Search results

1

„Sammlung Ogoleit”: Goethe, Faust, Bauer. Zielonogórski fragment kolekcji gorzowskiego księgarza

100%

Nodzyńska E.

In Gremium. Studia nad Historią, Kulturą i Polityką

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2016

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vol. 10

123-141

EN

Landsberg, Richtstrasse 8. The bookshop under the sign “Buch-Kunst-u. Musikalienhandlung”. Almost for fifty years, from the end of the 19th century until the year 1945 the above address was well known to all the lovers of the classical German poetry. This was due to the book seller and collector Wilhelm Ogoleit (1869-1953) who was able to gather the biggest in Brandenburg collection of memorabilia of Goethe and Schiller thus creating a private museum of the remembrance of the great “prince poets” of Weimar. The walls of the eight rooms of the Gorzów town house were decorated with painting, drawings and prints with the portraits of both poets and people working in culture who belonged to their circle. The collected pieces of art were presenting the illustrations of the literary works and the landscapes of the places relating to the biographies of the Weimar poets and other celebrities. The cabinets were displaying precious medals and plaques, the tables and the cupboards were displaying sculptures, busts and brick-a-brack, all of them signed “Sammlung Ogoleit”. The most precious artifacts included the patinated plaster head of Goethe sculpted by Klothilde Bauer-Rothmüller. The book lover, whom the owner of the collection definitely was, could not miss the library of books, first editions, manuscripts and letters. Among them there were the autographs and dedications from the pen of Goethe and one of the few heirlooms later saved from the war: the Goethe guest book. Ogoleit, a fervent advocate of the Goethean spiritual science, was seeking the meaning of life in the “eternal toil” which was the development of his fascination with the Goethe age and the circle of the Weimar artists. He was enlarging his collection over the years and it comprised 8800 items in 1945. He arranged a museum in his private flat where he hosted many inhabitants of the town and the visitors: actors, academics and musicians. He was famous for ceremonial guided tours which were about declamation and storytelling of literature and the times of the flowering of German philosophy and literature in the circle of Weimar court at the end of the 17th century. His enthusiasm and services in disseminating the cult of the German prince poets were noticed and awarded with the commemorative “Goethe Medal”. He received the distinction awarded by Hindenburg on his 65th birthday in 1934. Ogoleit was developing his collection through antique shopping in many German cities, mainly in Weimar, but also through personal communication with the artists of his times. The highest number of works was acquired from the Munich painter and printmakers Karl Bauer who is the author of the oil portraits of Goethe, a number of the poet’s images in a variety of different graphic techniques and a portfolio of ink drawing illustrating Goethe’s “Faust”. The Ogoleit collection was scattered and dispersed as a result of war. The work of destruction was completed by the fire in July 1945 in which the premises of the bookshop, private museum and the collector’s house – the town house at Richstrasse 8, now General Sikorski street, went up in smoke. The fragments of the collection which survived until now are treasured in the Lubuskie Jan Dekert Museum in Gorzów Wielkopolski and in two libraries in Zielona Góra: the Norwid Voivodship and Municipal Public Library and the University of Zielona Góra Library which owns the collection of 448 works stamped with the characteristic words “Sammlung Ogoleit”.

2

Goethes Begriff der „Weltliteratur“ und „Faust“ als Comic: Interkulturelle Zugänge zu Goethe zu Beginn des 21. Jahrhunderts?

100%

Maurach M.

Germanica Wratislaviensia

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2016

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vol. 141

91-105

DE

Ausgehend von Goethes wichtigsten Äußerungen zum Begriff „Weltliteratur“ diskutiert der Aufsatz mögliche heutige Zugänge zu Goethe und seiner Zeit, insbesondere am Beispiel des Comics von Flix nach dem ersten Teil des „Faust“. Unterschieden werden am Konzept „Weltliteratur“ die Aspekte einer mediengeschichtlichen Beschleunigung (Zeitschriften), der Bearbeitung inner- und interkultureller Differenzen und der Vorstellung einer Auswahl des Besten. Nicht nur aus der Perspektive einer heutigen ‚Netzliteratur‘ fällt das Urteil skeptisch aus: Flixens „Comic“ kann nur bedingt der Toleranz zwischen den Religionen dienen, und Goethes nicht zufällig aphoristisch entwickelter Begriff der „Weltliteratur“ erscheint eher als eine an den frühen Liberalismus gebundene, schon damals konservative Utopie.

