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EN
Applying linguistic tropes to the deep structure which underlay the 19th century historical imagination Hayden White derived from the vault of philosophical richness contained in Giambattista Vico’s La Scienza Nuova. Now the treasure trove becomes a source of one more illuminating analogy. The following study demonstrates how metaphor, metonymy, synecdoche and irony can be identified with five major theories of truth: the correspondence, pragmatic, coherence, deflationary and the semantic one. Theories are evoked on the basis of texts by philosophers themselves (Bertrand Russell, Charles Sanders Peirce, Brand Blanshard et al.). Moreover, a numerical mismatch between them and the four tropes should be seen as everything but unwanted. The concept of irony has multiple interpretations, and so mapping it onto the semantic theory will expose the relation between truth accounts and the principle of their development. In the end, there emerges a pattern in the shape of a circle or a spiral—two models of infinity along which runs the human quest for meaning of truth.
EN
The essay deals with Montesquieu’s methodology of history. My crucial assumption is that Montesquieu intends to cultivate history as science. In the 18th century this ambition meant that he wanted to use the analytical method in the field of history. His works include many examples of the successful exploitation of analysis. Since the philosopher does not consider his methods, my aim will be to extract from his works the ideas that stand behind his historical investigations. In other words, I am going to answer how history can be practiced as science (in the Enlightenment sense of this term). First of all, I am going to explain why analysis was – and still is – so efficient in a realm of natural phenomena. My point will be that it indicated to early modern scientist how they should conduct their experiments. On the other hand, experiments give advantage to scientists due to the fact that they are able to construct and control their object. To put it differently: analysis and experiments are efficient because truth and action are convertible. Now, my crucial question is: ‘Are historians capable of gaining advantage over their objects as physicists are?’ Giambattista Vico, for example, agrees. According to him, researchers can comprehend historical events because history is man-made. Some parts of Montesquieu’s works indicate that he shares Vico’s assumptions. Hence, historians are able to scrutinize past factors, and they can perform thought experiments. Such experiments are means for validating and abolishing hypotheses by using counterfactuals.
PL
Szkic podejmuje problem genezy w Czekając na Godota Samuela Becketta. W pierwszej części ukazano genezę w sensie formalnym. Wymieniono w niej czynniki, które wpłynęły na powstanie tragikomedii. Są to: aspekt biograficzny, związany z pobytem Becketta w czasie II wojny światowej na południu Francji oraz inspiracje kulturowe (filozoficzne, religijne i literackie). Fascynacja autora frazą z Wyznań Świętego Augustyna wpłynęła na płaszczyznę formalną utworu. Beckett zrealizował w nim ideę jedności formy i treści. W dalszej części szkicu poruszono problem genezy rodzaju ludzkiego. Człowiek, od zarania dziejów samotny, dążył do odmiany losu. Wytworzył Rozum, Intelekt i rozpoczął dialog niwelujący samotność oraz rozpacz. Ten zabieg nie przyniósł spodziewanych efektów, dlatego też zrodziła się idea istoty transcendentnej wobec niego. Od tego momentu człowiek czeka na nią i na odmianę swego losu.
EN
This sketch focuses on the problem of genesis as it figures in the play Waiting for Godot by Samuel Beckett. The first part presents the notion of genesis in formal terms, listing the factors that had an influence on the emergence of the tragicomic in Beckett. These consist of a biographical aspect relating to his stay in the south of France during the Second World War, and some cultural inspirations of a philosophical, religious and literary sort. Beckett’s fascination with a phrase deriving from the Confessions of Saint Augustine influenced the work from the point of view of its formal concerns, and acting under its influence, he sought to create a unity of form and content. In the next part of the sketch, the issue of the genesis of mankind is raised. Humankind, afflicted by loneliness since the dawn of time, has sought to reverse this fate — by conceiving Reason and Intellect, and by starting a dialogue aimed at eliminating that very loneliness and despair. Yet this did not bring the expected results, so in response the idea of a transcendent being was created. Ever since that moment, humanity has found itself waiting for the latter to appear, and for the reversal of its fate that this was supposed to bring.
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