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Abstract

A danger of falling into the trap of the naturalistic fallacy seems to unambiguously exclude bodiliness from the search for moral norms . But is it really true that there is no role for the body to play when the intellect occupies itself with formulating moral norms? Undoubtedly the body constitutes – in a sense – the basis of morality, since human freedom can exist only as freedom incarnate. It would be equally difficult to deny that the body constitutes boundaries for morality. Bodiliness may significantly restrain cognitive abilities of men; but it may also reduce their capabilities to fulfill their moral obligations. A major controversy arises over the issue whether the body can influence the content of moral norms. Even if one accepts the validity of the thesis of an intransgressible boundary between the world of facts and the world of values, there is no doubt that man never experiences his body in the same way as he does other material objects. An experience of one’s own body matters significantly in ethical reflection.

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Authors and Affiliations

Ks. prof. dr hab. Marian Machinek MSF
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Abstract

This article is an attempt at a narrowly-focused application of a critical approach labelled ‘a history of the history of creativity’, formulated by Magdalena Popiel in her study The World of the Artist: Modernist Aesthetics of Creativity (2017). The article highlights the domain of autopoietic narratives – stories told by artists about their own creative performance, which involves projecting one’s own somatic identity and positioning one-self in a given socio-cultural context (community) – and examines the discursive dimen-sions of the creative process in the metanarrations of Tadeusz Peiper and Józef Czecho-wicz, two major poets of the Polish interwar avant-garde. The resulting model of the creative process is then set into the context of contemporary philosophical, anthropo-logical and psychological theories of creativity.
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Authors and Affiliations

Mateusz Antoniuk
1
ORCID: ORCID

  1. Mateusz Antoniuk – Wydział Polonistyki UJ
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Abstract

This article attempts to follow the dynamic process of body communication between the characters of Juliusz Słowacki's Samuel Zborowski (1845, published 1903). An analysis of some passages at the beginning of the drama and in the penultimate act indicates that in the world of the drama the body functions as a medium and body language is at least as important as the spoken word; or, to be more precise, the two types of communication complement one another. In the encounter between Eolion and the Maiden the bodies act as repositories of spiritual memory (a key idea of Słowacki's Genesian philosophy) and can trigger the process of anamnesis, which combines elements of heterosexual eroticism and the affective touch of physical interaction. Moreover, the ensuing scene of judgment hints at a nostalgic relationship between the spirit and the body, the latter acting as a guarantor of a coherent identity, though to some extent undermined by the new model of polyphonic identity. Finally, these scenes are analyzed from the point of view of the performative-persuasive functions of the body.

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Authors and Affiliations

Agata Żaglewska

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