Wyniki wyszukiwania - Biblioteka Nauki

1

POE BICENTENNIAL. UNIVERSUL LUI EDGAR ALLAN POE. REPERE INTERDISCIPLINARE CU OCAZIA BICENTENARULUI, MIHAI A. STROE (COORD.), INSTITUTUL EUROPEAN, IAŞI, 2011, 420P.

100%

HĂISAN D.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2013

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tom 5

195-201

2

Authenticity and Artistic Representation in the Modern Age: Heidegger’s “Anti-aesthetic” Conception Reconsidered

100%

Humphries C.

Estetyka i Krytyka

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2011

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nr 2(21)

76-87

EN

This paper offers a partial defence and a partial critique of the views put forward in Heidegger‟s essay The Origin of the Work of Art. According to the author, the validity of Heidegger‟s position is limited by the fact it inherits the partial character of his account of the way in which human intelligibility is phenomenologically and ontologically grounded in temporality.

3

DIE BESCHREIBUNG ALS „COLPORTEUR” DER TEMPORALITÄT: DIE „EGLISE DE SAINT HILAIRE” (Marcel Proust) UND DAS HAUS DER FAMILIE BUDDENBROOK (Thomas Mann)

100%

Hergheligiu R.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2009

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tom 1

204-217

EN

In the present study the author undertakes an exemplification of Angelika Corbineau-Hoffman’s theses concerning the parallelism between certain object descriptions and the evolution of the process of involuntary memory in Marcel Proust’s work. The author reminds of Corbineau-Hoffman’s commentaries regarding the state of fugit irreparabile tempus triggered by Proust’s description of the church of St. Hilaire and develops a parallel analysis of Thomas Mann’s description of the Buddenbrooks house towards the end of his novel. The conclusion underlines the analogy between the manners in which Proust and Thomas Mann use description as a temporal device.

4

Authenticity in the Perspective of Sport Tourism: Some Selected Examples

88%

Hurych E.

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5

The Pathos of Time: Chronic Pain and Temporality

88%

Geniusas S.

Dialogue and Universalism

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2015

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nr 3

25-38

EN

The paper offers a phenomenological interpretation of the temporality of chronic pain. First, I maintain that the field of presence constitutes the exhaustive horizon within which chronic pain is lived. Secondly, I argue that chronic pain is a form of depersonal-ization in that it cuts the field of presence from the past and the future. Thirdly, drawing on some recent phenomenological and neurological findings, I argue that the past and the future, despite their apparent irreality, continue to affect the present “behinds its back”: either through implicit bodily memory, or through implicit bodily anticipation. Thus despite its depersonalizing effects, chronic pain is a deeply personal experience. In my conclusion, I turn to the therapeutic significance of such a phenomenology of tem-porality. I maintain that if chronic pain is nested in implicit temporality, then to confront it, one must become conscious of its effects and, if possible, neutralize their meaning.

6

Nadmiar Boga? Święty Paweł w epoce postsekularnej

75%

Pospiszyl M.

Kwartalnik Filozoficzny

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2011

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tom 39

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nr 1

135-156

EN

The article proposes an interpretation of the Letters of St. Paul based on Heidegger's early lectures. It introduces the notion of excess. Excess (nad-miar) is not only the opposite of what can be measured (miara); it is above all something that exceeds measurement, though in an immeasurable (bez-mierne) way. Excess expresses the actual infinity of the subject while the “immeasurable” expresses his potential infinity. This difference between the immeasurable and excess is visible in the context of messianic temporality. Those who await a temporal messiah treat him as an extension of the immeasurable world of their own expectations. Christians do not expect a specific event; for them treating God as a third person is senseless. Their concept of God arose in the temporality in which all things are accomplished in accordance with Paul's motto, "Stay alert, stand firm in the faith, show courage, be strong. Everything you do should be done in love." (1 Cor 16:13-14). This is a subjective figure for taking responsibility for living, thinking and acting, which are to take place in love and expresses a revolution, for such subjective figures change the very character of Christian life.

7

A Patriotic “Picture Gallery” or a Universal “Tree of Knowledge”? Metaphors of Knowledge in the Historia Litteraria Works

63%

Smyčka V.

