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Byzantinism and Rationality: Julien Benda and Constantine Tsatsos

100%
Arabatzis G.
Peitho. Examina Antiqua
|
2017
|
vol. 8
|
issue 1
423-446
EN
This article examines the concept of Byzantinism that Julien Benda employed in his book La France Byzantine. In the fin-de-siècle European sensibility, Byzantinism was transferred from political to literary level, but Benda created an epistemological break when he asserted in his book that Byzantinism is literature in its normal function. Furthermore, of Byzantinist character is especially the modern literature (e.g. Valéry or Mallarmé). Thus, labeling modern literati as Byzantinist writers served as a critical tool for Benda, who condemned the degradation of modern intellectuals into clerks. This transformation of literary normality affected also pure thought as is manifested in the ambiguous manner of expressing their ideas by modern thinkers (this being a mixture of idealism and apocryphal thinking, which renders ideas rather abstractions than instruments of rationality). An example of such a Byzantinist use can be found in the manner Emmanuel Levinas exploited Husserl’s phenomenology. Finally, Benda engaged in a discussion with Paulhan’s view that literary philosophy is a form of critical terror. The position of Benda is that of a rationalist, whereas Paulhan is a thinker who focuses on the use of language. For Constantine Tsatsos (1899–1987), on the other hand, a Greek philosopher and author of a philosophical novel entitled Dialogues in a Monastery (1974), the Byzantine moment is a part of great continuity of Greek culture, which is characterized by various structures in its period of long duration. One of these is the synthesis of Hellenism and Christianity that can be seen in Byzantium, where the transposition of the philosophical (Platonic) Eros to the mystical one plays a major role. This development is of paramount importance not only for the whole European culture but also for all questions of beauty and morality. The present paper concludes with a brief discussion of Richard Rorty’s account of pragmatic reason, which makes it possible to show how contemporary philosophy can be placed in the context of the debate about Byzantinism.
FR
This article examines the concept of Byzantinism that Julien Benda employed in his book La France Byzantine. In the fin-de-siècle European sensibility, Byzantinism was transferred from political to literary level, but Benda created an epistemological break when he asserted in his book that Byzantinism is literature in its normal function. Furthermore, of Byzantinist character is especially the modern literature (e.g. Valéry or Mallarmé). Thus, labeling modern literati as Byzantinist writers served as a critical tool for Benda, who condemned the degradation of modern intellectuals into clerks. This transformation of literary normality affected also pure thought as is manifested in the ambiguous manner of expressing their ideas by modern thinkers (this being a mixture of idealism and apocryphal thinking, which renders ideas rather abstractions than instruments of rationality). An example of such a Byzantinist use can be found in the manner Emmanuel Levinas exploited Husserl’s phenomenology. Finally, Benda engaged in a discussion with Paulhan’s view that literary philosophy is a form of critical terror. The position of Benda is that of a rationalist, whereas Paulhan is a thinker who focuses on the use of language. For Constantine Tsatsos (1899–1987), on the other hand, a Greek philosopher and author of a philosophical novel entitled Dialogues in a Monastery (1974), the Byzantine moment is a part of great continuity of Greek culture, which is characterized by various structures in its period of long duration. One of these is the synthesis of Hellenism and Christianity that can be seen in Byzantium, where the transposition of the philosophical (Platonic) Eros to the mystical one plays a major role. This development is of paramount importance not only for the whole European culture but also for all questions of beauty and morality. The present paper concludes with a brief discussion of Richard Rorty’s account of pragmatic reason, which makes it possible to show how contemporary philosophy can be placed in the context of the debate about Byzantinism.
2
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Cisza, która brzmi inaczej. O przyjaźni Bataille'a i Blanchota

86%
Krzykawski M.
ER(R)GO: Teoria – Literatura – Kultura
|
2016
|
issue 33
EN
This article deals with silence in which one may see the main feature of friendship between Georges Bataille and Maurice Blanchot and the basis of literary friendship further developed by Jacques Derrida and Jean-Luc Nancy. Since silence is analysed here as something that one can keep but also pass over, friendship somehow appears as the effect of overcommenting and can be interpreted as mythologem. The shape of the latter largely results from comments by Blanchot and other commentators who invoke him. In consequence, taken from Bataille, the notion of friendship loses its significance and comes to assume different meanings, including contradictory ones. Friendship between Bataille and Blanchot starts when a biographical fact turns to a literary fact and then comes back as a as form of thought. This article aims at revising the philological value of the latter in order to reveal what silence may hide.
PL
Celem niniejszego artykułu jest uczynienie z ciszy głównego wyznacznika przyjaźni, która łączy Georges’a Bataille’a i Maurice’a Blanchota, a w kontekście współczesnej myśli francuskiej może być uznana za fundament literackiej przyjaźni rozwijanej, między innymi, przez Jacques’a Derridę i Jeana-Luca Nancy’ego. Ponieważ cisza jest tutaj traktowana na dwa sposoby – jako milczenie i przemilczenie, przyjaźń jawi się jako efektem przerostu komentarza i może być rozpatrywana jako mitologem. Jego kształt został uformowany w dużej mierze przez komentarze Blanchota, a następnie za sprawą kolejnych komentatorów, którzy się na nie powoływali. W wyniku tego mechanizmu, wyjęte z myśli Bataille’a pojęcie przyjaźni uległo desemantyzacji i stało się terminem pustym, który mógł następnie nabrać dowolnych znaczeń, nie wyłączając znaczeń przeciwnych. Przyjaźń Bataille’a i Blanchota zaczyna się w momencie, w którym fakt biograficzny zmienia się w fakt literacki, by następnie wrócić pod postacią myśli. Dzisiaj pozostaje nam jednak zrewidować jej filologiczną wartość, by dostrzec to, co skrywa cisza.
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