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Filozofia wartości według Nicolaia Hartmanna

100%

Makota J.

Estetyka i Krytyka

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2009

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issue 15-16

88-106

EN

Nicolai Hartmann ascribes to values an ideal mode of existence, analogically to that of mathematical and logical units. A peculiarity of values is that they „should” exist; however that „obligation” is not shared by other ideal beings. The moral values have their subjects in persons but also in their intentions. They are the superstructure of corresponding states of affairs. A faculty active by the ness, fullness and purity. Hartmann’s Aesthetics has not been finished. According to him the aesthetical values are not values of something real but ones existing only-for-us. Only three aesthetic values are described: sublimity, grace and comicognizance of values is feeling. The four basic moral values are: kindness, nobleness, fullness and purity. Hartmann’s Aesthetics has not been finished. According to him the aesthetical values are not values of something real but ones existing only-for-us. Only three aesthetic values are described: sublimity, grace and comicality. Realizing the inadequacy of the investigations up to the present, Hartmann has not tried to sketch a single table of values. Finally, some critical remarks are added by the authoress of the article.

2

Czy satyra jest formą komizmu?

100%

Sidoruk E.

Białostockie Studia Literaturoznawcze

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2011

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issue 2

147-154

EN

The article undertakes the issue of relation between the comic and satire. Reviewing the recently reprinted book 'O komizmie. Od Arystotelesa do dzisiaj' by Bohdan Dziemidok, the author applies critical analysis to the researcher's proposed understanding of satire as a form of the comic which is equivalent and simultaneously opposite to humour.

3

Poeta „w błazeńskiej czapce na głowie”. Śmieszność (u) Różewicza

84%

Kunz T.

Pamiętnik Literacki

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2023

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vol. 114

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issue 3

119-135

PL

Autor artykułu stawia pytanie o miejsce i rolę komizmu/śmieszności w twórczości Tadeusza Różewicza, a także o towarzyszące samemu artyście poczucie śmieszności związane z uprawianiem profesji poetyckiej. W odniesieniu do pierwszego aspektu omówione zostały trzy fazy twórczości Różewicza, co pozwoliło ukazać przemiany funkcji pełnionej przez żywioł humorystyczny w wierszach satyrycznych z lat czterdziestych i pięćdziesiątych, w komediach pisanych w latach sześćdziesiątych oraz w późnych tomach poetyckich z lat dziewięćdziesiątych i dwutysięcznych. Głównym przedmiotem zainteresowania pozostaje jednak oryginalna strategia artystyczna Różewicza, w której osoba autora jest komicznym kontrapunktem twórczości, a świadome naruszanie reguł stosowności i dobrego smaku okazuje się elementem walki z oficjalną powagą, estetycznym frazesem i fałszem towarzyszącym wspólnotowym formom celebracji sztuki.

EN

The author of the paper poses the question about the role of the comical/ridicule in Tadeusz Różewicz’s work and about the feeling of comical connected with pursuing poetic practice that accompanies the poet himself. Referring to the first aspect, the author discusses three phases of Różewicz’s creation that allows to depict the changes performed by the comical element in satirical poems composed in the 1940s and 1950s, in comedies written in the 1960s, and in late collections of poems created in the 1990s and in 2000s. The author’s main subject of interest, though, is Różewicz’s artistic strategy in which the figure of the author is a comical counterpoint of writing, while deliberate distortion of the rules of appropriateness and good taste proves to be an element of struggle with official seriousness, aesthetic platitude and falsehood the latter of which accompanies community forms of celebrating the art.

4

Wybrane typy gier słowotwórczych w tekstach Kabaretu Moralnego Niepokoju

84%

Jurczyńska M.

Roczniki Humanistyczne

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2014

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vol. 62

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issue 6: Językoznawstwo

123-135

PL

Artykuł stanowi próbę ukazania słowotwórczych gier językowych w tekście kabaretowym. Analizie został poddany materiał wyekscerpowany ze skeczy Kabaretu Moralnego Niepokoju. Przedstawiono klasyfikację mechanizmów słowotwórczych, które mogą przyczyniać się do powstania efektu komicznego, przy czym skupiono się na omówieniu rzadziej podejmowanych w literaturze przedmiotu zjawisk, tzn.: grupowaniu i nagromadzeniu struktur reprezentujących ten sam model słowotwórczy lub leksemów tworzących rodzinę słowotwórczą, uwypukleniu struktury słowotwórczej, reinterpretacji etymologicznej, grach z wykorzystaniem skrótowców, metasłowotwórstwie. Pominięto opis neologizmów i kontaminacji. Przeprowadzona analiza pokazała, jak wieloma środkami słowotwórczymi dysponują twórcy kabaretu oraz jak różne funkcje mogą one pełnić. Służą one przede wszystkim osiągnięciu komizmu, ale także uzyskaniu efektów stylizacyjnych czy nadaniu tekstowi ekspresji

