Wyniki wyszukiwania - Biblioteka Nauki

1

Ślady fenomenologii Edmunda Husserla w twórczości Simone Weil

100%

Fiutak K.

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tom 53

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nr 1

55-76

EN

The aim of the article is to show and analyze a fairly distinct convergence that occurs between the philosophical thought of Simone Weil and the phenomenological method of Edmund Husserl. Weil, inspired by the phenomenological thought, wrote several important texts. The article is to bring closer their content and indicate the originality of the interpretation of the phenomenological thought contained therein.Weil believes that the correct attitude of the cognizing subject consists of three elements: waiting, desire and attention.This attitude is very similar to that which we find in Husserl’s process of phenomenological reduction, the so-called epoché. Weil in her philosophy also uses the phrase la pensée détachée [detached thinking]. This phrase means a thought detached from reality. The form he should take in order to reach the essence of things. According to Weil, we meet with an almost identical attitude in phenomenology, where the subject suspends his judgment about reality, to “watch,” “hear” the essence of a given phenomenon.

PL

Celem artykułu jest ukazanie i analiza pewnej dość wyraźnej zbieżności, jaka zachodzi pomiędzy myślą filozoficzną Simone Weil a metodą fenomenologiczną Edmunda Husserla. Weil zainspirowana myślą fenomenologiczną napisała kilka istotnych – choć mało znanych i częściowo niedostępnych w języku polskim – tekstów poświęconych tej tematyce. Artykuł ma przybliżyć ich treść i wskazać na oryginalność zawartej tam interpretacji myśli fenomenologicznej.Weil uważa, że właściwa postawa podmiotu poznającego składa się z trzech elementów: oczekiwania, pragnienia i uwagi. Postawa ta jest bardzo podobna do tej, którą przyjmuje Husserl w procesie redukcji fenomenologicznej, tzw. epoché. Myślicielka w swej filozofii również posługuje się zwrotem la pensée détachée [oderwane myślenie]. Zwrot ten oznacza myśl oderwaną od rzeczywistości. Formę, jaką powinna ona przyjąć, chcąc dotrzeć do istoty rzeczy. Według Weil, z niemalże identyczną postawą spotykamy się w fenomenologii, gdzie podmiot zawiesza swój sąd o rzeczywistości, aby „oglądać”, „usłyszeć” istotę danego fenomenu.

2

Simone Weil: Thinking the Balance between Love and Justice

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Romano M. d. S.

Studia Gdańskie

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2024

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tom 55

84-92

PL

Celem artykułu jest ukazanie wybranych idei francuskiej filozofki Simone Weil na temat sprawiedliwości, szczególnie w odniesieniu do miłości. Autorka wyróżnia dwa rodzaje sprawiedliwości: naturalną i nadprzyrodzoną. Dzięki sprawiedliwości naturalnej, dwie choć różniące się wole, zachowując równowagę sił, spotykają się i dochodzą do porozumienia, lecz jeśli siła między dwiema stronami jest nierówna, wola silnego musi zostać narzucona słabemu. Poprzez nadprzyrodzoną sprawiedliwość, nawet przy nierównym stosunku sił, ten, kto jest zamieszkany przez cnotę –utożsamianą z miłością i będącą boskim darem– nie narzuca swojej woli słabszemu, ale postępuje tak, jak gdyby była między nimi równość.

EN

This article aims to explore some of the reflections of the French philosopher Simone Weil on justice, particularly in its relation to love. The author distinguishes two kinds of justice: natural and supernatural. On the one hand, through natural justice, two wills that maintain a balance of strength are made to coincide and come to an understanding. But when the strength between two parties is unequal, the will of the strong must be imposed upon the weak. It is, on the other hand, through supernatural justice that, in an unequal relationship of strength, the one who is inhabited by this virtue –which is identified with love and is a divine gift– does not impose his will upon the weak but behaves as if there were equality between them.

3

Václav Havel, Simone Weil and our desire for totalitarianism

99%

Fredriksson A.

