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1

Reuchlinovo a Picovo pojetí křesťanské kabaly: malé přiblížení

100%
Herůfek J.
Listy filologické (Folia philologica)
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2011
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vol. 134
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issue 1-2
81-93
EN
This paper deals with the comparison of two Renaissance Christian thinkers, Pico della Mirandola and Johannes Reuchlin, especially of their concepts of Christian Kabbalah. Whereas Pico is mostly perceived as a leading representative of the Florence Academy, from this note it follows that Pico should be considered also a creator of the Renaissance Christian mysticism, where he followed the art of Raymundus Lullus and eschatological Trinitary visions of Joachim da Fiore. Moreover, Pico enriched his concept with motifs coming from medieval Jewish mysticism. Unfortunately, Pico did not master Hebrew well, and so he was too dependent on his translators. The true, independent and mature concept of Christian Kabbalah was thus accomplished by the first Renaissance sage, his disciple Johannes Reuchlin.
2

BRUNO SCHULZ AND WALTER BENJAMIN. BETWEEN THE WESTERN-EUROPEN METROPOLIS AND MIDDLE-EUROPEN PROVINCES (Bruno Schulz i Walter Benjamin. Miedzy zachodnioeuropejska metropolia a srodkowoeuropejska prowincja)

100%
Tokarzewska M.
Przegląd Filozoficzno-Literacki
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2010
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vol. 9
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issue 3(28)
243-263
EN
The work of Bruno Schulz is often juxtaposed with the oeuvre of Franz Kafka by pointing out the similarity in the world-visions of both authors. None-the-less, the interpretative potential in comparing Schulz with Walter Benjamin has not yet been explored. Both tried to describe the modernity, starting from rethinking their own childhood; in works of both of them, one can find traces of fascination with Jewish mysticism. First was a part of the urban culture of Paris and Berlin, the latter was inspired by the landscape of Drohobycz.
3

THE GOLEM MYTH IN BRUNO SCHULZ

100%
Looby R.
Pamiętnik Literacki
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2007
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vol. 98
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issue 2
93-105
EN
This essay outlines elements of the golem myth, both in the stricter, kabbalistic sense, and in the broader, popularised sense in Bruno Schulz. Rather than recreate a monolithic version of the ancient Jewish legend, he mixes in elements of more modern, western European literature, such as Meyrink's 'Der Golem'. In the figure of Father, we find as well as the fasting and meditation of Jewish Mysticism allusions to spontaneous adoration of later Hasidism. The basic concepts of creation laid down in the stories are kabbalistic, and characters such as Edzio, Dodo and Hieronim as well as the waxwork dummies in Wiosna are recognisable as golems. Being the creations of - however pious - imperfect man, they too are characterised by shortcomings and defects. Furthermore, as in the kabbala, their purpose is to demonstrate the creative power of the word, rather than perform useful actions.
4

„A Bóg pozwolił, by coś takiego się wydarzyło”. Hansa Jonasa teodycea po Holokauście

88%
Kornacka K.
Kwartalnik Filozoficzny
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2013
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vol. 41
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issue 1
157-172
EN
Hans Jonas, a German-born philosopher of Jewish origin, attempts to explain the silence of God during the Holocaust. In “The Concept of God after Auschwitz: A Jewish Voice”, he constructs a new idea of God to explain His weakness and inertia during the Shoah. God “after Auschwitz” can no longer be seen as the Lord of History, though He is still regarded as good and understandable. He is constantly ‘becoming’, always cares for the world, and suffers with what has been created. He is not able to overcome Evil, for it is Man who is responsible for creation and is the true author of suffering. The article shows the genesis of Jonas’s theosophical views, which are neither new nor original. Medieval Kabbalists presented the idea of Man, the redeemer of a God who is in permanent dialectical tension. The destiny of the cosmos is dependent on morally good or bad human activity. Moreover, Jonas was also influenced by the views of E. Berkovits. In “God, Man and History” Berkovits develops the concept of a free and imperfect man who was given responsibility for the world by God.
5

THE THEOLOGY OF THE BOOK OF HIDDEN LIGHT (SEFER HA-BAHIR): PART 1. THE NOTIONS, TRADITION AND THEOLOGY OF SEVEN (Polish title below)

75%
Brojer W.
Kwartalnik Historii Żydow
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2011
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issue 2(238)
149-190
EN
(Polish title: Teologia 'Ksiegi swiatla ukrytego' (Sefer ha-bahir): bukiet sukotowy. Cz. 1: Pojecia, tradycja i teologia siódemki)). Book of Hidden Light or Book of Illumination (Sefer ha-bahir), regarded as the first writings of Mediaeval Jewish kabbalah (the 1240s), is a particularly important text for Polish Jews of the 17th to 19th centuries. This extremely difficult, esoteric religious treatise has not yet received a holistic theological analysis. An analysis of this kind was attempted nearly half a century ago by Gershom Scholem but they were only fragmentary and not always successful. One of the key problems of the Book of Hidden Light is the Feast of the Booths (Sukhoth), its rich theological symbolicism and complex liturgy, and especially the sukkot bouquet (lulav) rites. The article focuses on the structure, liturgy and the symbolicism of lulav. Seven elements of the bouquet become a model of: 1. the liturgical time (week, sabbath, the Booths), 2. indefinite space (six directions and the centre), the human body and its sexuality, 3. the divine presence in the earthly world (Shekina), 4. the central place of Israel among the peoples, the heart of the world (lo-lev), 5. gematrically: 32 hidden paths of wisdom, known from the tradition of the Book of Creation (Sefer yetsira). The liturgical motion of the lulav - as it is waved (shaken) along three axes of the world, renews the cosmic order, released the divine judgment over Israel and imparts a messianic dimension to historical time.
6

Ja, Inny i (Nie)obecny. (Idee kabalistyczne w filozofii Boga Emmanuela Levinasa)

75%
Kornacka K.
Kwartalnik Filozoficzny
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2015
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vol. 43
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issue 3
81-102
EN
Emmanuel Lévinas is often regarded as incomprehensible. The author shows, however, that the core of his perception of reality consists of relatively clear assumptions of the mystical thought of Kabbalists and Hasidic thinkers. Lévinas claims that the only adequate name of the Godhead is that of Creator. Eventually, He can be called “Infinity” or “Nothingness”. The divine Nothingness, however, is not pantheistically present in the world, for this would imply the lack of any ontic separation between creation and the Godhead. This would inevitably imply radical postulates in the area of ethics, for “the Other” is just where man’s connection with Transcendence is to a certain extent possible. This is because according to the mystical views, God created the world inside Himself, by the means of His auto-negation, which justifies the statement that God left the world. And, since the Absolute has left the world, people can count solely on themselves. As a result, they are obliged to act positively or even heroically in the ethical order. Otherwise, their existence would become an unbearable torment.
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