The paper explores the relation between collective memory and social theory, trying in particular to show the key role that the notion of collective memory plays in understanding the dynamics of the social process (structuration, genesis of social structure). It does it by means of a series of reinterpretations of classical authors. Investigating the phenomenon of forgetting as covering up the traces of social change (M. Halbwachs), problematized in the contemporary context (P. Bourdieu), leads us to unraveling the problematic character of social change as such in a vain effort of annulment of memory (A. Touraine), and finally to rediscovering of social memory at a deeper level, as a profound structure of social processes. This discovery points to the necessity of introducing a new, yet undeveloped method of studying the social unconscious (A. Giddens, J. Assmann, and in particular J. Alexander). Jeffrey Alexander overtly postulates such a development, identifying his major project of cultural sociology with a kind of social psychoanalysis. The paper ends with a question – where such a postulate leads us to? Perhaps we need a new kind of art of benevolent interpretation that brings along with new understanding also some kind of soothing the pain of misery, deeply inscribed in social existence.
The text presents the theory of the unconscious that can be found in the worksof the philosophico-psychoanalytical pair of French thinkers: Gilles Deleuzeand Felix Guattari. Their theory was conceived in opposition to the classicalfreudian psychoanalysis as well as a certain interpretation of lacanism. It consistsof three main parts: the analysis of desire as the “content” of the unconscious; de-siring machines that form its “infrastructure”; and the authors’ proposal on how to“read” the unconscious. The authors ofAnti-Oedipusoppose to a theory of desirethat links it with lack, the signifier and Law, to describe it as positive, productive,real and non-signifying. They describe the unconscious as multiplicity of moleculardesiring machines that always function in the social realm. Deleuze and Guattaripropose a manner of “reading” the unconscious that opposes both the Freudianmethod of deciphering it as well as the “structuralist” psychoanalysis’ method ofsearching for the Signifier, and instead focuses on examining the work of desiringmachines.
Aim. The foundation of symbolization is a substitution: a mediation between a Representamen and Object. The paper leverages this core mechanic to examine the substitutions within the conscious and unconscious parts of the mind, which compose every act of thinking. Recognizing it is a single instance: the Ego, which regulates this parallel mediation, the paper focuses on the exploration of dichotomies that result from the necessity to perform two symbolizations simultaneously. Concepts. The study’s theoretical framework is determined by Charles S. Peirce’s (1998) concept of sign and Melanie Klein’s (1948) psychoanalytic theory. From semiotic and psychoanalytic angles, this paper explores possible comprehensions of the object in the quasi-mind (Interpretant in infinite semiosis) and actual realization of code in the act of individual thinking (Ego mediating between conscious and unconscious symbolization). Results and conclusion. The main result of the study is the exposure of dichotomies that structure the shared ground for the conscious and the unconscious symbolization. This, in turn, highlights tangible constraints that the mind is subjected to in the act of thinking. Cognitive value. The study’s main contribution is the high-level scheme of dynamics that hold the Ego in reality through the means of unconscious and conscious symbolization. The study also incorporates into coherent model unexamined aspects of individual sign usage: it deploys psychic continuity into the conscious symbolization process (by basing the model on the instance of Ego), which allows addressing the issues arising at the border of conscious and unconscious symbolization.
Is there intentionality in the inner most level of the soul? Do we have experience of what is unconscious? And, supposing that such an experience might exist, is it possible to perform reduction on it? In this regard the present paper aims to investigate, from a phenomenological point of view, the process of “raising awareness” of what is unconscious, trying to understand if there is (or if there can be) a connection between this process and the methodological concept of “reduction” developed by Husserl. Particular attention is paid to the specific type of reduction called “psychological reduction,” which, according to Husserl, provides access to the pure soul, the pure field of psychological experience.
(E)migration as a kind of initiation stage in the fate of an emigrant, when one’s life seems to start from scratch, typologically defines an emigrant text as a structure of incorporation into the social layers of a new society. This process happens mostly unconsciously and is characterized by certain typological markers, such as reference to mythological and folkloric sources, pretexts from home and world culture, stylizations, carnival, parodies, etc. In this sense, a collection by Ilya Lipkovich, Stan Lipovetsky and Igor Mandel titled “Morpheus and Orpheus. Both Dreams and Spirits: Eyewitness Dreams and Poet’s Commentary” is a model of emigrant writing, broadcasting archetypal conventional imagery systems and allowing a reader to survive the traumatic situation of the still incomplete transition.
