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1

Widma Derridy – nie-umarli w „Cmętarzu zwieżąt” Stephena Kinga

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Szalewska K.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

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2017

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nr 8 "Jak czytać (pop)literaturę?"

137-148

EN

The article is an interpretation of the novel Pet Sematary in the context of Jacques Derrida’s hauntology. The theme of undeadness is developed by using concepts from Derridian philosophies (such as specter, haunting, iteration or mortgage). In this way, the essay shows how popular literature reproduces bearing ideas for the present and develops philosophical themes fictionalizing them.

2

Odpustenie ako recipročný vzťah

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Smreková D.

Filosofický časopis (Philosophical Journal)

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2018

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tom 66

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nr 2

221-233

EN

This paper is a defence of the conception of forgiveness as a reciprocal action. This claim, though often taken for granted, deserves close examination. For J. Derrida, for instance, true forgiveness follows hyperbolic ethics, i.e. the ethics of “abundance” or “over-abundance” in which forgiveness is conferred unconditionally, regardless of the offender’s acknowledgement of his/her guilt. Contrary to this standpoint, and drawing on V. Jankélévitch and P. Ricœur, as well as on current debates on forgiveness, the paper tries to show that although guilt is transcended infinitely by forgiveness and its generosity, the forgiveness itself still must have a sense. And the latter is dependent on a personal face-to-face relationship between the one conferring forgiveness and the offender.

DE

Gegenstand des Aufsatzes ist die Verteidigung der These, dass die Vergebung ein auf Reziprozität beruhender Akt ist. Diese Behauptung ist nicht so selbstverständlich, wie es scheinen könnte. In den Intentionen der Überlegungen z. B. von J. Derrida wird die wahre Vergebung von der hyperbolischen Ethik geleitet, d.h. von der Ethik „des Überflusses“, des Übermaßes, die unbedingt verzeiht und zwar ungeachtet dessen, ob der Schuldige seine Schuld bekannte oder nicht bekannte. Im Gegensatz zu dieser Ansicht und ausgehend von Ansätzen von V. Jankélévitch, P. Ricœur, aber auch von aktuellen Diskussionen über die Vergebung soll mit dem vorliegenden Beitrag aufgezeigt werden, dass die Vergebung mit ihrer Großzügigkeit zwar die Schuld unendlich überschreitet, dabei aber Sinn haben muss. Und dieser Sinn ist bedingt durch die persönliche Beziehung „von Angesicht zu Angesicht“ zwischen dem Vergebenden und dem Schuldigen.

3

Popularization and Autobiography: Towards an Accessible Theology

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Štofaník Š.

Acta Universitatis Carolinae Theologica

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2014

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tom 4

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nr 1

67-83

EN

As research in natural sciences and humanities becomes ever more specialized and technical, and the sword of Damocles – publish or perish – hangs over the head of every scholar, academic publishing proliferates but at the cost of its public relevance. Theology is no exception here, but the consequences are potentially much more disastrous. One need not understand anything about quantum mechanics for PET scan to work, but when nobody outside of academia understands contemporary theology, it is hard to imagine how “faith seeking understanding” makes any sense in the absence of such understanding amongst the believers. In order for a work of theology to make sense, it should be accessible for a wider public and it has to be existentially relevant. The present essay offers a few suggestions how theologians might go about meeting these criteria.

4

The Weeping Woman in the Graphic Memoir: A Derridean Inquiry into the Traces/Trait(s)

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de la Cruz N. L.

Estetyka i Krytyka

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2016

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nr 2(41)

33-50

EN

In this paper, I examine how women graphic memoirists – Marjane Satrapi, Alison Bechdel, and Roz Chast in particular – attempt to draw that which remains fleeting, absent, and abyssal: the so-called “self.” I thus extend Jacques Derrida’s critique of what he has called the “metaphysics of presence” in philosophy to autobiographical comics, a popular medium that is heavily prefigured by his analysis of the self-portrait as a ruin. I believe this endeavor will help fill the gap in studies about the gendered aspects of Derrida’s work Memoirs of the Blind, as well as the potential of autobiographical comics to illuminate philosophical issues concerning the self. Finally, through my analysis of women’s graphic narratives, I hope to point to the possibility of a larger project, that of a feminist Derridean critique of sequential art.

