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Kulturowy status twórcy – genialność czy szaleństwo. Rzecz o transgresji

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Lorent L.
Zagadnienia Naukoznawstwa
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2011
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vol. 47
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issue 4(190)
601-611
EN
These remarks aim at showing the intellectual supremacy of an outstanding individual over those mediocre. Transgression is understood as a form of passage, of the change of an artist who negates the current world order and desires to lay the foundations for new reality, seen by a mad genius – Friedrich Nietzsche, whom I often recall. His concept of “Overman” is identical with concept of a genius creator, of outstanding individual who is not understood by common people and who with his creative imagination outgrows his own epoch.
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NAČO JE DIVADLO V CHUDORĽAVOM ČASE?

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Babiak M.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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issue 1
87 – 92
EN
The present paper, referring to Hölderlin’s verse “What is a poet for in a destitute time?”, raises a question about the position, role and possibilities of theatre in the current “destitute time,” i.e. at the time of the current crisis of values. The author situates the beginning of the crisis of values into the period of modern art and brings it in relation to Nietzsche’s thesis about God’s death and call for a general review of values. Modernist philosophy and aesthetics questioned the possibility of evaluation, which contributed to a relativization of values as such, as well as the act of evaluating. On the other hand, modernist art tended to present its program as relevant and valuable to all movements, which brought it into contradiction with philosophy and aesthetics. The paper points out that today’s sense of crisis of values is not derived from the program of modernism, but it probably dates back to the beginnings of postmodernism – both in philosophy and art. The questioning of several principles that the philosophical program of modernism was based on also led to the questioning of creation, reception, interpretation and evaluation in art. In the conclusion, which analyses the program statements of postmodernism in Western culture, the author makes a claim that today’s boundless pluralism has contributed to a broad relativization of artistic values. Overcoming the postmodernist program may involve returning to certain values; however, this does not have to mean returning to the comfort of “lost paradise”, which would offer an answer to Nietzsche’s provoking question: “Do we actually know what is up and down there?”
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NIETZSCHES SIGNATUREN: ZUR GRENZE DES SUBJEKTS

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Burkhart M.
World Literature Studies
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2015
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vol. 7 (24)
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issue 4
78 – 98
EN
In an ideal case a signature is completely invariant – it remains the same. It is based on the idealist concept of identity replication and in this function is the discovery of modernism. Nietzsche signs his “insane” letters as Ceasar, Dionysos or The Crucified. His signatures seem to be the last expression of a psychological break-down. The medical diagnosis of his illness was brain softening due to syphilis. However, as an explanation for the phenomenon of Nietzsche’s signatures purely medically based interpretations are insufficient. His entire work can be read as an attempt to overcome limits. The reasons for a dissociated subject manifested in his signatures can be found across his entire philosophical work. Nietzsche is positioned at the end of a development that begins somewhere with Descartes and that experiences its heyday in Kant’s Enlightenment, Fichte’s radical subjectivism and its prolongation in the early Romantics, especially Novalis. Medical interpretations at the same time ignore the fact that Nietzsche in his later “insane” letters in his own consistent way completed a complex philosophical project. Nietzsche’s project of the “Übermensch” essentially means a look into the fragile aesthetic construction of the modern subject. The genesis of the artistic subject completely moved into the area of madness and fiction. The subject, madness and aesthetics cannot be separated. In this same exact constellation it can be found his aesthetics and philosophy. The theory of the subject runs like a red thread through his entire oeuvre. Nietzsche’s destruction of the logical and ethical basis of the Enlightenment criticism of rationality is a necessary stop on the way to the “Übermensch”. It is at the same time a consistent continuation of the Enlightenment and Romanticism, one consequence of which is also the indistinguishability of rationality and madness. In the destruction of the subject he penetrates into the depth of corporeality and the mind. Nietzsche probably knew this before his collapse and was aware of the significance of his awareness.
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Wybrane koncepcje filozoficzne a działania medyczne dla poprawy jakości życia i urzeczywistniania rozwoju

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Letkiewicz S.
Studia Ecologiae et Bioethicae
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2010
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vol. 8
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issue 2
7-21
EN
Constitutional features of ethics in general, in both the descriptive and normative meanings, or deontology, are certainly freedom of choice strictly related to responsibility, the axiological system, etc. I advance a thesis that ethical eidetic must concentrate on the issue of human honesty. The analyzed ethical proposals, those of Friedrich Nietzsche and Józef Bańka, place the importance of philosophical reflection and speculation on this issue. The modern axiological crisis is a result of the collapse of authorities and not, inversely, that the destruction came from relativism and post-modernistic anarchism. It is easy to be disinterestedly honest; it is more difficult when its rules are being “observed” by a “daimonion”, which is transcendental to a human. Perhaps it is time for authentic, disinterested honesty, both in the rules of ethics and in deontology, and also, or perhaps mainly, in medical ethics, which has essential significance for the improvement of life quality, constituting an essential criterion in the process of realising development. But if the honesty does, during the building of the technical civilization?
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ON MY JOURNEY THROUGH THE SINO-GERMAN LITERARY INTERFLOW

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Gálik M.
Asian and African Studies
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2016
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vol. 25
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issue 1
1 – 16
EN
The aim of this essay is to present a history of the author ś reading and studying of literature in German and its reception in China in more than forty five years from 1968 – 2013. It was written as a Preface to the Chinese collection of his works of this kind for the book Cong Gede, Nicai dao Lierke: Zhongde kuawenhua jiaoliu yanjiu 从歌德, 尼采到里尔克: 中德跨文化交流研究 From Goethe, Nietzsche to Rilke: Studies in Sino-German Inter-literary Process, to be published in Fujian jiaoyu chubanshe 福建教育出版社, Fuzhou, China in the Zhongde wenhua congshu 中德 文化丛书 Series of Sino-German Culture. It consists of seventeen essays connected with Johann Wolfgang Goethe, Friedrich Nietzsche and the last part analyses Rainer Maria Rilke and other similar themes from the end of the 19th and the beginning of the 20th century.
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