EN

Taking Goethe’s concept of “Weltliteratur” (‘world literature’) as a starting point, this essay looks for today’s possible multi-cultural approaches to Goethe and his era, with special emphasis on the comic strip version of the first part of his Faust written by Flix. Taking a closer look at “Weltlitera-tur”, the aspects of an acceleration in media development (the emergence of periodicals), of the reflection on internal and external differences between cultures and the notion of a selection of the most excellent works are discussed. The result is somewhat sceptical, which does not only draw on today’s “web literature”: A comic strip demonstrates only a limited capacity of multi-cultural translation, and the concept of “Weltliteratur” — which Goethe did not accidentally develop in aphoristical fragments — appears as a conservative utopia closely tied to the early liberalist period.

3

„Do nieba? Bluźnisz daremnie”. Faust – Marlowe – Grotowski

100%

Kosiński D.

Pamiętnik Teatralny

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2016

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vol. 65

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issue 1-2(257-258)

5-49

EN

The article deals with the production of Tragiczne dzieje doktora Fausta (The Tragical History of the Life and Death of Doctor Faustus) after Christopher Marlowe directed by Jerzy Grotowski and put on by the Laboratorium 13 Rzędów Theatre in Opole (premiered on 23 April 1963). The show became famous mostly for Zbigniew Cynkutis’ outstanding performance in the title role and Jerzy Gurawski’s stage set. It was also the first of Grotowski’s productions that garnered international acclaim. Until now, however, not enough attention has been paid to its dramaturgy and overall significance as an autonomous piece of artistic expression; instead, it has been viewed mostly as a step on the way to Grotowski’s more mature theatre. By reconstructing and recounting the particular scenes in chronological order the author presents his own interpretation of each of them and of the performance as a whole. Through this process, almost scandalous associations of great historical and ethical themes (e.g. theology after the Holocaust) with personal struggles with private inhibitions and intimate experiences can be found. It is through such associations that Tragiczne dzieje doktora Fausta was named “a mystery of awe and wonder.”

4

Norwid - Fern vom Trivium seiner Epoche

89%

Gehrisch P.

Roczniki Kulturoznawcze

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2014

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vol. 5

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issue 3

15-25

EN

About Freedom of Speech by Cyprian Norwid goes—like Goethe’s Faust—beyond the limits of intelligibility. “Maybe—as Heidegger claims—language requires much less hast for words, than deliberate silence.” The Polish poet cuts himself off from the canon of philosophical views—like a child who wants to discover the world in its own way, not to learn it by using knowledge and education, following the designated track. In his works Norwid abandons the canon of his epoch’s poetry and he, so to say, cuts across. He occupies an outstanding position on the background of contemporary European writers. The advocate of the motto: “art for art’s sake” Stefan Mallarmé and Norwid are definitely different as far as the attitude towards current events is concerned, however they are united in their willingness to go beyond the boundaries of the word. In Norwid’s works it is manifested by a constantly used technique of being silent and it culminates in incredible amazement and dazzle: “In this moment I touched the Resurrection with my finger / and I pronounced the word: I AM.” On the other hand, in Mallarmé’s output we deal with presenting internal images which subconsciously evoke musical vibrations. Norwid shares with Godfryd Benn the belief that the “ETERNAL MASTER” and the liberating knowledge of the Word play indispensable roles in history. On the other hand, what the Polish poet and Ezra Pound have in common are: an immense reading canon, great knowledge and extraordinary poetic images. The coming of the new epoch caused a distur-bance of the previous hierarchy of works and at the same time—as it is in Norwid’s case—a manifestation of what had not been noticed so far.

