Search results

1

Dichtermut i Blödigkeit – dwa wiersze Friedricha Hölderlina w interpretacji Waltera Benjamina

100%

Hanssen B.

Estetyka i Krytyka

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2017

|

issue 1(44)

97-134

2

Co říká duha?

89%

Ritter M.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2016

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vol. 54

28-35

EN

Seeking to establish a theory of experience overcoming the horizon of the Enlightenment, in some of his earlier texts Benjamin reflects on phantasy. These reflections establish a logics or language of the world besides the (Neo-Kantian) duality of intuition and reason, or receptivity and spontaneity. This language, instantiated especially by the rainbow, discloses the truth without application of rational categories. The truth, however, does not disclose itself, and cannot be conceived of, simply as a continuum of one medium. Rather, it appears in a discontinuity transcending this medium without disturbing it.

3

Doświadczenie szoku Walter Benjamin i trauma nowoczesności

89%

Marcinkowski G.

Śląskie Studia Polonistyczne

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2018

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vol. 12

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issue 2

9-23

EN

The author of the article tries to reconstruct both the way of perceiving subjectivity in the works of Walter Benjamin and the ways in which the tension between identity and history is manifested in his writings. The article concentrates on the concept of shock, developed by the philosopher during reading Baudelaire and Kafka. With this concept, it is possible to describe the transition from the narrative conception of experience to “point experience” constituted by series of sudden unconnected impulses. The moment conducing to this transition was the I World War which for Benjamin – as well as for others significant thinkers of that time – constituted an important turning point.

4

(Nie)zapomniane: (anty)teologia bezużyteczności Waltera Benjamina

71%

Marcinkowski G.

Tematy z Szewskiej

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2017

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vol. Rzeczy 1(18)/2017

77-90

PL

Celem artykułu jest rekonstrukcja teorii „niezapomnianego” wypracowanej przez Waltera Benjamina na kartach jego eseju Zadania tłumacza oraz w szkicach poświęconych twórczości Franza Kafki. Ukonstytuowanie się tego konceptu można odczytywać zarówno jako wynik inspiracji teologicznych i materialistycznych w myśli autora Pasaży, jak i postawy krytycznej, nazywanej przezeń „materializmem historycznym”. Bliższa analiza inkryminowanego splotu pojęciowego prowadzi do rekonstrukcji rozproszonej w pismach krytycznych Benjamina „ontologii przedmiotu”, wchodzącej w dialogiczny związek ze stworzonymi równolegle koncepcjami fenomenologicznymi, marksistowskimi czy psychoanalitycznymi. Celem rozważanej konstrukcji pojęciowej jest opisanie paradoksalnej natury rzeczy, która wyszła z użycia, znajdującej się na granicy pomiędzy wyczerpaniem, a unicestwieniem. Istotnego wsparcia i inspiracji dla analiz zaprezentowanych w artykule dostarczyła dokonana przez Gorgio Agambena reinterpretacja pojęcia „niezapomnianego” w kontekście idei pamięci-archiwum

EN

The aim of this article is the reconstruction of Walter Benjamin’s theory of “unforgettable” in his essay “Task of the translator” as well as his writings about Franz Kafka. This concept can be explained as a result of antithetical (at once theological and materialistic) inspirations of Benjamin’s thought and also as a consequence of his critical position, which he named “historical materialism”. A Closer look into the title concept leads to recreating Benjamin’s ontology of object/thing, and puts it into a dialogue with rival theories – psychoanalytical, henomenological and Marxist. The concept of “unforgettable” describes the paradox nature of being (thing, tool, material or virtual object), put at rest between destruction and annihilation, which is felt through its “cracks”. The main support and inspiration for the analysis presented in article was found in works of Giorgio Agamben, who reconstructed Benjamin’s idea of “unforgettable” in the sense opened by idea of memory-archive.

5

Słaby uniwersalizm

71%

Groys B.