The purpose of this article is to show how Marcel Proust faces temporality and how we can establish a parallel between his moods and the melancholic state of mind. A brief reflection is made on our relationship with time and about melancholy as consequence of our awareness of the passage of time. Focusing on the study of the first chapter of Swann’s Way, the first volume of Proust’s work In Search of Lost Time, it is presented as part of Proust’s melancholic experience, the fact that he articulated different times with the recourse of involuntary memory, one of the main means used by him in the writing of this work. The question of intuitions as thrusters of this same involuntary memory is addressed and as Proust, neither offering us a figurative literature, nor an abstract literature, used this formula in the struggle against his melancholic hopelessness. It is specified how Proust made the image (figure) to appear alternating the sensation of present with the sensation of past. Some considerations are made about mourning from two different standpoints, firstly from Walter Benjamin’s point of view and his philosophical perspective on the phenomenon of melancholy, then from the approach of Sigmund Freud, to whom melancholy is a pathology within the scope of psychiatry, opposed to mourning. The “loss” prevails throughout this reflection as a condition for the melancholic disposition.
The article is devoted to the actual and little-studied topic. The role of the psychoanalytic paradigm in understanding the interaction between psychoanalysis and pedagogy in retrospective and future plans are studied in the work. The relevance of the research topic is determined by several positions: the importance of critical research problems of interaction and interpenetration of psychoanalysis and pedagogy; the need for adequate inclusion of psychoanalytic ideas in the overall picture of psychological and pedagogical conceptions of human nature; increasing interest in psychoanalysis in today’s society. Modern pedagogics requires attentive and detailed research of possibilities of psychoanalytic theories. In spite of the repeated attempts to analyse the inheritance of psychoanalysis, now it is still a topical issue of deep philosophical reflection on the problem of cooperation of psychoanalysis and pedagogics. The importance of critical philosophical and psychological research of this problem requires a new comprehension. Development of methodology of research of this problem in the context of psychoanalysis is caused by such traditional scientific and philosophical approaches that demonstrate insufficient efficiency today, because unable adequately to explain this cooperation. The importance of further critical philosophical research of problem of pedagogics and psychoanalytic tradition and necessity of the adequate inclusion of psychoanalytic ideas in the overall picture of ideas about modern pedagogics are founded. The necessity of a new reading of psychoanalytic pedagogy, which synthesizes in itself as the power of modern scientific and philosophical concepts, points to a new paradigm on post-non-classical stage of scientific development. It is concluded that psychoanalysis in general and psychoanalytical studies in particular, beyond the purely scientific and therapeutic certainty in the field of the actual pedagogy and cultural studies. The psychoanalytic concept affects various areas of modern philosophy and science, they find themselves the center of attraction of various ideological orientations, no matter how badly and fundamentally they criticize individual psychoanalytic terms and concepts or, conversely, uncritically borrowed the fundamental ideas of psychoanalysis.
This article presents the results of the study of students’ emigration sentiment peculiarities in the context of their civic identity. Various types of the students’ civic identity have been discovered, namely "protest", "uncertain", "patriotic". Protest and uncertain attitude to citizenship (potential emigrants) is associated with the level of psychological well-being of students, dissatisfaction with certain aspects of their life, especially professional and life prospects. Civil identification of students will acquire emotional and patriotic significance only if the state promotes socio-professional and personal fulfillment for the future experts.
