Littérature scientifique sur le sujet « Stanisław Lem »

Abstract This article draws attention to some seemingly insignificant details in Stanisław Lem's works that can be understood on a closer reading as traces of his youthful traumatic experience of World War II and the Holocaust. Lem rarely spoke directly about these experiences, but the few such statements he did make testify to the strong and deep trace that this experience left on him. This trace is most often manifested in the form of macabre scenes and motifs. The analysis of these scenes and an attempt at their interpretation is the main focus of this article.

O objetivo deste trabalho é apresentar a leitura de três das obras de Stanisław Lem do ponto de vista da filosofia. O polonês Lem, um dos mais populares e admirados escritores de ficção cientifica, cria em suas novelas futuristas circunstâncias destinadas a discutir, mais do que visões científicas ou tecnológicas, comportamentos humanos frente a situações inusitadas ou distópicas. As três obras aqui analisadas são O Incrível Congresso de Futurologia, Solaris e Memórias Encontradas numa Banheira. As ferramentas filosóficas aqui empregadas na análise são, respectivamente, a Filosofia da Tecnologia, a Fenomenologia e a Semiótica. O Incrível Congresso de Futurologia é aqui entendido como um estudo sobre o reflexo ético da biotecnologia. No caso de Solaris, foi realizada uma leitura baseada, principalmente, na representação que a consciência faz da realidade que se lhe apresenta, ou, mais precisamente, na discussão da natureza da realidade, de suas múltiplas camadas e de seu significado essencial. Finalmente, para as Memórias Encontradas numa Banheira, adotou-se o enfoque da Semiótica para analisar o papel da mensagem, do código e do símbolo com os quais se depara o personagem sem nome perdido numa Construção indefinida.

Abstract Communicating productively with an alien intelligence, whether by traveling through space to another civilization or attempting to understand their messages received here on Earth, is so consistent a commonplace of cosmic science fiction that we might easily regard it as a defining feature of the genre. This essay argues, by contrast, that Stanisław Lem's fiction about space travel aims consistently to demonstrate the impossibility of such communication. Setting aside the obstacles that might prevent contact between alien intelligences, whether by positing a technological solution or ignoring those difficulties altogether, Lem confronts the epistemological challenge of how beings with no shared points of reference in language, experience, or even spatial-temporal awareness could ever share information meaningfully. Lem's purpose, the essay concludes, is to show not how such communication is possible, but rather how its impossibility compels the human imagination to fill the void, a quintessentially human act.

GoLem’s voice: The identity of a supercomputer and the challenge category in the Golem XIV by Stanisław Lem The article reflects on the topic of genology, autobiographism (autobiographic triangle, category of challenge) and cultural context (kabbalah and the legened of the golem) in a complex in the category of genre book Golem XIV written by Stanisław Lem. The analysis goal is to show the connection of Golem XIV words with the cultural context and the human author of his lectures and to deny the need to categorize literature by genre like in the structural methodology. The problem of the authors presence in the novel is undrelined. Keywords: Stanisław Lem, golem, category of challenge, autobiographism, genology, ethics, culture

Stanisław Lem, który w swojej twórczości z nurtu science fiction tworzył niezwykłe światy, odznaczał się nie tylko wyjątkową wyobraźnią, ale i wyrafinowanym zmysłem słowotwórczym. Wytwory jego wyobraźni fascynowały i nadal fascynują badaczy wielu dyscyplin naukowych: literaturoznawców, filozofów, socjologów, astronomów, futurologów. W tym gronie nie mogło zabraknąć językoznawców – swoje genialne pomysły Lem przelewał na papier, wprzęgając w opisy wymyślonych światów nie tylko istniejące zasoby słowników języka polskiego, ale także zapożyczenia z języków obcych i własne neologizmy. Te neologizmy sprawiały zresztą tłumaczom Lema dosłownie kosmiczne problemy podczas przekładu na inne języki.

