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    Wyświetlanie 1-8 z 8
    Tytuł:
    Dis-chronic Experience of No-thing: Existential Analysis of Freud’s and Heidegger’s Concept of Anxiety
    Autorzy:
    Mauri, Martina
    Powiązania:
    https://bibliotekanauki.pl/articles/451445.pdf
    Data publikacji:
    2020-08-05
    Wydawca:
    Uniwersytet Warszawski. Wydział Filozofii
    Tematy:
    Angst
    Freud
    Heidegger
    trauma of birth
    subjectivity
    existence
    temporality
    Opis:
    This essay compares Freud’s and Heidegger’s concept of Angst. Heidegger’s and Freud’s interpretations are guided by different aims: A) in “Inhibition, Symptom and Anxiety” Freud tries to define the concept of anxiety as a main element in neurosis; B) Heidegger’s notion plays a major role in gaining the existential meaning of Dasein. Despite the differences, this essay claims that it is possible to discover a common anthropo-existential interpretation. Anxiety marks the anthropological and existential passage from the non-distinction of the pre-subjective life to the distinction that emerges from the progressive differentiation of the subject from the world. From such a distinction originates the conflict between the tendency to regain non-distinction (as a pre-birth condition) and the necessity of multiplicity. In Freud, anxiety is the price for the renunciation of indistinction; in Heidegger, anxiety is encountered when this price is recognized as unavoidable. This is the core problem that this study takes into account in order to show the existential and anthropological role of anxiety. I will proceed with an analysis of Freud’s interpretation of anxiety, and then with the Heideggerian notion. The third part points out the affinity between them. Furthermore, the paper focuses on the dis-chronic temporality that characterizes the trauma of birth. In order to show the latter, we compare the temporalities of trauma and aesthetic experience. To perform this temporal analysis, the text adopts a phenomenological viewpoint (especially from Husserl).
    Źródło:
    Eidos. A Journal for Philosophy of Culture; 2020, 4, 2; 52-69
    2544-302X
    Pojawia się w:
    Eidos. A Journal for Philosophy of Culture
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Leiden in der KZ-Lagerhaft aus Sicht Antoni Kępińskis
    Suffering in concentration camps according to Antoni Kępiński a recapitulation
    Autorzy:
    Szelążek, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/665723.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Antoni Kępiński
    Leiden
    KZ-Syndrom
    Trauma
    Angst
    suffering
    survivor syndrome
    anxiety
    Opis:
    Antoni Kępiński's long-term work with the former inmates of Auschwitz concentration camp has brought an extensive scientific material, characterized by a deep understanding and empathy with the patients. Much of this work involves the issue of suffering in concentration camps. Kępiński's personal experiences from the concentration camp made him aware of the problem of bearing trauma not only from the observing position of the scientist. His publications provide an analysis of both the wide range of human suffering in the concentration camps and the reactions of the prisoners to the camp reality.
    Die langjährige Arbeit Antoni Kępińskis mit ehemaligen Häftlingen des Konzentrationslagers Auschwitz hat auch zu einem umfangreichen wissenschaftlichen Material geführt, gekennzeichnet von tiefem Verständnis und Empathie gegenüber den untersuchten Patienten. Ein großer Teil dieser Arbeit umfasst das Thema des Leidens im Konzentrationslager. Kępińskis persönliche Erfahrungen aus dem Konzentrationslager ließen ihn das Problem des Lager-Traumas nicht nur von der beobachtenden Position des Wissenschaftlers sehen. In seinen Publikationen findet man eine Analyse sowohl des breiten Spektrums des menschlichen Leidens in den KZ-Lagern als auch der Reaktionen der Häftlinge auf die Lagerrealität.
