7 resultados para Milton, John, 1608-1674. Paradise lost.

em Adam Mickiewicz University Repository


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The musicological tradition places Liszt’s Sonata in B minor within the sphere of compositions inspired by the Faustian myth. Its musical material, its structure and its narrative exhibit certain similarities to the ‘Faust’ Symphony. Yet there has appeared a diff erent and, one may say, a rival interpretation of Sonata in B minor. What is more, it is well-documented from both a musical and a historical point of view. It has been presented by Hungarian pianist and musicologist Tibor Szász. He proposes the thesis that the Sonata in B minor has been in fact inspired by Milton’s Paradise Lost, with its three protagonists: Adam, Satan and Christ. He fi nds their illustrations and even some key elements of the plot in the Sonata’s narrative. But yet Milton’s Paradise Lost and Goethe’s Faust are both stories of the Fall and Salvation, of the cosmic struggle between good and evil. The triads of their protagonists – Adam and Eve, Satan, and Christ; Faust, Mephisto and Gretchen – are homological. Thus both interpretations of the Sonata, the Goethean and the Miltonian, or, in other words, the Faustian and the Luciferian, are parallel and complementary rather than rival. It is also highly probable that both have had their impact on the genesis of the Sonata in B minor.

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The paper discusses social practices of creating as well as producing authentic objects and space. My deliberations are based on the thesis of the authors of the books The tourist gaze (John Urry), The tourist. A new theory of the leisure class (Dean MacCannell); Contested natures (Phil Macnaghten and John Urry), but also on my own research concerning attitudes towards wolfs in western and eastern Poland. The point of the article is that at the age of the new visual media, postmodernism and posttourism, when it is difficult to recognize whether an object is the original or a copy, man still wants to stand on the firm ground of genuine values. The sociologists mentioned above claim that this is why in the modern world there is a demand for authentic objects and so in an answer to this need such attractions like w i l d n e s s and r u s t i c i t y are produced. In the first part of the article I present an example of a visual product – an English cottage. Secondly, basing on the results of some research concerning attitudes towards wolves, I attempt to show that in Poland there are also some practices the idea of which is to create an authentic space - wild nature. Finally I emphasize that constructed authentic space, scenes, and landscapes are examples of myths – wildness, rusticity – the consequence of nostalgia for lost authentic world.

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The purpose of the article is to present John Yench’s a priori language as a continuation of Leibniz’s idea. Before I proceed to show the project of the Inter-Disciplinary International Reference Language, I would like to discuss the development of Gottfried Wilhelm Leibniz’s view on artificial languages. I will try to show the evolution of Leibniz’s universal language: from its ideal conception to a tool which formalizes the whole of human knowledge. Also, I will show Leibniz’s influence on further ideas of artificial language. I will compare his projects with Yench’s language – Idirl. An analysis of Idirl’s main assumptions will be useful to show the degree of continuation of Leibniz’s ideas in the a priori language of John Yench.

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The aim of this article is to present and discuss John Dewey’s and Walter Lippmann’s views on the problem of communication in a democratic society, particularly their views on the question of a role of communication in forming social processes. First part of the paper outlines the framework of this problem and its meaning to the question of possibility of democracy. Part two is concerned with anthropological and socio-political considerations: I discuss the Deweyan and the Lippmannian understanding of individual, society, intelligence and democracy. In part three I examine in detail the problem of communication, with special attention given to the questions of the role of communication in forming social processes, the foundations and conditions of communication, the debaters, and a subject matter of a debate as well as the questions of who and what forms this debate and whether we can form it altogether.

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The article examines the relevance of Aristotle’s analysis that concerns the syllogistic figures. On the assumption that Aristotle’s analytics was inspired by the method of geometric analysis, we show how Aristotle used the three terms (letters), when he formulated the three syllogistic figures. So far it has not been appropriately recognized that the three terms — the major, the middle and the minor one — were viewed by Aristotle syntactically and predicatively in the form of diagrams. Many scholars have misunderstood Aristotle in that in the second and third figure the middle term is outside and that in the second figure the major term is next to the middle one, whereas in the third figure it is further from it. By means of diagrams, we have elucidated how this perfectly accords with Aristotle's planar and graphic arrangement. In the light of these diagrams, one can appropriately capture the definition of syllogism as a predicative set of terms. Irrespective of the tricky question concerning the abbreviations that Aristotle himself used with reference to these types of predication, the reconstructed figures allow us better to comprehend the reductions of syllogism to the first figure. We assume that the figures of syllogism are analogous to the figures of categorical predication, i.e., they are specific syntactic and semantic models. Aristotle demanded certain logical and methodological competence within analytics, which reflects his great commitment and contribution to the field.

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Recenzje i sprawozdania z książek