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1

HISTORY OF A CERTAIN BORDERLAND

100%
Krakowiak M.
Przegląd Humanistyczny
|
2005
|
vol. 49
|
issue 4(391)
61-70
EN
The article deals with the formation of a literary program by one of the most important Polish literary critics, namely, Kazimierz Wyka, in the forties of 20th century. Wyka's daring vision of non-fiction (about 1942), which was supposed to dominate post-war literature is presented here, as well as a gradual shift from it towards contemporary dominant concept of realistic novel (1946-1948). There is also an attempt to answer the question about the reason for the critic's reversal in his views.
2

MACIEJ ZUROWSKI'S VIEWS ON LITERARY CRITICS

100%
Chudak H.
Przegląd Humanistyczny
|
2005
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vol. 49
|
issue 3(390)
13-16
EN
Maciej Zurowski's literary interest was in a way complete and that is why he also focused on the theory and history of literary critics. He was especially interested in filiations of critical ideas, continuity and changes in comparative perspective, which explains how he managed to gather all the phenomena contributing to modern methodology of literary research. French 'nouvelle critique' and 'The Geneva School' come first, however, other formations like: Russian formalism, Polish phenomenology, German philology and American 'New Criticism' also need to be mentioned. Yet, the question of the literary work concepts and of the limits of its interpretation remains general for all of them.
3
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Obrona praw człowieka

80%
Nowacki P.
Archeus. Studia z bioetyki i antropologii filozoficznej
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2012
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vol. 13
255-266
EN
In contemporary Europe the concept of human rights plays an undisputed role of a specific basis of all legal relations or even more: of all social relations. It does not mean the concept is free from any criticism. Particularly, it is questioned for its heterogenous character, and first of all it is criticized for extending the catalog of human rights too much, which may cause their inflation”. The author of the article discusses three issues. Firstly, he presents the heterogeneity of rights included in the catalog of human rights. Secondly, he describes criticism towards the rights in order to better formulate their legal peculiarity. Thirdly, he attempts toanswer the question, what is and what should be the role of human rights from the point of view of jurisprudence and social needs?
4

VZŤAH MEDZI KYNIZMOM A CYNIZMOM

80%
Flachbartová L.
Filozofia (Philosophy)
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2011
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vol. 66
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issue 6
522-534
EN
The paper examines the relationship between ancient Cynicism and his modern counterpart - cynicism. Ancient Cynicism is a strictly ethical way of life, while modern cynicism despises all ethical values. Ancient Cynicism is said to be a 'shortest way to virtue' and is characterized by its commitment to a life in agreement with nature, radical freedom, self-sufficiency and by the absence of philosophical theory in favour of practical, lived philosophy. Modern cynicism is a result of a long lasting history of interpreting and misunderstanding of ancient Cynicism (mainly the Cynic's life in agreement with nature and his ascetic practices, which were often seen as a crude shamelessness). However, cynicism is the consequence of 'the unfulfilled promises' of Enlightenment. It is a reason turned against reason itself. The paper offers a brief history of the reception of Cynicism on its way toward the modern cynicism.
5
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GIORGIO AGAMBEN ON AESTHETICS AND CRITICISM

80%
Darida V.
ESPES
|
2021
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vol. 10
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issue 1
22 – 31
EN
Focusing on Giorgio Agamben’s early writings (The Man without Content, Stanzas, Infancy and History) this paper investigates the peculiar status of aesthetics that is disclosed by these texts, highlighting particularly the shift that emerges therein from aesthetic to ethical concerns. Agamben’s idea of a ‘destruction of aesthetics’ will bring attention to the question of the destination of aesthetics. The claim that only ruins can outline the original structure of works of art, providing a possible basis for creative criticism, will also be examined in the conclusion.
6

KRITIKA „SCHEMATIZMU“ AKO INTEGRÁLNA SÚČASŤ RÉTORIKY SOCIALISTICKÉHO REALIZMU PRVEJ POLOVICE PÄŤDESIATYCH ROKOV (DISKUSIE PRED 2. ZJAZDOM ČESKOSLOVENSKÝCH SPISOVATEĽOV)

