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Pierwiastek pałubiczny, konstrukcja i akulturacja w „Pałubie” Karola Irzykowskiego

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Gołębiewska M.
Prace Polonistyczne
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2017
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vol. LXXII
87-102
EN
The aim of the text is to discuss Karol Irzykowski’s concepts of “pałuba” and construction, which he proposed in Pałuba (1903), where he characterises a “constructional element” appealing to the theses of empirical criticism of Richard Avenarius and Ernst Mach. However, the question of the construction, understood first from the epistemological and psychological point of view, was present in the theses of Kant, Fichte and Schelling, and it became popularised thanks to neo-Kantianism and empirical criticism. The theses related to the construction were intensively discussed during the creation of Pałuba and Irzykowski’s subsequent works, in which the issue of construction also appears, considered as a cognitive schema, as the formal element confronted with the content, as the constructional aspect of the verbal and visual (film) communication. His later works concern the cultural construction which is also a formal construction, and they come into being at the same time that Cassirer’s books on the symbolic forms of culture were published. However, the question of construction is best presented in Pałuba, described with the phrase “constructional element”, which was opposed to a “pałuba” (“pałubic element”). Confronting the terms “pałuba”, i.e. natural, direct, presented to the human being, and “construction”, i.e. the world created by human beings, specific for us, Irzykowski defines human existence, he shows the regularities of human acts, cognition and feeling. At the same time, he captures the “natural” aspect of culture with the use of the term “pałuba”. It is that coexistence of the naturalness and the specifically human products within the world of culture — in the world which annexes the “natural”, bestows the senses and meanings on “pałuba” — that makes an “enculturation” possible, i.e. an introduction of the “wild” man into culture, teaching and adaptating to life in the cultural world, full of human senses and meanings. The text discusses the category of the “constructional element” and presents Irzykowski’s thoughts on the background of the hitherto existing concepts of construction, as well as in the context of his own anthropological, epistemological and cultural theses.
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Koncepcje metafory i metaforyzacji a pojęcie – komentarz do stanu badań

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Gołębiewska M.
IDEA. Studia nad strukturą i rozwojem pojęć filozoficznych
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2017
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vol. 29/2
EN
The article aims to present some diverse concepts of metaphorization of colloquial language and scientific discourse. The starting point of scientific discourse is colloquial thinking – it uses logical argumentation, but also rhetorical figures, typical of everyday reasoning, such as metaphors. The point of reference is the Aristotelian definition of metaphor, which was contemporarily reinterpreted by 1) linguists (among others, Émile Benveniste and cognitive linguists) – the metaphorical sources of notions, the metaphor considered as the starting point of conceptualisation, 2) literary and cultural studies – the application of metaphor in the various cultural messages linked to the mythical thinking and the reasoning and argumentation by analogy – among others, Claude Lévi-Strauss and Edmund Leach, and in particular by 3) philosophers who characterised a metaphorization process as a specific kind of thinking, which conditions the regularity and systematicity of reasoning and imagining (Hans Blumenberg, Paul Ricoeur, Jacques Derrida). The article presents and compares the aforementioned statements, marking the distinctness between metaphor and metonymy, showing the necessity for this distinction in the research concerning: the role of metaphor in colloquial and scientific discourse, the relations between sense and metaphor, the connexions between truth, notion and metaphor. Additionally, I analyse the case of the metaphor of horizon, which is typical of the contemporary phenomenological and hermeneutical discourse.
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The Performative Aspects of Metaphor: The Metaphorization of Silence between Intentionality and Conventionality

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Gołębiewska M.
Eidos. A Journal for Philosophy of Culture
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2019
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vol. 3
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issue 4(10)
5-20
EN
Metaphor, as is known, has been considered an expression of the creative approach of a subject to language and thinking. Metaphor enables the subject of cognition and action to establish meaning – the subject exercises semiosis not only by referring to the former convention and the situational context, but also by transforming it due to the distinct act of turning the metaphor into an instrument of expression. The innovative character of metaphor allows one to consider it in the context of performative theory, whereas its receptive, evocative character requires interpretation from the recipient. In both cases, metaphor in acts of communication, opens their participants towards specific expressions – performative expression in the case of individual semantic innovation, and receptive expression in the case of the interpretation of former metaphors. The specific example of silence, considered as a kind of metaphor within the frameworks of the performative theory, is the subject-matter of the paper. The basic question of the paper, referring to John L. Austin’s speech act theory and to his followers, is related to the source of the aforementioned metaphorization – to what degree is it an intention of language users, and to what degree is it a language convention which allows one to combine words and establish new associations metaphorically? In his pragmatic concept of meaning, Austin stresses the role of the context of an utterance – the situational context may also enable the establishment of metaphor as a figure of speech that dynamizes and moves our thinking.
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Henri Bergson a Karol Irzykowski — inspiracje i paralele