Listy filologické (Folia philologica)

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2016

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tom 139

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nr 1-2

25-49

EN

Discussing two important historia litteraria projects from the 1770s in Bohemian lands (Abbildungen böhmischer und mährischen Gelehrten und Künstler by Nikolaus Adaukt Voigt, Ignaz Born and Franz Martin Pelzel, and works on the history of learning by a Moravian scholar Ludwig Zehnmark), the study shows the opposing functioning of spatial and vegetative metaphors. Whereas the authors of the first work conceived their project from the beginning as a closed “hall”, a “portrait gallery”, Zehnmark in the opening of his work employed the allegory of a “tree of knowledge” or, better, a “graft of knowledge”, which was permanently migrating, growing and bearing fruit. In contrast to the closed “picture galleries” of the age-old national pride, employed by the authors of the Portraits, he emphasized the vital power of perpetually growing abilities of reason and perpetual cultural transfer of sciences. In contrast to the mnemonic motionlessness of a randomly cyclic and thus ultimately immovable time, he emphasized an organic time of accumulated and constantly qualitatively-changing knowledge. The imagery of these works thus conveyed to readers a particular notion both of the nature of the passed-on knowledge and of the overall passing of historical time.

8

Gospodarowanie czasem i światem w powieści „Kamień na kamieniu” Wiesława Myśliwskiego

51%

Piętniewicz M. , Uniwersytet Jagielloński W. P. , Michał Piętniewicz – doktor nauk humanistycznych a. r. R. ż. , bulski84@interia.pl

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tom 04

PL

Celem artykułu o „Kamieniu na kamieniu” była próba spojrzenia na filozoficzne aspekty powieści Myśliwskiego poprzez przykładowe opozycje powierzch-nia/głębia, słabe/mocne, sytuując tęsknotę głównego bohatera powieści po stronie tego, co powierzchniowe i światowe, wskazując jednocześnie na jego religijną tęsknotę za aspektem głębokim swojej egzystencji, który również zdaniem interpretatora lokuje się w tym, co powierzchniowe. Artykuł chce przybliżyć „Kamień na kamieniu” jako powieść o dobrym „gospodarzeniu” w świecie poprzez ukazanie dialektyki występujących w powieści na zasadzie przeciwieństw, braci, Szymona Pietruszki oraz Michała.

EN

The article on “Kamień na kamieniu” is an attempt to look at the philosophical as-pects of the novel by Wiesław Myśliwski through oppositions such as sur-face/depth or weak/strong, locating the longing of the main character of the novel on the side of the superficial and worldly, while pointing out his religious yearning for a profound aspect of his existence, which, according to the interpretation suggested in the article, is also located within the superficial. The article is intended to present “Kamień na kamieniu” as a novel about a good “host” in the world by demonstrating the dialectic between the brothers Szymon Pietruszka and Michał.

9

Специфіка художньої концептуалізації добового часу в малій прозі М. Вінграновського

51%

Скидан (Skydan) М. M.

Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

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2022

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nr 7(4)

