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1

„Uległość” Michaela Houellebecqa – marsz przez instytucje na opak

100%

Gralewicz A.

Seminare. Poszukiwania naukowe

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2017

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vol. 38

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issue 2

49-58

PL

Celem artykułu jest przybliżenie afiliacji filozoficznych Uległości M. Houellebecqa – literackiego obrazu wojny kulturowej toczącej się między słabnącymi zwolennikami buntu metafizycznego (ateistyczny humanizm) oraz rosnącymi w siłę zwolennikami metafizycznej uległości (islam). Zdaniem M. Houellebecqua, wcześniej T.S. Eliota, jedynie narracja religijna jest skutecznym narzędziem kontroli społecznej. Autorka wyświetla analogie i różnice w projektach obu pisarzy. Podejmuje próbę uzasadnienia, dlaczego w M. Houellebecqa XXI-wiecznej wizji przyszłości, wbrew XX-wiecznej wizji T.S. Eliota, to islam, a nie chrześcijaństwo, może stać się naczelną zasadą organizującą życie zachodniego społeczeństwa.

EN

This article examines the philosophical affiliation of Submission by M. Houellebecq – a literary reflection of the cultural war being fought between the dwindling supporters of metaphysical rebellion (atheistic humanism) and increasing numbers of supporters of metaphysical submission (Islam). According to M. Houellebecq, who coincides with T.S. Eliot’s earlier views, only religious narration provides an effective tool of social control. The article attempts to explain why in the 21st century thesis put forward by Houellebecq (in opposition to the Eliot’s 20th century vision), it is Islam, not Christianity, that is to become the guiding principle for organizing life of Western society.

2

T.S. Eliot’s Anti-Elitist View of Education

89%

Budziak A.

Academic Journal of Modern Philology

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2020

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vol. 10

57-64

EN

Born into a family boasting eminent educators—William Greenleaf Eliot, founder of Washington University in St. Louis, and Charles William Eliot, famous Harvard President—T.S. Eliot joined the debate about schools and universities early on, in the era of the great educational reform leading to the development of the system of elective courses. He criticized the changes and the resulting decline of Classics, though his concern with the problem of education was never being purely theoretical. On the one hand, his own education was a product of the elective system, and he himself, as he complained, a “victim” of it. On the other hand, Eliot, for a while, was also a teacher: prior to working at Lloyds Bank, and before his professional and financial investment in Faber and Faber, he taught pupils in grammar schools and, as an extension lecturer under the auspices of Oxford University, evening classes to adults. His interest in educational issues continued over many years, assuming diverse forms—from writing on education to lecturing and giving opening addresses at universities, to recommending poetry books for pupils and asking practical questions about the accessibility of university accommodation for students from abroad. Nevertheless, he was criticized for seeming to oppose the equality of educational opportunity. This essay re-examines the ideas from Eliot’s “Notes towards the Definition of Culture” (1948) and “The Aims of Education” (the four lectures delivered in 1950 and included in “To Criticize the Critic” in 1965) in the context of his ephemeral prose writings, and it reconsiders the question of whether Eliot’s views on education did indeed represent exclusivist elitism.

3

TOO MUCH LOVE FOR THE WORLD: APOCALYPSE IN THE WORKS OF T.S. ELIOT AND LARS VON TRIER

88%

Vaso K.

Świat Tekstów. Rocznik Słupski

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2019

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vol. 17

67-74

PL

W Melancholii Larsa Von Triera Justine, przygnębiona bohaterka filmu, z niecierpliwością oczekuje zniszczenia świata, uznając to za stosowny cel dla siebie i całej nędznej rasy ludzkiej. Film skupia się na apokalipsie, która w końcu jest, i jest piękna. „Na początku jestem moim końcem,/moim końcem jest mój początek”, pisze T.S. Eliot w Four Quartets, choć Von Trier nie obiecuje lepszego świata. Zarówno filmowiec, jak i poeta przeplatają osobisty koniec, dosłowny lub figuratywny, z masowym zniszczeniem. Jednak w filmie cel jest pożądany, a dzięki Justine reżyser sugeruje, że takie pragnienie może wynikać raczej z głębokiej miłości niż odwrotnie. Ta sugestia przypomina opis Waltera Benjamina Charlesa Baudelaire’a jako nowoczesnej melancholii. „Melancholia nie patrzy na ideał”. To sprzeczne z intuicją pochodzenie chęci zniszczenia i płynne przeplatanie się osobistej i globalnej apokalipsy w Melancholii, a także w kilku wierszach Eliota, były przedmiotem mojej pracy.

EN

In Lars Von Trier’s Melancholia, Justine, the film’s depressed protagonist, eagerly awaits the world’s destruction, deeming it a fitting end for herself and the entire miserable human race. The film focuses on the anticipation of the oncoming apocalypse which, in turn, is visually and verbally expressed in beautiful terms and images, implying that, even in the end, there is beauty. “In my beginning is my end, / in my end is my beginning,” writes T.S. Eliot in Four Quartets and while Von Trier does not promise a better world emerging from the ashes of the old one, he does suggest that, regardless of the consequences, the end represents a necessity when life has turned into a senseless and tiring series of farces; the superficial actions lacking content, a phenomenon that Eliot so often sympathetically derides in his poetry. Both filmmaker and poet interweave the personal end, literal or figurative, with destruction en masse. Yet, in the film, the end is desired and, through Justine, the director suggests that such a desire may stem from a too profound love rather than the opposite. This suggestion echoes Walter Benjamin’s description of Charles Baudelaire as a modern melancholiac whose melancholy results not from a refusal of the world but a “doomed flight toward the ideal.” This counterintuitive origin of the desire for destruction and the seamless interweaving of the personal and global apocalypse in Melancholia as well as in several of Eliot’s poems will be the focus of my paper.

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1 Academic Journal of Modern Philology

1 Seminare. Poszukiwania naukowe

1 Świat Tekstów. Rocznik Słupski

1 Budziak A.

1 Gralewicz A.

1 Vaso K.

2 2020

1 2017

„Uległość” Michaela Houellebecqa – marsz przez instytucje na opak

T.S. Eliot’s Anti-Elitist View of Education

TOO MUCH LOVE FOR THE WORLD: APOCALYPSE IN THE WORKS OF T.S. ELIOT AND LARS VON TRIER