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The article presents the basic cognitive-theoretic assumptions and procedures of the documentary analysis of narrative-biographical interviews. There is a particular attention paid to the possibility of combining different analytical perspectives including sequential analysis “along” the text and dialogic “across” the text. Also, the basic trips of premature over-interpretation of the narrative-biographical text are to be discussed. The structure of the article corresponds to the typical stages of the documentary interpretation proposed by Ralf Bohnsack. The reader learns the typical phases of the analysis on the example of the interview with a special educator and foster parent in one person. The interpretation focuses on a new model of the pedagogical professionalism blurring the boundaries between professional and family biography.
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The article concerns the question of the ghost, which runs through the oeuvre of Stanislaw Wyspianski (1869-1907) from his school translation of G.A. Bürger`s Lenora until the last, unfinished drama Zygmunt August.
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The author starts by recalling that the Polish national anthem – “Jeszcze Polska nie umarła…” (“Poland Is Not Yet Lost”), known also as Mazurek Dąbrowskiego (Dąbrowski\'s Mazurka) – is a song composed by and for exiles. For many of its actual protagonists the words: “Marsz, marsz […] do Polski” (“March, march [...] to Poland”) remained an unfulfilled dream. They died abroad and were buried in foreign graveyards, and now, according to the anthem lyrics, returned to Poland to lead the life (So long as we still live) of phantoms (a life that in many different ways was truly spectral). The author goes on to ask: can a poem offer refuge? Is poetry a form of hospitality? Can it provide asylum, just like Mazurek Dąbrowskiego takes in those exiles-legionnaires interred somewhere in distant lands and long forgotten graves? Instead of a solution – binding and expressed in simple words befitting soldiers – the author suggests two approaches to Polish poems about exiles (in France). The first is: Pogrzeb kapitana Meyznera by Juliusz Słowacki, and the second: Rue de Poitiers by Ryszard Krynicki.
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Individual hospitality is predominantly an ethical problem. This attitude, recommended in traditions, religions, and philosophical systems, is not always accepted by ordinary people. It does, however, remain an important point of reference. On the other hand, there is no unambiguous translation of the attitude in question into relations between groups, states, and nations. The problem at stake is well illustrated by examples from the history of the Jews – from antiquity to contemporary Israel. A wide background for the category of hospitality renders possible more in-depth reflections about the situation prevalent in Poland and present-day Europe. Fear of destabilization is natural and universal; people differ radically as regards, e.g. their assessment of the number of incomers, which could destabilise social order.
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If the philosophy of the West (and the civilisation of Man) starts with stifling the Socrateian daimonion and silencing the voice of the Philosopher himself in writing – then it ends with Lévinas “splitting the atom” of the subject and a prophetic prediction of communication (upon the very threshold of the neo-media revolution). The intention of this text is to comprehend the “entanglement” of the subject in the light of assorted contemporary discoveries and investigations. The point of departure is a simple intellectual experiment, subsequently interpreted in ten various contexts. The article is inspired by diverse philosophical sources (Agamben, Heidegger, Lévinas, Nancy, Ricoeur, Wodziński), but also by those found within the realm of assorted sciences (Gazzaniga, Heisenberg, Jaynes) and in particular the media theories (Havelock, de Kerckhove, Taylor, Ulmer). A description of the conclusions drawn from this reflection within the concepts of host / guest and hospitality / guest-the other leads towards a more in-depth discovery of a common field for the possible arrival at “such a You in which there is no I”.
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An encounter with a great work of art (and in this case this is the only kind I have in mind) always has an underpinning involving risk and uncertainty. Participating in such an encounter we are exposed to the different, the alien, and the unknown. Uncertain, we thus drift between fascination and fear. We are no longer at home and become guests in a “strange” land, but also hosts in relation to that, which is not ours. We enter a work of art, but the latter does the same in relation to us. Sciences dealing with art do much to tame and name that unclear and mysterious encounter and to eliminate its peculiarity with the assistance of learned speech. But that which is the most important appears to evade them.
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Polish-Jewish relations spanning from the interwar period and wartime to the present served the author as material for reflections concerning social relations between the guest and the host. In doing so, Katarzyna Prot-Klinger dealt with a particular Jews-Poles formation, the axis of the article being the history of her Jewish family. The text demonstrates how the figure of “the Other” – “the guest”, who feels at home and wants to resemble the host, was and continues to be regarded as a threat to Polish society. In the conditions of a crisis a group begins to function according to principles described by Bion as “basic assumptions”. While examining society conceived as a group one may observe how the mechanism of the “scapegoat” becomes activated. “The guest” (Jew / refugee) represents and supposedly stores the unwanted elements of the host, thus rendering any closer proximity between them impossible.
