Search results

1

INTERIOR DE CONSTANTIN FANTANERU–APPROCHE INTERTEXTUELLE

100%

ȚEBREAN P.-G.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2011

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vol. 3

41-56

EN

Interior [Inside], Constantin Fântâneru’s journal-novel, remains an important testimony of the 30’s “authenticity” literature and of "the bizarre adventure of being human" (Cf. « bizara aventură de a fi om », in M. Blecher, Inimi cicatrizate. Întâmplări în irealitatea imediată, Ed. MondoRo, Bucureşti, 2010, p. 166; translation mine). The narrative charts the anxiety of Călin Adam’s, i.e. the protagonist’s, disjointed consciousness. The protagonist tries to accept the absurdity of existence and to bridge the widening gaps between reality and his mental representation of it. Constantin Fântâneru’s inter-textual perspective reveals possible similarities with Knut Hamsun, Max Blecher, Mircea Eliade and Fyodor Dostoyevsky. The Norwegian writer’s influence on the novel Hunger resides in the presence of para-sensory acuity and behavioral incoherence of the protagonist, from which his social marginality derived. Max Blecher’s novel Întâmplări în irealitatea imediată [Occurrence in the Immediate Unreality] reveals the same "unreality", a universe in which the character-narrator gradually immersed himself. In Romanul adolescentului miop [Novel of the Nearsighted Adolescent], Mircea Eliade captures the same impetuous spirit of adolescence while charting the process of becoming a teenager. Călin Adam’s likeness to Goliadkin, the Dostoyevskyan character, is highlighted via the phenomenon of splitting, i. e. man’s sad fate in a merciless and indifferent society. In spite of these similarities with Romanian topoi, Interior boasts an original view in that the protagonist discovers the "transsubstantiation", a process which involves a transfer of energy between the material universe and the human being that saves him and helps him find a meaning in his life.

2

Смерть как событие повседневности в творчестве Алексея Ремизова и Василия Розанова

89%

Borisova-Yurkovskaya E.

Slavica Wratislaviensia

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2018

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vol. 167

263-273

EN

Death as an everyday event in the works of Aleksey Remizov and Vasily Rozanov The paper addresses the topic of death in the works of Aleksey Remizov and Vasily Rozanov, the two iconic intellectuals of the early twentieth century in Russia. Based on the works of fiction, essays, articles and correspondence of two writers, study reveals and analyzes the similarities of their philosophical and aesthetics views. It shows how the phenomenon of death is depicted in everyday life and undergoes desacralization. It also includes polemic with the philosophical milieu of the epoch (D. Merezhkovsky, P. Florensky) and the literary tradition (on the example of N. Gogol).

PL

Śmierć jako wydarzenie codzienności w twórczości Aleksieja Remizowa i Wasilija Rozanowa Artykuł przedstawia temat śmierci w pracach Aleksieja Remizowa i Wasilija Rozanowa — dwóch ikonicznych intelektualistów początku XX wieku. Na materiale utworów literatury pięknej, esejów, artykułów i korespondencji pisarzy autor ujawnia i analizuje podobieństwa ich poglądów filozoficznych i estetycznych. Pokazuje przy tym, jak fenomen śmierci jest włączany do przestrzeni codzienności i ulega desakralizacji. Uwzględnia również polemikę ze środowiskiem filozoficznym epoki (Dymitr Mierieżkowski, Paweł Florenski) i tradycję literacką (na przykładzie Nikołaja Gogola).

3

Komunikowanie absurdu życia i śmierci. O spektaklu „Nieporozumienie” na podstawie sztuki Alberta Camusa w reżyserii Stanisława Hebanowskiego

89%

Roś J.

Amor Fati

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2015

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issue 2

83-108

EN

In 1976 Stanisław Hebanowski, a theater director, has staged on the scene of the Wybrzeże Theatre “The Misunderstanding” – a play written in 1943 in occupied France by Albert Camus. This spectacle was significant for Hebanowski, not only be-cause of it`s evaluation, which shows that the weakness of the Camus’ play have been overcome on the scene, what author of the article demonstates. “The Misunderstand-ing” by Hebanowski is also interesting for philosophical thought because of the votes of reviewers of spectacle, circulating around the question about timeliness of the con-sideration about the absurdity of life and death of the individual in the 70s in Poland. Joanna Roś analyzes this comments and draws conclusions from them.

