Wyniki wyszukiwania - Biblioteka Nauki

1

HISTORY OF A CERTAIN BORDERLAND

100%

Krakowiak M.

Przegląd Humanistyczny

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2005

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tom 49

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nr 4(391)

61-70

EN

The article deals with the formation of a literary program by one of the most important Polish literary critics, namely, Kazimierz Wyka, in the forties of 20th century. Wyka's daring vision of non-fiction (about 1942), which was supposed to dominate post-war literature is presented here, as well as a gradual shift from it towards contemporary dominant concept of realistic novel (1946-1948). There is also an attempt to answer the question about the reason for the critic's reversal in his views.

2

MACIEJ ZUROWSKI'S VIEWS ON LITERARY CRITICS

100%

Chudak H.

Przegląd Humanistyczny

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2005

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tom 49

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nr 3(390)

13-16

EN

Maciej Zurowski's literary interest was in a way complete and that is why he also focused on the theory and history of literary critics. He was especially interested in filiations of critical ideas, continuity and changes in comparative perspective, which explains how he managed to gather all the phenomena contributing to modern methodology of literary research. French 'nouvelle critique' and 'The Geneva School' come first, however, other formations like: Russian formalism, Polish phenomenology, German philology and American 'New Criticism' also need to be mentioned. Yet, the question of the literary work concepts and of the limits of its interpretation remains general for all of them.

3

CRITICISM OF CHILDREN AND YOUNG ADULT LITERATURE IN PERIODICALS AND BOOKSHOP CATALOGUES IN THE 19th CENTURY (Krytyka literatury dzieciecej i mlodziezowej w polskich czasopismach i katalogach ksiegarskich w XIX wieku)

80%

Boczar E.

Roczniki Biblioteczne

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2006

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tom 50

179-193

EN

Literature for children and young adults started to develop in Poland in the 1820s. Initially, it was the authors themselves (K. Hoffmanowa née-Tanska, S. Jachowicz) who undertook to carry out critical analyses of their works in periodicals they edited, but as time went by booksellers began to publish advertisements for upcoming books for young readers together with their reviews. The first serious reviewer of children literature was Ewaryst Estkowski who published his reviews in a periodical published in Poznan in the mid-1850s, called 'Szkola Polska' (Polish School). In the last quarter of the 19th century books for young readers were reviewed in renowned periodicals ('Ateneum', 'Rocznik Pedagogiczny' - Pedagogical Annual, 'Biblioteka Warszawska' - The Warsaw Library) by such distinguished writers as B. Prus, H. Sienkiewicz and M. Konopnicka. In the same period the publishers themselves (the Orgelbrands, Gebethner and Wolff, M. Arct) compiled special catalogues of books that could be given as rewards for good grades at school or as Christmas gifts. The catalogues usually contained short notes presenting recommended works. Much more valuable than ordinary booksellers catalogues were 'critical catalogues' and bibliographies containing lists of books for children and young adults. These served as relatively comprehensive guides to this type of literature. The present article analyses various catalogues of this kind, including those by Nowolecki, Kozubowski, Karlowicz, Dygasinski and Sliwka. Despite its shortcomings, the 19th century criticism of literature for young readers published in periodicals and booksellers catalogues greatly contributed to an increase of interest in this literature among Polish writers over the next century.

4

Antonín Dvořák et la France

80%

Chotil-Fani A.

Hudební věda (Musicology)

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2005

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tom 42

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nr 3-4

247-254

EN

The study of newspapers from the 1878-1914 period shows the origin of French ignorance of Dvorak. Very few of his works were then played in France. Their appreciation was varied. Slavonic Dances were esteemed, chamber music raised problems, symphonic works remained practically unknown. The best defenders of Dvorak were foreigners and mainly the Czechs. The French musical circles were however conscious of the composer's importance. A Dumka and his article about Schubert were published in Paris. Dvorak was proposed as foreign correspondent by the Academie des Beaux-Arts, invited to conduct his works in the capital, requested for an exhibition of autographs in 1900 and decorated with the Gold Medal of the City of Paris. In 1906, the 9th symphony conducted by Camille Chevillard strongly divided the critics. In 1913, Pablo Casals refused to play the Cello Concerto under the leadership of Gabriel Pierne, scorning the score. A nationalist and anti-German opinion, hindered by the prejudices and colonialism could explain the difficulties encountered by Dvorak in France, in spite of the constant interest of the public.

