#bronisław malinowski

[kataryniarka]

[gravalicious]

Robbie Shilliam - Social Death and Rastafari Reason

[ineffablelvrs]

who wants me

[donospl]

Agnieszka Kowalczyk „Od Syberii po koralowe wyspy Oceanii.”

Wydawcnitwo M, 2023 Książki podróżnicze były i są dla wieku osób przepustką do świata, możliwością poznania niedostępnych, odległych miejsc. Często także impulsem do regularnego czytania. Agnieszka Kowalczyk w swojej publikacji przybliża postacie polskich podróżnicy dwudziestolecia międzywojennego oraz prezentuje ich prace. Geografowie, geolodzy, przyrodnicy, antropolodzy i etnografowie,…

[redhatmeg]

If you're going to watch a Polish movie on Netflix, please watch this one

The Dangerous Gentlemen is a story about four Polish historical figures - artist Stanisław Ignacy Witkiewicz (known as Witkacy), anthropologist Bronisław Malinowski, writer Joseph Conrad and doctor Tadeusz Żeleński - discovering a dead body after partying hard in Zakopane.

On the one hand we have standard mystery of "What happened last night? Why there is a dead body in our house? Why two guys want to get Żeleński?", and on the other hand, we have a story of Taduesz Żeleński exeperiencing burn-out in his medical profession and going on a quest to discover himself as a writer.

The movie is a comedy and I love it, because it's fast-paced, doesn't rely on toilet humor (much) and it makes fun of Polish history (Piłsudski is really one of the best things in this movie). It has right balance of comedy and seriousness and I think that it's perfect watch for Polish Independance Day.

[maryrouille]

A savage woman 🍊

Ethnographer Bronisław Malinowski, in his monograph The Sexual Life of Savages in North-Western Melanesia, published in 1929, which initiated the social anthropology known today, describes the erotic fun the natives of the Trobriand Islands.

It is called kamali and involves the girl inflicting bodily pain on her partner. For a boy, it is an expression of passion, temperament and love, which can be compared to the role played by a kiss in Western cultures. A girl in love can hurt her beloved by scratching, beating, biting or using a sharp instrument, and he happily accepts these attacks and is proud of his wounds.

Erotic pain infliction does not only occur early in the pairing of young Trobrianders. When the love caresses become more passionate, the couple freely begins to use their teeth to bite each other's lips, bite the cheek, or pinch the nose and chin. Drinking blood from mutilated lips, even pulling out hair and nibbling at eyelashes (also catching each other's lice and eating them!) is part of intimate, unwitnessed lovemaking and a mutual expression of passion.

What is worth noting is that the woman, based on Malinowski's observations of wounds on men's bodies, is more active when exchanging painful caresses. 

(The Sexual Life of Savages in North-Western Melanesia, B. Malinowski, New York 1929, pp. 252, 256-257, 333)

While studying this passage, I began to wonder if all women bite more often and are more bloodthirsty? The 1953 Kinsey Report found that men and women were almost equally sexually aroused by being bitten (55% of women and 50% of men had an erotic reaction after being bitten by their partner). I also came across information that Marilyn Monroe was known to draw blood by biting the lips of her partners. Again, I can't confirm this, so what do you think?

[naran-blr]

Sophia Dembowska-Römer o Zofia Romer, de soltera Dembowska (1885- Tartu-1972, Montreal) pintora estonia.

Nació en Tartu, era hija del médico Tadeusz Dembowski y su esposa Matylda. Creció en Lituania y Polonia.

En Lituania estudió pintura primero con Ivan Trutnev en Vilnius y luego con Roth y Shimon Holoszy en Cracovia, Polonia y Múnich, Alemania.

En 1903 y 1904 continuó sus estudios en París con el conocido retratista Jacques-Émile Blanche y el pintor histórico Luc-Olivier Merson. Completó su educación artística formal en Cracovia con Józef Siedlecki en el Museo Baraniecki.

Comenzó a vivir en la finca Tituvena.

De joven estuvo vinculada sentimentalmente con el etnólogo, y con el pintor y escritor,Bronisław Malinowski y Stanisław Ignacy Witkiewicz.

En 1911 se casó con Eugeniusz Romer, un terrateniente polaco rico e influyente en Lituania. Desempeñó un papel importante en el patrimonio artístico de Lituania. Tuvo cinco hijos.

A partir de 1943 se ganó la vida como retratista. Como resultado de su desplazamiento de su hogar durante la Segunda Guerra Mundial , en la segunda mitad de su vida vivió y creó en lugares tan diversos como Rusia, Teherán, El Cairo, Londres, Estados Unidos y Montreal, Canadá, donde murió.

Durante la Primera Guerra Mundial, ella y su familia fueron a Anensk (provincia de Vitebsk), luego regresaron a Tituveny.

No perdió contacto con Vilna: visitó a su madre allí, y se comunicó con artistas locales y pintó retratos de figuras públicas de Vilna, de la región y de la cultura.

Le encantaba pintar retratos de sus seres queridos y familiares, naturalezas muertas. Participó activamente en exposiciones en Lituania y en el extranjero.

