CNS Czasopisma Naukowe w Sieci
Not a member yet
16863 research outputs found
Sort by
Jak wyglądał Angelus Silesius? Kilka uwag na temat znanych portretów poety
No full textThe aim of the article is to provide an analysis of famous 17th-century images of Johannes Scheffler (Angelus Silesius), which will then become a starting point for further musings on the function of these portraits and their influence on more modern, from the 19th century onwards, portrayals of that Wrocław’s poet, priest and doctor. The following paintings will be the subject of the analysis: two portraits of Scheffler from the library of the former Cistercian monastery in Krzeszów and the collection of the Brothers Hospitallers of Saint John of God monastery in Wrocław, created most likely in 1677, in relation to the poet’s death; a 20th century copy of the portrait from the Brothers Hospitallers of Saint John of God monastery deposited in the Archdiocesan Museum in Wrocław, and the 18th century dated portrait from the Saint Matthias church in Wrocław. Comparison of these four oil paintings will be completed by a 1664 caricature that served as the front page of an anonymous lampoon, presenting Scheffler as a street vendor. The first two decisively formal portrayals share some characteristics with the caricature – the earliest known portrait of Angelus Silesius. With utmost certainty, however, that quizzical in its purpose image has become the foundation for later portrayals that had an entirely different, positive overtone – in particular, one 19th-century engraving that was published for the first time in an 1862 collection of Scheffler’s poems, as well as entirely modern images appearing in public space. In this context, the supposed poet’s portrait from the Saint Matthias church in Wrocław appears problematic, with its significant differences compared to the 17th-century caricature
Karykatura Angelusa Silesiusa w kontekście karykatur antyklerykalnych
No full textCaricature of Angelus Silesius in the context of anticlerical caricatures Caricature was already known in antiquity, but its popularisation only occurred in the 16th century with the development of printing, in particular through the Reformation brochures. Engraving presenting Angelus Silesius as an indulgences vendor is a caricature utilising the motif of a travelling merchant and is linked to the criticism of the selling of indulgences. The work is an illustration to a 1664 lampoon, Wolverdientes Capitel welches …, a fictional polemic of Jesuits Jacob Masen (1606–1681) and Veit Erbemann (1597–1675), published in response to Scheffler’s writings on the matter of Turkey and its influence on the Catholic faith. In 1663, Silesius published his work Türkenschrift, in which he blamed the Reformation for the Turkish domination and the threat it posed to his country. He believed that protestants, who contributed to the collapse of the unity of the Church and the overthrow of its institutions – and therefore allowed for the expansion of the “Turkish plague” – should be punished for heresy. On the engraving by an unknown author, the mystic’s face has not been deformed in any way. What is meant to ridicule him is his portrayal as a travelling vendor selling glasses, rosaries, cards, dice, and other similar goods. Angelus Silesius himself admitted to being attacked not only by enemies of Catholicism, but also by his fellow brothers, such as the Jesuits. Prior to the Reformation, wood engravings were used for book illustrations, but it was Martin Luther that utilised their capacity and introduced caricatures of his opponents into mainstream circulation. The Reformation utilised several types of caricatures. One of the most common presented people (usually the Pope or other members of the clergy) as animals, especially donkeys. Another common motif was ridicule through references to defecation. Often the caricatures presented shameful behaviour of the clergy, such as indulgences sale or promiscuity. In comparison to anticlerical engravings, the caricature of Angelus Silesius appears tame, even non-caricatural
Mistyka oblubieńcza w Cherubinowym wędrowcu Angelusa Silesiusa
No full textAngelus Silesius lists spousal love as one of the paths to theosis (epigram VI, 1), which constitutes the central motif of The Cherubinic Wanderer. The nuptial motif present in chosen epigrams has been analysed based on, among others, writings of mystics known to Silesius: Saint Bernard of Clairvaux, Saint John of the Cross, and Saint Teresa of Jesus. The groom in The Cherubinic Wanderer is Jesus (epigrams III, 37, IV, 53, V, 189) and the bride is the soul – pure, pristine, quiet, and humble (epigrams II, 12-14; II, 223; III, 53; IV, 18, 40, 218, V, 22, 211, 308). The path of the soul towards Christ is the path of love (epigrams III, 68, IV, 175; V, 296, 340), the process of purification – theosis – of man, accompanied by an unceasing longing for the groom (epigrams IV 29, 36, 72, 78, 152, 170; V, 180, 285; VI, 127). At the end of that path, spiritual nuptials of the souls with Christ-groom take