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    Wyświetlanie 1-6 z 6
    Tytuł:
    Dwie koncepcje badań metafizycznych rozwijane w XX wieku w filozofii polskiej
    Two conceptions of metaphysical research developed in the 20th century in Polish philosophy
    Autorzy:
    Marciniak, Dominik
    Powiązania:
    https://bibliotekanauki.pl/articles/2135592.pdf
    Data publikacji:
    2022-06-27
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    metaphysics
    method
    intuition
    scientism
    neoscholasticism
    Lvov-Warsaw school
    Opis:
    The paper presents two different conceptions of metaphysics – scientistic and neoscholastic – developed in the 20th century by, among others, Polish philosophers: Stanisław Kamiński, Mieczysław Gogacz, Tadeusz Czeżowski and Zygmunt Zawirski. These authors refer to the problem of the possibility of conducting metaphysical research in contemporary philosophy. In this context, they examine issues such as the method, subject, and specificity of research carried out within metaphysics. In the summary, the discussed conceptions are compared with each other. The basic issues determining the similarities and differences between respective positions are the problem of the autonomy of metaphysics in relation to other sciences and the issue of the starting point (source of preliminary data) of metaphysical research. Findings regarding the latter issue turn out to be crucial for resolving the question of the appropriate model for research in metaphysics.
    Źródło:
    Człowiek i Społeczeństwo; 2022, 53; 223-239
    0239-3271
    Pojawia się w:
    Człowiek i Społeczeństwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Abstrakcji przestrzeń wieloraka. Kategoria przestrzenności w twórczości Wojciecha Fangora, Jerzego Grabowskiego i Ryszarda Winiarskiego - studium porównawcze
    Multifarious Space of Abstraction. A Category of Spatiality in the Works of Wojciech Fangor, Jerzy Grabowski and Ryszard Winiarski – a Comparative Study
    Autorzy:
    Rozmarynowski, Łukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/909547.pdf
    Data publikacji:
    2020-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    spatiality
    moderate methodological scientism
    Wojciech Fangor
    Jerzy Grabowski
    Ryszard Winiarski
    Opis:
    If one were to indicate some tendencies characteristic of the art of the 20th century, the pursuit of making artwork more spatial would certainly be one of them. This tendency manifests itself in the myriad of symptoms: an avant-garde redefinition of sculpture with its negative space; a proliferation of kinetic works enabling spectators to (re)shape artwork’s matter more actively; a dissemination of ephemeral forms, especially happening and performance; beginnings of installation art, to mention but a few. The present paper sets out to examine an artistic phenomenon  which is not as spectacular as the aforementioned examples, but it could be somehow placed at the intersection of them. One can consider the particular type of abstract painting, embedded in a pictorial plane and slightly opening for surrounding space, but simultaneously reconceptualising the relation between the imagined and the physically present. The first part of the article deals with methodology. As far as research is concerned, the author assumes moderate scientism as the methodological perspective. It is based on the belief that mathematical sciences throughout history have developed notions and analytical methods allowing the observable and communicable features of things, including artworks and artistic phenomena, to be explained in an effective way, i.e. more faithfully and usefully. Because of the fact that mathematical truths are not absolute, the methodological perspective is called ‘moderate’. Taking into account these assumptions, the second part of the article defines the analytical category of spatiality, which expresses painting’s ability to evoke variously conceptualised spaces. The three subsequent sections of the article are devoted to some paintings by three Polish artists active in the second half of the 20th century, i.e. Wojciech Fangor, Jerzy Grabowski, Ryszard Winiarski. Each of them combined two differently understood spatial orders in their works: physical (related to phenomenological and sensual experience) and conceptual (related to notions and theories proposed by exact sciences). Having analysed a number of paintings by Fangor, Grabowski and Winiarski, one can define notions of cosmogonic, transcendence and probabilistic space, respectively. In summary, the specificity of works analysed in the context of ideas drawn from exact sciences is examined.