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Gołębiewska M.
Prace Polonistyczne
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2015
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vol. LXX
81-99
EN
The aim of my article is to indicate the inspirations provided by the Bergsonian ideas that we find in texts written by the Polish intellectualist Karol Irzykowski — these inspirations are declared explicitly, but more frequently they are suggested implicite. The inspirations are clearly noticeable in his book on the cinema (Dziesiąta Muza, 1924) as well as in his early articles and the experimental novel Pałuba (1903). On the other hand, the late book by Bergson, concerning religion and morality (Les Deux sources de la morale et de la religion, 1932), reveals a work approaching the clerc’s ideas which is declared explicite and incessantly by Irzykowski. It has to be stressed that Irzykowski is familiar with Bergson’s works, first and foremost, thanks to Polish translations and editions — as referenced in his commentaries (Henri Bergson, Le Rire. Essai sur la signification du comique, 1900, Polish edition 1902; Henri Bergson, L’Évolution créatrice, 1907, edited in Polish in 1911). However, the Bergsonian work which seems most influential for the philosophical theses of Irzykowski, i.e. Matière et mémoire. Essai sur la relation du corps à l’esprit (1896), was only published in Polish in 1926. It is possible that the presence of theses from this book in the works of Irzykowski is the result of his familiarity with philosophical currents and discussions of that time. Irzykowski’s works address, among others, the essential question of “reality” considered at the time by Bergson (as well as by William James). The Bergsonian vitalist philosophy of life (but also the culturalist position of Wilhelm Dilthey and Georg Simmel) was a critical point of reference for Irzykowski’s own comprehension of the terms “life”, “matter”, and “spirit” in the larger context of “reality” (defined as a sum of particular beings). Irzykowski considered language and history — surely after Bergson — in the context of memory and individual biography. He postulated the subjectivisation and individualisation of historical knowledge. Just like Bergson, Irzykowski confronted mechanism and dynamism; he considered in the context of this opposition questions of comicality and laughter as well as the anthropological effects of a specific, cinematographic perception. However, Irzykowski — in contrast to Bergson in his book L’Évolution créatrice — coupled the mechanism strictly with the dynamism, grasping film as a mechanic registration of human perception, as well the art of dynamic movement. According to Irzykowski, film would be a confirmation not of the analytic, but synthetic character of human perception and cognitive faculties. Just like Bergson, Irzykowski tried to go beyond the metaphysical and psychophysical dualism towards the standpoint of monism, but with pluralistic aspects (pluralism of different “realities”). The late Bergsonian theses on religion and morality (Les Deux sources de la morale et de la religion, 1932) demonstrate, once again, some similarities between his ideas and Irzykowski’s concepts. There might seem to be many differences between them: Irzykowski consistently declared his own intellectual point of view and Bergson stressed that instinct and intuition played the most significant roles. However, in the end, Bergson discovered that he had fulfilled his life’s mission and his late declarations seem close to the clerc’s standpoint of Irzykowski.
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Edmund Husserl’s Semantics and the Critical Theses of Late Structuralism

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Gołębiewska M.
Eidos. A Journal for Philosophy of Culture
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2019
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vol. 3
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issue 1(7)
30–50
EN
The article contains a review of the main arguments proposed by the philosophers of late structuralism (including the so-called post-structuralism) against Edmund Husserl’s phenomenology, particularly, his theses on semantics. Polemics against the Husserlian conception of semantics are grounded in the structuralists’ opposition to the various theses of Husserl’s phenomenologies (both the transcendental constitutive and the genetic). Initially (particularly in the 1950s), it was an attempt at combining the logical and linguistic theses of Husserlian phenomenology with the structuralist theses proposed by Ferdinand de Saussure, as known from late works by Maurice Merleau-Ponty. In the 1960s, it was an attempt at challenging the status of subjectivity – the subject, including the transcendental ego and the role of consciousness. Simultaneously, it is a polemic against essentialism, in regard to ontological, epistemological and anthropological theses. In the article, I focus on the polemics of the thinkers (i.a. Gilles Deleuze, Jacques Derrida, Jean-François Lyotard) that reformulated Saussure’s theses, against Husserlian semantics which they considered in reference to the broad understanding of a sign, exceeding the sign of language.
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