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Rację ma religijny myśliciel rosyjski Mikołaj Bierdiajew, zmarły w 1948 r. we Francji, który napisał: „Epoka dzisiejsza jest epoką odczłowieczenia. W tym procesie obserwujemy dwie tendencje: ku naturalizmowi i ku cywilizacji technicznej. W obydwu tendencjach człowiek przestaje być istotą, w której duchowość stanowi centrum, i tak człowiek traci swą jedność (całościowość) i swą ciągłość. Zamienia się tylko w zbiór elementów i funkcji.
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Recenzja książki pt. “Rozmowy o Biblii” Anny Świderkówny oraz jej książek: “Ewangelia według św. Mateusza” (w nowym przekładzie) i “Bóg Trójjedyny w życiu człowieka”
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Edward Bond is a major voice in contemporary political theatre. He has played a great role in shaping the landscape of British theatre. His career spans over sixty-five years and he has written more than fifty plays as well as poems, penned drama theory and drama notes. Lear (1971) is seen as one of Edward Bond’s most important plays by many critics. With Lear, which is the rewriting of Shakespeare’s King Lear, Edward Bond seems to express his hidden instinct to overcome Shakespeare and to make Lear mythology more useful for his age. In the play he questions the possibility of social change, explores oppressive systems of the contemporary world, discusses the social role of the artist and gives hope with optimism for salvation of the human being. The aim of this paper is to examine Edward Bond’s ambition of rewriting Shakespeare’s King Lear in order to reveal the political and social ills of contemporary societies, and to investigate his effort to cope with Shakespeare and to evaluate his criticism of Shakespeare in the play.
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The aim of this research is to evaluate the nature and human relation in classic poems by showing an example of 16th Century poet Fuzuli’s “Gül” ode, written by Necati Bey. The harmony of nature with humans and humans with nature, the “combination of human and nature” is evaluated. Divan poets did not give perceptible accounts of nature, putting humans in the center of nature and had come to see humans from that point of view. The poets following this school had converted the human element to a materialist view. Necati Bey has turned this into an abstract identity. Necati bey is a master poet who combines human with nature and nature with human. Both contemporary and other poets follow Necati Bey’s way and take his poems as inspiration. Like Necati Bey’s poems, other Divan poets have the same features of the nature and human relation. However, interpretation of the text sample, contributes to the understanding of the text and comments about other poets. The connection between nature and man, the delicacy that is attached to art poetry, and the bond established between matter and meaning are shown in the sample couplets selected from the Rose. This article strives to reach the meaning layers of the text by using contemporary methods while remaining faithful to the classical subject of understanding and interpreting poems.
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Il taglio del bosco, published in 1950, is usually defined as a novella or as a longstory. Il taglio del bosco is an early work of Carlo Cassola who is one of the most original writers of 20th Century Italian literature and his work is composed mostly of autobiographical elements. The story is based on the simple life of an ordinary forester, Guglielmo, and narrates deeply the loneliness of human kind. Carlo Cassola, focusing on the loneliness of humans by Guglielmo, presents reflections of his own emotional world by twinning his personal life with Guglielmo. The aim of this article is to examine the concept of loneliness in Carlo Cassola and its survey in Il taglio del bosco with the theoretical approach created by Italian intellectual Eugenio Borgna.
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In 2015, the latest retranslation of Alice’s Adventures in Wonderland, produced by Grzegorz Wasowski, appeared on the Polish book market. As the translator explained in his afterword (Wasowski 2015: 159-173), the main aim of producing a new translation was to render the idea of the source text and to avoid word-for-word translation. Wasowski intended to render the so-called ‘English spirit’ contained within the original version by means of the richness of the Polish language. And although Wasowski accentuated the necessity for adapting a language to the wealth of human imagination, at the same time he claimed that the whole process must be completed moderately, within particular linguistic bounds. The main objective of this paper is to analyse whether the latest retranslation of Alice’s Adventures in Wonderland meets the fundamental requirements specified by its translator, that is, whether the version renders the ‘spirit’ of the source text and whether the attempts which have been made might be referred to as moderate. The facets and dimensions of language depicted by Lewis Carroll are illustrated as juxtaposed against Hans-Georg Gadamer’s ontology of language. Finally, the idea of so-called ontological parallelism is put forward, which stands for another type of equivalence, a key notion in the theory of translation.
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Czapliński reads the environmental history of the Holocaust as a reflection on the relationship between mass death and its localization. This concept – which brings together looselyrelated or even unrelated practices – has emerged on the intersection of Holocaust studies, ecology and posthumanism. Its retrospective effect is an ontological shift in Holocaust research: the environment comes to be perceived as a place, as a witness, an ally or even accomplices of the genocide. A further consequence, it seems, is the necessity to broaden the field of research, facilitating the transition from an environmental history of the extermination to an exterminatory history of the environment.
