Wyniki wyszukiwania - Biblioteka Nauki

1

Master—Slave

100%

Dobieszewski J.

Dialogue and Universalism

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2016

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nr 2

141-147

EN

The article concerns the problem of master and slave in Hegel’s Phenomenology of Spirit. Then I compare this problem with the issues discussed in the Hegel, Haiti and Universal History, an interesting book by Susan Buck-Morss, published in 2009.

2

Heidegger a Hegel

100%

Bednář M.

Filosofický časopis (Philosophical Journal)

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2015

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tom 63

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nr 1

47-56

EN

The author investigates the parallel conceptions of the overall philosophical goal of M. Heidegger and G. W. F. Hegel. He is of the opinion that the main parallel in the philosophical work of these two thinkers is evident when we compare Heidegger’s conception of the first and second beginning of the history of being with Hegel’s historical scheme of the two phases of the return of the absolute idea to itself. Hegel’s moment of one’s own fully-conscious self-understanding determining the mediation of oneself, and thus overcoming one’s own externality is revealed to be the foreshadowing counterpart of Heidegger’s conception of the overcoming of the first beginning. This overcoming, which Heidegger calls a second beginning, is the overcoming of a movement that substitutes being with the highest being. Heidegger takes the first beginning of the history of being as its necessary initial movement, and only thus can being become aware of itself as the mediating movement of the historical possibility of the second beginning. Hegel’s and Heidegger’s thought are thus revealed to follow analogical and parallel paths in expressing the ultimate conceptions of philosophical thought of the nineteenth and twentieth centuries.

3

Dialektyka utopii

100%

Wójcik B.

Estetyka i Krytyka

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2014

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nr 4(35)

49-72

XX

In the essay the speculative movement of the term “utopia” is presented on two examples: in works of the two most important dialecticians of modernity, Hegel and Adorno. Hegel’s reflection on utopia is determined by internal tension between his juvenile enthusiasm for the project of aesthetics utopia and mature criticism of all utopian transformations of the actual reality. Adorno, on the other hand, accused his “great predecessor” of betrayal of utopia in the name of its realization. Hence for Adorno utopia is only an negative consciousness of what is not existing, and just it – embodied in the work of art - makes a promise of salvation of the proper name. Confronting these two antagonistic positions I consider them in a wider framework of a fundamental issue: is salvation (of an individual? Of society?) possible in temporality (in the Hegelian absolute knowledge) or will it arrive only form Other side (as in Adorno’s utopia of ineffable nonidentity)?

4

Jedinec v běhu světa : Zamyšlení nad Hegelovým pojetím

100%

Parusniková Z.

Filosofický časopis (Philosophical Journal)

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2011

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tom 59

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nr 3

325-350

EN

The author considers the place of the individual in the course of history which unfolds on the ground of the self-realisation of the absolute. The focus is on Hegel’s Phenomenology of Spirit, particularly on the chapter „Rational self-consciousness which is self-realising“ in which Hegel explores the relation between substantiality and subjectivity in the phase of the emergence of modern society. In this phase of history man shows his self-consciousness and free individuality, but at the same time suffers the loss of his substantial grounding. Hegel’s philosophy presents a grand attempt at uniting these two perspectives according to which the full development of peculiarity and uniqueness is in harmony with and a condition of the fulfillment of an impersonal, dynamically-realising, absolute principle. The author argues that Hegel’s metaphysical framework does not provide sufficient space for the recognition of the authenticity of man, emphasised in modern discussion, since subjectivity itself is, to a certain extent, the manifestation of the absolute. But, if we adopt Hegel’s metaphysical standpoint, another interesting prospect opens up: the individual satisfies his essential need of a sense of belonging to a whole, and gradually understands that he is part of a grand process and that he shares in the common work of mankind.

5

Estetyka przyrody: nowe pojmowanie natury

100%

Frydryczak B.

Estetyka i Krytyka

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2009

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nr 15-16

41-55

EN

The impulse to aestheticize nature, firmly rooted in the modern drive to conquer it, laid the foundations for a panoramic theoretical perspective.Any new aesthetics, in turn, must take into account the change of circumstances in which nature currently develops, its changing socio-historical conception, as well as the process of cultural transmission, whereby an idealized image of nature is passed on from generation to generation. It is to be assumed that alongside the aestheticized understanding of nature as a landscape, there exists a ‘micrological’ view, which hails in a new type of aesthetic sensitivity. This new sensitivity takes the ideal of harmonious coexistence as the basis of a renewed relationship between man and nature, and the expanded aesthetics of nature is its proper custodian.

