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1

O wzniosłości w dyskursie religijnym (z perspektywy słownictwa)

100%

Makuchowska M.

Stylistyka

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2017

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vol. 26

251-268

EN

The article is devoted to sublimity as one of the rule shaping religious discourse (especially in Christian religious tradition). In the first part the author presents three ways of understanding of the term sublime/sublimity, which have developed during historical reflection on this category: sublimity as a grand style (one of the three rhetoric styles); as a grand (high) speech (Pseudo-Longinus); as an ambivalent experience of dread and fascination (Rudolf Otto), that arouses in the believer feelings of numinous. The second part examines the lexis (vocabulary) as a mean to achieve sublimity in religious texts. The author points out however, that the effect of sublimity is achieved not only by means of lexis, hence further research is needed.

2

„Najtrudniej opisywać to co najważniejsze”. O Płynie Lugola Bohdana Zadury

98%

Opacka-Walasek D.

Poznańskie Studia Polonistyczne. Seria Literacka

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2012

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issue 19

189-198

EN

The starting point for the interpretation of the poem Płyn Lugola, [Lugol’s solution] written by B. Zadura, is the rift between the classical form of the sonnet and the title that prompts the interventionist character of the poem and that indicates journalistic involvement in and the implications of the events in Chernobyl. This in turn leads to identification of further structural tensions and dissonances (in the verse course, at the level of imaging and in shaping the mood of the poem). The descriptive category for the essence of the composition and underlined overtones of the work is the sublime, in particular as it is viewed by modern aesthetics (proposed by Lyotard, Derrida, but also Burke). What surfaces is the microscale of imaging clashed with the macroscale phenomena formalized in lyrical situation, violation of the substance of the world, stability encroached by liquidity. A particularly validated layer of the work is the sound structure of the poem: in the finely and precisely controlled instrumental line, almost equivalent to the anagram, connotes the word “Chernobyl”, though the word is not expressed explicitly in the text. The interpretation intends to prove that the stake here is the articulation of sublimity charged and permeated with a metapoetic reflection – and that “the most important is, at the same time, the most difficult to describe”.

3

Filozofia wartości według Nicolaia Hartmanna

85%

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.

4

And There Were the Plitvice Lakes. The Landscapes of the Croatian Lake District in the Romantic Journey Put na Plitvice

85%

Pieniążek-Marković K.

Poznańskie Studia Slawistyczne

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2023

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issue 25

277-297

EN

Put na Plitvice (The Road to Plitvice, 1860) is the first of the travelogue in Croatian language describing an expedition to the Croatian Lake District. The work of art is of significant “world-creating” and “culture-creating” value, introducing the Plitvice Lakes into the Croatian national text and into the national landscape, hence the biblical allusion in the title. It will therefore be a world-creating narrative, of bringing into existence and therefore giving a symbolic dimension of the work of art.I focus on the landscape-painting aspects of the text, understanding landscape as the manner of constructing and formulating the world, as a way of perceiving and incorporating it into cultural traditions. It is therefore rough, monumental, wild like a traversed space, which should be included in the category of picturesque and sublimity. Veber’s representation of nature illustrates how it was seen at the time within the framework of the national-revival programmes

5

Narzędzia Norwidowskiej moralistyki. Wzniosłość, pàthos, éthos i paideia w Wielkich słowach i w Modlitwie

71%

Pniewski D.