80%
Matejovič P.
Slovenská literatúra (Slovak Literature)
|
2013
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vol. 60
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issue 5
409 – 417
EN
The presented article analyses selected discussions of the first half of the 1950s which were related to the preparation of the 2nd Czechoslovak Writers´ Conference in the year 1956. At the same time it pays attention to the contemporary term known as the criticism of so-called Schematism. In the author´s opinion the formation of the term is related to the processes having its prehistory in the period when the dogmatic application of Socialist Realism was the official doctrine of the Stalinist Epoch. It cannot be seen as synonymous with the criticism of so-called Cult of Personality or the process of „acknowledging“ the period of Stalinism because the notion „Schematism“ became a part of the literary-critical discourse of those times before Stalin´s death. In this context the author makes references to the findings by B. Groys, especially to his analysis of the paradoxes of Stalin´s rule where logical statements containing no contradictions were regarded as one-sided and so invalid. The slogans such as „struggle against Schematism“ and „for greater fidelity of literature“ were a part of the contemporary language of the Stalinist Epoch and should be interpreted accordingly. They were not directly related to the criticism of Stalinism, and they did not question the aesthetical doctrine of Socialist Realism.
7

CRITICISM OF CHILDREN AND YOUNG ADULT LITERATURE IN PERIODICALS AND BOOKSHOP CATALOGUES IN THE 19th CENTURY (Krytyka literatury dzieciecej i mlodziezowej w polskich czasopismach i katalogach ksiegarskich w XIX wieku)

80%
Boczar E.
Roczniki Biblioteczne
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2006
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vol. 50
179-193
EN
Literature for children and young adults started to develop in Poland in the 1820s. Initially, it was the authors themselves (K. Hoffmanowa née-Tanska, S. Jachowicz) who undertook to carry out critical analyses of their works in periodicals they edited, but as time went by booksellers began to publish advertisements for upcoming books for young readers together with their reviews. The first serious reviewer of children literature was Ewaryst Estkowski who published his reviews in a periodical published in Poznan in the mid-1850s, called 'Szkola Polska' (Polish School). In the last quarter of the 19th century books for young readers were reviewed in renowned periodicals ('Ateneum', 'Rocznik Pedagogiczny' - Pedagogical Annual, 'Biblioteka Warszawska' - The Warsaw Library) by such distinguished writers as B. Prus, H. Sienkiewicz and M. Konopnicka. In the same period the publishers themselves (the Orgelbrands, Gebethner and Wolff, M. Arct) compiled special catalogues of books that could be given as rewards for good grades at school or as Christmas gifts. The catalogues usually contained short notes presenting recommended works. Much more valuable than ordinary booksellers catalogues were 'critical catalogues' and bibliographies containing lists of books for children and young adults. These served as relatively comprehensive guides to this type of literature. The present article analyses various catalogues of this kind, including those by Nowolecki, Kozubowski, Karlowicz, Dygasinski and Sliwka. Despite its shortcomings, the 19th century criticism of literature for young readers published in periodicals and booksellers catalogues greatly contributed to an increase of interest in this literature among Polish writers over the next century.
8
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Nauki o kulturze jako nauki podstawowe (i krytyczne)

80%
Szahaj A.
Filo-Sofija
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2011
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vol. 11
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issue 1(12)
183-188
EN
The main goal of the article is to prove that today cultural sciences replace sciences on nature in the role of fundamental sciences. Author tries to show that cultural sciences are now fundamental ones taking into account two different aspects of being fundametal: theoretical one and political one. He uses some arguments taken from Jerzy Kmita’s works to support his own position. They are connected mostly with Kmita’s thesis about the primary role of culturally created vision of the world as the necessary background of each knowledge. The political aspect of fundamental role playing today by cultural sciences is linked with the main role played by information in today world and especially in so called cognitive capitalism. Author’s thesis is that cultural sciences can take critical shape showing the relative character of all dogmas of today capitalism or they can play effective role in capitalist world as important and useful element of its mechanisms.
9