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A certain overlap between Irving’s experience and that of Louis-Ferdinand Céline as portrayed in Journey to the End of the Night – a journey from Europe to Africa, then to New York – serves as a pretext to reflect on the theme of how the body and perception are transformed over the course of a journey, be it short or long. A journey is always (also) a bodily experience, although it may be that we try to ignore this corporal aspect. Irving explores this question in relation to longterm ethnographical fieldwork. He points out that the multitude of sensations, impressions and experiences is most often suppressed in ethnographical texts for the benefit of more general descriptions of those experiences.
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Literatura brazylijska – choć być może to, co powiem, będzie miało zastosowanie również w przypadku innych literatur latynoamerykańskich (pomijam kwestię wielkich kultur prekolumbijskich, które należy rozpatrywać pod odmiennym kątem) – narodziła się pod znakiem baroku. Idea „narodzin” ma tutaj charakter jedynie metaforyczny. Nie należy jej rozumieć z ontologicznego, substancjalistycznego, metafizycznego punktu widzenia. Nie należy jej też pojmować jako poszukiwania „punktu źródłowego”, na którym można by osadzić „tożsamość” lub „charakter narodowy”, postrzegany zresztą jako pewien byt [presença entificada] i pełnia, terminus ad quem, do którego można by dotrzeć w wyniku ewolucji o charakterze linearnym, biologicznym, opartym na pewnej „immanentnej teleologii”, zgodnym z modelem zaproponowanym przez „organicystyczną”, XIX-wieczną historiografię.
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While in his book Hyperobjects Morton describes a new type of objects, the section on viscosity represents an attempt to take a distanced position towards hyperobjects. With this revaluation, however, his position becomes quite the opposite, namely engaged, subjective and expressive, marked by an insistence that hyperobjects precede thinking and cannot be described. Morton furnishes examples from a broad range of fields, including music (My Bloody Valentine), film (Twin Peaks), literature (John Donne) and philosophy (Kant, Sartre, Heidegger), which reflects the aesthetic nature of hyperobjects. At the same time, Morton draws on quantum physics and relativity theory and cites examples of the most disastrous ecological crises. The titular viscosity is presented above all in the context of those crises, as an essential feature of the dangerous hyperobjects whose emanations we are observing today.
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Łapiński offers a few comparative remarks on the Polish avant-garde poet Julian Przyboś (1901-1970) and the British social anthropologist Tim Ingold (born 1948). The analysis touches on various issues from stylistic features such as their use of prepositions to their processual ontologies.
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Review: Suzannah Biernoff, Portraits of Violence: War and the Aesthetics of Disfigurement. Series: Corporealities: Discourses of Disability (Ann Arbor: University of Michigan Press, 2017).
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Can we learn about the art of living from sociology? Sociology teaches us that we are the part of a broader group called society. We are taught that society should be first described in order to be understood and/or explained, and that the cognitive function is the most important part in understanding the role sociology should play in a democratic and modern society. Is this understanding (cognition) enough? What more can we get to better our quality of life and live a wholesome life from studying sociology or society using a sociological perspective? Is sociology a tool for the art of living or is it just a play of the “sophisticated”? In this paper, we analyze the sociology from the philosophy of Zen Buddhism to show the connection between the work of mind and the sociological concepts that are used to analyze “society.” Moreover, we analyze the approaches of George H. Mead, Robert Merton, and especially and separately Anthony Giddens that created, very important for our considerations, the concept of “ontological security.” We also reconstruct the structural conditions of the art of living and happiness, analyzing the concept of greedy institutions by Lewis Coser. We analytically connect the structural conditions of work in contemporary greedy institutions (working on projects) with the loss of ontological security. We analyze the displacement of the meaning of work, career, autonomy, time structure, identity, privacy and happiness, and finally the sociology. We try to use a Buddhist inspiration to analyze issues of suffering and, associated with it, so called ontological insecurity and the welfare of the individual and/or society.
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One of the most puzzling categories in The Unknowable by Semyon Frank is созерцание - a word close to German Anschauung and sometimes used as its translation. The aim of this article is to analyze the meaning of the category of созерцание in Frank’s book and to indicate some of its philosophical sources. First, I discuss the role the term Anschauung plays in the works of Kant and Goethe. The selection of these two authors allows, in my opinion, to describe both Frank's rooting in classical philosophy and the distinction of his approach. One can distinguish two different cognitive acts which are denoted by the word созерцание in Frank’s work: an immediate, non-discursive and synthetic cognition of objective being as well as the cognition of the unconditional being through experience that overcomes the subject-object relation. I argue that the importance of the synthetic and nondiscursive intuitive cognition can be interpreted as Goethe's legacy in The Unknowable. Although Frank's usage of the term созерцание is rather far from Kant’s (which is evident in his neglect of the distinction receptive/spontaneous, fundamental in The Critique of Pure Reason), the problem Frank attempts to deal with, i. e. the possibility of the unconditioned cognition of being was important for the post-Kantian philosophers (Fichte among others) which makes Kant and the German Idealism a crucial context to understand it.
