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Ucieczka z więzienia fantazji

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EN
The author of the article persuades us that the slogan of ideology is no longer “They do not know what they do, and, hence, they do it”, but, following Peter Sloterdijk, “They know what they do very well, and, yet, they still do it”. The article is an attempt to derive political consequences from this belief, namely, the ones having ambition to determine a direction of a collective life. In his article, following psychoanalytical intuitions, the author wonders how it is possible that even a full awareness of manipulation being made does not protect the subject from behaving in a way imposed on by the system. In this context, what becomes useful for the author is the analysis of the role of fantasy-fetish included in works by Slavoj Žižek. It is him who does not only describe the mechanisms of postmodern ideology, but also proposes a psychoanalytical remedy referred to as an act.
FR
L’auteur de l’article convainc que le slogan de l’idéologie n’est plus « Ils ne savent pas ce qu’ils font et (c’est pourquoi) ils le font », mais (d’après Peter Sloterdijk) « Ils savent très bien ce qu’ils font et pourtant ils le font encore ». L’article est une tentative de tirer des conséquences politiques de cette opinion, politiques – c’est-à-dire qui ont l’ambition de montrer la direction pour la vie collective. Dans l’article, en suivant les intuitions psychanalytiques, l’auteur réfléchit sur les causes du paradoxe que même une pleine conscience de la manipulation faite ne protège pas le sujet contre le comportement imposé par le système. Dans ce contexte, l’analyse du rolle de la fantaisie – fétiche, provenant des travaux de Slavoj Žižek, devient utile pour l’auteur. Le philosophe non seulement fournit la description des mécanismes de l’idéologie postmoderne, mais encore il propose un remède psychoanalytique, qu’il nomme un acte.
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Architektura nowoczesności

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In the text I trace the philosophical outlines of the modern movement in architecture. The thesis I aim at defending posits that architectural modernism reflects the fortunate moment – and a turning point of sorts – in the history of the human species, where the human form reached its mature form of an autonomous individual, before its subsequent absorption and dissolution in the structures of the late or postmodern capitalism. The contemporary aesthetic critique of modern architecture with its “violence” and romantic spirit of lofty solitude, however reasonable, modest or realistic that critique may seem, is in fact part and parcel of a larger process of gradual selfeffacement of the human form from the most important stories taking place on the surface of the earth.
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