FREEDOM AND OBEDIENCE IN WESTERN EDUCATION

70%
Martin-Sanchez M., Flores-Rodriguez C.
Pedagogický časopis (Journal of Pedagogy)
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2018
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vol. 9
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issue 2
55 – 78
EN
Education has to emphasize the characteristics which define Western democratic societies. In addition, it has to ensure the active and participative inclusion of each person in social life, where respect for human rights prevails over the person’s preferred ideology. Promoting these values in citizens not only guarantees the stability of the state, but also its constant progression and improvement. Beginning at the elementary level, the promotion of students’ critical spirit is recognized as fundamental objectives. However, the structures which shape Western education in the 21st century do not allow for the development of completely autonomous thinking and critical thinking in students. In this article, we analyse the processes which comprise an education for obedience. Although obedience does not respond to conscious cognitive processes, it is present in the structural rigidity of education through the organization of the classroom. Our explanation is based on the Theory of Social Conformity, which will be presented as the antithesis of a person’s individual freedom. Moreover, we will see how contaminated cognitive vicarious elements are promoted. Although they are endemic to people, they do not allow students to develop a critical spirit or to be educated for freedom.
10

Komplikace s hledáním těla. Nad poezií Petra Hrušky a jejím kritickým přijetím

70%
Chrobák J.
Slavica Wratislaviensia
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2011
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vol. 153
805-811
EN
The aim of this study is to analyse Petr Hruška’s poetry and its reception in Czech literature. The author also concentrates on the fact that the young literary and critics generation have a big problem with perception of poetry such as Hruška’s, because their point of view is deformed. The 30 years old literary generation cannot find the body (key theme in Hruška’s poetry); these authors only try to speak about it. On the contrary, Hruška tries to find such situations in which the body talks with the man. And that is the moment when the man can point it out.
11

KIERKEGAARDOVO VYUŽÍVANIE ŽÁNRA V KONFRONTÁCII S NEMECKOU FILOZOFIOU

70%
Stewart J.
Filozofia (Philosophy)
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2009
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vol. 64
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issue 8
728-738
EN
Soren Kierkegaard is an author who, due to his creative use of genre, has been difficult to characterize straightforwardly. His unconventional form of writing has at times been understood as a part of his criticism of German speculative philosophy; however, little work has been done to actually understand the nature of his criticism and his precise objection to the form of presentation traditionally used by systematic philosophy. In this article it is argued that there is a close connection between the form and the content of speculative philosophy, and that due to his disagreements with the content of the latter (specifically concerning the question of faith) Kierkegaard was obliged to make use of a different literary form in order to criticize it.
12
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ACTOR AS THE SUBJECT OF CRITICISM AND PEDAGOGY (Herec ako objekt kritiky a pedagogiky)

70%
Kret A.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 1
33-36
EN
According to the author, we shall notice that we can not talk anymore about the difference between the author created drama character and its original image in the reality. We don't know when in the field of aesthetics we should consider only the art and when also the source of art - the nature itself. However, we require students to named and be able to describe different schools of art, styles, and eras that are nothing less but a desperate attempt to find the truth in a drama character on the stage. The author attempts to view an actor as an object (as well as a tool) commonly used by theatre experts and critics, who increasingly view the actor as an interpreter of different schools of art, styles, and eras rather than as talented interpreter of his/her own inner feelings and emotional state. The result is the loss of focus on the uniqueness of individual interpretational skills of the actor - creator. This author argues that the character coming to life through actor's actions depends on the contemporary understanding of the theatre.
13

Why Is Sociology a Critical Science?

70%
Javeau C.
Teorie vědy (Theory of Science)
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2009
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vol. 31
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issue 2
5-24
EN
This article affirms the modern origin of sociology as a science and posits a critical posture as its fundamental component. As such, sociology is opposed to any dogmatic conception of knowledge. The critical stance has both internal and external dimension. Sociology is under the obligation to observe a constant vigilance towards the knowledge it produces. A considerable methodological privilege bestowed upon the researchers in sociology requires that they have to be capable of criticizing their conceptual tools and operational procedures. Furthermore, critical attitude consists also in questioning conditioning of results linked to the dependence arising from the subsidizing of research. These preconditions of critical posture are illustrated by consideration of the challenges of researching the so-called 'school failure'. Ultimately, responsibility commands a sociologist to respect the principle of precaution. When political action is concerned, the researchers must demand that their rights of intellectual property be preserved. To criticize, in this sense, is not to denounce; nonetheless, sociology will only remain faithful to what can pass legitimately as its essence by demanding the right, against threats and seductions, to speak the truth about social reality.
14
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HEREC AKO OBJECT KRITIKY A PEDAGOGIKY

