Urban Genres – an Attempt at Defining the Genological Landscape
Urban Genres – an Attempt at Defining the Genological Landscape city in the literature urban literature genology urban genres textual arcade
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Urban Genres – an Attempt at Defining the Genological Landscape city in the literature urban literature genology urban genres textual arcade
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The subject of this article are the strategies as well as paradoxes of creating by Jan Szczepański his self-portrait in various genres of texts. The authoress displays how the sociologist gives a signature to his articles and essays, generalizing his personal experience (peasant roots, the Protestant primacy of a duty), and also how complex relations appear between his publications and diary. In that scattered self-portrait a key issue turns out to be the repetitions and transformations of several leitmotifs, and moreover their involving in rhetoric, which, like autocreation, both disturbs and helps with recounting “who I am”. With reference to the conceptions of i.a. Lejeune, Beaujour and Ricoeur, the authoress analyses how Szczepański arranges the project of his life and how in his works he contends with frustration resulted from (apparent) not carrying that project out. The destination of this article is to show that despite evident dissonance between the word and life in the sociologist’s writings, the imperative of creation of “work” remains his biography’s axis and the creating of self-portrait does not mean imposing an artificial order on life.
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The article discusses Karol Irzykowski as an aphorist, focusing on the discord between the critic’s intensive practice of the aphorism and his scathing condemnation of the form of the aphorism, which in his opinion was an instance of simplified, apodictic thinking. The aim of the article is to attempt to explain what justifies the frequent use of the aphorism by a writer who did not appreciate this device; what shape Irzykowski’s aphorisms took against the background of the tradition of the genre; and, finally, what is their function in his writing and what they prove. Irzykowski’s skeptical attitude to this form of statement stems from his epistemological beliefs and provides both a basis for his modifications of the genre and the keystone of cycles of intertextually related aphorisms which the present author has identified in dispersed yet thematically connected pieces by this critic.
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The paper presents an interpretation of the poetry by Margalit Matitiahu, an Israeli poet, from the perspective of oikology – the science of the home – as it was elaborated by Polish thinkers: Sławek, Kunce i Kadłubek. Oikological approach here is motivated by the following themes in Matitiahu. First, her choice of ladino, the traditional Sephardic language, as a mean of her literary expression – which can be treated as a manifestation of the search for the proper place of her affiliation. Second, Matitiahu’s reflection on the home in the context of her biography and family history. Third, her understanding of the home as her communal and cultural heredity, where she finds the deepest roots of her present identity.
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This article argues that Othello dramatizes the struggle between two characters to control the interpretive possibilities of their world. These two characters are Othello and Iago. They both try to bring the inherent polysemy of the play under their control. This enables them to control the destiny of the other characters and their actions. The play cannot have two dominant interpreters. This is why the general and his ancient can only vie for supremacy. Each of them is ready to destroy anyone – including himself – to win over the other. To explain their strategies, I will make use of certain terms invented by the Italian semiotician Umberto Eco. Eco’s semiotic categories will help us highlight the way in which Iago and Othello direct the processes whereby the different elements of drama are imbued with signification.
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The article revealed the level of correlation between the poetics of the novel Mykhailo Charnyshenko, or Little Russia Eighty Years Ago by Panteleimon Kulish and historical novels Waverley; or, ‘Tis Sixty Years Since, Rob Roy by Sir Walter Scott. Typological and intertextual similarities in the texts, peculiarities of the authors’ historisophy, and psychoanalytic foundation of works are analyzed in the article. The article argues that common for novels by P. Kulish and W. Scott is the psychological basis. The severity as a characterological trait in the images of parents in the works is interpreted as an artistic copy of writers’ memories of their parents. The disobedience motive in the novels is archetypal and also reflects the authors’ feelings of irreconcilable conflict with parents. Mykhailo Charnyshenko, or Little Russia Eighty Years Ago by P. Kulish is a conditional historical novel with the individual author’s interpretation of the history of Ukraine in the 2nd half of the XVIIIth century. As W. Scott, P. Kulish creates his own historical myth, presenting the admiration of antiquity and frank sympathy to old customs. W. Scott synthesizes the history of the country witnessing their faith in the need for union of the Kingdom of Great Britain, whose power in the cultural and political union of Scotland and England. P. Kulish also stresses the inevitability of Cossack liberties’ loss and loyal need to adapt to new conditions and conventions in the Russian empire.
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In a common interpretation of Dostoyevsky’s The Brothers Karamasov, Dmitri Kara‑ masov is held guilty of murdering his father in a moral sense, while the character of Smerdyakov is put beyond the range of ethic consideration as he is seen as an allegory of the merely executing factor of the act of violence. Hence, his suicide is read as a proof that the evil itself doesn’t take over responsibility; in face of the accusation it fades away, leaving the charge of responsibility to the human moral subject. Dostoyevsky, however, seems not wanting to stress such a kind of moral hero that, in this interpretation, could be seen in Dmitri. With introducing Alexey in his preamble, he is in fact presenting us a „weak” hero, leading us to another understanding of the story. Yet Alexey is still not the weakest. It is Smerdyakov. What this article pleads for is that Smerdyakov is systematically made a scapegoat, as Dostoyevsky is illustrating in several pertinent scenes. It is only coherent that interpreters, while completely ignoring this fact, contin‑ ue this scapegoating in dehumanising him by taking off him of all ethic consideration, reducing him to a personification of a merely mechanic component. By contrast, this is an apology for Smerdyakov as a human being. And as a son of Fyodor and brother of Alexey, Dmitri and Ivan.