place (epigrams II, 11; III, 78, 79, 143, 149; IV, 88, 138, 197). From that point, the soul is entirely devoted to Christ, and its theosis takes place by the grace of God. The entire Trinity participates in the spiritual nuptials and conducts the theosis of man (epigrams I, 183; III, 79, 104; V, 241; VI, 238). Love emanating from the Trinity, as the only source of spiritual fertility, makes the soul pregnant with God himself. From that point onwards, it is He who works through man, using appropriate tools (epigrams II, 101, 104; V, 112, 372). The spousal motif in The Cherubinic Wanderer accents the personalistic dimension of the relationship with God. Analysed epigrams provide aesthetic and spiritual experiences but also valuable clues regarding the path to deepening the relationship with God and to, so crucial for mysticism, self-discovery
Kontrast etyki zachodniej i wschodniej na tle filozofii greckiej i konfucjańskiej
No full textWestern and Eastern philosophies have shaped human thought and understanding for millennia. While diverse perspectives exist within each tradition, there are fundamental distinctions between their approaches to ethics, the relationship between the individual and state (or society), and the perception of nature. Western ethics, rooted in rationality, emphasizes the role of reason in determining moral principles and achieving eudaimonia (hapiness). Eastern ethics, centred on cultivation, focus on personal development and adherence to social norms to attain ethical conduct. Western thought often prioritizes individual rights and responsibilities, while Eastern philosophy emphasizes group harmony and social obligations. Western philosophy often views nature as something to be understood and controlled, while Eastern philosophy perceives nature as a source of inspiration, guidance, and interconnectedness. Western and Eastern philosophies, despite their contrasting perspectives, offer valuable insights into human existence and the pursuit of ethical living. Understanding these different approaches can enrich our understanding of morality and provide valuable guidance for navigating life’s challenges
Ku twórczej przemianie i głębi twórczego bycia. Od skoku Odysa do kilku motywów estetycznej myśli Immanuela Kanta
No full textIn the paper, the author seeks an analogy and common features of the conception of the point of view of the creator and the pathway of the creator (which both have been presented in his work: Source and Mystery. Towards the Metaphysics of the Creator, 2022), on the one side, and the conceptions drawn from the history of poetry, esthetics and metaphysics, on the other. The analogies and common features are searched in relation to the problem of the creative transformation and the leap towards the source, which both lead to the problem of the depth of the creative being. The considerations are carried out in both poetical and mythical context, which is to say, that of the leap of Odysseus described in Odyssey, as well as in the esthetical and metaphysical contexts connected with Heraclitus’ thought, Symposium of Plato and the esthetical thought of Immanuel Kant. Some conclusions are reached concerning important analogies and common features of the author’s conceptions and those regarded as belonging to the depth of creative being. First of all, the similarity is meant between the situation of the creator, who performs the creative transformation while permeating the source (in the aforementioned leap also) and the creator in the tragic situation, from which departure towards the depth of creative being is looked for
„Opiekun wszystkich filozofów i socjologów” Janusz Krajewski (1908–2000) i jego praca na rzecz organizacji Połączonych Bibliotek WFiS UW, IFiS PAN i PTF
No full textJanusz Krajewski was the first director and organizer of the Joint Libraries, which were formed in the 1950s. Thanks to his work, the three libraries collaborated in collecting, developing, and providing access to collections, while maintaining separate budgets and inventory records. The legislative, social, and scientific conditions surrounding the creation of this pioneering solution will be considered. The aim of this article is to present Krajewski as a man with a profound respect for working with books and readers. In 1952, he defended his master’s thesis in philosophy, written under the supervision of Władysław Tatarkiewicz, and he remained involved with this discipline for the rest of his life. In the following years, he was tasked with organizing and consolidating three complementary book collections at the Joint Libraries. He devoted 20 years of his life to this library, directing it until his retirement in 1973. The article presents the role of the first director in organizing the Joint Libraries as a workshop for philosophers and sociologists. The process of organizing the library is presented against the backdrop of the development of scientific librarianship during the communist era in Poland. An analysis of dedications made to Krajewski highlights the importance of his work for library users
