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="3205709"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3205709; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=3205709]").text(description); $(".js-view-count[data-work-id=3205709]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 3205709; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='3205709']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=3205709]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":3205709,"title":"Eurazja i Antyk (Eurasia and Antiquity)","internal_url":"https://www.academia.edu/3205709/Eurazja_i_Antyk_Eurasia_and_Antiquity_","owner_id":830615,"coauthors_can_edit":true,"owner":{"id":830615,"first_name":"Ewa","middle_initials":null,"last_name":"Bugaj","page_name":"EwaBugaj","domain_name":"amu","created_at":"2011-10-10T17:52:25.992-07:00","display_name":"Ewa Bugaj","url":"https://amu.academia.edu/EwaBugaj"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="3205627"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/3205627/Motywy_figuralne_na_ceramice_germa%C5%84skiego_kr%C4%99gu_kulturowego_Figurative_Motifs_in_the_Pottery_of_Germanic_Background_"><img alt="Research paper thumbnail of Motywy figuralne na ceramice germańskiego kręgu kulturowego (Figurative Motifs in the Pottery of Germanic Background)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/3205627/Motywy_figuralne_na_ceramice_germa%C5%84skiego_kr%C4%99gu_kulturowego_Figurative_Motifs_in_the_Pottery_of_Germanic_Background_">Motywy figuralne na ceramice germańskiego kręgu kulturowego (Figurative Motifs in the Pottery of Germanic Background)</a></div><div class="wp-workCard_item"><span>book</span><span>, 1999</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated"> The presence of figurative motifs on ceramic vessels manufactured locally and originating from a...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The presence of figurative motifs on ceramic vessels manufactured locally and originating from areas of central, northern and western Europe, and from Great Britain, dating to the last two centuries BC and the first half of the first millennium AD, together with an interpretation of this phenomenon were the subject of Ewa Bugaj study, which she carried out as her doctoral project. She conducted the research on the basis of available, mostly archival sources, rather scarce as compared with a large number of pottery of the time. The aim of the project was to collect and describe (to catalogue) evidence of images observed on pottery dating to the Pre-Roman and Roman Iron Age and the early phases of the Migration Period, from the Barbaricum, and then to analyse and interpret the data, which had not been published in a form of a synthesis before. She assumed that the material, although not very impressive, deserved individual treatment as it appeared to be of a great importance for recognition of this particular realm of culture, which is today referred to as “symbolic”. Furthermore, the iconographic nature of collected data allowed reflection on this area of human activity in prehistory, which in modern era was seen as art, which has been essential for her main research interests.<br /> The analyses E. Bugaj carried out included technological and formal ones, the latter based on applied criteria, and also typology of images. She also discussed a genesis of analysed motifs and their analogies, both formal and thematic, as well as their chronology and distribution. All these resulted mainly in arranging the collected data and revealed that the vessels with figurative motifs from European Barbaricum represent a heterogeneous collection, and that observed images developed rather independently. Predominant motifs proved to be images of animals, mainly quadrupeds, and birds, then of humans (often faces), and solar and plant motifs, but significantly rarer.<br /> Her further step was to attempt to recognise meanings of analysed evidence. E. Bugaj assumed that figurative ornamentation (motif) represents a defined iconic structure which implicates meanings and exists within the framework of system of values of the studied communities. However, interpretation of such a system required going beyond material database and implicating theoretical concepts. She referred to philosophical anthropology, and especially to Hans Jonas's works. He suggested (simplification) that the one who attempts to interpret human activities in the past should agree that there exists something common to all human beings. Only that allows discussion about humans and their history, and furthermore about their transformations through it. Jonas, referring to prehistoric data, showed also indicators of a human, such as tools, pictures and graves. Dealing in her work with visual images that E. Bugaj has seen as representations of something beyond themselves, which might be read, she first looked at the context in which they occurred. It was a funerary context, and not infrequently the vessels collected by her had been used as urns. The fact that they were found in graves allowed to assume that they had been manufactured specifically for funerary purposes. Thus, it might be presumed that figurative motifs on them could have related to a realm of eschatological images. E. Bugaj sought assumptions for reading the meaning of such images in works by ancient writers and also in literary tradition of old Germanic peoples, especially that referring to their beliefs, although more recent that the artefacts themselves. She also included comparative religion and phenomenology of religion in her study. The latter, while illustrating sources of a particular religious phenomenon in various periods and cultures, seeks common essence of their historical epiphanies. In conclusion of the work, E. Bugaj has presented the characteristics of figurative motifs analysed therein, in the light of their role among Indo-European myths and, if possible, in the light of Germanic mythology. Their dominant message pointed to ouranic model of images.<br /> While addressing this issue she also approached more general considerations, regarding an attitude towards sources referred to as prehistoric artworks, abundant in her work. E. Bugaj has assumed that in the case of analysed figurative motifs the function of art might be defined as a kind of relationship between the world of the living and the dead.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="3205627"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="3205627"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3205627; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Ewa Bugaj</h3></div><div class="js-work-strip profile--work_container" data-work-id="127109994"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/127109994/BADANIA_NAD_ATTYCK%C4%84_CERAMIK%C4%84_GEOMETRYCZN%C4%84_I_JEJ_DEKORACJ%C4%84_JAKO_SZTUK%C4%84_UWAGI_O_MINIONYCH_I_AKTUALNYCH_PODEJ%C5%9ACIACH_RESEARCH_ON_ATTIC_GEOMETRIC_POTTERY_AND_ITS_DECORATION_AS_ART_NOTES_ON_PAST_AND_CURRENT_APPROACHES_"><img alt="Research paper thumbnail of BADANIA NAD ATTYCKĄ CERAMIKĄ GEOMETRYCZNĄ I JEJ DEKORACJĄ JAKO SZTUKĄ: UWAGI O MINIONYCH I AKTUALNYCH PODEJŚCIACH (RESEARCH ON ATTIC GEOMETRIC POTTERY AND ITS DECORATION AS ART: NOTES ON PAST AND CURRENT APPROACHES)" class="work-thumbnail" src="https://attachments.academia-assets.com/120891798/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/127109994/BADANIA_NAD_ATTYCK%C4%84_CERAMIK%C4%84_GEOMETRYCZN%C4%84_I_JEJ_DEKORACJ%C4%84_JAKO_SZTUK%C4%84_UWAGI_O_MINIONYCH_I_AKTUALNYCH_PODEJ%C5%9ACIACH_RESEARCH_ON_ATTIC_GEOMETRIC_POTTERY_AND_ITS_DECORATION_AS_ART_NOTES_ON_PAST_AND_CURRENT_APPROACHES_">BADANIA NAD ATTYCKĄ CERAMIKĄ GEOMETRYCZNĄ I JEJ DEKORACJĄ JAKO SZTUKĄ: UWAGI O MINIONYCH I AKTUALNYCH PODEJŚCIACH (RESEARCH ON ATTIC GEOMETRIC POTTERY AND ITS DECORATION AS ART: NOTES ON PAST AND CURRENT APPROACHES)</a></div><div class="wp-workCard_item"><span>Folia Praehistorica Posnaniensia</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the article, the author attempts to assess the validity of including Attic Geometric pottery a...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the article, the author attempts to assess the validity of including Attic Geometric pottery and its figural decoration in the category of art and considers the problems of studying art in archaeology in the context of the transformations of cultural concepts concerning archaic man visual experience. Subsequently, in the paper a whole range of art analysis methods that were used in the study of Attic Geometric pottery and its figural ornamentation were presented, taking into account traditional works, as well as new ones based on social constructivism and postmodernity, focussing especially on the original achievements of Polish researchers in this regard and the author own approach.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b105e72a2e051282da29e275f03fe10d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120891798,"asset_id":127109994,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120891798/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="127109994"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="127109994"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 127109994; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="127109830"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/127109830/Gar%C5%9B%C4%87_uwag_o_zwierz%C4%99tach_jako_towarzyszach_zabaw_dzieci%C4%99cych_w_antyku_na_podstawie_danych_ikonograficznych_i_historycznych_Some_Remarks_on_Animals_as_Play_Companions_for_Children_in_Antiquity_Based_on_Iconographic_and_Historical_Data_In_Prawy_dba_o_dusz%C4%99_swego_zwierz%C4%99cia_domowego"><img alt="Research paper thumbnail of Garść uwag o zwierzętach jako towarzyszach zabaw dziecięcych w antyku na podstawie danych ikonograficznych i historycznych (Some Remarks on Animals as Play Companions for Children in Antiquity Based on Iconographic and Historical Data). In: Prawy dba o duszę swego zwierzęcia domowego" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/127109830/Gar%C5%9B%C4%87_uwag_o_zwierz%C4%99tach_jako_towarzyszach_zabaw_dzieci%C4%99cych_w_antyku_na_podstawie_danych_ikonograficznych_i_historycznych_Some_Remarks_on_Animals_as_Play_Companions_for_Children_in_Antiquity_Based_on_Iconographic_and_Historical_Data_In_Prawy_dba_o_dusz%C4%99_swego_zwierz%C4%99cia_domowego">Garść uwag o zwierzętach jako towarzyszach zabaw dziecięcych w antyku na podstawie danych ikonograficznych i historycznych (Some Remarks on Animals as Play Companions for Children in Antiquity Based on Iconographic and Historical Data). In: Prawy dba o duszę swego zwierzęcia domowego</a></div><div class="wp-workCard_item"><span>Prawy dba o duszę swego zwierzęcia domowego. Pochówki ludzi i zwierząt. Funeralia Gnieźnieńskie 23</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Children themselves, from the period of their infancy, and as individuals to be raised and educat...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Children themselves, from the period of their infancy, and as individuals to be raised and educated and to be prepared for future social roles, let alone their play, are issues that have long remained on the margins of interest in the study of antiquity. The same applies to so-called domestic animals unless considerations about them were also tied to economic or religious issues. However, since the end of the 20th century, there has been a radical change in this situation, with research projects in classical studies increasingly focusing on this issue. These studies consider all available sources, as the prevailing holistic approach advocates the use of literary and inscription sources, material sources, iconographic sources, as well as natural sources. Classical archaeologists primarily rely on artifacts, with a particular emphasis on iconographic sources, although their interpretation poses numerous challenges. In this text, the author reflects on selected categories of Greek and Roman iconographic sources, such as grave steles, vase painting, figurative sculpture, and wall painting, depicting children engaging in various interactions with animals. The author suggests that these scenes are sometimes viewed as a reflection of various children’s activities with their pets, a presence mentioned by ancient authors in Greek and Roman households. Nevertheless, a closer iconographic analysis, in conjunction with the contextual functioning of relevant artifacts and historical data, prompts questions about the extent to which these representations can be considered depictions of children playing with so-called domestic animals and to what extent they primarily convey various symbolic, religious messages and meanings. Critical verification of iconographic and historical data partly allows a positive answer to the question of the manifestation of traces of the ancient reality in the images preserved on analyzed artifacts. However, interpreting the meaning of these representations, as the ancients did, requires seeking deeper meanings than those directly depicted in charming scenes of children playing with their pets. As a result of the author’s investigations, it is shown that scenes preserved on analysed artifacts evoke cultural values shared by ancient Greek and Roman communities, primarily manifested during rituals at various festivals and funerals. Depicting play scenes or portraying close relationships with animals aimed mainly at demonstrating piety and adherence to ritual principles, with the depicted animals being associated with chthonic, mythological, or broader symbolic messages. It likely also involved creating model situations and emphasizing the significant cultural role of specific animals in society. Among them, undoubtedly, were animals kept in households for their own sake, appreciated, especially in the context of entertaining children and positively influencing their development and education. Therefore, caring for these animals likely began to play an increasingly significant role. Nevertheless, this only scratches the surface of the intricate dynamics between children in antiquity and the animals they interacted with.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="55869f220f860e6b53c45c639e9030d8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120891689,"asset_id":127109830,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120891689/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="127109830"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="127109830"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 127109830; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=127109830]").text(description); $(".js-view-count[data-work-id=127109830]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 127109830; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='127109830']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "55869f220f860e6b53c45c639e9030d8" } } $('.js-work-strip[data-work-id=127109830]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":127109830,"title":"Garść uwag o zwierzętach jako towarzyszach zabaw dziecięcych w antyku na podstawie danych ikonograficznych i historycznych (Some Remarks on Animals as Play Companions for Children in Antiquity Based on Iconographic and Historical Data). In: Prawy dba o duszę swego zwierzęcia domowego","internal_url":"https://www.academia.edu/127109830/Gar%C5%9B%C4%87_uwag_o_zwierz%C4%99tach_jako_towarzyszach_zabaw_dzieci%C4%99cych_w_antyku_na_podstawie_danych_ikonograficznych_i_historycznych_Some_Remarks_on_Animals_as_Play_Companions_for_Children_in_Antiquity_Based_on_Iconographic_and_Historical_Data_In_Prawy_dba_o_dusz%C4%99_swego_zwierz%C4%99cia_domowego","owner_id":830615,"coauthors_can_edit":true,"owner":{"id":830615,"first_name":"Ewa","middle_initials":null,"last_name":"Bugaj","page_name":"EwaBugaj","domain_name":"amu","created_at":"2011-10-10T17:52:25.992-07:00","display_name":"Ewa Bugaj","url":"https://amu.academia.edu/EwaBugaj"},"attachments":[{"id":120891689,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://a.academia-assets.com/images/blank-paper.jpg","file_name":"Prawy_dba_o_dusze_swego_zwierzecia_domowego_Funeralia_23_eds_M._Jaeger_J._Tomczyk_J._Wrzesinski_Gniezno_2024.pdf","download_url":"https://www.academia.edu/attachments/120891689/download_file","bulk_download_file_name":"Garsc_uwag_o_zwierzetach_jako_towarzysza.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/120891689/Prawy_dba_o_dusze_swego_zwierzecia_domowego_Funeralia_23_eds_M._Jaeger_J._Tomczyk_J._Wrzesinski_Gniezno_2024-libre.pdf?1737229688=\u0026response-content-disposition=attachment%3B+filename%3DGarsc_uwag_o_zwierzetach_jako_towarzysza.pdf\u0026Expires=1740105940\u0026Signature=Et5J~~Wie91K8t79d28g1AfS9AuN5ekcgJm0qLhe8OXLeQPPj0N4FydVZk7zMg~UOdPBw08rl7ggKzlHLhImLuORAgcDG5sT6hA1bhUUKOjZppEb7aKg45j4SVz1KDH0HV8Eoff26azDqkys-n6XH7tMdzRULnDvnz1IAOjN8~F30RPofRb-8ydd9~sEUTHPxXfcTlqIAZl0pdecnGJE9ohRzAtlzsdBo~dog~nsWkSrIgJzWIZJmY8vEUvxh1dIRYAYn4gAS2KvK513NoycVEdiP2YuWVyeBupVsDQU9pJ6Sy5Wq7BncrvZnj7SamgA6SHwpIaliZ8h4vkoKYM94w__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="127109629"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/127109629/O_problemach_badania_sztuki_w_archeologii_On_the_Problems_of_Studying_Art_in_Archaeology_"><img alt="Research paper thumbnail of O problemach badania sztuki w archeologii (On the Problems of Studying Art in Archaeology)" class="work-thumbnail" src="https://attachments.academia-assets.com/120891918/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/127109629/O_problemach_badania_sztuki_w_archeologii_On_the_Problems_of_Studying_Art_in_Archaeology_">O problemach badania sztuki w archeologii (On the Problems of Studying Art in Archaeology)</a></div><div class="wp-workCard_item"><span>Przegląd Archeologiczny</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The article attempts to assess the legitimacy of including prehistoric and ancient artefacts in t...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The article attempts to assess the legitimacy of including prehistoric and ancient artefacts in the category of art, as well as the problems of studying art in archaeology in the context of the most important contemporary transformations of cultural philosophical concepts concerning visual experience. Changes in the perception of art and aesthetics from a historical perspective and attempts to define art within the framework of essentialist and anti-essentialist approaches are discussed. Attention is paid to the changes in culture that have been taking place dynamically since the end of the twentieth century, as well as to the retreat from the modernist worldview, which was initiated by representatives of post-modern philosophy, and which soon spread throughout the humanities and the public sphere. This has led to the development of new approaches to archaeology research and, among them, the search for new conceptualisations of art, which appeared in a particularly original way in Polish archaeology and cultural anthropology. The author refers to these achievements at the end of the article, earlier discussing the numerous traditional conceptualisations of art in archaeology and the whole range of methods of its analysis.<br />During her deliberations, the author comes to the conclusion that art is a non-obvious, relative phenomenon and changeable in history, not only in the manifestation of its forms, but also in its essence and function. The study of art in archaeology, therefore, implies the need to go beyond traditional, colloquial, and historical generalisations about it, and to search for adequate theoretical approaches to help in attempts to explain and interpret it. Nevertheless, art appears in the consideration of archaeologists, most often as a universal phenomenon, and is studied in a similar way to the analysis of modern art. This type of treatment can be considered an anachronism and a projection of modern notions onto prehistoric and ancient societies.<br />This is done on the principle of speaking of art as an intentional product, made with skill, characterised by a distinctive form that works visually, composed of specific elements, patterns, and figures, having references in the imagination of the maker or in the external world. Such artefacts are rooted in the broadly defined ritual and ceremonial, sacred or secular, public or private spheres. They represent, express or communicate the imaginary or external world; they express or communicate the world of ideas of which they are an expression; they make something or someone present; they provide a variety of experiences. It can be clearly seen that the artefacts assigned to art in this way describe art within mimetic, expressionist, and formal categories.<br />Nevertheless, since the end of the last century, archaeologists, especially post-processual archaeologists, have been moving away from making statements about art and the work of art, replacing these concepts with visual culture and the broad category of image. However, it should be noted that the concept of the image is as problematic in archaeology as it is in the work of art. Postmodern-orientated cultural anthropologists and philosophers point out that the image, as we understand it today, has not always functioned in culture, but is an intellectual invention of the so-called Axial Time (9th-3rd centuries BC) when the process of its emergence as a representation occurred. Regarding earlier times, we can talk about iconic facts that should be studied in a different way.<br />In recent years, anti-essentialist Polish researchers have made such an effort and developed approaches that appeal to a viewpoint rooted in social constructivism. According to this approach, we come to know the reality through cultural experience, which manifests itself in culture (especially in language). In this view, art, as a field of culture, conceived primarily as a "thoughtful/ mental reality", is something socially constructed at a particular historical moment. Its study on the grounds of archaeology and anthropology is a painstaking attempt to reconstruct ancient values and belief systems, undertaken mainly on the basis of linguistic data with the participation of all other sources.