Praktyka Teoretyczna

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2019

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vol. 32

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issue 2

22-36

EN

This essay is a discussion of the task of the avant-garde, and it presents it as an implication of Benjamin's weak messianism, as a „weak universalism” – a construction of democratic art. There is a similarity between the art of Malevich, Beuys, Warhol and internet art, which consists in efforts to build a transhistorical art pieces, which contains the conditions of possibility of all art pieces, but which is at the same time accessible to the widest public. This is the translation of the original text published „The Weak Universalism” in e-flux magazine, issue 15/2010.

PL

Niniejszy esej podejmuje temat zadania awangardy i formułuje je jako rozwinięcie Benjaminowskiego słabego mesjanizmu, jako „słaby uniwersalizm” – budowanie demokratycznej sztuki. Między twórczością Malewicza, Beuysa, Warhola czy twórców nowych mediów istnieje pewne podobieństwo, polegające na dążeniu do dzieła transhistorycznego, zawierającego warunki możliwości wszystkich dzieł, również czytelnego dla jak największej publiczności. Podstawą przekładu jest esej Groysa „The Weak Universalism”, opublikowany w czasopiśmie e-flux 15/2010.

6

Historia i struktura. Problem uprawomocnienia

65%

Leder A.

Praktyka Teoretyczna

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2016

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vol. 22

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issue 4

132-151

EN

In his text the author is defining the conflict of the structuralist and historicist – synchronic and diachronic thought – described by de Saussure–- as a development of two different ethical axioms in the field of social philosophy. He tries to show, how each of this axioms can generate a different ontology of social being. Applying some elements of Deleuzian thought the author analyzes the theoretical position of the two ethical axioms. Then, on the fundament of the Lacanian, and more generally poststructuralist thought he tries to give a draft of a theoretical space in which such a change of ethical positions would be possible. He develops thus a new philosophy of symbolic fields.

PL

Zarysowany przez de Saussure‟a spór pomiędzy myśleniem strukturalistycznym a historycznym autor rozpoznaje jako konflikt zasad etycznych w filozofii społecznej. Pokazuje, jak każda z tych zasad generuje inną ontologię społecznego bytu. Na przykładzie Deleuze‟a rozważa teoretyczne umiejscowienie każdej z tych etycznych pozycji, a potem, w oparciu o myśl poststrukturalistyczną, a szczególnie Lacanowską, próbuje naszkicować teoretyczną przestrzeń, w której takie zmiany pozycji etycznej byłyby możliwe. Wypracowuje w ten sposób pewną filozofię pól symbolicznych.

7

Infinity Now! Speculative Philosophy and Addiction

63%

Sosnowski M. A.

Eidos. A Journal for Philosophy of Culture

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2022

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vol. 6

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issue 1

18-35

EN

This essay is an attempt to look at the existential phenomenon of being addicted from the perspective of speculative philosophy. The starting point is the description of Walter Benjamin’s narcotic experiences. Further in my considerations I am guided by the Kantian categories of the dialectics of pure reason, with particular emphasis on transcendental ideas. However, only the philosophy of G. W. F. Hegel along with the concepts of desire and habit allows us to comprehend addiction as a wild and unbridled desire for life, taken over by a dead scheme, by a mechanism, automatism. It is in this behavior, and only in it, that we constantly become aware of ourselves, lose ourselves to the specified objectification, obtain finite satisfaction, and repeat that deadness – this what addiction precisely is according to the Phenomenology of Spirit and the Encyclopedia of the Philosophical Sciences. Hegel links it with an attitude of “stubborn subjectivity” that clings to the limits of its solipsistic finiteness, to the “bad infinity” and seeks satisfaction within its borders. In this way, the German philosopher links addictive behavior with the structure of dialectics itself.

8

Przejrzeć Heideggera

63%

Różanowski R.