31-38

UK

У сучасній українській лінгвістиці з огляду на її загальну антропологічну спрямованість доволі продуктивними є когнітивні дослідження, зокрема й у царині художнього тексту, що дає змогу описати мовні засоби його інтерпретування на рівні концептуальних структур. До базових концептів у категоризації світу належить ЧАС. Мета дослідження – окреслити засоби художньої концептуалізації добового часу та їхнє функційно-семантичне навантаження в прозових текстах М. Вінграновського, розглянути художню концептуалізацію добового часу з огляду на ідіостильові риси мовотворчості письменника. У дискурсі малої прози М. Вінграновського художній час не зводиться до відтворення властивостей фізичного часу. Модель часу М. Вінграновського глибоко закорінена в міфопоетичну картину світу й пропущена крізь призму індивідуального світосприйняття оповідача. Лінгвальне вираження ідеї часу відбувається через реалізацію окремих темпоральних значень. Носіями часової семантики в тексті є найчастіше іменники, дієслова, прислівники, прикметники. Крім того, розглядаємо розгорнуті контексти з темпоральним змістом. Як показує дослідження, М. Вінграновський переважно вдається до відтворення циклічності часу. Відповідно набувають важливого значення образи частин доби. Концепти ДЕНЬ, НІЧ, РАНОК, ВЕЧІР у мові аналізованих творів вербалізовано словами різної частиномовної належності, що містять відповідну часову сему. Номінативні поля, що формують їхнє художньо-смислове наповнення, доволі розгалужені. Для кожного з концептів ядро становлять іменники, які називають частини добового колообігу (ранок, день, вечір, ніч), до приядерної зони належать їхні синоніми (світанок, досвіток; надвечір’я), прислівники на означення часу тривання дії (вночі, ночами; вдень), початкової часової межу (зранку, вдосвіта; звечора); дієслова, що передають стан природи відповідно до добового часу (розвиднятися; вечоріти, смеркати, темніти). До ближньої периферії входять іменники та якісні прикметники, які, поєднуючись із темпоральними назвами, передають зорові, звукові, тактильні, психологічні характеристики частин доби. За нашими спостереженнями, провідний прийом концептуалізації добового часу – зображення міжчасся, розтягання часу. Дальню периферію у вираженні аналізованих концептів формують індивідуально-авторські образні контексти з назвами небесних світил, природних, просторових реалій, назви тварин, актуалізовані в пейзажних замальовках. Найбільш показові для асоціативно-образної концептуалізації частин доби є метафори руху, кольору, горіння. Варто акцентувати, що у сприйнятті добового часу ціннісні маркери розставляє саме оповідач. Специфіка художньої концептуалізації добового часу зумовлена ідіостильовими настановами автора, тяжінням до кінематографізму. Образи природного часу передають ідею циклічності, природної гармонії часоплину, переживання цінності кожного моменту людського життя. Їхнє втілення зумовлене ракурсом бачення наратора, його емоційним станом.

EN

In modern Ukrainian linguistics, given its general anthropological orientation, cognitive research is quite productive, including in the field of literary text, which allows us to describe the linguistic means of its interpretation at the level of conceptual structures. The basic concepts in the categorization of the world include TIME. The purpose of the study is to outline the means of artistic conceptualization of daily time and their functional and semantic load in M. Vingranovskyi’s prose texts, to consider the artistic conceptualization of daily time in view of idiostylistic features of the writer’s language. In the discourse of M. Vingranovskyi’s short prose, artistic time is not reduced to the reproduction of the properties of physical time. M. Vingranovskyi’s model of time is deeply rooted in the mythopoetic picture of the world and passed through the prism of the narrator’s individual worldview. Lingual expression of the idea of time occurs through the realization of individual temporal values. Carriers of temporal semantics in the text are often nouns, verbs, adverbs, adjectives. In addition, we consider detailed contexts with temporal content. As research shows, M. Vingranovskyi mainly resorts to the reproduction of the cyclical nature of time. Accordingly, the images of parts of the day become important. The concepts DAY, NIGHT, MORNING, EVENING in the language of the analyzed works are verbalized with words of different parts of speech, which contain the appropriate temporal sema. The nominative fields that form their artistic and semantic content are quite branched. For each of the concepts, the nucleus consists of nouns that name the parts of the circadian cycle (morning, day, evening, night), the synopsis zone includes their synonyms (dawn, predawn, twilight), adverbs to denote the duration of the action (at night, nights, by day), the initial time limit (since morning, before dawn; since evening); verbs that convey the state of nature in accordance with the time of day (to dawn; to grow dark, to get dusky, to darken). The near periphery includes nouns and qualitative adjectives, which, combined with temporal names, convey the visual, sound, tactile, psychological characteristics of parts of the day. According to our observations, the leading method of conceptualizing the time of day – the image of the time, the stretching of time. The far periphery in the expression of the analyzed concepts is formed by individual authorial figurative contexts with the names of celestial bodies, natural, spatial realities, names of animals, actualized in landscape sketches. The metaphors of movement, color and burning are the most revealing for the associative figurative conceptualization of parts of the day. It is worth emphasizing that in the perception of the time of day value markers are placed by the narrator. The specificity of the artistic conceptualization of the time of day is due to the author’s idiosyncratic guidelines, the attraction to cinematography. Images of natural time convey the idea of cyclicity, the natural harmony of time, the experience of the value of every moment of human life. Their embodiment is due to the perspective of the narrator, his emotional state.

