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Sefer Jecira. Rys historyczny i bibliograficzny

100%
Brylla D.
Poznańskie Studia Teologiczne
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2011
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issue 25
7-36
EN
The article presents the history of the Sepher Yetzirah (Book Yetzirah, Yetzirah Book) – the earliest written work of Jewish mysticism or esoterism. Sepher Yetzirah arose in the first centuries A.D., so the prevalent opinion that it exemplifies the kabbalistic writing is false (viz. Kabbalah is the branch of Jewish mysticism/esoterism which came into being around XII century). The article deals with the hypotheses about the time the treatise was written, the problem of the authorship of the book, it analyses the title and presents the main ideas of this influential work – Sefer Yetzirah played namely an enormous role in the whole Jewish mystical, esoteric system of thought. Apart from Sefer ha-Zohar and Sefer ha-Bahir, the Book Yetzirah was the fundamental book which was explored and widely commented by a great number of kabbalists. For this reason the article briefly characterizes also the Jewish commentators of the book, as well as takes up the question of the variety of versions and editions of Sepher Yetzirah, and, besides, contains the information about the translations of the book (written in various languages). Furthermore, the present text describes the structure of the work and gives the characteristic of each yetziratic chapter, placing emphasis on the role playing in the Yetzirah Book by the concept of ten sephiroth and twenty two letters of Hebrew alphabet. The article is also noted into bibliographical guidelines on the presented topic.
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RUSSIAN, JEWISH OR HUMAN? JEWISH MYSTICAL THOUGHT IN THE POETRY OF BULAT SHALVOVICH OKUDZHAVA

94%
Kornacka-Sareło K. A.
Porównania
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2017
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vol. 21
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issue 2
PL
Spoglądając na literacki dorobek Bułata Szałwowicza Okudżawy z perspektywy imagologii, można dostrzec, że wizerunek Innego w poezji rosyjskiego barda został ukształtowany – paradoksalnie – właśnie przez Innego, nie zaś przez obrazy (imagines) utrwalone w kulturowej świadomości etnicznie Tożsamego. Innymi słowy – w przypadku Okudżawy – stworzony przez poetę portret Innego powstał dzięki pewnym ideom żydowskich mistyków oraz doktrynie żydowskich filozofów dialogu (Martina Bubera, Franza Rosenzweiga, Emmanuela Lévinasa). Tak więc celem autorki artykułu było ukazanie w pieśniach Okudżawy motywów pochodzących z żydowskiej myśli mistycznej, która, jak się wydaje, wywarła znaczący wpływ na teologiczne, antropologiczne i etyczne poglądy rosyjskiego barda. Charakterystyczne dla nich jest postrzeganie każdego człowieka – niezależnie od jego etnicznego pochodzenia – jako bytu odpowiedzialnego za siebie samego w procesie konstytuowania się w swoim człowieczeństwie oraz definiowania własnej podmiotowości. Ten sam człowiek, na co wskazuje interpretacja utworów rosyjskiego poety, powinien być również odpowiedzialny za innych ludzi, świat natury, a nawet za nieosobowe i nieantropomorficzne bóstwo: obojętne wobec ziemskiego dominium. Okudżawa – podobnie jak żydowscy mistycy i żydowscy filozofowie dialogu – postrzega zatem człowieka jako współtwórcę rzeczywistości, zobligowanego do realizacji aktów pozytywnych w porządku etycznym, podejmowanych w celu „naprawy świata”, określanej przez kabalistów jako tikkun ha-olam.
EN
While looking at the literary output of Bulat Shalvovich Okudzhava from the perspective of imagology, one can see that the image of “the Other” in the poems of the Russian bard was created, paradoxically, just by this “Other”, and it was not constructed by the images (imagines) intrinsically present in the consciousness of the ethnocentric “Self” or “The Same”. In other words, in the case of Okudzhava’s poetry, the image of “the Other” stands on the basis of some ideas of Jewish mystics and the ones of Jewish philosophers of dialogue (Martin Buber, Franz Rosenzweig and Emmanuel Lévinas). Therefore, the aim of this article was to present the motifs stemming from Jewish mysticism in the poems-songs by Okudzhava which, as it seems, influenced theological, anthropological and ethical views of the bard. The distinctive feature of Okudzhava’s philosophical approach is perceiving every person, regardless of their ethnic or cultural origin, as a being responsible for themselves in the process of constituting themselves in their humanity. The same person is also responsible for other people, for the world of nature, and even for an impersonal and non-anthropomorphic godhead who does not intervene in human affairs. Therefore, Okudzhava – similarly to Jewish mystics – regards the human being as a co-creator of reality, obliged to perform ethically positive acts and respect an old Kabbalistic postulate tikkun ha-olam - “to mend the world”.
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„Ukryty płonę”. O cyklu „Z księgi przeczuć” Bolesława Leśmiana