<br />This new approach to the study of art has been presented by Polish researchers. These include Andrzej P. Kowalski who, in his book "Myth versus Beauty. From Research on the Origin of Art" (2013), presented the oldest ideas illustrating the processes of transition from handicrafts and ritual practices to art. Another is Sebastian Borowicz whose  book "Smeared Reliefs: Things and Images in Ancient Greek Culture" (2020) showed the transition of iconicity in Greece from its performative functioning in the archaic era, to the iconicity and visuality of the classical era, endowed with discursive and aesthetic elements. The author refers to these works at the end of the article.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9db2f0dfc02c339a9557e42b46a2a5a4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120891918,"asset_id":127109629,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120891918/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="127109629"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="127109629"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 127109629; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="82738061"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/82738061/Gesellschaftlicher_Wandel_in_der_fr%C3%BChen_Eisenzeit_im_Lichte_neuer_Siedlungsgrabungen_in_Schlesien"><img alt="Research paper thumbnail of Gesellschaftlicher Wandel in der frühen Eisenzeit im Lichte neuer Siedlungsgrabungen in Schlesien" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/82738061/Gesellschaftlicher_Wandel_in_der_fr%C3%BChen_Eisenzeit_im_Lichte_neuer_Siedlungsgrabungen_in_Schlesien">Gesellschaftlicher Wandel in der frühen Eisenzeit im Lichte neuer Siedlungsgrabungen in Schlesien</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://amu.academia.edu/EwaBugaj">Ewa Bugaj</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://pan-pl.academia.edu/Bogus%C5%82awGediga">Bogusław Gediga</a></span></div><div class="wp-workCard_item"><span>Praehistorische Zeitschrift</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">While hitherto the clearly visible connections between the Early Iron Age culture in Silesia and ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">While hitherto the clearly visible connections between the Early Iron Age culture in Silesia and the Hallstatt one had been assumed as a result of the study of cremation cemeteries, the article attempts to strengthen this assumption with the archaeological data obtained from settlements, dated to that period. Majority of researchers studying the Hallstatt culture have been emphasizing the transformation of a social structure, occurring at the time, and reflected in archaeological material. Analogous phenomenon might be ascertained in case of several urnfield cemeteries from Silesia, particularly well-equipped chamber graves (eg. Domasław, Wrocław district), while also within some settlements, an example of which might be the Early Iron Age site in Milejowice, Wrocław district, recognized during a large-scale excavations, where several built-up concentrations have been distinguished, including one surrounded with monumental circles with a diameter of 85 m, formed by rings of postholes aligned one by one, forming a palisade-like structure. The article provides a brief analysis of the relics of the settlement, indicating that the social status and level of wealth of the inhabitants of the particular part of the settlement must have been outstanding. The obtained results of the study of selected sites from Silesia allow to conclude that culturally the area represented just another, regional, peripheral group of the Hallstatt circle.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="82738061"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="82738061"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 82738061; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=82738061]").text(description); $(".js-view-count[data-work-id=82738061]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 82738061; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='82738061']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=82738061]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":82738061,"title":"Gesellschaftlicher Wandel in der frühen Eisenzeit im Lichte neuer Siedlungsgrabungen in Schlesien","internal_url":"https://www.academia.edu/82738061/Gesellschaftlicher_Wandel_in_der_fr%C3%BChen_Eisenzeit_im_Lichte_neuer_Siedlungsgrabungen_in_Schlesien","owner_id":830615,"coauthors_can_edit":true,"owner":{"id":830615,"first_name":"Ewa","middle_initials":null,"last_name":"Bugaj","page_name":"EwaBugaj","domain_name":"amu","created_at":"2011-10-10T17:52:25.992-07:00","display_name":"Ewa Bugaj","url":"https://amu.academia.edu/EwaBugaj"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="70323321"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/70323321/Bugaj_E_2021_Some_Remarks_on_the_Problems_of_Art_Research_in_Archaeology_ch18_pp326_"><img alt="Research paper thumbnail of Bugaj E 2021 Some Remarks on the Problems of Art Research in Archaeology ch18 pp326-" class="work-thumbnail" src="https://attachments.academia-assets.com/80123882/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/70323321/Bugaj_E_2021_Some_Remarks_on_the_Problems_of_Art_Research_in_Archaeology_ch18_pp326_">Bugaj E 2021 Some Remarks on the Problems of Art Research in Archaeology ch18 pp326-</a></div><div class="wp-workCard_item"><span>chapter in book</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article briefly presents some of the author’s research on art in archaeology, focusing espec...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article briefly presents some of the author’s research on art in archaeology, focusing especially on her contributions to research on Greek and Roman sculpture and its historiography. In particular, the problems of research on copies and imitations in Roman culture, Republican portraits of the elderly, the style of Greek sculpture, and the cult statue of Aphrodite of Cnidus are discussed.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ee8564c4a8ef465685086bce724c1734" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":80123882,"asset_id":70323321,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/80123882/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="70323321"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="70323321"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 70323321; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="70322450"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/70322450/Bugaj_E_2021_Some_Remarks_on_the_Problems_of_Researching_Art_in_Archaeology_ch8_pp160_"><img alt="Research paper thumbnail of Bugaj E 2021 Some Remarks on the Problems of Researching Art in Archaeology ch8 pp160-" class="work-thumbnail" src="https://attachments.academia-assets.com/80123354/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/70322450/Bugaj_E_2021_Some_Remarks_on_the_Problems_of_Researching_Art_in_Archaeology_ch8_pp160_">Bugaj E 2021 Some Remarks on the Problems of Researching Art in Archaeology ch8 pp160-</a></div><div class="wp-workCard_item"><span>chapter in book</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article briefly presents some of the author’s research on art in archaeology. Drawing on pre...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article briefly presents some of the author’s research on art in archaeology. Drawing on previously published works, the text reviews the general problems of art research in archaeology before focusing on investigations of prehistoric and ancient figurines, anthropomorphisation in ancient Greece, and figural motifs in Attic Geometric pottery.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8ddfc602d92070792d70db1525ede4c6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":80123354,"asset_id":70322450,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/80123354/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="70322450"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="70322450"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 70322450; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="57891271"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/57891271/Pr%C3%B3ba_interpretacji_zabudowy_osady_z_wczesnej_epoki_%C5%BCelaza_na_stanowisku_Milejowice_19_pow_wroc%C5%82awski_Die_Bebauung_einer_Siedlung_aus_der_fr%C3%BChen_Eisenzeit_auf_dem_Fundplatz_Milejowice_19_Kr_Wroc%C5%82aw_Versuch_einer_Interpretation_"><img alt="Research paper thumbnail of Próba interpretacji zabudowy osady z wczesnej epoki żelaza na stanowisku Milejowice 19, pow. wrocławski (Die Bebauung einer Siedlung aus der frühen Eisenzeit auf dem Fundplatz Milejowice 19, Kr. Wrocław – Versuch einer Interpretation)" class="work-thumbnail" src="https://attachments.academia-assets.com/72567990/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/57891271/Pr%C3%B3ba_interpretacji_zabudowy_osady_z_wczesnej_epoki_%C5%BCelaza_na_stanowisku_Milejowice_19_pow_wroc%C5%82awski_Die_Bebauung_einer_Siedlung_aus_der_fr%C3%BChen_Eisenzeit_auf_dem_Fundplatz_Milejowice_19_Kr_Wroc%C5%82aw_Versuch_einer_Interpretation_">Próba interpretacji zabudowy osady z wczesnej epoki żelaza na stanowisku Milejowice 19, pow. wrocławski (Die Bebauung einer Siedlung aus der frühen Eisenzeit auf dem Fundplatz Milejowice 19, Kr. Wrocław – Versuch einer Interpretation)</a></div><div class="wp-workCard_item"><span>Architektura i budownictwo epoki brązu i wczesnych okresów epoki żelaza. Problemy rekonstrukcji</span><span>, 2006</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The results of excavation at Milejowice site 19, Wrocław Branch, Poland, which I was privileged t...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The results of excavation at Milejowice site 19, Wrocław Branch, Poland, which I was privileged to excavate on behalf of the Institute of Archaeology and Ethnology Polish Academy of Sciences, indicated that majority of the features unearthed at the site represented remnants of a permanent open settlement occupied by Lusatian communities, organised in distinct complexes of constructions, located around elongated squares. However, apart from the remains of this open settlement there was also discovered a circular part, also a residential area, but clearly separated from the other parts by rings of postholes, remnants of posts standing side by side, forming palisade-like structures. Analysis of pottery forms, as well as dendrochronology and C14 dating allowed to determine the chronology of the settlement mainly to the sub-period Hallstatt C. Within the site there were observed exceedingly numerous remains of wooden buildings, primarily of a post construction, but also an accumulation of relics of dugouts (semi-pit-houses) and storage pits. There were five wells discovered at the site (and two probable ones), of which as many as four had partially preserved wooden constructions. Remains of a bronze manufacture was accompanied by bronze artefacts, including elements of horse harness related to the influences of nomadic peoples (so called Kimmerian horizon). A cultural layer was observed in a substantial part of the settlement. Five deposits of pottery, having the character of votive offerings, four of which were associated with an isolated, circular part of the settlement, represented distinguished finds. “Graphitic” and painted pottery was also recorded. <br />The most intriguing element of the studied area within Milejowice site 19 was a fragment of a settlement surrounded by a kind of circular fences. Everything seemed to suggest that it was inhabited, but clearly isolated part of the settlement. It was assumed that the separation was rather, in the light of the interpretation that I co-authored, not of practical, defensive but rather symbolic character, most likely made due to the power, exceptional social and probably also substantial status of the people occupying this area. This was a settlement of “Herrensitz” type. The analysed complex has obviously expressed transformations taking place in the Hallstatt period in terms of social relations, when, mainly influenced directly by the Hallstatt zone, a leading social strata developed also in other areas. Inspired by the Hallstatt “aristocracy” those people also separated their impressive dwellings, as well as cemeteries and burial customs. The ongoing process of substantial and social differentiation of communities inhabiting western Poland had been previously confirmed mainly by observations made in cemeteries. Large-scale excavations conducted at Milejowice site 19 have provided evidence that demonstrably confirmed this process of social transformation. Recently obtained further confirmation of these processes, due to the discovery of spectacular site Domasław, in the near distance from Milejowice site 19.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9962215463f4a999dac5cfb102f07e20" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":72567990,"asset_id":57891271,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/72567990/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="57891271"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="57891271"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 57891271; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=57891271]").text(description); $(".js-view-count[data-work-id=57891271]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 57891271; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='57891271']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9962215463f4a999dac5cfb102f07e20" } } $('.js-work-strip[data-work-id=57891271]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":57891271,"title":"Próba interpretacji zabudowy osady z wczesnej epoki żelaza na stanowisku Milejowice 19, pow. wrocławski (Die Bebauung einer Siedlung aus der frühen Eisenzeit auf dem Fundplatz Milejowice 19, Kr. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44643333"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44643333/The_spatial_and_functional_structure_of_the_settlement_from_the_early_iron_age_in_Milejowice_site_19_district_Wroc%C5%82aw_in_the_social_aspect"><img alt="Research paper thumbnail of The spatial and functional structure of the settlement from the early iron age in Milejowice, site 19, district Wrocław, in the social aspect" class="work-thumbnail" src="https://attachments.academia-assets.com/65113713/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44643333/The_spatial_and_functional_structure_of_the_settlement_from_the_early_iron_age_in_Milejowice_site_19_district_Wroc%C5%82aw_in_the_social_aspect">The spatial and functional structure of the settlement from the early iron age in Milejowice, site 19, district Wrocław, in the social aspect</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://pan-pl.academia.edu/AnetaBuchner">Aneta Buchner</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://amu.academia.edu/EwaBugaj">Ewa Bugaj</a></span></div><div class="wp-workCard_item"><span>Przegląd Archeologiczny</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">in this paper the authors present the results of spatial analyses performed using Gis tools which...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">in this paper the authors present the results of spatial analyses performed using Gis tools which were used to recognize the spatial and functional structure of the settlement in milejowice, site 19, dating back to the early iron age. the aim of the study was to more precisely define the function of the discovered complexes with pole construction buildings arranged around an empty area and to make another attempt at gaining insight into the structure of the society that lived in the settlement. the acquired results allowed a discussion on the earlier interpretations of the settlement in milejo-wice, according to which a part of the site functioned as a seat of the elite who distinguished their place of residence with circular fences. the results of Gis analyses did not make it possible to precisely determine the character of the society that inhabited the site. however, in the opinion of the authors, the specific organization of spatial development in milejowice, taking into account the distribution of different kinds of artifacts within its area, may indicate social stratification among the inhabitants. the basis of the stratification was, above all, access to prestige goods and the division of social roles connected with particular economic or professional activity.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="00cd901b316840e05a429fb39d878e81" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65113713,"asset_id":44643333,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65113713/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44643333"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44643333"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44643333; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38120549"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38120549/Badania_ikonograficzno_ikonologiczne_greckiego_malarstwa_wazowego_zarys_problematyki_Some_Remarks_on_Iconographical_and_Iconological_Approaches_to_Greek_Vase_Painting_"><img alt="Research paper thumbnail of Badania ikonograficzno-ikonologiczne greckiego malarstwa wazowego – zarys problematyki (Some Remarks on Iconographical and Iconological Approaches to Greek Vase Painting)" class="work-thumbnail" src="https://attachments.academia-assets.com/58150078/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38120549/Badania_ikonograficzno_ikonologiczne_greckiego_malarstwa_wazowego_zarys_problematyki_Some_Remarks_on_Iconographical_and_Iconological_Approaches_to_Greek_Vase_Painting_">Badania ikonograficzno-ikonologiczne greckiego malarstwa wazowego – zarys problematyki (Some Remarks on Iconographical and Iconological Approaches to Greek Vase Painting)</a></div><div class="wp-workCard_item"><span>in Estetyka w archeologii. Obrazowanie w pradziejach i starożytności, ed. D. Minta-Tworzowska, Gdańsk, Komitet Nauk Pra- i Protohistorycznych PAN, Muzeum Archeologiczne w Gdańsku</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The article presents the main assumptions of the iconological method of E. Panofsky and its very ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The article presents the main assumptions of the iconological method of E. Panofsky and its very specific adaptation to the ground of classical archaeology, taking place in the field of vase painting research. The contribution of C. Robert's works to the development of iconographic approaches to Greek art, as well as the so-called anthropological turn in the studies of vase painting and the achievement of Swiss and French scholars, inspired by structuralism and linguistics, are also taken into consideration. Then the iconological and semiotic approaches in the study of Greek vases are confronted and finally the author outlines basic directions in analysing and interpreting ancient images within the framework of contemporary visual culture studies.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4e14af0c12353315b76b0b3254f95472" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58150078,"asset_id":38120549,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58150078/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38120549"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38120549"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38120549; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="33595895"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/33595895/Staro%C5%BCytny_akt_kobiecy_i_jego_p%C3%B3%C5%BAniejsze_implikacje_Uwagi_na_marginesie_Afrodyty_Knidyjskiej_Ancient_Female_Nude_and_Its_Subsequent_Implications_Remarks_in_the_Context_of_the_Aphrodite_of_Knidos_"><img alt="Research paper thumbnail of Starożytny akt kobiecy i jego późniejsze implikacje. Uwagi na marginesie Afrodyty Knidyjskiej (Ancient Female Nude and Its Subsequent Implications. Remarks in the Context of the Aphrodite of Knidos)" class="work-thumbnail" src="https://attachments.academia-assets.com/53616132/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/33595895/Staro%C5%BCytny_akt_kobiecy_i_jego_p%C3%B3%C5%BAniejsze_implikacje_Uwagi_na_marginesie_Afrodyty_Knidyjskiej_Ancient_Female_Nude_and_Its_Subsequent_Implications_Remarks_in_the_Context_of_the_Aphrodite_of_Knidos_">Starożytny akt kobiecy i jego późniejsze implikacje. Uwagi na marginesie Afrodyty Knidyjskiej (Ancient Female Nude and Its Subsequent Implications. Remarks in the Context of the Aphrodite of Knidos)</a></div><div class="wp-workCard_item"><span>chapter in book in Polish with English summary</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper investigates the female nude in ancient Greek monumental sculpture based on the Aphrod...