scholarly journals Notes about Czerniawski

2020 ◽  
Vol nr specjalny 1(2020) ◽  
pp. 542-554
Author(s):  
Marian Kisiel ◽  
Keyword(s):  
Literary Criticism ◽  
20Th Century ◽  
Common Sense ◽  
Avant Garde ◽  
Surrounding World ◽  
The Common ◽  
Traditional Understanding ◽  
The Grotesque

The article constitutes a collection of notes related to the lesser known and rarely commented works by an émigré writer – Adam Czerniawski: his poems translated into English, short texts of literary criticism, short novels and his memoirs. Modern Polish prose is still frequently treated as a ciphertext, of interest only to a limited number of readers who revel in this labyrinth of thoughts. It may seem that at the end of the 20th century – a period so involved in the debate about the traditional understanding of literature – avant-garde variants of prose should be understandable for everyone or, at least, that literary criticism would assign them to the appropriate level in the hierarchy of modern forms. However, the situation turned out to be different. The prose model imposed by Positivism still remains predominant in the habits and tastes of both literary critics and readers, and only recently has this model been questioned. As a result, the short novels by Czerniawski have not yet been sufficiently analysed. Reminiscent of Gombrowicz, these texts can be seen as absolute stories. The feature of absoluteness is visible at all their levels: origin, narration, reading. Everything is possible, yet nothing is accidental or random. However, limiting these narratives to only avant-garde rules would, without a doubt, distort their sense. Czerniawski’s prose also uses the infinite potential of the grotesque, plays with its own language, thus making it into an undoubtedly philosophical Ding an sich. The prose was also written in order to face traditional sanctities such as, for instance, the incorrigible “Polishness” that glorifies old symbols and sees a divine influence in them. Finally, Czerniawski’s prose is based on the “common sense” that can be found in numerous amusing contexts of the surrounding world.

scholarly journals Walter Benjamin e Roland Barthes às margens da escritura

2019 ◽  
Vol 14 (1) ◽  
pp. 87
Author(s):  
Derick Davidson Santos Teixeira
Keyword(s):  
Literary Criticism ◽  
Lived Experience ◽  
20Th Century ◽  
Literary Theory ◽  
Jacques Derrida ◽  
Walter Benjamin ◽  
Roland Barthes ◽  
Maurice Blanchot ◽  
Literary Works ◽  
The Common

Resumo: A noção de escritura, desenvolvida por teóricos como Roland Barthes,Jacques Derrida e Maurice Blanchot, no século XX, possui um lugar medular nateoria da literatura e na crítica literária. O presente trabalho propõe um cotejamento entre a teoria de Walter Benjamin e de Roland Barthes no que concerne à escritura. Tomando alguns traços principais da escritura, analisados por Barthes, em conjunto com o pensamento de Benjamin acerca da narração, do declínio da experiencia e de algumas obras da literatura moderna – como a obra de Proust– é possível elucidar de que forma a escritura, operando como um limiar (Schwelle), escapa à rigidez das fronteiras que separam o pessoal e o histórico, a ordem comum do individualismo, a experiência da vivência.Palavras-chave: Roland Barthes; Walter Benjamin; escritura; limiar.Abstract: The notion of writing, developed by theorists such as Roland Barthes, Jacques Derrida and Maurice Blanchot, in the 20th century, has a fundamental place when it comes to literary theory and literary criticism. This work proposes a collating between Walter Benjamin’s and Roland Barthes’ theory concerning writing. Taking some main features of writing, analyzed by Barthes, together with Benjamin’s thought about narration, the decline of experience and some modern literary works – such as Proust’s oeuvre – it is possible to elucidate how writing, working as a threshold (Schwelle), escapes from the rigidity of the borders that separate the personal and the historical, the common order and individualism, experience and “inner lived experience”.Keywords: Roland Barthes; Walter Benjamin; writing; threshold.

scholarly journals AVANT-GARDE DIALOGUES

2021 ◽  
Vol 17 (5) ◽  
pp. 104-108
Author(s):  
Alexander N. Lavrentiev
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
Decisive Role ◽  
The Other ◽  
Avant Garde ◽  
Spatial Objects ◽  
American Artist ◽  
Linear Elements ◽  
The Common ◽  
Jean Tinguely

The article is dedicated to comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20-th century. For both artists technology played the decisive role in constructing spatial objects, both of them used line as a basic expressive element. Still there is a certain difference stressed by the author: Rodchenko used linear elements to express structural and constructive qualities of spatial objects, while Calder was more intending to represent emotion and movement. Rodchenko and Calder belong to the common abstract artistic trend in 20th century sculpture. But their works served as the basis for the two different traditions: minimalist conceptual and geometric art of Donuld Judd on one side and spontaneous mechanisms of Jean Tinguely on the other.