84%
Bogalecki P.
Pamiętnik Literacki
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2023
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vol. 114
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issue 1
25-46
PL
Artykuł stanowi analizę i interpretację dziewięcioczęściowego cyklu poetyckiego „Z księgi przeczuć” Bolesława Leśmiana, opublikowanego w 1902 roku w „Chimerze”, oraz kilku innych jego wczesnych utworów. Wychodząc od kończącego cykl „Epilogu”, którego podmiot porównuje się do Boga płonącego „na Synaju”, autor przeanalizował występujące w cyklu motywy świetlne, co pozwoliło potwierdzić sąd Anny Czabanowskiej-Wróbel, że Leśmian inspirował się mistyką żydowską, a także doprecyzować go o konteksty maranizmu (wraz z ojcem poeta dokonał konwersji w wieku dziewięciu lat) oraz postsekularnej refleksji nad zeświecczeniem. Zaproponowane zostały dwa sposoby lektury cyklu: linearny, w którym jawi się on jako narracja o przemianie tożsamości, oraz koncentryczny, w którego świetle jego centralnym, choć ukrytym tematem okazuje się problem zapomnienia i zmiany imienia.
EN
The paper is an analysis and interpretation of a nine-part Bolesław Leśmian’s poetic cycle “Z księgi przeczuć” (“From the Book of Premonitions”), published in 1902 in “Chimera”, and of a few other early pieces by the poet. Starting with “Epilog” (“Epilogue”) that completes the collection in which the speaking subject compares himself to God burning “on Sinai,” the author analyses the light motives present in the cycle, which leads to validate the opinion of Anna Czabanowska-Wróbel who states that Leśmian was inspired by Jewish mysticism, and to particularise this stance with Marranism (the poet at the age of nine converted with his father) and with a post-secular reflection upon secularising. The paper suggests two modes of reading of the cycle, namely a linear one in which it is viewed as a narration on identity transformation, and a concentric one in the light of which its central thought hidden topic is the problem of forgetting and changing name.
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Narrative- and Space-Making in the City on the Example of Lublin

84%
Hudzik A.
Prace Filologiczne. Literaturoznawstwo
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2019
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issue 9(12) cz.1
81-95
EN
This paper discusses the literary, artistic, scientific, and educational narratives that are (re)created to facilitate the city’s recovery of memory in the wake of the Holocaust.This is the case with Lublin.The story of the complete destruction of its Jewish quarter in the Second World War is a tragically familiar one in Central Europe, even though it had been silenced and forgotten for decades during the communist period. I would like to analyze an essayistic project that searches for a new language about a place left empty. How could one fill the void by making it mean something to new people, becoming their own narrative, and preserving the presence of the city’s former inhabitants? How is it possible to create a new mythology of a place? I assume that such questions must have been the starting point for essays on Lublin byWładysław Panas (1947–2005), related to the commemoration in the context of urban space. My text comes in four parts. I begin with general information and historical background, as well as an introduction to the analysis of Panas’s essay Oko Cadyka (The Eye of the Tzaddik) − the main subject of my paper − which exemplifies the reflection on the creation of narrative and urban space in contemporary humanities. In the second part, I focus on and contextualize the relationship between text and city that the essay postulates. The third part deals with theoretical approaches to interpretation. The fourth part underlines the scientific and critical aspects of Panas’s text, which questions the language of science − the humanities, historiography, and theory in general. I end with a look at some artistic projects inspired by his images.
5
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Teozofia kabalistyczna w świetle spinozjańskiego monizmu panteistycznego

