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The power of paradox: notes on categories of the tragic, mono no aware, and lacrimae rerum

100%
Korusiewicz M.
Świat i Słowo
|
2020
|
vol. 34(1)
233-250
EN
The paper is an attempt to investigate the intriguing convergence of the inner logic of three aesthetic categories that emerge from the experience of finitude of existence in diverse cultural environments: the awareness of the tragic in Western cultures, the Japanese category of mono no aware, expressing the painful beauty of things in their impermanence, and a famous Greco-Roman notion of lacrimae rerum (tears of things). All three – despite the deep disparities between the cultural traditions they represent – prove to be the ‘places’ of paradox, of powerful synchronic tension resulting from the ‘clash’ of contradictory forces, transforming one’s perception of the universum. It seems that it is the paradoxical nature of the experiences labelled by these categories (as confirmed by neuroscience) that allows us to confront our finitude with the aid of aesthetic tools.
2
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Infinity Now! Speculative Philosophy and Addiction

72%
Sosnowski M. A.
Eidos. A Journal for Philosophy of Culture
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2022
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vol. 6
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issue 1
18-35
EN
This essay is an attempt to look at the existential phenomenon of being addicted from the perspective of speculative philosophy. The starting point is the description of Walter Benjamin’s narcotic experiences. Further in my considerations I am guided by the Kantian categories of the dialectics of pure reason, with particular emphasis on transcendental ideas. However, only the philosophy of G. W. F. Hegel along with the concepts of desire and habit allows us to comprehend addiction as a wild and unbridled desire for life, taken over by a dead scheme, by a mechanism, automatism. It is in this behavior, and only in it, that we constantly become aware of ourselves, lose ourselves to the specified objectification, obtain finite satisfaction, and repeat that deadness – this what addiction precisely is according to the Phenomenology of Spirit and the Encyclopedia of the Philosophical Sciences. Hegel links it with an attitude of “stubborn subjectivity” that clings to the limits of its solipsistic finiteness, to the “bad infinity” and seeks satisfaction within its borders. In this way, the German philosopher links addictive behavior with the structure of dialectics itself.
3
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Wspólnota jako ontologia – koncepcja Jean-Luca Nancy’ego

72%
Baszczak B.
Roczniki Filozoficzne
|
2014
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vol. 62
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issue 2
75-96
EN
The article presents the question of community in Jean-Luc Nancy’s work La communauté désœuvrée (1983). Nancy’s writings on community are one of the most well known part of his work. That is why firstly that essay shows how Nancy redefined community and moved away from this word toward explicitly ontological terms such as being-in-common, being-together and being-with. Then we take up Nancy’s discussions of the relation between myth and community: between the interruption of myth, the unworked community (la communauté désœuvrée), and “literary com- munism.” And, eventually, at the end we take a closer look at the relation between Nancy’s understanding of community and history in general to show what Nancy means by finitude.
PL
Artykuł dotyczy zagadnienia wspólnoty w filozofii Jean-Luc Nancy’ego, będąc przede wszystkim analizą tej kategorii wyłożonej w dziele Rozdzielona wspólnota (La communauté désœuvrée). Główny wątek książki to próba ugruntowania kategorii wspólnoty na płaszczyźnie ontologicznej (jako bycie-wspólnie, bycie-razem, bycie-z). Sam ten pomysł decyduje niewątpliwie o nowatorstwie myśli Nancy’ego. By jednak go zrealizować, słusznie autor starał się oddzielić to pojęcie do historycznych, socjologicznych i politycznych kontekstów, by dopiero na tak przygotowanym „polu” teoretycznym zająć się wspólnotą jako taką. W kolejnej części artykułu rozważania skupione są na pojęciu mitu. Mit jest artykulacją wspólnoty jako zamkniętej immanencji. Nadaje jej fundament i identyfikację. Dlatego dyskurs wspólnoty, zdaniem Nancy’ego, powinien stać się praktyką przerywania mitu i tworzenia relacyjnych kategorii opisu rozdzielonej wspólnoty. Na koniec zaś staramy się odnieść kategorię wspólnoty do zagadnienia skończoności i historii, tak jak je ujmował Nancy.
4
Publication available in full text mode
Content available

The power of paradox: notes on categories of the tragic, mono no aware, and lacrimae rerum

72%
Korusiewicz M.
Świat i Słowo
|
2020
|
vol. 34
|
issue 1
233-250
EN
The paper is an attempt to investigate the intriguing convergence of the inner logic of three aesthetic categories that emerge from the experience of finitude of existence in diverse cultural environments: the awareness of the tragic in Western cultures, the Japanese category of mono no aware, expressing the painful beauty of things in their impermanence, and a famous Greco-Roman notion of lacrimae rerum (tears of things). All three – despite the deep disparities between the cultural traditions they represent – prove to be the ‘places’ of paradox, of powerful synchronic tension resulting from the ‘clash’ of contradictory forces, transforming one’s perception of the universum. It seems that it is the paradoxical nature of the experiences labelled by these categories (as confirmed by neuroscience) that allows us to confront our finitude with the aid of aesthetic tools.
5
Publication available in full text mode
Content available

Heidegger and the finitude of the work of art

58%
Morrison A.
Studia Philosophiae Christianae
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2013
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vol. 49
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issue 4
155-179
EN
Heidegger’s The Origin of the Work of Art reevaluates how artworks are meaningful by offering a phenomenological description of the work of art as an historically situated event. This ontological interpretation of art not only rehabilitates our sense of the materiality and singularity of the artwork but it also enables us to think the conditions of the creation and genuine preservation of artworks. In this paper I develop the concept of ruination and argue that ruination is the essence of the artwork. My interpretation emphasizes Heidegger’s insistence on the finitude of the artwork and reveals that Heidegger’s example of the ruin of the ancient temple is exemplary precisely because the ruination of the artwork is an essential characteristic of its happening rather than something that befalls it from outside.
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