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This is an attempt of a mimetic interpretation of Acts 5:1‒11. The article juxtaposes the narrative of Ananias and Sapphira with the story of the sudden death of Nadab and Abihu from Lev 10:1‒7. The Author argues that apart from situational resemblance, both passages are similar on a deeper level: they are set at the beginning of new orders. Ananias and Sapphira are Adam and Eve of the early Christian commu‑ nity and like them violate their marital unity. Since marriage has become a symbol of Christ’s faithful and loving relationship to humanity, the couple’s treacherous connivance constitutes the ‘original sin’ of Christi‑ anity. Nevertheless, as a sacrificial text, Acts 5:1‒11 has had a negative influence on Christian religiosity.
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In contemporary discussions on cultural, political, religious and theological issues, aimportant place is occupied not only by the victim, but the ambivalence that is assoated with it. Victims often become offenders. They refer to the fact of being a victim, that justifies this type of behavior. It seems that there is no way of „diabolical circoffender‑victim‑offender. The Dramatic Theology which was developed in Innsbrucgives an opportunity to find a way out of this circle. It uses the results of René Girarmimetic theory. It is important to distinguish between the mythical logic of pagaism, in which the process of sacralization takes place, and the biblical tradition whiccondemns this logic. Christ preaches the Gospel (Good News) of his Father who is entirely free of violence. As a result he himself becomes an object of people’s aggressioWithout compulsion he responds with no violence and in this way he transforms tdestructive forces of sacral violence in loving devotion to the Father.
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This paper discusses Girard’s discovery of the undoing by the biblical tradition of a mechanism on which human culture rests world‑ wide. His literary studies brought him to the analysis of religious tradi‑ tions and to the insight that sacrificial means are used in all human con‑ duct to counterbalance the mimetic dependence by which people fear to lose their autonomy. Their common form is scapegoating, but Christ’s radicalization of the biblical message has exposed and invalidated its efficacy. The article discusses the quandary that emerged from this and the possible answer to the threatening derailment of society.
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Człowiek w naturalny sposób wchodzi w relacje z Bogiem, czego wyrazem jest stan i akty wiary. Odniesienie do Stwórcy stano‑ wi źródło nadziei, iż element miłości będzie czynnikiem dominującym w relacji do Niego. Przedmiotem niniejszego artykułu jest interpretacja fenomenu wiary w nauczaniu Benedykta XVI przy zastosowaniu metody dramatycznej wypracowanej w szkole innsbruckiej. W pierwszej części artykułu zaprezentowano metodę dramatyczną jak też dramaturgię zbawczą, w której za Raymundem Schwagerem wyodrębnia się pięć ak‑ tów. W drugiej dokonano dramatycznej analizy nauczania Benedykta XVI w kwestii wiary. W nauce Papieża można wskazać na następujące zjawiska współczesne związane z wiarą: geneza kwestionowania wiary, proces powrotu do Boga oraz docelowa wizja zjednoczenia z Bogiem na fundamencie wiary. W artykule wykorzystano literaturę obejmującą publikacje teologów innsbruckich, jak też wypowiedzi papieskie. W op‑ arciu o krytyczną analizę dostępnych tekstów sformułowano wnioski.
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Artykuł prezentuje zarys treści czteroletniego kursu na studiach doktoranckich i podyplomowych, którego kanwę stanowi teoria mimetyczna Girarda spajająca wykłady z antropologii, teologii biblijnej i dogmatyki. Na pierwszym roku podejmowane są zagadnie‑ nia początków Izraela, następnie okres Drugiej Świątyni, na trzecim – synoptyczne i Pawłowe ujęcie nowości Jezusa Chrystusa, na czwartym – Janowa wizja zbawienia człowieka. Ponadto, po ogólnym wprowad‑ zeniu, w ciągu trzech kolejnych lat Autorzy kursu korzystają z trójfunk‑ cyjnej hipotezy Georgesa Dumézila dotyczącej kultury europejskiej, rozważając kryzys w świecie idei, kwestię przywództwa oraz konkretną, duszpasterską pomoc. Mimetyczna interpretacja wszystkich sakra‑ mentów z Eucharystią w centrum przynosi świeże spojrzenie na sprawy pastoralne i duchowe.
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When René Girard applied his discovery about the role of mimesis in human social life to analyse the origin of culture and religion, he tackled Freud an Lévi‑Strauss for placing sexual relations rather than the sacrificial solution of rivalries at the centre. In so doing he ignored the role of gender in the sacrificial schemes by stressing that rivalries indiscriminately affect both genders. With the help of studies by Levinas and Kristeva, of some anthropological discoveries, and an alternative reading of the biblical trajectory from Genesis to the Book of Revelation, the article tries to show how Girard’s mimetic theory can both uphold gender neutrality and advance a Christian feminist option.
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