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1

O kobietach i matkach. Elisabeth Badinter o kryzysie kobiecej tożsamości

100%
Michna N. A.
Kwartalnik Filozoficzny
|
2014
|
vol. 42
|
issue 3
133-154
EN
The work considers the problem of feminine identity in the contemporary world. Modern discussion about the feminine identity is still alive and lead by most active feminists. One of them is Elisabeth Badinter, a French feminist, historian and professor of philosophy at the École Polytechnique in Paris. Her standpoint is called liberal feminism and it accepts all achievements of modern naturalism and pro-maternity organization of La Leche League. Badinter’s main contention is that women themselves are responsible for the crisis of their feminine identity. Presenting this radical statement, the work shows various roots of feminist philosophy, indicating in particular the existentialist thought of Simone de Beauvoir, who was the first to speak about ab independent feminine identity. In addition, it is crucial to compare Badinter with another modern liberal feminist, Betty Friedan, with a view to showing that the problem of feminine identity is essential in modern feminist philosophy.
2
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Chrystus św. Jana od Krzyża. Salvador Dalí jako ekscentryczny mistyk i postmodernista

100%
Michna N. A.
Estetyka i Krytyka
|
2015
|
issue 1(36)
77-92
EN
This article is an attempt to both artistic and aesthetic analysis of Salvador Dalí’s Christ of St. John of the Cross as an image representing the main demands of the postmodern aesthetics. The applied research perspective allows to go beyond the traditional relation between postmodernism and the Great Avant-garde. This relation is based on indicating of what postmodernism took over from the earlier trends of avant-garde and surrealism in particular. The proposed reverse perspective refers to another, enriching relationship. It points directly at the early surrealistic discoveries which were used in a field of twentieth century art long before the rise of the postmodern aesthetics.
3
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Sztuka Wielkiej Awangardy - sztuka intelektualnej rozkoszy?

100%
Michna N. A.
Estetyka i Krytyka
|
2016
|
issue 1(40)
43-54
EN
The article consists of an analysis of the Great Avant-garde art as an exclusive (addressed to a narrow audience) aesthetic experience, which aims in conscious culmination of aesthetic pleasure. The analysis is presented in the perspective of philosophical reflections on avant-garde art of Spanish philosopher José Ortega y Gasset. The adopted research perspective allows to identify the main features characterizing and distinguishing the Great Avant-garde art, but also to scratch basic conditions of intellectualist revolution in European art at the beginning of the twentieth century. The revolution was closely associated with the ideal of elitism of art which was widely described by Ortega y Gasset in “Dehumanization of art” (1925).
4
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Francuski feminizm a problem kobiecej tożsamości

100%
Michna N. A.
Estetyka i Krytyka
|
2013
|
issue 2(29)
169-183
EN
The work is focused on the problem of feminine identity in the contemporary world. It occupies a special place especially within French feminism, represented by the liberal feminist, Élisabeth Badinter. The latest book by this philosopher, entitled The Conflict: How Modern Motherhood Undermines the Status of Women, is a detailed study of the current views on the nature of woman as a mother who also wants to pursue her own individual needs. Taken together, these two identities, the mother and the modern woman, embody the source of that conflict of values which is the ground of the modern woman's identity crisis. We find the origins of women's thinking around identity in the works of the mother of European feminism, Simone de Beauvoir. Badinter continues de Beauvoir’s way of thinking and analyzes the impact of modern naturalistic thinking and the pro-maternity organization La Leche League on the prevailing status of women. In addition, Badinter indicates the special case of French women, who are the only ones to fulfill the contemporary model of a satisfied woman and a committed mother
5
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Apologeci światła, czyli o metodzie neoimpresjonistycznej w sztuce

100%
Michna N. A.
Estetyka i Krytyka
|
2015
|
issue 4(39)
27-42
EN
The art of neo-impressionists was primarily an aesthetic postulate of apotheosis of light in European painting. In retrospect, it seems however, that obsessive attachment to the scientistic approach to expose the nature of light in painting has not found recognition among successive generations of artists. Neo-impressionism was known as one of the artistic trends of post-impressionist works and dominated the last decades of the nineteenth century. Nevertheless after the untimely death of Georges Seurat in 1891, his successors and followers led to the ossification of the creative method to the dogma, which greatly weakened the significance of the artistic movement. Normative aesthetics of neo-impressionists – apologists of light in art – had passed with the peak of the development of the whole trend. An article provides an analysis of the scientistic approach to the nature of light in neo-impressionist art, which based on the famous postulate of “maximum brightness, colour and harmony”. This analysis refers to the work of the two main representatives of neo-impressionist art: Georges Seurat and Paul Signac and its purpose is: (1) to justify that neo-impressionist apotheosis of light was not only the result of scientifically established formal principles of artistic creation, but also resulted from the philosophical beliefs of artists that light is a major factor in both the creative act, as well as the aesthetic experience of the recipient, (2) to in-quire into the main reasons of the imminent exhaustion of neo-impressionist art which made the light a fundamental object of aesthetic experience, entering into the historical canon of the art of light.
6