70%
Kret A.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 4
305 – 309
EN
After the end of World War II in Europe, a generation of young dramatists stepped forward in Slovakia who despite the very vague idea of theatre as the authorial art was sure to create the theatre that their older colleagues would not be able to dream about. Indeed, the absolute lack of the theatre training and education was obvious. But what they knew was that they need to play with passion and according to Stanislavski, with the soul in the hand. Together with the whole post-realistic world of theatre they enthusiastically accepted his deconstruction of orchestra to individual instruments. Our post-war theatres deployed Stanislavski system, which was the official system of theatre work in the Soviet Union and satellite socialist countries. As early as in the twenties of the last century, the Russian avant-garde was cut off within the Soviet Union and the same situation occurred after the „victory of the working people“ in 1948 in our country. Stanislavski system, as it was officially called in the Soviet Union as well as in our country, suddenly became the only possible method and form of theatre work. In Slovakia, only Budský and later his students Haspra, Pietor, Vajdička and Oľha knew how to confront this method.
15

STRUČNÝ ÚVOD DO KOGNITÍVNEJ LITERÁRNEJ VEDY A PROBLEMATIKY LITERÁRNOSTI

70%
Kuzmíková J.
Slovenská literatúra (Slovak Literature)
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2019
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vol. 66
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issue 4
247 – 257
EN
The first part of the paper (Sections I. – III.) deals with the basic concepts, aims, conditions and sub-disciplines of cognitive literary science. The second part of the paper (Sections IV. –V.) discusses concepts of literature and literariness. It is literariness (Roman Jakobson) that is crucial for literature and constitutes literary studies as the scientific discipline. Theorizing quality of literariness requires empirical and experimental argumentation. That is why, contrary to the traditional reader-response theory, the cognitive reader-response theory focuses on the individual, active reader. Kuzmíková´s experimental metaphor study indicates that in solving/understanding literary metaphors there is a difference between rational and intuitive (experiential) personalities. As metaphor is the prominent tool of literariness, we can presuppose that more rational and more intuitive people differ also in general literary reception outcomes. The empirical examination of literary communication has an ambition to give more scientific and specific data for the literariness theory then non-empirical, speculative interpretations and models have provided.
16
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PETER KONWITSCHNY A JEHO OPERNO-DIVADELNÁ KRITIKA KAPITALISTICKEJ MORÁLKY

70%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
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2020
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vol. 68
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issue 2
146 – 162
EN
In principle, the theatrical work of the German opera director Petr Konwitschny is determined by his left-wing political beliefs. The study focuses on some of the phenomena of Western (capitalist) society which are constantly subject to criticism in his productions. In addition to rejecting the patriarchal principles of the organisation of society, it is primarily the dependence of modern civilisation on materiality, the consumerist way of life, and the disruption of moral values which ensues from it.
17

HAECKEROVA KRITIKA LIBERÁLNEJ TLAČE INŠPIROVANÁ KIERKEGAARDOM

70%
Šajda P.
Filozofia (Philosophy)
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2014
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vol. 69
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issue 5
378 – 387
EN
Theodor Haecker (1879 – 1945) was an influential commentator, translator and promoter of Kierkegaard’s philosophy during the era of the German “Kierkegaard Renaissance.” In 1914 he published the translation of one part of Kierkegaard’s A Literary Review (1846) to which he attached a twenty-five-page-long Afterword. In the Afterword he engaged in a sharp polemic against the contemporary cultural and political liberalism promoted in certain German periodicals. He based his criticism on Kierkegaard’s findings concerning the levelling role of the modern press. Haecker’s translation and commentary create a philosophical continuum that attests to the lasting relevance of Kierkegaard’s thought. They influenced the thinking of a number of German-speaking philosophers, such as K. Jaspers, M. Heidegger, F. Ebner and T. W. Adorno.
18
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TROJÍ STRATEGIE A TROJÍ VÍRA: FILOZOFIE, LITERATURA A LITERÁRNÍ VĚDA