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper investigates the female nude in ancient Greek monumental sculpture based on the Aphrodite of Knidos. It first emphasises that Greek statues mostly represent deities and heroic figures in human forms. One of the reasons for this was the anthropomorphisation of the gods and heroes, the base of the Greek religion. As a result, the image of the human body constantly occupied the imagination of sculptors. Recently, there has been a shift of interest in the study of Greek statues, particularly cult statues. Iconographic and iconological considerations have been increasingly replaced by attempts to comprehend and receive the sculpture just like ancient Greeks. The text quotes a large group of researchers who have undertaken fresh efforts to interpret Greek cult statues, combining a meticulous analysis of ancient texts with studies on the preserved body of works and the contemporary reflection on the broadly understood visual culture and the ways it influences and is received by people. Important in these studies is also the recognition of the enormous impact of the modern, especially post-Enlightenment tradition, on the contemporary reception and meaning attributed to the ancient Greek art, especially statues. <br />The article then provides a clear overview of various interpretations of the Aphrodite of Knidos, a famous work of Praxiteles, in the context of the considerations about the statues and their agency, and explores the reflection on the development of the so-called naturalistic style in Greek sculpture. The paper shows how common is the interest in goddess-related issues, notably the one depicted in the statue from Knidos. On the one hand, this stems from the popularity of gender studies, blossoming also in antiquity research, and on the other hand, from a reflection on modern European art coming from feminist art history. Unfortunately, within these approaches, the Praxiteles’ work is subject to accusations, because the sculptor supposedly showed the weakness of Aphrodite, embarrassed with her nudity, as opposed to the proudly presented nudity in male statues. The embarrassment, covering up, shows the goddess as weak and vulnerable, susceptible to injury. The naked Aphrodite of Knidos is therefore believed to have been sexually objectifi ed by being subordinated to the male gaze. This makes the cult statue a thing subordinated to male needs and devoid of any impact.<br />Ewa Bugaj argues that such interpretations signifi cantly reduce the phenomenon of the cult statue and its functioning in antiquity, as presented at the beginning of the paper. We cannot forget that Aphrodite was first of all the goddess, not an ordinary woman, and the religious aspect of the  functioning of the statue, so important for the ancients, should not be overlooked in the interpretation. The paper thus shows that an ancient Greek, a follower of the goddess, is unlikely to have separated his gaze from his or her religious beliefs, given that the Greeks viewed the sculpture as a statue and the goddess at the same time. Other interpretations of Praxiteles’ work are also given. It has been argued that based on religion studies as well as literary and historical references, Aphrodite cannot be called a modest goddess. Hence, her perfect and attractive body, carved by Praxiteles, was probably meant to emphasise her power. Furthermore, the decision to leave the genitals at the statue of Aphrodite of Knidos unmarked could have resulted from an intention to distinguish her divine body from the bodies of ordinary women. This permitted the goddess, embodied in the statue, to retain the status of impact and power. The nudity of the Aphrodite of Knidos rendered by Praxiteles in a very sensual manner, seemed to manifest her bodily availability, yet ultimately, the goddess was not fully accessible (both in the myths about the goddess and the legends about the statue). The beautiful, worthy of the highest admiration and lust outside of the goddess, masterfully shown by Praxiteles, enabled the Greek to image her inner divine qualities. Thus, the aim of the representation was perhaps not to stimulate lusty glances and intimate relations with the statue, but to inspire religious awe and elation.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8c933c91ad073005be3805449a18072d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":53616132,"asset_id":33595895,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/53616132/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="33595895"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="33595895"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33595895; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=33595895]").text(description); $(".js-view-count[data-work-id=33595895]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 33595895; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='33595895']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8c933c91ad073005be3805449a18072d" } } $('.js-work-strip[data-work-id=33595895]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":33595895,"title":"Starożytny akt kobiecy i jego późniejsze implikacje. Uwagi na marginesie Afrodyty Knidyjskiej (Ancient Female Nude and Its Subsequent Implications. Remarks in the Context of the Aphrodite of Knidos)","internal_url":"https://www.academia.edu/33595895/Staro%C5%BCytny_akt_kobiecy_i_jego_p%C3%B3%C5%BAniejsze_implikacje_Uwagi_na_marginesie_Afrodyty_Knidyjskiej_Ancient_Female_Nude_and_Its_Subsequent_Implications_Remarks_in_the_Context_of_the_Aphrodite_of_Knidos_","owner_id":830615,"coauthors_can_edit":true,"owner":{"id":830615,"first_name":"Ewa","middle_initials":null,"last_name":"Bugaj","page_name":"EwaBugaj","domain_name":"amu","created_at":"2011-10-10T17:52:25.992-07:00","display_name":"Ewa Bugaj","url":"https://amu.academia.edu/EwaBugaj"},"attachments":[{"id":53616132,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/53616132/thumbnails/1.jpg","file_name":"Bugaj_Ewa_2017_Starozytny_akt_kobiecy_Afrodyta_z_Knidos.pdf","download_url":"https://www.academia.edu/attachments/53616132/download_file","bulk_download_file_name":"Starozytny_akt_kobiecy_i_jego_pozniejsze.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/53616132/Bugaj_Ewa_2017_Starozytny_akt_kobiecy_Afrodyta_z_Knidos-libre.pdf?1498084949=\u0026response-content-disposition=attachment%3B+filename%3DStarozytny_akt_kobiecy_i_jego_pozniejsze.pdf\u0026Expires=1740105940\u0026Signature=Jhoze8Dh-AUEo9vs2kWIZ9ybcXyT0zeMel8iQ72xkptL5SqvIolLp4q0AZ3VHxvApBGadsPj8qUwMnIGF6GKZIB9qIaLb50vMmVMdeRHMtrCxcrsR73PWq3RLfMZnnSdtCL~q9yKDfH6jSzoobUlztgpNl1o~gb21s29DTY7mmjaqpfovoQXDmNd1SWQHwx~BaASxu37thf2Q12lVxQD5n~OL5~7qbobcu6buGqNHTKMAa4B1dYY3FWUgTcqv19JXQGbxJUHwx3phJfqJv3-IDSiBgP~PtPIuF0pIsRFnWoucbHCWU5CQAE9JgAG9zHTPVIKP8VSeWDuIY4FJ2oDTg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="33596774"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/33596774/Uwagi_o_rze%C5%BAbie_greckiej_i_nowych_kierunkach_jej_bada%C5%84_Some_Remarks_on_the_Production_of_Greek_Sculpture_and_the_New_Approaches_in_Its_Study_"><img alt="Research paper thumbnail of Uwagi o rzeźbie greckiej i nowych kierunkach jej badań (Some Remarks on the Production of Greek Sculpture and the New Approaches in Its Study)" class="work-thumbnail" src="https://attachments.academia-assets.com/54090970/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/33596774/Uwagi_o_rze%C5%BAbie_greckiej_i_nowych_kierunkach_jej_bada%C5%84_Some_Remarks_on_the_Production_of_Greek_Sculpture_and_the_New_Approaches_in_Its_Study_">Uwagi o rzeźbie greckiej i nowych kierunkach jej badań (Some Remarks on the Production of Greek Sculpture and the New Approaches in Its Study)</a></div><div class="wp-workCard_item"><span>journal article in Polish with English summary</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the paper concerning the new approaches in the study of Greek sculptural production at first E...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the paper concerning the new approaches in the study of Greek sculptural production at first Ewa Bugaj considers the problem of putting the ancient artefacts with the modern works of art on the same level and the need for the new conceptualisation of them. In the next step she outlines historiography of the Greek sculpture with the particular reference to the study on its stylistic development. Further on the author presents selected, new approaches in the study on Greek sculpture, the ones which are breaking the long tradition of research on them, rooted in the Enlightenment and Hegelian thought and historicism. She focusses on the results of these research which shift the interpretative emphasis from the relation between the image/ sculpture and its model to that of the image and its viewer.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9f83720e8bce6a626512e09527e5136a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54090970,"asset_id":33596774,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54090970/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="33596774"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="33596774"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33596774; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="11658508"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11658508/Kilka_uwag_na_temat_antycznej_metrologii_oraz_ceramiki_attyckiej_okresu_geometrycznego_i_zasad_jej_dekoracji_A_Few_Remarks_on_Ancient_Metrology_and_Attic_Geometric_Pottery_and_Its_Decoration_"><img alt="Research paper thumbnail of Kilka uwag na temat antycznej metrologii oraz ceramiki attyckiej okresu geometrycznego i zasad jej dekoracji (A Few Remarks on Ancient Metrology and Attic Geometric Pottery and Its Decoration)" class="work-thumbnail" src="https://attachments.academia-assets.com/38879906/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11658508/Kilka_uwag_na_temat_antycznej_metrologii_oraz_ceramiki_attyckiej_okresu_geometrycznego_i_zasad_jej_dekoracji_A_Few_Remarks_on_Ancient_Metrology_and_Attic_Geometric_Pottery_and_Its_Decoration_">Kilka uwag na temat antycznej metrologii oraz ceramiki attyckiej okresu geometrycznego i zasad jej dekoracji (A Few Remarks on Ancient Metrology and Attic Geometric Pottery and Its Decoration)</a></div><div class="wp-workCard_item"><span>journal article in Polish with English summary</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Far from being the most common issue, recognising connections between visual arts, in particular ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Far from being the most common issue, recognising connections between visual arts, in particular  between the principles of construction and decoration of works of art, and certain identifiable rules of metrology has a long tradition in the study of Greek art. In general, topics related to the study of the ancient canon in visual arts and architecture and the development of metrological systems are undertaken in relation to the reflection on the rise of numerical systems in ancient mathematics and the functional applications of geometry, as well as to the attempt to grasp the ancient understanding of the meanings of the commensurable and incommensurable. <br />Greek architecture and visual arts provide many examples of the use of mathematics and there are numerous references to this subject in the written sources. For example, Greek temples and proportions used for their construction are described by Vitruvius, whereas Pliny the Elder refers to the Canon of Polykleitos and generally discusses the principles of proportions used in the fifth and fourth centuries BC respectively.  And last but not least, we have ancient material records in the form of two metrological reliefs. Inscribed on the one from Salamis are standards for linear measures, including among others, foot, hand-span and cubit (Museum of Piraeus, inv. 5352). The second relief is in the collections of the Ashmolean Museum in Oxford (inv. AN. Michaelis 83). These reliefs offer us a visual picture of the ancient standards of measurement and reveal that they were most frequently related to the natural proportions of the human body and its parts. <br />The above-mentioned remarks concern the classical times, whereas in the paper that I would like to present I intend to point out the selected possibilities of interpreting earlier sources from the perspective of application of metrological principles, namely the Attic Geometric pottery dated to about 900-700 BC. It seems to me that Geometric pottery can be treated primarily as an expression of the collective ‘artistic’ consciousness, in which ‘ordering’ thinking had to be very important as evidenced in great numbers by the exceptional standardisation and repetition of patterns developed as the working language of this decoration, which can be easily observed in the perspective of more than two centuries. As successful attempts to identify a module according to which single outstanding examples of Geometric vessels were decorated (such as a large amphora now located in the National Museum in Athens (inv. NM 804) and decorated by the so-called Dipylon Master), have already been presented in the literature (Andreae 1979), I will only briefly refer to this scrupulous analysis. Similar studies, looking for ratio and arithmetic rules according to which the expected proportions of pottery decoration were achieved in those 'pre-mathematics' times, were also made for a larger series of Attic pottery analysed in chronological order, from Early Geometric till Late Geometric period (Benson 1987). Analyses have revealed that from the beginning of the production of Geometric pottery there was an attempt to plan the system of decoration so as to achieve the harmonizing effect, i.e. the proportional arrangement of wide and narrow decorative bands, as well as relations between decorative elements of the body and neck. However, all these attempts seem to have been more or less intuitive, resulting on the one hand from the production experience and from the preferences on the other. According to Benson, the amphora of the Dipylon Master is the first to clearly confirm the rule-oriented approach of its maker, a rule that was to organise and balance the complex structure of the decoration. The vessel also shows the potential of Geometric ornamentation and its idiom, in which some arithmetical sense can be traced. <br />I think, however, that such a way of thinking and ordering, which resulted in the development of the one of the most standardised decorative systems based on a set of simple geometric shapes, forming a kind of rhythmic and repetitive artistic language, does not necessarily have to be the proof of the origins of the classical mathematical thinking that will develop later. I would agree with the mathematicians (Høyrup 2000) that there is no simple nor direct relationship between the visually geometric ornamentation dating to the Early Iron Age and the subsequent formal rules of mathematics, which is worth emphasising in order to oppose the dominant naive interpretation. On closer scrutiny we see that the decoration of Attic Geometric pottery was more about producing the expected visual experience, about communicating something with the image rather than about adhering to a precisely controlled regularity. This becomes particularly evident when pottery decorators started to introduce more and more figural motifs within the purely abstract motifs tightly covering the surfaces of the vessels. <br />Nevertheless, I believe attempts to identify rules ordering the decoration of the analysed Greek pottery of the Geometric period to be fully justified. Focusing on communication and semantic aspects of these works, we cannot ignore the aesthetic aspects that are closely related to them. Thus, we should first try to analyse the morphology of decoration and then its tectonic syntax, i.e. the structure and interconnections of structural elements of ornaments in relation to one another and to the vessel itself. This will make it possible to show that the visual elements forming the decoration of the vessel were stylistically applied within a fully organised, tectonically coherent scheme. As a result, this type of analysis makes it clear that in works such as the Attic Geometric pottery we can also detect traces of the craftsmen disposition towards visioning a physical reality, of attempts to portray the nature of things - physis.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a0e2f8a18f34f6d86cbc58ce6c7ebcf4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38879906,"asset_id":11658508,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38879906/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11658508"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11658508"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11658508; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="7514194"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7514194/Sposoby_czytania_rzymskich_portret%C3%B3w_starc%C3%B3w_z_okresu_republiki_How_to_Read_Roman_Republican_Portraits_of_the_Old_Men_"><img alt="Research paper thumbnail of Sposoby czytania rzymskich portretów starców z okresu republiki (How to Read Roman Republican Portraits of the Old Men)" class="work-thumbnail" src="https://attachments.academia-assets.com/34210789/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7514194/Sposoby_czytania_rzymskich_portret%C3%B3w_starc%C3%B3w_z_okresu_republiki_How_to_Read_Roman_Republican_Portraits_of_the_Old_Men_">Sposoby czytania rzymskich portretów starców z okresu republiki (How to Read Roman Republican Portraits of the Old Men)</a></div><div class="wp-workCard_item"><span>journal article in Polish with English summary</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The portrait sculpture from the Republican era, better recognisable since the second century BC, ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The portrait sculpture from the Republican era, better recognisable since the second century BC, although gaining in popularity particularly in the first century, constitutes one of the most unique portrait collections ever created. Variability of the portraits reveals combination of abstract features, expressed in an appropriate visual language, with definite physiognomic features and characteristics of persons being portrayed. A new type of portraiture was created at the time, different from the traditional Hellenistic one. Although it was the latter that was a source of the idea itself, and a provider of formal tools used to implement the idea. With this new concept the portraiture obtained an unprecedented capacity to articulate and project the interior processes of human experience. <br />The Roman concept of portraying was most distinctive in so called veristic portraits, usually assumed to represent the essence of what was socially Roman. The collection consists mainly of the portraits of old men, frequently bold and toothless, with wry faces, full of wrinkles and scars – depicted in a stern manner, the manner that was not limited only to a persistent portraying of irregularities in physiognomies. Also emotional states were shown – almost  with no exception these emaciated faces were gloomy and graceless. Looking at them might  mislead viewers into assumption that they represented uncompromising images of their models. However, according to some studies, they were often just conventional types of representations, with features resulting from ideological motivation. And manipulating particular elements of physiognomy and character, these portrayed people – public images – were supposed to carry a particular message, to play desired and expected political and propaganda roles. What the role was remains a disputable issue, depending on various interpreting approaches. <br />The papers dealing with the history of ancient art have been revealing, for the several years,  various attempts made to extend interpretative interest beyond formal and stylistic interpretations of antique pieces of art and to look at these visual representations in a wider cultural and political context of their times. The study of the Republican portrait – traditionally explaining the origin of so called verism of these images in terms of the influence of the preceding realistic Hellenistic or Egyptian portraiture and images of ancestors – has been replaced by the approach promoting interpretation of these portraits as the signs existing in particular historical and political context which helps to explain their special visual expression. Such new interpretative perspectives significantly improved our understanding of forms and meanings of the portraits, although there are still several unclear issues, such as the social functioning of art. What is more, various researchers represent significantly different approaches. Thus, the portraits of the old men, especially popular towards the end of the Republican era, on the one hand were interpreted as signs of protest against the contemporary reality, with which they argued, not allowing for what was approaching. While emphasising their age, the portrayed persons were supposed to emphasise their long-lasting service for the Republic, as well as the values they were devoted to, which were virtues, such as gravitas, dignitas, fides. On the other hand, these Republican portraits of old men are sometimes interpreted as efficient medium of social and cultural activities, and more precisely, as a result of relationships with authorities, and even as a tool used to build these relationships, especially if there was a patronage system functioning. <br />In my paper, I confront various attitudes towards the portraits of old men and present the most convincing, in my opinion, interpretations, also trying to extend them.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="428515b4d520e872e1fbd282deb26737" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":34210789,"asset_id":7514194,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/34210789/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7514194"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7514194"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7514194; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="7491421"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7491421/Archeologia_klasyczna_na_Uniwersytecie_w_Poznaniu_i_konteksty_jej_powo%C5%82ywania_Classical_Archaeology_at_the_University_in_Pozna%C5%84_and_Circumstances_of_Its_Establishing_"><img alt="Research paper thumbnail of Archeologia klasyczna na Uniwersytecie w Poznaniu i konteksty jej powoływania (Classical Archaeology at the University in Poznań and Circumstances of Its Establishing)" class="work-thumbnail" src="https://attachments.academia-assets.com/36898826/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7491421/Archeologia_klasyczna_na_Uniwersytecie_w_Poznaniu_i_konteksty_jej_powo%C5%82ywania_Classical_Archaeology_at_the_University_in_Pozna%C5%84_and_Circumstances_of_Its_Establishing_">Archeologia klasyczna na Uniwersytecie w Poznaniu i konteksty jej powoływania (Classical Archaeology at the University in Poznań and Circumstances of Its Establishing)</a></div><div class="wp-workCard_item"><span>journal article in Polish with English summary</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated"> Classical Archaeology as a subject of study was established at the University of Poznań with the...