Studia Norwidiana

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2011

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vol. 29

119-133

EN

The aim of the analyses presented in the article is an attempt to prove that Norwid's moralizing may be explained by his conscious referring to the ancient categories of pàthos, éthos, paideia and to the category of sublimity that had been reinterpreted for centuries. According to the principles of rhetoric a sudden emotion, that is pàthos, that is revealed during a speech, was supposed to ensure the public that the speaker was earnest. In Great words Norwid explicitly indicates that he speaks for idealistic reasons. In this way he behaves like an orator: he exposes an idea, and not himself; he does not appear as a master, a prophet, someone who is initiated into something; he also does not pronounce himself to be the discoverer of that idea. A bombastic emotionality of an utterance indicates involvement of the orator who considers himself a guard or defender of everlasting values coming from the Absolute. The speaker's personal éthos is tantamount to a universal law. Defined in this way pàthos is given a moral sanction. Norwid's moralizing approach may also be explained by paideia – the ancient idea of spiritual and emotional development of an individual. Origen, transferring this category into the area of Christianity, recognized it as a concept describing the way of the Christian spirit in time. The development of civilization and culture was to be the trace of this passage. In the tradition of paideia reflections concerning the role of writing in education occupied an important place. Because of the fact that it conveyed and constructed personal models, literature was perceived as a form of paideia. Reference to the written culture in the poem was supposed to lead Norwid's contemporaries to this trace. In ancient times pàthos i éthos were connected with sublimity understood as an experience of the absolute or an attempt to “show” transcendence, “an inexpressible expression”, and speaking “for idealistic reasons”. Interest in sublimity in the period of European Romanticism also helped to remind the categories that supported it. Sublime became popular in the last quarter of the 18th century and proved to be exceptionally long-lived. The inspiring power of this category was to a large extent due to Immanuel Kant's reflections. The Author of the article looked for arguments supporting the suggested interpretation of Great words in such opinions voiced by Kant in which he connected sublimity with ethics (although the Author remarked that the Königsberg thinker was attracted by amorality of sublimity). Among others, because of the influence of Kant's conception sublimity was significantly reinterpreted in the third quarter of the 19th century, especially by Mallarmé. The article is first of all an attempt at indicating the causes of Norwid's moralizing approach and at describing the tools he used for it. Interpretations conducted along these lines also reveal the analysis of the way the poet used the convention of sublimity and they give a reconstruction of his own original formulas of sublimity. For this reason the Author subjected to analysis its diametrically opposed definitions. Great words are an example of one of them; the Author explains its persuasive emphasis by its connections of sublimity with pàthos, éthos and paideia. The intimate, subjective sublimity of Modlitwa that is rather close to its modernistic version, is an example of the other one.

6

Wzniosłość i tajemnica. U źródeł filozofii religii Abrahama J. Heschela

50%

Pawliszyn M.

Studia Warmińskie

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2012

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issue 49

23-40

EN

The central issue of the philosophy of Abraham J. Heschel is the issue of religion. It is understood as a bond between man and God. God is a mystery, but not the highest being, philosophical absolute. He is a mystery that astonishes man. This astonishment is not an act of cognition. It is rather a condition in which man discovers that it's not he who asks for God - it is God who asks for man. He is incomprehensible, He cannot be named nor described. He is infinitely close to man and worried about his fate. Those who discover such God live only to respond to His closeness. A mutual harmony is born - the most deeply understood religious bond.

DE

Das zentrale Anliegen der Philosophie von Abraham J. Heschel ist die Frage der Religion. Sie wird verstanden als eine menschliche Beziehung zu Gott. Gott ist ein Mysterium, und nicht das höchste, philosophische Absolute. Sie ist ein Geheimnis, das bei dem Menschen den Zustand des Staunens erwacht. Das Staunen ist kein kognitives Handeln, es ist vielmehr ein Zustand, in dem der Mensch entdeckt, dass es nicht so sehr der Mensch nach Gott fragt, aber der Gott nach dem Menschen. Er ist jemand unvorstellbar, man kann Ihn nicht nennen, nicht beschreiben. Er ist unendlich nah an den Mann und er sorgt sich an sein Schicksal. Derjenige, der solch einen Gott entdeckt, lebt bereits nur dazu, um die Nähe des Gottes zu erwidern. Also so ist das gegenseitige Bündnis geboren, zutiefst verstandene religiöse Bindung.

7

Burkean Beauty in the Service of Violence

43%

Emmer C. E.

Dialogue and Universalism

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2017

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issue 3

55-64

XX

Examining the images of war displayed on front pages of the New York Times, David Shields makes the case that they ultimately glamorize military conflict. He anchors his case with an excerpt on the delight of the sublime from Edmund Burke’s aesthetic theory in A Philosophical Enquiry. By contrast, this essay considers violence and warfare using not the Burkean sublime, but instead the beautiful in Burke’s aesthetics, and argues that forming identities on the beautiful in the Burkean sense can ultimately shut down dialogue and feed the lust for violence and revenge.

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