67%
Brylla D.
IDEA. Studia nad strukturą i rozwojem pojęć filozoficznych
|
2013
|
vol. 25
25-46
EN
This article presents the essential thesis from the Kabbalah theosophy i.e. from the theosophic philosophy of the mystical Judaism, which is the monisitc view of pantheism, viz. the monistic view of the godhead, in the context of determining by it the parallel for the pantheistic, monistic philosophy of Baruch Spinoza. The elements of the philosophical systems in question, on the basis of which their analogies are shown, are the categories of substance, attributes and modes (spinozism), and Ein Sof and sephirot (Kabbalah). The deity of Spinoza, i.e. the nature (for deus sive natura), is the substance (with the quality of singularity, unity, and oneness), the infinite number of attributes andthe manifested modifications (of the substance), and it is suggested in the present optics that the fundamental kabbalistc ideas as God Ein Sof and divine sephirot constitute the equivalents for them. Such correspondences are presumed due to the fact that Ein Sof is “characterized” (as far as it can be described, because Ein Sof is a product of the negative, apophatic theology/philosophy) by the descriptions specific for the Spinozian substance and its transcendental attributes, whereas the sephirot are the hypostases for the qualities that are ascribed to the comprehensible potencies from Spinoza’s pantheism: namely the two manifested attributes – res extensa and res cogitans – and the modi. What is more, the kabbalistic godhead is synonymous with the nature – as it is done in Spinoza’s system. Since the substance and the attributes with modifications, resp. Ein Sof and its sephirot, are ontologically one (they are characterized by the ontic identity), and, moreover, these categories – as a whole – set the entirety of the natural (= divine) entity, it is a well-grounded tendency to define the two analysed systems as the pantheistic monism, or monistic pantheism, which terms the present article uses.
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Differentia specifica kabalistycznej kategorii Ein Sof

59%
Brylla D.
Roczniki Teologii Fundamentalnej i Religiologii
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2012
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vol. 4
179-203
EN
The present article deals with the fundamental concept in Kabbalah, i.e. the classical Jewish mysticism (Jewish esoterism) from the 11th century onwards, namely the Ein Sof category. Ein Sof - the term that indicates the status of Deus absconditus, Deus otiosus, the totally transcendent God - exemplifies the apophatic, ultra-negative way of thinking and talking about God. Ein Sof, literally “without end”, “endlessness”, refers to God in “his” unknowable, unthinkable, inaccessible, and non-revealing peculiarity. And yet, Jewish mystics did try not to leave this concept completely without any specifications. As a matter of fact, kabba- lists, to talk about the manifested Ein Sof, use the conception of sephiroth that in developed kabbalistic exegesis means divine attributes, potencies, and emanations, through which - cause they are the immanent part of Ein Sof’s nature - God can be comprehended and even described. Jewish mystics treated the sephiroth as the divine “instruments”, “vessels” (kelim), and the question of great significance was how far the kelim were consubstantial, isomorfic with Ein Sof. The majority of kabbalists came to a conclusion that the sephirothic kelim are in fact identical with Ein Sof in their essence, with the assertion that in sephiroth Ein Sof, i.e. Deus absonditus, becomes Deus revelatus. Hence, sephiroth are simultaneously the substance of Ein Sof and the divine “instruments”, and it is only owing to them that God Ein Sof can be anyhow held forth on.
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Echad i ahawa, ajin i jesz. Wybrane koncepcje kabalistyczne w Gwieździe zbawienia Franza Rosenzweiga

59%
Kornacka K.
Edukacja Filozoficzna
|
2019
|
issue 68
83-104
PL
W artykule podjęto próbę opisania kategorii miłości i Nicości, jak również koncepcji Dei absconditi, przedstawionych przez Franza Rosenzweiga w Gwieździe zbawienia. Analiza dzieła pozwoliła na sformułowanie tezy, że konstruując swój system, Rosenzweig wykorzystał najistotniejsze idee oraz poglądy kosmogoniczne i ontologiczne wyrażane wcześniej przez żydowskich mistyków, a zwłaszcza przez myślicieli reprezentujących kabałę zoharyczną i szkołę luriańską.
EN
The aim of the paper is to describe the categories of love and Nothingness as well as the idea of Deus absconditus, which are presented in The Star of Redemption by Franz Rosenzweig. The analysis of the philosopher’s major work makes it possible to formulate a thesis that Rosenzweig adopted the central cosmogonic and ontological concepts of Jewish mystics – especially the representatives of the Zoharic Kabbalah and the Lurianic school – while constructing his own “star-system”.
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