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Myśl ekonomiczna kalwinizmu

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Chmielewska J., University od Lodz, lucychmielewska@uni.lodz.pl
Annales. Etyka w Życiu Gospodarczym
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2016
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vol. 19
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issue 3
EN
The aim of the paper is to present the economic thoughts of John Calvin and his followers, referring to current issues, such as money lending, usury, or work. The latter, according to the famous thesis of Max Weber, received spiritual value by acting as a bridge between God's will and daily life. The hypothesis of this article differs somewhat from this conviction, assuming that the main economic elements of Calvinist thought have been the consequence of the release of temporal realities from the influence of the direct action of God, according to the protestant theology of the radical separation of nature and grace. Initiated by Protestantism, the dichotomy of nature and grace seems to have important consequences for economic thought. The salvific dimension of human fate remained in the hands of God, he depends entirely on its favour in connection with the dogma of predestination. In the earthly life, a human being was treated as a part of nature, his survival depended on skill and determination. in the struggle with nature, devoid of the grace of God, ruled by the law of necessity. Survival and a better life depended primarily on human labour and effort. The flourishing of economic life has resulted not only from the ethical role of work, but also from the fact that it was no longer inhibited by religious restrictions. Thus, modern man was born, more and more aware of his subjectivity, subordinating nature to himself building the human world in place of the natural world. Building a modern society and economy is part of the Protestant ethos of mastering nature.
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Słownik przydrożny Andrzeja Tobisa

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Chmielewska J.
Konteksty - Polska Sztuka Ludowa
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2020
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vol. 74
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issue 1-2 (328-329)
454-460
PL
W tekście zajmuję się realizowanym od 2006 roku i wciąż rozbudowywanym projektem A–Z Andrzeja Tobisa, łączącym fotograficzne notatki z podróży po Polsce z dość przewrotną lekturą wydawanego od 1954 roku w NRD Słownika ilustrowanego języka niemieckiego i polskiego (Bildwörterbuch Deutsch und Polnisch). Wśród odniesień osadzających poddaną mocnym formalnym i koncepcyjnym rygorom pracę Tobisa w kontekście podobnych, na poły żartobliwych, na poły dokumentacyjnych praktyk fotograficznych przyglądam się m.in. Notatnikom fotograficznym Władysława Hasiora.
EN
The author of this text deals with Andrzej Tobis’ A–Z project, realised since 2006 and still undergoing expansion, a combination of photographic notes from journeys across Poland and a rather perverse reading of Słownik ilustrowany język niemiecki i polski (Bildwörterbuch Deutsch und Polnisch), published in the Democratic Republic of Germany since 1954. Among references placing Tobis’ project, subjected to strict formal and conceptual rigours, within the context of similar semi-humorous and semi-documentary photographic practices J. Chmielewska takes a closer look at Notatniki fotograficzne by Władysław Hasior.
3
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ISTANBUL: RECOLLECTIONS FROM A LOST CITY (Stambul: wspomnienia z utraconego miasta)

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Chmielewska J.
Konteksty - Polska Sztuka Ludowa
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2009
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vol. 63
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issue 1-2(284-285)
13-19
EN
In his recently published autobiographical book: 'Istanbul: Memories and the City', Orhan Pamuk attempts to present a highly personal attitude to his birthplace where he spent a major part of his life. He seeks traces of Istanbul - as he would like to see it and remember it from his childhood - in texts, images and his own slightly enhanced experiences; in its present-day form the town appears to be nondescript, unworthy of attention and dilapidated. Istanbul is a journey to the past and a non-extant city, which, nonetheless, evokes a specific variety of Pamuk's favourite melancholy. It is a voyage amidst dusty stories by nineteenth-century authors-Orientalists and illustrations showing hills overgrown with cypresses. Finally, it is journey to a lost town -seized and overrun by successive tides of immigrants from the provinces, cultural aliens who, Pamuk seems to suggest, invaded his space, producing a specifically Istanbulian paradoxical feeling of a loss.
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