103 research outputs found
Kantian Motives in Work of Ludwig Wittgenstein
No full textIt is proved that the basic framework of the premises and reasoning of Wittgenstein's “Tractatus Logico-philosophicus” corresponds quite well to the transcendental method (as formulated by H. Cohen). Whereas Kant’s philosophy proceeds from the fact of existence of mathematics and mathematised natural science and investigates their conditions of possibility, Wittgenstein proceeds from the fact that propositions of language describe reality and reveals the conditions of possibility of such descriptions. Kant, answering the question about the conditions of possibility of the named sciences, comes to the idea of the transcendental subject and the distinction between the world of phenomena and the thing in itself. Wittgenstein's investigation of the conditions of possibility that the world is described by propositions leads to the assertion that both the world and language are together in logical space. The latter constitutes the a priori and transcendental condition of the possibility that language “reaches out” to reality. For both the theories - in the “Critique of Pure Reason” and in the “Tractatus Logico-Philosophicus” - the idea of the boundary is important. In the “Critique of Pure Reason” it is the boundary of possible experience and cognition, while in the “Tractatus Logico-Philosophicus” it is the boundary of what can be thought and expressed by meaningful propositions. Related to the different definitions of the boundary is the difference in the treatment of mathematised natural science. For “The Critique of Pure Reason” was created in the era of unconditional acceptance of Newtonian mechanics. And the “Tractatus Logico-Philosophicus” was created at the time of the crisis of the Newtonian paradigm and its replacement by other notions of time and space. However, the idea of boundary, which is present in both doctrines, determines closeness in the attitude towards metaphysics between the author of “The Critique of Pure Reason” and the author of “The Tractatus Logico-Philosophicus”. The study also shows that Wittgenstein did not follow logicism in his philosophy of mathematics. For him, both mathematical objects and propositions of logic are constructions. The conviction about the constructive character of mathematical and logical objects shows an affinity with the Kantian tradition in the philosophy of mathematics
Praise be to the plague?
No full textAmong the various human attitudes toward a pandemic, along with fear, despair and anger, there is also an urge to praise the catastrophe or imbue it with some sort of hope. In 2020 such hopes were voiced in the stream of all the other COVID-19 reactions and interpretations in the form of predictions of imminent social, political or economic changes that may or must be brought on by the pandemic, or as calls to “rise above” the common human sentiment and see the pandemic as some sort of cruel-but-necessary bitter pill to cure human depravity or social disorganization. Is it really possible for a plague of any kind to be considered a relief ? Or perhaps a just punishment? In order to assess the validity of such interpretations, this paper considers the artistic reactions to the pandemics of the past, specifically the images of the plague from Alexander Pushkin’s play Feast During the Plague, Antonin Artaud’s essay “The Theatre and the Plague” and Albert Camus’s novel The Plague. These works in different ways explore an attitude in which a plague can be praised in some respect. The plague can be a means of self-overcoming and purification for both an individual and for society. At the same time, Pushkin and Camus, each in his own way and by different means, show the illusory nature of that attitude. A mass catastrophe can reveal the resources already present in humankind, but it does not help either the individual or the society to progress
Demonology mechanisms in the poem of Zinaida Gippius Соблазн
No full textThis paper aims to analyze demonology mechanisms in the works of Zinaida Gippius. The poem Соблазн (1900) is analyzed. The author of this paper claims that a set of beliefs, shaped by modernistic influences, had a substantial influence on the poet’s works. The paper is a study of the demonology mechanisms, i.e.: a study of their presence, functions, and specific reference to their role in the cultural tradition. The poem Соблазн suggests decoding of symbols included therein. The text is read in the categories of demonology discourse. The starting point of such reading is an interpretation of the key motifs present in the text (cell, lamp, whisper). An important research perspective proposed in this paper is an interpretation of the poem by Zinaida Gippius in the context of other symbolic texts (of the same author) coming from the same literary period.Artykuł opublikowano ze środków przyznanych w ramach indywidualnego grantu wydziałowego.44545