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Classical Archaeology as a subject of study was established at the University of Poznań with the creation of the University itself in 1919, but as a key date in its development should be seen 30th April, 1923, when Mieczysława Sabina Ruxer, PhD, teaching the subject, took care of the Classical Archaeology Seminar. She came to Poznań from Kraków and was appointed an assistant professor responsible for development of Classical Archaeology as an academic subject, both as research and teaching area. She also made and attempt to create an independent Department of Classical Archaeology. <br /> Before World War II the Seminar functioned as a secondary course, and the Department of Classical Archaeology as an ancillary part of the Faculty of Humanities. Due to the nature of this secondary course there were no graduates in Classical Archaeology, as the seminar was chosen by students who studied other disciplines as their main. However, M. S. Ruxer taught numerous classes of extremely large range of problems, which were over the years of her work systematically improved. According to the archives in the 1930s, there were efforts made to prepare the curriculum for the study of Classical Archaeology as a main subject, to be completed with a degree. It had been provisionally accepted by the University, and after approval of M. S. Ruxer’s habilitation, which took place in 1937 at the Jagiellonian University, the change of the status of Classical Archaeology Seminar from auxiliary to  regular appeared - but unfortunately the plan was disturbed by war. <br /> After World War II, from the very beginning when teaching at the University of Poznań was re-established the Classical Archaeology Seminar functioned led by M. S. Ruxer. Unfortunately, the Chair and the Department in the difficult post-war conditions had to be painstakingly re-organized as the entire pre-war furnishing and collections were destroyed or stolen. Moreover, in post-war years attempts were made to rebuild academic life in Poland in the new political and ideological situation, according to arbitrarily imposed rules, often subordinated to Soviet science. Reorganisation, unification and centralisation of scientific institutions took place – illustrated by, among others, forced integration of Prehistoric and Classical Archaeology (later Mediterranean) and Ethnography in the purpose of joint research on material culture. This was due to the introduction of materialist philosophy in the field of scientific research as the current dogma, particularly inconvenient on the ground of the humanities. <br /> Such changes took place also in the Faculty of Humanities at the University of Poznań. Professor M. S. Ruxer was as head of the Chair and Department of Classical Archaeology till 1952, which she had been appointed to in 1949. Moreover, a new person appeared in the Department, a full-time assistant - Jerzy Kubczak. However, in 1952 the Department was renamed since then known as the Department of Mediterranean Archaeology and was incorporated into the Department of History of Art. M. S. Ruxer was deprived of her functions. Finally, in the academic year 1955/1956 the Department of Mediterranean Archaeology was suspended. Moreover, in 1957 the death snatched Professor Mieczysława Sabina Ruxer from the Faculty of Philosophy and History. Among the extensive scientific interests it is worth emphasising that the main area of her studies was ancient jewellery and she produced a monograph on the Greek necklaces. <br /> After the so-called "Thaw" in Poland, at the end of 1957 a classical archaeologist Stefan Parnicki-Pudełko from Wroclaw, working in the Department of Ancient Archaeology at the Institute of History of Material Culture at the Academy of Sciences in Warsaw, was invited to Poznań. After the appointment to an assistant professor, S. Parnicki-Pudełko became a head of the reactivated Chair of Mediterranean Archaeology at the Faculty of Philosophy and History, with the effect from 1st October 1958. Also Jerzy Kubczak, who in the meantime worked in the National Museum in Poznań, returned to the Chair. The scientific contributions of the Chair, which should be considered a true continuation of Professor M. S. Ruxer’s idea, have related primarily to studies on the ancient architecture and pottery, as well as the culture of the ancient colonies on the northern shores of the Black Sea. In this organizational form the Chair of Mediterranean Archaeology had functioned at Adam Mickiewicz University for the next ten years - until 1969, when it was closed. After that, Professor S. Parnicki-Pudełko took the position of the head of the Department of Ancient History, and J. Kubczak PhD a job at the Institute of History of Art. Interestingly, only then Poznań research centre really got involved in excavations in the area of Mediterranean civilisation, as in 1970 an independent University Archaeological Expedition of Adam Mickiewicz University in Poznań began excavations in the Roman legion camp in Novae (in ancient Moesia Inferior), and has been operating by today. <br /> When it comes to scientific achievements, it should be emphasized that Professor S. Parnicki-Pudełko was primarily an outstanding expert in ancient building and construction expertise, leaving as his legacy to next generations, among numerous other works, a monograph on Greek architecture. Professor J. Kubczak, on the other hand, focused his attention, like M. S. Ruxer, whose research he continued, on ancient jewellery, publishing a monographic study of Greek necklaces in the Hellenistic and Roman periods. A key topic of his study, however, were issues concerning Scythian culture, which was reflected in the monograph about the barrows of Scythian aristocracy. <br /> In the meantime, interest of scholars from Poznań, both those associated with the University, and those from the outside of it, in archaeological research in the Mediterranean not only did not decrease, but increased immensely. In addition, after the historic turn in Poland of 1989 and regaining sovereignty it became possible to resurrect departments and disciplines taught in the past, and to significantly broaden the educational offer and the fields of scientific research. In such an atmosphere the efforts were made in the 1990s to establish (reactivate) Mediterranean (or Classical) Archaeology at Adam Mickiewicz University. <br /> After long debates concerning the nature of the discipline to be reactivated in Poznań, mainly between the employees of the Institutes of History of Art and Prehistory at Adam Mickiewicz University, the Council of the Faculty of History decided with a resolution of 9th November 1998, to appoint a specialty of Mediterranean Archaeology at the Institute of Prehistory, starting from the academic year 1999/2000. It has been a part of Archaeology taught by the Institute of Prehistory at Adam Mickiewicz University, as a main discipline, developing slowly but successfully under the name of Oriental and Classical Archaeology, accepted in 2004.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="393dd6da2a4d51908ea4ae2fc7523e6e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36898826,"asset_id":7491421,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36898826/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7491421"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7491421"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7491421; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="7454104"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7454104/Wielkopolskie_instytucje_archeologiczne_na_przestrzeni_ostatnich_20_lat_Archaeological_Institutions_in_Wielkopolska_in_the_Last_20_Years_"><img alt="Research paper thumbnail of Wielkopolskie instytucje archeologiczne na przestrzeni ostatnich 20. lat (Archaeological Institutions in Wielkopolska in the Last 20 Years)" class="work-thumbnail" src="https://attachments.academia-assets.com/37114866/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7454104/Wielkopolskie_instytucje_archeologiczne_na_przestrzeni_ostatnich_20_lat_Archaeological_Institutions_in_Wielkopolska_in_the_Last_20_Years_">Wielkopolskie instytucje archeologiczne na przestrzeni ostatnich 20. lat (Archaeological Institutions in Wielkopolska in the Last 20 Years)</a></div><div class="wp-workCard_item"><span>journal article in Polish with English summary</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the text Ewa Bugaj presented a reflection on the functioning of Wielkopolska archaeological in...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the text Ewa Bugaj presented a reflection on the functioning of Wielkopolska archaeological institutions in the period after the historical change which took place in Poland in 1989. The author focused mostly on the institution conducting scientific research, educational and exhibition activity, and working in the capitol of the Wielkopolska Voivodship - Poznań, considering them as the most important in the region, and as those which point out the perspective goals for the discipline. <br />First the dominating socio-political trends of the two decades discussed were outlined, as well as their influence on the present state and the activity of the institutions discussed. Numerous changes were emphasized, changes which appeared in the activity and the organizational structure of scientific and university institutes as well as in archaeological museums, and which resulted from system transformation conducted in Poland after communism had collapsed, and from the regaining the independence. Beside undisputed positive phenomena some negative ones were also shown, which resulted indirectly from the mentioned transformation, and to a bigger extent were a reflection of global tendencies of the modern world and our times, referred to as "liquid times" or "age of uncertainty" by sociologists. There are mainly continuous changes of the law and other regulations the discussed institutions are subject to, as well as the obligation of permanent modernization and offer livening, and following that the complete lack of stabilization and the uncertainty of financing sources. Additionally one can mention such frustrating phenomena as consumption attitude towards culture goods, or even towards education and scientific research, which are supposed to bring out a financial measurable effect. <br />Despite the difficulties and odds we can emphasize the preserving, and mostly significant development off all of the Wielkopolska archaeological institutions discussed. A closer look was taken at the activity of the Archaeological Museum in Poznań, The Museum of the First Piast on Lednica, The Institute of Archaeology and Ethnology of Polish Academy of Science - Poznań Branch, and The Institute of Prehistory of Adam Mickiewicz University in Poznań. In the course of presentation an inter-institutional archaeological expedition "Łekno" was mentioned. The main changes that took place in these institutions were described, characterizing their present state, and putting emphases mostly on significant development of the field being subject to scientific researches, including international ones, as well as educational activity and extremely intensified exhibition activity, finally of the popularization and publishing activity. The main impression coming from the presented survey of the achievements of the past 20 years and today's state of Welkopolska archaeological institutions, mainly from Poznań, is the vision of scientific, educational and museum institutions keeping good form and dynamically developing. <br />The presented state is mainly the result of the determination and involvement in their work of the archaeologists who in fact create these institutions. The author suggests, however, that they should not close themselves up in self-satisfaction and lack of criticism towards themselves and the reality surrounding them, and she wishes Wielkopolska archaeologists a lot of capabilities to point out the goals of archaeological researches fitting the standards of the modern world, as well as to find ways of their realization.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="056871325c74ee3f84c619c66ea67748" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37114866,"asset_id":7454104,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37114866/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7454104"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7454104"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7454104; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="448529" id="books"><div class="js-work-strip profile--work_container" data-work-id="127110185"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/127110185/Mi%C4%99dzy_prahistori%C4%85_i_archeologi%C4%85_Kulturowe_uzgadnianie_obraz%C3%B3w_minionego_%C5%9Bwiata_Publikacja_okoliczno%C5%9Bciowa_dedykowana_Profesor_Danucie_Mincie_Tworzowskiej"><img alt="Research paper thumbnail of Między prahistorią i archeologią Kulturowe uzgadnianie obrazów minionego świata Publikacja okolicznościowa dedykowana Profesor Danucie Mincie-Tworzowskiej" class="work-thumbnail" src="https://attachments.academia-assets.com/120891928/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/127110185/Mi%C4%99dzy_prahistori%C4%85_i_archeologi%C4%85_Kulturowe_uzgadnianie_obraz%C3%B3w_minionego_%C5%9Bwiata_Publikacja_okoliczno%C5%9Bciowa_dedykowana_Profesor_Danucie_Mincie_Tworzowskiej">Między prahistorią i archeologią Kulturowe uzgadnianie obrazów minionego świata Publikacja okolicznościowa dedykowana Profesor Danucie Mincie-Tworzowskiej</a></div><div class="wp-workCard_item"><span>Między prahistorią i archeologią</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Between Prehistory and Archaeology. Cultural Reconciliation of Images of the Past World. Occasion...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Between Prehistory and Archaeology. Cultural Reconciliation of Images of the Past World. Occasional Publication Dedicated to Professor Danuta Minta-Tworzowska</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f678fe6895f7df1f6dfa62a4c52f85a7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120891928,"asset_id":127110185,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120891928/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="127110185"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="127110185"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 127110185; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="3205750"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/3205750/Estetyka_w_archeologii_Antropomorfizacje_w_pradziejach_i_staro%C5%BCytno%C5%9Bci_Aesthetics_in_Archaeology_Anthropomorphization_in_Prehistory_and_Antiquity_"><img alt="Research paper thumbnail of Estetyka w archeologii. Antropomorfizacje w pradziejach i starożytności (Aesthetics in Archaeology. Anthropomorphization in Prehistory and Antiquity)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/3205750/Estetyka_w_archeologii_Antropomorfizacje_w_pradziejach_i_staro%C5%BCytno%C5%9Bci_Aesthetics_in_Archaeology_Anthropomorphization_in_Prehistory_and_Antiquity_">Estetyka w archeologii. Antropomorfizacje w pradziejach i starożytności (Aesthetics in Archaeology. Anthropomorphization in Prehistory and Antiquity)</a></div><div class="wp-workCard_item"><span>book</span><span>, 2010</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">"Summary This work is a collection of papers prepared as a result of debates held during regular...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">"Summary <br />This work is a collection of papers prepared as a result of debates held during regular scientific colloquia of the Committee of Methods and Methodology of Archaeological Research of  The Committee on Prehistoric and Protohistoric Sciences of the Polish Academy of Sciences, entitled ‘Aesthetics in archaeology`. They started in Gdańsk in 2002 and are organised annually since then. Until now two volumes have been published. They comprise research problems discussed within the mentioned cycle of colloquia, intended to provide a platform for reflection on widely understood prehistoric and ancient art, namely Aesthetics in archaeology, ed. B. Gediga, Andrzej P. Kowalski, 2003 and Aesthetics in archaeology. Copies and imitations, ed. Marian Kwapiński, 2006, both published by Archaeological Museum in Gdańsk. <br />The idea of the colloquia and the publishing series ‘Aesthetics in archaeology’ originated because of a necessity to present new possibilities of research on the art of prehistoric and antique societies, which appear marginally in archaeological reflection. It must also be constantly emphasised that when we undertake studies on the art of societies from remote past, who applied other ways of describing the world than modern categories born in the circle of the European culture, we must seek agreement and exchange of ideas between representatives of various fields: philosophers, culture anthropologists, ethnologists, students of religion or linguists. Therefore such studies need inter- or even transdiciplinary approaches, which open up new research fields that enable overcoming limits present in hitherto existing approaches. <br />The book that we are publishing now as a third volume of the series is a collection of papers which were presented at two subsequent colloquia – the first one was organised in 2005 around the problematic of ‘Anthropomorphism in prehistory and antiquity’, and the other, held in 2006, was devoted to ‘Theoretical problems of archaeological research on figural art’. Hence, the introduction into the issues discussed in this volume is entitled ‘Figuration and anthropomorphization in prehistory and antiquity’, as research perspectives presented here oscillate, on the one hand, around specific human-like artefacts, produced in various cultural circles, starting from the preserved oldest visual images until the present. On the other hand, the papers indicate that anthropomorphism is a much wider and capacious phenomenon, consisting in attributing human characteristics to inanimate world, or, wider, on projecting human qualities onto the whole surrounding reality or even on impossibility of recognizing the reality beyond the anthropomorphising ‘I’.  <br />It must be emphasised that reflections presented in the books are not limited to perceiving archaeology as a discipline interested only in the past studied by the prism of material remains, here preserved relicts of figural art.  On the contrary, they make us realise that those remains (even so meaningful as works of art) are not identical with the culture of these past societies or with them. They constitute just a fragment of the then culture, which did not function autonomously but in connection with other domains, especially symbolic culture, which cannot be studied empirically. Taking under consideration the specificity of archaeological sources, we always have to refer to a theory as a means of mediation between their materiality, past socio-cultural reality, the present and the researcher. <br />The majority of authors of the papers published in the book believe that the cultures studied by archaeologists have a magical-mythic character. Hence, they have specific rules, among which the rule of metamorphosis is one of the most significant. It offers a possibility of transforming ‘everything in everything’, where a human and the world constitute a specific unity and are not subject to sharp categorisations. Magic assumes fundamental unity of the world, and the cultures of this type are characterised by specific syncretism. Within this world there was a field of production which we call art, and it must be emphasised that art should be perceived in its entirety, without separating levels connected only with its technical, utilitarian or purely artistic side. <br />""""</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="3205750"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="3205750"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3205750; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=3205750]").text(description); $(".js-view-count[data-work-id=3205750]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 3205750; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='3205750']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=3205750]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":3205750,"title":"Estetyka w archeologii. 