The Legacy of Reid's Common Sense in Analytic Epistemology

2019 ◽  
Vol 17 (1) ◽  
pp. 23-37
Author(s):  
Mark Boespflug
Keyword(s):  
Common Sense ◽  
Thomas Reid ◽  
The Common

The common sense that heavily informs the epistemology of Thomas Reid has been recently hailed as instructive with regard to some of the most fundamental issues in epistemology by a burgeoning segment of analytic epistemologists. These admirers of Reid may be called dogmatists. I highlight three ways in which Reid's approach has been a model to be imitated in the estimation of dogmatists. First, common sense propositions are taken to be the benchmarks of epistemology inasmuch as they constitute paradigm cases of knowledge. Second, dogmatists follow Reid in taking common sense propositions to provide boundaries for philosophical theorizing. Inasmuch as philosophical theorizing leads one to deny a common sense proposition, such theorizing is stepping outside of the bounds of what it can or should do. Third, dogmatists follow Reid in focusing heavily on the problem of skepticism and by responding to it by refusing to answer the demand for a meta-justification that the skeptic wants.

Thomas Reid on Causation and Scientific Explanation

2016 ◽  
Vol 14 (1) ◽  
pp. 51-67 ◽  
Author(s):  
Manuel Barrantes ◽  
Juan M. Durán
Keyword(s):  
Common Sense ◽  
Scientific Explanation ◽  
Thomas Reid ◽  
Contemporary Debate ◽  
The Common

We argue that there is no tension between Reid's description of science and his claim that science is based on the principles of common sense. For Reid, science is rooted in common sense since it is based on the (common sense) idea that fixed laws govern nature. This, however, does not contradict his view that the scientific notions of causation and explanation are fundamentally different from their common sense counterparts. After discussing these points, we dispute with Cobb's ( Cobb 2010 ) and Benbaji's ( Benbaji 2003 ) interpretations of Reid's views on causation and explanation. Finally, we present Reid's views from the perspective of the contemporary debate on scientific explanation.

Being Numerous

2011 ◽  
Author(s):  
Oren Izenberg
Keyword(s):  
Twentieth Century ◽  
Social Life ◽  
Avant Garde ◽  
Literary Life ◽  
Aesthetic Politics ◽  
The Face ◽  
The Common ◽  
Century Poetry ◽  
Practical Question ◽  
Language Poets

This book offers a new way to understand the divisions that organize twentieth-century poetry. It argues that the most important conflict is not between styles or aesthetic politics, but between poets who seek to preserve or produce the incommensurable particularity of experience by making powerful objects, and poets whose radical commitment to abstract personhood seems altogether incompatible with experience—and with poems. Reading across the apparent gulf that separates traditional and avant-garde poets, the book reveals the common philosophical urgency that lies behind diverse forms of poetic difficulty—from William Butler Yeats's esoteric symbolism and George Oppen's minimalism and silence to Frank O'Hara's joyful slightness and the Language poets' rejection of traditional aesthetic satisfactions. For these poets, what begins as a practical question about the conduct of literary life—what distinguishes a poet or group of poets?—ends up as an ontological inquiry about social life: What is a person and how is a community possible? In the face of the violence and dislocation of the twentieth century, these poets resist their will to mastery, shy away from the sensual richness of their strongest work, and undermine the particularity of their imaginative and moral visions—all in an effort to allow personhood itself to emerge as an undeniable fact making an unrefusable claim.