Antropologia rozwojowa Jose Ortegi y Gasseta

100%
Michna N. A.
Kwartalnik Filozoficzny
|
2015
|
vol. 43
|
issue 4
105-123
EN
The article presents an outline of José Ortega y Gasset’s anthropology. Man and his life were the basic categories on which his thought was focused. His anthropology grew out of a critique of the views on human nature prevalent in Western philosophy. He criticized both Cartesian substance dualism and Kantian idealism. He believed that both of these philosophical traditions lack of a holistic approach to human being. He also thought that naturalism was unilateral and deprived human life of a spiritual element. He believed that the identification of man with mind, consciousness, or pure nature created a gap between man and his own life. The category of life was the primary point of reference in his anthropology. Ortega claimed that for each and every human being life means nothing other than surrounding circumstances. Man does not to have a permanent nature or essence, but only a unique history, which is the foundation of his identity and sets the directions for his further development.
7
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Sprawozdanie z konferencji naukowej „Od idei postępu do idei kryzysu”. Lublin, 27–28 stycznia 2014 roku

100%
Michna N. A.
Estetyka i Krytyka
|
2014
|
issue 2(33)
129-131
8
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Sprawozdanie z międzynarodowej sesji naukowej „Witkacy 2014: co jeszcze jest do odkrycia?”, Słupsk, 17–20 IX 2014

100%
Michna N. A.
Estetyka i Krytyka
|
2014
|
issue 4(35)
229-235
9
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"You’ve come a long way, baby:" the Evolution of Feminine Identity Models on the Example of Contemporary Language of Advertising

100%
Michna N. A.
Estetyka i Krytyka
|
2016
|
issue 2(41)
99-118
EN
The article presents the evolution of the language of advertising from the 1960s to the present, presenting various images of women in advertising. Simultaneously a theoretical analysis has been carried out of the demands of second-wave feminism, which exerted significant influence on the creation of images of women in the mass media. The objective of our comparison of feminist theory with advertising practice is an attempt to answer the question of whether the present media image of women liberated from the binary sexual order and weighted towards the genderqueer and/or transgender phenomena is the desired realisation of the feminist demands for emancipation of and equality for women announced in the second half of the twentieth century.
10
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Wstęp

75%
Michna N. A.
Estetyka i Krytyka
|
2013
|
issue 2(29)
11-14
11
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Wstęp

63%
Czakon D., Michna N. A.
Estetyka i Krytyka
|
2014
|
issue 4(35)
9-10
12
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On sexuality, carnality and desire: philosophical reflections on the film The Monk

51%
Michna N. A., Czakon D., Tendera P.
Estetyka i Krytyka
|
2015
|
issue 2(37)
79-104
EN
The eighteenth‑century English writer Matthew Gregory Lewis wrote one of the most dramatic Gothic novels, The Monk; over 200 years later, a film of the same name appeared, based on the novel and directed by Dominik Moll. The film, a free adaptation of the book, presenting the story of the moral downfall of the monk Ambrosio, has inspired us to philosophical reflections on sexuality, carnality and physical desire. In the context of these issues we have attempted to analyse and interpret this cinematic work of art. The method we have adopted is based on a thorough discussion on the topics developed in the film and related issues. This method, while not pretending to scientific objectivity, enables us to outline an interesting field of research as well as to identify a number of theoretical problems and questions which remain open. The formula we have adopted is to quote lines from the film The Monk which permit the analysis of selected issues related to sexuality, carnality and physical desire. Moreover, these quotes serve to order the text and enable the precise identification of interpretive trains of thought.
13

Roman Ingarden w środowisku akademickim Getyngi i Fryburga

51%
Czakon D., Michna N. A., Sosnowski L.
Kwartalnik Filozoficzny
|
2018
|
vol. 46
|
issue 3
117-135
EN
The academic education of Roman Ingarden can be divided into five stages, involving four different universities. It began in Poland, in Lviv, and was continued abroad in Göttingen, Vienna, and Freiburg im Breisgau. In this review article we describe Ingarden's studies in Germany in 1912-1914 and 1915-1917 at the Georg August University in Göttingen and the Albert Ludwik University in Freiburg Baden. We characterize this study period in terms of the academic courses Ingarden attended, professors and tutors he met, and other students he came into contact with at the time. We also describe Ingarden's relationships with the so-called Göttingen Circle.
14

Polskie badaczki w korespondencji Romana Ingardena

51%
Czakon D., Michna N. A., Sosnowski L.
Kwartalnik Filozoficzny
|
2018
|
vol. 46
|
issue 2
113-131
EN
During his academic career Roman Witold Ingarden met and cooperated with many prominent Polish women philosophers. In this review article we describe Ingarden's scientific cooperation and contacts with Daniela Gromska (1889-1973), Izydora Dąmbska (1904-1983), Danuta Gierulanka (1909-1995), Janina Makota (1921-2010), Maria Gołaszewska (1926-2015), Zofia Lissa (1908-1980) and Irena Sławińska (1913-2004). All archival materials presented in this article were found in Polish and European archives and digitized as part of a project financed by the Ministry of Science and Higher Education in Poland, entitled 'The Electronic Archive of Roman Ingarden: Unknown Correspondence and Academic Work of the Outstanding Polish Humanist'
15
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Światło w sztuce Tadeusza Kowalskiego. Wywiad z synem artysty Karolem Kowalskim

51%
Michna N. A., Czakon D., Kowalski K.
Estetyka i Krytyka
|
2015
|
issue 4(39)
105-146
16
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Wstęp

45%
Kuchta A., Michna N. A.
Estetyka i Krytyka
|
2014
|
issue 2(33)
7-9
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