Search results

1

Mearsheimer i nędza jego realizmu

100%

Kuźniar R.

Sprawy Międzynarodowe

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2014

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issue 4

55-66

EN

In the article Roman Kuźniar takes a critical stance on the widely discussed article by John Mearsheimer, an article in which the University of Chicago professor blames the West for the Ukrainian crisis. Mearsheimer reiterates that both UE and NATO enlargement could not but be seen as threats to Russian interests. With Western plans to bring Ukraine and Georgia to the EU and possibly to NATO as well, Russia could not have reacted otherwise. Kuźniar contradicts Mearsheimer’s position, pinpointing to longtime Western efforts to build bridges towards Moscow and to include Russia in close cooperation with NATO, EU, G-8 membership, etc. None of that worked, because Russia wanted to be respected as yet another Soviet Union. Kuźniar’s view is that the right way to deal with “new Russia” is not to appease her, but to contain her aggressive tendencies.

2

Head of Medusa, or realism in films of the Cinema of Moral Anxiety

63%

Kwartalnik Filmowy

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2013

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issue Special Issue - Polish Film Scholars on Polish Cinema

231-256

EN

The article discusses the films belonging to the Cinema of Moral Anxiety (1976-1981) as the most characteristic examples of realism in film in Polish cinematography between 1945 and 1989. The main aim of the early feature films of Krzysztof Kieślowski, Agnieszka Holland, Feliks Falk, Janusz Kijowski, and the work by Andrzej Wajda, Krzysztof Zanussi and Janusz Zaorski that can be classified as Cinema of Moral Anxiety, was a critical description of reality. This description was possible, thanks to skillful handling of the medium of photographic realism and realism in staging. The first part of the article presents in brief the historical and cinematographic context of the origins of the Cinema of Moral Anxiety. The second part discusses the major films of the movement in terms of the relationship between the strategies used in them and the process of creation of their critical and descriptive character. The order of the argument is set out by the achievements of four film cinematographers: Sławomir Idziak, Edward Kłosiński, Jacek Petrycki and Krzysztof Wyszyński. The following are the key issues: how does photographic realism manifests itself in film? How does it define their aesthetics and what is its impact on the creation of the director’s reflection upon socio-political context of the time? What are the limitations and difficulties associated with the aesthetics of realism? The third part of the article deals with the relationship of the realist aesthetics of the films belonging to the Cinema of Moral Anxiety movement with the moral reflection contained within them. The article concludes with some reflection upon typical protagonists of the films of the Cinema of Moral Anxiety.

3

Realismus a antirealismus

51%

Pechar J.

Filosofický časopis (Philosophical Journal)

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2009

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vol. 57

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issue 1

53-60

EN

The distinction between realist and anti-realist standpoints is understood here in the sense that is defined by Michael Dummett and connected, by him, with the phase in Wittgenstein’s thinking which issues in the Philosophical Investigations. Cora Diamond, whose article is here outlined, shows, however, that Wittgenstein’s Tractatus is already, in its basic orientation, anti-realistic in Dummett’s sense. She argues that, unlike Russell, Wittgenstein here rejects the conception of a semantic theory which would allow a theory to explain the legitimacy of certain deductions without our necessarily being able to perform those deductions. Dummett sees a connection between anti-realism and a scepticism about the law of excluded middle. Husserl too, in his Formal and Transcendental Logic, sees the assumption that every judgement is in itself determined – an assumption that is part and parcel of the law of excluded middle – as a remarkably a priori assumption applied to every subject of possible judging. In this context he notes that “we all know very well that, in actual fact, few judgements can be easily objectively established by anyone, even in the best circumstances”. If, then, Husserl problematises the development which led to the conception of a logic of a real world taken as already given, and if he emphasises that every real truth remains, for fundamental reasons, relative and normatively related to regulative ideas, then we evidently cannot treat his philosophy as occupying a realist standpoint in Dummett’s sense. The same applies to Kant, too, for whom merely finite thinking beings, because of their reliance on sense, must intuit with the help of conceptual thinking which enables objects to emerge from sensual impressions. It appears, then, that what Dummett calls “anti-realism” is by no means a standpoint which is restricted only to certain orientations in analytical philosophy.

4

Realism, idealism or opportunism? Iran’s reason of state in foreign policy towards Russia

51%

Krzyżanowski M.