En 1941 se exilió con su marido.

En 1942 recibió permiso para mudarse a Kuibyshev. En 1943, después de haber enterrado a su marido allí, fue evacuada a Teherán con la embajada de Polonia.

De 1944 a 1949 vivió en Egipto y en Gran Bretaña, de 1950 a 1955.

Durante una prolífica carrera artística que duró casi 70 años y abarcó una variedad de medios, produjo alrededor de 5.000 obras, de las cuales al menos 1.200 están catalogadas.

Vivió en Canadá, se mudó a los Estados Unidos y finalmente regresó a Canadá, donde murió en 1972 en Montreal.

Su obra se encuentra en las colecciones de muchos museos de Europa, incluidos los museos estatales de Kaunas , Šiauliai , Telšiai , Kelmė y Vilnius, y el Museo Nacional de Varsovia , así como en numerosas colecciones privadas.

[contexot]

Anthropologist Bronisław Malinowski argued that magical beliefs and superstitious behaviors allow people to reduce the tension created by uncertainty and help fill the void of the unknown.

[masgwi]

Walka (1921 - 1922)

Stanisław Ignacy Witkiewicz (Polish, 1885-1939)

Witkiewicz was reared at the family home in Zakopane. In accordance with his father's antipathy to the "servitude of the school," he was home-schooled and encouraged to develop his talents across a range of creative fields. Against his fathers wishes he studied at the Kraków Academy of Fine Arts with Józef Mehoffer and Jan Stanisławski.

Witkiewicz was close friends with composer Karol Szymanowski and, from childhood, with Bronisław Malinowski and Zofia Romer. Romer was romantically linked to both Bronisław Malinowski and Witkiewicz. He had a tumultuous affair with prominent actress Irena Solska who according to Anna Micińska is represented as the heroine Akne Montecalfi in his first novel, The 622 Downfalls of Bungo or The Demonic Woman, 1911. According to Micińska he also represented himself as the character Bungo and Malinowski as the Duke of Nevermore. The unfinished novel, which was not published until 1972, also describes erotic encounters between Bungo and the Duke of Nevermore. Taught wet plate photography by his father, it was during this period that he also began producing the intimate portrait photography for which he is known; producing striking portraits of his circle in Zakopane and many self-portraits.

In 1914 following a crisis in Witkiewicz's personal life due to the suicide of his fiancée Jadwiga Janczewska, for which he blamed himself, he was invited by Malinowski to act as draftsman and photographer on his anthropological expedition to the then Territory of Papua, by way of Ceylon and Australia. The venture was interrupted by the onset of World War I. After quarrelling with Malinowski in Australia, Witkiewicz who was by birth a subject of the Russian Empire, travelled to St Petersburg (then Petrograd) from Sydney and was commissioned as an officer in the Pavlovsky Regiment of the Imperial Russian Army. His ailing father, a Polish patriot, was deeply grieved by his son's decision and died in 1915 without seeing him again.

In July 1916 he was seriously wounded in the battle on Stokhid River in what is now Ukraine and was evacuated to St Petersburg where he witnessed the Russian Revolution. He claimed that he worked out his philosophical principles during an artillery barrage, and that when the Revolution broke out he was elected political commissar of his regiment. His later works would show his fear of social revolution and foreign invasion, often couched in absurdist language.

[gregor-samsung]

“ [G]li antichi Romani [...] distinguevano accuratamente l’uso erotico delle labbra da altri tipi di contatto labiale. Affettuoso, doveroso, rispettoso, fraterno, paterno, materno, amicale, conviviale, coniugale. E laddove noi abbiamo una sola parola per qualunque forma di bacio, loro ne avevano ben tre. Il basium, il savium e l’osculum. Il primo, sentenzia Isidoro di Siviglia, «lo darai alla moglie o al marito, il secondo alle donne di piacere, il terzo ai figli» (Perotti 2018, p. 83). Come ogni regola anche il teorema di Isidoro ha le sue eccezioni. La prima è il poeta Catullo, che manifesta il desiderio, torbido e torrido, che prova per Lesbia, la sua calda e infedele amante, chiedendole mille basia e poi altri mille, in un’escalation sempre piú hard. Ma c’era anche l’osculum sanctum, che si scambiavano i cristiani in segno di pace. E lo stesso gesto poteva degenerare nel cosiddetto osculum infame. Ovvero lo sbaciucchiamento che le streghe riservavano a Satana nel corso del Sabba. Insomma, baciare è un gesto che può assumere i significati piú diversi. Dalla tenerezza alla reverenza, dalla venerazione religiosa alla passione amorosa, dalla galanteria del baciamano al bacio socialista di Brežnev e Honecker. O a quello risorgimentale raffigurato nel celebre dipinto di Hayez, dove la coppietta allacciata sta per Cavour e Napoleone III. O ancora, all’omokissing tra Madonna e Britney Spears oppure tra Maradona e Caniggia. Fino alle manifestazioni piú estreme dell’appetito carnale. Dove il confine con il morso si fa labilissimo e un’espressione di uso comune come «ti mangerei di baci» diventa letterale, ritrovando tutta la sua oralità primaria, la voglia matta di divorare il partner. Deve averlo temuto la principessa africana corteggiata a lungo dal filosofo ed esploratore inglese William Winwood Reade, che un giorno tenta di baciarla, ma la ragazza scappa via piangendo. Perché interpreta l’approccio come un gesto da Hannibal Lecter. Del resto, basta aggiungere una c per trasformare Annibale in cannibale. Ma l’esempio piú estremo è quello raccontato dall’antropologo Bronisław Malinowski circa le effusioni erotiche tra gli abitanti delle isole Trobriand. In quell’arcipelago che si trova al largo dell’Australia, le coppie in amore si mordono fino a ferirsi le labbra, la lingua e le ciglia e arrivano, nell’estasi dei sensi, a strapparsi ciocche di capelli. Come dire, straziami ma di baci saziami. Proprio come in certi amplessi cinematografici recenti al cui confronto il bacio di Via col vento e perfino quelli di Casablanca e Notorius sembrano effusioni da educande. “