Transcending the boundaries of literature, the works of Edgar Allan Poe and Stanislaw Lem contribute to a dialogue between literary, philosophical, and scientific cultures. A critical approach to these writers that ignores the epistemic dimension in their works opens itself to the charge of misunderstanding their artistic goals and aspirations. In my dissertation I thus define, justify, and conduct an interdisciplinary study of Poe and Lem's works.<br>My project is underwritten by the epistemological assumption that literary works, and notably works of fiction, can make a contribution to knowledge that can be assessed in terms of interdisciplinary criteria. In the first chapter, where I discuss literature and knowledge within the interdisciplinary context, I examine various epistemological arguments in light of my central assertion. Next I examine the concepts involved in the discussion of literary works. Following the pragmatic re-orientation in literary and philosophical aesthetics, many fundamental concepts we take for granted--artworks, fictions, and texts among them--require exact re-examination and definition. Consequently, in Chapters Two and Three I review and refine the recent theories concerning the nature of works of art, the specificity of literary fictions, and the problem of literary interpretations.<br>My subsequent discussion of Poe and Lem is built on the theoretical base of (literary) epistemology and analytical aesthetics. I study Poe and Lem's literary fictions and theoretical essays, and the contributions they make to various fields of inquiry. In the process I critique, and sometimes refine, the explicit and implicit hypotheses articulated in their works. Specifically In Chapters Four and Five I discuss strategic and game theoretic models in the interpretation of fiction, including the concepts of communication and rationality. In Chapter Six, completing the epistemological circle inaugurated in Chapter One, I discuss the epistemological and cosmological theories proposed in Poe's "Eureka".

The purpose of this thesis was to examine two works of science fiction by the Polish writer and satirist, Stanislaw Lem, which exemplify two broad philosophical themes central to his writings; viz., cosmology and personhood. In "The New Cosmogony," Lem focuses on the central problem of the philosophy of scientific cosmology, namely, what kind of explanation is-applicable to that science. Lem synthesizes religious and scientific views of the creation of the universe in his model of the cosmos as a Game of Civilizations with advanced technologies. Central to this work is the philosophical notion of intentionality. In "The Mask," Lem raises questions about personhood, consciousness, freedom, determinism, and responsibility by embedding them in the autobiographical narrative of a conscious, female machine. Lem's views on cosmology and his views on personhood both involve intentionality - the intentions of civilizations, on the one hand, and the intentions of a King and of the machine he created, on the other. Both works challenge all preconceptions about philosophy through the use of paradox, irony, and sometimes ridicule. Lem provides no answers, however. He is interested in setting up futuristic technological situations that are capable of undermining our basic assumptions about the world.

Diploma thesis deals with three forms of Solaris. Specifically with novel by Stanislaw Lem, a film adaptation of Andrei Tarkovsky and the second film adaptation of Steven Soderbergh. The aim of this work is comparison of individual authors practices that led to different semantic tone. Thesis analyzes six basic aspects of individual works: basis, genre, semantic structure, syntactic structure - a dramatic structure, characters and space-time.

