http://hdl.handle.net/11089/32526 2026-04-03T23:10:47Z 2026-04-03T23:10:47Z Kowalik, Stanisław http://hdl.handle.net/11089/33899 2021-02-27T02:22:21Z 2020-01-01T00:00:00Z

O zbędności albo niezbędności wykonania kolejnego etapu naukowego rejsu przez Lecha Witkowskiego (polemika z recenzją jego książki Psychodynamiki i ich struktura. Studia z humanistyki stosowanej) Kowalik, Stanisław

2020-01-01T00:00:00Z Pobojewska, Aldona http://hdl.handle.net/11089/33898 2021-07-20T09:18:21Z 2020-01-01T00:00:00Z

Czy jesteśmy Syzyfami? Refleksje na temat sensu życia Pobojewska, Aldona We are now more often than ever contemplating existential problems. In this text I present some reflections related to the issue in the title. I do it in two steps. First, I consider from which perspective one can reasonably and effectively adjudicate about the meaning of an individual's life. Next, I illustrate this problem by presenting several concepts that refer to the mythological fate of Sisyphus. I precede the text with an introduction and close with an ending.

2020-01-01T00:00:00Z Mróz, Jowita http://hdl.handle.net/11089/33896 2022-02-15T21:21:50Z 2020-01-01T00:00:00Z

Wątki egzystencjalne w twórczości Bergmana Mróz, Jowita Ingmar Bergman wniósł do dyskusji o sztuce własną estetykę i autorski język. Zastanowię się, czy wykorzystywał filmowe medium do filozofowania w duchu egzystencjalizmu. Analizując Więzienie, Siódmą pieczęć, Tam, gdzie rosną poziomki, Gości Wieczerzy Pańskiej i Szepty i krzyki odwołuję się do: wypowiedzi artysty, interpretacji badaczy jego filmów i filozofii egzystencjalnej – Kierkegaarda, Sartre’a, Heideggera i Jaspersa. Perspektywa interpretacyjna, którą przyjmuję jest panoramiczna. Zakładam za Hook i Bergom-Larsson, że twórczość Bergmana stanowi spójną całość. W takiej perspektywie nie tylko ujawniają się związki filmów Bergmana z filozofią egzystencjalną, ale również jego filozoficzny punkt widzenia; Ingmar Bergman contributed his own specific aesthetics and language to the discussion on art. I will try to figure out if by means provided by cinematic techniques Bergman conducted his own reasoning on the matters of philosophical existentialism. In analyzing Prison, The Seventh Seal, Wild Strawberries, Winter Light and Cries and Whispers I am referring to director’s utterances, researcher’s interpretations and existential philosophy – Kierkegaard, Sartre, Heidegger and Jaspers. I take a look at his artistic output in a broad perspective. Based on the opinions expressed by Hook and Bergom-Larsson I assume that entire work of Bergman constitutes a coherent wholeness. Such perspective provides me with possibility to present the connection between Bergman’s movies and existential philosophy as well as his philosophical point of view.

2020-01-01T00:00:00Z Węgrzyn, Marta http://hdl.handle.net/11089/33895 2022-02-15T21:37:09Z 2020-01-01T00:00:00Z

Ja – ty – dzieło jako źródło poznania. Między neokantyzmem a hermeneutyką: Cassirer i Ricoeur Węgrzyn, Marta An attempt to compare the epistemological positions of two thinkers coming from different philosophical traditions requires turning to the sources of both philosophical programs. This will allow us to reveal the common and differentiating features of the described projects. On the one hand, we have Cassirer, the heir to neo-Kantianism and the creator of symbolism, on the other, we are rooted in the tradition of reflective philosophy and phenomenological hermeneutics, Ricoeur. Despite many differences in epistemological assumptions, we can find similar positions in both philosophers. The concurrence of the three Cassirerow base phenomena with three hermeneutic horizons manifests itself - as we will try to demonstrate - in the concept of the Work. The hermeneutic intuition of Cassirer turns into Ricoeur's reflection on self-understanding in the face of a work that affects our perception of the world and thinking about ourselves. In the article, we will consider how the contemporary philosophy of culture developed by Cassirer is taken up by contemporary hermeneutics. Is the convergence of the three base phenomena with the three horizons that combine with each other in the process of interpretation in the juxtaposition of the philosophy of culture with contemporary hermeneutics? Do we have the right to compare Cassirerow's base phenomena, I - You -Work is with hermeneutic communication which is presented on the line Author (Creator) -Text (Work) - Reader (Receiver)?

2020-01-01T00:00:00Z