6

„Vymykající se modernizace“

100%

Nagl-Docekal H.

Filosofický časopis (Philosophical Journal)

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2009

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tom 57

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nr 1

69-86

EN

The modern age is characterised by a loss of social solidarity and the growing isolation of the individual, who strives only for personal gain. The result of this is the politically-unmanaged dynamic of the world economy and world society. The author raises the question of how philosophy can contribute to a new strengthening of normative consciousness. To this end she concentrates on Habermas’, or rather Hegel’s, programme of a re-iterated critical reading of religio-philosophical reflections, and of the translation of the contents of faith “from the religious idiom into one that is generally accessible”. She extensively elaborates, as she herself puts it, on the brief explicit appeals made to Hegel by Habermas, working especially with Hegel’s works Vorlesungen über die Philosophie der Religion (I, II) and Vorlesungen über die Philosophie der Weltgeschichte. Hegel’s interpretation of Christianity, in the author’s view, provides a tool for analysing the genesis of the current crisis of normativity – including the problematic of human dignity, international justice and a just treatment of the sexes – as well as providing possible solutions to these questions.

7

Dějiny a problém zla. Hegelova teodicea

100%

Landa I.

Filosofický časopis (Philosophical Journal)

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2012

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tom 60

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nr 5

643-665

EN

The aim of this paper is to develop Hegel’s thesis that the philosophy of history is a theodicy. My interpretation proceeds by several steps: Firstly, I examine Hegel’s formulation of the problem of evil and show that his solution has two interconnected dimensions: theoretical and practical. Accordingly, it operates with two presuppositions: (a) history is accessible to rational inquiry, and (b) this kind of inquiry can reconcile a man with the actual world, including existent evil. My next step is to further develop the first presupposition in the context of the thesis about reason in history, and I analyse Hegel’s peculiar understanding of “reason”. I then distinguish two ways of explaining present and past events: mechanical and teleological, and I clarify why teleological explanations are unavoidable. Within the teleological I differentiate two models: intentional and functional. This distinction is motivated by two circumstances: (1) historical agents act intentionally, and in doing so (2) they also unintentionally actualize their own nature, i.e. freedom. Subsequently, I approach the thesis about the philosophy of history as a theodicy. I contrast Hegel´s own position to moralism and fatalism. The last section gives some reasons against an instrumentalist interpretation of Hegel’s philosophy of history.

CS

Záměrem této studie je interpretovat Hegelovu tezi, že filosofie dějin je teodiceou. Interpretace postupuje v několika krocích: (1) Na příkladu Hegelovy formulace problému zla ukazuji, že jsou v ní přítomny dvě roviny: teoretická a praktická. Hegel se na jedné straně domnívá, že dějiny jsou přístupné rozumovému poznání, a na druhé straně je přesvědčen, že toto poznání může v důsledku vést ke smíření myšlení a skutečnosti, resp. člověka a světa (včetně existujícího zla). (2) Uvedené domněnky objasňuji v kontextu teze týkající se přítomnosti rozumu v dějinách, přičemž seznamuji s Hegelovou koncepcí rozumu. (3) Následně rozlišuji dva výkladové modely minulých a přítomných událostí: mechanistický a teleologický. Toto rozlišení je mj. motivováno dvěma skutečnostmi: za prvé tím, že dějinní aktéři jednají intencionálně, a za druhé tím, že v tomto svém jednání nevědomě uskutečňují svou povahu, kterou je svoboda. (4) Tezi, že filosofie dějin je teodiceou, se v dalším pokouším odstínit od moralismu a fatalismu. (5) Na závěr uvádím důvody v neprospěch instrumentalistické interpretace Hegelovy filosofie dějin.

8

czy Heglowska diagnoza sztuki jest aktualna?

100%

Chmielowski F.

Estetyka i Krytyka

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2011

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nr 1(20)

29-46

EN

The text presents the Hegelian idea of the end of art as well as her meaning for theoretical comprehension and the practical understanding of artistic facts. Author subjects hermeneutical analysis system and empirical premises Hegelian thesis, confronting it with current state of art as well as artistic consciousness and her interpretation in the philosophical aesthetics.