PL

Rzecz o wolności słowa Cypriana Norwida wykracza - podobnie jak Faust Goethego - poza granice zrozumiałości. „Być może - jak twierdzi Heidegger - język wymaga znacznie mniej pochopnych słów niż przemyślanego milczenia”. Polski poeta odcina się od kanonu filozoficznych poglądów - podobnie jak dziecko, które na własny sposób chce odkrywać świat, nie zaś poznawać go przez naukę i wychowanie, idąc wyznaczonym torem. Norwid w swych utworach porzuca kanon poezji swej epoki i idzie niejako na przełaj. Zajmuje on wybitną pozycję na tle współczesnych pisarzy europejskich. Głosiciel hasła „sztuka dla sztuki” Stefan Mallarmé i Norwid zdecydowanie różnią się, gdy chodzi o stosunek do bieżących wydarzeń, spotykają się jednak w dążeniu do tego, aby wyjść poza granice słowa. U Norwida przejawia się to w ciągle stosowanej technice przemilczenia, a kulminuje w niesamowitym zdumnieniu i olśnieniu: „W tym momencie dotknąłem palcem Zmartwychwstanie /1 wymówiłem słowo: JESTEM”. U Mallarmégo mamy natomiast do czynienia z przekazaniem wewnętrznych wyobrażeń, które podświadomie wywołują muzyczne drgania. Z Gotfrydem Bennem dzieli Norwid przekonanie o niezastąpionej w dziejach roli, jaką odgrywa „MISTRZ-WIEKUISTY”, i wyzwalającej wiedzy Słowa. Polskiego poetę i Ezrę Pounda łączy z kolei ogromny kanon lekturowy, wielka wiedza i niezwykłe poetyckie obrazy. Wraz z nadejściem nowej epoki następuje zachwianie dotychczasowej hierarchii dzieł, a zarazem – jak to jest w przypadku Norwida – wyłonienie się tego, co dotychczas było niezauważone.

5

Goethe a Lem

88%

Gomułka Ł.

Prosopon. Europejskie Studia Społeczno-Humanistyczne

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2017

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issue 4(21)

40-49

EN

In this article ‘Lem and Goethe’, the author compares the figure of Stanislaw Lem to J.W. Goethe, whereas Lem’s oeuvre to ‘Faust’. There are two reasons for such a comparison. First, the scope of subjects raised by the Polish writer is perhaps even wider than the German one’s. The second thing is their great insight into these subjects. When Lem and Goethe are compared, it should be noticed that both their personalities (certain openness to the world and environment, participation in discussions, vast correspondence) and artistic and scientific interests (distinct exceeding limits by both of them) are similar. The author of the article takes notice of the fact that there is a tremendous difference between Lem’s works and ‘Faust’, because Lem’s are structurally and formally scattered. While there is no doubt that ‘Lem is also a philosopher writing great novels, not a novelist that possesses his own philosophy, like many others’ and that such output is ‘cognitively homogenous’, such state of affairs significantly hinders reception and interpretation of his oeuvre. The author of the text observes that by contrast with ‘Faust’, the character of Lem’s works is scattered not only in terms of content but also formally. That is because the author of ‘Summa Technologiae’ continually adopted new means of expression for his thoughts.

6

W laboratorium Fausta

88%

Wiśniewska M.

Pamiętnik Teatralny

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2019

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issue 3-4(271-272)

234-258

EN

Access to the extensive archives of Jan Dorman has allowed us to see the long-term presence of the Faust theme in Dorman’s theatrical explorations and to study and describe his last production: Walpurgis Night based on Goethe’s Faust (The Animation Theater in Jelenia Góra, 1986), for the first time. The paper is an attempt to reconstruct this production on the basis of manuscripts and typescripts collected by the director in his archive and the reminiscences of people working in the theatre. The archives create an intriguing afterimage of Walprugis Night as a production with an autobiographical dimension, marked by Dorman’s legend and fascination with his methods of work, an aura of mysticism surrounding the production and the director’s sudden death, less than a month after the premiere. Having extracted Dorman’s Walpurgis Night from the archive warehouse we can add another leaf to the history of the reception of Faust in Polish theatre of the second half of the 20th century.

7

Witkacy and Ghelderode: Goethe’s Faust Transformed into a Grotesque Cabaret

75%

Kiebuzińska C.