5

Recepce Bohuslava Martinů v dobovém pařížském tisku (1923–1940)

80%

Urbanova J.

Hudební věda (Musicology)

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2007

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tom 44

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nr 3-4

289-306

EN

This article is rewritten from the authoress MA thesis, 'The Paris Reception of Bohuslav Martinu between 1923 and 1940', compiled in 2005 from material collected during her sabbatical at the Universite de Paris-Sorbonne. The article presents a continuous picture of the forms and changes of the reception of Bohuslav Martinu's personality and work in the contemporary Paris press during the course of the seventeen years of his life there. A survey of the reviews of his work, year by year, from twenty-two selected periodicals, is supplemented by a description of the periodicals and reviewers that are essential for the correct evaluation of the reviews.

6

Obrona praw człowieka

80%

Nowacki P.

Archeus. Studia z bioetyki i antropologii filozoficznej

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2012

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tom 13

255-266

EN

In contemporary Europe the concept of human rights plays an undisputed role of a speciﬁc basis of all legal relations or even more: of all social relations. It does not mean the concept is free from any criticism. Particularly, it is questioned for its heterogenous character, and ﬁrst of all it is criticized for extending the catalog of human rights too much, which may cause their inﬂation”. The author of the article discusses three issues. Firstly, he presents the heterogeneity of rights included in the catalog of human rights. Secondly, he describes criticism towards the rights in order to better formulate their legal peculiarity. Thirdly, he attempts toanswer the question, what is and what should be the role of human rights from the point of view of jurisprudence and social needs?

7

KRITIKA „SCHEMATIZMU“ AKO INTEGRÁLNA SÚČASŤ RÉTORIKY SOCIALISTICKÉHO REALIZMU PRVEJ POLOVICE PÄŤDESIATYCH ROKOV (DISKUSIE PRED 2. ZJAZDOM ČESKOSLOVENSKÝCH SPISOVATEĽOV)

80%

Matejovič P.

Slovenská literatúra (Slovak Literature)

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2013

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tom 60

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nr 5

409 – 417

EN

The presented article analyses selected discussions of the first half of the 1950s which were related to the preparation of the 2nd Czechoslovak Writers´ Conference in the year 1956. At the same time it pays attention to the contemporary term known as the criticism of so-called Schematism. In the author´s opinion the formation of the term is related to the processes having its prehistory in the period when the dogmatic application of Socialist Realism was the official doctrine of the Stalinist Epoch. It cannot be seen as synonymous with the criticism of so-called Cult of Personality or the process of „acknowledging“ the period of Stalinism because the notion „Schematism“ became a part of the literary-critical discourse of those times before Stalin´s death. In this context the author makes references to the findings by B. Groys, especially to his analysis of the paradoxes of Stalin´s rule where logical statements containing no contradictions were regarded as one-sided and so invalid. The slogans such as „struggle against Schematism“ and „for greater fidelity of literature“ were a part of the contemporary language of the Stalinist Epoch and should be interpreted accordingly. They were not directly related to the criticism of Stalinism, and they did not question the aesthetical doctrine of Socialist Realism.

8

Nauki o kulturze jako nauki podstawowe (i krytyczne)

80%

Szahaj A.

Filo-Sofija

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2011

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tom 11

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nr 1(12)

183-188

EN

The main goal of the article is to prove that today cultural sciences replace sciences on nature in the role of fundamental sciences. Author tries to show that cultural sciences are now fundamental ones taking into account two different aspects of being fundametal: theoretical one and political one. He uses some arguments taken from Jerzy Kmita’s works to support his own position. They are connected mostly with Kmita’s thesis about the primary role of culturally created vision of the world as the necessary background of each knowledge. The political aspect of fundamental role playing today by cultural sciences is linked with the main role played by information in today world and especially in so called cognitive capitalism. Author’s thesis is that cultural sciences can take critical shape showing the relative character of all dogmas of today capitalism or they can play effective role in capitalist world as important and useful element of its mechanisms.

