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Prose of the social-democratic local government activist from Toszek-Gliwice district, who died in 1974.
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Prose of the social-democratic local government activist from Toszek-Gliwice district, who died in 1974.
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Pour Hemingway, la corrida est un spectacle unique, permettant d’assister à la mise à mort d’un être vivant, et dont la justification réside dans les risques que prend le torero. Pour Montherlant, d’une façon plus ambiguë, toréer c’est une façon de créer, de se libérer, qui permet en même temps de sauvegarder nos racines et traditions. For Hemingway, bull-fighting is a unique spectacle of death. Man risks his life to justify the killing of an animal. For Montherlant, more ambiguously, fighting a bull is an act of creation and liberation, permitting to keep alive our roots and traditions.
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Pour Barbusse et Remarque, le grotesque des morts-vivants sert à illustrer la condition du soldat hanté par la rage des combats. Mais ces figures ne font pas que montrer ni dénoncer la violence endurée en guerre. En exposant l’intrusion de la mort dans la vie et la permanence de la vie dans la mort, elles révisent aussi nos croyances sur la nature même de l’existence. Le grotesque assume le mérite paradoxal de retraverser l’enfer des tranchées pour réaffirmer la valeur de la vie dans son rapport intime à la mort. For Barbusse and Remarque, the grotesque of the living dead illustrates the condition of the soldier haunted by the rage of combat. But these figures do not only show or denounce the violence endured in war. By revealing the intrusion of death in life and the permanence of life in death, they revise one’s beliefs in the very nature of existence. The paradoxical merit of the grotesque lies in going back through the hell of the trenches to reaffirm the value of life in its intimate relationship to death.
More...Le Dernier Homme de Maurice Blanchot
L’objectif de cet article est d’analyser la métaphore de la légèreté dans Le Dernier Homme où celle-ci est associée à la mort. Il s’agit également d’interroger la manière dont la légèreté correspond à « nous » et « là-bas » afin d’y voir se dessiner la matrice d’un lien sans lien que Blanchot développera dans ses essais ultérieurs. The aim of this paper is to analyse the metaphor of lightness [légèreté] in The Last Man by Blanchot, where lightness is associated with death. When considering the full meaning of the word, lightness structures Blanchot’s novel both as for its form and its theme. One may thus consider lightness as a harbinger of two types of community: the community of friends and the community of lovers, both based on a specific bond without bond that Blanchot will have developed in his subsequent essays.
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La littérature est le lieu de l’expression des expériences et se risque parfois à s’attacher à des impossibles difficiles à la raison. L’un d’eux est la mort et, particulièrement, l’expérience de ma propre mort. Comment est-il possible pour des auteurs d’écrire sur ce qui est impossible de dire ou de penser ? Ici se soulève la problématique de l’autothanatographie. Literature is the place of expression for experience and, sometimes, it ventures to focus on some impossible subjects challenging reason. One of them is death and, particularly, the experience of “my own” death. How is it possible for authors to write about what is impossible to say or think? Here arises the issue of autothanatography.
More...Quand le sang appelle le sang
Nourri de références puisées dans l’histoire de l’art aussi bien que dans la culture populaire, cet article explore le versant psychologique de la figure du tueur et plus particulièrement du tueur en série. Il est articulé autour de la notion « d’espace criminel » qui suggère que le tueur, lorsqu’il donne la mort, se trouve dans une réalité psychologique et spatio-temporelle parallèle, qui en fait un être cathartique aux yeux du monde, à l’image des protagonistes des tragédies antiques et des jeux du cirque romains. With specific references to the history of art as well as popular culture, this paper is concerned with the psychological aspect of the killer as a figure, more specifically the serial killer. It deals with the notion of « criminal space » which suggests that the killer, as he inflicts death, finds himself in a parallel psychological reality and a parallel space-time. This makes him a cathartic being in the eyes of the world, such as the protagonists of Greek and Latin tragedies or of Roman games.
More...Le cadavre dans la thanatologie littéraire
Dans son étude de thanatologie philosophique, Todesmetaphern, T. H. Macho développe ce qu’il appelle « le paradoxe du cadavre » : en face du cadavre d’une personne aimée, nous sommes effrayés parce que nous continuons à le considérer comme étant identique à cette personne. Selon Heidegger, nous sommes confrontés à une « mutation » qui signifie une rupture ontologique fondamentale, à savoir à la transformation d’un corps vivant (et humain) en objet. Ce paradoxe a préoccupé maints écrivains et philosophes. In his study on philosophical thanatology, Todesmetaphren, T. H. Macho analyses what he calls the “paradox of the corps”. When we have a look on corpse of a beloved person, we are frightened because we consider the “object” still as that person. We are witnesses of a fundamental ontological change: the existential-ontological structure of the Dasein (being there/presence) turns into an object. The Leichenparadox was fascinating writers and philosophers. .
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Cet article traite de la difficulté de se savoir mortel. Il part de la caractérisation de la mort comme « pur point d’interrogation » (Levinas) pour montrer que la position épistémique qu’elle implique est intenable pour les êtres de langage que nous sommes. Il défend l’idée selon laquelle notre rapport discursif à la mort est strictement de l’ordre du commentaire. Autrement dit, là où il est impossible de vérifier, d’observer, de mesurer et, en même temps, de se taire, il reste à commenter, à épiloguer. This paper addresses the difficulty of understanding one’s own mortality. It begins by examining the characterization of death as a “pure question mark” (Levinas) to show that the epistemic position that this implies is untenable for the beings of language that we are. It defends the idea that our discursive relationship to death is strictly limited to commentary. In other words, that which is impossible to verify, to observe and to measure, but is also impossible to remain silent about, can only be commented upon, discussed indefinitely.
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This article examines a Unitarian hymnal, and its textual variations from the beginning of the 17th century. While the sources of the hymnal have not been entirely mapped, this article explores the influence of the works of Miklós Bogáthi Fazekas (Nicholas Fazakas Bogáthi) (1548–1592?/1598?).His psalm-translations are important indicators of the material (the hymns), because his psalter was propagated through hand-written copies of the hymnals (manuscripts) which have been thoroughly examined by the Pécs-based Bogáthi research team.Definitive conclusions cannot be drawn about the sources, the rewriting processes, and the editorial intentions based solely on the relationships betweenthe printed textual variations in the hymnals and the Bogáthi manuscripts. The article also explores the relationship between the lost Toroczkai-gradual and some of the hymns in the 1616 Unitarian hymnal.
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Review of: Ülkü Önal "Ardanuç - Ahiska Masallari ve Halk Hika Yeleri", Ankara 2004, X + 326 p. by: Aziz Ayva
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The article describes the contents of the home archive of Julian Przyboś, its structure and specific nature of selected documents. A several dozen folders stored by the poet’s wife hold typescripts and manuscripts of literary works, writings, private and official correspondence, calendars, notes of creative and functional nature, newspaper clips, conference programmes with notes, tickets, postcards and drawings. The conducted research will help complement the knowledge of the poet’s work and see him from a brand new perspective, through everyday life and experience. The surviving documents will also contribute to a better description of the metaphor model that makes the poetry of Przyboś specific.
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