Sztuka i Dokumentacja

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2021

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issue 24

45-61

EN

Martin Heidegger’s lecture The Origin of the Work of Art, presented on November 13th, 1935 in Freiburg, marked a significant turn in its author’s philosophical thought. Earlier Heidegger had immersed himself in politics, yet when it proved to be a blind alley or simply a mistake, he turned to aesthetics. And although he never endeavoured to form a systematic theory of art or aesthetics, art does hold a solid position within his philosophical output. When certain researchers tackle the issue of Heidegger’s specific, metaphorical language, they point out that the philosopher addressed well known issues that, in fact, had already been widely discussed beforehand. While analyzing art, he asked a basic question about its substance. The provided answer would also remain on the traditional side: only art, as opposed to thinking with the use of certain terms, saliently relates to being – here Heidegger’s thought finds its common ground with those of philosophers as different as Schelling, Nietzsche or Adorno. Heidegger himself found his idea of art very much opposed to traditional aesthetics - to what focused on artistic experience and on experiencing art. In his opinion, all attempts to interpret a work of art that were based on the term “experience”, using it then to construct a whole concept of modern aesthetics, were deleterious effects of the old philosophy focused on subjectivity, where aesthetics is inevitably degenerated – not only by promoting the wrong idea of the spheres belonging to the artist and the viewer, but also by losing sight of the work of art being the highest, essential instance. Thus, solely a work of art remains the object of his specific metaphysics, since it embodies the substance of art. And so, the desire to “see through Heidegger,” focusing on his key opus - The Origin of the Work of Art - follows the perspective drawn by Hermann Mörchen who aimed at breaking the philosophical refusal to make connections between Heidegger and Adorno, as well as confronting the output that each of them had left after their deaths. Within that perspective, a significant role is played, next to Adorno, by Walter Benjamin – as there are certain remarkable aesthetic problems that at times set the two adversaries closer to each other, and at times further apart. Benjamin’s letters involve a critique of Heidegger’s work. According to Adorno, every attempt to justify aesthetics by invoking the origin of art as its core, must lead to a disappointment. Whereas Benjamin, in an essay that was supposed to earn him a degree, mused about the “origin of German Trauerspiel;” and like Heidegger, he also wrote about van Gogh. Thus, the presented conclusions may not only imply differences, but also correspondence and compliance of certain philosophical assumptions made by the philosophers.

9

“Rags on fire are floating around”. On the deprecated world of things in Norwid’s writing

63%

Trybuś K.

Studia Norwidiana

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2017

|

vol. 35 English Version

43-58

XX

The article is an attempt at describing and defining the role and function of depreciated things in Norwid’s poetry. The author points out that their material imperfection is the stigma of the contemporary world. He also points out that the destroyed things-symbols bearing the hallmarks of allegory are the carriers of cultural memory that is an integral part of everyday life of Norwid’s heroes. The main concern of this analysis involves the examination of different types of memory in the poet’s works, their disturbance in the process of perception of things. The author refers, among others, to Heidegger’s views on the “failure” of things in their existence. In his reflections, he contextually evokes the works by Mickiewicz and Baudelaire.

10

TOO MUCH LOVE FOR THE WORLD: APOCALYPSE IN THE WORKS OF T.S. ELIOT AND LARS VON TRIER

62%

Vaso K.

Świat Tekstów. Rocznik Słupski

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2019

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vol. 17

67-74

PL

W Melancholii Larsa Von Triera Justine, przygnębiona bohaterka filmu, z niecierpliwością oczekuje zniszczenia świata, uznając to za stosowny cel dla siebie i całej nędznej rasy ludzkiej. Film skupia się na apokalipsie, która w końcu jest, i jest piękna. „Na początku jestem moim końcem,/moim końcem jest mój początek”, pisze T.S. Eliot w Four Quartets, choć Von Trier nie obiecuje lepszego świata. Zarówno filmowiec, jak i poeta przeplatają osobisty koniec, dosłowny lub figuratywny, z masowym zniszczeniem. Jednak w filmie cel jest pożądany, a dzięki Justine reżyser sugeruje, że takie pragnienie może wynikać raczej z głębokiej miłości niż odwrotnie. Ta sugestia przypomina opis Waltera Benjamina Charlesa Baudelaire’a jako nowoczesnej melancholii. „Melancholia nie patrzy na ideał”. To sprzeczne z intuicją pochodzenie chęci zniszczenia i płynne przeplatanie się osobistej i globalnej apokalipsy w Melancholii, a także w kilku wierszach Eliota, były przedmiotem mojej pracy.