Estetyka i Krytyka

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2013

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issue 4(31)

207-220

EN

The farce, realistic and surrealistic, trivial and yet transfigured, is an essential expression of both Stanisław Ignacy Witkiewicz’s The Beelzebub Sonata and Michel de Ghelderode’s The Tragic Death of Doctor Faustus. Both plays were written in 1925, and the subtitle of each play informs that we are at a great distance from Goethe’s transcendent drama, for Ghelderode’s play is subtitled “ATragedy for the Music Hall” and Witkacy’s “What Really Happened in Mordovar.” This paper explores the deformation of any traces of Goethe’s tragic Faust, as each playwright situates his play in a grotesque cabaret. In both plays the Mephistophelian character has been deprived of his powers of negation, and instead as Diamotoruscant in Ghelderode’s version produces cheap tricks akin to those of Goethe’s “Witches Kitchen” in the music hall. Not only do both playwrights ridicule the potential of a twentieth-century Faust figure, but they also mock Naturalism in the theater and in Witkacy’s play even the possibility of a Theatre of Pure Form.

8

Faustian motifs in English literary texts

71%

Albota S.

Beyond Philology: An International Journal of Linguistics, Literary Studies and English Language Teaching

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2015

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issue 12

109-125

EN

This article describes the origin of English Faustiana and the way the Faustian motif has been modified and interpreted over time. English Faustiana is viewed as an array of literary works dating from the late 16th to early 21st century concerned with the main Faustus subject – man’s pact with the devil. The selected works are associated with the apprehension of sin as the main implication of the interpretative features: thirst for unlimited knowledge, aspiration for godly power, conjuration and the selling of one’s soul.

FR

L’article décrit l’origine des Faustiana anglais et la manière dont le motif faustien a été modifié et interprété au cours du temps. Les Faustiana anglais sont présentés comme un éventail des œuvres littéraires datant de la fin du XVIème siècle jusqu’au début du XXème siècle qui abordent le sujet principal de Faust : le pacte de l’homme avec le diable. Les œuvres choisis sont associés avec la conception du péché perçu comme l’implication principale des propriétés interprétatives : soif du savoir infini, aspiration à la puissance divine, conjuration, et vente de son âme.

PL

Artykuł opisuje pochodzenie angielskich Faustianów oraz modyfikacje i interpretacje motywu faustowskiego na przestrzeni wieków. Angielskie Faustiana rozumiane są jako wybór dzieł literackich datowanych od końca XVI wieku do początków XXI wieku, które poruszają główny faustowski temat – pakt człowieka z diabłem. Wybrane utwory odnoszą się do lęku przed grzechem jako głównej implikacji środków interpretatywnych takich jak: głód nieskończonej wiedzy, aspiracje do mocy boskiej, czary oraz zaprzedanie własnej duszy.

9

META-REVISION: THE NEW PARADIGM OF FAUSTIAN STORIES

63%

GETLÍK P., ANDRIČÍKOVÁ M.

Communication Today

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2021

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vol. 12

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issue 1

14 - 26

EN

The aim of the study is to introduce and verify the perspective of the “meta-revision” concept for an analysis of adaptations (revisions) in the intermediality discourse. The issue of meta-revisions is presented through evident moral dichotomy in Faustian stories which are frequently adapted in Western culture. Besides many Faustian adaptations that are variable in plot yet traditional in the moral manifestations, we recognise only a few cases that question the exclusivity of conventional Christian ethics. Verification of the concept of “meta-revision” is done especially through the analysis of several film structures, whereas two of them bear significant meta-revisionist features: we identify the meta-revision of cultural self-identification with the hero (The Imaginarium of Doctor Parnassus by Terry Gilliam) and meta-revision of cultural self-identification with the villain (Mephisto by István Szabó; based on the novel by Klaus Mann). As a conclusion of the study the three distinctive aspects of meta-revision applicable in further research on adaptations are defined.

10

The ‘Faust’ or ’Lucifer’ Sonata? On Liszt’s idea of programme music as exemplified by his Piano Sonata in B minor

63%

Polony L.