4

Wolność absurdalna a odpowiedzialność w filozofii Alberta Camusa

89%

Materek R.

Zeszyty Naukowe Zbliżenia Cywilizacyjne

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2017

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vol. 13

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issue 2

12-26

XX

Artykuł odnosi się do elementów filozofii Alberta Camusa. W szczególności rozważa kwestię „wolności absurdalnej”, skupiając się na niej w kontekście jej relacji do pojęcia odpowiedzialności. Wskazuje znaczenie relacji człowiek-człowiek, jako kontrast dla relacji człowiek-świat. Autor ostatecznie dowodzi, że „wolność absurdalna” nie stoi w sprzeczności w odpowiedzialnością, a może być jednym z jej warunków.

5

Happeningi w służbie kontrkultury. Czy pomarańczowe Krasnale zdobyły Twierdzę?

89%

Niziołek M.

Amor Fati

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2016

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issue 2(6)

95-122

EN

The article presents the history of the actions of the Orange Alternative, the countercultural movement formed in Wroclaw in the 80’s of the twentieth century. Based on the students’ New Culture Movement, as an alternative to the opposition of Solidarity, the movement used irony and absurdity to tame the reality of contemporary Poland. Happenings organized for several years commented absurd life in the communist Poland, often constituted an alternative form of handling public holidays. With the development of the movement, students started organizing happenings in other cities, such as Warsaw and Lodz. The history of the Orange Alternative, led by Waldemar Major Fydrych, also has its continuation in the democratic Poland and the world. In 2004, the movement supported the Orange Revolution and the events in Kiev Maidan, the Dwarves also appeared on Times Square in New York. How-ever, the legacy of Dwarves is not sufficiently emphasized on the pages of Polish art history, and a symbolic Dwarf became the object of marketing of the city of Wroclaw. The article also includ-ed examples of countercultural movements in Europe, such as the Situationists and Provo which could be a prototype for the Orange activists.

6

Абсурдизация действительности в сатирической пьесе Увидеть Солсбери Виктора Шендеровича

88%

Vorontsova K.

Studia Rossica Posnaniensia

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2022

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vol. 47

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issue 1

129-142

EN

In 2018, the story of the unsuccessful poisoning of the Skripals by Russian special services shocked the world, and the further appearance of “Petrov” and “Boshirov” in an interview with Margarita Simonyan with completely implausible explanations led to the emergence of many memes and humorous works. The satirical play by Viktor Shenderovich To see Salisbury (2019) can be considered as one of the most significant reactions created by Russian-speaking society to the lies of the state. It is successfully performed abroad and, of course, has no chance of being staged in Russia. The author asks the question: what if everything that Petrov and Boshirov told in a scripted interview on the air of on Russia Today is true, and they are not unsuccessful spies, but a couple of gay lovers who are interested in Gothic cathedrals and the Charter of Liberties? Reflections on their own blurry unstable identity led the characters to an existential crisis in the spirit of the Theatre of the Absurd. This paper analyses how the absurdity of reality in the play serves to create a comic effect. Shenderovich grounds his satire based on direct citation of the precedent text of the interview, known a priori to every Russian-speaking recipient, on the intertexts of the Russian linguistic culture, fills the gaps of perception with paradoxes, and answers the questions asked by the audience after the RT broadcast (Why do the passport numbers differ by one digit? Why do the characters know Simonyan’s personal phone number? etc.).

7

Albert Camus’ eksistentsialismi jooni Priit Pärna filmides

88%

Nurk P. K.