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The editors decided to select papers presented by Professor Kubczak friends and former students together with those done by researchers dealing with similar problems, i.e. intercultural relations connecting East and West in antiquity and the interpretations of meanings, symbolic and semantics within various aspects of ancient cultures. <br />The contents of this small collection of essays reflect a wide spectrum of professor Kubczak’ research interest. They cover his studies based on both archaeology and art history,  concentrated on Greek jewellery and its relations to the Ancient East, his research of origins and evolution of the Eurasian Animal Style, re-evaluation and creation of aesthetic and semantic interpretations of selected masterworks of ancient art. The title – Eurasia and Antiquity – had been chosen by the Editors to direct the reader’s attention toward the necessity of constant rethinking of the relations between ancient cultures in their universal and specific aspects. <br />The publication has been designed as a meeting place where the representatives of different schools and methodologies can come together to discuss the contemporary state of researches on Eurasia and Antiquity. As it turned out, majority of them represents either art historian of archaeological studies with most valuable inserts from linguists or historians. The collection presented here mirrors the editor’s idea of cross-study researches setting up the foundation for anthropologically oriented ancient historian reflection and interpretation. Only the cross-study research can go across the limitations of necessary specialization and methodological competence. Research like that can provide the means for the establishment of conclusive and reliable answers to the questions put forward by the cross-cultural studies with regard to the complexity of the ancient world, were the fluctuations originated in north-western China reach the shores of the Mediterranean cultures, and where artistic expressions of prehistory find their reflections in the early Medieval myths and aesthetics. <br />"""</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="3205709"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="3205709"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3205709; 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dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=3205709]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":3205709,"title":"Eurazja i Antyk (Eurasia and Antiquity)","internal_url":"https://www.academia.edu/3205709/Eurazja_i_Antyk_Eurasia_and_Antiquity_","owner_id":830615,"coauthors_can_edit":true,"owner":{"id":830615,"first_name":"Ewa","middle_initials":null,"last_name":"Bugaj","page_name":"EwaBugaj","domain_name":"amu","created_at":"2011-10-10T17:52:25.992-07:00","display_name":"Ewa Bugaj","url":"https://amu.academia.edu/EwaBugaj"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="3205627"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/3205627/Motywy_figuralne_na_ceramice_germa%C5%84skiego_kr%C4%99gu_kulturowego_Figurative_Motifs_in_the_Pottery_of_Germanic_Background_"><img alt="Research paper thumbnail of Motywy figuralne na ceramice germańskiego kręgu kulturowego (Figurative Motifs in the Pottery of Germanic Background)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/3205627/Motywy_figuralne_na_ceramice_germa%C5%84skiego_kr%C4%99gu_kulturowego_Figurative_Motifs_in_the_Pottery_of_Germanic_Background_">Motywy figuralne na ceramice germańskiego kręgu kulturowego (Figurative Motifs in the Pottery of Germanic Background)</a></div><div class="wp-workCard_item"><span>book</span><span>, 1999</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated"> The presence of figurative motifs on ceramic vessels manufactured locally and originating from a...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The presence of figurative motifs on ceramic vessels manufactured locally and originating from areas of central, northern and western Europe, and from Great Britain, dating to the last two centuries BC and the first half of the first millennium AD, together with an interpretation of this phenomenon were the subject of Ewa Bugaj study, which she carried out as her doctoral project. She conducted the research on the basis of available, mostly archival sources, rather scarce as compared with a large number of pottery of the time. The aim of the project was to collect and describe (to catalogue) evidence of images observed on pottery dating to the Pre-Roman and Roman Iron Age and the early phases of the Migration Period, from the Barbaricum, and then to analyse and interpret the data, which had not been published in a form of a synthesis before. She assumed that the material, although not very impressive, deserved individual treatment as it appeared to be of a great importance for recognition of this particular realm of culture, which is today referred to as “symbolic”. Furthermore, the iconographic nature of collected data allowed reflection on this area of human activity in prehistory, which in modern era was seen as art, which has been essential for her main research interests.<br /> The analyses E. Bugaj carried out included technological and formal ones, the latter based on applied criteria, and also typology of images. She also discussed a genesis of analysed motifs and their analogies, both formal and thematic, as well as their chronology and distribution. All these resulted mainly in arranging the collected data and revealed that the vessels with figurative motifs from European Barbaricum represent a heterogeneous collection, and that observed images developed rather independently. Predominant motifs proved to be images of animals, mainly quadrupeds, and birds, then of humans (often faces), and solar and plant motifs, but significantly rarer.<br /> Her further step was to attempt to recognise meanings of analysed evidence. E. Bugaj assumed that figurative ornamentation (motif) represents a defined iconic structure which implicates meanings and exists within the framework of system of values of the studied communities. However, interpretation of such a system required going beyond material database and implicating theoretical concepts. She referred to philosophical anthropology, and especially to Hans Jonas's works. He suggested (simplification) that the one who attempts to interpret human activities in the past should agree that there exists something common to all human beings. Only that allows discussion about humans and their history, and furthermore about their transformations through it. Jonas, referring to prehistoric data, showed also indicators of a human, such as tools, pictures and graves. Dealing in her work with visual images that E. Bugaj has seen as representations of something beyond themselves, which might be read, she first looked at the context in which they occurred. It was a funerary context, and not infrequently the vessels collected by her had been used as urns. The fact that they were found in graves allowed to assume that they had been manufactured specifically for funerary purposes. Thus, it might be presumed that figurative motifs on them could have related to a realm of eschatological images. E. Bugaj sought assumptions for reading the meaning of such images in works by ancient writers and also in literary tradition of old Germanic peoples, especially that referring to their beliefs, although more recent that the artefacts themselves. She also included comparative religion and phenomenology of religion in her study. The latter, while illustrating sources of a particular religious phenomenon in various periods and cultures, seeks common essence of their historical epiphanies. In conclusion of the work, E. Bugaj has presented the characteristics of figurative motifs analysed therein, in the light of their role among Indo-European myths and, if possible, in the light of Germanic mythology. Their dominant message pointed to ouranic model of images.<br /> While addressing this issue she also approached more general considerations, regarding an attitude towards sources referred to as prehistoric artworks, abundant in her work. E. Bugaj has assumed that in the case of analysed figurative motifs the function of art might be defined as a kind of relationship between the world of the living and the dead.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="3205627"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="3205627"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3205627; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="194453" id="papers"><div class="js-work-strip profile--work_container" data-work-id="127109994"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/127109994/BADANIA_NAD_ATTYCK%C4%84_CERAMIK%C4%84_GEOMETRYCZN%C4%84_I_JEJ_DEKORACJ%C4%84_JAKO_SZTUK%C4%84_UWAGI_O_MINIONYCH_I_AKTUALNYCH_PODEJ%C5%9ACIACH_RESEARCH_ON_ATTIC_GEOMETRIC_POTTERY_AND_ITS_DECORATION_AS_ART_NOTES_ON_PAST_AND_CURRENT_APPROACHES_"><img alt="Research paper thumbnail of BADANIA NAD ATTYCKĄ CERAMIKĄ GEOMETRYCZNĄ I JEJ DEKORACJĄ JAKO SZTUKĄ: UWAGI O MINIONYCH I AKTUALNYCH PODEJŚCIACH (RESEARCH ON ATTIC GEOMETRIC POTTERY AND ITS DECORATION AS ART: NOTES ON PAST AND CURRENT APPROACHES)" class="work-thumbnail" src="https://attachments.academia-assets.com/120891798/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/127109994/BADANIA_NAD_ATTYCK%C4%84_CERAMIK%C4%84_GEOMETRYCZN%C4%84_I_JEJ_DEKORACJ%C4%84_JAKO_SZTUK%C4%84_UWAGI_O_MINIONYCH_I_AKTUALNYCH_PODEJ%C5%9ACIACH_RESEARCH_ON_ATTIC_GEOMETRIC_POTTERY_AND_ITS_DECORATION_AS_ART_NOTES_ON_PAST_AND_CURRENT_APPROACHES_">BADANIA NAD ATTYCKĄ CERAMIKĄ GEOMETRYCZNĄ I JEJ DEKORACJĄ JAKO SZTUKĄ: UWAGI O MINIONYCH I AKTUALNYCH PODEJŚCIACH (RESEARCH ON ATTIC GEOMETRIC POTTERY AND ITS DECORATION AS ART: NOTES ON PAST AND CURRENT APPROACHES)</a></div><div class="wp-workCard_item"><span>Folia Praehistorica Posnaniensia</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the article, the author attempts to assess the validity of including Attic Geometric pottery a...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the article, the author attempts to assess the validity of including Attic Geometric pottery and its figural decoration in the category of art and considers the problems of studying art in archaeology in the context of the transformations of cultural concepts concerning archaic man visual experience. Subsequently, in the paper a whole range of art analysis methods that were used in the study of Attic Geometric pottery and its figural ornamentation were presented, taking into account traditional works, as well as new ones based on social constructivism and postmodernity, focussing especially on the original achievements of Polish researchers in this regard and the author own approach.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b105e72a2e051282da29e275f03fe10d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120891798,"asset_id":127109994,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120891798/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="127109994"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="127109994"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 127109994; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="127109830"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/127109830/Gar%C5%9B%C4%87_uwag_o_zwierz%C4%99tach_jako_towarzyszach_zabaw_dzieci%C4%99cych_w_antyku_na_podstawie_danych_ikonograficznych_i_historycznych_Some_Remarks_on_Animals_as_Play_Companions_for_Children_in_Antiquity_Based_on_Iconographic_and_Historical_Data_In_Prawy_dba_o_dusz%C4%99_swego_zwierz%C4%99cia_domowego"><img alt="Research paper thumbnail of Garść uwag o zwierzętach jako towarzyszach zabaw dziecięcych w antyku na podstawie danych ikonograficznych i historycznych (Some Remarks on Animals as Play Companions for Children in Antiquity Based on Iconographic and Historical Data). In: Prawy dba o duszę swego zwierzęcia domowego" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/127109830/Gar%C5%9B%C4%87_uwag_o_zwierz%C4%99tach_jako_towarzyszach_zabaw_dzieci%C4%99cych_w_antyku_na_podstawie_danych_ikonograficznych_i_historycznych_Some_Remarks_on_Animals_as_Play_Companions_for_Children_in_Antiquity_Based_on_Iconographic_and_Historical_Data_In_Prawy_dba_o_dusz%C4%99_swego_zwierz%C4%99cia_domowego">Garść uwag o zwierzętach jako towarzyszach zabaw dziecięcych w antyku na podstawie danych ikonograficznych i historycznych (Some Remarks on Animals as Play Companions for Children in Antiquity Based on Iconographic and Historical Data). In: Prawy dba o duszę swego zwierzęcia domowego</a></div><div class="wp-workCard_item"><span>Prawy dba o duszę swego zwierzęcia domowego. Pochówki ludzi i zwierząt. Funeralia Gnieźnieńskie 23</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Children themselves, from the period of their infancy, and as individuals to be raised and educat...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Children themselves, from the period of their infancy, and as individuals to be raised and educated and to be prepared for future social roles, let alone their play, are issues that have long remained on the margins of interest in the study of antiquity. The same applies to so-called domestic animals unless considerations about them were also tied to economic or religious issues. However, since the end of the 20th century, there has been a radical change in this situation, with research projects in classical studies increasingly focusing on this issue. These studies consider all available sources, as the prevailing holistic approach advocates the use of literary and inscription sources, material sources, iconographic sources, as well as natural sources. Classical archaeologists primarily rely on artifacts, with a particular emphasis on iconographic sources, although their interpretation poses numerous challenges. In this text, the author reflects on selected categories of Greek and Roman iconographic sources, such as grave steles, vase painting, figurative sculpture, and wall painting, depicting children engaging in various interactions with animals. The author suggests that these scenes are sometimes viewed as a reflection of various children’s activities with their pets, a presence mentioned by ancient authors in Greek and Roman households. Nevertheless, a closer iconographic analysis, in conjunction with the contextual functioning of relevant artifacts and historical data, prompts questions about the extent to which these representations can be considered depictions of children playing with so-called domestic animals and to what extent they primarily convey various symbolic, religious messages and meanings. Critical verification of iconographic and historical data partly allows a positive answer to the question of the manifestation of traces of the ancient reality in the images preserved on analyzed artifacts. However, interpreting the meaning of these representations, as the ancients did, requires seeking deeper meanings than those directly depicted in charming scenes of children playing with their pets. As a result of the author’s investigations, it is shown that scenes preserved on analysed artifacts evoke cultural values shared by ancient Greek and Roman communities, primarily manifested during rituals at various festivals and funerals. Depicting play scenes or portraying close relationships with animals aimed mainly at demonstrating piety and adherence to ritual principles, with the depicted animals being associated with chthonic, mythological, or broader symbolic messages. It likely also involved creating model situations and emphasizing the significant cultural role of specific animals in society. Among them, undoubtedly, were animals kept in households for their own sake, appreciated, especially in the context of entertaining children and positively influencing their development and education. Therefore, caring for these animals likely began to play an increasingly significant role. Nevertheless, this only scratches the surface of the intricate dynamics between children in antiquity and the animals they interacted with.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="55869f220f860e6b53c45c639e9030d8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120891689,"asset_id":127109830,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120891689/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="127109830"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="127109830"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 127109830; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=127109830]").text(description); $(".js-view-count[data-work-id=127109830]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 127109830; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='127109830']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "55869f220f860e6b53c45c639e9030d8" } } $('.js-work-strip[data-work-id=127109830]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":127109830,"title":"Garść uwag o zwierzętach jako towarzyszach zabaw dziecięcych w antyku na podstawie danych ikonograficznych i historycznych (Some Remarks on Animals as Play Companions for Children in Antiquity Based on Iconographic and Historical Data). 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Changes in the perception of art and aesthetics from a historical perspective and attempts to define art within the framework of essentialist and anti-essentialist approaches are discussed. Attention is paid to the changes in culture that have been taking place dynamically since the end of the twentieth century, as well as to the retreat from the modernist worldview, which was initiated by representatives of post-modern philosophy, and which soon spread throughout the humanities and the public sphere. This has led to the development of new approaches to archaeology research and, among them, the search for new conceptualisations of art, which appeared in a particularly original way in Polish archaeology and cultural anthropology. The author refers to these achievements at the end of the article, earlier discussing the numerous traditional conceptualisations of art in archaeology and the whole range of methods of its analysis.<br />During her deliberations, the author comes to the conclusion that art is a non-obvious, relative phenomenon and changeable in history, not only in the manifestation of its forms, but also in its essence and function. The study of art in archaeology, therefore, implies the need to go beyond traditional, colloquial, and historical generalisations about it, and to search for adequate theoretical approaches to help in attempts to explain and interpret it. Nevertheless, art appears in the consideration of archaeologists, most often as a universal phenomenon, and is studied in a similar way to the analysis of modern art. This type of treatment can be considered an anachronism and a projection of modern notions onto prehistoric and ancient societies.<br />This is done on the principle of speaking of art as an intentional product, made with skill, characterised by a distinctive form that works visually, composed of specific elements, patterns, and figures, having references in the imagination of the maker or in the external world. Such artefacts are rooted in the broadly defined ritual and ceremonial, sacred or secular, public or private spheres. They represent, express or communicate the imaginary or external world; they express or communicate the world of ideas of which they are an expression; they make something or someone present; they provide a variety of experiences. It can be clearly seen that the artefacts assigned to art in this way describe art within mimetic, expressionist, and formal categories.<br />Nevertheless, since the end of the last century, archaeologists, especially post-processual archaeologists, have been moving away from making statements about art and the work of art, replacing these concepts with visual culture and the broad category of image. However, it should be noted that the concept of the image is as problematic in archaeology as it is in the work of art. Postmodern-orientated cultural anthropologists and philosophers point out that the image, as we understand it today, has not always functioned in culture, but is an intellectual invention of the so-called Axial Time (9th-3rd centuries BC) when the process of its emergence as a representation occurred. Regarding earlier times, we can talk about iconic facts that should be studied in a different way.<br />In recent years, anti-essentialist Polish researchers have made such an effort and developed approaches that appeal to a viewpoint rooted in social constructivism. According to this approach, we come to know the reality through cultural experience, which manifests itself in culture (especially in language). In this view, art, as a field of culture, conceived primarily as a "thoughtful/ mental reality", is something socially constructed at a particular historical moment. Its study on the grounds of archaeology and anthropology is a painstaking attempt to reconstruct ancient values and belief systems, undertaken mainly on the basis of linguistic data with the participation of all other sources.<br />This new approach to the study of art has been presented by Polish researchers. These include Andrzej P. Kowalski who, in his book "Myth versus Beauty. From Research on the Origin of Art" (2013), presented the oldest ideas illustrating the processes of transition from handicrafts and ritual practices to art. Another is Sebastian Borowicz whose  book "Smeared Reliefs: Things and Images in Ancient Greek Culture" (2020) showed the transition of iconicity in Greece from its performative functioning in the archaic era, to the iconicity and visuality of the classical era, endowed with discursive and aesthetic elements. The author refers to these works at the end of the article.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9db2f0dfc02c339a9557e42b46a2a5a4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120891918,"asset_id":127109629,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120891918/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="127109629"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="127109629"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 127109629; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="82738061"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/82738061/Gesellschaftlicher_Wandel_in_der_fr%C3%BChen_Eisenzeit_im_Lichte_neuer_Siedlungsgrabungen_in_Schlesien"><img alt="Research paper thumbnail of Gesellschaftlicher Wandel in der frühen Eisenzeit im Lichte neuer Siedlungsgrabungen in Schlesien" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/82738061/Gesellschaftlicher_Wandel_in_der_fr%C3%BChen_Eisenzeit_im_Lichte_neuer_Siedlungsgrabungen_in_Schlesien">Gesellschaftlicher Wandel in der frühen Eisenzeit im Lichte neuer Siedlungsgrabungen in Schlesien</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://amu.academia.edu/EwaBugaj">Ewa Bugaj</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://pan-pl.academia.edu/Bogus%C5%82awGediga">Bogusław Gediga</a></span></div><div class="wp-workCard_item"><span>Praehistorische Zeitschrift</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">While hitherto the clearly visible connections between the Early Iron Age culture in Silesia and ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">While hitherto the clearly visible connections between the Early Iron Age culture in Silesia and the Hallstatt one had been assumed as a result of the study of cremation cemeteries, the article attempts to strengthen this assumption with the archaeological data obtained from settlements, dated to that period. Majority of researchers studying the Hallstatt culture have been emphasizing the transformation of a social structure, occurring at the time, and reflected in archaeological material. Analogous phenomenon might be ascertained in case of several urnfield cemeteries from Silesia, particularly well-equipped chamber graves (eg. Domasław, Wrocław district), while also within some settlements, an example of which might be the Early Iron Age site in Milejowice, Wrocław district, recognized during a large-scale excavations, where several built-up concentrations have been distinguished, including one surrounded with monumental circles with a diameter of 85 m, formed by rings of postholes aligned one by one, forming a palisade-like structure. The article provides a brief analysis of the relics of the settlement, indicating that the social status and level of wealth of the inhabitants of the particular part of the settlement must have been outstanding. The obtained results of the study of selected sites from Silesia allow to conclude that culturally the area represented just another, regional, peripheral group of the Hallstatt circle.