9

Proč Láokoón nekřičí? K diskontinuitám v poznání

89%

Kolman V.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2017

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tom 56

9-21

EN

The paper deals with the central problem of Lessing’s Laocoön „Why does not marble Laocoön in his famous depiction scream?“ against division of our experience into scientific knowledge and art. First, Lessing’s original solution based on the constitutive differences between poetry and plastic arts is generalized leading to the difference between causal and intentional explanation. Second, the resulting discontinuity between science and art is presented as an instance of a more basic discontinuity between knowledge and its object to be overcome by a reflective account of knowledge as derived from the philosophy of Hegel.

10

Tożsamość narodowa wobec idei absolutnej w systemie Hegla

88%

Jochlik A.

|

2014

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nr 2(37)

99–123

PL

Artykuł koncentruje się wokół zagadnienia Heglowskiej tożsamości narodowej, które jest zawarte głównie w Zasadach filozofii prawa oraz w Wykładach z historii filozofii. Ukazane jest ono poprzez postęp świadomości człowieka dotyczącej jego wolności, jednakże w bardziej ograniczonym zakresie, niż ma to miejsce w Fenomenologii ducha. Celem tego artykułu jest ukazanie prawdziwego znaczenia tego zagadnienia, które jest skoncentrowane w pojęciu absolutnej idei, w Nauce logiki.

11

Heglowsko-platońskie inspiracje pierwszych polskich estetyków akademickich. Część pierwsza: Józef Kremer

88%

Tarnowski J.

Estetyka i Krytyka

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2015

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nr 1(36)

113-135

EN

In his monumental work Letters from Cracow, published since 1843, Józef Kremer, the first Polish academic aesthetician, propagated Hegelian aesthetics reinterpreted in Platonic and theistic terms. The work was the first consistent lecture on aesthetics in Polish. Like Hegel, Kremer supported academic art. He significantly influenced Lucjan Siemieński, the most eminent art critic of the age, who published his reviews in Cracow’s Czas magazine, as well as Henryk Struve, a philosopher and aesthetician of the younger generation, who in the 1870’s became the main authority on art and the evaluation of works of art, modern ones in particular.

12

Żałoba i rewolucja. Refleksje heglowskie

88%

Wójcik B.

Śląskie Studia Polonistyczne

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2015

|

nr 2(7)

131-154

EN

The article takes up a problem of a complex relationship between Hegel and the French Revolution, of which the philosopher was both a great enthusiast and a brilliant critic. The point of departure for the analysis is a critical reading of the traditional interpretations of Hegel’s relation to the Revolution (J. Ritter and J. Habermas), which enables the author to develop a “speculative interpretation of the Revolution” on the basis of Phenomenology of Spirit. The key to the understanding of the dynamics of the Enlightenment, which found its culmination in the Revolution, is the inner dialectic of knowledge and faith which constitutes this epoch. The ideas of the Enlightenment become undermined by the opposition between the German (reformation) process of working through the relation between faith and knowledge and the French (revolutionary) repression of its mutual relationship. This paradox recognized by Hegel (in R. Comay’s interpretation) leads the philosopher to formulate a dialectic position: revolution with reformation would be the work of mourning (the process of working through) on this lost object (the world of faith), whereas revolution without reformation would remain only futile melancholy of terror, compensating for the lack of reformation. The paradoxical lesson for the present times (inspired by S. Žižek’s reading) which arises from Hegel’s interpretation is the following: cultural revolution (revolution in thinking itself, in utopian dreams) is the condition of possibility of the success of social revolution.

13

Sztuka bycia poza sobą

88%

Załuski T.

Estetyka i Krytyka

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2013

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nr 3(30)

157-171

XX

„The end of art” means that art is marked by finitude, thrown into finitude and given over to its presentation. Finitude implies a lack of totality, the impossiblity of closing one's being in oneself, and, therefore, the necessity of being in relation, of being outside of oneself. Art that presents finitude is an art of being outside of itself. This means that every time there is art, it exists as something other than itself. This structure of „being-as” seems to be one of the main effects and meanings of “the end of art”. These theses are developed by way of an analysis of Hegel, the Jena Romantics, Danto and Kosuth's text Art after Philosophy.

14

Associations of the Hegelian Philosophy of Art with the Tradition of the Metaphysics of Light

88%

Tendera P.

