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EN
This article describes the life and work of an important Czech sociologist of the interwar period, Emanuel Chalupný (1879-1958). Even from a mere outline of his life one clearly sees that he was a highly controversial, tenacious, even disagreeable figure, who had no intention of giving in to anyone or anything, something that earned him many enemies. His own extraordinarily numerous works of sociology are today outmoded, yet they contain a number of original ideas, which contemporaneous critics often overlooked. One of the areas where Chalupný made interesting contributions is the sociology of religion, which developed in an original way the ideas of Auguste Comte and follows on Tomáš Garrigue Masaryk. Chalupný appreciated both individual mysticism and the thorough church organization, and was able to perceive the religious dimensions of works of art, particularly literary ones, as well as political forms of ‘implicit religions’. His own attitude to religion, however, stemmed from his religious feeling, at least to a certain extent, which had developed in the context of the religious and non-religious opinions of contemporaneous Czech intellectuals (though not always in agreement with them). This dimension of Chalupný’s personality is examined in the article, wherever the sources have permitted, as well as the unfortunate conclusion of his life after the Communist takeover in Czechoslovakia.
CS
Článek popisuje život a dílo významného českého sociologa meziválečného období, Emanuela Chalupného (1879-1958). I z letmého náhledu je zřejmé, že šlo o osobnost vysoce kontroverzní, urputnou, až nepříjemnou, která se odmítala komukoli či čemukoli vzdát, což mu přineslo mnoho nepřátel. Jeho neobyčejně rozsáhlé sociologické dílo je dnes překonáno, ale obsahuje mnoho originálních myšlenek, které doboví kritici často přehlíželi. Jedna z oblastí, do níž Chalupný zajímavě přispěl, byla sociologie náboženství, kterou svébytně rozvinul na myšlenkách Augusta Comta a Tomáše Garrigua Masaryka. Chalupný si cenil jak individuálního mysticismu, tak církevní organizace, a byl schopen vnímat náboženské dimenze umění, a to především v literatuře, stejně jako politické podoby „implicitní religiozity”. Jeho přístup k náboženství pramenil alespoň do určité míry z vlastního náboženského cítění, které se vyvinulo v kontextu debat českých intelektuálů na (nejen toto) téma (ne vždy s nimi navíc souhlasil). Článek se zabývá i touto dimenzí Chalupného osobnosti, nakolik to prameny dovolují, stejně jako nešťastným závěrem jeho života po komunistickém převratu v Československu.
EN
Taking up Antoine Compagnon’s thesis, according to which Sodom and Gomorrah constitutes a privileged place to look at the whole Proustian cycle, the article focuses on the social dimension of the novel, as well as on cruelty. In this context, the image of Jews and servants, and the role of the baron de Charlus are studied in particular. For the author also discusses the vision of love, especially homosexual, to show how Proust’s approach stems from sadism and masochism.
Cahiers ERTA
|
2023
|
issue 33
159-183
EN
Written on the sidelines of a new translation of Sodom and Gomorrah into Polish, the article evokes the problem that the translator had in finding the equivalent of the term inverti. This problem serves as a pretext to speak, on the one hand, of homosexuality in Proust, on the other, of language as the subject of the novel. In this context, the role of Albertine and the etymological tirades of professor Brichot are studied in particular. The author also highlights the testamentary character of this part of the Proustian cycle.
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T. G. Masaryk a Edmund Husserl : K pojmu humanity

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EN
The article focuses on possible convergences and parallels in Masaryk’s and Husserl’s thought, with a special emphasis on their similar conceptions of humanity. At issue, at the same time, is a polemical exchange with Patočka’s interpretation of their mutual relation, in which Patočka stresses rather the opposition of ideas and divergence in philosophical method in the overall orientation of both authors. The main themes are the resemblances between Masaryk’s and Husserl’s relation to subjectivism by a critique of Kant’s transcendental method, an orientation to a shared world as the set of historically conditioned intersubjective validities, and resemblances between psychologism and titanism. The main similarity is, however, discerned in the analogical conception of humanity, even if this concept is developed in each author in a rather different conceptual framework.
CS
Článek se zaměřuje na možné konvergence a paralely v Masarykově a Husserlově myšlení, a to zejména s důrazem na jejich podobné pojetí humanity. Ve svém jádru je zároveň polemikou s Patočkovou interpretací jejich vzájemného vztahu, v níž Patočka zdůrazňuje spíše myšlenkové opozice a protichůdnost ve filosofické metodě i celkovém zaměření obou autorů. Hlavními tématy jsou podobnosti mezi Masarykovým a Husserlovým vztahem k subjektivismu, kritikou Kantovy transcendentální metody, zaměřením na sdílený svět jakožto soubor dějinně podmíněných intersubjektivních platností nebo příbuznosti mezi psychologismem a titanismem. Hlavní podobnost je ovšem spatřována v analogickém pojetí humanity, ačkoli je tento pojem u obou autorů rozvíjen v odlišném pojmovém rámci.
EN
The study explores the exchange of impulses and ideas between the three fields indicated in the title, presenting Petr Bogatyrev as their mediator. It is concerned, among other things, with Bogatyrev connecting the findings of French sociologically-oriented ethnologists, such as Emil Durkheim and Luciene Lévy-Bruhl, and German ethnologists (Hans Neumann) to the theories of the Prague Linguistic Circle and their influence of Jan Mukařovský’ sociology of art. The author focuses on the way in which Bogatyrev combines the formal and sociological perspectives, and applies them on different cultural phenomena (folk beliefs, folk art, high art) as they move between different cultural strata. Another point of inquiry is the collaboration of Bogatyrev and theatre director E. F. Burian, whose montage of folk poetry is presented in the paper as a theatrical enactment of Bogatyrev’s structural-functional method, i.e. the transformation of function, structure, and meaning in transition between folk and high art.
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