Krakowskie Studia Międzynarodowe

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2023

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vol. XX

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issue 1

55-79

EN

The paper seeks to indicate the main sources and currents that mold the general pattern of Iran’s foreign policy and propose the explanation of Iran’s actions in regard to Russia. The paper shortly analyze, political dualities like pragmatism vs. idealism, decision making through the institutions of the revolution vs. parliamentary democracy, Iran’s desire for recognition as a regional power vs. forward defensive approach and last but not least an accurate terminology to use in a broader debate about Iranian policy. The paper secondary aim is to provide a general picture of Iranian policy toward Russia and to put some light on complexity of Iran-Russia relations.

5

“The thin delights of moonshine and romance”: Romance, Tourism, and Realism in Hawthorne’s The Marble Faun

38%

Martinez C.

Review of International American Studies

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2018

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vol. 11

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issue 2

EN

Carlo MartinezUniversità “G. d’Annunzio” di Chieti-Pescara, Italy “The thin delights of moonshine and romance”: Romance, Tourism, and Realism in Hawthorne’s The Marble Faun Abstract: Hawthorne’s involvement with the logic of the tourism of his day is a key aspect of his development as a fiction writer. Starting from a discussion of the early sketch “My Visit to Niagara” the article argues that the discourse of tourism, with its protocols and practices, is for Hawthorne a fertile breeding ground and conceptual framework for the elaboration of a new rationale and a new aesthetic for the fiction writing he calls “romance.” It then explores how tourism resonates in the romance which takes it as its central thematic concern: The Marble Faun. Hawthorne’s last completed long work of fiction represents a moment of artistic and personal crisis for the author, who finds his notion of romance writing caught in a sort of double bind created by the touristic nature of his stay in Italy. As the plot of the novel suggests, in his efforts to extricate himself from the situation, Hawthorne, envisioned and experimented with a new kind of writing that led him to revise and alter radically the romance form he had previously elaborated in favor of a much more realistic style of fiction. Keywords: Nathaniel Hawthorne; Tourism; Italy; The Marble Faun; Romance; Realism

6

Wissenschaftliche Forschung der Doktoranden – Verschiedene germanistische Forschungsfragen

38%

Pawlak W.

Linguistische Treffen in Wrocław

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2020

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issue 17

393-397

EN

The aim of this anthology is to publish the texts of postgraduate students from Slovakia, Poland and the Czech Republic. The publication series contains articles from different topic areas, that are closely associated with German language. Each article is composed of theoretical and empirical part. You can find here the studies of literature, of linguistics and of didactics.

7

Pragmatic Objectivity

38%

Marsonet M.

Academicus. International Scientific Journal

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2014

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issue 09

43-54

EN

Nicholas Rescher writes that “objectivity is not something we infer from the data; it is something we must presuppose. It is something that we postulate or presume from the very outset of our dealings with people’s claims about the world’s facts”. Such definition is just the opposite of objectivity conceived of in classical terms, but it cannot be equated with an idealistic viewpoint according to which objectivity is something that our mind simply creates in the process of reflection. It is, rather, a sort of cross-product of the encounter between our mind-shaped capacities, and a surrounding reality made up of things that are real in the usual meaning of the term. Science itself gives us some crucial insights in this direction, since it shows that we see, say, tables and trees in a certain way which, however, does not match the image that scientific instruments are able to attain. Does this mean that our commonsense view of the world is totally wrong and that nature deceives us? This is not the case. The difference between the commonsense and the scientific image of the world is explainable by the fact that we are evolutionary creatures. Nature has simply endowed human beings with tools and capacities that enable them to survive in an environment which - at least in remote eras - was largely hostile. Our way of seeing tables and trees is what is requested for carrying on a successful fight for the survival of the species: nothing more - and nothing less - is needed for achieving this fundamental goal. Turning once again to the problem of ontological objectivity, the picture has now gained both strength and clarity. If we recall that human endeavors, although occurring in a largely autonomous social and linguistic world, are nevertheless limited by the constraints that natural reality forces upon us, we begin to understand that the social-linguistic world itself is not a boat freely floating without directions. If the boat is there, it means that an explanation of its presence is likely to be obtained if only we are patient enough to look for it. Some kind of hand must be on the wheel, giving the boat indications on Contrary to other pragmatist-flavored positions popular nowadays, this approach maintains that universality has a fundamental and unavoidable function in our rational endeavors. This is due to the fact that “presupposition” and “hypothetical reasoning” are key ingredients of our very capacity to rationalize the world in which we live. Indeed, there can be no rationality without universality.

8

A Limited View of Realism

38%

Marsonet M.