9

GIORGIO AGAMBEN ON AESTHETICS AND CRITICISM

80%

Darida V.

ESPES

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2021

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tom 10

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nr 1

22 – 31

EN

Focusing on Giorgio Agamben’s early writings (The Man without Content, Stanzas, Infancy and History) this paper investigates the peculiar status of aesthetics that is disclosed by these texts, highlighting particularly the shift that emerges therein from aesthetic to ethical concerns. Agamben’s idea of a ‘destruction of aesthetics’ will bring attention to the question of the destination of aesthetics. The claim that only ruins can outline the original structure of works of art, providing a possible basis for creative criticism, will also be examined in the conclusion.

10

VZŤAH MEDZI KYNIZMOM A CYNIZMOM

80%

Flachbartová L.

Filozofia (Philosophy)

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2011

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tom 66

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nr 6

522-534

EN

The paper examines the relationship between ancient Cynicism and his modern counterpart - cynicism. Ancient Cynicism is a strictly ethical way of life, while modern cynicism despises all ethical values. Ancient Cynicism is said to be a 'shortest way to virtue' and is characterized by its commitment to a life in agreement with nature, radical freedom, self-sufficiency and by the absence of philosophical theory in favour of practical, lived philosophy. Modern cynicism is a result of a long lasting history of interpreting and misunderstanding of ancient Cynicism (mainly the Cynic's life in agreement with nature and his ascetic practices, which were often seen as a crude shamelessness). However, cynicism is the consequence of 'the unfulfilled promises' of Enlightenment. It is a reason turned against reason itself. The paper offers a brief history of the reception of Cynicism on its way toward the modern cynicism.

11

FREEDOM AND OBEDIENCE IN WESTERN EDUCATION

70%

Martin-Sanchez M. , Flores-Rodriguez C.

Pedagogický časopis (Journal of Pedagogy)

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2018

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tom 9

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nr 2

55 – 78

EN

Education has to emphasize the characteristics which define Western democratic societies. In addition, it has to ensure the active and participative inclusion of each person in social life, where respect for human rights prevails over the person’s preferred ideology. Promoting these values in citizens not only guarantees the stability of the state, but also its constant progression and improvement. Beginning at the elementary level, the promotion of students’ critical spirit is recognized as fundamental objectives. However, the structures which shape Western education in the 21st century do not allow for the development of completely autonomous thinking and critical thinking in students. In this article, we analyse the processes which comprise an education for obedience. Although obedience does not respond to conscious cognitive processes, it is present in the structural rigidity of education through the organization of the classroom. Our explanation is based on the Theory of Social Conformity, which will be presented as the antithesis of a person’s individual freedom. Moreover, we will see how contaminated cognitive vicarious elements are promoted. Although they are endemic to people, they do not allow students to develop a critical spirit or to be educated for freedom.

12

Why Is Sociology a Critical Science?

70%

Javeau C.

Teorie vědy (Theory of Science)

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2009

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tom 31

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nr 2

5-24

EN

This article affirms the modern origin of sociology as a science and posits a critical posture as its fundamental component. As such, sociology is opposed to any dogmatic conception of knowledge. The critical stance has both internal and external dimension. Sociology is under the obligation to observe a constant vigilance towards the knowledge it produces. A considerable methodological privilege bestowed upon the researchers in sociology requires that they have to be capable of criticizing their conceptual tools and operational procedures. Furthermore, critical attitude consists also in questioning conditioning of results linked to the dependence arising from the subsidizing of research. These preconditions of critical posture are illustrated by consideration of the challenges of researching the so-called 'school failure'. Ultimately, responsibility commands a sociologist to respect the principle of precaution. When political action is concerned, the researchers must demand that their rights of intellectual property be preserved. To criticize, in this sense, is not to denounce; nonetheless, sociology will only remain faithful to what can pass legitimately as its essence by demanding the right, against threats and seductions, to speak the truth about social reality.

