Wyniki wyszukiwania - Biblioteka Nauki

1

Theodor W. Adorno: pojęcie krajobrazu kulturowego

100%

Frydryczak B.

Estetyka i Krytyka

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2013

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nr 3(30)

43-54

EN

In the article I take into consideration the concept of cultural landscape in the reflection of Theodor W. Adorno. I assume that in the notion of landscape there is possible to distinguish two meanings: the aesthetic one, which follows the history of aesthetics and artistic representation of the world. Georg Simmel in the article “The philosophy of Landscape” put its formula perfectly. The second meaning of landscape: a cultural one, is subordinated to the reread aesthetics of the sublime. It rejects the aesthetic distance for the benefit of engagement and process. In it there is expressed spatially conceived environment, historically and socially shaped by both the man and the forces of nature. Adorno combine landscape with history and its the products, and social processes. In this sense, the landscape bears the traces of human activity. As such it undergoes to the processes of industrialization, which create its postindustrial or tourist variations.

2

A Literary Piece as a Sociological Work: The Concept of Modernity in Karel Čapek’s “War With the Newts”

89%

Hlaváček K.

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nr 17

PL

W artykule analizuję powieść Karela Čapka Inwazja jaszczurów (1936) jako pracę socjologiczną, skupiając się na zaprezentowanej w niej koncepcji nowoczesności. W pierwszej części tekstu pokazuję, w jakim sensie można uznać pracę Čapka za socjologiczną. Podążając śladami Theodora W. Adorna, uważam, że różnica między literaturą a socjologią nie jest fundamentalna, a jedynie historyczna i analityczna, oraz że wyróżnikiem socjologii nie są metoda, empiryzm czy jednoznacznie zdefiniowane koncepcje, lecz dające głęboki wgląd pojęcie całości społecznej. W drugiej części tekstu analizuję zidentyfikowane przeze mnie u Čapka pojęcie całości społecznej, jakie stanowi jego koncepcja nowoczesności. Analiza ta pozwala uzyskać wgląd w autodestrukcyjną moc nowoczesnego społeczeństwa. Staram się dowieść, że przedstawiona przez tego autora wizja nowoczesności jest wciąż aktualna, a opisane przez niego wzory możemy zaobserwować w otaczającym nas świecie.

EN

In this text, I interpret Karel Čapek’s novel War With the Newts (1936) as a sociological work and analyze the concept of the modern age that it presents. First, I show in what sense Čapek’s work was sociological. Following Theodor Adorno, I suggest that the difference between literature and sociology is not of a fundamental but of a historical and analytical nature, and that what defines sociology is not method, empiricism, or explicitly defined concepts, but the insightful notion of social totality. In Čapek, I analyze a social totality that I find in his concept of the modern age. Such an analysis provides insight into the self-destructive power of modern society. I suggest that Čapek’s portrayal of modernity still applies today and that we can recognize the same patterns he presented in the world around us.

3

Der performative Zauber der Sirenen? Adornos negative Dialektik und das deutschsprachige Gegenwartstheater

88%

Englhart A.

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2019

15-30

PL

Dlaczego ADORNO, filozof rewolty studenckiej, zwolennik awangardy od Schönberga po Becketta uciekł w kwietniu 1969 roku przed performatywnym protestem studentek, obnażających nagie biusty? Artykuł wyjaśnia związki między Dialektyką oświecenia, Dialektyką negatywną i Teorią estetyczną z estetyką dzisiejszego teatru performatywnego i postdramatycznego. Mimo wszystko teatr pozostał dla ADORNA miejscem sztuki, a rewolucja dokonała się nie w performatywnej negacji sensu, w okrutnej realności ‚syren’ i dekonstrukcji, lecz w dziele, które przedstawiając to, co nie do pogodzenia, prowadzić ma do ugody.

EN

Why, in April 1969, did ADORNO, the philosopher of the student revolt, the advocate of the avant-garde from Schoenberg to Beckett, flee when he was faced with the performative actions of protesting students with naked breasts? The article discusses connections between ADORNO’S Dialectics of Enlightenment, Negative Dialectics and Aesthetic Theory and the aesthetics of today’s performative and post-dramatic theatre. For ADORNO, theatre remained a place of art, and the revolution did not come to fruition in the performative denial of meaning, in the cruel reality of “sirens”, and in deconstruction, but in the work of art itself, that is supposed to represent the irreconcilable and thus to lead to reconciliation.