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The work sets its goal in an attempt to name the possible relationship in Kant’s, Schopenhauer’s and Wittgenstein’s thoughts about art. The notion less character of the ’idea‘ of an art piece, outlined by Kant’s and Schopenhauer’s aesthetic theory, will be studied in the context of Wittgenstein’s points of view on the question of meaning or interpretation of art pieces. On the theme level, the chosen study can be titled as an analysis of thoughts of the alleged thinkers, these then offer reasons of silence when being ’in front of‘ an art piece. In the second part I turn my attention mainly to some of the connections concerning Wittgenstein’s thoughts and personal experience, which explain in a more broad context his silence, i.e. the mystical dimension of his philosophy.
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By taking as a starting point the case of media promotion of Kosovar identity after the war in Kosovo (1999), the author of this paper considers the formation and/or transformation processes and mechanisms of social identities. The author introduces the concepts identity situation and function of identity in order to further explain the transformation process of social identities. The identity situation of social entity is defined by its relations with the others, in which or through which certain identities are formed or transformed. Social subjects or entities enter into relations with Other/s in order to achieve certain goals. All social entities before any anticipated relation with the Other/s and/or during that relation conduct a permanent rational, economic re/organization of all their symbolic resources or moments of identification to achieve the best results in their projected goals in these relations. The optimal result of this rational, economic self-organization of social entity is its self-identification for the purpose of achieving its projected goals in relations with the Other/s. Therefore, we can talk about the economy of identity as well. Instead of the widely used binomial concepts of “true” and “false” identities, that in fact do not adequately articulate and illuminate this issue, the author uses the term performative identity, which is in a constant dynamic relationship of reciprocal definition with the so-called “intimate” or “real” identity.
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S pitanjem o biti Tehnike danas je lakše nego jučer. Mnogi su već krenuli putem otkrivanja njezine biti i danas više nitko ne sumnja da je pitanje o tehnici jedno od temeljnih pitanja vremena. Ipak na putu k istini tehnike događaju se zdravu razumu i takva iznenađenja kakvo mu je priredio i Martin Heidegger svojom tezom "da u biti tehnike nema ništa tehničkog."
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Duh to nije izvršio. Zna se da pojam sistema u svojem emfatičkom hegelovskom slogu, koji, dabogme, ne odgovara deduktivnom pojmu pozitivnih znanosti, zahtijeva da bude shvaćen organski kao međusobno urašćivanje i međusobna urašćenost svih djelomičnih momenata snagom cjeline koja je već sadržana u svakom od njih.
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In this paper, the author thoroughly discussed the gnoseological radiation of Nietzsche’s Thus Spoke Zarathustra, placing this famous book in the context of epochal and revolutionary topics of this philosopher, from the will for power, overman, through death of God, antipodal tension between the Apollonian and the Dionysian principle of the being, to eternal recurrence of the same. Criticising those anthropological and epistemological interpretations which trivialise the semantic dimension of this jagged and unapproachable work of Nietzsche, the author of the text submits those arguments which illuminate a quite distinctive hermeneutical approach to the nihilistic philosophy of this great German thinker, while at the same time pointing out his “singing and thinking” for sophisticated understanding of contemporary postmodern situation. Within the globally dominant ideologies, ending with the liberal-democratic and neoliberal, an ontological decision on cultural and personal choice of the masking existence strategy to escape from finitude is founded. Nietzsche’s anticipation, according to the author’s explanation, reached up to the present moment in which, thanks to the technological, media and information evolution, the autonomous capacity of products originally intended for the total dismissal of the authentic ontological ambience remains such that it becomes active in terms of surveillance of human users. Postmodern reality – observed from the point of view of Nietzsche’s insight from the book Thus Spoke Zarathustra – has turned into administrative instance, so far as man has become totally dependent on its maintenance, since he reached the point of leaving himself alone.
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This article examines the problem of overcoming nihilism in Heidegger’s dialogue with Jünger. It is suggested that nihilism is manifested in various forms and is the deep logic of the whole history of European civilization. One of the main aims of this paper is to outline the relationship of nihilism and Nothing in Heidegger’s dispute with Jünger, viewing how Heidegger distinguishes his approach from Jünger’s point of view. Heidegger, on the one hand, treats nihilism as consummation of the Western metaphysical tradition, on the other hand, identifies Nothing itself as the shadow of Being, which cannot be overcome in the traditional dialectical thinking manner.
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