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LEV SHESTOV'S PHILOSOPHY OF LIFE AS A PHILOSOPHY OF SLEEPLESSNESS (Filozofia zycia Lwa Szestowa jako filozofia bezsennosci)

100%
Pospiszyl M.
Kwartalnik Filozoficzny
|
2008
|
vol. 36
|
issue 4
53-64
EN
Lev Shestov's philosophy of life could be read as a philosophy of sleeplessness. Recurrent metaphors of sleep, awakening, vigil and sleeplessness, underline the important role of these concepts in Shestov's philosophy. However, a serious problem arises. If we are to live in permanent sleeplessness, permanent tension, will we not become accustomed to this tension, and in the end sleeplessness will be as soothing as a pleasant dream? In order to understand Shestov's three senses of sleeplessness and to avoid aporia (e.g. that of pleasant sleeplessness), the author would add two more senses of sleeplessness from the philosophy of Emmanuel Lévinas: I. sleeplessness as a situation of impersonality:'il y a' (Levinas); II. the sleeplessness of permanent tension and awakening (Shestov), III. the sleeplessness of quiet vigil (Shestov); IV. the sleeplessness of vigil in knowledge (a sense criticized by Shestov); V. the sleeplessness of metaphysical desire, being awake thanks to the existence of 'the other in me' (Levinas)
2

PHILOSOPHICAL-AESTHETIC SOURCES AND PREMISE OF JAN SMREK'S 'SUNNY BOOKS' (Filozoficko-esteticke zdroje a vychodiska 'knih slnecnych' Jana Smreka)

75%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2011
|
vol. 58
|
issue 3
259-271
EN
The goal of the study is to place the poetry of Jan Smrek's 'sunny books' into the wider philosophical, artistic and cultural-aesthetic context of the early 20th century. The influence of Bergson's philosophy on the artistic thinking, culture and sensibility of modernist literature of the time proves to be more and more significant. In the context of the philosophy of life (Bergson, Dilthey, etc.) and related artistic-aesthetic, philosophical and psychological concepts (Husserl, Jung, Steiner, Guardini, etc.) it can be seen revitalisation of religion, mythology and spirituality, whose sources can be traced back to German idealistic philosophy, romanticism and the tradition of hermetic-esoteric sciences. With the intention of reconstructing culture, values and meaning, several modernist artistic-aesthetic manifestos (Anglo-American modernism, Russian acmeism etc.) turn to the principle of cultural memory and the tradition, which they reformed by modern means. Those attempts are developed within the intentions of Bergsonism. The identical dynamic understanding of a tradition can be found in Jan Smrek's artistic-aesthetic manifestos. In a narrower context, the influence of the vitalism-oriented Czech thinking (the artistic branch - Neumann, Sramek and the theoretical-aesthetic branch - K. Capek, J. Capek, Salda, Cerny) on then forming Smrek's poetics and aesthetic beliefs is also interesting. The gain of the study can be clear with regard to the fact that the influence of Bergsonism and vitalism on Smrek's poetry has not yet been analysed or researched. The most important is to grasp Smrek's aesthetic gesture in a wider context of artistic and theoretical thinking of the time.
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