Filosofický časopis (Philosophical Journal)

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2022

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tom 70

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nr Special_issue_1

83-104

EN

Given our troubled history in the 20th century, how is it that nationalism and populism have come to raise their heads again in Europe over the past 20 years? What have we lost? What is it about our liberal, democratic political structures that creates the current atmosphere of mistrust, xenophobia and shortsightedness? How has this development come about, and what is driving it? How should we understand this desire for authoritarianism? In this paper, I will address these questions through a reading of two essays that can be considered to have been written as warning signs regarding a very common tendency within social psychology that entails a development of communities towards authoritarian structures. Simone Weil’s essay “Human Personality”, written in 1943 during her wartime exile in London, and Václav Havel’s “The Power of the Powerless”, written in 1978 during his house arrest in Czechoslovakia, both address the potential relapse of Europe into authoritarianism. Neither of these essays should be read as developed theories within political philosophy. They are notes from a dire predicament of crisis, on both a personal and a macro-political level, that investigate the relationship between the subject and society in order to understand the dynamics of totalitarianism. Their strength lies exactly in that they address a present unfolding situation that the authors perceive to have potentially unbearable consequences. This tone of urgency, their way of addressing us from a positionality void of any real power or privilege, and their bold demands for envisioning change beyond given political ideologies, make these essays into unique backdrops for thinking about our current political questions. Both Weil and Havel advocate an open society that permits the subject to cultivate a form of life beyond collective ideology. Both essays address the sensibilities of the subject that do not appeal to identity, common ideology or collectivity in order to thrive. The aim of this paper is to outline this redefinition of the relation between the individual and society in Weil and Havel, as a remedy for our desire for authoritarianism.

4

L’expérience (post-)séculière de Colette Peignot (Laure) : la religion, le communisme et le sacré

85%

Tarasewicz P.

Romanica Wratislaviensia

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2019

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tom 66

55-68

EN

Colette Peignot, Laure, is one of those who witnessed the interwar period of profound changes, hopes and deceptions in the most intense manner. Both in her life and work — from the loss of faith and the communist commitment to some sort of mystical experience — she is questioning again and again the relations between religion, politics and the sacred by undergoing a truly post-secular experience. The main purpose of the article is to highlight her experience in its evolution and expression as well as compare it to ideas developed at the same time by Georges Bataille and Simone Weil.

5

Kulturotwórcza rola uwagi w filozofii Simone Weil

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Fiutak K.

Kwartalnik Filozoficzny

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2019

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tom 47

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nr 3-4

151-175

EN

The purpose of the article is to present the "philosophy of attention" which we find in the works of Simone Weil. In her intellectual analyses – closely related to personal experiences – she emphasized the essence and the forgotten influence of attention. According to her, the attitude of full attention is a fundamental component of the creative development of culture. Through this prism of "philosophy of attention" the article analyzes the most important elements of the world of culture: science, work, love and religion. Weil believed that growth and development within these spheres were closely related to the development of attention skills, which have a Christian foundation. Weil understands attention as ultimately focused on the eternal Truth. Her "philosophy of attention" thus contradicts the modern understanding, which directs attention to the "I". The lack of an attentive and open attitude to reality negatively affects human beings, both in their spiritual and psychological condition, and in the shape of culture they create.

6

Simone Weil i Kaija Saariaho. Paradoksy literacko-muzyczne

80%

Kucia-Kuśmierska K.

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nr 10

67-97

EN

The article attempts to compare how the poetics of paradox is realised in the philosophical and theological writings of Simone Weil and in the musical language of the Finnish composer Kaija Saariaho in her oratorio La Passion de Simone, dedicated to Weil’s biography and work. The etymology of paradox is a guide for the comparative analysis, from its meaning in opposition to doxa understood as a set of generally accepted beliefs to the reading of paradox as being ‛close to’ (para) ‛glory’ (doxa). Both semantic ranges permeate the fabric of Weil’s texts, both at the level of a language full of contradictions and at the level of the considered idea of kenosis, which is the greatest theological paradox, based on the clash between Christ’s divine nature and depriving him of glory at the time of his Crucifixion. Saariaho’s musical language exploits Weilian contradictions, juxtaposing contrasting masses of sound. It also transforms musical time into an impression of musical space and, paradoxically, imitates silence with sounds.

PL

Artykuł jest próbą porównania, w jaki sposób poetyka paradoksu realizuje się w pisarstwie filozoficzno-teologicznym Simone Weil oraz w języku muzycznym fińskiej kompozytorki Kaiji Saariaho w jej oratorium La Passion de Simone, poświęconym życiu i twórczości Weil. Przewodnikiem na drodze analizy komparatystycznej jest etymologia paradoksu, począwszy od jego znaczeń związanych z przeciwstawianiem się doksie, rozumianej jako zbiór przyjętych przez ogół mniemań, po odczytanie paradoksu jako ‛bycia obok’ (para) ‛chwały’ (doxa). Oba zakresy semantyczne przenikają tkankę tekstów Weil, zarówno na poziomie języka pełnego sprzeczności, jak i na poziomie rozważanej idei kenozy – największego paradoksu teologicznego, zasadzającego się na zderzeniu boskiej natury Chrystusa z pozbawieniem Go chwały w momencie Ukrzyżowania. Język muzyczny Saariaho wyzyskuje weilowskie sprzeczności, zestawiając ze sobą kontrastowe masy brzmień. Zamienia także muzyczny czas na wrażenie muzycznej przestrzeni oraz w sposób paradoksalny naśladuje dźwiękami ciszę.