Elisabetta Moro, Marino Niola, Baciarsi, Giulio Einaudi editore (collana Vele), 2021 [Libro elettronico]

[ineffablelvrs]

[sebastianbenbenek]

Krytyka Margaret Mead

Raz na jakiś mam taki “wybuch” poczytności jednego ze starszych tekstów, tego dotyczącego gender studies. Przemyciłem w nim trochę informacji na temat twórczości Cindy Sherman, jednej z najznamienitszych artystek XX wieku, ale zauważyłem, że krytykujący mają to dokładnie w d***. Jest dla nich jakby niewidzialna. Nie ma bowiem zbyt wielu łatwo dostępnych publikacji, które by ją krytykowały a poza…

[donospl]

Literackie Biuro Podróży [sezon 3 odc.15]

Literackie Biuro Podróży [sezon 3 odc.15]

BIOGRAFIE (cz. II) W audycji: Dorian Lynskey „Ministerstwo prawdy” Wyd. Czarna Owca Fiona MacCarthy „Walter Gropius” Wyd. Filtry Łukasz Garbal „Wedlowie” Wyd. Czarne Andrzej Brzeziecki „Wielka gra majora Żychonia” Wyd. Literackie Sebastian Pawlina „Motyl. Ścibor-Rylski” Wyd. Znak PRZERYWNIK MUZYCZNY: Dorota Barova „Obok mnie” z płyty „Dotyk” wydanej przez Animal Music Dagmara Bożek…

[wandabromberg-blog]

[writingquestionsanswered]

do you have tips for writing kind of awkward small talk? i have two characters who are meeting again after a long time and i'm trying to figure out how to do the whole "so how have you been?" thing without dragging it out

Dialogue: Awkward Small Talk

We want dialogue to be believable and sound real, but real life dialogue doesn't translate well to the page, and that includes "awkward small talk."

The Function of Dialogue in Fiction

Fiction is a balance of exposition (narration), action (things happening), and dialogue (conversation.) Just as with exposition and action, dialogue needs to pull its weight. Every line needs to convey something the reader needs to know, either about character, world, back story, or plot. This includes lines that let us see a character's mood, sense of humor, feelings, and opinions.

The Problem with Awkward Small Talk

Let's start by defining what qualifies as "small talk" and what makes it awkward. In 1923, anthropologist Bronisław Malinowski defined small talk as:

"Purposeless expressions of preference or aversions, accounts of irrelevant happenings, [and] comments on what is perfectly obvious."

Look at those keywords: purposeless, irrelevant, obvious.

See the problem? Purposeless, irrelevant, and obvious are another way of saying "pointless," and why would we want dialogue that's pointless?

How to Avoid "Pointless" Awkward Dialogue

One could argue that if you want to illustrate awkwardness between two people talking to each other, that awkward small talk does serve a purpose, and that's true... to a degree. However, the key to doing awkward small talk right is not to overdo it. In other words, you don't need to have a drawn out conversation where the characters play a ping-pong game of awkward comments. Just one or two for each character is more than enough to get the awkwardness across.

I was busy scrolling through my phone when someone sat at the counter beside me. When I turned and saw it was Jack, I almost froze. We hadn't seen each other in almost two months, since the night we broke up.

"Oh, hey, Jack!" I said, dying a little inside when my voice cracked.

"Kate? Oh my God. How have you been?"

I couldn't comprehend how to answer honestly, so I said. "Um, great. So busy. Doing lots of yoga, got a dog. And you?"

"Doing great. I've been flying a lot... for work. Really racking up those frequent flyer miles. You know how it is."

"Yeah, of course. Flying is... great. Well, speaking of yoga, I have a class soon. It was nice seeing you!"

"You too, Kate."

Jack smiled, and I smiled, too. Then I walked out into the L.A. heat and didn't look back.

Definitely feels like awkward small talk, but it doesn't go on and on. In fact, outside of the initial greeting and the "nice seeing you," they both only have one awkward line. And that's enough. Both sentences pack a big awkward punch, so they do the work without filling the page with a completely pointless conversation.

I hope that helps! :)

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