Academicus. International Scientific Journal

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2012

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issue 06

20-34

EN

In the paper we argue that no neat border line between ontology and epistemology can be drawn. This is due to the fact that the separation between factual and conceptual is rather fuzzy, and the world is characterized by a sort of ontological opacity which makes the construction of any absolute ontology difficult. Our ontology is characterized by the fact that the things of nature are seen by us in terms of a conceptual apparatus that is inevitably influenced by mind-involving elements, and all this has important consequences on both the question of scientific realism and the realism/anti-realism debate. Conceptualization gives us access to the world, while, on the other, it is the most important feature of our cultural evolution. While the idealistic thesis according to which the mind produces natural reality looks hardly tenable, it is reasonable to claim instead that we perceive this same reality by having recourse to the filter of a conceptual apparatus whose presence is, in turn, connected to the development of language and social organization. Our science is essentially relational, and not absolute. The information with which it provides us is appropriate, but from our point of view. Science provides reliable information on the world, but this information is always relative to a particular framework, and it is a mistake to think that the limits of our cognitive capacities only have an aprioristic character. Science constantly attempts at providing answers to our questions about how things stand in the world, and thus purports to offer reliable information about it. But it should also be recognized that the extent to which science succeeds in accomplishing this task is disputable. What kind of realism, thus, can we actually endorse? Despite what many relativists claim, realism still is an arguable and defendable position. If one asks what difference is made to our knowledge claims if we accept the existence of an extra-conceptual world, the answer is the following: such recognition undermines the diffused anthropocentric stance which identifies reality with our limited knowledge of it.

9

Science-Art: Neuronaturalism Beyond the Decentred Spectator

32%

Klee S.

Eidos. A Journal for Philosophy of Culture

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2017

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vol. 1

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issue 2

78–93

EN

Science-art collaborations are a growth area. An example is the Wellcome Collection exhibition “States of Mind”. I focus on one work yellowbluepink by Ann Veronica Janssens. As framed within the exhibition this piece is understood to present a model of spectatorship in which the art-encounter prompts an awareness of the p o s s i b i l i t y of neuroscientific self-understanding. I take it that science-art projects want to spread this celebration of “objective thought”; this is their realist agenda. The scientific framing of yellowbluepink fails in this regard because of a striking contradiction at its heart. The dominant art historical interpretation of this piece includes a spectator who is “decentred”, u n a b l e to know him or herself. This contradiction creates a methodological problem for the project, one that negatively impacts its ability to a m b i t i o u s l y promote its agenda. On the basis of this analysis I sketch out the conditions for an ambitious project. It would need to acknowledge the “artworld” and it would require the invention of a new model of spectatorship, one that promoted (self)-awareness of humankinds’ impressive epistemic capacity. This anti-phenomenological figure is formulated with reference to the nemocentric subject.

10

International Approaches to the Crisis in Ukraine

32%

Opoka I.

Polish Journal of Political Science

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2016

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vol. 2

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issue 2

73-102

EN

The crisis in Ukraine is one of the greatest challenges for international community, especially for Euro-Atlantic area ((EAA) USA and the EU).The political tension, caused by the annexation of the part of Ukraine, the Crimea, has inclined the experts to talk about the beginning of the new Cold War between Russia and the West. Evidently this crisis has an international character, complexity, and different levels. At least, there are “the West vs Russia”, “Ukraine vs Russia”, and “Ukraine vs Ukraine” levels. Naturally complexity determined different propositions of the conflict solution among scientists and decision makers. The article explores the conflict using the international relation theories as hallmarks of approaches to the crisis and SWOT-analysis and comparative method as tools of analysis. The liberal, realist, and constructivist approaches to the crisis are distinguished. Every approach has special propositions for the solution of the crisis. These propositions based on the set of beliefs which are involved by the approach. The liberal way of resolving foresees economical assistant to Ukraine, cooperation with Russia and Ukrainian neutrality. The realist approach admits Russian right to renew spheres of influence and sees Ukraine as a buffer state in a future. The constructivists approach to the crisis considers EU membership of Ukraine as a recipe of the solution.

11

Malarz ziemi. Józef Chełmoński w kręgu europejskich tendencji pejzażu

32%

Rosales Rodriguez A.

Biuletyn Historii Sztuki

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2014

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vol. 76

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issue 4

615-636

EN

The article aims at identifying various references that Józef Chełmoński’s painting made to the widely perceived tradition of 19 th -century European landscape. The analysis does not only include the Polish artist’s direct connections with the group of Munich or Paris painters (both from among the academic circles and unofficial ones), but also the ways the artist drew from the modern aesthetic tendencies, conventions, and visual strategies he became acquainted with when abroad, all of those rooted in the discovery of photography, Realism, Impressionism, Symbolism, or Japonism. The Author also analyses the position J. Chełmoński’s art held in the national discourse of Polish artistic criticism and the myth it implied of a painter of land, attached to native landscape and thence drawing nutritious creative forces, national in content and form, while indifferent to cosmopolitan vogues. This suggestive vision of Chełmoński as a wild instinctive artist, consolidated particularly by Stanisław Witkiewicz, is confronted with the organic concept of Gustave Courbet’s creative process, the searches of the Barbizon School and of its German followers.