Mäetagused

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2023

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vol. 85

95-120

EN

Comparison of two works benefits the understanding of both of them. The comparison finds the overlap between the works along with the standpoints that distinguish them. The interpretation of these works is broadened and also more distinctly delimited. The article examines the films of Estonia’s most accomplished animation director Priit Pärn for signs of existentialist thought, based on Albert Camus’s The Myth of Sisyphus. Close textual analysis was used to answer the research question: which existentialist traits appear in Priit Pärn’s films, and how they resemble and differ from Albert Camus’s view of existentialism. The research found numerous parallels between Priit Pärn’s filmography and Camus’s existentialist thought. One of the leitmotifs of Pärn’s films is the prevalence of preposterous totalitarian systems, where the prevailing situation is nearly identical to one in which the absurd man would discover the absurd. Various characters from these worlds have lost their human shape in a way that causes discomforting alienation in the viewer, which is one of the absurd discoveries mentioned by Camus. Though many of Pärn’s characters are similar to the absurd man, only in one of the films are they able to free themselves from the rigid routine conclusively. However, none of the characters recognize the absurdity of the system around them: they either live under its hardship or those who free themselves resemble the absurd man only in their actions, not in their mentality, because they do not act upon a logical discussion. Distinctive to Pärn’s style, the unrestricted approach to reality aligns with Camus’s reluctance about the mindset that treats humans and everything else as if they had a definite place and purpose in the world. Priit Pärn’s films have many similarities with Albert Camus’ existentialism. Although juxtaposing them reveals that while Camus concentrates on a mentality on how to interpret and embrace the absurd, Pärn’s films focus on the absurd and the absurd systems themselves, along with describing the burdens they bring about. Additionally, often in Priit Pärn’s films, the oppressive plight of the characters remains persistent. In contrast, Camus ends his essay in faith that even in a world burdened with absurd one may be happy.

8

L’ABSURDE, UN MIROIR DU DÉSACCORD AVEC LE MONDE

88%

Dărăbuş C.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2009

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vol. 1

56-67

EN

Originating in existentialism, the absurd is a response offered by the analysis of the existence in the works of Franz Kafka and Dino Buzzati. The 20th century was a century of great innovations in the field of literature, of philosophy, of the arts in general. The preoccupation for the human condition is a form of responsibility for the human destiny. The elements invading Josef K. and Giovanni Drogo’s lives (the characters in The Trial and The Desert of the Tartars) all of a sudden are more powerful than their will; therefore their tragic end is explained not by the fact that they are guilty, but by their not being able to justify their existence.

9

W oparach absurdu. Przedmiot surrealistyczny

88%

Bandura A.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2015

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vol. 19

114-127

EN

Due to the limitations of the subjective (own competence) and the objective (article’s volume), I decided to focus on the phenomenon or rather a sense of humor and surrealism. I understand humor as a spe-cifically human power, sensitivity and individual way of feeling different comic phenomena (including absurd and ironic phenomena). Surrealism in visual arts (broadly – in the art of interlaced threads of the surreal) in the right way is testing the recipient’s (as creator) sense of humor. Surreal humor suspended between intellect, emotions and pleasure rarely becomes frustrating; more often – cathartic. It does not include any depreciating properties of laughter which may arise when there is a sense of superiority over the others. Humor contributes to taming the absurd, which is, nolens volens, an integral part of our lives. I search for answers to the following question: ‘What does surrealistic humor purifies in us?’. I analyze functions (anti-functions?) in surrealist objects by Man Ray, Marcel Duchamp, Meret Oppenheim, Oscar Dominguez, Marcel Jean, Marcel Marien and others.

10

W stronę absurdu: Filipowicz - Camus

88%

Gorzkowicz J.