EN

This paper attempts to explore word formation games in a cabaret text. The material under analysis was extracted from the sketches developed by Kabaret Moralnego Niepokoju [A Moral Anxiety Cabaret]. The article presents a classification of these word formation mechanisms that can be used to produce a comic effect. The main emphasis is put on these mechanisms that are relatively rare in other analyses in the literature of the subject. These mechanisms include the following: grouping and accumulating of structures representing the same word formation pattern or lexemes belonging to one word formation family, emphatic use of a word formation structure, etymological reinterpretation, word play with the use of abbreviations and meta-word formation techniques. Neologisms and contaminations were excluded from the scope of the analysis. The analysis of the data at hand revealed the richness of word formation strategies that the cabaret group members employ in their texts and the diversity of functions these strategies can realize. The major function used by the cabaret members is comical, yet they also reach for stylization and enhanced expressiveness of their texts.

5

Henri Bergson a Karol Irzykowski — inspiracje i paralele

67%

Gołębiewska M.

Prace Polonistyczne

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2015

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vol. LXX

81-99

EN

The aim of my article is to indicate the inspirations provided by the Bergsonian ideas that we find in texts written by the Polish intellectualist Karol Irzykowski — these inspirations are declared explicitly, but more frequently they are suggested implicite. The inspirations are clearly noticeable in his book on the cinema (Dziesiąta Muza, 1924) as well as in his early articles and the experimental novel Pałuba (1903). On the other hand, the late book by Bergson, concerning religion and morality (Les Deux sources de la morale et de la religion, 1932), reveals a work approaching the clerc’s ideas which is declared explicite and incessantly by Irzykowski. It has to be stressed that Irzykowski is familiar with Bergson’s works, first and foremost, thanks to Polish translations and editions — as referenced in his commentaries (Henri Bergson, Le Rire. Essai sur la signification du comique, 1900, Polish edition 1902; Henri Bergson, L’Évolution créatrice, 1907, edited in Polish in 1911). However, the Bergsonian work which seems most influential for the philosophical theses of Irzykowski, i.e. Matière et mémoire. Essai sur la relation du corps à l’esprit (1896), was only published in Polish in 1926. It is possible that the presence of theses from this book in the works of Irzykowski is the result of his familiarity with philosophical currents and discussions of that time. Irzykowski’s works address, among others, the essential question of “reality” considered at the time by Bergson (as well as by William James). The Bergsonian vitalist philosophy of life (but also the culturalist position of Wilhelm Dilthey and Georg Simmel) was a critical point of reference for Irzykowski’s own comprehension of the terms “life”, “matter”, and “spirit” in the larger context of “reality” (defined as a sum of particular beings). Irzykowski considered language and history — surely after Bergson — in the context of memory and individual biography. He postulated the subjectivisation and individualisation of historical knowledge. Just like Bergson, Irzykowski confronted mechanism and dynamism; he considered in the context of this opposition questions of comicality and laughter as well as the anthropological effects of a specific, cinematographic perception. However, Irzykowski — in contrast to Bergson in his book L’Évolution créatrice — coupled the mechanism strictly with the dynamism, grasping film as a mechanic registration of human perception, as well the art of dynamic movement. According to Irzykowski, film would be a confirmation not of the analytic, but synthetic character of human perception and cognitive faculties. Just like Bergson, Irzykowski tried to go beyond the metaphysical and psychophysical dualism towards the standpoint of monism, but with pluralistic aspects (pluralism of different “realities”). The late Bergsonian theses on religion and morality (Les Deux sources de la morale et de la religion, 1932) demonstrate, once again, some similarities between his ideas and Irzykowski’s concepts. There might seem to be many differences between them: Irzykowski consistently declared his own intellectual point of view and Bergson stressed that instinct and intuition played the most significant roles. However, in the end, Bergson discovered that he had fulfilled his life’s mission and his late declarations seem close to the clerc’s standpoint of Irzykowski.

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Filozofia wartości według Nicolaia Hartmanna

Czy satyra jest formą komizmu?

Poeta „w błazeńskiej czapce na głowie”. Śmieszność (u) Różewicza

Wybrane typy gier słowotwórczych w tekstach Kabaretu Moralnego Niepokoju

Henri Bergson a Karol Irzykowski — inspiracje i paralele