„Jestem pustką”. O koncepcji performowania rdzenności Mirosława Kocura
No full textThe article analyzes the experiences of Mirosław Kocur, a theater anthropologist and cultural studies scholar, during his expedition to the Prince of York Islands archipelago (New Guinea). Through the practice of immersion in nature (“submersion”), he formulates a paradoxical definition of indigeneity as “emptiness.” By comparing the research in which Kocur participated with the French Dakar–Djibouti expedition (1931–1933), the text highlights the differences in approach between classical ethnography and the Polish researcher. The author considers whether Kocur, through his experiences, becomes an indigenous researcher—not a native, but someone who adopts the local philosophy of cognition and participates in cultural heritage. In this context, she refers to the concepts of heritage developed by Laurajane Smith and Rodney Harrison, which emphasize that heritage is a living, performative process rather than a collection of material objects. The text concludes with a reflection that indigenousness may be not so much an ethnic category as a choice of belonging and a way of being in a world open to other cultures, their rituals, and spirituality.W artykule analizowane są doświadczenia Mirosława Kocura, antropologa teatru i kulturoznawcy, związane z jego wyprawą na archipelag wysp Księcia Jorku (Nowa Gwinea), gdzie poprzez praktykę immersji w naturę („zanurzenie”) formułuje paradoksalną definicję rdzenności jako „pustki”. Zestawiając badania, w których brał udział Kocur, z francuską wyprawą Dakar-Dżibuti (1931–1933), autorka podkreśla różnice w podejściu klasycznej etnografii i polskiego badacza. Autorka artykułu rozważa, czy Kocur poprzez swoje doświadczenia staje się badaczem indygenicznym — niekoniecznie tubylcem, ale kimś, kto przyjmuje lokalną filozofię poznania i uczestniczy w dziedzictwie kulturowym. W tym kontekście przywołuje koncepcje dziedzictwa Laurajane Smith i Rodneya Harrisona, które wskazują, że jest ono żywym, performatywnym procesem, a nie zbiorem materialnych obiektów. Tekst kończy refleksja nad tym, że rdzenność może być nie tyle kategorią etniczną, co wyborem przynależności i sposobem bycia w świecie otwartym na inne kultury, ich rytuały i duchowość
Państwo legistyczno-konfucjańskie w Chinach. Kształt i dziedzictwo
No full textChinese political traditions differ significantly from those that have shaped the functioning of the Western world. Unlike the Greeks, Romans, or the nations of medieval and early modern Europe, the Chinese had no concept of representative government. They did not introduce anything comparable to the Magna Carta, nor did they possess institutions equivalent to the House of Commons or the Estates General. The rudimentary forms of Chinese parliamentarism emerged only in the late Qing dynasty. The dominant element of political thought in the Middle Kingdom—where both Confucians and Legalists are in agreement—is the conviction that only strong monarchical authority can prevent the state from descending into anarchy. As a result, China remained for centuries an absolutist monarchy, governing through a bureaucracy composed of highly qualified officials selected through rigorous examinations
Geneza i symboliczny wymiar lutni renesansowej ze szczególnym uwzględnieniem kontekstów kultury arabskiej i europejskiej
No full textSignaling the moment when music was recognized as an art form in Europe, the shortnecked lute already has an unbroken history. Its contents include what is associated with an Arabic instrument called the ūd. This type of lute, as it turns out, played a very important role in the Arab world in the context of solving theoretical problems, the clarification of which at the same time had a significant impact on the performance dimensions of music. It was also no different in Europe a few centuries later. Here, too, the lute, especially during the Renaissance, played an important role in the context of solving the problem of how to temper sounds evenly in the first place. Thus, in both cases, the lute served as a kind of tool for measuring and determining the distance between sounds. Despite achieving similar goals, the types of lutes listed here definitely reflect fundamentally separate musical systems. Nevertheless, these two different forms of instruments have much in common. One might even be tempted to say that they interdepend not so much on a common, probably still Persian legacy, but on cultural content that is undoubtedly common to both Arab and European thought. And this is what this article is about, which treats, using the example of an instrument such as the lute, that culture in the largo sense depends on many influences. In the context of the case in question, it is even possible to speak not only about the relationship between Arab and European cultures, since the circle of influence, at least from the perspective of the implementation of the idea of the lute in culture, is much wider, reaching as far as India or the so-called Far East