In the present article, the author concentrates on a particular use that Adorno, in his Philosophy of New Music, makes of psychoanalytical terminology. The author attempts to show that in his chapter on Stravinsky, Adorno uses this terminology in an instrumental way, as a means of “pathologizing” Stravinsky’s music, while in the chapter on Schoenberg, the same terminology is explored in view of its potential for shedding new light on the composer’s artistic freedom, as conceived by Adorno especially in relation to Schoenberg’s atonal period. It seems that Adorno regards psychoanalysis as a general theory of mental expression, making possible a new understanding of Schoenberg’s atonal reform and of a dialectical relationship between form and expression in Schoenberg’s atonal music. Given this viewpoint, the author pays particular attention to Adorno’s interpretation of Schoenberg’s Erwartung. In the final part of the text, the author attempts to demonstrate that this interpretation of Erwartung played a fundamental role in Adorno’s polemic with post-war serialism, as presented especially in his essay Vers une musique informelle.
CS
Autor se v článku zaměřuje na způsob, jakým Adorno ve své knize Filosofie nové hudby využívá psychoanalyticky inspirovanou terminologii. Cílem je ukázat, že zatímco v části věnované Stravinskému je tato terminologie využívána instrumentálně, jako nástroj sloužící k „patologizaci“ Stravinského hudby, v části věnované Schönbergovi je prozkoumáván její potenciál k novému chápání umělecké svobody, jak ji Adorno chápe v souvislosti se Schönbergovým atonálním období. Zdá se, že Adorno ve freudovské psychoanalýze vidí především novou teorii psychické exprese, která podle něho umožňuje nové chápání schönbergovské hudební reformy a dialektický vztah formy a exprese v Schönbergových atonálních kompozicích. Z této perspektivy se autor zaměřuje především na Adornovu interpretaci Schönbergova monodramatu Očekávání. V závěrečné části se pokoušíme ukázat, že tento Adornův výklad Očekávání byl určující i pro jeho polemiku s poválečným serialismem, jak je prezentována zejména v textu Vers une musique informelle.
“A Poor Christian Looks at the Ghetto” and “Campo di Fiori” are the most acclaimed Polish poetic works on the Holocaust. They have been read as texts on the collective anxieties; the article assumes this interpretative position as well. It begins with a reference to the concreteness of war, that is, an attempt to understand the array of scenes and phenomena that underlie the poetic images. In fact, literary accounts and testimonies of Polish Jews suggest that the general context includes the problems of the Polish violence towards them and collective responsibility incorporated into the plan of extermination inaugurated by the Nazi Germany. In Miłosz’s poem, the unwanted awareness of cooperation and contribution to the Holocaust resurfaces as anxieties (represented by the “mole-guard”), whose invasion is followed by the collapse of the symbolic order and domesticating images. Present yet invisible to the society, the knowledge of Polish violence thus functions as the Lacanian Real. Polish perspective on the death of Jews is put forward in “Campo di Fiori.” Against the traditional readings of it as an account of “apathy,” this text juxtaposes the event of burning the heretic on stake by Christian inquisition with the gaze of a “poor Christian” focused on the burning ghetto. Both figures share the exclusion of dying people who establish the limits of Christian and Polish community; simultaneously, the dying occupy a “dangerous place,” one that is destined to be annihilated in the realm of foundational myths of identity. In the times of the Holocaust, constructing such a limit happens to be a sentence legitimising the actions undertaken by the Nazis.
PL
Wiersze Biedny chrześcijanin patrzy na getto oraz Campo di Fiori należą do najsłynniejszych polskich utworów poetyckich o Zagładzie. Czytano je jako zapis zbiorowych lęków. Tekst jest próbą pójścia tym tropem interpretacyjnym. Krokiem wstępnym jest odniesienie do wojennego konkretu, a więc próba zrozumienia, do jakiego rodzaju scen i zjawisk odnoszą się poetyckie obrazy. Zestawienie ze świadectwami oraz literackimi zapisami polskich Żydów wskazuje, że kontekstem są polska przemoc i kolektywne sprawstwo wpisujące się w realizowaną przez nazistów eksterminację. Niechciana wiedza o sprawstwie i współudziale przybiera u Miłosza postać lęków uosabianych przez „strażnika-kreta”. Ich inwazji towarzyszy rozpad symbolicznego porządku i obrazów zadomowienia, co wskazuje, że obecna, a jednocześnie niewidoczna dla społeczności wiedza o polskiej przemocy funkcjonuje jak Lacanowskie Realne. Zapisem polskiego patrzenia na śmierć Żydów jest wiersz Campo di Fiori. Polemicznie do tradycji interpretowania go jako świadectwa „obojętności” wydobyte zostają paralele między spaleniem heretyka przez chrześcijańską inkwizycję i spojrzeniem „biednego chrześcijanina” na płonące getto. Ich wspólną cechą jest wykluczenie ginących jako tych, którzy wyznaczają granicę chrześcijańskiej i polskiej społeczności, a jednocześnie zajmują „miejsce niebezpieczne”, a więc w porządku fundujących tożsamość mitów przeznaczone do unicestwienia. Ustanowienie tej granicy okazuje się w realiach Zagłady wyrokiem i legitymizuje działania nazistów.
