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Wyświetlanie 1-4 z 4
Tytuł:
Hube – Makarewicz – Wolter. Trzy koncepcje karania na przestrzeni stu lat
Hube – Makarewicz – Wolter: Three Conceptions of Punishment in the Course of a Century
Autorzy:
Janicka, Danuta
Powiązania:
https://bibliotekanauki.pl/articles/698720.pdf
Data publikacji:
2017
Wydawca:
Polska Akademia Nauk. Instytut Nauk Prawnych PAN
Tematy:
kara
Hube
Makarewicz
Wolter
koncepcje karania
kryminologia
Opis:
The article presents the views of three prominent thinkers regarding criminal punishment: Romuald Hube (1803–1890), the father of Polish criminal law, Juliusz Makarewicz (1872–1955), the most distinguished interwar Polish lawyer, and Władysław Wolter (1897–1986), the founder of the Krakow school of criminal law. A presentation of the ideas on punishment developed by these masters of Polish jurisprudence provides an overview of the evolution of criminal law and political-criminal thought in Polish lands over the course of a century. Citing selected fragments from the works of the three professors, the Author examines how they interpreted punishment, what they believed its role to be, and what theories of punishment they put forward; moreover, which specific sanctions they supported. The article also assesses the language and discursive style of these leading lights of Polish legal science. Romuald Hube represented the classic school of criminal law. He published his Ogólne zasady nauki prawa karnego (General principles of the study of criminal law), a rudimentary, systematic interpretation of criminal law, at the age of 27. He was one of the first scholars in Europe to promote a mixed theory of punishment, inspired by Hegelianism and combining the idea of retribution with the preventive aims of punishment. Juliusz Makarewicz was a representative of modernism, the leader of the sociological school of criminal law, and the father of the first penal code in independent Poland. He made his reputation in 1906 with the publication of a work on the philosophy of criminal law. He published a broad range of dogmatic and historical studies, textbooks and a commentary on the 1932 Polish penal code. Makarewicz proposed an absolute justification of punishment, yet he saw retribution as ultimately preventive, nolens volens developing a mixed theory of punishment oriented towards specific prevention. Władysław Wolter was a student of the last eminent exponent of the classic school in Poland, Edmund Krzymuski (1851–1928), and at the same time a representative of normativism. He dealt mainly with general issues in criminal law, particularly criminal science. After the introduction of Makarewicz’s penal code, he immediately published his first textbook. He continued his academic career after the war all the way into the 1970s. Wolter adopted a modernist position within penal science and indicated the need for purposive punishment within the bounds of justice; he was therefore also a supporter of a mixed theory of punishment. Although all of the named professors promoted or embraced a mixed theory of punishment, their approach to the penal system differed to some extent. Hube gave priority to imprisonment, which he strongly believed to be important and effective. Makarewicz questioned the effectiveness of imprisonment and proposed a broad array of protective and probation measures, in addition to non-prison punishments. Like Wolter, he espoused the idea of two-track penal repression, i.e. a system of penalties and protective measures in response to criminal offenses. None of the named scholars rejected capital punishment outright, although all of them distanced themselves from it and hoped that it would be abolished in the future. Hube saw death as an exceptional, rarely used sanction. Makarewicz still foresaw no possibility of removing it from the catalogue of punishments due to the needs of criminal policy – he saw capital punishment as a deterrent, thus a general preventive measure. Wolter denied that it had any such impact, arguing that capital punishment did not deter offenders and was only a protective measure. As for monetary fines, Hube believed them to be appropriate only in the case of petty crimes, although he rejected confiscation of property as a sanction that affected the convict’s family. Makarewicz accepted fines, although he pointed to their limited impact and inequality. Wolter wrote in a similar vein, expressing an ambivalent attitude toward this legal sanction, revealing the inequality of its burden given convicts’ differing material status and recommending different legal solutions when it came to this type of punishment. The excerpts from the works of the great masters of Polish criminal science cited by the Author also allow us to see how the language and style of criminal science has changed. Hube was the father of Polish legal language. His analyses were mainly conducted in a philosophical and historical vein. Makarewicz employed a rhetorical style, often emotional, making legal comparisons. Wolter perfected his arguments, often highly abstract, relying mainly on logic and dogmatics. All three scholars were quite familiar with European legal theory and drew on its achievements
Źródło:
Archiwum Kryminologii; 2017, XXXIX; 5-26
0066-6890
2719-4280
Pojawia się w:
Archiwum Kryminologii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Boullee, Wolter, Newton. Architektura i newtonianizm w dobie oświecenia
Boullee, Voltaire, Newton. Architecture and newtonianism in the age of Enlightment
Autorzy:
Świtek, Gabriela
Powiązania:
https://bibliotekanauki.pl/articles/706994.pdf
Data publikacji:
2014
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Boullee
Voltaire
Newton
theory of architecture
Enlightment
Wolter