Zeszyty Naukowe PUNO

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2021

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issue 9

79-91

EN

Based on selected works by Kornel Filipowicz, the article presents the writer’s reflection on the absurdity of the world in relation to Albert Camus’s literary and philosophical concept. The article has been divided into ve entitled parts, of which the rst one is an introduction to the article, and the last one is its conclusion. In Disintegration of the World two short stories by Filipowicz are presented, in which the theme of absurdity appears. According to the article’s author, they can refer to the idea of absurdity by Albert Camus. The part: Mapping the absurd uses the examples of Camus’s essays and Filipowicz’s stories to outline the ontic status of the absurd that both writers give. The next subsection, Two Sides of the Same, juxtaposes the reflections contained in one of Filipowicz’s short stories and Camus’s early parable, directing attention to both thinkers’ understanding of the idea of the absurd. In the Blind Men, the context of Pieter Bruegel’s painting „The Blind Leading the Blind” additionally appears in order to emphasise Filipowicz’s reflection on the existence of two opposing epiphanies in the world at the same time – absurdity and sense. The article closes Doxographical landscape with absurdity in the background. According to the author’s findings, the absurd in Filipowicz’s work appears in the doxographical impressions of his characters and is an expression of the subjectivity of human experience.

11

Poezja dla dzieci po przełomie ‘56

87%

Kwiatkowska A.

Polonistyka. Innowacje

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2016

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issue 3

109-122

EN

In the 1950s the poetry for children involves the elements of language poetry (movement in Polish literature characterized by the domination of linguistic forms over fiction), draws on absurdity, and combines the Interbellum period traditions with the tendencies in literature which began after the events of October 1956. These features are manifested in the works of poets who debuted in the second part of the 1950s, as well as in the poems of prior writers, molded by the pre-war culture and the avant-garde tradition. Books with poetry for children in the late 1950s stimulate imagination and respond to children’s needs to experiment with language, test its flexibility and potential. Also, thanks to the enclosed unique illustrations, the books develop aesthetic sensitivity. Despite the ongoing changes in the outside world, the books haven’t lost their relevance and can successfully be used in teaching.

PL

Poezja dla dzieci w latach 50. podejmuje elementy lingwizmu, operuje absurdem, łączy tradycje dwudziestolecia międzywojennego z tendencjami zapoczątkowanymi w literaturze po przełomie ’56. Można to zaobserwować zarówno w twórczości poetów debiutujących w drugiej połowie lat 50., jak i w wierszach starszych twórców, ukształtowanych jeszcze przez kulturę przedwojenną i tradycję awangardową. Książki poetyckie dla dzieci pod koniec lat 50. pobudzają wyobraźnię oraz odpowiadają na dziecięcą potrzebę eksperymentowania z językiem, sprawdzania jego możliwości i wytrzymałości. Dzięki wyjątkowym ilustracjom rozwijają też wrażliwość artystyczną. Mimo zmian zachodzących w świecie zewnętrznym, nie straciły swej aktualności i mogą być skutecznie wykorzystywane w dydaktyce.

12

Диалог с абсурдом. Заметки о драматургии Михаила Волохова

75%

Mięsowska L., Uniwersytet Śląski W. F.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2014

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vol. 07

EN

The article presents an attempt to describe the oeuvre of the Russian and French playwright and theatre theoretician Mikhail Volokhov in the context of his relation to the Russian theatre of the absurd of the 1920s as well as to the 1950s western model of theatre of the absurd, represented by Samuel Beckett and Eugène Ionesco. The author also discusses Volokhov’s dramatic works in reference to the philosophy of existentialism.

13

Чеховский контекст драмы Таня-Таня Оли Мухиной

75%

Pieczyński M., Uniwersytet Szczeciński W. F.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2014

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vol. 07

EN

Contemporary Russian drama enters into a dialogue with literary tradition and in particular with the dramatic one. The works of the classics of modernism, including Anton Chekhov, very often become actualized in recent dramatic texts. For instance, "Tanya-Tanya" by Olga Mukhina refers to the artistic features of Chekhov’s ‘major plays’ and thus, in Natalya Fateyeva’s theoretical framework and terminology, Chekhov becomes a pre-text for Mukhina’s text. The general purpose of the paper is an intertextual analysis and interpretation of the latter play.

14

Job: A Christian Sisyphus? Humor and the Triumph o f Humań Experience

75%

Vanhoutte K. K. P.