13

ACTOR AS THE SUBJECT OF CRITICISM AND PEDAGOGY (Herec ako objekt kritiky a pedagogiky)

70%

Kret A.

Slovenské divadlo (Slovak Theatre)

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2011

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tom 59

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nr 1

33-36

EN

According to the author, we shall notice that we can not talk anymore about the difference between the author created drama character and its original image in the reality. We don't know when in the field of aesthetics we should consider only the art and when also the source of art - the nature itself. However, we require students to named and be able to describe different schools of art, styles, and eras that are nothing less but a desperate attempt to find the truth in a drama character on the stage. The author attempts to view an actor as an object (as well as a tool) commonly used by theatre experts and critics, who increasingly view the actor as an interpreter of different schools of art, styles, and eras rather than as talented interpreter of his/her own inner feelings and emotional state. The result is the loss of focus on the uniqueness of individual interpretational skills of the actor - creator. This author argues that the character coming to life through actor's actions depends on the contemporary understanding of the theatre.

14

KIERKEGAARDOVO VYUŽÍVANIE ŽÁNRA V KONFRONTÁCII S NEMECKOU FILOZOFIOU

70%

Stewart J.

Filozofia (Philosophy)

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2009

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tom 64

|

nr 8

728-738

EN

Soren Kierkegaard is an author who, due to his creative use of genre, has been difficult to characterize straightforwardly. His unconventional form of writing has at times been understood as a part of his criticism of German speculative philosophy; however, little work has been done to actually understand the nature of his criticism and his precise objection to the form of presentation traditionally used by systematic philosophy. In this article it is argued that there is a close connection between the form and the content of speculative philosophy, and that due to his disagreements with the content of the latter (specifically concerning the question of faith) Kierkegaard was obliged to make use of a different literary form in order to criticize it.

15

Komplikace s hledáním těla. Nad poezií Petra Hrušky a jejím kritickým přijetím

70%

Chrobák J.

Slavica Wratislaviensia

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2011

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tom 153

805-811

EN

The aim of this study is to analyse Petr Hruška’s poetry and its reception in Czech literature. The author also concentrates on the fact that the young literary and critics generation have a big problem with perception of poetry such as Hruška’s, because their point of view is deformed. The 30 years old literary generation cannot find the body (key theme in Hruška’s poetry); these authors only try to speak about it. On the contrary, Hruška tries to find such situations in which the body talks with the man. And that is the moment when the man can point it out.

16

HAECKEROVA KRITIKA LIBERÁLNEJ TLAČE INŠPIROVANÁ KIERKEGAARDOM

70%

Šajda P.

Filozofia (Philosophy)

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2014

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tom 69

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nr 5

378 – 387

EN

Theodor Haecker (1879 – 1945) was an influential commentator, translator and promoter of Kierkegaard’s philosophy during the era of the German “Kierkegaard Renaissance.” In 1914 he published the translation of one part of Kierkegaard’s A Literary Review (1846) to which he attached a twenty-five-page-long Afterword. In the Afterword he engaged in a sharp polemic against the contemporary cultural and political liberalism promoted in certain German periodicals. He based his criticism on Kierkegaard’s findings concerning the levelling role of the modern press. Haecker’s translation and commentary create a philosophical continuum that attests to the lasting relevance of Kierkegaard’s thought. They influenced the thinking of a number of German-speaking philosophers, such as K. Jaspers, M. Heidegger, F. Ebner and T. W. Adorno.

17

HEREC AKO OBJECT KRITIKY A PEDAGOGIKY

70%

Kret A.