La recerca examina l'obra literària i filosòfica de Stanislaw Lem en correspondència amb la perspectiva teòrica de l'Escola de Frankfurt, per a evidenciar les diferents afinitats entre la literatura de Ciència-ficció (CF) proposta per l'autor i els postulats de la Teoria Crítica. Convergències no sols d'ordre temàtic, atès que en les principals troballes de l'estudi s'argumenta que comparteixen l'establiment d'un objectiu comú, la configuració d'una metodologia pròpia, el desenvolupament d'un contingut, un estil i una praxi determinada. Propostes que, d'acord, estan situades en el convuls context sociopolític d'Europa Central i Oriental enmig de la postguerra, en plena expansió del totalitarisme, característiques que en conjugar-se les fa úniques enfront d'altres models de pensament. D'aquesta manera, la ficció de Lem, igual que la Teoria Crítica, són enteses com un gènere en si mateixes, de caràcter especulatiu, per la seva naturalesa intrínseca que escapa a simples etiquetes. En primer lloc, quant a l'objectiu, van buscar consolidar una posició de provocació i desobediència enfront dels patrons de pensament modern, marcats per la tendència empírica, analítica i positivista del pensament occidental. Amb això van fundar una mirada heterogènia, interdisciplinària, crítica, oberta a contradiccions, de refutacions permanents, dinàmica, amb elements diferenciadors que les van posicionar com un gènere propi, singular enfront d'altres apostes teòriques. Són abans de res una crítica de la societat capitalista avançada, als motlles ideològics totalizantes, el seu propòsit és emancipador i aspiren a l'autorealització de l'home. En l'aspecte metodològic, són altament especulatives, aquest caràcter constitueix un element essencial de la seva raó pràctica i, en conseqüència, de la seva metodologia. D'aquesta manera, la Teoria Crítica i la CF de Stanislaw, es constitueixen com un esforç interdisciplinari per fundar dos projectes complementaris, la primera aspira a desenvolupar una teoria social integral que pot enfrontar-se als problemes socials i polítics resultants del capitalisme i la segona es converteix en una aposta estètica per a pensar aquests mateixos conflictes d'ordre sociopolític en diferents escenaris ficcionales, així es fa possible repensar la pròpia realitat a partir d'una natural extrapolació. Amb això es busca manifestar l'emergència d'una nova perspectiva per a estudiar l'aposta estètica de l'escriptor, innovadora en el context dels estudis literaris actuals, que s'enuncia en l'estudi com una Lemología Crítica. Així, la tesi doctoral és una aproximació a la configuració d'una nova Lemología i aconsegueix establir els primers fonaments en el seu estatus teòric i pràctic. Es va determinar, amb base en les exhaustives troballes documentals, que les tipologies lemológicas predominants sobre l'anàlisi de la narrativa i el projecte filosòfic de Stanislaw, desenvolupades entre 1965 i 2017, a saber: Lemología descriptiva, Lemología analítica, Lemología comparativa-predictiva, Lemología aplicada, no aconsegueixen dimensionar la seva proposta sociopolítica, és més defugen el projecte genuí i el plantejament original de l'escriptor, en eludir un aspecte clau que unifica i enriqueix les diferents mirades. Aquest es fonamenta en l'interès de l'autor per una literatura de CF interdisciplinària, amb vocació emancipadora, que dialoga amb el marxisme crític occidental, disposició anàloga de l'Escola de Frankfurt. Per a arribar a aquesta conclusió, va ser necessari analitzar la perspectiva teòrica d'aquesta Escola, que pel seu caràcter global i heterogeni es va delimitar a una aproximació -donada la complexitat i extensió que requereix el seu estudi- en cinc enfocaments qualitatius claus: sociopolític, psicosocial, sociocultural, antropològic i comunicatiu. En definitiva, s'estableix una nova perspectiva teòric pràctica per a estudiar l'obra de Stanislaw, enunciada com una Lemología Crítica, que serà desenvolupada per nous investigadors interessats en la proposta de l'autor polonès.<br>La investigación examina la obra literaria y filosófica de Stanislaw Lem en correspondencia con la perspectiva teórica de la Escuela de Frankfurt, para evidenciar las distintas afinidades entre la literatura de Ciencia Ficción (CF) propuesta por el autor y los postulados de la Teoría Crítica. Convergencias no solo de orden temático, dado que en los principales hallazgos del estudio se argumenta que comparten el establecimiento de un objetivo común, la configuración de una metodología propia, el desarrollo de un contenido, un estilo y una praxis determinada. Propuestas que, en consonancia, están ubicadas en el convulso contexto sociopolítico de Europa Central y Oriental en medio de la posguerra, en pleno auge del totalitarismo, características que al conjugarse las hace únicas frente a otros modelos de pensamiento. De esta manera, la ficción de Lem, al igual que la Teoría Crítica, son entendidas como un género en sí mismas, de carácter especulativo, por su naturaleza intrínseca que escapa a simples etiquetas. En primer lugar, en cuanto al objetivo, buscaron consolidar una posición de provocación y desobediencia frente a los patrones de pensamiento moderno, marcados por la tendencia empírica, analítica y positivista del pensamiento occidental. Con ello fundaron una mirada heterogénea, interdisciplinar, crítica, abierta a contradicciones, de refutaciones permanentes, dinámica, con elementos diferenciadores que las posicionaron como un género propio, singular frente a otras apuestas teóricas. Son ante todo una crítica de la sociedad capitalista avanzada, a los moldes ideológicos totalizantes, su propósito es emancipador y aspiran a la autorrealización del hombre. En el aspecto metodológico, son altamente especulativas, este carácter constituye un elemento esencial de su razón práctica y, en consecuencia, de su metodología. De esta manera, la Teoría Crítica y la CF de Stanislaw, se constituyen como un esfuerzo interdisciplinar por fundar dos proyectos complementarios, la primera aspira a desarrollar una teoría social integral que puede