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Problem twórczości w koncepcji Jana Mazurkiewicza

100%
Hetman G.
Zagadnienia Naukoznawstwa
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2011
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vol. 47
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issue 4(190)
687-701
EN
Jan Mazurkiewicz (1871-1947), pioneer of the Polish school in psychiatry, linked the problem of the genius and creator with the level of development of the nervous system and its emotional function. The nervous system and its anatomical basis display vertical hierarchy. Due to that special structure, emotional and cognitive dynamisms are transformed and due to features of the cerebral cortex and specific emotionality bound with this structure (the frontal lobes) man is able to create science, culture, and art. When the control of the higher nerve centers is in disorder, the person goes mad, often destructive in realm of culture and society. Thus the genius, present in culture of many generations, fights with madness that destroys and kills. The function of the frontal-logical dynamisms is stronger, however structurally and developmentally it is the weakest. The results obtained by J. Mazurkiewicz seem to be, as compared with contemporary state of the art in science, still actual since they are based on relevant clinical evidence.
2
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Geniusz i szaleństwo w epoce nowoczesnej

100%
Bytniewski P.
Zagadnienia Naukoznawstwa
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2011
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vol. 47
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issue 4(190)
541-549
EN
The base upon idea of a genius is a root metaphor in which spatial relation are used to picture relationship between the spiritual forces. Genius is spiritual force – personal or not – which dominates some milieu. So, genius is a spiritual force which exert on its environment bigger influence, than this environment impress on its. Inspiration is a mode of its activity as such. In the paper I refer to modern conceptualisation of the genius as contaminated with madness. What is character of this modern “genius-as- mad” contamination? What is its significance to the modern culture? I argue that self-realization and authenticity are the two main imperatives of modernity which gives weight “-”genius -as-mad” figure of thinking. Modernity – in the deep of psyche – finds its motivation to criticize conventional and normative character of culture and base to promote transgressive and self-creative subject. And as a necessary consequence what is at stake in modernity is a fragile and uncertain historicity of the human being.
3
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Geniusz:”dostrzeganie rzeczy niewidzialnych”

100%
Mizińska J.
Zagadnienia Naukoznawstwa
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2011
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vol. 47
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issue 4(190)
523-533
EN
The paper deals with the phenomenon of the genius. I refer to four literary descriptions of genius as a basis for seeking the features of genius. The most important of them seems to me the “seeing the invisible,” i.e. reading in reality the “codes of transcendence.”
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Kim jest geniusz?

100%
Benisławska A.
Zagadnienia Naukoznawstwa
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2011
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vol. 47
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issue 4(190)
667-681
EN
Cesare Lombroso created a basis of the consideration about genius as phenomenon. The similar subject analysed Ernst Kretschmer. The both authors underlined duality of genius nature distinctly. On the one hand genius is an emanation of unusual talent, on the other hand genius is connected with element of psychopatology and social rejection. Finding a new way of thinking will be possible, if a talented person’s mental structure is loosen. It means: previous solution must be rejection, researcher revolts against the authorities and he can come into conflict with a professional environment. From this point of view life of genius is full of dramatic evidences, the same like life of a polish researcher Julian Ochorowicz. In Ochorowicz case the most controversial were his studies over hypnotism and mediumism. These researches were a from of analyzing of human cognitional skills, special in the case of hysterics.
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FRIEDRICH NIETZSCHE'S IDEA OF 'THE DANCING ÜBERMENSCH' IN THE POETRY BY VASYL PACHOVSKII

100%
Matusiak A.
Slavia Orientalis
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2006
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vol. 55
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issue 1
43-56
EN
The end of the 19th and early 20th century was the time when people became interested in the art of dance to a great degree. The fact that the art of dance became so popular is related to Friedrich Nietzsche's philosophical thought: Nietzsche determined dance as one of the main categories of his philosophy. The philosopher gave the fullest form to his idea of dance in the character of Zarathustra. Zarathustra referred to dance while expressing both feelings and opinions. The authoress of the article discusses the concept of “the Dancing Übermensch” in relation to 'The Eagle's Flight', a poem by Vasyl Pachovskii. She also adapts the broad and multi-aspect context of other Nietzschean categories of 'genius', 'free spirit', and 'the promethean man', interpreting them from the point of view of the round dance movement forms presented in Pachovskii's text, which the Ukrainian artist associates with the universal symbols of an ideal method of gnosis, reflecting an active, cognitive, and transformative human attitude to one's reality and to oneself. In this way, Pachovskii implies that an individual can be fulfilled only by means of physical and spiritual effort and only then does an individual become an 'Übermensch', that is an artist, a creator fulfilling one's life in the realm of art in the only possible way: the never-ending dance.
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ÚVAHY O SLOBODE KANTOM KONCIPOVANEJ GENIALITE

100%
Haško Š.
ESPES
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2012
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vol. 1
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issue 1
74 – 78
EN
The gravity of freedom, as one of the main features and privileges of Kant’s genius, can be verified by the fact, according to which his artistic creation reveals itself within the so-called Beautiful, Free Art. Despite all that, the work originates from reflections, which present themselves as reasons to reassess the main themes and characteristics in Kant’s aesthetic theory. In the paper, I deal with the analysis of a narrowed down understanding of genius; i.e. by interpreting freedom as ‘solely’ the liberation from rules of art creation and at the same time, in respect to Kant's conception of disinterestedness, from all outside-art objectives. In respect of concepts of genius specified by Kant, we can ask ourselves about the issue at hand; is it even possible for a genius to be unsatisfied with the mechanics of his own genius, in other words him being a genius per se.
7
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Smak i geniusz. Teoria piękna Alexandra Gerarda

88%
Wawrzonkowski K.
Filo-Sofija
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2008
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vol. 8
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issue 8
105-120
EN
The article deals with Alexander Gerard’s theory of beauty and his analysis of the categories of taste and genius. Gerard begins his enquiries with delineating a distinction between external and internal senses. The former category includes five traditionally named senses, while the latter are: novelty, sublimity, beauty, imitation, harmony, oddity and virtue. According to Gerard, internal senses are a sort of particular, intermediate tastes, which due to harmonizing with each other, create the taste proper. Therefore, the taste’s sensitivity and proficiency in judgment making depends to a large extent on particular tastes. Reconstructing the draft of Gerard’s theory of beauty the author of the article describes particular types of this aesthetic category: the beauty of shape, the beauty of proportion and the beauty of colour. Also, the author points out some relations between taste and genius. Moreover, by virtue of some similarity between Kant’s philosophy and the earlier British tradition, the author compares Kant’s and Gerard’s theories on the role of genius in creativity.
8
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Geniusz jako ukarany złodziej czyli “Zakazane światło”

75%
Kuczyński P.
Zagadnienia Naukoznawstwa
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2011
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vol. 47
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issue 4(190)
595-601
EN
A presentation of the assumptions behind a film essay which shows a connection between the genius of Friedrich Nietzsche and his madness.
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