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Imagining Hedda Gabler: Munch and Ibsen on Art and Modern Life

100%
Gjesdal K.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
71-86
EN
Among Edvard Munch’s many portraits of Henrik Ibsen, the famous Norwegian dramatist and Munch’s senior by a generation, one stands out. Large in scope and with a characteristic pallet of roughly hewed gray blue, green and yellow, the sketch is given the title Geniuses. Munch’s sketch shows Ibsen, who had died a few years earlier, in the company of Socrates and Nietzsche. The picture was a working sketch for a painting commissioned by the University. While Munch, in the end, chose a different motif for his commission, it is nonetheless significant that he found it appropriate to portrait the Norwegian dramatist in the company of key European philosophers, indeed the whole span of the European philosophical tra­dition from its early beginnings to its most controversial spokesman in the late 1800s. In my article, I seek to take seriously Munch’s bold and original positioning of Ibsen in the company of philosophers. Focusing on Hedda Gabler-a play about love lost and lives unlived-I explore the aesthetic-philosophical ramifications of Ibsen’s peculiar position between realism and modernism. This position, I suggest, is also reflected in Munch’s sketches for the set design for Hermann Bahr’s 1906 production of the play.
2
Publication available in full text mode
Content available

Imagining Hedda Gabler: Munch and Ibsen on Art and Modern Life

100%
Gjesdal K.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
71-86
EN
Among Edvard Munch’s many portraits of Henrik Ibsen, the famous Norwegian dramatist and Munch’s senior by a generation, one stands out. Large in scope and with a characteristic pallet of roughly hewed gray blue, green and yellow, the sketch is given the title Geniuses. Munch’s sketch shows Ibsen, who had died a few years earlier, in the company of Socrates and Nietzsche. The picture was a working sketch for a painting commissioned by the University. While Munch, in the end, chose a different motif for his commission, it is nonetheless significant that he found it appropriate to portrait the Norwegian dramatist in the company of key European philosophers, indeed the whole span of the European philosophical tra­dition from its early beginnings to its most controversial spokesman in the late 1800s. In my article, I seek to take seriously Munch’s bold and original positioning of Ibsen in the company of philosophers. Focusing on Hedda Gabler-a play about love lost and lives unlived-I explore the aesthetic-philosophical ramifications of Ibsen’s peculiar position between realism and modernism. This position, I suggest, is also reflected in Munch’s sketches for the set design for Hermann Bahr’s 1906 production of the play.
3
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Filozofia edukacji Edmunda Bojanowskiego w perspektywie XIX-wiecznej filozofii polskiej oraz filozofii klasycznej

72%
Krasnodębski M.
Zeszyty Naukowe KUL
|
2017
|
vol. 60
|
issue 4
109-123
EN
Edmund Bojanowski – the founder of Orphanages and The Congregation of Sisters Servants of the Immaculate Conception of the Blessed Virgin Mary didn’t leave any philosophical works behind. In spite of this as a teacher and community worker he created his own philosophy of act based on the classical and neoscholastic philosophy. It was very original and inspiring in the context of the nineteenth-century philosophy and is still relevant. In this paper the philosophical fundaments on which Edmund Bojanowski built his concept of education have been shown.
PL
Edmund Bojanowski – twórca Ochronek i założyciel Zgromadzenia Zakonnego Sióstr Służebniczek nie pozostawił po sobie żadnego filozoficznego dzieła. Pomimo to ten pedagog i społecznik w oparciu o filozofię antyczną i neoscholastyczną sformułował własną życiową „filozofię czynu”, która nie tylko w perspektywie XIX wieku jest inspirująca i aktualna. W niniejszym artykule podjęto próbę wskazania na filozoficzne podstawy, na których E. Bojanowski sformułował swoją koncepcję edukacji.
4
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Prepozytywistyczna (?) koncepcja filozofii narodowej Michała Wiszniewskiego. cz. 2: Charakter i język filozofii narodowej

72%
Cygan M.
Logos i Ethos
|
2020
|
vol. 55
|
issue 2
87-100
EN
The term national philosophy includes the specific philosophical trends that existed in the nineteenth century, during the Romantic period. However, not all thinkers who developed the concept of national philosophy belonged to the then leading trend. Michał Wiszniewski was certainly not a romantic, which, among other things, was tried to show in the first part of the article. However, just like everyone who postulated the need to create a national philosophy, so Wiszniewski faced the need to determine what, according to him, would characterize the national philosophy i.e. he faced the need to determine its national character, attitude to philosophy in general, and the language in which would express itself. That is why the article in its second part is devoted to these issues. In addition, it is also an attempt to assess the concept of Wiszniewski, as well as to answer the question “whether?” and “how much?” it can be described as prepositivist.
PL
Termin „filozofia narodowa” obejmuje swym znaczeniem te specyficzne trendy filozoficzne, które występowały w wieku XIX, w okresie romantyzmu. Niemniej nie wszyscy myśliciele, którzy rozwijali koncepcję filozofii narodowej, należeli do tego wiodącego wówczas nurtu. Romantykiem nie był na pewno Wiszniewski, co też, między innymi, starano się pokazać w pierwszej części artykułu. Jednakże, podobnie jak każdy, kto postulował potrzebę stworzenia filozofii narodowej, tak i Wiszniewski stanął przed koniecznością określenia, czym według niego miałaby się charakteryzować filozofia narodowa, czyli stanął przed koniecznością określenia jej charakteru narodowego, stosunku do filozofii w ogóle, a także języka, w jakim miałaby się wyrażać. Tym zagadnieniom został poświęcony artykuł w swojej drugiej części. Stanowi on ponadto próbę oceny omawianej koncepcji Wiszniewskiego, a także odpowiedzi na pytanie „czy?” i na „ile?” można ją określić jako prepozytywistyczną.
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