61%
Papoušek V.
World Literature Studies
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2018
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vol. 10
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issue 2
3 – 13
EN
The present study examines the relation between philosophy, literature and criticism/theory from the viewpoint of a text’s intention and function, its institutional character (the way it is framed) and paradigms as a set of constitutional rules and values. Rather than trying to find stable criteria, the author focuses his attention on the act of “becoming”, i. e. the way in which a text becomes a text of literature or philosophy, and, consequently, the way in which these texts are historically negotiated by communities of recipients, creators and users of specific discourses. In his conclusion, the author emphasises that it is not possible to define an absolute distinction between various discourses and that the inclusion of a particular work within a certain discourse is the result of historical negotiation.
19

VYSPĚLÉMU DIVADLU VYSPĚLOU KRITIKU (ČESKÁ DIVADELNÍ KRITIKA V OČEKÁVÁNÍ NÁRODNÍHO DIVADLA)

61%
Ježková P.
Slovenská literatúra (Slovak Literature)
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2011
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vol. 58
|
issue 5
449 – 461
EN
The article tracks the form and content of Czech theatre criticism from its beginning in the 1930s and 1940s after the National Theatre in Prague was established. It mainly taps the contemporary thinking of individual criticism theoreticians and critics as well as later partial studies aimed at individual personalities and subjects. In the genre development overview the writer pays attention to the criticism standard differences with regard to the media the reviews were published in (dailies vs. journals). She tracks establishing specialized theatre magazines, their motivations, ambitions and lives as well as the conditions and other circumstances which influenced the form and the function of criticism. First efforts to grant Czech theatre decent criticism and its own periodical can be seen in patriotic patrons of the national theatre development (J. K. Tyl). Reaching certain milestones and stages of the theatre development (opening of the Temporary Theatre in 1862, laying the cornerstone of the National Theatre in 1868) naturally resulted in intensifying the efforts. In spite of that Czech theatre criticism and its media shortly before the opening of the National Theatre still tackled the lack of readers, underdeveloped cultural environment and paralysing touchiness of the theatre management.
20

SPOR O MILOVANIE V HUSEJ KOŽI M. VÁLKA

61%
Matejov F.
Slovenská literatúra (Slovak Literature)
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2013
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vol. 60
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issue 5
386 – 396
EN
The article deals with the argument over Milovanie v husej koži (Lovemaking with goose pimples on) by Miroslav Válek. The collection of poems published in 1965 became in 1966 the subject of the argument between M. Hamada and S. Šmatlák. M. Červenka of the Czech side got involved in it as well. The presented text reconstructs it as a chiasmus of poetry and criticism, structuralism-inspired analysis and interpretation of a poetic text and its radicalizing, existentially appealing finalization of the thinking process. The protagonist of the polemic M. Hamada deliberately situated it on the boundary between literary and moral-critical social debates. What M. Hamada vehemently identified in Válek´s „fourth book of restlessness“ was Nihilism and related amorphous, fragmentary, and cliché lyric messages. The other participant of the argument S. Šmatlák defended M. Válek in the name of everlasting Humanism including the negative moments of the human and the world using. The argument is contextualized in the article as an argument over moderating the form of the poetry in the 1960s (on the one hand analytical unmasking of the human situation and on the other hand his cathartic poetic saviour), the nature of criticism (work at the service of the text as opposed to the efforts to autonomously reflect on literature and the state of the world), as the confrontation between the traditional and ideological reflections of Humanism and the related contemporary issues (the philosophy of existence, M. Heidegger, Structuralism of the 1960s, literature itself ranging from S. Beckett to J.-P. Sartre). The argument anticipated the schism of Slovak literature in the 1970s and 1980s, namely Šmatlák´s ideological viewpoints in the 1970s and 1980s and Hamada´s moralizing gestures as of the 1990s. The article records the impact of the argument on the interpretations of poetic texts in Slovak writing about poetry, its methodical dimensions as well as the still open issues of reading Válek´s poetry itself. Finally, it takes notice of potential connections with F. Halas´s poetry updated from the mid-1950s.
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