    Źródło:
    Artium Quaestiones; 2020, 31; 401-436
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The play of nerves. Chopin in the era of mental disorder
    Autorzy:
    Okulicz-Kozaryn, Radosław
    Powiązania:
    https://bibliotekanauki.pl/articles/780181.pdf
    Data publikacji:
    2010
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Young Poland
    Fryderyk Chopin
    modernism
    nervousness
    scientism
    theory of individual genius
    Opis:
    This article concerns the neurotic image of Chopin that took shape in the 1880s and became popular during the Young Poland period. At that time, features highlighted from earlier descriptions of the composer’s character - over-sensitivity, over-sentimentality, excessive delicacy, emotional instability and inner complexity - were most spectacularly portrayed in the works of painters and sculptors such as Władysław Podkowiński, Wojciech Weiss, Bolesław Biegas and the designer of the monument in the Łazienki Royal Baths Park in Warsaw - Wacław Szymanowski. Critics and writers also helped to form the new portrait of the composer: Stanisław Przybyszewski, Cezary Jellenta, Wacław Nałkowski and Antoni Potocki. Their utterances allow us to grasp the dependency of the new picture on the theory of neuroses, advanced in 1881 by George Miller Beard and then developed and popularised during the last quarter of the nineteenth century by Richard Kraff-Ebing and Paolo Mantegazza, among others. Nervousness was considered to be the dominated feature of modern civilisation. These concepts were also influential in music criticism. Representatives of nervousness in music proved to be the Richards - Wagner and Strauss - and also Juliusz Zarębski and Ignacy Jan Paderewski. The latter, in a speech from 1911, depicted Chopin implicitly in terms of nervousness, which was also becoming a feature of the Polish national character. However, theories of neuroses were applied first and foremost to the individual psyche. The fundamental inner conflict of modern man, exposed to a surfeit of external stimuli, supposedly arose between the over-developed brain and the rest of the nervous system, as the centre of feelings and will. And it was the paresis of emotions and volition that brought a growth in the role of music, which, depending on a particular author’s assessment, either was itself the result and expression of nervous disturbance and contributed to the further deepening of the process of destruction (the stance of Antoni Sygietyński) or else filled the space left by subordinated emotions and enabled them to rebuild (the opinion of the novelist Eliza Orzeszkowa). The view of Chopin as a eulogist of new sensitivity was made manifest in Maurice Rollinat’s volume of poetry Les Nervoses, which caused quite a stir in the mid 1880s, and it was represented in Poland by Zenon Przesmycki’s Życie, and a philosophical treatise by Jean-Marie Guyau published in that periodical in 1887.
    Źródło:
    Interdisciplinary Studies in Musicology; 2010, 9; 177-194
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Twórcze echa neurotycznej młodości Żeromskiego, czyli pisarstwo wywiedzione z Dzienników
    The Creative Echoes of Żeromski’s Neurotic Youth, or Writing Derived from Diaries
    Autorzy:
    Okulicz-Kozaryn, Radosław
    Powiązania:
    https://bibliotekanauki.pl/articles/1042027.pdf
    Data publikacji:
    2016-11-17
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Stefan Żeromski’s writings
    diaristics
    autobiographism
    autoanalysis
    nervousness
    scientism
    antipositivistic turn
    modernism
    Young Poland
    Opis:
    Until now, Stanisław Żeromski’s writings have not been viewed with regard to literature common to the age of anxiety from the turn of the eighties and nineties of the 19th century, though there are numerous common aspects shared by both. These are clearly discernible in the early works of the writer, written in his youthful days, and shaped among others by J. Ochorowicz’s literary piece Z dziennika psychologa (“From a psychologist’s diary”) concerning the latter’s views on the neuropsychological system of man, the acquired habitual self-analysis and autobiographism rooted in the practical activities of a diarist; all of which surface both in the subject matter, the singularity of style, narration, as well as the composition of later works by the author. By devoting the majority of space and attention to identifying and tracing literary awareness in his intimate notes from 1882 to 1891 – of which one volume carries the title Dziennik człowieka nerwowego (“Diary of the anxious man”) – R. Okulicz-Kozaryn portrays its role in Siłaczka (“The Strongwoman”), Mogiła (“The Grave”) and Źródło (“The Source”), also in Ludzie bezdomni (“The Homeless”). He further claims that Żeromski’s Dzienniki (“Diaries”) should be presented as its laboratory sample, whereas the entire literary output of the writer ought to be interpreted as more advanced consequences of the then initiated experiment.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2016, 27; 67-85
