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Wyświetlanie 1-3 z 3
Tytuł:
Georges Bataille – wypowiedzieć Niemożliwe
Georges Bataille – Expressing the Impossible
Autorzy:
Kruszelnicki, Michał
Powiązania:
https://bibliotekanauki.pl/articles/1038673.pdf
Data publikacji:
2020-06-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Georges Bataille
the Impossible
inner experience
language
Derrida
Blanchot
Opis:
The paper discusses Georges Bataille’s endeavor to express “the Impossible” by means of specific language employed first and foremost in his works of literary fiction (L’Histoire de l’oeil (Story of the Eye), Madame Edwarda, Le bleu du ciel (Blue of Noon). This is carried out by first providing a general outline of Bataille’s philosophical thought with due attention drawn to the aporias that open up before all projects of heterology inasmuch as they seek to both approximate and communicate the experiences that elude rational thought and language which traditionally works at its service. What follows is a description and explication of the literary and performative means which Bataille employs in his fiction in order to authenticate his depictions of the “inner experience” and the figure of “the Impossible”. Several of the most prominent theoretical approaches to the specificity of Bataille’s transgresssive écriture are referred to and further contrasted with the philosopher’s consistent dissatisfaction with the limitations that language and rational, sense-oriented thought poses to the task of voicing the essence of the “inner experience”. The article concludes with the argument that even literature cannot free itself from pragmatic utility resulting from the structural limitations of language. What literature can achieve, however, is to point to the Impossible and inexpressible, and endlessly invoke and respond to it. Regarded in this way, Bataille’s revelatory language can be considered in a wider, French poststructuralist context, which emphasises the position of Heidegger as a reference point for Derrida and Blanchot.
Źródło:
Przestrzenie Teorii; 2020, 33; 59-84
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Natura (nie)odzyskana. Pan Knuta Hamsuna
Nature (un)regained. Knut Hamsun’s Pan
Autorzy:
Kruszelnicki, Michał
Powiązania:
https://bibliotekanauki.pl/articles/1391489.pdf
Data publikacji:
2018-05-08
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Knut Hamsun
Pan
Thomas Glahn
nature
Rousseau
modernity
reflectivity
nearness of being
Opis:
The Norwegian novelist Knut Hamsun’s outstanding early novel Pan. From Lieutenant Thomas Glahn’s Papers (1894) is often acknowledged as a manifestation of the specificity and profundity of Hamsun’s perception of nature. Contrary to the prevailing opinion, I argue that the novel’s main protagonist cannot be simply seen as the happily fulfilled “man of nature” for whom he wishes to pass. In a critical dialogue with the post-Romantic interpretations of Pan and drawing on some classic philosophical traditions (i.e. Rousseau, Schiller) as well as the modern Norwegian scholarship, I explore the psychological dimension of Hamsun’s masterpiece and present Glahn as an individual who attempts to erase or at least mystify within a personalized narrative the conflict between the objective world and his subjective perception of reality. This predicament seems essential to understanding Glahn’s character and ipso facto Hamsun’s less obvious position in the philosophical debate on the essence of modernity conceived as “Disenchantment”. By carefully following Glahn’s narratives centered on his experience of nature, I reveal their artificial and simulating character. Such a reading allows me to argue that Hamsun’s Pan concurs in a subtler language of literature with the philosophical acknowledgement, dating back to Rousseau, of the impossibility of the individual’s return to the pre-modern time, as if to the realm of original, transcendental sense and immediacy of our experience of the world. The horizons of the modern – perhaps suffice to say: mature? – historicized and highly reflexive consciousness cannot be transgressed; the Romantic sensitivity, in its naïve search for the authentic experience of nature as a source of the self and the sense, can only regain it in discourse, which amounts to positing nature as a beautiful appearance and thus compensating for one’s dramatic feeling of alienation from nature and being conceived of as a metaphysical “wholeness”.
Źródło:
Przestrzenie Teorii; 2017, 28; 239-256
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
(Nie) Chcieć być wszystkim. Stawrogin i najgłębsza otchłań Dostojewskiego
(Not) to want to be everything. Stavrogin and Dostoevsky’s final abyss
Autorzy:
Kruszelnicki, Michał
Powiązania:
https://bibliotekanauki.pl/articles/1391847.pdf
Data publikacji:
2015-12-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Dostoevsky
Stavrogin
classic Russian interpretations
existentialism
omnitude
despair
suffering
freedom
Dostojewski
Stawrogin
klasyczne interpretacje rosyjskie
egzystencjalizm
pełnia
rozpacz
cierpienie
wolność
Opis:
This paper proposes a new interpretation of Niyevsky’s novel The Devils. This reading opposes the very influential line of interpretation employed in wkolai Vsevolodowich Stavrogin – a relentlessly intriguing character in Fyodor Dostoorks of thinkers working within the current of Russian symbolism and “cultural renaissance” from the beginning of the 20th century. The author argues that this “religious” interpretive tradition contributes to one of the greatest misunderstand-ings concerning Dostoyevsky’s work in that it oversimplifies its ambivalence and obscures one of Dostoyevsky’s darkest insights into the human soul, initially revealed in Notes From the Under-ground and from that time on recurring in each of his major novels. In the first part of the article, several classic Russian interpretations of Stavrogin are examined in order to show their common tendency to morally judge Stavrogin from the Orthodox point of view, recognize his greatest sin in the lack of faith in God and for that reason see before him only the perspective of self-disintegration and inevitable death. The author argues that “religious” interpretations do not explain the mystery of Stavrogin. What is more, they homogenize the complexity of his character and offer an all-to-easy solution to the vital philosophical problem which reiterates in Dostoyevsky’s entire mature fiction and which finds its greatest artistic representation in Stavrogin himself.
Źródło:
Przestrzenie Teorii; 2015, 24; 195-218
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-3 z 3

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