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Venice in Poetry and Prose: Adam Wiedemann’s Visit to the City

100%
Czyżak A.
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
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2020
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issue 9
215-226
EN
The main aim of the article is to identify key interpretation issues in two texts by Adam Wiedemann. Both texts feature contemporary literary pictures of visits to Venice – the Polish author wrote a short story (Sens życia. Opowiadanie śródziemnomorskie, 1998) and a poem (Tramwaj na Lido, 2015) about his journeys to Italy. Those textual visions of the urban space of Venice show that Wiedemann is fully aware of many similar attempts made earlier yet still strives to stress his distinctness, creating a record of meetings of the contemporary visitor with the unique phenomenon of the unusual urban phenomenon.
2
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The dissident and the spectre: reading Havel with Derrida

86%
Björk U.
Filosofický časopis (Philosophical Journal)
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2022
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vol. 70
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issue Special_issue_1
105-121
EN
In this paper I argue that there is an affinity between the ‘dissident’ in Havel’s essay “The Power of the Powerless” and the ‘spectre’ in Derrida’s readings of Marx. Both are manifestations of a specific modern temporality that Derrida calls “disjointed”, because it is haunted by a revolutionary force and claim for justice. Both also evoke the weak messianic power inherent in Walter Benjamin’s historiography and the spectral responsibility recognised by this power, that is, our responsibility for past and future generations. In post-totalitarian Czechoslovakia, the “nonpolitical” dissident community prefigured the renewal of moral experiences of responsibility and solidarity. In contemporary discussions of democracy, the figure of the spectre is a reminder of the significance of the Marxist legacy beyond its ideological doctrine.
3

Marx’s Concept of Ideology and its Successors

86%
Znepolski B.
Dialogue and Universalism
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2018
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issue 3
185-202
EN
The article aims at revealing the historical reinterpretations of one of social sciences’ key concepts, namely that of ideology. Referring to the analyses of Étienne Balibar and Jacques Derrida, it tries, firstly, to clarify the main moments of the Marxian concept of ideology. In Karl Marx’s view ideology is an expression of the social deformations of consciousness in class divided bourgeois society, while in the works of his disciples, among others Louis Althusser, the ideological phenomenon is generalized and con-ceived of as a basic principle of all human practice and as a necessary condition for the social integration of individuals. Moving still further form Marx, Pierre Bourdieu deep-ens Louis Althusser’s line of interpretation and abandons the very concept of ideology substituting for it the concepts of “doxa,” which does not bind human sociality to con-sciousness, but to corporeal dispositions. Unlike ideology, doxa is not just an effect of an already constituted social reality, but rather a principle of its constitution, and, there-fore, a principle of constitution of social domination as well.
4
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Widma i kości. Pandemiczna lektura „Kości, które nosisz w kieszeni” Łukasza Barysa

86%
Michalski M. A.
Jednak Książki. Gdańskie Czasopismo Humanistyczne
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2022
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issue 14
96-108
EN
This article presents a pandemic interpretation of Łukasz Barys 2021 debut, The bones you carry in your pocket. It aims to analyze the impact of the virus as a „spectrum” (Derrida) on the life of the individual and to look at the „assamblage” (Žižek) effect of the pandemic. It encompasses the „human and the non-human” (Žižek), bringing together a constellation of „postmemory” (Hirsh) spectres, traumas, bones, death and past that begins to dominate reality. The narrative is thus the testimony of an individual living in a world of blight. However, it is a latent and silent testimony. It can be found in the descriptions underlined between family traumas and the grime of everyday life, in which death, love and illness are constantly mixed together.
5
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Climate of the Europe. Past, present, future

72%
Boryczka J., Stopa-Boryczka M., Mikulska M.
Miscellanea Geographica. Regional Studies on Development
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2004
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vol. 11
101-118
EN
The advancing warming of Earth climate has largely been influenced by natural causes, i.e. increased Solar activity and decreasing volcanic activity on Earth. It still remains unknown which part of the warming process results from the increased amount of Solar energy reaching Earth surface, and which is being caused by the anthropogenic part of atmosphere's greenhouse effect. The facts speaking in favour of natural factors include synchronic changes of mean air temperature on the Northern hemisphere between 1856 - 2002, mean consecutive 11-year Wolf numbers, and the location of mass centres of the four biggest planets in our Solar system. The theory of natural causes of climate warming is also backed by synchronic changes in carbon dioxide concentration and paleotemperature within the last 160,000 years and 450,000 years, recreated based Antarctica ice cores. Warmings occur every 100,000 years. They are triggered by increased Solar radiation in large geographic latitudes resulting from changes in Earth orbit and Earth axis slant (according to the already accepted Milankovic theory). “Parallelism” of changes in CO2 concentration and paleotemperture shows that the atmospheric content of carbon dioxide is shaped by the amount of Solar radiation reaching Earth - through shifts in ocean waters temperature. It is more credible to claim that “CO2 concentration in atmosphere rises along with the amount of Solar radiation reaching Earth surface (i.e. when it is warmer).”
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Visitors from the realm of death