10

Zemětřesení v textu a otřesení smyslu: literatura 19. století jako hermeneutický problém

51%

Vojvodík J.

Slovo a smysl - Word & Sense

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2017

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tom 14

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nr 27

13-18

EN

With the real earthquake in Lisboa, 1755, as well as the revolutionary ones in France and the shocks of the Napoleonic wars, the model of a temporally linear development of modernity, with ‘Progress’ as its universal goal, was shaken; and beyond the impact on Enlightenment rationality and philosophy of reason, it affected all assumed meaning of history, knowledge, and apparent certainties. This ‘state of crisis’ induced Heinrich von Kleist first to his novella The Earthquake in Chile (Das Erdbeben in Chili, 1806/1807) and then to suicide, whereas F. D. E. Schleiermacher responded with his theory of modern hermeneutics as a synthesis of the individual and the general. Building on Hana Šmahelová’s V síti dějin literatury národního obrození (2011), the paper focuses on the model of temporalisation of historical processes and in particular the ‘event of national reawakening’ as part of the ‘project of modernization’.

11

ФІЛОСОФСЬКІ ЗАСАДИ РИТМІКИ ЕМІЛЯ ЖАК-ДАЛЬКРОЗА

51%

Ключко В.

Педагогічні науки: теорія, історія, інноваційні технології

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2015

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nr 9(53)

252-259

EN

The article reveals the philosophical foundations of the system of rhythmic education of Emile Jacques-Dalcroze, in its context the universal philosophical categories of "movement", "time" and "space" as fine motor skills, temporality and spatiality are concretized. The fundamental philosophical concept of rhythmic, which is a category of corporality that defines the sensual nature of human existence, is defined. The origins of rhythmic in ancient philosophical thought, in particular in the works of Plato, who outlined the epistemological and hedonic potential of human movement, through which he/she perceives the rhythm and harmony of the universe are found. The main aspects that bring together the thoughts and activities of Dalcroze with the ideals of the ancient Greeks are highlighted: musical-rhythmic activity in the group which is similar to the functioning of the choir in ancient Greek tragedy; its main goal is a balanced and harmonious development of man, his aesthetic and physical education; a gesture and a plastic movement are the means of expression, when the expressive value of dance in the ancient tragedy, inextricably connected to the music and poetry of a single rhythm, is similar to rhythm-plastic of Dalcroze. The consonance of ideas of the teacher-musician Dalcroze and philosopher M. Merleau-Ponty on the need to establish communication between mind (imagination, emotions, soul) and matter (body, feelings, action) are identified. The influence of praxeology, aesthetics and philosophy of art education on the theoretical justification of rhythm as an effective means of harmonization of the personality through the music-motional activities was found out. It is proposed to shift the focus from the aesthetic and intellectual perception of music on procedural. In order to justify ideas of Dalcroze in the native discourse the ideas Valeriy Kosiak about philosophical interpretation of man and his physicality in various forms of culture are highlighted. Special attention deserves the scientist’s interpretation of rhythm as rhythm-plastic and definition of dance by the language in which a sense of life as an incarnated rhythm is expressed.

12

Hermeneutics of Heidegger’s facticity and its religious aspects

51%

Aleksandravičius P.

Studia Philosophiae Christianae

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2014

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tom 50

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nr 1

173-204

EN

The concept of facticity that was developed by Heidegger from 1919 to 1923 composes the basis of all his further thought: the conceptions of Dasein and ontological temporality will originate namely from this concept. The article analyzes various expressions of the factitious life (care, Er-eignis, life, Self- Destruction, meaningfulness, death), yet the special consideration is paid to its religious aspects. Really the essence of facticity is treated by Heidegger as a temporality that is essentially correlated with the Christian experience. The influence of Saint Augustine to Heidegger and the Heideggerian concept of methodical atheism are analyzed and this analysis raises the intricate problem of the relation of the Black Forest philosopher to Christian faith and to God.