Stylistyka

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2010

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vol. 19

263-278

EN

Over the past decades humor and laughter have come to be accepted as serious topics in academic research and a number of diverse theories on humor and the role of laughter have been developed. These theories, however, consider laughter mainly in its daily aspects or in normal life situations. Starting ffom Albert Camus’ concept of the happy Sisyphus, this paper considers whether the figurę of Job, who seems to inhabit a comparably absurd situation, could also be considered as happy, even laughing. The paper concludes with a distinctive reading of the divine words found at the end of The Book of Job that ma> be fundamental in linking Sisyphus w.th Job.

15

Ni signifiant ni absurde : à la recherche du sens du monde dans La Route des Flandres de Claude Simon

75%

Kotowska-Miziniak J.

Academic Journal of Modern Philology

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2020

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vol. 9

303-310

EN

At the crossroads of philosophy, religion and literature arises the question of meaning. The feeling of absurdity of the world and the loss of the meaning of life, accompanied by a desperate attempt to (re)create it, are typical for people stigmatized by borderline experiences of collective traumas, such as war. As a combatant of the Second World War and a great admirer of Marcel Proust, Claude Simon undertakes a tireless search for lost meaning, which emerges discreetly behind the pessimism with which he describes the absurdity of the world. A close reading of his most famous novel, La Route des Flandres (1960), reveals to us some subtle indications about this quest for meaning, which becomes also a quest for identity.

16

„Тупые, дикие, идиоты” a nowy teatr w Rosji na przełomie XX i XXI wieku

75%

Osińska K.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2013

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vol. Zeszyt specjalny 2013

31-42

EN

In the Russian theatre, especially the postmodern one, since the turn of the 80s and 90s we have been able to observe that young theatre creators tend to adopt a defiant derisive attitude – both towards reality and to texts originating from the culture of the past which often constitute the subject matter of their works. A part of phenomena that are mentioned here might be presumably called ‘performances of laughter’ (as opposed to ‘performances of violence’ – this was the way the so-called new Russian drama was named by Mark Lipovetsky and Birgit Beaumers). This kind of artistic gesture was a reaction to the fact that in the former Soviet Union art was regarded as a mission and theatre was treated as a cradle of culture. They also meant a rebellion against authority figures, also the authority of tradition, and on the other hand they were an expression of surrender in the face of challenges brought in by the new social, political and cultural situation. In the article I assume that ‘performance of laughter’ and other theatre forms, whose authors undermined the possibility of rational cognition, simultaneously enhancing such strategies as absurd, eccentricity, chaos, infantilism, showing-off (in Russian „stiob”), originated from the chronologically earlier trend of visual arts, deriving from the Moscow Conceptualism. Therefore, I begin the article presenting the contents of the magazine “Hudozhestvennyi zhurnal” (2000, 26–27) dedicated to art taming the type of consciousness which medicine diagnoses as “idiotism”.

17

Absurdity in Medicine. Stanisław Trzebiński’s Philosophy of Medicine

75%

Barański J., Mackiewicz W.

Kwartalnik Historii Nauki i Techniki

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2021

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vol. 66

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issue 1

9–23

EN

Stanisław Trzebiński (1861–1930), professor at Stefan Batory University in Vilnius, was one of the most distinguished representatives of the Polish School of Philosophy of Medicine before the Second World War. He undertook studies in neurology, philosophy of medicine, and literature. The article explores Trzebiński’s philosophical ideas, especially his call for rationality in medicine and the concept of absurdity in medicine as a precondition for the development of medical knowledge and practice. Today this method is an essential background in Evidence-Based Medicine and confirms cultural and scientific forms of cognition.

18

Yoko Taro’s NieR: Automata—An Existential Journey through the Absurd

75%

Pęcak M.

Świat i Słowo

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2021

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vol. 36(1)

211-227

EN

The focus of this article is Yoko Taro’s NieR: Automata in general and its four main characters—androids 2B and 9S as well as machines Adam and Eve—in particular. Following their evolution in the game, I intend to show that they serve its author as a tool with which to propose that the sense of absurd, and the sense of life’s meaninglessness around which their world is created, can be fought with selflessness.