enfrentarse a los problemas sociales y políticos resultantes del capitalismo y la segunda se convierte en una apuesta estética para pensar estos mismos conflictos de orden sociopolítico en distintos escenarios ficcionales, así se hace posible repensar la propia realidad a partir de una natural extrapolación. Con ello se busca manifestar la emergencia de una nueva perspectiva para estudiar la apuesta estética del escritor, innovadora en el contexto de los estudios literarios actuales, que se enuncia en el estudio como una Lemología Crítica. Así, la tesis doctoral es una aproximación a la configuración de una nueva Lemología y logra establecer los primeros cimientos en su estatus teórico y práctico. Se determinó, con base en los exhaustivos hallazgos documentales, que las tipologías lemológicas predominantes sobre el análisis de la narrativa y el proyecto filosófico de Stanislaw, desarrolladas entre 1965 y 2017, a saber: Lemología descriptiva, Lemología analítica, Lemología comparativa-predictiva, Lemología aplicada, no logran dimensionar su propuesta sociopolítica, es más soslayan el proyecto genuino y el planteamiento original del escritor, al eludir un aspecto clave que unifica y enriquece las diferentes miradas. Este se fundamenta en el interés del autor por una literatura de CF interdisciplinar, con vocación emancipadora, que dialoga con el marxismo crítico occidental, disposición análoga de la Escuela de Frankfurt. Para llegar a esta conclusión, fue necesario analizar la perspectiva teórica de esta Escuela, que por su carácter global y heterogéneo se delimitó a una aproximación -dada la complejidad y extensión que requiere su estudio- en cinco enfoques cualitativos claves: sociopolítico, psicosocial, sociocultural, antropológico y comunicativo. En definitiva, se establece una nueva perspectiva teórico práctica para estudiar la obra de Stanislaw, enunciada como una Lemología Crítica, que será desarrollada por nuevos investigadores interesados en la propuesta del autor polaco.<br>The research examines the literary and philosophical work of Stanislaw Lem in correspondence with the theoretical perspective of the Frankfurt School, in order to evidence the different affinities between the Science Fiction (SF) literature proposed by the author and the postulates of Critical Theory. Convergences not only of thematic order, since in the main findings of the study it is argued that they share the establishment of a common objective, the configuration of their own methodology, the development of a content, a style and a certain praxis. Proposals that, accordingly, are located in the convulsive sociopolitical context of Central and Eastern Europe in the midst of the postwar period, at the height of totalitarianism, characteristics that, when combined, make them unique in comparison with other models of thought. In this way, Lem's fiction, as well as Critical Theory, are understood as a genre in themselves, of a speculative nature, due to their intrinsic nature that escapes simple labels. In the first place, in terms of objective, they sought to consolidate a position of provocation and disobedience against the patterns of modern thought, marked by the empirical, analytical and positivist tendency of Western thought. With this, they founded a heterogeneous, interdisciplinary, critical, open to contradictions, of permanent refutations, dynamic, with differentiating elements that positioned them as a genre of their own, singular against other theoretical bets. They are above all a critique of advanced capitalist society, of totalizing ideological molds, their purpose is emancipatory and they aspire to the self-realization of man. In the methodological aspect, they are highly speculative, this character constitutes an essential element of their practical reason and, consequently, of their methodology. In this way, Critical Theory and Stanislaw's CF, are constituted as an interdisciplinary effort to found two complementary projects, the first aspires to develop an integral social theory that can face the social and political problems resulting from capitalism and the second becomes an aesthetic bet to think these same conflicts of socio-political order in different fictional scenarios, thus making it possible to rethink reality itself from a natural extrapolation. With this, we seek to manifest the emergence of a new perspective to study the writer's aesthetic wager, innovative in the context of current literary studies, which is enunciated in the study as a Critical Lemology. Thus, the doctoral thesis is an approach to the configuration of a new Lemology and manages to establish the first foundations in its theoretical and practical status. It was determined, based on the exhaustive documentary findings, that the predominant Lemological typologies on the analysis of Stanislaw's narrative and philosophical project, developed between 1965 and 2017, namely: Descriptive Lemology, Analytical Lemology, Comparative-Predictive Lemology, Applied Lemology, fail to dimension his socio-political proposal, moreover they elude the genuine project and the original approach of the writer, by eluding a key aspect that unifies and enriches the different looks. This is based on the author's interest in an interdisciplinary CF literature, with an emancipatory vocation, in dialogue with Western critical Marxism, an analogous disposition of the Frankfurt School. To reach this conclusion, it was necessary to analyze the theoretical perspective of this School, which due to its global and heterogeneous character was delimited to an approach -given the complexity and extension that its study requires- in five key qualitative approaches: sociopolitical, psychosocial, sociocultural, anthropological and communicative. In short, a new theoretical and practical perspective is established to study Stanislaw's work, enunciated as a Critical Lemology, which will be developed by new researchers interested in the Polish author's proposal.<br>Universitat Autònoma de Barcelona. Programa de Doctorat en Teoria de la Literatura i Literatura Comparada

