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EN
Marek Siemek has written two articles about Schelling so far, there are also several remarks concerning this philosopher in his main work as well as in the editorial footnotes to his translation of the 'Theory of Knowledge' by Fichte. Although Siemek doesn't find Schelling's philosophy so inspiring as that of some other exponents of the classical German idealism, he could convincingly show how important is the theory of freedom by the middle Schelling for the proper self-understanding of the modern society.
EN
First of all, the assumptions underlying the world view that belongs to the fascist thought were reconstructed, mainly with respect to some programmatic pronouncements by Benito Mussolini. Then, the Fichtean notions of the self, of knowledge, person, state, and education were compared with Heidegger's concepts of existence, understanding, and apprehension, also with the idea of 'Dasein'. This comparison served to work out - against a philosophical as well as historical background - a radical or even extreme conception of autonomy. Fascism was taken at the same time as a way to set up a durable order of legal, political, and economic power. At the end, there was proposed an answer to the question of the extent to which a philosophically grounded notion of autonomy - as it can be seen in Fichte and Heidegger - shows some features characteristic of the fascist attitude.
EN
The article is in fact author's address during the international conference on 'The Warsaw Uprising in the Context of Polish-German Relations' (Warsaw, March 30-April 1, 2007). He argues that there is no room for an 'absolute enemy' in the selected works by Andrzej Wajda, Kazimierz Kutz and Andrzej Munk of the so-called 'Polish Film School' and that the films are free of the hatred to the Germans as invaders and occupiers. What emerge from the films are a toothless enemy and then a bodiless enemy. The thesis is exemplified in a movie 'Canal' - the death of the Warsaw insurgents is portrayed in a symbolic language; in 'Ostinato lugubre', the second part of the movie 'Eroica', in which the Germans (as enemy) are not the demonic personification of oppression; in 'The Dog' (part of Cross of Valor) - the hero saves the life of the dog guarding inmates at the Auschwitz death camp; in 'Lotna', one of few war films in the history of cinema that does without the character of a (German) enemy. The author points out that the 'dematerialization' of the enemy flows from the special (both psychological and moral) instinct of self-preservation rather than forgiveness.
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