    Źródło:
    Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica; 2016, 28; 81-89
    0208-6107
    2353-9631
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Translating from Romanian to French the Fear in Fairy Tales
    Autorzy:
    Flutur, Ionela Gabriela
    Powiązania:
    https://bibliotekanauki.pl/articles/605918.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
    Tematy:
    Geschichtenerzählen
    Kultur
    Ion Creangă
    Angst
    Übersetzung
    cultural translation
    fear
    Romanian culture
    tale
    conte
    culturel
    peur
    traduction
    Opis:
    Der Artikel enthält das Abstract ausschließlich in englischer und französischer Sprache.
    In this article, we undergo a comparative analysis of emotions in translation, particularly fear, in a Romanian tale rendered into French. The apparent simplicity of children's literature and its translation hides several difficulties as well on the linguistic level, as on the socio-cultural one. Our corpus is composed of a tale of Ion Creangă, a writer known for Romanian children's literature, Capra cu trei iezi [The goat and her three kids], and the collaborative version of M. Stanciu Stoian and Ode de Chateauvieux Lebel (1931) and the version of Mariana Cojan Negulescu (1996). 
    Cet article envisage l’analyse comparative des émotions en traduction, en particulier, la peur, dans un conte roumain rendu en français. La simplicité apparente de la littérature de jeunesse et de sa traduction cache plusieurs difficultés autant au niveau linguistique, que socio-culturel. Le corpus d’analyse consiste dans un conte de Ion Creangă, un auteur connu pour la littérature enfantine roumaine, Capra cu trei iezi [La chèvre et les trois biquets], et deux traductions : la version collaborative de M. Stanciu Stoian et Ode de Chateauvieux Lebel (1931) et la version bilingue de Mariana Cojan Negulescu (1996). 
    Źródło:
    Lublin Studies in Modern Languages and Literature; 2020, 44, 1
    0137-4699
    Pojawia się w:
    Lublin Studies in Modern Languages and Literature
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Uwag kilka o lęku w obliczu śmierci.
    Few remarks concerning anxiety in the face of death.
    Autorzy:
    Pawliszyn, Mirosław
    Powiązania:
    https://bibliotekanauki.pl/articles/2041046.pdf
    Data publikacji:
    2017
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Angst
    Tod
    Hoffnung
    Mensch in der Welt
    anxiety
    death
    hope
    man in the world
    lęk
    śmierć
    nadzieja
    człowiek w świecie.
    Opis:
    Śmierć człowieka, zwłaszcza moja śmierć, to najbardziej doniosłe wydarzenie jakie przydarza się w życiu. Jawi się ona jako nieuchronny koniec wszelkiego możliwego doświadczenia, ustanie jakiejkolwiek relacji, kres wspomnień i nadziei. Wywołuje ona u żyjących najrozmaitsze reakcje, by wymienić chociażby takie jak: fascynacja, trwoga, stres, przyzwolenie, chęć oswojenia. Każda z nich może być poddana analizie, każda też ukaże śmierć w innym aspekcie. W proponowanym artykule autor wskazuje na jeszcze inną reakcję, a jest nią przeżycie lęku. Wydaje się, że jest to przeżycie o charakterze kluczowym, zarówno kiedy myślę o niej jako czymś, co może w każdej chwili dotknąć mnie samego, jak i wtedy, gdy uświadamiam sobie, że możliwe jest odejście bliskiej czy chociażby znanej mi osoby. Inspiracją dla tych analiz stało się kilka tekstów Josepha Ratzingera.
    The death of a person, particularly my own death, is the most momentous occasion that happens in a lifetime. It seems to be an inevitable end of any possible experience, ceasing any relationship, the end of memories and hopes. It evokes various reactions in the living, just to mention some as: fascination, fear, stress, consent, willingness to familiarization. Each of them may be analysed, while each one shows also the death in a different aspect. In the proposed article, the author indicates another reaction - that is experiencing anxiety. It appears that this is the key experience, both when I am thinking about it as something that may afflict me at any moment, as well as when I become aware that there is a possibility of exit of the loved ones or just a popular person. Some texts by Joseph Ratzinger have inspired me to carry out such analyses.  