72%
Pypłacz J.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2012
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vol. 22
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issue 2
61-73
EN
Ghosts play a very important role in Seneca’s tragedies. They either appear on stage and deliver the prologue or influence events from backstage. Sometimes they suddenly come to haunt living relatives as phantoms or hallucinations. Their influence on the actions of the dramatis personae is considerable and, in most cases, negative or even destructive. Thanks to the fact that Seneca chose to unleash his imagination rather than cling to the technical requirements of the ancient theatre, he could permit himself the luxury of filling his plays with supernatural beings who contribute to the atmosphere of metaphysical awe that makes Seneca’s tragedies so unique and that has become their hallmark.
LA
Constat manes mortuorum in tragoediis antiquis saepe apparuisse. Poetis tragicis Graecis necessarii erant ut fabulam formarent spectatoresque exterrerent. Seneca manibus ad eadem aliaque peragenda utitur, nam quasi omnes eius tragoediae phantasmatibus abundant. Manes prologos dicentes, ut Thyestis umbra in Agamemnone Tantalique in Thyeste non solum historiam Tantalidarum in memoriam revocant, sed etiam, ante omnia, nequitiam suam ut pestilentiam in regia propagant. Non manes igitur, sed spectra infernalia apellandi sunt. Alii manes, ut Achillis umbra in Troadibus Laiique in Oedipo, ex Erebo ad terram adeunt, sed auditoribus invisibiles sunt. Crudeles, implacabiles poenaeque avidissimi, vitam dramatis personarum male influunt. Adventus eorum a nuntiis quasi epico modo narrantur. Nonnumquam dramatis personae in Senecae tragoediis visiones repentinas familiarium mortuorum habent, qui aliis personis invisibiles sunt, ut Laius, cuius spectrum horribile Oedipum in Phoenissis aggredit, Apsyrtusve, qui Medeae se ostendit. Haec malae conscientiae deliramenta sunt. Alii autem manes simpliciter familiares suos, quibus desunt, visitant, ut Deiphobi umbra quam Cassandra in Agamemnone vidit. Simili modo Hectoris umbra Andromachae uxori quasi somnium se ostendit in tragoedia quae Troades inscribitur. Ex his omnibus constat Senecam plus ingenium suum quam conditiones theatri antiqui secutum esse quam ob rem tragoedias suas spectris, phantasmatibus et prodigiis sine ullis obstaculis implevisse. Constat etiam manes mortuorum his in tragoediis magno munere fungi, nam eas unicas aliisque antiquis poematibus tam epicis quam dramaticis dissimiliores reddunt.
7
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Nauka w walizce

51%
Abriszewski K.
Zagadnienia Naukoznawstwa
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2016
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vol. 52
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issue 1(207)
87-112
PL
W artykule proponuję rozszerzenie krążeniowego ujęcia praktyk naukowych wprowadzone przez Bruno Latoura w Nadziei Pandory, o koncepcję kapitalistycznego systemu-świata Immanuela Wallersteina. Pozwala to zaobserwować szereg nowych zjawisk i zależności związanych z szeroko pojmowanymi praktykami uprawiania nauki, które pierwotny model Latoura całkowicie pomijał. Wykorzystując pojęciowość Wallersteina argumentuję, że Latour przedstawił konceptualizację odpowiadającą nauce centrowej (rdzeniowej). Analizując wybrany przykład kariery akademickiej, przedstawiam specyfi kę działania nauki na półperyferiach. Szczególnie koncentruję się na zjawisku, które określam jako „naukę walizkową”. Jej centralną fi gurę jest przewożenie w walizce znacznej liczby nadbitek artykułów naukowych i książek, które w nowym miejscu stają się cennymi zasobami. Wokół walizkowego przewożenia tekstów narasta cały zespół praktyk, przekonań, nawyków i działań instytucjonalnych, które łącznie określam jako asemblaż, ponieważ nie stanowią ani zwartej, wydzielonej całości kulturowej, ani instytucjonalnej. Zamiast tego wtapiają się w inne, istniejące już formy.
EN
In the paper, I extend Bruno Latour’s circulatory model of scientifi c practices from his Pandora’s Hope, with Immanuel Wallerstein’s theory of capitalist world-system. This enables to shed light on various phenomena, actions, and relations not taken into account by the Latour’s approach. Drawing on Wallerstein’s concepts, I argue that Latour’s model offers only a blueprint for the science of the center (core). I analyze an example of academic career to discuss the features of semi-peripherial science. I am particularly interested in the cluster of phenomena named “suitcase science”. Its basic fi gure is a suitcase fi lled with photocopies of scientifi c texts and books that once transferred to a new location turn into valuable resources (capital). Thus, suitcase relocated to a new place – to be precise, from the core to the periphery – becomes the focal point for many new practices, beliefs, habits and institutional actions. As a whole they are more of a heterogenic assemblage than a (sub)culture or a set of institutions. In the last paragraphs I analyze some of its specifi c features.
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