Interdisciplinary Studies in Musicology

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2014

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issue 13

17-28

PL

The musicological tradition places Liszt’s Sonata in B minor within the sphere of compositions inspired by the Faustian myth. Its musical material, its structure and its narrative exhibit certain similarities to the ‘Faust’ Symphony. Yet there has appeared a different and, one may say, a rival interpretation of Sonata in B minor. What is more, it is well-documented from both a musical and a historical point of view. It has been presented by Hungarian pianist and musicologist Tibor Szasz. He proposes the thesis that the Sonata in B minor has been in fact inspired by Milton’s Paradise Lost, with its three protagonists: Adam, Satan and Christ. He finds their illustrations and even some key elements of the plot in the Sonata’s narrative. But yet Milton’s Paradise Lost and Goethe’s Faust are both stories of the Fall and Salvation, of the cosmic struggle between good and evil. The triads of their protagonists - Adam and Eve, Satan, and Christ; Faust, Mephisto and Gretchen - are homological. Thus both interpretations of the Sonata, the Goethean and the Miltonian, or, in other words, the Faustian and the Luciferian, are parallel and complementary rather than rival. It is also highly probable that both have had their impact on the genesis of the Sonata in B minor.

11

ПСИХОЛОГИЯ ЛЮБВИ В „ТАИНСТВЕННЫХ ПОВЕСТЯХ” И.С. ТУРГЕНЕВА

63%

Bazilevskaâ A.

Acta Neophilologica

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2009

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vol. XI

129-149

EN

Last years of I.S. Turgenev’s life are marked by his increased interest in problem of the inexplicable, supernatural, strange. Mystery of love and laws of love are on the foreground of his “mysterious stories” written in 1870-1880-ies. Peripetias of love feeling are conjugated to activity of the supersensual, irrational within mentality of heroes, to their hereditary links, unintentional faults, misgivings and insights. The concealed and obvious, conscious and unconscious in human more often are conveyed not in traditional Turgenevian way of “secret psychology”, but in artistic means similar to the style of Tolstoy and Dostoyevsky: through inner monologue, developed inner dialogue and portrait dynamics. In the psychological descriptions which not seldom are grotesque the writer’s notions of mysterious powers subjugating the personality, of “tragic sense of love” are concretized.

12

Postapokalipsa, baśń i groza w "Pikniku na skraju drogi" braci Strugackich

54%

Wieliczko-Paluch K.

Annales Universitatis Mariae Curie-Sklodowska, sectio FF – Philologia

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2016

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vol. 34

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issue 2

EN

The article is devoted to Roadside Picnic by Arkady and Boris Strugatsky – a post-apocalyptic vision of the world after an extraterrestrial event called Visitation. The first part deals with a short comparison of two science fiction novels about the failed contact between humans and aliens. The second part of this paper describes a post-apocalyptic town with a Visitation Zone and interprets some motifs from fantastic horrors. The third part presents a protagonist and one of the artefacts in the Zone representing a type of a character and an item known from fairy tales, legends and myths. The next part focuses on a utopian motif in the final part of the novel, which illustrate protagonist’s transformation on the background of existentialism. The analysis leads to the conclusion that the Strugatsky’s Roadside Picnic contains the disapprobation of the modern consumerist society.

PL

Artykuł został poświęcony Piknikowi na skraju drogi Arkadija i Borysa Strugackich – wizji postapokaliptycznego świata po wydarzeniu zwanym Lądowaniem. Pierwsza część tekstu dotyczy krótkiego porównania dwóch powieści science fiction, w których poruszono temat nieudanej próby kontaktu pomiędzy ludźmi i istotami pozaziemskimi. Następnie opisano postapokaliptyczne miasto ze znajdującą się w nim Strefą oraz zinterpretowano niektóre motywy zaczerpnięte z fantastyki grozy. W dalszej części szkicu przedstawiono protagonistę oraz jeden z artefaktów znajdujących się w Strefie, reprezentujących pewien typ postaci i rekwizytów znanych z baśni, legend oraz mitów. Kolejna część tekstu koncentruje się wokół motywu utopijnego, pojawiającego się w finale powieści i jednocześnie stanowiącego ilustrację przemiany głównego bohatera, ujętej na tle filozofii egzystencjalizmu. Analizy prowadzą do wniosku, iż Piknik na skraju drogi stanowi wyraz krytycznego stosunku Strugackich do nowoczesnego społeczeństwa konsumpcyjnego.