    Der Tod des Menschen, vor allem mein Tod, ist das bedeutungsvollste Ereignis im Leben. Er scheint das unweigerliche Ende aller möglichen Erfahrung, das Aufhören aller Beziehungen, das Ende aller Erinnerungen und Hoffnungen. Bei Lebenden weckt der Tod verschiedene Reaktionen, um nur einige zu erwähnen: Faszination, Furcht, Stress, Zulassung, Versuch der Bezähmung. Jede Reaktion kann man getrennt analysieren, jede zeigt den Tod in einem anderen Aspekt. Im Artikel verweist der Autor auf noch eine weitere Reaktion: die Erfahrung von Angst. Es scheint, dass dies eine Schlüsselerfahrung ist, sowohl wenn ich an den Tod denke als an etwas, das jede Zeit mich selber treffen kann, als auch, wenn ich mich bewusst werde, dass das Weggehen eines lieben oder zumindest bekannten Menschen möglich ist. Die Inspiration zu diesen Analysen gaben einige Texte von Joseph Ratzinger.           
    Źródło:
    Studia Nauk Teologicznych PAN; 2017, 12; 173-190
    1896-3226
    2719-3101
    Pojawia się w:
    Studia Nauk Teologicznych PAN
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Fantastic Literature in Translation and the Degrees of Fear
    Autorzy:
    Balatchi, Raluca Nicoleta
    Powiązania:
    https://bibliotekanauki.pl/articles/606271.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
    Tematy:
    Emotionen
    Angst
    fantastische Literatur
    Guy de Maupassant
    Übersetzungsstrategien
    emotion
    fear
    fantastic literature
    translating strategies
    émotion
    peur
    littérature fantastique
    stratégies de traduction
    Opis:
    Der Artikel enthält das Abstract ausschließlich in englischer und französischer Sprache.
    Our article is an analysis of the issue of translating emotions in literary texts on the basis of a corpus which consists of fragments from Maupassant’s fantastic tales translated into Romanian. By means of a comparison of the original with the translated published versions, where we apply methods specific to translation history and criticism, we follow and assess the implications of the translator’s different (subjective) strategies on the lexical and pragmatic level used in order to render the various degrees of fear in the target language. 
    Notre article a pour objectif une discussion des particularités de la traduction des émotions dans les textes littéraires, par l’intermédiaire d’une analyse traductologique réalisée sur un corpus de fragments tirés des contes de Maupassant traduits en roumain. En appliquant la méthodologie spécifique à la critique et histoire des traductions, notre analyse comparative du texte original et des diverses traductions roumaines mettra en évidence la place de la subjectivité du traducteur dans l’application des différentes stratégies traductives, sur le plan lexical et pragmatique, pour rendre en langue cible les différents degrés de la peur.
    Źródło:
    Lublin Studies in Modern Languages and Literature; 2020, 44, 1
    0137-4699
    Pojawia się w:
    Lublin Studies in Modern Languages and Literature
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Translate Fear: A Contrastive Analysis
    Autorzy:
    Lamprou, Effrosyni
    Valetopoulos, Freiderikos
    Powiązania:
    https://bibliotekanauki.pl/articles/605814.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
    Tematy:
    Emotion
    Angst
    Übersetzung
    Verbalisierung
    Konzeptualisierung
    lexikalische Kombinatorik
    Äquivalenz
    emotion
    fear
    translation
    verbalization
    conceptualization
    lexical combinatory
    equivalence
    émotion
    peur
    traduction
    verbalisation
    conceptualisation
    combinatoire lexicale
    équivalence
    Opis:
    Der Artikel enthält das Abstract ausschließlich in englischer und französischer Sprache
    In this paper, we examine the question of the verbalization of fear and its translation from modern Greek into French. The target texts of our analysis are of two types: translations of experienced translators and translations of Cypriot learners. We study data from the analysis of our translation corpus and we question the conceptualisation of the emotion of fear.
