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Czas, Pamięć, Śmierć – Vladimira Nabokova triada estetyczno-filozoficzna

100%
Kotin A.
Filologia Polska. Roczniki Naukowe Uniwersytetu Zielonogórskiego
|
2019
|
vol. 5
85-97
EN
This article focuses on three decisive aspects of Vladimir Nabokov’s thoughts and works: memory, time and death. The introductory section gives a general sketch of the temporal problematics connected with literary art; subsequently, ones delves into concrete examples from the novels, essays and statements of Nabokov so as to demonstrate the very specific aesthetic/philosophic approach to the nature of time and consciousness which can be observed in the selected texts. The working hypothesis, which is ultimately confirmed by the majority of Nabokov’s texts, is the following: memory, understood as a form of imagination, is one of the most creative aspects of human consciousness, as it allows one to contradict both death and time.
PL
Niniejszy artykuł skupia się na trzech decydujących aspektach myśli i twórczości Vladimira Nabokova: pamięci, czasie i śmierci. Rozdział wstępny przedstawia ogólny zarys problematyki temporalnej w odniesieniu do sztuki literackiej, aby następnie – na konkretnych przykładach z powieści, esejów i wypowiedzi Nabokova – ukazać ten bardzo specyficzny, estetyczno-filozoficzny pogląd na naturę czasu i świadomości, który da się wyczytać z analizowanych tekstów. Teza przewodnia, która znajduje potwierdzenie w większości tekstów Nabokova, brzmi: pamięć, rozumiana jako forma wyobraźni, stanowi jeden z najbardziej kreatywnych aspektów ludzkiej świadomości, będąc zarazem zaprzeczeniem czasu i śmierci.
2
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Die vertauschten Geschwister – Christenheit und Heidentum in Friedrich de la Motte Fouqués „Undine“ 

100%
Kotin A.
Studia Germanica Gedanensia
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2016
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issue 34
71-82
EN
The topic of the following article is the artistic depiction of the mutual relation between Christendom and Paganism in Undine, the most famous work by Friedrich de la Motte Fouqué. It is a romantic fairy-tale about a knight who has fallen in love with a mermaid. The concept of the metaphysical dimension of romantic love, of crossing the boundaries between the pagan and the Christian worlds as well as an image of the Middle ages as a literary-philosophical space are among the most important aspects of my analysis.
DE
Das Thema des vorliegenden Artikels ist die künstlerische Darstellung der wechselseitigen Beziehungen zwischen Christenheit und Heidentum im berühmtesten Werk von Friedrich de la Motte Fouqué, dem romantischen Liebesmärchen Undine. Das Konzept der romantischen Liebe in ihrer metaphysischen Ausprägung, die Versöhnung der Widersprüche zwischen dem heidnischen und dem christlichen Weltbild sowie die literarisch-philosophische Gestaltung des Mittelalterraumes sind die wichtigsten Aspekte, die dabei in den Blickpunkt geraten.
3
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„Ich habe […] keine Sonate schreiben wollen, sondern einen Roman“ – zu autoreferenziellen Aspekten von Thomas Manns Doktor Faustus

100%
Kotin A.
Studia Germanica Posnaniensia
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2013
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issue 34
27-39
DE
In the centre of the analysis stands the autoreferential dimension of Thomas Mann’s Doktor Faustus and its relation to the novel’s socio-philosophical message, which, although not free from ironical overtones, tends to be a didactic plea for humanism. However, the main emphasis of the investigation is not the humanist idea itself but, above all, the narrative methods used to infuse this idea with new means of expression. Therefore, the music-motif in the novel is interpreted as a metaphor of an intertextual literary motif. From a metaliterary perspective, the main question in Mann’s partly consistent, yet partly paradoxical art- and soul-study is the following: how can (and should) the Faust-legend be reshaped and interpreted to match the demands of the modern age? The attempt to discuss the ‚national myth‘ in such a new way is made by three authorities: two fictional and one real. The protagonist, Adrian Leverkühn, the first-person narrator, Serenus Zeitblom, and, finally, the author himself, Thomas Mann, each in turn, whether wilfully or unconsciously, offers their own art-concept. To a great extent, the general semantic picture of the story told in Faustus is determined by various distinctions between the intratextual ideological confrontation ‚Leverkühn vs. Zeitblom‘ and the extratextual outside-perspective of the author, who stays paramount to the novel-figures. My article attends to the narratological as well as the philosophical decoding of this overall-picture.
PL
In the centre of the analysis stands the autoreferential dimension of Thomas Mann’s Doktor Faustus and its relation to the novel’s socio-philosophical message, which, although not free from ironical overtones, tends to be a didactic plea for humanism. However, the main emphasis of the investigation is not the humanist idea itself but, above all, the narrative methods used to infuse this idea with new means of expression. Therefore, the music-motif in the novel is interpreted as a metaphor of an intertextual literary motif. From a metaliterary perspective, the main question in Mann’s partly consistent, yet partly paradoxical art- and soul-study is the following: how can (and should) the Faust-legend be reshaped and interpreted to match the demands of the modern age? The attempt to discuss the ‚national myth‘ in such a new way is made by three authorities: two fictional and one real. The protagonist, Adrian Leverkühn, the first-person narrator, Serenus Zeitblom, and, finally, the author himself, Thomas Mann, each in turn, whether wilfully or unconsciously, offers their own art-concept. To a great extent, the general semantic picture of the story told in Faustus is determined by various distinctions between the intratextual ideological confrontation ‚Leverkühn vs. Zeitblom‘ and the extratextual outside-perspective of the author, who stays paramount to the novel-figures. My article attends to the narratological as well as the philosophical decoding of this overall-picture.
4
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Zwischen Sinn und Wahnsinn. Die Metamorphosen des Ich im deutschen romantischen Märchen

100%
Kotin A.
Studia Germanica Gedanensia
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2019
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issue 40
110-120
EN
The first aim of this article is to reduce the absolute-generalising concept of “human” to the subjective-figurative concept of “individual”. In contrast to the anthropological philosophers of the previous epochs, the Romantic thinkers were concerned rather with the I-Problem than with the definition of “human” or “humanity”. The theoretical basis of such an impassioned I-focus can be well observed in Johann Gottlieb Fichte‘s “Subjective Idealism”. I am going to follow his principles and analyse the literary manifestations of the individual in the fairy tales and fantastic stories of the German Romantics (Ludwig Tieck, Adelbert von Chamisso).
PL
Im vorliegenden Beitrag wird der absolut-generalisierende Menschenbegriff auf das subjektiv-figurative Konzept des Individuums begrenzt. Im Unterschied zu der anthropologischen Philosophie früherer Epochen beschäftigten sich die Denker der Romantik viel intensiver mit dem Ich-Problem als mit der Definition des Menschen bzw. des Menschlichen. Die theoretischen Grundlagen dieser eifrigen Ich-Zentriertheit können besonders gut am Beispiel von Johann Gottlieb Fichtes subjektiven Idealismus beobachtet werden. Davon ausgehend werden die literarischen Manifestationen des Individuellen in den Kunstmärchen deutscher Romantiker (Ludwig Tieck, Adelbert von Chamisso) analysiert.
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