13

„Мы, русские, вообще не умеем писать романов…”: к вопросу о национальной специфике жанра

51%

Belyaeva I.

Slavica Wratislaviensia

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2019

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vol. 170

9-23

EN

The article deals with the Russian novel of the 19th century in its top, classical patterns as a special typological branch of the novel genre, fundamentally different from European models. The author of the article proposes to look for the specifics of the Russian novel in his goal, which lies not so much in the field of the novel strategy of hero’s “education” (Bildungsroman) or in his “career” field, but rather in the problem of “the rehabilitation of a deceased man” (Dostoevsky) or turning the “old” man into the “new” one (Goncharov), i.e. related to the issue of soul salvation. Since the “plot space” (Lotman) of the Russian novel is associated with a mythological, essentially infinite situation, the problem of the end, or death, is not significant, and death itself is fraught with a new life. In the European novel, which is dominated by a fairy tale and a happy (or unlucky — as a variant) end, the question is not worth it, and the hero travels without eschatological questions. The hero of the Russian novel is aiming for the work of salvation, for this he lives his earthly life. The Russian novel following European discoveries in the field of this genre аs an artistic pattern but mostly was addressed to non-novel sources. The article assumes that the “plot of salvation” in the Russian classic novel went back to three lines of development. To the Cervantes type of novel itself, when the hero-savior came to the world (he easily became the killer). This model was least in demand and was embodied in the Idiot of Dostoevsky and partly in Goncharov’s Oblomov. The second line led to Dante’s Divine Comedy, with its idea of redemption and repentance of man in half of his earthly life and with the invaluable help of Earthly Wisdom (the Virgil motif) and Heavenly Wisdom (the Beatrice motif). The indicated model was relevant for Pushkin’s Eugene Onegin, Gogol’s Dead Souls, and especially for Goncharov’s novels. The third line — the most demanded — went back to Goethe’s Faust and to the idea of saving everybody and everything, even those who did not seem to deserve it. The plot was organized around the hero of the Faustian type and his search for the fullness of being, primarily through Beauty. This model is relevant for most of the Russian classic novels, but above all for works in this genre of Lermontov, Turgenev, Dostoevsky and in part for Tolstoy.

PL

W artykule omówiona została powieść rosyjska XIX wieku w swoich najdoskonalszych klasycznych wzorcach jako szczególne odgałęzienie gatunku powieści, zasadniczo różniące się od modeli europejskich. Według autora opracowania specyfika rosyjskiej powieści wynika z jej nadrzędnego celu, który polega nie tyle na powieściowej strategii „wychowania” człowieka czy też w kształtowaniu jego „kariery”, ile na sproblematyzowaniu „odtworzenia człowieka, który zginął” (Dostojewski) bądź przekształceniu „starego” w „nowego” (Gonczarow), czyli związana jest z problemem zbawienia duszy. Ponieważ „przestrzeń fabuły” (Łotman) powieści rosyjskiej wiąże się z mitologiczną, nieskończoną z założenia sytuacją, problem końca czy śmierci jest nieistotny, a sama śmierć zakłada pojawienie się nowego życia. W powieści europejskiej, zadowalającej się bajką i szczęśliwym (bądź nieszczęśliwym — jako wariant) zakończeniem, taki problem się nie pojawia, a bohater przechodzi drogę życia bez wnikania w problemy eschatologiczne. Bohater powieści rosyjskiej za cel obiera zbawienie i jemu poświęca swoją ziemską egzystencję. Powieść rosyjska, naśladując europejskie osiągnięcia w dziedzinie tego gatunku, wzorowała się w znacznym stopniu na źródłach niepowieściowych. W artykule postawiono tezę, że „fabuła zbawienia” w rosyjskiej powieści klasycznej wywodzi się z trzech źródeł. Pierwszym jest powieść typu cervantesowskiego, w której na świecie pojawia się bohater-zbawca (ten sam bohater mógł stać się oprawcą). Model ten był najrzadziej stosowany, a przykład może stanowić Idiota Dostojewskiego i częściowo Obłomow Gonczarowa. Drugie źródło to Boska komedia Dantego z jej ideą odkupienia i żalu za grzechy w połowie życia bohatera, w ziemskim systemie wartości i z nieocenioną pomocą Mądrości Ziemskiej (motyw Wergiliusza) i Mądrości Niebiańskiej (motyw Beatrycze). Na modelu tym oparte zostały: Eugeniusz Oniegin Puszkina, Martwe dusze Gogola i w szczególności powieści Gonczarowa. Trzecie źródło tradycji, do której nawiązywano najczęściej, to Faust Goethego i idea zbawienia wszystkich, nawet jak by się wydawało niezasługujących na to. Fabuła budowana była wokół bohatera typu faustowskiego i jego poszukiwania pełni bytu, przede wszystkim dzięki Pięknu. Ten model jest charakterystyczny dla większości rosyjskich powieści klasycznych, ale głównie dla utworów w tym gatunku autorstwa Lermontowa, Turgieniewa, Dostojewskiego i w pewnym stopniu Lwa Tołstoja.

