Wyniki wyszukiwania - Biblioteka Nauki

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Idealne państwo (społeczeństwo) w ujęciu renesansowych utopistów

100%

Danowska-Prokop B.

Studia Ekonomiczne

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2016

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tom 305

140-149

PL

W dobie renesansu pojawiły się ponownie utopijne koncepcje dotyczące nowego porządku społecznego. Koncepcje te były reakcją na: kryzys dotychczasowych średniowiecznych struktur społecznych, renesansowe prądy umysłowe, zmiany zainicjowane przez reformację, otwarcie na świat zewnętrzny i merkantylną politykę gospodarczą. Renesansowe utopie krytycznie ustosunkowywały się do panującego ustroju, zwracały baczną uwagę na braki ekonomiczne, społeczne i naukowe. Utopiści w nierównościach majątkowych i dochodowych upatrywali źródła zła moralnego w społecznym wymiarze. Panaceum na niedomagania ustrojowe było uspołecznienie własności, sprawiedliwszy podział dóbr i obowiązek pracy fizycznej.

EN

The utopian ideas for a new social order emerged again the era of the Renaissance. These concepts were a reaction to the crisis of existing medieval social structures, Renaissance philosophy, changes triggered by the Reformation, opening to the outside world and the mercantile economic policy. Renaissance utopias took a critical attitude to the prevailing system and paid close attention to the economic and scientific shortcomings. Utopians looked at inequalities in wealth and income as the moral evilness in the social dimension. The panacea for the problems of the government system were the socialization of ownership, fairer distribution of wealth and the duty of manual labour.

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« Retrouver les fils de la synchronie ». Bronisław Baczko et les lumières de l’utopie

83%

Mendes Baiao H.

Przegląd Humanistyczny

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2014

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nr 3(344)

85-106

EN

Bronisław Baczko (1923) and Leszek Kołakowski (1927–2009) were two most important members of the Warsaw School of History of Ideas. At the end of the 1950s and the 1960s, the scholars working in contact with this research circle tried to overcome the teleological vision of the Marxist-Leninist historiography dictated by communist parties. A historian B. Baczko developed a methodology which aim was to understand how it interferes with philosophical tools and “visions of the world” (Weltanschauungen). His work investigates the Enlightenment imaginary, in which political and social utopias illustrate a horizon of aspiration.

3

Hledání ideálního státu. Cesta do Ofírské země M. M. Ščerbatova mezi historickým mýtem a utopií

71%

Příhoda M.

Historie – Otázky – Problémy (History, Issues, Problems)

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2016

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tom 8

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nr 2

78-89

EN

This paper analyses M. M. Shcherbatov’s unfinished work Journey to the Land of Ophyr. Shcherbatov’s utopia reflects upon his own perception of the Russian history which was based on the myth of historical fracture resulting from Peter the Great’s reforms.

4

The Vanishing Soviet Utopia in Hungary in the Light of de-Stalinization – Soviet Union as the Land of Modernization in the Hungarian Press 1950–1958

71%

Takács R.

Central European Papers

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2014

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tom 2

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nr 1

132-149

EN

The Stalinist Soviet Union integrated Hungary – and the nations of Central Europe – by 1949 forcing the Soviet-style political dictatorship and economic system to these societies and emphasizing the importance of the Soviet example in the modernization of all spheres from automation through cotton harvesting to public libraries. Stalinized publicity was saturated with information on the Soviet Union. After March 1953, it became clear that a different, more effective Soviet Union propaganda was necessary; however the first delegation of writers and journalists could only enter the Soviet Union in late 1955. December 1955 was the exact date of the launching of the first organized Hungarian tourist groups to Kiev, Leningrad and Moscow as well – after the ‘years of delegations’. The revolution of 1956 brought another twist in this regard and efforts were made to shape a renewed friendly image of Khrushchev’s empire. Emphasis within modernization changed in this period – but the main goal of modernizing and overtaking the ‘capitalist world’ did not. The paper strives to reveal and analyse these changing attitudes and motives in depicting the Soviet Union as a modern empire. It thrives to explore the different threads in the de-Stalinization process – what changes stemmed from changing politics and policies, technical development and where we can grab the de-Stalinization of journalism and publicity.

5

Zmierzch komedii staroattyckiej? Wybrane problemy 'Plutosa' Arystofanesa

71%

Kostek S.

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2011

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tom 21

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nr 2

51-62

EN

Wealth is the last saved Aristophanes’ comedy. This is the presentation of problems of social inequalities but personifications of poverty and wealth are also very important. The researcher’s attention is focused on Wealth which is portrayed as the comedy of borderland. It is difficult to categorize it as an example of Attic Old Comedy. And it is possible to think that the Aristophanes’ work belongs to Greek Middle Comedy. Images of old-Greek gods: Wealth, Zeus, Hermes have fundamental weight here. Also we can notice that Wealth is similar to fairy tale. It presents the vision of utopia which makes possible escape from concerns about daily life.

6

Modernity and Utopia in Bruno Latour’s We Have Never Been Modern and Gabriel Josipovici’s What Ever Happened to Modernism

67%

Sawa M.

Roczniki Humanistyczne

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2017

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tom 65

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nr 11: Anglica

161-175

EN

This article seeks to explore the relation between utopia and modernity on the basis of Thomas More’s Utopia (1516) as well as two seminal contemporary studies: Bruno Latour’s We Have Never Been Modern (1992) and Gabriel Josipovici’s What Ever Happened to Modernism? (2010). The ambiguous nature of the modern prototype of utopia which displays both the eutopian and the dystopian (self-critical) impulse seems reflected in the nature of modernity. With auto-criticism inscribed in the constitution of both utopia and modernity, the leading desires of the modern period—for a greater emancipation and domination—prove to be its greatest burden both in the socio-political sphere as well as in art and literature.

PL

Celem artykułu jest zbadanie relacji pomiędzy utopią a nowoczesnością na podstawie Utopii Thomasa More’a oraz dwóch ważnych współczesnych studiów nad nowoczesnaścią: We Have Never Been Modern (1992) autorstwa Bruno Latoura oraz What Ever Happened to Modernism? (2010) napisanym przez Gabriela Josipovici. Ambiwalentna natura nowoczesnego prototypu utopii, która wykazuje obecność zarówno impulsu (e)utopijnego, jak i dystopijnego (krytycznego), zdaje się znajdować swoje odzwierciedlenie w naturze nowoczesności. Krytyczny aspekt nowoczesności odsłania fakt, że dwa podstawowe dążenia epoki nowoczesnej — do wolności i dominacji — okazują się jej największym obciążeniem zarówno w sferze socjopolitycznej, jak też w literaturze i sztuce.