Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  POST-STRUCTURALISM
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Poststrukturalizm a myśl etyczna Nietzschego

100%
Choińska B.
Filo-Sofija
|
2012
|
vol. 12
|
issue 1(16)
183-194
EN
In the article I discuss the post-structuralist ethics in relation to Nietzsche’s thought. The point of view of some French post-structuralists seems to be situated far away from Nietzsche’s ethical ideas, at the most reaching the camel’s and lion’s stage. Lyotard and Derrida opt for a relational ethics while Foucault chooses the strategy of local resistance to the symbolic violence. Paradoxically, Lacan turns out to be closest to Nietzsche, with his theory of exceeding the phantasm in the direction of the Real Order.
2

'UT PICTURA AUTO-POIESIS ?' (Marino's Narcissus Poems in the Mirror/Game of Deconstuction)

86%
Burkhart M. G.
Slovak Review. A Review of World Literature Research
|
2005
|
vol. 14
|
issue 2
114-132
EN
Mannerism used to be considered as an expression of decadence in long periods of literary history. Its aestheticism, declension from the phenomena of trivial experience, self-complacent game with its own potential and accentuation of rhetoric were understood as an expression of a sophistical attitude. The value of mannerism is really situated in the auto-reflective gesture, in conscious shaping of processes of its own conception. Positive re-interpretation of this mannerist auto-referential is connected with the changes within the perspectives of literary scholarship, which in the position of post-structuralism shows increased sensitiveness to similar phenomena. In German environment, deconstruction and system theory are those that intensely approximate to these problems. In this optics it is just needed to subject to post-structuralistic analysis the poetics of one of the most remarkable representatives of Italian mannerism, Giovanni Battista Marino. The aim of this analysis is to detect the meaning of auto-reflection as a constitutive principle yet, before the start of 'modernity'. Particularly this analysis will refer to 'Narcissus- and echo-poems' (Narziss- und Echo-Gedichte) of Marino's 'La Galeria'. Here, according to my thesis, the problem of auto-reflection, culminates in a special way. One of the reasons of this is Marino's reference of shaping the Narcissus' myth in Ovid's 'Metamorphoses'. It will manifest in which way the myth as a rhetorical-topological meta-myth was accepted in a imaginative lyrical poetry and made functional regarding to the elaborated auto-poetic concept. Recourse to Horace's statement 'ut picture poiesis' is important which is specifically modified by Marino. His Narcissus poems in relation of the image and poem show the mimetic function of literature which became problematic in the inter-textual concept of 'memoria'.
3

Mimesis, cezura i spekulacja w filozofii T.W. Adorna i P Lacoue- Labarthe`a

86%
Górski J.
Kwartalnik Filozoficzny
|
2017
|
vol. 45
|
issue 4
135-167
EN
The aim of this essay is a better understanding of two crucial 20th century conceptions of mimesis. A comparative analysis will be conducted of, on the one hand, Adorno’s theory of mimesis-construction (Ratio) interrelations in the context of the philosophical and political determinants of 20th century art “after” Auschwitz, and, on the other, of Philippe Lacoue-Labarthe’s critical interpretation of the aforementioned theory. In his aesthetic theory, with its framework of negative dialectics, Adorno uses the idea of mimesis-construction to define and to describe the very profound, fundamental relation between art philosophy and politics, whereas Lacoue-Labarthe – a French poststructuralist from the second half of 20th century – is focusing on the deconstruction of such interplay in the name of the autonomy of art. The common ground for this comparison is provided by Friedrich Hölderlin’s early poetry and his theory of modern tragedy, as well as Walter Benjamin’s idea of das Gedichtete and Martin Heidegger’s thesis on the role of poetry and the figure of the poet. In short, this essay will aim to present Adorno’s theory as worded in his Parataxis in the light of the critique from Lacoue-Labarthe’s essay titled Il faut.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.