19

NieR: Automata Yoko Taro. Egzystencjalna podróż przez absurd

75%

Pęcak M.

Świat i Słowo

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2021

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vol. 36(1)

211-227

PL

Głównym tematem artykułu jest gra NieR: Automata Yoko Taro, w szczególności jej cztery główne postaci—androidy 2B i 9S, a także maszyny Adam i Eve. Śledząc ich ewolucję w grze, tekst pokazuje, że służą one jako narzędzie, dzięki któremu autor gry może zaproponować tezę, że walka z poczuciem absurdu i bezsensowności życia, wokół którego powstaje ich świat, jest możliwa i że da się je pokonać za pomocą bezinteresowności.

20

Motywy egzystencjalne w Dwóch ludziach z szafą Romana Polańskiego

71%

Błaszczyk M.

Przegląd Filozoficzny. Nowa Seria

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2022

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issue 1

65-87

PL

W artykule zarysowuję egzystencjalną interpretację etiudy Romana Polańskiego Dwaj ludzie z szafą (1958). Pomimo sporej liczby publikacji traktujących o twórczości Polańskiego nadal brakuje pracy, która wprost i pierwszorzędnie ukazałaby filozoficzno-egzystencjalny potencjał tej wczesnej krótkometrażówki. Wywód został podzielony na pięć części. W pierwszej z nich przyglądam się zagadnieniom samotności i obcości prezentowanym w filmie Polańskiego. W drugim kroku nawiązuję do rozpoznań wybranych filozofów egzystencjalnych (J. Ortega y Gasset, E. Lévinas, J.-P. Sartre, A. Camus). W trzeciej części kreślę specyfikę charakterystycznych dla filmu motywów groteski i absurdu, uwypuklając ich związek z problematyką samotności. Następnie interpretuję film w kontekście autentycznego sposobu egzystowania, odwołując się do spostrzeżeń M. Heideggera i akcentując rozziew między „byciem sobą” a przynależnością do wspólnoty (społeczeństwa). W ostatniej części proponuję psychologiczno-egzystencjalne odczytanie etiudy Polańskiego, zwracając uwagę na psychologiczne uwarunkowania ludzkiej egzystencji.

Refine search results

INTERIOR DE CONSTANTIN FANTANERU–APPROCHE INTERTEXTUELLE

Смерть как событие повседневности в творчестве Алексея Ремизова и Василия Розанова

Komunikowanie absurdu życia i śmierci. O spektaklu „Nieporozumienie” na podstawie sztuki Alberta Camusa w reżyserii Stanisława Hebanowskiego

Wolność absurdalna a odpowiedzialność w filozofii Alberta Camusa

Happeningi w służbie kontrkultury. Czy pomarańczowe Krasnale zdobyły Twierdzę?

Абсурдизация действительности в сатирической пьесе Увидеть Солсбери Виктора Шендеровича

Albert Camus’ eksistentsialismi jooni Priit Pärna filmides

L’ABSURDE, UN MIROIR DU DÉSACCORD AVEC LE MONDE

W oparach absurdu. Przedmiot surrealistyczny

W stronę absurdu: Filipowicz - Camus

Poezja dla dzieci po przełomie ‘56

Диалог с абсурдом. Заметки о драматургии Михаила Волохова

Чеховский контекст драмы Таня-Таня Оли Мухиной

Job: A Christian Sisyphus? Humor and the Triumph o f Humań Experience

Ni signifiant ni absurde : à la recherche du sens du monde dans La Route des Flandres de Claude Simon

„Тупые, дикие, идиоты” a nowy teatr w Rosji na przełomie XX i XXI wieku

Absurdity in Medicine. Stanisław Trzebiński’s Philosophy of Medicine

Yoko Taro’s NieR: Automata—An Existential Journey through the Absurd

NieR: Automata Yoko Taro. Egzystencjalna podróż przez absurd

Motywy egzystencjalne w Dwóch ludziach z szafą Romana Polańskiego