Zinaida Gippius, symboliści, eserzy i Józef Piłsudski
No full textAutor artykułu konfrontuje postawę Zinaidy Gippius (1869–1945), znanej poetki rosyjskiej epoki symbolizmu, po rewolucji październikowej 1917 roku z postawami znanych symbolistów rosyjskich, Aleksandra Błoka i Andrzeja Biełego. Omawia koncepcję Trzeciej Rosji ("trzeciej siły") oraz Trzeciego Testamentu, jaką wykoncypowała Gippius z mężem Dymitrem Mereżkowskim. Odnotowuje elementy utopii destrukcyjnej tej koncepcji. Dla tworzenia Trzeciej Rosji Gippius wraz z Mereżkowskim zamierzała wykorzystać Polskę. Zarówno związki Gippius z terrorystycznym ugrupowaniem eserów jak i myśl o budowaniu nowego ustroju Rosji przy wykorzystaniu Polski poniosły porażkę. Natomiast jako poetka konceptualizująca czas "Antychrysta" w wierszu Żółte okno, który autor analizuje, Gippius jest Zwycięzcą.The author of the article confronts the behaviour of Zinaida Gippius, a famous Russian symbolist poet, after The October Revolution in 1917, with the behaviour of the famous Russian symbolists: Alexander Blok and Andrei Bely. The author discusses the concepts of The Third Russia ('the third power') as well as The Third Testament, which was contemplated by Gippius and her husband, Dmitry Merezhkovsky. He notices the elements of a destructive utopia of this koncept. To build The Third Russia, Gippius and Merezhkovsky were going to use Poland. The connections between Zinaida and the terrorist union of esers as well as the thought about the creation of a new Russian system using Poland failed. However, Gippius can be considered a winner as a poet, conceptualizing the time of 'Antichrist' in her poem 'The Yellow Window', which is analyzed by the author
Zinaida Gippius, the symbolists, the esers and Joseph Pilsudski
No full textAutor artykułu konfrontuje postawę Zinaidy Gippius (1869–1945), znanej poetki rosyjskiej epoki symbolizmu, po rewolucji październikowej 1917 roku z postawami znanych symbolistów rosyjskich, Aleksandra Błoka i Andrzeja Biełego. Omawia koncepcję Trzeciej Rosji ("trzeciej siły") oraz Trzeciego Testamentu, jaką wykoncypowała Gippius z mężem Dymitrem Mereżkowskim. Odnotowuje elementy utopii destrukcyjnej tej koncepcji. Dla tworzenia Trzeciej Rosji Gippius wraz z Mereżkowskim zamierzała wykorzystać Polskę. Zarówno związki Gippius z terrorystycznym ugrupowaniem eserów jak i myśl o budowaniu nowego ustroju Rosji przy wykorzystaniu Polski poniosły porażkę. Natomiast jako poetka konceptualizująca czas "Antychrysta" w wierszu Żółte okno, który autor analizuje, Gippius jest Zwycięzcą.The author of the article confronts the behaviour of Zinaida Gippius, a famous Russian symbolist poet, after The October Revolution in 1917, with the behaviour of the famous Russian symbolists: Alexander Blok and Andrei Bely. The author discusses the concepts of The Third Russia (\u27the third power\u27) as well as The Third Testament, which was contemplated by Gippius and her husband, Dmitry Merezhkovsky. He notices the elements of a destructive utopia of this koncept. To build The Third Russia, Gippius and Merezhkovsky were going to use Poland. The connections between Zinaida and the terrorist union of esers as well as the thought about the creation of a new Russian system using Poland failed. However, Gippius can be considered a winner as a poet, conceptualizing the time of \u27Antichrist\u27 in her poem \u27The Yellow Window\u27, which is analyzed by the author
Die Tagebücher von Zinaida Gippius
No full textIn dieser Diplomarbeit werden die Tagebücher von Zinaida Nikolaevna Gippius in Hinsicht
auf das Konzept der Literarizität, den Zusammenhang von Literatur und Biographie und das
literarische Selbstverständnis untersucht. Hierbei konzentriere ich mich insbesondere auf ihr
„Petersburger Tagebuch“, welches aus mehreren Heften, Büchern und Notizblöcken besteht,
jedoch als ein Ganzes gesehen werden soll. Ein einführendes Kapitel mit einem kurzen
Überblick über den biographischen Werdegang und das Werk von Gippius sollen dem Leser
die zeitgeschichtliche Einordnung ermöglichen und im Laufe der Arbeit öfters erwähnte
Personen in Zusammenhang setzen. Kapitel 3 „Tagebuch“ setzt sich theoretisch mit der
Gattung auseinander und stellt einige Interpretationsansätze vor. Für das Tagebuch als
autobiographische Gattung erwähne ich Hocke, Boerner und vor allem Dusini, der versucht
Eigenheiten dessen zu definieren und sich weiters mit den Topoi in der Rede über Tagebücher
auseinandersetzt. In diesem Zusammenhang betrachtet er die Konzepte der Formlosigkeit, des
Monologischen und des Privaten kritisch. Ein weiterer ausführlilch behandelter Aspekt wäre
das Tagebuch als literarische Produktion. Durch Beispiele von Gräser, Dusini und Boerner
wird versucht eine Abgrenzung zwischen literarischem und privatem Tagebuch vorzunehmen.
