Czeslaw Milosz: On the Imagination of Twentieth-Century Man

2005 ◽  
Vol 19 (1) ◽  
pp. 21-39
Author(s):  
Flagg Taylor

Czeslaw Milosz is known either as author of The Captive Mind(1953) or as the accomplished poet and Nobel laureate (1980). Little effort has been made to connect the beautiful and penetrating poet and essayist, so well known in literary circles, with the most astute analyst of the seduction of intellectuals by Communism, so essential for political scientists and historians. It is argued here that there is a remarkable unity of purpose and continuity of themes across the very distinct works in Milosz's corpus. The subject matter of intellectuals and Communism would seem, at first glance, to be an important yet nonetheless isolated matter, central only from the standpoint of understanding postwar Eastern Europe. Milosz reveals that the topic of eastern intellectuals and Communism is a surface manifestation of larger and deeper philosophical problems, including modern science and its effect on the human imagination, and the gulf between the poet and his audience.

Author(s):  
Xawery Stańczyk

Things Turned Out the Way They Did: Failure and Weakness in the Culture of Central and Eastern EuropeThe text is the introduction to the new issue of Studia Litteraria et Historica. As such, it presents and conceptualises the category of failure in reference to Central and Eastern Europe in the last few decades of the twentieth century. It outlines the subject matter of respective texts and convergences of the points of view of their authors.Wyszło, jak wyszło. Porażka i słabość w kulturze Europy Środkowo-WschodniejTekst stanowi wstęp do nowego numeru „Studia Litteraria et Historica”. Przedstawia i konceptualizuje kategorię porażki w odniesieniu do obszaru Europy Środkowo-Wschodniej ostatnich kilku dekad XX wieku. Nakreśla tematykę poszczególnych tekstów oraz zbieżności punktów widzenia autorek i autorów.


2021 ◽  
Vol 24 ◽  
pp. 33-53
Author(s):  
Milen Jissov

This article rethinks critically a landmark work of the twentieth century—The Captive Mind, by Nobel laureate Czesław Miłosz. Published in 1953, the book sought to understand human subjectivity, or, as it put it, “how the human mind functions,” in Cold-War Eastern Europe. I argue that, while probing what Western intellectuals of that time saw as the historical novelty of totalitarianism, Miłosz formulates an analysis that is rather retro. He represents Eastern Europe in terms of colonialism and imperialism—as a colonized realm and a colonized mind. What is more, he casts his representation in the terms of what Edward Said famously called “Orientalism”—producing a distorted, Orientalist work. Finally, while intimating hope for overcoming Eastern Europe’s domination, Miłosz shows that hope as illusory. 


Author(s):  
James Gouinlock

The philosophy of John Dewey is original and comprehensive. His extensive writings contend systematically with problems in metaphysics, epistemology, logic, aesthetics, ethics, social and political philosophy, philosophy and education, and philosophical anthropology. Although his work is widely read, it is not widely understood. Dewey had a distinctive conception of philosophy, and the key to understanding and benefiting from his work is to keep this conception in mind. A worthwhile philosophy, he urged, must be practical. Philosophic inquiry, that is, ought to take its point of departure from the aspirations and problems characteristic of the various sorts of human activity, and an effective philosophy would develop ideas responsive to those conditions. Any system of ideas that has the effect of making common experience less intelligible than we find it to be is on that account a failure. Dewey’s theory of inquiry, for example, does not entertain a conception of knowledge that makes it problematic whether we can know anything at all. Inasmuch as scientists have made extraordinary advances in knowledge, it behoves the philosopher to find out exactly what scientists do, rather than to question whether they do anything of real consequence. Moral philosophy, likewise, should not address the consternations of philosophers as such, but the characteristic urgencies and aspirations of common life; and it should attempt to identify the resources and limitations of human nature and the environment with which it interacts. Human beings might then contend effectively with the typical perplexities and promises of mortal existence. To this end, Dewey formulated an exceptionally innovative and far-reaching philosophy of morality and democracy. The subject matter of philosophy is not philosophy, Dewey liked to say, but ‘problems of men’. All too often, he found, the theories of philosophers made the primary subject matter more obscure rather than less so. The tendency of thinkers is to become bewitched by inherited philosophic puzzles, when the persistence of the puzzle is a consequence of failing to consider the assumptions that created it. Dewey was gifted in discerning and discarding the philosophic premises that create needless mysteries. Rather than fret, for instance, about the question of how immaterial mental substance can possibly interact with material substance, he went to the root of the problem by challenging the notion of substance itself. Indeed, Dewey’s dissatisfaction with the so-called classic tradition in philosophy, stemming at least from Plato if not from Parmenides, led him to reconstruct the entire inheritance of the Western tradition in philosophy. The result is one of the most seminal and fruitful philosophies of the twentieth century.


2020 ◽  
Vol 51 ◽  
pp. 243-268
Author(s):  
Julie M. Johnson

AbstractThis article positions multidisciplinary artist Friedl Dicker-Brandeis at the center of a web that spans Vienna 1900, the Weimar Bauhaus, and interwar Vienna. Using a network metaphor to read her work, she is understood here as specialist of the ars combinatoria, in which she recombines genre and media in unexpected ways. She translates the language of photograms into painting, ecclesiastical subject matter into a machine aesthetic, adds found objects to abstract paintings, and paints allegories and scenes of distortion in the idiom of New Objectivity, all the while designing stage sets, costumes, modular furniture, toys, and interiors. While she has been the subject of renewed attention, particularly in the design world, much of her fine art has yet to be assessed. She used the idioms of twentieth-century art movements in unusual contexts, some of these very brave: in interwar Vienna, where she created Dadaistic posters to warn of fascism, she was imprisoned and interrogated. Always politically engaged, her interdisciplinary and multimedia approach to art bridged the conceptual divide between the utopian and critical responses to war during the interwar years. Such engagement with both political strains of twentieth-century modernism is rare. After integrating the interdisciplinary lessons of Vienna and the Weimar Bauhaus into her life's work, she shared these lessons with children at Terezín.


