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EN
This article regards Norwid’s Tajemnica Lorda Singelworth in the context of his anthropology as well as historical and cultural background. The author’s notion of “cleanliness,” inspired in some measure by the Gospels, is connected to the circumstances of both Norwid himself and the main character of his puzzling novella. This reading revolves around the image of a balloon flight during which the Lord – as it is argued, following hints already present in studies of Norwid – discards a piece of paper with “physiological content.” This scene is placed in the context of other literary balloon flights and the eccentricity of Baudelaire’s friend Philoxène Boyer. Finally, the article discusses Norwid’s law of inversion, which can be applied in the case of Singelworth.
EN
The article reveals the specifics of the educational process in pre-revolutionary cadet corps of the Dnieper Ukraine on the basis of historical materials. In particular, it explains the way of instilling resistant behaviour to future officers by means of accustoming, associated with organization, equanimity and moderation that are inherent in the character’s feature such as disciplined behavior. The author proves, that a decisive influence on the character of the cadet had the education and the environment in which the socialization takes place. Formation of discipline as fundamental for the military character traits in the cadet corps in Ukraine in the XIX – early XX century was carried out primarily through habituation, by which pupils fixed in their minds resistant behavior related with organization, concentration, endurance. Cadets’ life and work activity were organized in such a way that the discipline as a form of behavior received both external and internal motivation. It is emphasized that Ukrainian cadet corps participated in parades and military reviews. It was considered an honor for the young men and such measures had influential educational value because of the effort, time and persistence spent on training, received a convincing motivation, and discipline, as a sustainable form of behavior of cadets, acquired scientific character. After all, a military parade is not only a solemn and outwardly beautiful action, but it is also a demonstration of strength and power of the state, the level of training of its army. At the beginning of the XX century pupils of cadet corps which operated in Ukraine have put in a particularly difficult situation, because they, unlike other members of the imperial cadet corps, had to choose between faith, Motherland and Tsar. This choice is needed not just discipline, endurance, courage, but also a deep understanding of the dialectical sense of duty. However, it was Ukrainian cadets who observed not mechanical implementation of rules and regulations, but understanding what they are doing and for what.
EN
First of all, the presented article offers a novel interpretation of Lord Singleworth’s Secret in the context of Norwid’s anthropology on the one hand, and a historical and cultural background on the other. Norwid’s understanding of “cleanliness,” which was inspired in some measure by the Gospels, had interesting connections with the life circumstances of Norwid himself and the main character of his puzzling short story. The reading of Lord Singleworth’s Secret revolves around the image of a balloon flight during which the lord-according to this interpretation, not alien in Norwidology-throws a paper with “physiological content.” This scene is put in the context of other literary balloon flights, and also, due to Lord Singleworth’s eccentric behaviour, confronted with the manifestations of bizareness organized by Baudelaire’s friend Philoxène Boyer in the 19th century. So it seems that Singleworth is one ofthe most interesting weirdos of the 19th-century literature. Nonetheless, he remains one of the characters for whom we may invoke Norwid’s law of inversion-inferred in the article.
PL
Artykuł stanowi przede wszystkim propozycję nowego odczytania Tajemnicy lorda Singelworth w kontekście Norwidowskiej antropologii z jednej, a tła historyczno-kulturowego z drugiej strony. Rozumienie „czystości” przez Norwida, niewolne od inspiracji ewangelicznych, wchodzi w ciekawe zależności z realiami, w których przyszło funkcjonować nie tylko samemu poecie, ale też bohaterowi jego zagadkowej noweli. Odczytanie Tajemnicy lorda Singelworth skupia się wokół obrazu lotu balonem, z którego lord – wedle tej interpretacji, nieodosobnionej zresztą w norwidologii – zrzuca papier zawierający treść natury fizjologicznej. Scena ta umieszczona zostaje w kontekście innych literackich lotów balonem, a także – w związku z ekscentrycznym zachowaniem lorda – skonfrontowana z manifestacjami dziwności, jakie w Paryżu XIX wieku urządzał przyjaciel Baudelaire’a, Philoxène Boyer. Singelworth wypada zatem na jednego z ciekawych dziwaków literatury dziewiętnastowiecznej. Jednocześnie pozostaje jedną z figur, w związku z którymi przywołać można – wyprowadzone w artykule – norwidowskie prawo inwersji.
EN
The study describes anthropological and philosophical aspects of dirt as a metaphor. The author interprets the motif in the context of hygiene rhetoric (crystal palace, cleansing the society of unnecessary elements, dirt as a form of revolt, dirt as stigma etc.). Based on the example of Dwugłos o Schulzu by Kazimierz Wyka and Stefan Napierski she analyzes the meaning of metaphors and axiologically characterized pictures, favouring the analogy: if it is dirty, it is immoral. The author is interested in the idea of cleanliness and dirt as understood and pictured by the authors of the interwar period. It is these notions that literary critics of the named period refer to while formulating allegations towards Schulz’s works. The author presents dirt as a historically and culturally variable category, which was influenced by the development of medicine, cosmetic industry and advertising. She confronts Schulz’s modern guardian of order — Adela, with Jacob, an eccentric who introduces chaos and impropriety. The author is trying to grasp these metaphors and pictures due to which dirt in Schulz’s world stands for a creative potential.
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