DE

Wieso flüchtete ADORNO, der Philosoph der Student*innenrevolte, der Fürsprecher der Avantgarde von Schönberg bis Beckett, im April 1969 vor der Performance protestieren-der Studentinnen mit nackten Brüsten? Der Beitrag erörtert Verbindungen von ADORNOS Dialektik der Aufklärung, Negativer Dialektik und Ästhetischer Theorie zur Ästhetik des heutigen performativen oder postdramatischen Theaters. Dennoch blieb für ADORNO das Theater ein Ort der Kunst, verwirklichte sich die Revolution nicht in der performativen Verweigerung von Sinn, im grausamen Realen der ‚Sirenen‘ und der Dekonstruktion, sondern in einem Werk, das das Unversöhnliche darzustellen und so zu versöhnen habe.

4

„Composing for the films” Theodora W. Adorno i Hannsa Eislera jako krytyczna refleksja o muzyce filmowej

71%

Kwapień J.

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2020

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tom 65

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nr 3

21-40

EN

"Composing for the Films" is a unique book in film musicology. Published in 1947, it was a nearly immediate response to the fast developing Hollywood film industry. Though it was the product of a collaboration between two authors, Theodor Adorno and Hanns Eisler, for many years it was known only under the name of that latter artist. Despite its original concepts, it has never been analysed by Polish scholars. The first part of my paper focuses on the circumstances of writing this book and the history of its editions, which was made complicated by both authors’ difficult political situation. Critical theory, as adapted by Adorno for the study of film music, is the key to the concepts contained in this book. In my article, I distinguish four thematic segments in the authors’ commentary: a) criticism of cinematography as a manifestation of mass culture; b) criticism of composition technique in film music; c) criticism of traditional composition techniques and a discussion of the possible uses of new music in films; d) presentation of the dangers related to the use of new technologies in film music. Such a division of topics makes it possible for me to cover all the aspects discussed by the authors, and related to musicology, philosophy, economy, politics, and sociology. My analyses of Adorno and Eisler’s ideas has been extended so as to include Max Weber’s sociological concepts and Adorno’s notions of the fetish character in music, rationalisation, and regression of listening. I also present a survey of selected composition techniques still applied in film music today, which the authors describe as ‘bad habits in composition’.

PL

Książka Composing for the films jest wyjątkową pozycją wśród literatury muzykologii filmowej. Wydana w 1947 roku była niemal natychmiastową odpowiedzią na szybko rozwijający się w Hollywood przemysł filmowy. Chociaż powstała we współpracy dwóch autorów – Theodora Adorno oraz Hannsa Eislera, przez wiele lat znana była tylko pod nazwiskiem tego drugiego. Pomimo oryginalności koncepcji, nie była ona przedmiotem analizy w Polsce. W pierwszej części artykułu koncentruję się na okolicznościach powstania publikacji oraz historii jej wydań. Proces ten był utrudniony ze względu na skomplikowaną sytuację polityczną obu autorów. Kluczem interpretacyjnym koncepcji zawartej w książce jest teoria krytyczna, zaadaptowana przez Theodora Adorno do badań nad muzyką filmową. W artykule wyodrębniam zawarte w myśli autorów cztery segmenty tematyczne – krytykę kinematografii jako przejawu kultury masowej, krytykę warsztatu kompozytorskiego twórcy muzyki filmowej, krytykę tradycyjnych technik kompozytorskich i możliwości zastosowania w kinie nowej muzyki oraz krytykę i niebezpieczeństwa związane z użyciem w muzyce filmowej nowej technologii. Taki podział umożliwił mi przedstawienie wszystkich czynników analizowanych przez autorów – muzykologicznych, filozoficznych, ekonomicznych, politycznych, socjologicznych. Analizę samej refleksji autorów poszerzam o koncepcje socjologiczne Maxa Webera oraz Theodora W. Adorno - fetyszyzację muzyki, racjonalizację, regresję w słuchaniu. Przedstawiam także część technik kompozytorskich, wciąż stosowanych w muzyce filmowej, które autorzy opisują jako ,,złe nawyki kompozytorskie'' – stosowanych przez kompozytorów do dziś.

5

The Hegemonic Subjectification in Ernesto Laclau’s Theory of Discourse

63%

Górski J.