2013 ◽  
Vol 22 (2) ◽  
pp. 277-282
Author(s):  
JEFFREY WEEKS

Three obvious, superficially simple but actually intensely complex questions embodied in the title immediately confront the reader of Dagmar Herzog's important new book. First, what do we mean by the ‘sexuality’ that constitutes the subject matter? Second, what is demarcated by the Europe that provides the geo-political boundaries of this study? Third, does the ‘twentieth century’ provide a useful temporal unity for the narrative and analysis that is at the heart of the book? Such questions are not mere scholarly nit-picking or academic point scoring, but a tribute to the problematising of the body in space and time that has been a hallmark of the deconstructive and reconstructive energy of recent scholarship on the sexual, and that is now making a welcome entry into mainstream history.


Author(s):  
Lubomír Hampl

The author presents to the Polish-speaking reader a little-known work by Jan Amos Comenius, titled Latin Dedicatio ad tria regna – Czech Dedikace třem královstvím – Polish Dedykacja trzem Królestwom – English Dedication to the Three Kingdoms. It acquaints us not only with its structure, composition and layout, but also with the main theses and assumed plans. It introduces us to a large extent to the subject matter of „repairing human things”. We see how Jan Amos Comenius persistently and with unprecedented persistence decidedly pursued the honorable goal that he set for himself – the panophilic repair of all human things. A picture of Comenius' hopes for these three European countries, ie Poland, Sweden and Great Britain, was also presented. We also learn how this manuscript in question was gradually modified by him over the course of the seventeenth century. An important fact is also that the described work is important for modern science, especially in historical, social, pedagogical, philological and theological disciplines.


Author(s):  
Robert A. Segal

‘Myth and religion’ explores how twentieth-century theories from religious studies have sought to reconcile myth with science by reconciling religion with science. One tactic has been to re-characterize the subject matter of religion and therefore of myth. Another has been to elevate seemingly secular phenomena to religious ones. As part of this elevation, myth is no longer confined to explicitly religious ancient tales. Plays, books, and films are like myths because they reveal the existence of another, often earlier world alongside the everyday one—a world of extraordinary figures and events akin to those found in traditional myths.


Author(s):  
Marek Bernacki

The subject of considerations is the vision of Poland contained in the Prologue – the only dramatic work by Czesław Miłosz, written during the occupation and published for the first time in „Pamiętnik Teatralny”only in 1981. The author sees the Prologue as a testimony to the awareness of Polish pre-war elites who counted on the rebirth of post-war Poland. He reads Miłosz’s drama as an example of an intertextual workin which one can hear the reverberation of ancient, Renaissance and romantic pieces. He sees in it a record of the spiritual dilemmas of the future Nobel laureate, who had to choose between the attitude of a humanist and the temptation of totalitarianism, and also as an example of a work with universal, timeless ideological significance, speaking about the dilemmas of an individual colliding with the ruthless forcesof historical or political determinism. 


2021 ◽  
pp. 276-291
Author(s):  
Gonzalo Robledo

The Japanese translation of One Hundred Years of Solitude, published in 1972, was a landmark in Japan’s twentieth-century cultural life. From literature to cinema, from drama to anime film, García Márquez’s masterpiece has been hailed as a source for inspiration or as a professional milestone by leading Japanese creators. Authors such as Kenzaburō Ōe (Nobel laureate, 1994), Natsuki Ikezawa, and Kobo Abe openly acknowledged having undergone literary influence from the Colombian writer, while Haruki Murakami scholars point out how magical realism serves as García Márquez’s tool in depicting multiple explanations for a reality populated by traumatized characters. The subsequent Japanese publication of the near-totality of the Colombian Nobel laureate’s oeuvre, moreover, has helped bring into view a great many coincidences between magical realism and the subject matter and techniques of Japanese literary works produced since the end of the nineteenth century, when Japan ended its voluntary isolation and opened itself up to the West. The imprint of García Márquez on Japanese culture brings out parallels between two distant literary traditions that offer a reality different from that of the European, modifying it with magical or animistic elements. The legacy of GGM in cinema is present above all in the animated films of the Ghibli Studio, which submerge the viewer in a reality so palpable that one is induced to unquestioningly accept extravagant or implausible events.


Author(s):  
Анна ЄЛІСЕЄНКО

B. Sadovskoy led an active literary activity in the first half of the twentieth century. In 1904 the editor of “Vesy” V. Bryusov invited the young writer to collaborate in the journal. B. Sadovskoy proved to be a talented literary critic and poet. Nevertheless, his reviews and notes were considered as pretentious and sharp in expressions that led to the condemnation and alienation of many contemporaries in relation to the writer. A few years later B. Sadovskoy became a member of “Zolotoe Runo”. Editorial policy of this journal from the first issue became the subject of controversy in literary circles, especially from the Symbolists who published their works on the pages of “Vesy”. The journals “Vesy” and “Zolotoe Runo” played a considerable role in B. Sadovskoy’ formation as a writer, poet and literary critic. 


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