TY - GEN N1 - 24 cm N2 - It is now hard to imagine Podhale or its artistic centre – Zakopane, without all the glass paintings decorating its restaurants, galleries and places of religious worship. This type of art was revitalized in the 1950s by a group of scholars enamoured with highlander culture and later supported by institutions dealing with protecting and promoting so-called ‘modern folk art’ in post-war Poland. Today glass painting belongs to the artistic landmarks of Podhale, making it the largest centre of vitrochromy in Europe. Its continuing presence in the region is regarded by the public as an evidence of the vitality of highlander tradition in Podhale. Folklore scenes painted on glass, especially the highly popular images of brigands, are purchased by tourists and act as symbols of the fascinating and exotic highlander culture. Regional activists perceive glass painting as a permanent and valuable element of their native heritage, which ought to be protected and included into the curriculum of regional education. The mimetic character of this genre provides the medium for presenting an imaginary picture of the highlander, giving artists and recipients a tool for creating a kind of a stereotypical self-portrait. The associations glass painting evokes (old, permanent, unchanging) clearly point to its mythical significance and incorporate it into the broader trend of invented traditions – a phenomenon which has recently entered a stage of dynamic development in Podhale L1 - http://www.rcin.org.pl/iae/Content/54933/PDF/WA308_75318_P368_Glass-Painting-in-Co_I.pdf M3 - Text J2 - Ethnologia Polona 35 (2014) PY - 2014 EP - 162 KW - folk art KW - art KW - regionalism KW - invented tradition KW - Podhale A1 - Golonka-Czajkowska, Monika PB - Institute of Archaeology and Ethnology Polish Academy of Sciences VL - 35 CY - Warszawa SP - 145 T1 - Glass Painting in Contemporary Podhale UR - http://www.rcin.org.pl/iae/dlibra/publication/edition/54933 ER - TY - GEN N1 - 24 cm N2 - The aim of the article is to analyze the relationship between the landscape and the process of building national identity in Mongolia in the context of political transformation. I describe contemporary practices related to the public tachilga offering intended for the guardians of the most important mountains with national status in Mongolia. I consider how the local ontology based on the relational interaction between human and non-human entities is reflected at the level of state activities. Discussing the issue, I refer to the category of landscape and show how it has become a major actor in contemporary national discourse in Mongolia L1 - http://www.rcin.org.pl/iae/Content/158868/PDF/WA308_189301_P325_Sacred-Mountains-in_I.pdf M3 - Text J2 - Etnografia Polska 64 z. 1-2 (2020) PY - 2020 IS - 1-2 EP - 60 KW - Mongolia KW - Altai KW - sacred mountains KW - tachilga KW - ceremonies KW - invented tradition KW - landscape A1 - Smyrski, Łukasz A2 - Granas, Michelle. Tł. PB - Instytut Archeologii i Etnologii Polskiej Akademii Nauk VL - 64 CY - Warszawa SP - 45 T1 - Sacred Mountains in the Context of the Modern Nation: The Political Dimension of the Landscape in Mongolia UR - http://www.rcin.org.pl/iae/dlibra/publication/edition/158868 ER - TY - GEN N1 - ill. ; 25 cm N2 - The tragedy of World War II, both in the personal and in the broader national and cultural aspects, was the impulse that prompted Karol Estreicher to place the Latin mottoes Plus ratio quam vis and Ne cedat Academia in the Collegium Maius of the Jagiellonian University as the building was being restored after the war. At the same time, this war context provided a contrast that very strongly emphasised the essential meaning of these mottoes: the importance of the University’s autonomy and the independence of science, reason and thought. Applicable in long-term perspective, connotations of these mottoes are just as pertinent today. Both mottoes were invented by Karol Estreicher; they had never been found in the Collegium Maius before. He also proposed the conception for the remodelling of the building and for the functions and décor of many rooms, and arranged the university customs. In this, he applied the maxim which had been successfully used in arranging the interiors of the Wawel Castle: „Since we do not know how things really were, let us do them the way they might have been”. His ideas for the reconstruction of the Collegium Maius and the Jagiellonian University Museum, as well as the Latin mottoes he had invented for the University, should be interpreted in the context of tradition understood subjectively, defined by the past as a value and by the conviction that tradition is worthy of being continued in the present time. Estreicher did not have an autotelic approach to the past; he selected only certain elements from it and adapted them, convinced that what he was creating was the continuity of the medieval idea of the university. Thus, he „invented” the Jagiellonian University’s tradition and encoded it in the architecture of the building, in the arrangement of its interiors and in the ritualisation of customs. He recostructed this tradition from the shards of the past and arranged it so successfully that since then the subsequent generations of professors, students and residents of Cracow have identified with it. Contrary to the established understanding of the term „invented tradition”, however, the University’s reconstructed tradition is not unchangeable. It undergoes formal modifications and transmits universal values to the present time, where they interpreted in the context of contemporary experience L1 - http://www.rcin.org.pl/iae/Content/54872/PDF/WA308_75286_P714_Plus-ratio-quam-vis_I.pdf M3 - Text J2 - Journal of Urban Ethnology 12 (2014) PY - 2014 EP - 24 KW - World War II KW - memory KW - invented tradition KW - reconstructed tradition KW - Jagiellonian University KW - Collegium Maius KW - Karol Estreicher KW - Cracow A1 - Godula-Węcławowicz, Róża PB - Instytut Archeologii i Etnologii PAN VL - 12 CY - Kraków SP - 7 T1 - „Plus ratio quam vis” i „Ne cedat Academia”. Uniwersyteckie dewizy z wojną w tle UR - http://www.rcin.org.pl/iae/dlibra/publication/edition/54872 ER -