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="82738061"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="82738061"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 82738061; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=82738061]").text(description); $(".js-view-count[data-work-id=82738061]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 82738061; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='82738061']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=82738061]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":82738061,"title":"Gesellschaftlicher Wandel in der frühen Eisenzeit im Lichte neuer Siedlungsgrabungen in Schlesien","internal_url":"https://www.academia.edu/82738061/Gesellschaftlicher_Wandel_in_der_fr%C3%BChen_Eisenzeit_im_Lichte_neuer_Siedlungsgrabungen_in_Schlesien","owner_id":830615,"coauthors_can_edit":true,"owner":{"id":830615,"first_name":"Ewa","middle_initials":null,"last_name":"Bugaj","page_name":"EwaBugaj","domain_name":"amu","created_at":"2011-10-10T17:52:25.992-07:00","display_name":"Ewa Bugaj","url":"https://amu.academia.edu/EwaBugaj"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="70323321"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/70323321/Bugaj_E_2021_Some_Remarks_on_the_Problems_of_Art_Research_in_Archaeology_ch18_pp326_"><img alt="Research paper thumbnail of Bugaj E 2021 Some Remarks on the Problems of Art Research in Archaeology ch18 pp326-" class="work-thumbnail" src="https://attachments.academia-assets.com/80123882/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/70323321/Bugaj_E_2021_Some_Remarks_on_the_Problems_of_Art_Research_in_Archaeology_ch18_pp326_">Bugaj E 2021 Some Remarks on the Problems of Art Research in Archaeology ch18 pp326-</a></div><div class="wp-workCard_item"><span>chapter in book</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article briefly presents some of the author’s research on art in archaeology, focusing espec...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article briefly presents some of the author’s research on art in archaeology, focusing especially on her contributions to research on Greek and Roman sculpture and its historiography. In particular, the problems of research on copies and imitations in Roman culture, Republican portraits of the elderly, the style of Greek sculpture, and the cult statue of Aphrodite of Cnidus are discussed.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ee8564c4a8ef465685086bce724c1734" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":80123882,"asset_id":70323321,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/80123882/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="70323321"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="70323321"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 70323321; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="70322450"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/70322450/Bugaj_E_2021_Some_Remarks_on_the_Problems_of_Researching_Art_in_Archaeology_ch8_pp160_"><img alt="Research paper thumbnail of Bugaj E 2021 Some Remarks on the Problems of Researching Art in Archaeology ch8 pp160-" class="work-thumbnail" src="https://attachments.academia-assets.com/80123354/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/70322450/Bugaj_E_2021_Some_Remarks_on_the_Problems_of_Researching_Art_in_Archaeology_ch8_pp160_">Bugaj E 2021 Some Remarks on the Problems of Researching Art in Archaeology ch8 pp160-</a></div><div class="wp-workCard_item"><span>chapter in book</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article briefly presents some of the author’s research on art in archaeology. Drawing on pre...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article briefly presents some of the author’s research on art in archaeology. Drawing on previously published works, the text reviews the general problems of art research in archaeology before focusing on investigations of prehistoric and ancient figurines, anthropomorphisation in ancient Greece, and figural motifs in Attic Geometric pottery.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8ddfc602d92070792d70db1525ede4c6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":80123354,"asset_id":70322450,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/80123354/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="70322450"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="70322450"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 70322450; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="57891271"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/57891271/Pr%C3%B3ba_interpretacji_zabudowy_osady_z_wczesnej_epoki_%C5%BCelaza_na_stanowisku_Milejowice_19_pow_wroc%C5%82awski_Die_Bebauung_einer_Siedlung_aus_der_fr%C3%BChen_Eisenzeit_auf_dem_Fundplatz_Milejowice_19_Kr_Wroc%C5%82aw_Versuch_einer_Interpretation_"><img alt="Research paper thumbnail of Próba interpretacji zabudowy osady z wczesnej epoki żelaza na stanowisku Milejowice 19, pow. wrocławski (Die Bebauung einer Siedlung aus der frühen Eisenzeit auf dem Fundplatz Milejowice 19, Kr. Wrocław – Versuch einer Interpretation)" class="work-thumbnail" src="https://attachments.academia-assets.com/72567990/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/57891271/Pr%C3%B3ba_interpretacji_zabudowy_osady_z_wczesnej_epoki_%C5%BCelaza_na_stanowisku_Milejowice_19_pow_wroc%C5%82awski_Die_Bebauung_einer_Siedlung_aus_der_fr%C3%BChen_Eisenzeit_auf_dem_Fundplatz_Milejowice_19_Kr_Wroc%C5%82aw_Versuch_einer_Interpretation_">Próba interpretacji zabudowy osady z wczesnej epoki żelaza na stanowisku Milejowice 19, pow. wrocławski (Die Bebauung einer Siedlung aus der frühen Eisenzeit auf dem Fundplatz Milejowice 19, Kr. Wrocław – Versuch einer Interpretation)</a></div><div class="wp-workCard_item"><span>Architektura i budownictwo epoki brązu i wczesnych okresów epoki żelaza. Problemy rekonstrukcji</span><span>, 2006</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The results of excavation at Milejowice site 19, Wrocław Branch, Poland, which I was privileged t...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The results of excavation at Milejowice site 19, Wrocław Branch, Poland, which I was privileged to excavate on behalf of the Institute of Archaeology and Ethnology Polish Academy of Sciences, indicated that majority of the features unearthed at the site represented remnants of a permanent open settlement occupied by Lusatian communities, organised in distinct complexes of constructions, located around elongated squares. However, apart from the remains of this open settlement there was also discovered a circular part, also a residential area, but clearly separated from the other parts by rings of postholes, remnants of posts standing side by side, forming palisade-like structures. Analysis of pottery forms, as well as dendrochronology and C14 dating allowed to determine the chronology of the settlement mainly to the sub-period Hallstatt C. Within the site there were observed exceedingly numerous remains of wooden buildings, primarily of a post construction, but also an accumulation of relics of dugouts (semi-pit-houses) and storage pits. There were five wells discovered at the site (and two probable ones), of which as many as four had partially preserved wooden constructions. Remains of a bronze manufacture was accompanied by bronze artefacts, including elements of horse harness related to the influences of nomadic peoples (so called Kimmerian horizon). A cultural layer was observed in a substantial part of the settlement. Five deposits of pottery, having the character of votive offerings, four of which were associated with an isolated, circular part of the settlement, represented distinguished finds. “Graphitic” and painted pottery was also recorded. <br />The most intriguing element of the studied area within Milejowice site 19 was a fragment of a settlement surrounded by a kind of circular fences. Everything seemed to suggest that it was inhabited, but clearly isolated part of the settlement. It was assumed that the separation was rather, in the light of the interpretation that I co-authored, not of practical, defensive but rather symbolic character, most likely made due to the power, exceptional social and probably also substantial status of the people occupying this area. This was a settlement of “Herrensitz” type. The analysed complex has obviously expressed transformations taking place in the Hallstatt period in terms of social relations, when, mainly influenced directly by the Hallstatt zone, a leading social strata developed also in other areas. Inspired by the Hallstatt “aristocracy” those people also separated their impressive dwellings, as well as cemeteries and burial customs. The ongoing process of substantial and social differentiation of communities inhabiting western Poland had been previously confirmed mainly by observations made in cemeteries. Large-scale excavations conducted at Milejowice site 19 have provided evidence that demonstrably confirmed this process of social transformation. Recently obtained further confirmation of these processes, due to the discovery of spectacular site Domasław, in the near distance from Milejowice site 19.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9962215463f4a999dac5cfb102f07e20" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":72567990,"asset_id":57891271,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/72567990/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="57891271"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="57891271"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 57891271; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=57891271]").text(description); $(".js-view-count[data-work-id=57891271]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 57891271; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='57891271']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9962215463f4a999dac5cfb102f07e20" } } $('.js-work-strip[data-work-id=57891271]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":57891271,"title":"Próba interpretacji zabudowy osady z wczesnej epoki żelaza na stanowisku Milejowice 19, pow. wrocławski (Die Bebauung einer Siedlung aus der frühen Eisenzeit auf dem Fundplatz Milejowice 19, Kr. 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Obrazowanie w pradziejach i starożytności, ed. D. Minta-Tworzowska, Gdańsk, Komitet Nauk Pra- i Protohistorycznych PAN, Muzeum Archeologiczne w Gdańsku</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The article presents the main assumptions of the iconological method of E. Panofsky and its very ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The article presents the main assumptions of the iconological method of E. Panofsky and its very specific adaptation to the ground of classical archaeology, taking place in the field of vase painting research. The contribution of C. Robert's works to the development of iconographic approaches to Greek art, as well as the so-called anthropological turn in the studies of vase painting and the achievement of Swiss and French scholars, inspired by structuralism and linguistics, are also taken into consideration. Then the iconological and semiotic approaches in the study of Greek vases are confronted and finally the author outlines basic directions in analysing and interpreting ancient images within the framework of contemporary visual culture studies.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4e14af0c12353315b76b0b3254f95472" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58150078,"asset_id":38120549,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58150078/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38120549"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38120549"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38120549; 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Uwagi na marginesie Afrodyty Knidyjskiej (Ancient Female Nude and Its Subsequent Implications. Remarks in the Context of the Aphrodite of Knidos)" class="work-thumbnail" src="https://attachments.academia-assets.com/53616132/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/33595895/Staro%C5%BCytny_akt_kobiecy_i_jego_p%C3%B3%C5%BAniejsze_implikacje_Uwagi_na_marginesie_Afrodyty_Knidyjskiej_Ancient_Female_Nude_and_Its_Subsequent_Implications_Remarks_in_the_Context_of_the_Aphrodite_of_Knidos_">Starożytny akt kobiecy i jego późniejsze implikacje. Uwagi na marginesie Afrodyty Knidyjskiej (Ancient Female Nude and Its Subsequent Implications. Remarks in the Context of the Aphrodite of Knidos)</a></div><div class="wp-workCard_item"><span>chapter in book in Polish with English summary</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper investigates the female nude in ancient Greek monumental sculpture based on the Aphrod...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper investigates the female nude in ancient Greek monumental sculpture based on the Aphrodite of Knidos. It first emphasises that Greek statues mostly represent deities and heroic figures in human forms. One of the reasons for this was the anthropomorphisation of the gods and heroes, the base of the Greek religion. As a result, the image of the human body constantly occupied the imagination of sculptors. Recently, there has been a shift of interest in the study of Greek statues, particularly cult statues. Iconographic and iconological considerations have been increasingly replaced by attempts to comprehend and receive the sculpture just like ancient Greeks. The text quotes a large group of researchers who have undertaken fresh efforts to interpret Greek cult statues, combining a meticulous analysis of ancient texts with studies on the preserved body of works and the contemporary reflection on the broadly understood visual culture and the ways it influences and is received by people. Important in these studies is also the recognition of the enormous impact of the modern, especially post-Enlightenment tradition, on the contemporary reception and meaning attributed to the ancient Greek art, especially statues. <br />The article then provides a clear overview of various interpretations of the Aphrodite of Knidos, a famous work of Praxiteles, in the context of the considerations about the statues and their agency, and explores the reflection on the development of the so-called naturalistic style in Greek sculpture. The paper shows how common is the interest in goddess-related issues, notably the one depicted in the statue from Knidos. On the one hand, this stems from the popularity of gender studies, blossoming also in antiquity research, and on the other hand, from a reflection on modern European art coming from feminist art history. Unfortunately, within these approaches, the Praxiteles’ work is subject to accusations, because the sculptor supposedly showed the weakness of Aphrodite, embarrassed with her nudity, as opposed to the proudly presented nudity in male statues. The embarrassment, covering up, shows the goddess as weak and vulnerable, susceptible to injury. The naked Aphrodite of Knidos is therefore believed to have been sexually objectifi ed by being subordinated to the male gaze. This makes the cult statue a thing subordinated to male needs and devoid of any impact.<br />Ewa Bugaj argues that such interpretations signifi cantly reduce the phenomenon of the cult statue and its functioning in antiquity, as presented at the beginning of the paper. We cannot forget that Aphrodite was first of all the goddess, not an ordinary woman, and the religious aspect of the  functioning of the statue, so important for the ancients, should not be overlooked in the interpretation. The paper thus shows that an ancient Greek, a follower of the goddess, is unlikely to have separated his gaze from his or her religious beliefs, given that the Greeks viewed the sculpture as a statue and the goddess at the same time. Other interpretations of Praxiteles’ work are also given. It has been argued that based on religion studies as well as literary and historical references, Aphrodite cannot be called a modest goddess. Hence, her perfect and attractive body, carved by Praxiteles, was probably meant to emphasise her power. Furthermore, the decision to leave the genitals at the statue of Aphrodite of Knidos unmarked could have resulted from an intention to distinguish her divine body from the bodies of ordinary women. This permitted the goddess, embodied in the statue, to retain the status of impact and power. The nudity of the Aphrodite of Knidos rendered by Praxiteles in a very sensual manner, seemed to manifest her bodily availability, yet ultimately, the goddess was not fully accessible (both in the myths about the goddess and the legends about the statue). The beautiful, worthy of the highest admiration and lust outside of the goddess, masterfully shown by Praxiteles, enabled the Greek to image her inner divine qualities. Thus, the aim of the representation was perhaps not to stimulate lusty glances and intimate relations with the statue, but to inspire religious awe and elation.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8c933c91ad073005be3805449a18072d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":53616132,"asset_id":33595895,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/53616132/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="33595895"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="33595895"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33595895; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=33595895]").text(description); $(".js-view-count[data-work-id=33595895]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 33595895; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='33595895']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8c933c91ad073005be3805449a18072d" } } $('.js-work-strip[data-work-id=33595895]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":33595895,"title":"Starożytny akt kobiecy i jego późniejsze implikacje. 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In the next step she outlines historiography of the Greek sculpture with the particular reference to the study on its stylistic development. Further on the author presents selected, new approaches in the study on Greek sculpture, the ones which are breaking the long tradition of research on them, rooted in the Enlightenment and Hegelian thought and historicism. She focusses on the results of these research which shift the interpretative emphasis from the relation between the image/ sculpture and its model to that of the image and its viewer.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9f83720e8bce6a626512e09527e5136a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54090970,"asset_id":33596774,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54090970/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="33596774"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="33596774"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33596774; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="11658508"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11658508/Kilka_uwag_na_temat_antycznej_metrologii_oraz_ceramiki_attyckiej_okresu_geometrycznego_i_zasad_jej_dekoracji_A_Few_Remarks_on_Ancient_Metrology_and_Attic_Geometric_Pottery_and_Its_Decoration_"><img alt="Research paper thumbnail of Kilka uwag na temat antycznej metrologii oraz ceramiki attyckiej okresu geometrycznego i zasad jej dekoracji (A Few Remarks on Ancient Metrology and Attic Geometric Pottery and Its Decoration)" class="work-thumbnail" src="https://attachments.academia-assets.com/38879906/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11658508/Kilka_uwag_na_temat_antycznej_metrologii_oraz_ceramiki_attyckiej_okresu_geometrycznego_i_zasad_jej_dekoracji_A_Few_Remarks_on_Ancient_Metrology_and_Attic_Geometric_Pottery_and_Its_Decoration_">Kilka uwag na temat antycznej metrologii oraz ceramiki attyckiej okresu geometrycznego i zasad jej dekoracji (A Few Remarks on Ancient Metrology and Attic Geometric Pottery and Its Decoration)</a></div><div class="wp-workCard_item"><span>journal article in Polish with English summary</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Far from being the most common issue, recognising connections between visual arts, in particular ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Far from being the most common issue, recognising connections between visual arts, in particular  between the principles of construction and decoration of works of art, and certain identifiable rules of metrology has a long tradition in the study of Greek art. In general, topics related to the study of the ancient canon in visual arts and architecture and the development of metrological systems are undertaken in relation to the reflection on the rise of numerical systems in ancient mathematics and the functional applications of geometry, as well as to the attempt to grasp the ancient understanding of the meanings of the commensurable and incommensurable. <br />Greek architecture and visual arts provide many examples of the use of mathematics and there are numerous references to this subject in the written sources. For example, Greek temples and proportions used for their construction are described by Vitruvius, whereas Pliny the Elder refers to the Canon of Polykleitos and generally discusses the principles of proportions used in the fifth and fourth centuries BC respectively.  