5

Powtórzenie w sztuce polskiej od lat 90. XX wieku a problem końca sztuki

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Śniegocka B.

Estetyka i Krytyka

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2013

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nr 3(30)

129-144

XX

Article presents ways of using the philosophy of difference and repetition as a method of interpretation the contemporary Polish art. It is shown how the philosophy is functioning and forming itself. Theoretic considerations apply concepts of Gilles Deleuze and Jacques Derrida and the use of this line of researches in the discourses of art taken by Rosalind Kraus, Umberto Eco and Arthur C. Danto. Synthetic analysis of repetition which is understood as a morphological, ostentatious, transformation and transfiguration can be found both in the pop-art and contemporary Polish art, called popbanalizm, which for the purposes of the article is represented by Wilhelm Sasnal, Marcin Maciejowski, Jakub Julian Ziółkowski, Agata Bogacka, Jawdiga Sawicka.

6

Cielesność i dekonstrukcja chrześcijaństwa: Jean-Luc Nancy a Jacques Derrida

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Baszczak B.

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2014

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nr 1(36)

21–50

EN

This article aims to be a confrontation with Nancy’s “deconstruction of Christianity”. For Nancy to deconstruct Christianity means to point to the places where Christianity itself overflows its status as religion and as metaphysics. Nancy shows how the three Christian mysteries (Trinity, Incarnation, Resurrection) are not merely explainable metaphysically and how they thus open the thought of the new relation between body-mind. These theses have been criticized by Jacques Derrida reading of Nancy’s work in Le Toucher. Jean-Luc Nancy. Derrida turns his attention to a certain strand of the tradition which he calls “haptological” (from the Greek haptein, to touch). This tradition is implicated in the metaphysical gesture insofar as it thinks touch in terms of identity, homogeneity, immediacy and self-presence, even when it emphasizes a certain interruption or distance. According to Derrida, this is Nancy’s complicity with some form of metaphysical thinking. The conclusion of this article aims to expose the multidimensional discussion between philosophers.

7

Vortage passieren lassen: Skizzen zu Transfers zwischen Ort und Zeitbezug in Uwe Johnsons Jahrestagen in Hinsicht auf Prag

51%

Plath N.

Slovo a smysl - Word & Sense

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2015

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tom 12

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nr 24

171-195

EN

The paper concentrates on selected passages from Uwe Johnsonʼs opus magnum, Jahrestage (Anniversaries), in which the Prague Spring and the events of 1968 play a key role, and develops some ideas on how narrations of history and critique of language can jointly (as a translation of sorts) be understood as a critical approach to what is taken to be the present and the reality of the past. It is argued that Hannah Arendtʼs notion of the unpredictability of the future and of the event variously influenced the modalities of narration as employed by Johnson. The central issue of Jacques Derridaʼs Prague lecture on how a city determines ‘our’ modes of (self-)preception and how a location can be grasped and ‘dated’ in writing is put to use in order to develop a singular perspective on some neglected aspects in Johnsonʼs work. Johnson’s novel and its commentaries nils plath 179 form a diverse reflection on time, reality, and the media which can affirm its contemporaneity when understood as exemplary in contesting, by the voice of literature, the functionalization of history and its narrative.

CS

Článek probírá vybrané pasáže z hlavního díla Uweho Johnsona Jahrestage, v němž významnou roli hrají události „pražského jara“ v roce 1968, a zamýšlí se nad možností chápat historická vyprávění a kritiku jazyka společně (v překladu sui generis) jako kritický vztah k takzvané současnosti a k realitě minulosti. Článek ukazuje, jak jsou způsoby vyprávění, jichž Johnson využívá, ovlivněny pojetím nepředvídatelné budoucnosti a události u H. Arendtové. Klíčové téma pražské přednášky Jacquesa Derridy — jak město determinuje „naše“ vnímání a sebevědomí a jak lze při psaní uchopit a „časovat“ lokalitu — tu je využito k získání přístupu k některým opomíjeným aspektům Johnsonova díla. Johnsonů román a komentáře k němu podávají vnitřně rozmanitou reflexi o čase, skutečnosti a médiích, reflexi, která osvědčí svou současnou platnost, pokud ji vnímáme jako exemplární, hlasem literatury přednesené zpochybnění funkčního přístupu k dějinám a vyprávění o nich.