EN

In Lars Von Trier’s Melancholia, Justine, the film’s depressed protagonist, eagerly awaits the world’s destruction, deeming it a fitting end for herself and the entire miserable human race. The film focuses on the anticipation of the oncoming apocalypse which, in turn, is visually and verbally expressed in beautiful terms and images, implying that, even in the end, there is beauty. “In my beginning is my end, / in my end is my beginning,” writes T.S. Eliot in Four Quartets and while Von Trier does not promise a better world emerging from the ashes of the old one, he does suggest that, regardless of the consequences, the end represents a necessity when life has turned into a senseless and tiring series of farces; the superficial actions lacking content, a phenomenon that Eliot so often sympathetically derides in his poetry. Both filmmaker and poet interweave the personal end, literal or figurative, with destruction en masse. Yet, in the film, the end is desired and, through Justine, the director suggests that such a desire may stem from a too profound love rather than the opposite. This suggestion echoes Walter Benjamin’s description of Charles Baudelaire as a modern melancholiac whose melancholy results not from a refusal of the world but a “doomed flight toward the ideal.” This counterintuitive origin of the desire for destruction and the seamless interweaving of the personal and global apocalypse in Melancholia as well as in several of Eliot’s poems will be the focus of my paper.

11

„Wokoło lecą szmaty zapalone”. O zdeprecjonowanym świecie rzeczy w twórczości Norwida

62%

Trybuś K.

Studia Norwidiana

|

2017

|

vol. 35

41-53

PL

Artykuł jest próbą opisu i określenia roli i funkcji, jaką pełnią w poezji Norwida rzeczy zdeprecjonowane. Autor wskazuje, że ich materialna ułomność jest piętnem współczesności, w której istnieją, zwraca uwagę na to, że poddane destrukcji przedmioty-symbole o znamionach alegorii są nośnikiem pamięci kulturowej, wkraczającej w codzienność Norwidowskich bohaterów. Dominanta problemowa rozważań wiąże się z analizą różnych odmian pamięci w twórczości poety, ich zakłóceń w procesie percepcji rzeczy. Autor odwołuje się m.in. do poglądów Heideggera, dotyczących stanu „awarii” rzeczy w ich codziennym bytowaniu. Kontekstowo w swych rozważaniach przywołuje twórczość Mickiewicza i Baudelaire’a.

EN

The article is an attempt at describing and defining the role and function of depreciated things in Norwid’s poetry. The author points out that their material imperfection is the stigma of the contemporary world. He also points out that the destroyed things-symbols bearing the hallmarks of allegory are the carriers of cultural memory that is an integral part of everyday life of Norwid’s heroes. The main concern of this analysis involves the examination of different types of memory in the poet’s works, their disturbance in the process of perception of things. The author refers, among others, to Heidegger’s views on the “failure” of things in their existence. In his reflections, he contextually evokes the works by Mickiewicz and Baudelaire.

12

“Rags on fire are floating around”. On the deprecated world of things in Norwid’s writing

62%

Trybuś K.

Studia Norwidiana

|

2017

|

vol. 35 English Version

43-58

PL

Artykuł jest próbą opisu i określenia roli i funkcji, jaką pełnią w poezji Norwida rzeczy zdeprecjonowane. Autor wskazuje, że ich materialna ułomność jest piętnem współczesności, w której istnieją, zwraca uwagę na to, że poddane destrukcji przedmioty-symbole o znamionach alegorii są nośnikiem pamięci kulturowej, wkraczającej w codzienność Norwidowskich bohaterów. Dominanta problemowa rozważań wiąże się z analizą różnych odmian pamięci w twórczości poety, ich zakłóceń w procesie percepcji rzeczy. Autor odwołuje się m.in. do poglądów Heideggera, dotyczących stanu „awarii” rzeczy w ich codziennym bytowaniu. Kontekstowo w swych rozważaniach przywołuje twórczość Mickiewicza i Baudelaire’a.