Estetyka i Krytyka

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2015

|

nr 4(39)

85-104

EN

In this article I would like to present three main areas of my interest in the aesthetics of Georg F. W. Hegel which are associated, directly or indirectly, with the philosophical tradition of the metaphysics of light. First, I will introduce my interpretation of the con-cept, used by Hegel, of luminosity in art (here I present my own understanding of this phenomenon, as I refer it to all of the three types of art we can speak of within the framework of Lectures on Aesthetics;1 meanwhile, the traditional approach has been to apply this concept exclusively to romantic art, which, while correct, is only justified by the examination of art as a whole). Thus I propose here to examine the phenomenon of the luminosity of truth in symbolic, classical and romantic art. Next, I will present an understanding of the aesthetic experience of romantic works of art, an understanding which emerges from the concept of a work as a physical object of luminous truth2 and isfixed in the Platonic claritas theory of light, closely associated with the metaphysics of light. I will illustrate my reflections with several examples of romantic painting. Then, I will move on to the search for the meaning of the development of art. I see this mean-ing in the realisation of the principle of the luminosity of truth in art, and, in turn, this realisation in a specific element of representation in painting, namely that of the human eye, which Hegel defined as ‘the light of the eye’. This theme takes us back to the tradi-tion of Platonic philosophy, in both its ancient and its mediaeval Christian forms, and acknowledges a close relationship with the aesthetics of Hegel and the European tradi-tion of the metaphysics of light. It is worth establishing, before proceeding to Hegel’s aesthetics per se, the sense in which we understand the metaphysics of light here. Above all, the metaphysics of light is a narrower concept than the philosophy of light, because in actuality it is exclusively a metaphysical ontology. Light (usually claritas, sometimes lux) is understood here as divine light or light derived from first principles, e.g. from Plotinus’s concept of the One, and partakes of an intellectual rather than a sensual character; thus it actually has little in common, for example, with physical light. Consequently, observations on light in extra-ontological terms, such as goodness, (axiological) grace, knowledge, or (epistemologi-cal) enlightenment, are here secondary for us, since they concern not light itself, but the consequences of its existence (e.g. grace is a consequence of the existence of claritas). The primary issue is, however, to assume that claritas substantially derives from God, the Absolute, the Hegelian absolute spirit; its existence depends, therefore, on co-participation (methexis), and not on its conformity with or resemblance (mimesis) to the first cause, e.g. within the meaning of St. Thomas Aquinas.

15

Marksowska koncepcja znaku

75%

Natalia J.

Nowa Krytyka

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2012

|

nr 28

67-80

EN

The main thesis of the paper is that the conception of Marx’s fetishism and the ontology of money reveal the level of imagination as ideology. Imagination interpreted in the language of Georg Wilhelm Friedrich Hegel is a source of signs-pictures which create the social sphere of aesthetics and semiotics. Aesthetization of social sphere is connected with spatial thinking which is based on the reference to nature and connected – in the philosophy of Hegel – with art and religion. Religion should be transgressed by the philosophy and Marx shows this dialectical moment in the social condition of work and workers in capitalism. Aesthetic and discourse can be important for economic analysis foreshowing the distribution of signs, but also as a negative element of social being.

16

STATE VS. GOD: ON AN ATHEISTIC IMPLICATION OF EUROPEAN STATISM

75%

Tarasiewicz P.

Studia Gilsoniana

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2015

|

tom 4

|

nr 3

333-342

EN

The article consists of four parts. First, it gives an example of statism present in contemporary Europe which consists in giving a priority of loyalty to the state at the expense of loyalty to God. Secondly, it traces the idea of European statism in the thought of Hobbes and Hegel to show how the state was to replace or equal God’s authority. Thirdly, it considers whether democracy can efficiently protect against statism. Finally, it explores the words of Jesus Christ—“Render unto Caesar the things that are Caesar’s, and unto God the things that are God’s”—to formulate an argument against trading Christian faith for the philosophy of statism.

17

Heglowsko-platońskie inspiracje pierwszych polskich estetyków akademickich. Część druga: Henryk Struve

75%

Tarnowski J.

Estetyka i Krytyka

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2016

|

nr 3(42)

167-192

EN

In his monumental work Letters from Cracow, published since 1843, Józef Kremer, the first Polish academic aesthetician, propagated Hegelian aesthetics reinterpreted in Platonic and theistic terms. The work was the first consistent lecture on aesthetics in Polish. Like Hegel, Kremer supported academic art. He significantly influenced Lucjan Siemieński, the most eminent art critic of the age, who published his reviews in Cracow’s Czas magazine, as well as Henryk Struve, a philosopher and aesthetician of the younger generation, who in the 1870s became the main authority on art and the evaluation of works of art, modern ones in particular. Unlike Kremer, who categorically expressed his opinions and who did not have to face opposing views, Struve fought disputes against Véron’s views, which were critical of academic-idealistic aesthetics. He also fought a losing battle with Stanislaw Witkiewicz. The dispute resulted in the disappearance of academic-idealistic aesthetics, which was also a factor in academic painting vanishing from Polish culture.