14

Paul Valéry – the temptation of Mephistopheles

51%

Tomkowski J.

Nauka

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2021

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issue 3

15

Źródła filozoficzne "Doktora Faustusa" Thomasa Manna

45%

Michałowicz Ł.

Studia Philosophiae Christianae

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2012

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vol. 48

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issue 2

65-86

EN

Thomas Mann’s novel Doctor Faustus contains many philosophical streams which play an auxiliary role to the main axis of the philosophical analysis. The fact that not only was T. W. Adorno the conceptual co-author of Mann’s work, but that the philosopher’s texts were also used, including the first part of his Philosophy of Modern Music, allows us to adopt the interpretative perspective of the novel that falls within the philosophy of the Frankfurt School. Such an interpretation does not only depict Dialectics of Enlightment by M.Horkheimer and T.W.Adorno as the basis for the Philosophy of Modern Music itself, but also reveals the way its ideas were used in Mann’s novel. However, deciphering the so-called “magic square” and its components that constitute the elements of Arnold Schönberg’s approach to composition, results in the deconstruction of the novel and enables one to draw the conclusion that Adorno also introduced Mann to the criticism of the Hegel system and the emerging concept of Negative Dialectics. Demonstrating the above mentioned sources leads to a new approach in the interpretation of the novel, as well as to an indication of the debatable solutions that Thomas Mann attempted to employ, based on the philosophies he made of use of.

PL

Powieść Tomasza Manna „Doktor Faustus” zawiera w sobie wiele nurtów filozoficznych spełniających jednak rolę służebną wobec głównej osi filozoficznej analizy. Fakt koncepcyjnego współautorstwa T.W.Adorno w powstaniu dzieła T. Manna oraz wykorzystania tekstów tego filozofa, w tym głównie pierwszej części „Filozofii nowej muzyki”, pozwala na przyjęcie perspektywy interpretacyjnej powieści w obrębie filozofii Szkoły Frankfurckiej. Taka interpretacja nie tylko ukazuje „Dialektykę oświecenia” M. Horkheimera i T.W. Adorno jako podstawę samej „Filozofii nowej muzyki”, ale też sposób wykorzystania zawartych w niej idei w powieści Manna. Natomiast odczytanie tak zwanego „kwadratu magicznego” i jego składowych stanowiących elementy metody kompozytorskiej Arnolda Schönberga dekonstruuje powieść i pozwala wyprowadzić wniosek, że Mann został wprowadzony przez Adorno również w krytykę systemu Hegla i rodzącą się koncepcję ‘dialektyki negatywnej’. Wykazanie tych źródeł prowadzi do nowej interpretacji powieści oraz wskazania problematycznych rozwiązań, których Tomasz Mann podjął się na gruncie eksploatowanych filozofii.

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