7

How to conceptualize ‘crimes beyond words’? Simone Weil’s perspective

71%

Załuski W.

Studia Iuridica

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2023

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tom 96

405-418

EN

It seems undeniable that there are certain kinds of wrongdoing which can hardly be described in terms of rights’ violations. Their wrongful character is so extreme that a different kind of moral language is indispensable to adequately capture their moral gravity. In this paper it is argued that such a language is provided by Simone Weil’s moral theory. The first part of the paper is an attempt at reconstructing this theory, highlighting Weil’s critique of the language of rights and analysing the ‘moral extremes’ that this theory embraces, viz. absolute goodness and absolute evil (which Weil calls ‘injustice’). In this part an attempt is also made at clarifying the normative relations between both ‘extremes’, which Weil did not discuss at greater length. The second part is a case study of a type of injustice, namely crimes committed against the indigenous peoples. In the last part a comparison is made between Weil’s and Hannah Arendt’s views on the legitimacy of using ‘absolutist’ moral language in the public discourse.

8

Moralność jako uwaga. Słownik etyczny Iris Murdoch

71%

Głąb A.

Logos i Ethos

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2013

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nr 2(35)

81–108

EN

The article approaches Iris Murdoch’s moral philosophy from the perspective of ethical cognitivism, according to which attention, rather than will, is the crucial moral category. At first the author presents a general outline of Murdoch’s ethics, focusing (1) on her interpretation of the relation between metaphysics and ethics and her concept of goodness and (2) her understanding of consciousness and imagination. This is followed (3) by Murdoch’s ethical dictionary in which the concepts of moral perception and (4) of attention (which Murdoch reconstructed from Simone Weil’s texts) play a most important role. Next, (5) the conception of morality as attention is set in the context of Murdoch’s neotheology and (6) her aesthetic views about art, which she conceives as a case of morals. Finally (7) the author presents three views on morality that can be derived from Murdoch’s novel The Bell.

9

At the space of transcendence: Simone Weil and her art of mystical paradoxes

50%

Kuchta A.

Magazyn antropologiczno-społeczno-kulturowy MASKA

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2013

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nr 17

93–110

EN

The article focuses on describing Simone Weil and her art of mystical paradoxes. At the beginning, the authoress explains in short the meaning of the word "mysticism", it's etymology and traditional usage, moving on later to characterising philosophical thought of Simone Weil in the context of the space of transcendence. The authoress analyses the language used by mystics (here confronting Simone Weil with Meister Eckhart) and proves, that mystical experience cannot simply be verbalized, and thus why paradox turns out to be the best medium of expression. The analysis presented in the article exposes an interesting parallelism: mystical space of transcendence slips out of the dictatorship of logic, earthly space and every-day order just as the great legacy of Simone Weil's aphorisms and letters exceeds boundaries of the language.

PL

Niniejszy artykuł jest próbą przybliżenia czytelnikowi osoby Simone Weil oraz jej pełnej paradoksów mistycznej myśli. We wstępie artykułu wyjaśniony zostaje sam termin "mistycyzm" oraz jego znaczenie (etymologia, tradycja), a następnie autorka koncentruje się na scharakteryzowaniu filozoficznej myśli Simone Weil w kontekście tytułowej przestrzeni transcendencji. Aktorka analizuje język, jakim posługują się mistycy (zestawiając Simone Weil z Mistrzem Eckhartem) oraz dowodzi, iż momencie niemożliwego do zwerbalizowania mistycznego przeżycia (duchowej więzi z Absolutem) medium wyrazu staje się paradoks. Proponowana w artykule analiza przebiega niejako dwutorowo i paralelnie: autorka wykazuje, iż przestrzeń mistyczna wymyka się sztywnym prawom logiki, ziemskiego ładu i regułom ortodoksji, a duchowo-literacka spuścizna Simone Weil przekracza bariery języka.