“A Poor Christian Looks at the Ghetto” and “Campo di Fiori” are the most acclaimed Polish poetic works on the Holocaust. They have been read as texts on the collective anxieties; the article assumes this interpretative position as well. It begins with a reference to the concreteness of war, that is, an attempt to understand the array of scenes and phenomena that underlie the poetic images. In fact, literary accounts and testimonies of Polish Jews suggest that the general context includes the problems of the Polish violence towards them and collective responsibility incorporated into the plan of extermination inaugurated by the Nazi Germany. In Miłosz’s poem, the unwanted awareness of cooperation and contribution to the Holocaust resurfaces as anxieties (represented by the “mole-guard”), whose invasion is followed by the collapse of the symbolic order and domesticating images. Present yet invisible to the society, the knowledge of Polish violence thus functions as the Lacanian Real. Polish perspective on the death of Jews is put forward in “Campo di Fiori.” Against the traditional readings of it as an account of “apathy,” this text juxtaposes the event of burning the heretic on stake by Christian inquisition with the gaze of a “poor Christian” focused on the burning ghetto. Both figures share the exclusion of dying people who establish the limits of Christian and Polish community; simultaneously, the dying occupy a “dangerous place,” one that is destined to be annihilated in the realm of foundational myths of identity. In the times of the Holocaust, constructing such a limit happens to be a sentence legitimising the actions undertaken by the Nazis.
PL
Wiersze Biedny chrześcijanin patrzy na getto oraz Campo di Fiori należą do najsłynniejszych polskich utworów poetyckich o Zagładzie. Czytano je jako zapis zbiorowych lęków. Tekst jest próbą pójścia tym tropem interpretacyjnym. Krokiem wstępnym jest odniesienie do wojennego konkretu, a więc próba zrozumienia, do jakiego rodzaju scen i zjawisk odnoszą się poetyckie obrazy. Zestawienie ze świadectwami oraz literackimi zapisami polskich Żydów wskazuje, że kontekstem są polska przemoc i kolektywne sprawstwo wpisujące się w realizowaną przez nazistów eksterminację. Niechciana wiedza o sprawstwie i współudziale przybiera u Miłosza postać lęków uosabianych przez „strażnika-kreta”. Ich inwazji towarzyszy rozpad symbolicznego porządku i obrazów zadomowienia, co wskazuje, że obecna, a jednocześnie niewidoczna dla społeczności wiedza o polskiej przemocy funkcjonuje jak Lacanowskie Realne. Zapisem polskiego patrzenia na śmierć Żydów jest wiersz Campo di Fiori. Polemicznie do tradycji interpretowania go jako świadectwa „obojętności” wydobyte zostają paralele między spaleniem heretyka przez chrześcijańską inkwizycję i spojrzeniem „biednego chrześcijanina” na płonące getto. Ich wspólną cechą jest wykluczenie ginących jako tych, którzy wyznaczają granicę chrześcijańskiej i polskiej społeczności, a jednocześnie zajmują „miejsce niebezpieczne”, a więc w porządku fundujących tożsamość mitów przeznaczone do unicestwienia. Ustanowienie tej granicy okazuje się w realiach Zagłady wyrokiem i legitymizuje działania nazistów.