12

Transgresje wczesnej twórczości Józefa Chełmońskiego. O przedstawieniach kobiet w obrazach z Pracowni w Hotelu Europejskim w Warszawie

32%

Gołąb M.

Biuletyn Historii Sztuki

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2014

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vol. 76

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issue 4

583-596

EN

Five or six large-sized paintings by Józef Chełmoński dedicated to the woman and painted at the Europejski Hotel’s Studio in Warsaw in 1875, of which only the Indian Summer is generally known, are the most important artistic manifesto in Polish art of the time. The Romantic paradigm of Polish culture alongside the pressure of Positivist modernity, the experience of Naturalism and Realism, as well as the attractiveness of the allegorical language of art (grounded in the adoration for Grottger, typical of that generation), all these mark the major ideological and painterly horizons of Chełmoński’s art of the period. The artistic effects of the cycle in question (the latter partly reconstructed due to three paintings having disappeared) define the transgressive character of the oeuvre of the Warsaw artist owing to the ‘borderline’ painterly language, bordering on both allegory and symbolism. It allowed to create a radically different statement on the woman versus the contemporarily valid emancipation discourse by evoking in all the paintings of the cycle a figure of a day-dreaming woman

13

The Relevance of the Lublin Philosophical School to the Contemporary Intellectual Milieu

32%

Lekka-Kowalik A.

Studia Gilsoniana

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2022

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vol. 11

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issue 4

595-616

EN

The term „Lublin Philosophical School” refers to the mode of philosophizing devised in the 1950’s at the catholic University of lublin. After a brief history, the paper first discusses some methodological features of this mode and the social role of philosophy as a self-awareness of culture. Employing the School’s philosophy, the paper then considers the issue of post-truth and that of the value-ladenness of science. The post-truth approach replaces evidence with emotions, and in consequence, argumentation is replaced with power. This in turn threatens the human person, her rationality and freedom. Admitting that science is value-laden and values are subjective leads to denying the cognitive status of science. Lublin philosophy offers such a concept of value and scientific knowledge which allows one to solve the problem created by the valueladenness of science. Thus, the paper shows that the lublin School’s philosophy can provide answers to contemporary problems and evaluate intellectual developments of culture.

14

Kognitivní a percepční perspektiva ve vybraných prózách Jana Nerudy a Jakuba Arbesa a jejich funkční korelace:

26%

Změlík R.

Česká literatura (Czech Literature)

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2020

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vol. 68

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issue 4

438-467

EN

The present work focuses on two types of narrative perspective — cognitive and perceptual. The cognitive perspective is understood to comprise the ways in which the fictional world can be mentally conceptualized from the standpoint of the characters, or such a perspective is a manifestation of collective opinion, which of course is not the subject of this work. The perceptual perspective is understood to comprise sensual perception, through which the phenomena or events of the fictional world are filtered. Based on Wolf Schmid’s conceptualization, we distinguish two basic aspects of narrative perspective, the first being the way evens are perceived or understood, while the second is the way they are represented and realized within the narrative. Another essential feature is the function of both perspectives, which manifests itself not only in terms of what is filtered by these perspectives and what is reflected in the semantics but also reciprocally. It is then our primary task to follow the way both perspectives functionally determine each other. We perform an analysis of this phenomenon on the corpus of Jan Neruda’s and Jakub Arbes’s prose works, which were written at around the same time. Firstly we show how the identified types of perspective are realized in the prose works of both authors, who each represent a differing realist school in Czech literature. We then focus on their functional correlations and find that Neruda’s prose work is characterized more by situations in which a cognitive perspective on a rationally modal basis determines the perceptual perspective, so that sense perceptions or illusions are corrected by the rational cognitive framework, whereas in the case of Arbes’s prose works under review, the reverse is for the most part the case. The typologically different functional correlation method of both perspectives is manifested in the sphere of diegesis, narrative strategy and composition, as well as in the conception of the fictional time-space, for example. Just as the usage of the perspective type or of the functional correlations does not necessarily determine the narrative composition, nor does it necessarily relate to the overall general orientation of the work on the Romanticism-Realism axis. However, its individual segments (setting and characters) determined by the functional polarity of both perspectives may refer to one of these literary mainstreams of the period.

15

Realismus hudebního divadla Waltera Felsensteina – pravda, nebo mýtus?