Motives of espionage against ones own country in the light of idiographic studies

2011 ◽  
Vol 42 (1) ◽  
pp. 1-4 ◽  
Author(s):  
Sebastian Michalak
Keyword(s):  
Common Sense ◽  
Control Group ◽  
Common Denominator ◽  
Methodological Problems ◽  
The Common

Motives of espionage against ones own country in the light of idiographic studies The money is perceived as the common denominator among people who have spied against their own country. This assumption is common sense and appears to be self-evident truth. But do we have any hard evidences to prove the validity of such a statement? What method could be applied to determine it? This article is a review of the motives behind one's resorting to spying activity which is a complex and multifarious process. I decided to present only the phenomenon of spying for another country. The studies on the motives behind taking up spying activity are idiographic in character. One of the basic methodological problems to be faced by the researchers of this problem is an inaccessibility of a control group.

National Institute of Art and Design named after Kamoliddin Behzod

2019 ◽  
Vol 5 (4) ◽  
pp. 104-108
Author(s):  
Dilzoda Alimkulova
Keyword(s):  
20Th Century ◽  
Art And Design ◽  
Avant Garde ◽  
History Of ◽  
20Th Century Art

The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

Some thoughts on lexemes, the dome, and inner speech

2018 ◽  
Vol 4 (1) ◽  
Author(s):  
William Benzon
Keyword(s):  
Language Development ◽  
Common Sense ◽  
Cognitive Structure ◽  
External World ◽  
Inner Speech ◽  
Neural Systems ◽  
The Common

Sydney Lamb’s model focuses our attention on the physicality of language, of the signs themselves as objects in the external world and the neural systems the support them. By means of the metaphor of a cognitive dome, he demonstrates that there is no firm line between linguistic and cognitive structure. In this context, I offer physically grounded accounts of Jakobson’s metalingual and emotive functions. Drawing on Vygotsky’s account of language development, I point out that inner speech, corresponding to the common sense notion of thought, originates in a circuit that goes through the external world and is then internalized.

ALTRUISTIC AND EGOISTIC AGON IN THE EMOTIONAL CRISIS OF SUŠIĆ'S DRAMATIC PERSONS

2018 ◽  
Vol 28 (7) ◽  
pp. 2361-2365
Author(s):  
Almedina Čengić
Keyword(s):  
20Th Century ◽  
Oral Tradition ◽  
Historical Background ◽  
Historical Records ◽  
Artistic Creation ◽  
Avant Garde ◽  
Modern Process ◽  
Artistic Vision ◽  
Dramatic Characters ◽  
The One

The second half of the 20th century in Bosnian literature is marked by the new tendencies of avant-garde writers, who will create their work through a different form of artistic creation, compared to the one that was presented at the beginning of this period. It is important to clarify the specificity of the various procedures that have positively directed dramatic creativity towards the modern lines of European literary circles. Derviš Sušić (1925-1990.), the Bosnian-Herzegovinian tradition and the reality of images, presented in a completely new artistic vision, make oscillation, in the writer's creation, between the determinants of historical facts and the legacy of oral tradition. Derviš Sušić Within the avant-garde tendencies of contemporary writers of the regional region, which appear in the mid-20th century, Sušić dominates in his virtuous creations of dramatic situations and dilemmas, in which his protagonists act. In a specific presentation of crucial culmination points, within the framework of the process of "drama of the flow of consciousness," a modern process in the conduct of drama, this writer analytically approaches the individual's dialectical duplication. Through artistically shaped fragments taken from historical records, this literary virtuoso presents in his texts a culmination point of Bosnian survival, very picturesque dramatic shaped historical characters and crucial events. It is symptomatic that Susić's characters become prototypes of stage characters, without temporal or location restrictions, transmitting a universal message of a unique attitude about the value of human activity and existence, outperform stereotypical models recognizable in the additional drama literature. Through the colorful of seeing and a range of specific dramatic characters, without the diversity of their differentiation in national status or sociopolitical affiliation, this writer creates a special ambient effect in the construction of his poetic fabrics based on historical background. The task of this paper is to prove the causality and conditionality of altruistic (social) and egoistic (individual) agonies in the actions and actions of Sušić's characters, in the examples of dramatic texts "Veliki vezir" (1969) and "Posljednja ljubav Hasana Kaimija "(1973), as well as the influence of emotional indicators on the concrete initiation of the dramatic conflict. It is therefore very interesting to explore and verify the models that will dominantly dominate the regional scene for almost half a century and be accepted as models in the way of writing its contemporaries, among the readers' population, but also at the same time with very successful placement in the theater audience.

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