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Pragmatic or Absolute Establishment of Philosophy

100%
Safabakhsh E.
Eidos. A Journal for Philosophy of Culture
|
2023
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vol. 7
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issue 4
40-54
EN
At the foundation of systematic thinking lie decisive assumptions that cannot be articulated and treated in a theoretical manner. Nonetheless, they are settled practically and metaphorically to orient and provoke the systematic attempts of philosophy. This field of non-theoretical assumptions is the theme of this paper. In the following, I articulate one specific metaphorical and practical answer that defies theoretical and systematic treatment. While it is among the most fundamental and fatal answers that can ever be ventured in the entire field of systematic thinking, they cannot occupy center-stage in theoretical thinking. The problematic concerns the pragmatic or absolute establishment of the edifice of philosophy. In the following, I try to portray a fundamental but irresolvable conflict in a back-and-forth movement between rival answers given to this problematic. This investigation concludes by emphasizing the irremediable failure to settle, once and for all, the conflict portrayed between the two opposed designations of philosophy in principle.
2
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O intelektualizacji życia, czyli o płaskim umyśle

100%
Błajet P.
Rocznik Andragogiczny
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2008
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vol. R. 2008
29-37
EN
The article is a critical analysis of mind conception by Zbigniew Pietrasinski described in his recent book 'The Expansion of Beautiful Minds'. Intellectual approach by Pietrasinski is analyzed in the context of neurophysiology and biocybernetic knowledge and also in the context of integral perspective presented by Ken Wilber in his book 'The Marriage of Sens and Soul'. The flat 'Pietrasinski mind' is confronted with deep 'Wilber mind'.
3
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Twórczość Witkacego wobec międzywojennej kultury masowej

72%
Lisowska K.
Ogrody Nauk i Sztuk
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2012
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issue 2
EN
The aim of this paper is to consider the relationship between the work of S. I. Witkiewicz and mass culture. First, I analyse Witkacy’s photography and paintings. Then, I focus on the connections between his dramas and novels, and cinematography. The idea is to reveal the author’s ambiguous attitude towards mass culture. I refer to Witkacy’s philosophical and aesthetic writings. References to Polish mass culture of the interwar period are also included. The bibliographical basis of the study contains works of such authors as Janusz Degler, Katarzyna Taras and Daniel C. Gerould.
4

Голосні струни Лесі Українки й Меланхолійний вальс Ольги Кобилянської: художньо-типологічні паралелі

51%
Horniatko-Szumiłowicz A.
Roczniki Humanistyczne
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2018
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vol. 66
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issue 7: Słowianoznawstwo
55-74
EN
One can identify at least a few points at which the artistic careers and personal lives of Lesya Ukrainka (1871-1913) and Olha Kobylianska (1863-1942) had crossed their paths. Both women are great figures of Ukrainian literature. They both lived and worked in the same time, although 8 years older Olga outlived Lesya by nearly 28 years. They shared the literary space, that is the early Ukrainian modernism, and the everyday environment, both living in the Chernivtsi district. The writers were linked by a special spiritual bond which was reflected in their epistolary oeuvre and their work in general. In two works of theirs in particular, that is in Lesya Ukrainka’s essay Голосні струни and Olha Kobylianska’s novelette Valce melancolique one can trace artistic and typological parallels stemming from the similarities between their personal lives and work. These are: timewise similarity, similarity within the genre, autobiographism of both texts and their intellectualism. In both works a conflict between the reality and Art is present, interpreted as a variant of the conflict between an artist and the society, as well as the feature of broadly understood ‘musicality’. Moreover, in both texts the motifs of longing/ melancholy and silence/ quietness, as well as the then popular motif of beauty/ ugliness are intertwined.
PL
Można wskazać co najmniej kilka punktów, w których przecinają się twórcze i życiowe drogi Łesi Ukrainki (1871-1913) i Olgi Kobylanskiej (1863-1942). Obie kobiety – to wielkie postaci literatury ukraińskiej. Obie żyły i tworzyły w tym samym czasie, choć starsza o osiem lat Olga przeżyła Łesię o blisko 28 lat. Wspólna przestrzeń obu kobiet to wczesny modernizm ukraiński w literaturze oraz czerniowieckie adresy – w życiu realnym. Pisarki łączyła niezwykła więź duchowa, znajdująca swoje odzwierciedlenie zarówno w ich spuściźnie epistolarnej, jak i w twórczości. Szczególnie w dwóch utworach: szkicu Голосні струни Łesi Ukrainki i noweli Valce melancolique Оlgi Kobylanskiej, obecne są artystyczno-typologiczne paralele, wynikające ze wskazanych wyżej punktów stycznych w życiu i twórczości obu pisarek. Należą do nich: prawie ten sam czas napisania utworów, podobieństwo w obrębie gatunku, autobiograficzność obu tekstów, intelektualizm. W obu utworach obecny jest konflikt między realną rzeczywistością a sztuką, pojmowany jako wariant konfliktu artysta–społeczeństwo, szeroko pojęta „muzyczność” tekstów. W obu tekstach wzajemnie przeplatają się również motywy tęsknoty/melancholii oraz milczenia/ciszy, a także szczególnie popularny w okresie modernizmu motyw piękna/ brzydoty.
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