And last but not least, we have ancient material records in the form of two metrological reliefs. Inscribed on the one from Salamis are standards for linear measures, including among others, foot, hand-span and cubit (Museum of Piraeus, inv. 5352). The second relief is in the collections of the Ashmolean Museum in Oxford (inv. AN. Michaelis 83). These reliefs offer us a visual picture of the ancient standards of measurement and reveal that they were most frequently related to the natural proportions of the human body and its parts. <br />The above-mentioned remarks concern the classical times, whereas in the paper that I would like to present I intend to point out the selected possibilities of interpreting earlier sources from the perspective of application of metrological principles, namely the Attic Geometric pottery dated to about 900-700 BC. It seems to me that Geometric pottery can be treated primarily as an expression of the collective ‘artistic’ consciousness, in which ‘ordering’ thinking had to be very important as evidenced in great numbers by the exceptional standardisation and repetition of patterns developed as the working language of this decoration, which can be easily observed in the perspective of more than two centuries. As successful attempts to identify a module according to which single outstanding examples of Geometric vessels were decorated (such as a large amphora now located in the National Museum in Athens (inv. NM 804) and decorated by the so-called Dipylon Master), have already been presented in the literature (Andreae 1979), I will only briefly refer to this scrupulous analysis. Similar studies, looking for ratio and arithmetic rules according to which the expected proportions of pottery decoration were achieved in those 'pre-mathematics' times, were also made for a larger series of Attic pottery analysed in chronological order, from Early Geometric till Late Geometric period (Benson 1987). Analyses have revealed that from the beginning of the production of Geometric pottery there was an attempt to plan the system of decoration so as to achieve the harmonizing effect, i.e. the proportional arrangement of wide and narrow decorative bands, as well as relations between decorative elements of the body and neck. However, all these attempts seem to have been more or less intuitive, resulting on the one hand from the production experience and from the preferences on the other. According to Benson, the amphora of the Dipylon Master is the first to clearly confirm the rule-oriented approach of its maker, a rule that was to organise and balance the complex structure of the decoration. The vessel also shows the potential of Geometric ornamentation and its idiom, in which some arithmetical sense can be traced. <br />I think, however, that such a way of thinking and ordering, which resulted in the development of the one of the most standardised decorative systems based on a set of simple geometric shapes, forming a kind of rhythmic and repetitive artistic language, does not necessarily have to be the proof of the origins of the classical mathematical thinking that will develop later. I would agree with the mathematicians (Høyrup 2000) that there is no simple nor direct relationship between the visually geometric ornamentation dating to the Early Iron Age and the subsequent formal rules of mathematics, which is worth emphasising in order to oppose the dominant naive interpretation. On closer scrutiny we see that the decoration of Attic Geometric pottery was more about producing the expected visual experience, about communicating something with the image rather than about adhering to a precisely controlled regularity. This becomes particularly evident when pottery decorators started to introduce more and more figural motifs within the purely abstract motifs tightly covering the surfaces of the vessels. <br />Nevertheless, I believe attempts to identify rules ordering the decoration of the analysed Greek pottery of the Geometric period to be fully justified. Focusing on communication and semantic aspects of these works, we cannot ignore the aesthetic aspects that are closely related to them. Thus, we should first try to analyse the morphology of decoration and then its tectonic syntax, i.e. the structure and interconnections of structural elements of ornaments in relation to one another and to the vessel itself. This will make it possible to show that the visual elements forming the decoration of the vessel were stylistically applied within a fully organised, tectonically coherent scheme. As a result, this type of analysis makes it clear that in works such as the Attic Geometric pottery we can also detect traces of the craftsmen disposition towards visioning a physical reality, of attempts to portray the nature of things - physis.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a0e2f8a18f34f6d86cbc58ce6c7ebcf4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38879906,"asset_id":11658508,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38879906/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11658508"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11658508"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11658508; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="7514194"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7514194/Sposoby_czytania_rzymskich_portret%C3%B3w_starc%C3%B3w_z_okresu_republiki_How_to_Read_Roman_Republican_Portraits_of_the_Old_Men_"><img alt="Research paper thumbnail of Sposoby czytania rzymskich portretów starców z okresu republiki (How to Read Roman Republican Portraits of the Old Men)" class="work-thumbnail" src="https://attachments.academia-assets.com/34210789/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7514194/Sposoby_czytania_rzymskich_portret%C3%B3w_starc%C3%B3w_z_okresu_republiki_How_to_Read_Roman_Republican_Portraits_of_the_Old_Men_">Sposoby czytania rzymskich portretów starców z okresu republiki (How to Read Roman Republican Portraits of the Old Men)</a></div><div class="wp-workCard_item"><span>journal article in Polish with English summary</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The portrait sculpture from the Republican era, better recognisable since the second century BC, ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The portrait sculpture from the Republican era, better recognisable since the second century BC, although gaining in popularity particularly in the first century, constitutes one of the most unique portrait collections ever created. Variability of the portraits reveals combination of abstract features, expressed in an appropriate visual language, with definite physiognomic features and characteristics of persons being portrayed. A new type of portraiture was created at the time, different from the traditional Hellenistic one. Although it was the latter that was a source of the idea itself, and a provider of formal tools used to implement the idea. With this new concept the portraiture obtained an unprecedented capacity to articulate and project the interior processes of human experience. <br />The Roman concept of portraying was most distinctive in so called veristic portraits, usually assumed to represent the essence of what was socially Roman. The collection consists mainly of the portraits of old men, frequently bold and toothless, with wry faces, full of wrinkles and scars – depicted in a stern manner, the manner that was not limited only to a persistent portraying of irregularities in physiognomies. Also emotional states were shown – almost  with no exception these emaciated faces were gloomy and graceless. Looking at them might  mislead viewers into assumption that they represented uncompromising images of their models. However, according to some studies, they were often just conventional types of representations, with features resulting from ideological motivation. And manipulating particular elements of physiognomy and character, these portrayed people – public images – were supposed to carry a particular message, to play desired and expected political and propaganda roles. What the role was remains a disputable issue, depending on various interpreting approaches. <br />The papers dealing with the history of ancient art have been revealing, for the several years,  various attempts made to extend interpretative interest beyond formal and stylistic interpretations of antique pieces of art and to look at these visual representations in a wider cultural and political context of their times. The study of the Republican portrait – traditionally explaining the origin of so called verism of these images in terms of the influence of the preceding realistic Hellenistic or Egyptian portraiture and images of ancestors – has been replaced by the approach promoting interpretation of these portraits as the signs existing in particular historical and political context which helps to explain their special visual expression. Such new interpretative perspectives significantly improved our understanding of forms and meanings of the portraits, although there are still several unclear issues, such as the social functioning of art. What is more, various researchers represent significantly different approaches. Thus, the portraits of the old men, especially popular towards the end of the Republican era, on the one hand were interpreted as signs of protest against the contemporary reality, with which they argued, not allowing for what was approaching. While emphasising their age, the portrayed persons were supposed to emphasise their long-lasting service for the Republic, as well as the values they were devoted to, which were virtues, such as gravitas, dignitas, fides. On the other hand, these Republican portraits of old men are sometimes interpreted as efficient medium of social and cultural activities, and more precisely, as a result of relationships with authorities, and even as a tool used to build these relationships, especially if there was a patronage system functioning. <br />In my paper, I confront various attitudes towards the portraits of old men and present the most convincing, in my opinion, interpretations, also trying to extend them.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="428515b4d520e872e1fbd282deb26737" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":34210789,"asset_id":7514194,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/34210789/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7514194"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7514194"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7514194; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="7491421"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7491421/Archeologia_klasyczna_na_Uniwersytecie_w_Poznaniu_i_konteksty_jej_powo%C5%82ywania_Classical_Archaeology_at_the_University_in_Pozna%C5%84_and_Circumstances_of_Its_Establishing_"><img alt="Research paper thumbnail of Archeologia klasyczna na Uniwersytecie w Poznaniu i konteksty jej powoływania (Classical Archaeology at the University in Poznań and Circumstances of Its Establishing)" class="work-thumbnail" src="https://attachments.academia-assets.com/36898826/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7491421/Archeologia_klasyczna_na_Uniwersytecie_w_Poznaniu_i_konteksty_jej_powo%C5%82ywania_Classical_Archaeology_at_the_University_in_Pozna%C5%84_and_Circumstances_of_Its_Establishing_">Archeologia klasyczna na Uniwersytecie w Poznaniu i konteksty jej powoływania (Classical Archaeology at the University in Poznań and Circumstances of Its Establishing)</a></div><div class="wp-workCard_item"><span>journal article in Polish with English summary</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated"> Classical Archaeology as a subject of study was established at the University of Poznań with the...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Classical Archaeology as a subject of study was established at the University of Poznań with the creation of the University itself in 1919, but as a key date in its development should be seen 30th April, 1923, when Mieczysława Sabina Ruxer, PhD, teaching the subject, took care of the Classical Archaeology Seminar. She came to Poznań from Kraków and was appointed an assistant professor responsible for development of Classical Archaeology as an academic subject, both as research and teaching area. She also made and attempt to create an independent Department of Classical Archaeology. <br /> Before World War II the Seminar functioned as a secondary course, and the Department of Classical Archaeology as an ancillary part of the Faculty of Humanities. Due to the nature of this secondary course there were no graduates in Classical Archaeology, as the seminar was chosen by students who studied other disciplines as their main. However, M. S. Ruxer taught numerous classes of extremely large range of problems, which were over the years of her work systematically improved. According to the archives in the 1930s, there were efforts made to prepare the curriculum for the study of Classical Archaeology as a main subject, to be completed with a degree. It had been provisionally accepted by the University, and after approval of M. S. Ruxer’s habilitation, which took place in 1937 at the Jagiellonian University, the change of the status of Classical Archaeology Seminar from auxiliary to  regular appeared - but unfortunately the plan was disturbed by war. <br /> After World War II, from the very beginning when teaching at the University of Poznań was re-established the Classical Archaeology Seminar functioned led by M. S. Ruxer. Unfortunately, the Chair and the Department in the difficult post-war conditions had to be painstakingly re-organized as the entire pre-war furnishing and collections were destroyed or stolen. Moreover, in post-war years attempts were made to rebuild academic life in Poland in the new political and ideological situation, according to arbitrarily imposed rules, often subordinated to Soviet science. Reorganisation, unification and centralisation of scientific institutions took place – illustrated by, among others, forced integration of Prehistoric and Classical Archaeology (later Mediterranean) and Ethnography in the purpose of joint research on material culture. This was due to the introduction of materialist philosophy in the field of scientific research as the current dogma, particularly inconvenient on the ground of the humanities. <br /> Such changes took place also in the Faculty of Humanities at the University of Poznań. Professor M. S. Ruxer was as head of the Chair and Department of Classical Archaeology till 1952, which she had been appointed to in 1949. Moreover, a new person appeared in the Department, a full-time assistant - Jerzy Kubczak. However, in 1952 the Department was renamed since then known as the Department of Mediterranean Archaeology and was incorporated into the Department of History of Art. M. S. Ruxer was deprived of her functions. Finally, in the academic year 1955/1956 the Department of Mediterranean Archaeology was suspended. Moreover, in 1957 the death snatched Professor Mieczysława Sabina Ruxer from the Faculty of Philosophy and History. Among the extensive scientific interests it is worth emphasising that the main area of her studies was ancient jewellery and she produced a monograph on the Greek necklaces. <br /> After the so-called "Thaw" in Poland, at the end of 1957 a classical archaeologist Stefan Parnicki-Pudełko from Wroclaw, working in the Department of Ancient Archaeology at the Institute of History of Material Culture at the Academy of Sciences in Warsaw, was invited to Poznań. After the appointment to an assistant professor, S. Parnicki-Pudełko became a head of the reactivated Chair of Mediterranean Archaeology at the Faculty of Philosophy and History, with the effect from 1st October 1958. Also Jerzy Kubczak, who in the meantime worked in the National Museum in Poznań, returned to the Chair. The scientific contributions of the Chair, which should be considered a true continuation of Professor M. S. Ruxer’s idea, have related primarily to studies on the ancient architecture and pottery, as well as the culture of the ancient colonies on the northern shores of the Black Sea. In this organizational form the Chair of Mediterranean Archaeology had functioned at Adam Mickiewicz University for the next ten years - until 1969, when it was closed. After that, Professor S. Parnicki-Pudełko took the position of the head of the Department of Ancient History, and J. Kubczak PhD a job at the Institute of History of Art. Interestingly, only then Poznań research centre really got involved in excavations in the area of Mediterranean civilisation, as in 1970 an independent University Archaeological Expedition of Adam Mickiewicz University in Poznań began excavations in the Roman legion camp in Novae (in ancient Moesia Inferior), and has been operating by today. <br /> When it comes to scientific achievements, it should be emphasized that Professor S. Parnicki-Pudełko was primarily an outstanding expert in ancient building and construction expertise, leaving as his legacy to next generations, among numerous other works, a monograph on Greek architecture. Professor J. Kubczak, on the other hand, focused his attention, like M. S. Ruxer, whose research he continued, on ancient jewellery, publishing a monographic study of Greek necklaces in the Hellenistic and Roman periods. A key topic of his study, however, were issues concerning Scythian culture, which was reflected in the monograph about the barrows of Scythian aristocracy. <br /> In the meantime, interest of scholars from Poznań, both those associated with the University, and those from the outside of it, in archaeological research in the Mediterranean not only did not decrease, but increased immensely. In addition, after the historic turn in Poland of 1989 and regaining sovereignty it became possible to resurrect departments and disciplines taught in the past, and to significantly broaden the educational offer and the fields of scientific research. In such an atmosphere the efforts were made in the 1990s to establish (reactivate) Mediterranean (or Classical) Archaeology at Adam Mickiewicz University. <br /> After long debates concerning the nature of the discipline to be reactivated in Poznań, mainly between the employees of the Institutes of History of Art and Prehistory at Adam Mickiewicz University, the Council of the Faculty of History decided with a resolution of 9th November 1998, to appoint a specialty of Mediterranean Archaeology at the Institute of Prehistory, starting from the academic year 1999/2000. It has been a part of Archaeology taught by the Institute of Prehistory at Adam Mickiewicz University, as a main discipline, developing slowly but successfully under the name of Oriental and Classical Archaeology, accepted in 2004.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="393dd6da2a4d51908ea4ae2fc7523e6e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36898826,"asset_id":7491421,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36898826/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7491421"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7491421"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7491421; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="7454104"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7454104/Wielkopolskie_instytucje_archeologiczne_na_przestrzeni_ostatnich_20_lat_Archaeological_Institutions_in_Wielkopolska_in_the_Last_20_Years_"><img alt="Research paper thumbnail of Wielkopolskie instytucje archeologiczne na przestrzeni ostatnich 20. lat (Archaeological Institutions in Wielkopolska in the Last 20 Years)" class="work-thumbnail" src="https://attachments.academia-assets.com/37114866/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7454104/Wielkopolskie_instytucje_archeologiczne_na_przestrzeni_ostatnich_20_lat_Archaeological_Institutions_in_Wielkopolska_in_the_Last_20_Years_">Wielkopolskie instytucje archeologiczne na przestrzeni ostatnich 20. lat (Archaeological Institutions in Wielkopolska in the Last 20 Years)</a></div><div class="wp-workCard_item"><span>journal article in Polish with English summary</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the text Ewa Bugaj presented a reflection on the functioning of Wielkopolska archaeological in...