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The title of the article is a combination of two popular Polish proverbs, with the first declaring that a guest is a form of godliness, and the second – that hospitality is torment; both attitudes are widely represented in paremiology since each is in its way justified by reality. What do the eternal symbols of the godliness of the guest, the other, the stranger actually mean, especially today, in an age of mass-scale influxes and migration? Was the guest really treated as a representative of the sacral / superhuman and the transcendent, or was this rather at best a metaphor of his inviolability? The text discusses various historical and ethnographic materials documenting the attitude in question. The problem of sexual hospitality is considered more extensively; apparently, the anticipated element of the guest’s sacral status does not occur in this custom, rather universal in the ethnographic past of various societies, and its local motivations and emic justifications are exclusively social.
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An essay about an anthropological meeting, which showed how it is possible to think about the world as myriad assorted forms of hospitality – without hospitality and encounters there is no world of interpersonal questions.
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Although the ethics of “hospitality” alleviates the outcome of ethics based on separating from and resisting otherness, the object of our concern remains the identity of the host. The author – while acknowledging that the as if source figure of the “incomer” is a woman reflects on the possibility of crossing such a perspective: in doing so he seeks symptoms of such a manner of thought, which treats “otherness” not as the effect of the appearance of the “guest” but as a primeval state. In the second part of the article this conceptual model is in particular the Greek conceit of daidalos – a special image created according to a modern intellectual model based on separating and putting together, whose visual effect is scintillation, connected with such categories as: kharis and ikelos.
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The presented essay is a portrait of the arch-hero of The Odyssey envisioned as the arch-hero of modernity: a hybrid protagonist, flawed, and – just as modernity itself – highly unsatisfactory. The more general backdrop for the thus conceived portrait is a deficit of the actual form of the Western heroic myth and, in particular, its inability to reproduce Western axiology. Odysseus followed the same path as Achilles and, subsequently, Christ, but never reached the same destination. His return to Ithaca (nostos) is just as doubtful, interim, and ambiguous as his glory (kleos).
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Life, breathing, and translation are a form of wandering. Even wandering is wandering. Is it possible to think of wandering and the journey in categories and states other than the transposition of wandering into something, which it is not?
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When you invent the car, you also invent the car crash – Paul Virilio convinced his readers. It turns out that to invent the automobile means also to turn upside down or, at the very least, to question the heretofore aesthetic, symbolic, and spatial order and even the order of experiencing the sacrum. Marinetti regarded the roaring automobile to be more beautiful than Nike of Samothrace. Several decades later Barthes recognised the automobile to be a counterpart of Gothic cathedrals, an object that has “fallen from the sky”. In what sort of condition does the car reach the period of late modernity? What remains today of the former enthusiasm? How alive are the foundation mythologies? Are we already witnessing the twilight of goddesses, and should the motif of the car crash, recurring more and more often in pop-culture and the arts, be interpreted as a new form of iconoclasm?
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In 1990 Stanislav Baranchak proposed to translate the text and consider the translation taking into account its "semantic dominant". After analyzing several verse translations from English into Polish, he gave his Polish versions of these texts, among which was the translation of the William of Blake's The Tyger. In the article Tyger, Tygrys and Tiger, a wild beast and its authors-creators, an analysis of the translation of the same poem into Russian is suggested (in the context of the translation of Samuel Marshak), in the context of preserving the "semantic dominant", which for S. Baranchak defined as "symmetry of horror". In conclusion, the author gives his translation of the work of the English poet into Polish.
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Dans La Mort du jeune aviateur anglais, Duras s’attèle à la tâche déchirante de re-présenter dans l’écriture la mort absurde et prématurée d’un soldat dans les derniers jours de la guerre. À partir d’une étude des tensions discursives qu’implique le désir de communiquer l’inracontable, cet article cherche à élucider les fondements philosophiques et enjeux poétiques de l’impossible récit de la mort dans un texte qui semble contenir les principes directeurs de l’écrit durassien et une nouvelle preuve de sa vitalité. In La Mort du jeune aviateur anglais, Duras tackles the harrowing task of re-presenting in writing the absurd and premature death of a soldier in the last days of WWII. By analysing the discursive tensions resulting from the wish to communicate the indescribable, this article aims to examine the philosophical underpinnings and poetic implications of the impossible narrative of death, in this text which seems to contain the main principles of Duras’s writing, providing further evidence of its vitality.
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L’article offre une lecture du poème Les Regards, les Faits et Senhal, l’une des œuvres les plus expérimentales de la production du poète italien Andrea Zanzotto. À partir d’une analyse des lieux liminaires du texte, on essaiera de saisir le statut du poème dans la perspective de l’énonciation subjective. La lecture se confrontera alors avec le haut degré de conflictualité et de pluralisme du poème en essayant d’en donner une explication par rapport à la présence inévitable du trauma et de la mort. This article gives an interpretation of the long poem Gli Sguardi i fatti e Senhal (Gazes, Facts and Senhal), that is one of the most experimental works of the Italian poet Andrea Zanzotto. Starting from an analysis of the the text boundaries, we will try to understand the foundations of the poem in the perspective of subjective enunciation. The interpretation will be organized by the analysis of the pluralism and the stylistic conflicts and of the unavoidable presence in the text of trauma and death.
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