26%

Havlíčková Kysová Š., Spurná H.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2017

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vol. 20

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issue 1

88-121

EN

The study deals with Music Theatre of Walter Felsenstein (1901–1975), a renowned German opera director of the 20th century. It is based on the seminal monograph of estimable size by Boris Kehrmann, Vom Expressionismus zum verordneten „Realistischen Musiktheater“. Walter Felsenstein – Eine dokumentarische Biographie 1901 bis 1951 (2015) that revisits Felsenstein’s directorial style and questions the presumption that he employed Realistic techniques in his operatic productions. However, the study does not merely summarize the issues introduced by Kehrmann. Since Felsenstein’s directorial style gained acceptance over the countries of the so-called Eastern Bloc, reception of Felsenstein’s work in Czech opera is the subject of inquiry, exploring the alleged influences and supporters of the director.

CS

Studie se zabývá konceptem hudebního divadla, jenž je spjat s tvorbou významného německého operního režiséra Waltera Felsensteina (1901–1975). Východiskem se stala monumentální monografie Borise Kehrmanna Vom Expressionismus zum verordneten „Realistischen Musiktheater“. Walter Felsenstein – Eine dokumentarische Biographie 1901 bis 1951 (2015), podrobující zásadní revizi představu o Felsensteinovi jako o režisérovi, který ve svých operních inscenacích realizoval přístupy realismu jakožto uměleckého stylu. Přítomná studie si neklade za cíl pouhou sumarizaci základních tezí Kehrmannovy knihy. Ohlas a recepce Felsensteinových operních režií v zahraničí, zejména pak v zemích tzv. východního bloku, autorky přivedly k nutnosti přezkoumat situaci v domácím kontextu, resp. v českých operních divadlech. Záměrem bylo položit si otázku, jak byl Felsensteinův vklad do inscenování opery přijímán v českém prostředí a zda tu našel své stoupence.

16

Minimalism and Expressivism

26%

McDonald F.

Ethics in Progress

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2012

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vol. 3

|

issue 1

9-30

EN

There has been a great deal of discussion in the recent philosophical literature of the relationship between the minimalist theory of truth and the expressivist metaethical theory. One group of philosophers contends that minimalism and expressivism are compatible, the other group contends that such theories are incompatible. Following Simon Blackburn (manuscript), I will call the former position ‘compatibilism’ and the latter position‘incompatiblism.’ Even those compatibilist philosophers who hold that there is no conflict or tension between these two theories-minimalism and expressivism-typically think that some revision of minimalism is required to accommodate expressivism. The claim that there is such an incompatibility, I will argue, is based on a misunderstanding of the historical roots of expressivism, the motivations behind the expressivist theory, and the essential commitments of expressivism. I will present an account of the expressivist theory that is clearly consistent with minimalism.

17

Poznámky k vývojové dynamice moderního románu od velkých příběhů cizoložnic k Mannově Čarovné hoře

23%

Blinková Pelánová E.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2020

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issue 62

108-123

EN

The present paper deals with the inner dynamism within the order of the fictional world, focusing on the tranformation of realistic writing (Flaubert, Tolstoy, Fontane) towards modernism. The displayed dynamism is exemplified on Thomas Mann’s The Magic Mountain taking into account the issue of autobiography and author’s essays (the Bildungsroman genre and the European realistic tradition).

Refine search results

Mearsheimer i nędza jego realizmu

Head of Medusa, or realism in films of the Cinema of Moral Anxiety

Realismus a antirealismus

Realism, idealism or opportunism? Iran’s reason of state in foreign policy towards Russia

“The thin delights of moonshine and romance”: Romance, Tourism, and Realism in Hawthorne’s The Marble Faun

Wissenschaftliche Forschung der Doktoranden – Verschiedene germanistische Forschungsfragen

Pragmatic Objectivity

A Limited View of Realism

Science-Art: Neuronaturalism Beyond the Decentred Spectator

International Approaches to the Crisis in Ukraine

Malarz ziemi. Józef Chełmoński w kręgu europejskich tendencji pejzażu

Transgresje wczesnej twórczości Józefa Chełmońskiego. O przedstawieniach kobiet w obrazach z Pracowni w Hotelu Europejskim w Warszawie

The Relevance of the Lublin Philosophical School to the Contemporary Intellectual Milieu

Kognitivní a percepční perspektiva ve vybraných prózách Jana Nerudy a Jakuba Arbesa a jejich funkční korelace:

Realismus hudebního divadla Waltera Felsensteina – pravda, nebo mýtus?

Minimalism and Expressivism

Poznámky k vývojové dynamice moderního románu od velkých příběhů cizoložnic k Mannově Čarovné hoře