teoria architektury
oświecenie
Opis:
This article presents selected aspects of the cult of Isaac Newton in France during the Age of the Enlightenment that appear both in Voltaire’s philosophical writings as well as in contemporary visual culture. These reflections feed into art historical interest in the affinity of “two cultures” (C.P. Snow), that is science and humanities, at the same raising questions on methods of research in the reception of scientific theories in art. The paper recalls earlier research on the phenomenon of Newtonianism in eighteenth century European culture (F. Wagner, J.B. Shank), as well as discussions on Newtonian iconography in literature and the visual arts (M.H. Nicholson, M. Keynes, F. Haskell, J. Gage, A.M. Vogt). The celebrated project by Étienne-Louis Boullée for Newton’s cenotaph serves as the main architectural example of Newtonianism in the Age of Enlightenment, but also contributes to analysis on the reception of scientific discoveries in visual arts. The description of Newton’s cenotaph, included in Architecture; Essai sur l’art by Boullée, is compared with selected excerpts from Letters on the English and Elements of Newton’s Philosophy by Voltaire, these being the main source of the popularization of his scientific discoveries in France. The design for Newton’s monument is interpreted in the context of a wider phenomenon, namely the cult of the genius and the cult of posterity in the Enlightenment era. Two aspects of Boullée’s project – the spherical shape and the symbolism of light – are subject to a more detailed analysis, since the decomposition of light and the law of gravity that encompasses the infinite space of the universe are the two main themes recurring in Newton’s iconography, in literature, painting and sculpture. The spherical shape of the cenotaph (as noted earlier by the architect’s monographer A.M. Vogt) is not an “illustration” of Newton’s discovery; the law of gravity assumes that the Earth is not a sphere, but a spheroid. The spherical form of the monument can, at most, be considered as an example of the quest for new formulations of iconography, referring to the attributes of the astronomer and Astronomy (Urania); as one example of the so-called fabriques astronomiques; as a reinterpretation of the shape of the Pantheon; or a reference to then contemporary hot air ballooning. The contrast of light and shadow, mentioned by Boullée in his description of the cenotaph, has little in common with the representation of the famous Newtonian experiment of the dispersive prism. Rather, it forms part of a new and persuasive symbolism of light and darkness, typical of the French Enlightenment, present for example in the depictions of the Apotheosis of Voltaire, as well as in the aesthetics of the sublime outlined by Edmund Burke. The importance of light in Newton’s cenotaph is interpreted in conjunction with the iconography of a small garden building in Ermenonville (Temple de la Philosophie Moderne), in which one column bearing the inscription “Newton – Lucem” was dedicated to the scientist. This context brings us to an earlier analysis of this rotunda (V. Klein), which emphasized that Newton’s achievements – known in France in the second half of the eighteenth century – included not just the decomposition of white light using a prism, but also an early hypothesis defining light as a kind of ether.
Źródło:
Rocznik Historii Sztuki; 2014, 39; 73-96
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Practicing Theory. Concepts of early works of Daniel Libeskind as references for real architecture
Praktykowanie teorii. Koncepty wczesnych prac Daniela Libeskinda jako wzorce realnej architektury
Autorzy:
Wąs, Cezary
Powiązania:
https://bibliotekanauki.pl/articles/560272.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
Daniel Libeskind
Wolter
August de Villiers de L’Isle-Adam
Comte de Lautréamont
Giulio Camillo
Jüdisches Museum (Berlin)
Voltaire
Opis:
Treści wczesnych prac Libeskinda, w tym zwłaszcza idee zawarte w cyklach rysunków pod nazwą Micromegas: The Architecture of End Space (1979) i Chamber Works: Architectural Meditations on the Themes from Heraclitus (1983) oraz trzy maszyny określone jako Three Lessons in Architecture (1985) w decydujący sposób wpłynęły na wszystkie późniejsze realizacje architekta. Prace te w dużym zakresie zmieniły zasady oddzielania teorii od praktyki budowlanej, w tym także odgraniczania architektury od literatury czy filozofii. Już Micromegas były polemiką z traktowaniem rysunku architektonicznego wyłącznie jako utylitarnego narzędzia w procesie stwarzania budowli i postawiły na uczynienie z tej techniki pełnoprawnej postaci realnej architektury. Chamber Works w jeszcze większym stopniu niż prace z serii Micromegas akcentowały samodzielność rysunku i jego odrębność od wszelkiej rzeczywistości czy zewnętrznych źródeł treści. Maszyny połączone w Three Lessons in Architecture streszczały dokonania dawnych epok historii sztuki budowania. Reading Machine opowiadała o rzemieślniczych początkach, Memory Machine o intelektualizmie okresu nowożytnego, Writing Machine zaś o współczesnym okresie mechanizacji pamięci i kreacji. Zadaniem maszyn była metafizyczna refleksja nad głównymi założeniami i mitami architektury, a zarazem przeniesienie tej refleksji na poziom doświadczenia zmysłowego. W berlińskim Jüdisches Museum wymyślone liternictwo architektoniczne połączyło się z narracją na temat zagłady żydowskich mieszkańców miasta. Libeskind wykreował nie tyle budowlę, ile literacką relację o zbrodni przełamującej historię ludzkości.
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2015, 2(36); 98-121
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-4 z 4

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