18

Historia jako miejsce działania Boga. Interpretacja dziejów w filozofii G.W. F. Hegla i teologii W. Pannenberga

71%

Hintz M.

Studia Gdańskie

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2014

|

nr 35

41-54

PL

Artykuł omawia mniej znane w ewangelickiej teologii podejście do historii. Zgodnie z zasadą sola scriptura Biblia w protestantyzmie rozumiana jest jako samopoświadczenie Boga działającego w historii, które jest zarazem prawdziwym Słowem Pana historii adresowanym do konkretnego człowieka. Teologia ewangelicka aż do czasu XIX nieufnie odnosiła się do śladów obecności Boga w historii, akcentując jedynie, że reformacja była wielkim dziełem odnowy Kościoła inspirowanym przez Ducha Świętego. Pierwszą wielką próbą syntezy historiozoficznej w ramach protestantyzmu jest fenomenologia ducha Georga W. F. Hegla (1770-1831). Hegel dokonał w swych monumentalnych dziełach analizy biegu dziejów świata, wskazując na przełomowe momenty, które w dialektyczny sposób prowadzą do powstania nowych form państwowości. Wiele miejsca Hegel poświęcił roli religii, wskazując również na jej rozwój aż do osiągnięcia formy religii absolutnej w chrześcijaństwie. Druga z omawianych w artykule koncepcji samopoświadczania się Boga w historii to teoria autorstwa monachijskiego teologa Wolfharta Pannenberga (1928-2014). Począwszy od habilitacji, Pannenberg rozwijał tezę o objawieniu Boga w dziejach ludzkości. Teolog w wielu swoich publikacjach argumentował, że nie ma dyskontynuacji i wrogości pomiędzy wiarą religijną a badaniami historycznymi oraz szerzej, teologią a humanistyką jako taką. Teolog wykazywał, że ludzka historia jest miejscem działania Boga i odkrycie tej zależności ma fundamentalne znaczenie dla wiary chrześcijańskiej.

XX

According to the protestant principle sola scriptura, the Bible is understood as God’s self-authentication. Within the context of the protestant theology, the Bible is also the real Word of God addressed to each particular person and his history. The traditional protestant theology was far from enthusiasm to seeing in the history the traces of God’s activity. The article presents the idea of presence of God in the history according to the philosophy of Georg W. F. Hegel (17701831) and theology of a modern protestant ecumenist Wolfhart Pannenberg (died in 2014). Hegel formulated the monumentous idealistic system of the modern philosophy, where the rules of history are shown in their dialectic development. Religion plays an important role in the Hegelian historiosophical system. The latter model described in the article is the understanding of history by Pannenberg. His main theological thesis is that God’s revelation is present in the history of humankind. This Munich theologian tries to prove that religious faith is compatible with modern human sciences. Pannenberg shows in his paper that history as a place of God’s activity is to be discovered by Christian faith.

19

Hercen i Bakunin. Analiza kontekstualna

63%

Uglik J.

Nowa Krytyka

|

2013

|

nr 30/31

195-208

EN

The presented article is a comparative study of the output of the two nineteenth century Russian thinkers, Alexander Herzen and Mikhail Bakunin. The author indicates the similarities and differences between theoretical concepts elaborated by both of them, trying to prove – sometimes at odds with other scholars – that the views of Herzen and Bakunin reveal more convergence than divergence.

20

Dziewczyna, która przychodzi po Muzach. Dwie uwagi o sztuce w dniu dzisiejszym

63%

Kwietniewska M.

Estetyka i Krytyka

|

2013

|

nr 2(29)

139-152

EN

This article presents two opposing opinions on the condition of modern art. These have been authored by a philosopher, Jean-Luc Nancy, and a scholar in Indo-European culture, Bernard Sergent. The former states that modern art has very favorable conditions for development and presentation. In his opinion, most recent works of art constitute a continuation of Hegel’s figure of a young girl, discussed in the article on the example of Alina Szapocznikow’s sculpture Trudny wiek. The latter, however, judges the condition of art very severely, especially considering the situation of French museums and art galleries in recent years. This issue, however, has a much broader reach and can easily be applied to the situation in Poland. The author of the article does not settle this dispute, but leaves the final judgment to the reader.