Gräser definiert formale Gesichtspunkte und sogenannte „Kompositionselemente“. Diese
nennt er Formdynamismus, Wiederholung, Zeitfolge und Geschichtlichkeit. Als möglichen
Unterscheidungsfaktor bietet sich die Intention des Autors zur Veröffentlichung der
Aufzeichnungen an. Erwähnt wird in Folge auch, dass es bei editierten Editionen zu
Verfälschungen kommen kann. Anschließend wird der aktuelle Stand der Forschung in Bezug
auf die Gattung Tagebuch und die Publikationen über Zinaida Gippius und die aktuelle
Tagebuchforschung in Russland betrachtet. In dessen Folge gehe ich näher auf Gippius‘
sämtliche Tagebücher ein und konzentriere mich vor allem auf ihr „Petersburger Tagebuch“.
Zurückkehrend auf meine Forschungsfragen wird daraufhin näher auf Boris Tomaševskij und
seine Überlegungen zu Biographie und Literatur und auf Roman Jakobson und seine Theorie
der Literarizität eingegangen. Beide Konzepte versuche ich auf die Tagebücher von Zinaida
Gippius anzuwenden und mit Argumenten zu belegen. Abschließend gehe ich noch auf
meinen zweiten Forschungsschwerunkt, das literarische Selbstverständnis und die
Selbstdarstellung in den Werken, ein.In this diploma paper I analyse the diaries of the Russian émigré poet Zinaida Gippius (or
Hippius) using the concepts of poeticity, the coherence between biography and literature and
the author's literary self-conception. In detail I write about her "Petersburg Diary", which
consists of a few single books, notebooks and booklets that belong together and follow each
other chronologically. In the beginning I provide an introductory chapter about the life and
work of Zinaida Gippius, in order to locate often mentioned individuals, places and the
political and social context in which her diaries are set. Furthermore, I will provide a critical
overview of the international literature on the genre, focusing on the works of Russian literary
scholars and recent publications on both the themes of her work and research on Gippius
herself. I will assess the diaries using the literary concepts of Boris Tomashevsky, which
centre on the importance of knowing biographical facts in understanding the works of an
author, and Roman Jakobson, who established the term poeticity within the structural analysis
of language during the period of Russian Formalism in the early twentieth century. The
concluding chapter will be on the author's self-conception within her diaries, the image she
paints of herself and the circumstances and social life of literary circles in St. Petersburg until
1920
"The Living Faces" of Zinaida Gippius as a Literary Portrait.
No full textDarbs veltīts literārā portreta žanra pētīšanai un tā īpašību apzināšanai, balstoties uz Zinaīdas Hippiusas krājuma "Dzīvās sejas" materiāla. Lai sasniegtu uzstādītos mērķus, darba autors veica esošo literatūrzinātnisko darbu izpēti, kas veltīti literārā portreta definīcijas, ģenēzes un tipoloģijas problēmai.
Darbs sastāv no divām daļām. Pirmajā nodaļā apskatīti galvenie teorētiskie jautājumi, kas nepieciešami tālākai materiāla teksta izpētei. Otrajā nodaļā tiek veikta tieša Zinaīdas Hippiusas literāro portretu analīze, kuras gaitā tiek atrasti mākslinieciskie līdzekļi, ar kuru palīdzību tiek veidots portretējamais tēls, kā arī tiek apskatītas autora personības veidošanas formas tekstā.Bachelor thesis is dedicated to the analysis of the genre of a literary portrait and its features in Zinaida Hippius's collected volume "Living faces" as an example material. To reach the aim the author carefully studied a number of existing literary works on the problem of definition, genesis and typology of literary portrait.
The research consists of two parts. The first part contains the description of the main theoretical problems essential for the further study of the text. The second part is dedicated to the analysis of Zinaida Hippius's literary portraits; the artistic means that help to create the image of a described person, as well as the forms of author's identity figuration are reviewed
Small rain lays great dust: peculiarities of ontology, theory of knowledge and philosophy of science in Wittgenstein’s Tractatus Logico-Philosophicus
No full textStalin’s Povtornyky (On Example of Repressed Writer Zinaida Tulub)
No full textДоля відомої літераторки слугує промовистою ілюстрацією одного з найбільш
ганебних виявів сталінського терору – повторного покарання громадян, визнаних «особливо небезпечними злочинцями». Висвітлюються витоки та деталі
спланованої радянською владою масштабної протиправної вакханалії, розглядається питання правомірності застосування подібних репресій. Поневіряння
хворої письменниці свідчать не лише про атмосферу страху та приреченості
у суспільстві, але й про цілковите безправ’я людини у загальному контексті тоталітаризму.The fate of the famous writer Zinaida Tulub is an expressive illustration of one of the
most disgraceful acts of Stalin’s terror – rearrest of the citizens, declared as a “dangerous
special criminals”. Author in this work covers the origins and details of this scale
unlawful bacchanal planned by Soviet authority. Also in the article displayed the question
of rightfulness of this kind of repressions. Wanderings of the sick writer shows not
just the atmosphere in the society of fear and fatality, but the whole lack of rights of the
person in the totalitarianism context overall
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