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Die Aggressionstheorie Darwins nach Freud und die christliche Nachstenliebe
    Teoria agresji Darwina według Freuda i chrześcijańska miłość bliźniego
    Darwins Theory of Aggression according to Freud and the Christian Love of Neighbor
    Autorzy:
    Piegsa, Joachim
    Powiązania:
    https://bibliotekanauki.pl/articles/1047882.pdf
    Data publikacji:
    2013-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    aggression
    theory of evolution
    reductionism
    scientism
    psychoanalysis
    conscience
    agresja
    teoria ewolucji
    redukcjonizm
    scjentyzm
    psychoanaliza
    sumienie
    Opis:
    According to Charles Darwin's theory of evolution, aggression is an indispensable factor of development, since the stronger eliminates the weaker. This behavior works on the plane of lower living beings and proceeds through environmentally conditioned selection. In the case of beings driven by instinct, human beings included, such a selection is effected by means of aggression. The theory has moral implications and they are the focus of the present paper. The author discusses the practical implementations of this theory in "the age wolves", as he calls the time of Hitler's and Stalin's dictatorships, and also in the "futuristic manifesto" - the aftermath of the French Revolution, as well as in the framework of Freud's psychoanalysis, where one of the basic thesis claims that renouncement of the sexual drive leads to aggression. According to the author such beliefs are relevant to the contemporary phenomena of robotics, genetic technology and nanotechnology. The author enters into polemics with those beliefs by referring to the basic contents of the Christian faith, mainly to the perspective of the love of neighbor.
    Zgodnie z teorią ewolucji Ch. Darwina, agresja stanowi niezbędny faktor rozwoju, gdyż silniejszy eliminuje słabszego. Dzieje się to na płaszczyźnie niższych istot żywych na drodze selekcji uwarunkowanej środowiskiem. W przypadku istot kierujących się instynktem, w tym także u człowieka, dokonuje się to na drodze agresji. Teoria ta ma swoje implikacje moralne, co jest przedmiotem niniejszego artykułu. Autor omawia w nim zarówno praktyczne zastosowanie założeń tej teorii w ,,wieku wilków", jak nazywa czas dyktatur hitlerowskiej i stalinowskiej, ale także w ,,futurystycznym manifeście" będącym pokłosiem Rewolucji Francuskiej czy w ramach psychoanalizy Z. Freuda, którego jedna z podstawowych tez głosi, że rezygnacja z popędu prowadzi do agresji. W przekonaniu autora, z przekonaniami tymi wiążą się współczesne zjawiska robotyki, techniki genetycznej i nanotechnologii. Z tymi poglądami autor polemizuje, odwołując się do podstawowych treści wiary chrześcijańskiej, głównie zaś do perspektywy miłości bliźniego.
    Źródło:
    Teologia i moralność; 2013, 8, 2(14); 141-161
    1898-2964
    2450-4602
    Pojawia się w:
    Teologia i moralność
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Znikający punkt zwrotny. Piotra Chmielowskiego kłopoty z periodyzacją „najnowszej literatury polskiej”
    Vanishing turning point. Piotr Chmielowski’s difficulties with periodization of the “recent Polish literature”
    Autorzy:
    Wedeman, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/1534418.pdf
    Data publikacji:
    2012-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    positivist breakthrough
    abolition of serfdom
    January uprising
    strife of the old and the young press
    Scientism
    revival of Enlightenment thinking
    Opis:
    [An outline of the literature of the last sixteen years] written by Piotr Chmielowski was designed in the author’s intention as a sketch of “rather journalistic than historical features”. The above is clearly indicated by the forewords written by the author to its successive four editions published between 1881 and 1898. Still, despite its lack of pretentions, the book acquired with time the status of a fully-fledged instructive approach to Polish literature of the Positivist period. A closer look at the text with regard to the proposed periodization reveals, however, a number of flaws and aporias committed by Chmielowski, particularly in establishing boundary dates of the proposed literary period. The present article attempts to prove that the source for the inaccuracies and inconsistencies of the solutions proposed in Zarys is not so much in their makeshift or the pro tem nature, but rather in the aggressively promoted ideology, represented by Chmielowski, that completely disregarded the nature of literary phenomena.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2012, 19; 47-59
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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