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the text Ewa Bugaj presented a reflection on the functioning of Wielkopolska archaeological institutions in the period after the historical change which took place in Poland in 1989. The author focused mostly on the institution conducting scientific research, educational and exhibition activity, and working in the capitol of the Wielkopolska Voivodship - Poznań, considering them as the most important in the region, and as those which point out the perspective goals for the discipline. <br />First the dominating socio-political trends of the two decades discussed were outlined, as well as their influence on the present state and the activity of the institutions discussed. Numerous changes were emphasized, changes which appeared in the activity and the organizational structure of scientific and university institutes as well as in archaeological museums, and which resulted from system transformation conducted in Poland after communism had collapsed, and from the regaining the independence. Beside undisputed positive phenomena some negative ones were also shown, which resulted indirectly from the mentioned transformation, and to a bigger extent were a reflection of global tendencies of the modern world and our times, referred to as "liquid times" or "age of uncertainty" by sociologists. There are mainly continuous changes of the law and other regulations the discussed institutions are subject to, as well as the obligation of permanent modernization and offer livening, and following that the complete lack of stabilization and the uncertainty of financing sources. Additionally one can mention such frustrating phenomena as consumption attitude towards culture goods, or even towards education and scientific research, which are supposed to bring out a financial measurable effect. <br />Despite the difficulties and odds we can emphasize the preserving, and mostly significant development off all of the Wielkopolska archaeological institutions discussed. A closer look was taken at the activity of the Archaeological Museum in Poznań, The Museum of the First Piast on Lednica, The Institute of Archaeology and Ethnology of Polish Academy of Science - Poznań Branch, and The Institute of Prehistory of Adam Mickiewicz University in Poznań. In the course of presentation an inter-institutional archaeological expedition "Łekno" was mentioned. The main changes that took place in these institutions were described, characterizing their present state, and putting emphases mostly on significant development of the field being subject to scientific researches, including international ones, as well as educational activity and extremely intensified exhibition activity, finally of the popularization and publishing activity. The main impression coming from the presented survey of the achievements of the past 20 years and today's state of Welkopolska archaeological institutions, mainly from Poznań, is the vision of scientific, educational and museum institutions keeping good form and dynamically developing. <br />The presented state is mainly the result of the determination and involvement in their work of the archaeologists who in fact create these institutions. The author suggests, however, that they should not close themselves up in self-satisfaction and lack of criticism towards themselves and the reality surrounding them, and she wishes Wielkopolska archaeologists a lot of capabilities to point out the goals of archaeological researches fitting the standards of the modern world, as well as to find ways of their realization.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="056871325c74ee3f84c619c66ea67748" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37114866,"asset_id":7454104,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37114866/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7454104"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7454104"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7454104; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="2134347"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/2134347/Archeologia_klasyczna_w_poszukiwaniu_swej_to%C5%BCsamo%C5%9Bci_Mi%C4%99dzy_przesz%C5%82o%C5%9Bci%C4%85_tera%C5%BAniejszo%C5%9Bci%C4%85_a_histori%C4%85_sztuki_Classical_Archaeology_in_Pursuits_of_Its_Identity_Between_the_Past_the_Present_and_the_History_of_Art_"><img alt="Research paper thumbnail of Archeologia klasyczna w poszukiwaniu swej tożsamości. Między przeszłością, teraźniejszością a historią sztuki (Classical Archaeology in Pursuits of Its Identity: Between the Past, the Present and the History of Art)" class="work-thumbnail" src="https://attachments.academia-assets.com/31084054/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/2134347/Archeologia_klasyczna_w_poszukiwaniu_swej_to%C5%BCsamo%C5%9Bci_Mi%C4%99dzy_przesz%C5%82o%C5%9Bci%C4%85_tera%C5%BAniejszo%C5%9Bci%C4%85_a_histori%C4%85_sztuki_Classical_Archaeology_in_Pursuits_of_Its_Identity_Between_the_Past_the_Present_and_the_History_of_Art_">Archeologia klasyczna w poszukiwaniu swej tożsamości. Między przeszłością, teraźniejszością a historią sztuki (Classical Archaeology in Pursuits of Its Identity: Between the Past, the Present and the History of Art)</a></div><div class="wp-workCard_item"><span>journal article in Polish with English summary</span><span>, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The article considers classical archaeology as one of the first and oldest branches of archaeolog...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The article considers classical archaeology as one of the first and oldest branches of archaeology practised in Europe taking into account the fact, that interest in the relics of ancient civilisations is deeply inscribed in the self-identification of various peoples of Europe, in terms of their cultural identity. The author deals mainly with the way the modern world values, interprets and conserves the classical past, especially Greek art and architecture and other cultural achievements of ancient societies, and how the elites of the Western World used to do it during past centuries. The problem of common roots of classical archaeology and history of art as well as the longstanding relationship between the disciplines are thoroughly discussed. Discrepancies between the main research procedures applied by classical archaeologists and art historians are discussed, especially in the light the present negative approach to relating assumptions connected with the meanings and the messages inherent in the modern concept of art, to archaeological sources. The role of museums and art and antiquities trade is raised. Further on the author considers classical archaeology with much broader archaeological issues discussed at the contemporary discipline. It is recognized that classical archaeology certainly has changed and abandoned former connoisseur knowledge of the artefacts, concentrated solely on the works of art often viewed as an autonomous world, excluded from the context of its production, functioning and perception. Finally, the author recognizes contemporary classical archaeology as a rapidly evolving discipline, reformulating its research fields and open to cooperation with numerous disciplines. Nevertheless, this should not mean distancing itself from and abandoning the great traditions of the classical archaeology, functioning as the history of ancient art. On the contrary, it should be rethought and included again in contemporary research.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="80d0b73e2b322be5d3f48fb4b6ecddd4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":31084054,"asset_id":2134347,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/31084054/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="2134347"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="2134347"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2134347; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2134347]").text(description); $(".js-view-count[data-work-id=2134347]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2134347; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='2134347']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "80d0b73e2b322be5d3f48fb4b6ecddd4" } } $('.js-work-strip[data-work-id=2134347]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":2134347,"title":"Archeologia klasyczna w poszukiwaniu swej tożsamości. Między przeszłością, teraźniejszością a historią sztuki (Classical Archaeology in Pursuits of Its Identity: Between the Past, the Present and the History of Art)","internal_url":"https://www.academia.edu/2134347/Archeologia_klasyczna_w_poszukiwaniu_swej_to%C5%BCsamo%C5%9Bci_Mi%C4%99dzy_przesz%C5%82o%C5%9Bci%C4%85_tera%C5%BAniejszo%C5%9Bci%C4%85_a_histori%C4%85_sztuki_Classical_Archaeology_in_Pursuits_of_Its_Identity_Between_the_Past_the_Present_and_the_History_of_Art_","owner_id":830615,"coauthors_can_edit":true,"owner":{"id":830615,"first_name":"Ewa","middle_initials":null,"last_name":"Bugaj","page_name":"EwaBugaj","domain_name":"amu","created_at":"2011-10-10T17:52:25.992-07:00","display_name":"Ewa Bugaj","url":"https://amu.academia.edu/EwaBugaj","email":"Y2dLa2k0dnlvVjRqVzdwTnNPSG5JbE8yYWFCU2hVYU0wc29VLzNIZ25ZND0tLTl3N0ZDZ2RYeisyRUNiak4yMm1ocUE9PQ==--f2c2fb7e7042aaefed37e0ea39908c77e9695c1c"},"attachments":[{"id":31084054,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/31084054/thumbnails/1.jpg","file_name":"FPP_16_E_Bugaj_2011_Archeologia_klasyczna_w_poszukiwaniu_swej_tozsamosci.pdf","download_url":"https://www.academia.edu/attachments/31084054/download_file","bulk_download_file_name":"Archeologia_klasyczna_w_poszukiwaniu_swe.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/31084054/FPP_16_E_Bugaj_2011_Archeologia_klasyczna_w_poszukiwaniu_swej_tozsamosci-libre.pdf?1392180673=\u0026response-content-disposition=attachment%3B+filename%3DArcheologia_klasyczna_w_poszukiwaniu_swe.pdf\u0026Expires=1740217915\u0026Signature=gpWHO2EAmSB3y-fFbyYc73-BC6MIcFxgbzhwGYN4O73wOFOSTFIdL9e7YKqtHEQe8AIop2b2Dn7276DSLUe6WSsTxHQNiDQeeVww0QK22RcK-lLa0q~bByPE~W55Di3YR~iwlom-fFa0RAat77rcu2Pa-PTMu9Dk9ZZ-Jjw0e~Nxjrr6gaA2w24~CLegscauKsyZJpzZbvFuVbzdccqkXv3Y~MmVTy6Mx9JQDySbCfotdBWT0vJ6CmZLuaSrw4t3SzHktfYarNY7Oo6ZFcizFUhSVUa8cPAgSrlV~nqMSShRRWC-Ta3ETSj29A5Wb2ThvXlDYUTi7gD7k1ACGvNotw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="1489630"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/1489630/On_the_Past_and_Contemporary_Character_of_Classical_Archaeology"><img alt="Research paper thumbnail of On the Past and Contemporary Character of Classical Archaeology" class="work-thumbnail" src="https://attachments.academia-assets.com/11650417/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/1489630/On_the_Past_and_Contemporary_Character_of_Classical_Archaeology">On the Past and Contemporary Character of Classical Archaeology</a></div><div class="wp-workCard_item"><span>chapter in book in English</span><span>, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The paper considers classical archaeology as one of the first and oldest branches of archaeology ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The paper considers classical archaeology as one of the first and oldest branches of archaeology practised in Europe taking into account the fact that interest in the relics of ancient civilisations is deeply inscribed in the self-identification of various peoples of Europe, in the grounds of their cultural identity. A wider problem concerning the 'living antiquity’ observed in the history of Europe is mentioned as well, and the causes of such vitality which is the reason why we spoke and most often still speak of the Greco-Roman foundations of European civilisation, albeit some argue that such an approach to Antiquity has already declined.  <br /> It is a known fact that the splendour of Greece shone also on the ancient Roman world but it seems that it happened not only by way of appropriation of cultural achievements. Despite the difficult Roman-Greek relationship and exploitative Roman attitude to the Greek cultural heritage, to some extent cultural exchange took place on the basis of reciprocity. What's more, it is ultimately through the mediation of the Romans that the Hellenic culture flourished on various areas of their huge empire and was thus passed to subsequent periods of history. You could say that already in antiquity the first synthesis of complex achievements of the ancient culture took place on a great scale. It would then influence the medieval and Renaissance Europe, and from modern times each epoch would create its own model of antiquity and make further interpretations and syntheses of its sophisticated achievements. <br /> We are therefore entitled to state that the classic legacy is a common past of the whole Europe (thus classical archaeology is all European countries’ own archaeology), regardless of the extent to which the prehistory also creates the past, and to what extent it is formed by archaeologies of the regions and peoples, who in vast majority lived outside the classical world. Therefore, classical archaeology held an exceptionally privileged position for a long time (which is not the case nowadays, when all disciplines are treated equally and research assume a pluralistic approach), because, to some extent, similar to classical studies, it not only dealt with exploring the ancient past, but was to read the values developed in the ancient world and communicate them to next generations. Moreover, these values were drawn from the concept of 'Hellenism', developed already in the eighteenth century, continued in nineteenth, which idealised this unique, classic Greek past which was believed to have been the almost exclusive roots of 'Europeanism'. <br /> However, there are two factors that seem to be the main reasons of the independent development of classical archaeology in relation to other branches of archaeology and of its specific character. On the one hand, it is a huge amount of ancient works of art, as well as iconographic representations, temples and other buildings, which preserved to modern times. This legacy - or rather its magnitude and aesthetic qualities – contributed to focusing on the study of art and architecture in classical archaeology, and at the same time lack of interest and underestimation of all other relics of ancient material culture. On the other hand, a huge number of ancient written sources, including primarily the numerous inscriptions, set classical archaeology in a privileged position in relation to archaeology of prehistoric societies. Written sources, always regarded as more important than material remains, only 'illustrating' the former, were almost uncritically considered for a long time a 'real' insight into the ancient world. <br /> In the next part of the paper the problem of a very complex relations of classical archaeology and art history, is thoroughly discussed by the author.  <br /> To conclude the author underlie the fact that archaeology, as well as other disciplines, attempts to preserve a character of a sovereign discipline with a precise research field. It is directed towards specific phenomena of the past cultural and social life, examined primarily through available material remains. However, by opening up more and more for collaboration with other disciplines, it also gets rid of its limitations and total dependence on one controlling humanistic discipline, which is important for classical archaeology regarding its strong connections with classical philology and art history. Nevertheless, she would say that this should not mean distancing itself and giving up this huge and great tradition - on the contrary, it should be rethought and included again in today's research. The authority of science lies in its achievements, jointly produced by scholars, namely the tradition, which is also subject to continuous development and change. The authority of a well-understood tradition does not stand in opposition to the freedom of undertaking new research. In case of archaeology, as one of the disciplines studying the past, we must realise that all questions about the past are asked from the position of the present, therefore, these are questions not only about the past itself, but also about contemporary people, thinking about the past from a particular cultural perspective. The way of thinking about the past is thus in this case a form of communicating the researchers’ own choices of values and thus an informed and open to others form of participating in a culture in which they are positioned. Ewa Bugaj reiterates the opinion stated already at the beginning of the text that our era, like the previous ones, creates its own model of antiquity and makes its own interpretations of its numerous achievements. <br /> We should hope that classical archaeology will show an inspiring role of antiquity in our times, as it functions with full knowledge that preserved texts, ideas, representations, as well as material culture of ancient Greece and Rome, for a very long time remained key for the Western world in the process of adaptation of the past in order to authenticate the present. Modern scholars, however, must take into consideration both the recognized use and abuse of the past. Hence, today's classical archaeology significantly broadens its field of research trying to describe the 'social life', the roles and importance of ancient material culture in the contemporary socio-cultural context. In so doing, it takes into account the reflections on the concept of the social agency of things, the strength of their impact, not only knowledge of them, recorded in the social memory. It also considers the influence of ancient artefacts on the senses of the recipient, with all their properties, such as visibility and tangibility, which gives them the ability of ongoing production and materialisation of time and place, of embodying the past.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6f0a369f0e5b578283f19104538107fc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":11650417,"asset_id":1489630,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/11650417/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="1489630"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="1489630"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1489630; 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Adama Mickiewicza W Poznaniu" class="work-thumbnail" src="https://attachments.academia-assets.com/70562446/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/53976699/Cztery_Mi%C4%99dzynarodowe_Sesje_Zorganizowane_Przez_Ko%C5%82o_Naukowe_Student%C3%B3w_Archeologii_Dzia%C5%82aj%C4%85ce_Przy_Instytucie_Prahistorii_Uniwersytetu_Im_Adama_Mickiewicza_W_Poznaniu">Cztery Międzynarodowe Sesje Zorganizowane Przez Koło Naukowe Studentów Archeologii Działające Przy Instytucie Prahistorii Uniwersytetu Im. Adama Mickiewicza W Poznaniu</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">W środowisku studentów archeologii tworzących Koło Naukowe i aktywnie w nim działających, przed p...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">W środowisku studentów archeologii tworzących Koło Naukowe i aktywnie w nim działających, przed pię cioma laty powstał pomysł zorganizowania międzynarodowej konferencji naukowej na temat: "Etyka w arche ologii". Sesja odbyła się w dniach 8-10 listopada 1999 r. w ośrodku UAM w Obrzycku. Asumpt do zorganizo wania konferencji o tej tematyce dały obserwacje przemian, które niejednokrotnie w sposób gwałtowny zachodzą w świecie współczesnym i obejmująrównież naukę, a z którymi od kilku lat borykamy się także w Pol sce, funkcjonując w dobie poważnych transformacji. Przemiany te, obejmujące różnorodne sfery, w nauce obja wiają się między innymi komercjalizacją badań i uleganiem mechanizmom rynkowym. Zjawisko to w ostatnich latach w znacznym stopniu dotknęło również polską archeologię. Ponadto podejmowane przez archeologów problemy badawcze, interpretacje wyników badań, częstokroć uwikłanie w doraźne kwestie polityczne i społeczne, wykorzystywanie efektów poznawczych innych nauk oraz zagadnienia konserwatorskie-wszyst ko to nosi znamiona wyborów etycznych. Dlatego na problematykę spotkania wybrano kwestie związane z etyką, stanowiącą, zdaniem studentów, temat niezmiernie ważki dla obecnej archeologii i archeologów, a który' częstokroć nie ma szans zaistnieć w ramach programowych zajęć akademickich. Zaproponowany temat spotkał się z dużym zainteresowaniem środowisk studenckich w Polsce, jak również za granicą, i w sumie do Obrzycka przybyło 60 uczestników, w tym kilku obcokrajowców (z Czech, Łotwy, Rosji i Sudanu). Wśród wielu studen tów poznańskich, zaangażowanych w to przedsięwzięcie, główny ciężar organizacyjny wzięli na siebie: A. Dolatowska, K. Jasiewicz, Ł. Olędzki oraz L. Wróblewska. Konferencja mogła dojść do skutku dzięki wsparciu fi nansowemu władz rektorskich, dziekańskich i instytutowych UAM, miejskich władz samorządowych Poznania, a także dzięki licznym sponsorom, o których studenci postarali się sami, i wpłatom własnym uczestników. Patro nat honorowy objął JM Rektor Uniwersytetu im. A. Mickiewicza i Prezydent Miasta Poznania. Pomoc organiza cyjną uzyskano od Fundacji "Dziedzictwo" z siedzibą w Sławnie (woj. zachodniopomorskie). Trzydniowe obrady otworzył Prorektor UAM ds. studenckich-prof. dr hab. J. Cieślik oraz referatem wprowadzającym Prodziekan ds. studenckich Wydziału Historycznego UAM-prof. dr hab. D. Minta-Tworzowska. Obrady podzielono na sześć sesji, które wypełniło 21 referatów oraz ożywione dyskusje wszystkich uczestników. Podejmowana tematyka objęła szeroki zakres zagadnień-od rozważań ogólniejszych, do tyczących zbioru zasad i norm postępowania obowiązujących archeologa, zakresu interpretacji wyników badań dokonywanych zarówno przez archeologów, jak i społeczeństwo, w tym polityków, oraz społecznego sensu ist nienia archeologii, poprzez rozważania nad badaniem cmentarzysk i zdobywaniem nowych informacji a kwe stią traktowania ludzkich szczątków, nad metodyką badań terenowych i ich rzetelnością, dalej nad ukazaniem zagrożeń wynikających z niedofinansowania badań archeologicznych, nad kwestią wykorzystywania wyników innych dyscyplin naukowych-do roli mediów we współczesnym świecie i kreowanej przez nie rzeczywisto ści w kontekście archeologii i rzetelności informacji na jej temat, czy wreszcie-istotnych zagadnień konser watorstwa i ochrony dziedzictwa kulturowego. Szczególnie te ostatnie zagadnienia mogły być kompetentnie przedyskutowane, w związku z uczestnictwem w konferencji dr. M. Rubnikowicza-Konserwatora General nego RP ds. Zabytków Archeologicznych oraz dr. A. 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Biuletyn Stowarzyszenia Absolwentów Archeologii UAM</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Popular scientific paper about ancient art and archaeology.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a967c2af2a44c05c2e0a50c4163b7d1e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":88383950,"asset_id":82797730,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/88383950/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="82797730"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="82797730"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 82797730; 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