Slovenské divadlo (Slovak Theatre)

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2011

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tom 59

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nr 4

305 – 309

EN

After the end of World War II in Europe, a generation of young dramatists stepped forward in Slovakia who despite the very vague idea of theatre as the authorial art was sure to create the theatre that their older colleagues would not be able to dream about. Indeed, the absolute lack of the theatre training and education was obvious. But what they knew was that they need to play with passion and according to Stanislavski, with the soul in the hand. Together with the whole post-realistic world of theatre they enthusiastically accepted his deconstruction of orchestra to individual instruments. Our post-war theatres deployed Stanislavski system, which was the official system of theatre work in the Soviet Union and satellite socialist countries. As early as in the twenties of the last century, the Russian avant-garde was cut off within the Soviet Union and the same situation occurred after the „victory of the working people“ in 1948 in our country. Stanislavski system, as it was officially called in the Soviet Union as well as in our country, suddenly became the only possible method and form of theatre work. In Slovakia, only Budský and later his students Haspra, Pietor, Vajdička and Oľha knew how to confront this method.

18

STRUČNÝ ÚVOD DO KOGNITÍVNEJ LITERÁRNEJ VEDY A PROBLEMATIKY LITERÁRNOSTI

70%

Kuzmíková J.

Slovenská literatúra (Slovak Literature)

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2019

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tom 66

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nr 4

247 – 257

EN

The first part of the paper (Sections I. – III.) deals with the basic concepts, aims, conditions and sub-disciplines of cognitive literary science. The second part of the paper (Sections IV. –V.) discusses concepts of literature and literariness. It is literariness (Roman Jakobson) that is crucial for literature and constitutes literary studies as the scientific discipline. Theorizing quality of literariness requires empirical and experimental argumentation. That is why, contrary to the traditional reader-response theory, the cognitive reader-response theory focuses on the individual, active reader. Kuzmíková´s experimental metaphor study indicates that in solving/understanding literary metaphors there is a difference between rational and intuitive (experiential) personalities. As metaphor is the prominent tool of literariness, we can presuppose that more rational and more intuitive people differ also in general literary reception outcomes. The empirical examination of literary communication has an ambition to give more scientific and specific data for the literariness theory then non-empirical, speculative interpretations and models have provided.

19

PETER KONWITSCHNY A JEHO OPERNO-DIVADELNÁ KRITIKA KAPITALISTICKEJ MORÁLKY

70%

Mojžišová M.

Slovenské divadlo (Slovak Theatre)

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2020

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tom 68

|

nr 2

146 – 162

EN

In principle, the theatrical work of the German opera director Petr Konwitschny is determined by his left-wing political beliefs. The study focuses on some of the phenomena of Western (capitalist) society which are constantly subject to criticism in his productions. In addition to rejecting the patriarchal principles of the organisation of society, it is primarily the dependence of modern civilisation on materiality, the consumerist way of life, and the disruption of moral values which ensues from it.

20

INOVÁCIA, SEBAPOZNANIE ALEBO CUDZÍ EXPORT? VYBRANÉ ASPEKTY POĽSKÝCH DISKUSIÍ O POSTKOLONIALIZME

60%

Bystrzak M.

Slovenská literatúra (Slovak Literature)

|

2018

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tom 65

|

nr 4

249 – 263

EN

The discussions about the possibilities and limitations of applying the postcolonial optics in Polish humanities can be seen as completed. The focus of the ongoing debates is being shifted in a different direction – towards new humanities, their borders, political involvement, hybrid methodology, social usefulness and team cooperation within their framework. Post-colonialism has been successfully „domesticated“ in the Polish academic environment as one of the several possibilities of scientific research and, at the same time, assimilated into professional literature and journalism. In practice, it means numerous book releases, which due to the transnational postcolonial perspective – overlap with the wider space of Central and Eastern Europe, which naturally leads to a supranational dialogue and a controversy not only over the method but also the subject of the research. The present paper focuses on selected aspects of the Polish discussions on post-colonialism with the intention to briefly map reception of one of the current and dynamically developing methodological alternatives in the Polish academic environment. At the same time, it offers a selective overview of the papers written on the subject and examines the state of Polish postcolonial criticism today.