Autour des voyages extraordinaires de jules verne, cette contribution envisage un corpus dont la coherence se veut d'ordre psycho-thematique : le voyage comme exploration de la mort, et l'ecriture comme voyage fantasmatique. Des lors, le voyage n'est plus seulement le reve d'epuiser les ressources de la mappemonde, mais aussi un reve d'utopies : utopies de l'ailleurs, de l'amour, du futur, d'un accord nature-societe-utopies qui se voient contraintes, devant les ingerences du siecle, a l'exorcisme paradoxal que constituent les diverses contre-utopies : mal moral explore par le recit policier ou le recit fantastique, souvent associes ; mal politique envisage tant en fonction des blocages imposes au desir, que des trop reelles oppressions d'une histoire titubant a l'aveuglette- tandis que la science-fiction tente d'y voir clair dans la stochastique du futur. D'ou la dilection de notre travail pour les differentes formes de la litterature des limites, celle qui, sachant que le monde n'est que notre representation, se soucie peu des normes d'un pseudo-realisme reducteur. Merveilleux, fantastique, science-fiction, utopie et contre-utopie, poesie et exploration du mal sont donc autant de manieres de dire, non pas l'absurdite, mais le sens infini du monde. Que la transcendance debute par l'ecrit, tel fut peut-etre, du premier au dernier de ces textes, notre fil conducteur<br>This thesis is a corpus centred round jules verne's voyages extraordinaires and its coherence is meant to be psychothematic : travelling is seen as an exploration of death, and writing as an imaginary journey. Thus, travelling is not merely a dream of exhausting what a map of the world may offer, but also a dream of utopias : the utopias of the extraneous, of love, of the future, of a harmony between nature and society - such utopias are forced into the para- doxical exorcism which the various counter-utopias have formed: a moral evil explored by detective of fantastic narratives, a political evil seen as a repre- hension of desires and as the oppression inflicted by history- meanwhile science-fiction tries to see through a hazardous future. Hence our preference for the various aspects of the literature of limits, which, aware that the world is only our weltanschaaumg, is quite heedless of the rules of a reducing pseudo-realism. Therefore, the wonderful, the fantastic, science-fiction, utopias and counter-utopias, poetry and the exploration of death are as many ways of expressing not the preposterousness but the infinite significance of the world. Let transcendency begin with writing, such was, perhaps, our clew, from the first to the last of these texts