    Dans cet article, nous nous intéressons à examiner la question de la verbalisation de la peur et de satraduction du grec moderne vers le français. Les textes cibles de notre analyse sont de deux types :les traductions de traducteurs expérimentés et les traductions d’apprenants chypriotes en cours deformation. Nous étudions des données provenant de l’analyse de notre corpus de traduction et nousnous interrogeons sur la conceptualisation de l’émotion de la peur.
    Źródło:
    Lublin Studies in Modern Languages and Literature; 2020, 44, 1
    0137-4699
    Pojawia się w:
    Lublin Studies in Modern Languages and Literature
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Projektowanie egzystencji. Samotność. Właściwe bycie sobą?
    Project of existence. Solitude. Authentic being-ones-self?
    Autorzy:
    Łobocki, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/1048401.pdf
    Data publikacji:
    2015-07-04
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    life
    project of existence
    time
    meaning of life
    human being
    solitude
    angst
    death
    freedom
    życie
    projektowanie egzystencji
    czas
    sens życia
    człowiek
    samotność
    trwoga
    śmierć
    wolność
    Opis:
    The author, following Heidegger’s analysis of Dasein way, starts with a description of common understanding of a project of existence. Then he passes on to its ontological understanding. Both common and Heidegger’s way of understanding treat these issues in a different way. Despite significant differences, both ways of understanding the existence project – as a suggested answer to “how to live” question claiming to be the right ones – result from the same paradigm of viewing a human-being, mostly as somebody apart, who is distinguishable by possessing a self-imposed task, which could be “discovered” and put into reality only by an entity alone – and be oneself. Such a human, as a unique in his existence, is his own biggest problem and a task (a project) for all life.
    Źródło:
    Filozofia Chrześcijańska; 2015, 12; 89-113
    1734-4530
    2450-0399
    Pojawia się w:
    Filozofia Chrześcijańska
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Recepcja twórczości Francisa Bacona w sztuce polskiej lat sześćdziesiątych i siedemdziesiątych XX wieku. Rozpoznanie wstępne
    Reception of Francis Bacon’s Paintings in the Polish Art. Introductory Reconnaissance
    Autorzy:
    Zychowicz, Karolina
    Powiązania:
    https://bibliotekanauki.pl/articles/2121221.pdf
    Data publikacji:
    2009
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    polska sztuka po 1945 roku
    malarstwo polskie
    rzeźba polska
    figuracja
    „nowa figuracja”
    nouvelle figuration
    realizm
    pop-art
    sztuka zaangażowana
    deformacja
    groteska
    egzystencjalizm
    angoisse
    Angst
    recepcja
    intertekstualność
    Polish art after 1945
    Polish painting
    Polish sculpture
    figuration
    New Figuration
    Realism
    Pop-art
    Engaged Art
    deformation
    grotesque
    existentialism
    reception
    intertextuality
    Opis:
    In the mid Sixties New Figuration appeared in Poland. Researchers interested in this chapter of polish art consider the reception of Francis Bacon's paintings as one of the sources of this kind of art. The subject of this article is mainly the painters, whose works show this reception, but also the sculptors. It concentrates on the Sixties and Seventies in Polish painting. At that time in the Polish art we can see a group of artists connected with existentialism. One of the most interesting phenomena is the painting of Teresa Pągowska (1926-2007), this artist, whom was older than others who were also working in the area of New Figuration, already had concrete artistic experience. In spite of similarities between many works of Francis Bacon and Teresa Pągowska, mainly in the composition and shot of the figure (deformed, not complete, dismembered), the works of Pągowska should be considered in their own right particular to her own style. Pągowska processed Bacon's art in an original way. Her distinction from other painters belonging to New Figuration comes from her experience, on the one hand Colorism (polish Postimpresionism), on the other hand – Abstraction, which led her to understand figures as a plastic sign, moving, full of color. In the second half of the Sixties we can find the inspiration of Francis Bacon's art in the paintings of Janusz Przybylski (1937-1998). Bacon in his compositions used spatial frame which was interpreted in different ways. It had been seen as a usual glass cage, confined the human being. The artist admitted that he uses this endeavour to expose a man in a better way. This solution became a kind of an artistic hook and it was taken by other artists. It spread so much that it became a kind of a manner. To