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Przyczynek do marksistowskiej krytyki prywatnego automobilizmu.

100%
Czapnik S.
Nowa Krytyka
|
2015
|
vol. 35
209-229
EN
The aim of this paper is to analyze private automobilism in capitalist system from the Marxist perspective. Author starts with Paul Virilio thought on speed and politics, issues of the mobility and social and political control. Then article is focused on Erich Fromm’s, thinker from the Frankfurt School, criticism of private owned cars. Next part is devoted to the social and cultural significance of the car-first transportation in the United States. Paper ends with alternative point of view on the automobilism, delivered by punk rock artist, known as Jello Biafra. In conclusion, there is an attempt to outline socialist option on motorization.
2
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Don DeLillo’s White Noise: A Virilian Perspective

86%
Pirnajmuddin H., Samani B. B.
Text Matters: A Journal of Literature, Theory and Culture
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2019
|
issue 9
356-373
EN
Don DeLillo’s White Noise depicts a world of rapid techno-scientific and economical changes. Paul Virilio’s concepts of dromology and speed, as well as his notions of accident and technology, seem to be the most relevant in order to examine a novel centrally concerned with change, speed and technology. This article first offers an analysis of White Noise in the light of Virilio’s concept of integral accident in relation to the negative consequences brought about by industrial and technological progress. This is followed by a discussion of the relevance to the novel of Virilio’s theories about architecture and space. Finally, Virilio’s theories about the replacement of conventional war with pure and info wars are discussed in the context of the central event of the novel. Reading the American writer through the lens of the French theorist can shed light on the enduring relevance of both.
3
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Fear and Anxiety in the Dimensions of Art

81%
Popczyk M.
ARGUMENT: Biannual Philosophical Journal
|
2012
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vol. 2
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issue 2
333-346
PL
Lęk i niepokój w wymiarach sztuki. W artykule zainteresowana jestem różnymi manifestacjami estetycznej trwogi i strachu, tj. trwogi i strachu wywoływanych przez dzieła sztuki, które omawiam w perspektywie zarówno estetycznej, jak i antropologicznej. Analizuję powiązanie międzt trwogą i przyjemnością w katharsis, w pojęciu wzniosłości Edmunda Burke’a j w odniesieniu do Czarnego Malarstwa Goyi oraz myśli Paula Virilio. Estetyczna trwoga i strach współistnieją wraz z innymi emocjami takimi jak litość, smutek, a szczególnie przyjemność, która pozostaje autonomiczna bądź wyrasta z fascynacji złem.
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