The goal of my dissertation is to dispel seemingly inevitable contradiction within the theory, according to which one can look favorably upon religion, as in: treating religion seriously, while remaining an at heist (by that we understand a person, who doesn`t believe in any religious dogmas). An analysis of the views of the subjects of this dissertation is an attempt at understanding what is a philosophical stand that we have decided to call Atheistic Apology o f Religion , and to single it out as a full - fledged philosophical theory of religion. In the first part of the dissertation we draw a historical background of Atheistic Apology of Religion as expressed in the views of two philosophers: Benjamin Constant and Arthur Schopenhauer. We also felt that it was necessary to mention two other authors: Ludwig Feuerbach and Ludwik Gumplowicz, whose views directly influenced those of the subjects of this dissertation. In the history of philosophy there are probably more names that could fall into the category of Atheistic Apology of Religion , but the analysis of their views wouldn’t add more to our inquires. In this section we also discuss the basic concepts and ideas of philosophy of religion that are necessary to under stand the essence of Atheistic Apology of Religion . In the main section of the dissertation we present the profiles and views of five prominent 20 th - century Polish philosophers: Henryk Elzenberg, Marian Przełęcki, Stanisław Lem, Leszek Kołakowski and Bogu sław Wolniewicz. The decision to focus solely on their views was not accidental, as in the course of the 20 th - century and in the early 21 st - century they were the ones that created the Polish tradition of Atheistic Apology of Religion which has become, in my opinion, a showcase of the contemporary Polish philosophy of religion. The value of the views of the above - mentioned philosophers lies also within the fact that their shared opinions on the essence of religion were formulated on the basis of various, mu tually incompatible, metaphysical theories, that is: naturalistic rationalism (Lem, Przełęcki), antinaturalistic rationalism (Elzenberg, Wolniewicz) and antinaturalistic irrationalism (Kołakowski). All five philosophers, despite differences in their opinions on the nature of the world, repeat independently and in various forms, Cons tant’s dictum : “Humans are religious because they are humans”. Alien to them is the mindset of militant atheism, as they do not think that getting rid of religion from the world is fruitful or even possible. Summing it up, all the subjects of this disserta tion have two opinions in common: assertion regarding inalienability of religion, and conviction about certain social benefits that religion carries 2 (although religions can differ greatly in that respect). Taking all of the above points into consideration, the shared views of our five Polish philosophers regarding religion, seem to be of high importance and are worth promoting.<br>Niniejsza praca z zakresu filozofii religii ma na celu rozwianie nieusuwalnej – wydawałoby się – sprzeczności w obrębie stanowiska, wedle które go można być religii przychylnym i traktować ją poważnie, a jednocześnie pozostawać ateistą, to jest osobą niewierzącą w religijne dogmaty. Analiza poglądów bohaterów dysertacji stanowi próbę syntetycznego opracowania stanowiska ateistycznej apologetyki re ligii i wyróżnienia go jako pełnoprawnego poglądu na gruncie filozofii religii. W pierwszej części rozprawy przedstawione zostały historyczne podstawy ateistycznej apologetyki religii , zawarte w poglądach dwóch filozofów sprzed 200 lat – Benjamina Constant a i Artura Schopenhauera. Nie sposób było również nie wspomnieć o dwóch kolejnych autorach, których myśli wywarły piętno na poglądy polskich filozofów – Ludwika Feuerbacha i Ludwika Gumplowicza. Zapewne w historii filozofii dałoby się wskazać również inne nazwiska, które zaliczyć by można do tradycji ateistycznej apologetyki religii , jednakże dla naszych rozważań zdecydowaliśmy skupić się jedynie na tych filozofach, których idee w bezpośredni sposób oddziaływały na teorie bohaterów dysertacji. Prócz tego om ówione w tej części zostały podstawowe pojęcia i idee z zakresu filozofii religii, konieczne do zrozumienia istoty tytułowego stanowiska. W części zasadniczej zaprezentowane zostały sylwetki i poglądy pięciu wybitnych dwudziestowiecznych polskich filozofów – Henryka Elzenberga, Mariana Przełęckiego, Stanisława Lema, Leszka Kołakowskiego oraz Bogusława Wolniewicza. Decyzja o skupieniu się właśnie na poglądach tych konkretnych polskich autorów nie była przypadkowa i wynikała, w dużej mierze, z tego, że na prz estrzeni dwudziestego wieku, oraz w początkach wieku dwudziestego pierwszego, stworzyli oni tradycję ateistycznych apologetów , która stała się, w moim odczuciu, wizytówką współczesnej polskiej filozofii religii. O wadze wspomnianej piątki przesądza również to, że ich współdzielone poglądy na istotę religii sformułowane zostały na gruncie różnych opcji metafizycznych, często wzajemnie do siebie nieprzystających – to jest naturalizmu racjonalistycznego (Lem, Przełęcki), antynaturalizmu racjonalistycznego (Elz enberg, Wolniewicz) oraz antynaturalizmu irracjonalistycznego (Kołakowski). Wszystkich pięciu filozofów, pomimo dzielących ich różnic w zakresie zapatrywań na naturę świata, powtarza, w różnej formie, dictum Constanta: „Człowiek jest religijny, ponieważ je st człowiekiem”. Obcy jest im styl myślenia wojujących ateistów . W przeciwieństwie do tych ostatnich nie uważają oni jakoby pozbycie się religii ze świata 2 było czymś pożytecznym, a nawet możliwym. Wspólne bohaterom dysertacji nie jest jednak jedynie twierd zenie o niezbywalności religii, są oni wszyscy także przekonani o społecznych pożytkach, które niesie religia (jakkolwiek religie różnią się pod tym względem). To wszystko sprawia, że wspólne stanowisko bohaterów niniejszej pracy względem religii jest czym ś ważkim i wartym upowszechnienia.