EN

The article is an attempt at describing and defining the role and function of depreciated things in Norwid’s poetry. The author points out that their material imperfection is the stigma of the contemporary world. He also points out that the destroyed things-symbols bearing the hallmarks of allegory are the carriers of cultural memory that is an integral part of everyday life of Norwid’s heroes. The main concern of this analysis involves the examination of different types of memory in the poet’s works, their disturbance in the process of perception of things. The author refers, among others, to Heidegger’s views on the “failure” of things in their existence. In his reflections, he contextually evokes the works by Mickiewicz and Baudelaire.

13

Rozważania o „pamięci romantyzmu”

54%

Niewczas Ł.

Studia Norwidiana

|

2012

|

vol. 30

287-298

EN

Krzysztof Trybuś's book is inscribed in the strong current of deliberations about memory that is present in modern humanities. It is devoted to the “memory of Romanticism”, with the main issue discussed by the author in a double perspective. Firstly: he reconstructs the record of memory that can be found in works by great Polish Romantics. Secondly: he confronts the Romantic project of memory with our modernity, checking its today's topicality. Analysis of the discourse of memory in Mickiewicz's, Słowacki's and Norwid's works constitutes the basic part of the book. In a convincing way the author analyzes the motifs, forms and mnemonic strategies typical of Polish Romantics, showing, how the record of memory in Polish Romanticism is opposed to the official historical narration.

14

Rozważania o „pamięci romantyzmu”

54%

Niewczas Ł.

Studia Norwidiana

|

2012

|

vol. 30

287-298

EN

Krzysztof Trybuś’s book is inscribed in the strong current of deliberations about memory that is present in modern humanities. It is devoted to the “memory of Romanticism”, with the main issue discussed by the author in a double perspective. Firstly: he reconstructs the record of memory that can be found in works by great Polish Romantics. Secondly: he confronts the Romantic project of memory with our modernity, checking its today’s topicality. Analysis of the discourse of memory in Mickiewicz’s, Słowacki’s and Norwid’s works constitutes the basic part of the book. In a convincing way the author analyzes the motifs, forms and mnemonic strategies typical of Polish Romantics, showing, how the record of memory in Polish Romanticism is opposed to the official historical narration.

15

Alegoria w „skrzydłach ołtarza”: Herling-Grudziński, Benjamin, de Man

51%

Potkański J.

Prace Filologiczne. Literaturoznawstwo

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2017

|

issue 7(10)

335-344

EN

The article juxtaposes the diptych of short stories by Gustaw Herling-Grudziński, The Tower and Pieta dell’Isola, with the theories of allegory developed by Paul de Man in The Rhetoric of Temporality as well as by Walter Benjamin in The Origin of German Tragic Drama. The analyses reveal several points of convergence in the structure and motives present in the works by Grudziński and in the texts by these critics. In the case of Benjamin, this would suggest his influence on Herling, whereas in the case of de Man, it reveals a parallelism of thoughts of the two contemporaries working with different genres and different interpretative communities, yet developing very similar conceptions of the text as well as of the man.

Refine search results

Dichtermut i Blödigkeit – dwa wiersze Friedricha Hölderlina w interpretacji Waltera Benjamina

Co říká duha?

Doświadczenie szoku Walter Benjamin i trauma nowoczesności

(Nie)zapomniane: (anty)teologia bezużyteczności Waltera Benjamina

Słaby uniwersalizm

Historia i struktura. Problem uprawomocnienia

Infinity Now! Speculative Philosophy and Addiction

Przejrzeć Heideggera

“Rags on fire are floating around”. On the deprecated world of things in Norwid’s writing

TOO MUCH LOVE FOR THE WORLD: APOCALYPSE IN THE WORKS OF T.S. ELIOT AND LARS VON TRIER

„Wokoło lecą szmaty zapalone”. O zdeprecjonowanym świecie rzeczy w twórczości Norwida

“Rags on fire are floating around”. On the deprecated world of things in Norwid’s writing

Rozważania o „pamięci romantyzmu”

Rozważania o „pamięci romantyzmu”

Alegoria w „skrzydłach ołtarza”: Herling-Grudziński, Benjamin, de Man