This article investigates the gods and heroes of Greek myths by means of depth psychology’s notions of archetypes and collective unconscious. Its main goal is to take a closer look at the potential correlation between the external (in relation to the ego) figures of gods and goddesses as understood by the ancient Greeks (influencing them in a way similar to the Homeric heroes) and the internal manifestations of the collective unconscious, which may constitute – according to Jung – the essence of the ancient deities. The article also examines the influence (both positive and negative) of the “inner gods” on the individual way of thinking, feeling and acting. Lastly, the conclusion draws attention to the value of the irrational sphere – the source of the origin of the forgotten, polytheistic gods that inhabit the psyche of modern man.
PL
Niniejszy tekst podejmuje kwestię bogów i bohaterów mitów greckich, odnosząc ją do obecnej w psychologii głębi koncepcji archetypów i nieświadomości zbiorowej. Główny cel badań sprowadza się tym samym do bacznego przyjrzenia się potencjalnej korelacji pomiędzy zewnętrznymi (względem „ja”) w rozumieniu starożytnego Greka postaciami bogów i bogiń (wpływających na niego podobnie jak na bohaterów homeryckich), a wewnętrznymi przejawami nieświadomości zbiorowej, które mogą stanowić – według Carla Gustava Junga – istotę antycznych bóstw. Ponadto został poddany namysłowi problem wpływu „wewnętrznych bogów” na sposób myślenia, odczuwania i działania jednostki, wpływu zarówno pozytywnego, jak i negatywnego. Wynikająca z przeprowadzonych badań konkluzja zwraca uwagę na wartość sfery irracjonalnej – źródła pochodzenia zapomnianych, politeistycznych bogów, zamieszkujących psychikę współczesnego człowieka.
This article sketches a conception of philosophical coaching – a new practical discipline offered at the University of Opole since 2016. In the first part of the essay, Plato’s ontology is considered through the lenses of process philosophy. Following this interpretation, Plato’s ontology becomes a kind of metaphysics of experience. The so-called „true Being” is not the realm of abstract realities. Rather, it refers to a kind of experience that discloses to us the real meaning of particular life situations, i.e.. their meaning viewed from the perspective of the Good. Plato’s philosophy turns out to be a logotherapy or spiritual practice, which consists in liberating the mind by diverting it from pathological pseudo- -meanings and directing it towards the Meaning. Finally, the last part of the article details the skills which students graduating in Philosophical Coaching should possess.
PL
Artykuł zawiera szkic ontologicznych podstaw coachingu filozoficznego – nowej dyscypliny praktycznej, która od roku 2016 stanowi składnik oferty edukacyjnej Uniwersytetu Opolskiego. Jest rozwinięciem idei zawartych w moim tekście „Filozofia jako ćwiczenie duchowe – coachingowy model uprawiania filozofii”. W drugim paragrafie przedstawiono ontologię Platona z perspektywy filozofii procesu. Widziana z tej perspektywy ontologia Platona jest rodzajem metafizyki doświadczenia – byt nazywany przez Platona „prawdziwym” nie jest rzeczywistością abstraktów, lecz tym, czego doświadczamy w chwilach, gdy rozpoznajemy znaczenie konkretnych sytuacji życiowych w perspektywie Dobra. Filozofia Platona okazuje się rodzajem filozoficznej logoterapii – praktyki duchowej polegającej na uwalnianiu umysłu przez odwracanie go od pato-logicznych pseudoznaczeń w stronę Sensu. Przyjęcie tej perspektywy oznacza uznanie doświadczenia medytacyjnego za punkt odniesienia refleksji filozoficznej. Oznacza też skierowanie uwagi w stronę doświadczenia wewnętrznego, również w stronę odczuć płynących z ciała jako istotnego składnika tego doświadczenia. Jako konkretny przykład starożytnego coachingu filozoficznego opisano w tekście stoicką praktykę „wytyczania teraźniejszości”. Dla zilustrowania idei współczesnego coachingu filozoficznego opisano ćwiczenie „Moje tu i teraz” – jedno z narzędzi opracowanych na potrzeby indywidualnej praktyki coachingowej. Opiera się ono na założeniach zarysowanej wcześniej ontologii doświadczenia. Tekst kończy opis kompetencji uzyskiwanych przez absolwenta kierunku Coaching filozoficzny.
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