http://hdl.handle.net/11716/7299 Sun, 19 Apr 2026 10:21:16 GMT 2026-04-19T10:21:16Z http://hdl.handle.net/11716/7314 Honor i godność jako kategorie etyczne - rozważania filozofów polskich XX wieku Sebesta, Antonina The article presents the attempts to replace the category of honour with the category of dignity, made by the Polish ethicists of the 20th century. The emphasis is put on the ideological dimension of these trials. The author quotes Maria Ossowska’s explanation, who in Moral Norms regards honour as a notion associated with the past historical epochs, therefore sees no significant obstacles in replacing it with the category of dignity. The author of the article disagrees with that attitude, and presents alternative viewpoints, especially opinions of Jan Legowicz and modem philosophers concerned with professional (practical) ethics, who also believe that all attempts to eliminate the word honour from the modem humanities vocabulary result in their impoverishment. The word dignity cannot replace honour, as it does not possess its aura, tradition, or emotional colouring; it does not represent its ethical and aesthetical value. Tue, 01 Jan 2008 00:00:00 GMT http://hdl.handle.net/11716/7314 2008-01-01T00:00:00Z http://hdl.handle.net/11716/7313 Joga w Bhagawadgicie - jedna czy wiele metod wiodących do wyzwolenia? Jakubczak, Marzenna The paper undertakes the analysis of the methods of spiritual growth, called the paths of Yoga, presented in Bhagavadgita, a philosophical episode of the greatest Indian epos Mahabhdrata. It starts with a short characteristics of two most popular methodological strategies used to analyse the Sanskrit text, namely diachronic and synchronic. The researchers who accept the first method stress the incoherence of the work caused by its multilayer structure and many historical interpolations being included in the course of the prolonged editorial process. Whereas the supporters of the synchronic strategy strongly point to the arguments in favour of the coherence of the philosophical conception of development discussed in Bhagavadglta. The author of the present paper, who argues for the later method, aims to interpret the question of multiplicity of the yogic paths. In the subsequent points, she explains some specific methods suggested by Krsna, like Samkhya, Yoga, Karmayoga, Jnanayoga, Dhyanayoga and Bhaktiyoga. While doing so she tries to justify the belief about the existence of a complex multistage method of Self-development, which combines all other, seemingly optional and rival, yogic methods that are ultimately subordinated to the highest instance: a cognitive insight (jnana) or spiritual wisdom (sthitaprajna). Tue, 01 Jan 2008 00:00:00 GMT http://hdl.handle.net/11716/7313 2008-01-01T00:00:00Z http://hdl.handle.net/11716/7312 Rilke, teoria twórczości. Pierwsze rozpoznania Krupiński, Janusz The reflections originate with Rilke’s poem Handinneres and the discussion of its translations. The translators (M. Hamburger, M. Jastrun, B. Antochowicz, and A. Pomorski) miss the sense of the poem, remaining faithful to the ideal of creation typical of their mentality, typical of the spirit of the “machine” era, namely the ideal of the creative power - the man who in himself finds the beginning - the source of his fate - himself. Yet Rilke expresses an ideal which is just the opposite, the ideal of creative grace - the man, in a creative act, opens up, through his creation, to something that transcends him, and accepts and undertakes what is higher than himself, and in this way finds himself. The two meanings of the German word schöpfen, to create and to acquire (separated in the ideal of creative power), are in Rilke’s understanding associated. To acquire, the source, to kneel, heaven, love - are the main categories of Rilke’s thoughts of the creative process: they, too, denote a process in which man encounters beauty. Tue, 01 Jan 2008 00:00:00 GMT http://hdl.handle.net/11716/7312 2008-01-01T00:00:00Z http://hdl.handle.net/11716/7311 Sztuka jako przedmiot konieczny filozofii w rozważaniach Georga Wilhelma Friedricha Hegla Kucia, Maciej The article concerns the elementary question in Hegel’s philosophical system, i.e. art being present in the process of birth of a philosophical consciousness and philosophy itself. As a sign of human activity, art enables the achievement of absolute cognition (unity of thought and being). Progress is not only logical, but historical. The process of self-knowledge was two-aspectual, concerning direct perception and comprehension of reality and transcendence of the immediate contact with object. Hegel’s conceptual approach to art includes both art itself seen as evidence of absolute thinking and the possibility of transcending art as something different from thinking. The necessity of art results from the unity of philosophy being and the being of the subject of philosophy. In this understanding, Hegel treated art as one of possible ways of practising philosophy. Tue, 01 Jan 2008 00:00:00 GMT http://hdl.handle.net/11716/7311 2008-01-01T00:00:00Z