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Warszawski krąg historyków idei a recepcja światowej socjologii w Polsce. Pierwsze przybliżenie

100%
Chałubiński M.
Rocznik Lubuski
|
2011
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vol. 37
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issue 1
55-65
EN
The article focuses on the contribution of Polish historians of ideas to the reception of western sociology in Poland after 1956. It also refers to socio-political biographies of the scientists in the Stalin and post-Stalin era. According to my opinion this period lasted longer as the most valuable works of L. Kolakowski, J. Szacki and A.Walicki were written after March 1968.
2
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Істина і неконсеквентність: парадокс Лєшка Колаковського

86%
Bondarevska I.
Studia Polsko-Ukraińskie
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2019
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vol. 6
52-66
XX
In the philosophical works of Kolakowski, the concept of inconsistency is a guideline that moves the subject closer to truth. Truth disappears when consistency prevails, that is a logic, a method, a tradition of thinking. And there is no need to reject the sequence in general, as there is no need to follow it. But there is a conflict between Kolakowski as the Thinker and Kolakowski as the Human Being. The first one tries to find the best way to describe the world with concepts, the second one wants to gain a comfortable existence in the world. The first needs doubt, the second wants to feel certainty. The philosopher as the Human Being wants to have a firm belief in those things the Thinker can only be hopeful of. The purpose of the article is to show how the Human Being and the Thinker compete in Kolakowski’s works, as their understanding of truth and the ways to it are different. Kolakowski’s paradox is that the inconsistency of the mind should advance us towards the truth, but it reinforces doubts whether truth is possible in general. If you replace the inconsistency with faith, the prospect becomes even foggier. Consequently, the author concludes that Kolakowski stayed in the state of uncertainty regarding how to solve the conflict. Theoretically, he prescribes the need for faith but does not explain how to practically combine faith and doubt in one head. The Thinker often wins with the Human Being and then retreats and comes back again. The Thinker and the Human Being are not an identical opposition to rational and irrational. It is a conflict which concerns the two subject guidelines: will to know and will to exist.
3
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Miasto w Lailonii. Uwagi scenarzysty

51%
Zamojski J.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2013
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vol. 12
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issue 21
43-63
EN
The article discusses the role of the city in Tales from the Kingdom of Lailonia by the philosopher Leszek Kołakowski, and in the animated film series Fourteen Tales from the Kingdom of Lailonia by Leszek Kołakowski, which is an adaptation of the book. The article is written from the point of view of the originator of the adaptation and the screenwriter of all the films in the series. The author examines the historical and ideological context of L. Kołakowski’s writing the Tales … and analyzes the role of the city understood as the setting of the plot (topos) and the venue for an exchange of ideas (agora) and for the community (polis); he does so on three levels: that of the literary original, the screenplay adaptation, and the film. He also examines the role of the city in those senses for the drama of the individual films, the philosophical and esthetic premises of the role, and – in these contexts – the relations between the selected films and their screenplays.
PL
A city in Lailonia. Remarks from a screenwriter The article discusses the role of the city in  Tales from the Kingdom of Lailonia by the philosopher Leszek Kołakowski, and in the animated film series Fourteen Tales from the Kingdom of Lailonia by Leszek Kołakowski, which is an adaptation of the book. The article is written from the point of view of the originator of the adaptation and the screenwriter of all the films in the series. The author examines the historical and ideological context of L. Kołakowski’s writing the Tales … and analyzes the role of the city understood as the setting of the plot (topos) and the venue for an exchange of ideas (agora) and for the community (polis); he does so on three levels: that of the literary original, the screenplay adaptation, and the film. He also examines the role of the city in those senses for the drama of the individual films, the philosophical and esthetic premises of the role, and – in these contexts – the relations between the selected films and their screenplays.
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