avoid narration Bacon sometimes used a form of triptych. This was typically used by him and was imitated almost as often as placing people in a spatial frame. Both hooks were used by Przybylski, whose art in a different way fits in as a style of existentialism. The deformed human beings in the cages should show alienation and the drama of man. This aspect of polish artists' paintings more than others highlights connections with the English master's art. The polish painter of the Sixties and Seventies was not an artist who could be described as self-sufficient from what we can see by viewing their paintings and reading art critics. The reception of Bacon's painting we can also find in the art of a group from Cracow called “Wprost”, especially in the one of their member's art – Zbylut Grzywacz (1939-2004). Grzywacz confirmed that his interest in Bacon's art can be seen in his paintings created in the Seventies. The nature of these adaptations lay mainly in getting compositional solutions typical to Bacon and the original look of the deformed human being. However, the artist also underlined that used by him endeavours of body's deformation were connected with politics so they had a different context than in the work of Bacon. This highlights the large gap between English artists who's art concentrated on universal cases and the public art of the polish artist. Grzywacz painted with speed, carelessly, he just wanted to give us a short message, he didn't care about particular artistic problems. He wasn't a member of this group interested in Francis Bacon. Next to him we should remember Jacek Waltoś (born 1938). In his paintings we won't find such a direct connection with Bacon's art like as is the case with Grzywacz. Waltoś was fascinated by Bacon but he took from him just the ideas concerning problems of a painting's composition. This artist, contrary to other members of “Wprost” was mostly interested in the representation of emotional states, of what is inside the human being. Waltoś, a creator of existential art, feeling incomplete, the loneliness of human being, found in the Irish artist a kind of brother. There was also Wiesław Szamborski (born 1941) who was among the painters inspired by Bacon. In the first years after he finished his studies he exhibited often with Marek Sapetto (born 1939; until 1974). The art of both artists joins with Bacon's art color standardisation of painted surfaces and putting on them strongly deformed human beings. More painters were regarded as inspired by Bacon but there is not a description of their art in this article which is just an introductory reconnaissance of this problem. The image of a human being which was proposed by Francis Bacon turned out to be very interesting also for sculptors centred on existential reflection. The dramatically deformed face occurred to be the best medium to express people's anxieties, their feelings of emptiness and loneliness (Jacek Waltoś, Jan Kucz – born 1936, Wiktor Gajda – 1938, Adam Myjak – born 1947). The Eighties did not have such rich artistic material as can confirm a permanent fascination of Bacon's painting in Poland. It seems that in a world dominated by New Expressionism there is no place for it. Enough to say that the most interesting artist in dialogue with the English painter seems to be Grzegorz Bednarski (born 1954), consequently belonging to Figuration, connected with Cracow's environment. After his debut he moved to the area of existentialism. Nowadays Bacon's work is regarded as a classic. Artists quote his paintings in a conscious way (for example Marek Przybył, born 1961). Bacon happened to be a very popular artist in Poland in the Sixties and Seventies which corresponds with general trends in European art. At this time came after return to show a human being. It appeared New Figuration, antidote on the Abstraction, Conceptual Art and metavisual experiments of the Sixties. Bacon became the father to these new phenomena in art because he brought about a renewed artistic imagination and created a new image of the human being. Moreover, Bacon was regarded as a main representative of art identified with existential philosophy. This painting in a very good way expressed spirits of the time. It reflected Zeitgeist, that climate which was then best shown in the philosophy of existentialism. Bacon's reception in Poland had also local color. English artist's art was assimilated by polish painters, who were interested in politics, what was unfamiliar with Bacon who concentrated on universal problems. It seems that polish artists like thematic art, taking problems concerning a human being and his immediate environment, what constitutes the heritage of our history.
    Źródło:
    Roczniki Humanistyczne; 2009, 56-57, 4; 55-79
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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