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nr 1

233-255

EN

This article discusses the character of hegemonic subjectification as it is seen by Ernesto Laclau. By explaining the concepts of the constitutive features and form of a hegemonically acquired political identity, such as antagonism, undecidability, overdetermination and decision, I define the social fields and dynamics of subjectification. At the same time, I adopt that such subjectification occurs within the boundaries of the particular (demand)–universal, i.e., the ideologically assigned view of identity as totality. Besides, in contrast to Laclau, I juxtapose the dialectically conceived form of the particular–universal relation with its poststructuralist Laclau’s version, and I try to prove that—contrary to Laclau—the idea of hegemony enjoys its vitality thanks to Theodor W. Adorno’s concept of negative dialectics. To determine the points of similarity of the two methods of constructing and deconstructing identity and subjectivity, I reject Elmar Flatschart’s incomparability argument. Lastly, I point out the earlier mentioned points of convergence: on Adorno’s part—the concept of proper names and the concept of constellation; on Laclau’s part—the concept of undecidability and decision which keep discourse ontologically and epistemologically open.

6

Bajki dla dialektyków. Kafka i Benjamin między mitem a wyzwoleniem.

51%

Nikodem J.

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nr 37

209-226

EN

In this paper my goal is to examine and re-read these places in works of Kafka, in which Walter Benjamin finds hope and utopian promise of emancipation. I try to determine whether those places can possibly be able to provide individual or universal emancipation; whether they are just false promises or simply ineffective personal tactics – or, on the contrary, they can be comprehended as conditions of possibility for revolutionary politics of the oppressed. In order to do this I supplement Benjamin’s discourse with concepts and ideas of Adorno, Horkheimer and Brecht. My conclusion is that Benjamin’s reading of Kafka is too optimistic in finding hope and fight against oppression in such works as The Trial, The Castle, The America, and in short stories like The Silence of the Sirens or The Great Wall of China. Benjamin finds the source of hope and victory over the mythical fate in solely humane attributes of cunning and audacity, represented – according to him – in protagonists of fairy-tales (Benjamin describes Kafka’s stories as ‘fairy tales for dialecticians’). But he undervalues power of fate, which lies in its own cunning, not only in its physical strength. If we comprehend mythical fate in much more dialectical way – as our capitalist, alienating modernity – we can find that its powers lie in its own conatus, self-preservation aimed to conserve the reality of oppression. In this sense Kafka’s work – if we read it as a diagnose of modernity and some kind of prophecy of a near future – evinces a dual cunning, which mechanism is as follows: the more a protagonist tries to outsmart the system, the more the system outsmarts him and thereby enslaves him.

7

Dvě lekce studia literatury aneb o pomalosti

45%

Málek P.

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nr 29

13-56

EN

Drawing on the considerations of Karlheinz Stierle, who claims that one of the key tasks in thinking about literature is to oppose the technical totality of modernity and its repressive mechanisms with the substantiality of the slow and the already past, this study aims — in the reading of Franz Kafka, for example, by German thinker, literary theorist and critic Walter Benjamin, and that of Karel Čapek by Czech literary historian and critic Jiří Opelík — to present a form of thinking about literature and its studies that would belong in some ways to the ‘slow reading culture’. At a time when the predominant view of the status of the discipline has grown skeptical, when one has come to doubt the meaning of literature, it is useful to return to the sources and principal questions that comprise our basic attitude towards literature and its study. The question of the current state of thought about literature is reflected here by the prism of slowness and the culture of slow reading, together with a study of literature that opens our way to something we might have otherwise abandoned in the ‘rhythm of constantly renewed acceleration’. The first part of the study, dedicated to Benjamin’s reading of Kafka, focuses on several motifs, grouped around the idea of study and the idea of the image. He develops his interpretation of Kafka’s short stories, The New Advocate, and his reading of the photographic portrait of little Kafka, by reflecting on Benjamin’s tendency to introduce the subject in a circular manner, and through a method of interpretation that gradually approaches, interrupts and postpones, the methodological equivalent to slow reading, revolves around the conviction that the center of the thinking about literature is the understanding of literary works, his open movement, which can never reach a culminating understanding. The second part of the study, devoted to Opelík’s reading of Karel Čapek, deals with the philological footprint and philological impulse in the literary-historical works of Jiří Opelík: at the epicenter of literary research he inserts the poetic word, which like the history of his stratification is also a model of the historicity of understanding and the experience of time slowing down. Slowness, in the context of Opelík’s Čapek, receives numerous synonyms, some immediately implied (continuity and stability), others emerging from his Čapek reading spontaneously (service), and still others seeming to suggest themselves: loyalty. Loyalty to the author, a service rendered not only to him but also to the readers, to ongoing research, to the constancy of the contemporary reader’s interest. Opelíkʼs methods remain an element of confidentiality in relation to the studied work, which is both first and last instance of understanding, confidentiality based on the slow experience of reading.