13

Zmienność kulturowa i społeczna w ujęciu archeologii

51%

Minta-Tworzowska D.

Przegląd Archeologiczny

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2011

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tom 59

5-26

EN

Three major trends in archaeology: traditional, processual and postprocessual, conceptualize the change differently. The first one formulates the change generally in the category of evolution and partly of history, as taking place in accordance with general laws and the phenomenon of diffusion. Another trend, processual archaeology, explains the change in terms of adaptive processes, and the postprocessual trend recognizes it as history of creative activities of individuals. In the paper, I present analytical ways of approach to cultural and social variability in archaeology, which, in fact, lead to change of identity. They are proposals of interpretation of the changes as: a) the change of utility, b) the variability of the use of objects, c) the change in the way of “consumption”, as a result of the pursuit of prestige.

14

Artykuł publicystyczny w tygodnikach społeczno-politycznych. O kilku dualizmach

44%

Kula A.

Oblicza Komunikacji

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2013

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tom 6

47 - 59

EN

Texts dealing with power or the government can be found in modern journals and newspapers almost everyday; they differ in terms of genre, function, style and pragmatics. Socio-political journals are among important sources of such articles; they are frequently categorised as a rather homogeneous group (e.g. in research on readership or in media studies), which nevertheless construct, as I demonstrate in my analyses, messages which are the result of completely different interpretations of the art of feature journalism. In this paper I analyse the feature article as a classic genre, considered by both theorists and practitioners to be the most typical form of feature journalism. Properties of feature articles can be arranged by means of several distinctive dualisms indicating certain compositional, textual and stylistic links (temporality-arguability, private perspective-public perspective, the specific-the abstract).

15

Praca i duchowość

38%

Misztal W.

Studia Socialia Cracoviensia

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2013

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nr 1(8)

51-65

PL

Artykuł podejmuje zagadnienie, na które jako na bardzo istotne wskazuje bł. Jan Paweł II w encyklice Laborem exercens. Ten obszerny temat został przedstawiony z uwzględnieniem kilku punktów. Zwrócono uwagę na pracę jako na rzeczywistość wielowymiarową, wieloznaczną. Następnie podjęte zostało zagadnienie relacji między pracą oraz grzechem i jego negatywnymi konsekwencjami. Jest to między innymi związane z błędnym, rozpowszechnionym przekonaniem, że w rozumieniu chrześcijańskim praca stanowi karę za grzech, jest jego skutkiem. Tymczasem przede wszystkim mamy tutaj do czynienia z danym przez Boga aspektem ludzkiego podobieństwa do Niego oraz skutecznym narzędziem zbawienia. Kolejny blok tematyczny dotyczy rozumienia i przeżywania pracy jako udziału w dziele Boga, który stwarza (creatio prima et continua). Następnie zostały przedstawione związki pracy z Chrystusem, z dziełem zbawienia, które On realizuje, w tym przeżywanie pracy jako udziału w Jego krzyżu i pracy związanej z Jego zmartwychwstaniem. Podjęto także wątek eschatologicznego znaczenia pracy, jej powiązań z wieczną pełnią życia jako nadaniem doskonałości aktywności zbawionych (creatio nova).

EN

The article raises the issue indicated as very essential by blessed John Paul II in his encyclical Laborem exercens. This wide topic has been presented taking into consideration the following points. Attention has been paid to work as a multidimensional and ambiguous reality. Next, the problem of the relation between work and sin as well as its negative consequences has been discussed. It is associated, among others, with the false and widespread belief that work constitutes a punishment for sin and its result in the Christian understanding. However, we are dealing here, above all, with the aspect of human likeness to God given by Him and the powerful tool of salvation. Another thematic block regards the understanding and experiencing work as the participation in the act of God, who creates (creatio prima et continua). Then, relations between work and Christ as well as the act of salvation carried out by Him has been presented, including experiencing work as the participation in His cross and in relation to His resurrection. What is more, the topic of eschatological meaning of work, its associations with the eternal fullness of life as granting the excellence to the activity of the saved (creatio nova) has been raised.