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1

Music and Its Images as a Source of a Creative Myth

100%

Kasperowicz R.

Ikonotheka

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2015

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vol. 25

41-55

EN

Music was commonly regarded as one of the most powerful arts. In line with a very long tradition reaching back to the Pythagoreans and to Plato and Aristotle, it was its blend of mathematical structure and unusual power of “expression of affects” that was particularly highly regarded. Although music was initially considered as belonging to the circle of imitational arts, it gradually obtained the incomparable status of an absolute art. In particular, Music played an exceptional role in the early Romantic theories of art, when it was perceived as an epitome of artistic creation and the highest possible extension of human cognition through pure activity of the imagination. This article attempts to describe chosen aspects of the myth of music as a fulfi lment of man’s imaginary strivings by drawing on examples of Novalis (poetry and music as utopian arts of an idealiter construction) and of Robert Browning (music as a source of poetical imagination activated as a faculty of historical understanding).

2

Wtajemniczenia w ogrodzie dzieciństwa

89%

Kalinowski D.

Prace Filologiczne. Literaturoznawstwo

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2011

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issue 1(4)

233-245

EN

The article in question is about one of the fragments of Novalis’s prose found in The Novices of Sais (the original title: Die Lehrlinge zu Sais), which is commonly categorised as a fairy-tale about Hyacinth and Rose Petal. The main interpretative aim of the article was to identify the Novalis’s project of human cognition and achievement of ever deeper levels of consciousness. Within the framework of the deepening of such a mode of analysis, the problem of creating the events setting and the characters of the literary piece are highlighted and become situated in the terms of symbolic imagination. In the light of this type of conduct, the topos of garden in Novalis’s work becomes a figure beyond the image of order and wealth created in the culture of the Enlightenment or the space of security and moderateness as shaped by the Sentimentalism. The Novalis’s early Romantic understanding of the garden (and more broadly of nature) was associated with the belief that it is the space of constant and infinite existential and spiritual initiations for a sensitive individual.

3

W poszukiwaniu błękitnego kwiatu, czyli o romantycznym ideale Bildung w Henryku von Ofterdingen Novalisa

88%

Rolka M.

Kwartalnik Pedagogiczny

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2018

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vol. 63(1 (247))

9-23

PL

The main aim of the paper is reconstruction of the concept of Bildung (considered as forming the man’s personality) in an educational novel entitled Henry von Ofterdingen written by Novalis (Friedrich von Hardenberg). Novalis’s novel – inspired by Goethe’s Wilhelm Meister Lehrejahre – is one of the most original early romantic works which prove the importance of the idea of Bildung for German culture at the beginning of the 19th century. In the first part of the text the author discusses the literary image of Bildung presented in the plot of the novel and then indicates its inner contradiction. In the second part of the article the author reconstructs the philosophical roots of this ideal regarding Novalis’s notion of Bildung in light of the thought of German idealism (transcendental philosophy of Immanuel Kant and Johann Gottlieb Fichte in particular) because the theory of romantic progressive poetry (elaborated most fully by Friedrich Schlegel) originates there. The perspective taken in the paper allows the author to reveal the universal significance of the inner contradiction of the romantic idea of forming man’s personality as a sign of the fundamental crisis of the modern ideal of humanity.

4

Reflections of an Existential Crisis in Søren Kierkegaard’s Aesthetic Conception

51%

Andrijauskas A.

Dialogue and Universalism

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2019

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issue 2

29-41

EN

This article considers the principles of philosophical thinking in Søren Kierke- gaard’s nonclassical aesthetics. Special attention is given to his radical critique of “false” and “impersonal” rationalism. This does not only mean the rejection of the tradi- tional principles of classical metaphysics which claims “universality” and “universal meaning.” Kierkegaard also bases his philosophy on individual human life, or, in other words, personal existence with its unique inner world. His critique is more profound than that by Arthur Schopenhauer. Kierkegaard develops his own philosophy of “exi- stential crisis,” opposing subjective will and internal changes to abstract thinking and external influences. Kierkegaard’s works initiate the critical or nonclassical stage in Western aesthetics. The main place in it is occupied by the idea of the disharmony of the world: its subjective reflection is “split” consciousness that has lost contact with the traditional concepts of harmony, humanism, goodness, beauty and philosophy of art. His philosophy of art is that of the internal personal world and of free choice. He opposes the famous motto of Cartesian rationalism cogito ergo sum, his own statement “I am here and think because I do exist here.” So the notion of existence becomes fun- damental for his philosophical reflection which is focused on the topics of personal existence, destiny and perspectives of being. Since personal becoming never stops, the ability to exist is treated as a great art. The aim of genuine philosophy is not a knowled- ge of the external world but an inquiry into the deepest problems of personal being and creativity; its greatest enigma is existence. Hence Kierkegaard gives a new subject and new tasks to aesthetics and philosophy of art. When treating the problems of individual human existence, Kierkegaard and other followers of nonclassical aesthetics relied on an understanding of being as non- substantial (personality is not something given but a totality of constantly emerging potentials) and at the same time subjectivized their ontological problems. Thus the stre- ngthening of subjectivist tendencies in the post-Hegelian philosophy of art reaches here culmination. “Subjective ontology,” or “ontology” in the narrow sense of the word, is that which we can call the “pontaneous ego:” It determines the unconscious functioning of human “existence” in a specific individual consciousness. The whole individual exi- stence is enclosed, as it were, in a subjective environment, but we cannot affirm that existence is subjective.

5

Koniec wieku poetów? O zszyciach literatury i filozofii

38%

Zawadzki A.

Przestrzenie Teorii

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2022

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issue 37

121-144

EN

The article presents an attempt to outline, from a mainly typological and partly historical perspective, what the author considers the most important varieties of the relationship between philosophy and literature (which is, of course, understood here in a working and broad sense, as poesis). In the first of these varieties, for which the fundamental significance is Plato’s gesture of excluding poets from the state, the philosophical logos defines itself in opposition to literature, or mythos. In the second, which appears to predominate from Aristotle to the 18th century, the relationship between philosophy and literature takes on a more neutral character: the former provides the latter with motifs, themes, topics, mainly related to moral philosophy in the broadest sense, while the latter provides the former with discursive modes, such as genre. Modern aesthetics and the philosophy and theory of literature (fundamentally different from the tradition of the great poets and rhetoricians of the 16th and 17th centuries), which emerged together with transcendental philosophy and its reception in German Romanticism, contributed both to the increased interest among philosophers in literature and to a clear embedding, or even closing, of literature in philosophical notions, which originated mainly in the tradition of transcendentalism and dialectical thought. Finally, the beginning of the twentieth century is distinguished, in most of the major continental philosophical traditions, by a tendency to seek, or to find, in literature the most important partner of philosophical thinking, and sometimes even the identity of philosophy.

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1 Kasperowicz R.

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Music and Its Images as a Source of a Creative Myth

Wtajemniczenia w ogrodzie dzieciństwa

W poszukiwaniu błękitnego kwiatu, czyli o romantycznym ideale Bildung w Henryku von Ofterdingen Novalisa

Reflections of an Existential Crisis in Søren Kierkegaard’s Aesthetic Conception

Koniec wieku poetów? O zszyciach literatury i filozofii