Wyniki wyszukiwania - Biblioteka Nauki

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Filozofia a dramat, na przykładzie twórczości Jean Paul Sartre’a

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Roś J.

Analiza i Egzystencja. Czasopismo Filozoficzne

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2013

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nr nr 21

117-130

EN

As a literary work, Jean Paul Sartre’s theatrical arts gathered together in a Polishpublication namedDramaspropagates and illustrates in detail the real philosophicalmasterpiece which isBeing and Nothingness. Inspired by the author’s philosophicaldoctrine, dramas were made to show the existential thought. In that way Sartre-philosopher inBeing and Nothingnessreveals his thought in a explicative way. On theother hand, Sartre-playwright by writing dramas creates unrestricted realities whichcan be in various ways projected into the readers’ imagination, and there his generaltheses find detailed application. Philosopher wanted to show the philosophical truththrough literature, and he was very consistent about it.Being and NothingnessandDramascould be treated as sources of knowledge about his philosophy, just like hisnovels or works about his literature. Sartre uses his philosophical program to realizehis ideas for prose. It appears that philosopher did not divide the notion between“philosophical literature” and “literary philosophy”.Sartre is the creator of the theater of situations because characters from hisdramas find themselves in concrete situations and they have to make specific decisions. The dramas of the philosopher have a moralistic tone because we see inthem Sartre’s concept which says that humans may reject the role which societygave him. Man can choose the authentic existence. Philosopher’s mission was toinfluence the readers of his works. He desired to convey to people the truth abouthuman freedom. In conclusion, Sartre’s dramas are a kind of theatrical phenomenon,because as a philosopher he interested the spectator as much as an playwright.

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„Mit śródziemnomorski” a „polityka śródziemnomorska” Alberta Camusa

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Roś J.

Refleksje. Pismo naukowe studentów i doktorantów WNPiD UAM

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2013

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nr 8

PL

In this article author presents how Albert Camus opposed the totalitarian harmony of Mediterranean and Nordic disharmony. A. Camus gives to the myth of Mediterranean much political and ideological overtones and shows how far away it is from the idealistic and revolutionary ideology of northern Europe. The writer argues that the struggle between South and North is permanent, even though Europe for centuries tried to forget the ideals of the South, destroying itself by doing so and moving towards of self-degradation. The purpose of this article is to demonstrate that A. Camus does not ignore modern Europe, because his intention is only making clear to the reader that the modern world can no longer dispense without the idea of the Mediterranean world.

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Wokół publikacji Wydawnictwa Karakter

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Roś J.

Refleksje. Pismo naukowe studentów i doktorantów WNPiD UAM

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2016

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nr 13

165-167

PL

The purpose of this draft is to invite readers to read several novels, which Wydawnictwo Karakter from Cracow in the past few years introduced on the Polish publishing market. Joanna Ros explains why Karakter, popularizing the work of African writers, does the fancies of Albert Camus a favour. The novels cited by Joanna Roś testify to the fact that their authors are well acquainted with the literature of the author of The Plague and propose a completely new and unexpected encounters with it in the pages of his own works.

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Źródła i amnezja wspólnoty

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Roś J.

Refleksje. Pismo naukowe studentów i doktorantów WNPiD UAM

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2014

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nr 10

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Śmierć: nadanie sensu czy odebranie znaczenia? Analiza filozoficzna dramatu Przy drzwiach zamkniętych Jeana-Paula Sartre’a

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Roś J.

Racjonalia. Z punktu widzenia humanistyki

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2012

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tom 2

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Fatum i absurd. Inspiracja tragedią grecką w twórczości Alberta Camusa

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Roś J.

Racjonalia. Z punktu widzenia humanistyki

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2013

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tom 3

EN

The purpose of this article is to show that the Greek drama for Albert Camus was an expression of the universal experience of the cruelty of fate. Dramatic stories of Oedipus and Prometheus were for him a kind of map of the world with space selected for the man and his denial of suffering. Camus knows that in the tragedy even a man who is a „plaything of the gods”, maintains strength and honor in his defeat, and that the hero embroiled in horror stories, preserves the dignity, which adds faith and courage. This is where Camus found the connotation between the concept of fate and absurd, because absurd can’t be defeated by force of human will, a munity directed against absurd does not save the Man from misfortune.

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Zwierzęca natura czy absurd istnienia? Rozważania nad zwierzęcością Meursaulta – bohatera „Obcego” Alberta Camusa

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Roś J.

Racjonalia. Z punktu widzenia humanistyki

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2014

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tom 4

PL

The purpose of this paper is to attempt to answer the question of how the interpretation of the main character in The Stranger by Albert Camus as „an animal in the human skin” can be applied to understanding the actions of the character in the world. The next question posed is whether Camus describes Meursault literally as an animal or refers to the character symbolically. The author argues that such an extreme treatment of „the animality” of the character is useless in the broader context of this book since Meursault has a human nature which proves the complexity of his mental processes.

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„A z pamięci rodzi się sumienie…” Prometeusz Alberta Camusa i Zbigniewa Herberta

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Roś J.

Collectanea Philologica

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2015

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tom 18

91-99

EN

The ancient Greek tradition talking about the relationship between man and the world so often, has been becoming for ages the basis for the efforts of explanation of man’s place in the universe. Such an effort is visible in the literary works of Zbigniew Herbert and Albert Camus. The purpose of that sketch is to demonstrate the Promethean myth reception in the works of both writers in a way that provokes thoughts about literary parallels that unites those two writers. In Prometheus, asking about the human conscience, memory and solidarity, as in Camus, as well as in Herbert, the author, Joanna Roś, sees some kind of a symbol that would connects „parallel lifes” of Zbigniew Herbert and Albert Camus.