The study examines cognitive rationality as to()l for problemsolving within the context of a movement from determinism and monolithic universal Reason towards indeterminism and plurality. It is contended that theories of literature do not provide an adequate conceptual framework, and therefore, extensive use is made of pluralist fallibilism (Popper, Helmut Spinner) and chaos theory. The philosophy of Friedrich Nietzsche is viewed as a decisive influence in the shift towards plurality and scepticism. In chapter 2, Conan Doyle's Sherlock Holmes stories, a novel by Agatha Christie and Gaston Leroux's Le mystere de Ia chambre jaune are discussed as examples of optimistic rationalism. Chapter 3 indicates that Eco's II nome della rosa emphasizes the conjectural nature of truth and objective knowledge, underpinned by a 'soft' rationalism which amounts to monopolistic pluralism. Chapter 4 analyses the defeat of cognitive rationality by the complex interaction of a multiplicity of independent causal series. The detectives' relationship with the feminine exemplifies the interpenetration of rationality and the instinctual, while the mystery of the feminine is a metaphor for impenetrable complexity. Chapter 5 shows that hypotheses concerning random complex systems remain inconclusive. However, as the trajectory of a complex system can be regulated, so reason can be viewed as the underlying regulative pattern (strange attractorl for an infinite proliferation of hypotheses. Thus, despite .shifting conceptions of rationality and order, all the detectives in the study accept objective truth as regulative principle and are involved in a search for objective knowledge<br>Afrikaans & Theory of Literature<br>D.Litt. et Phil. (Theory of literature)

The paper is dedicated to the 110th anniversary of the outbreak of the Great War, which, as is well known, began with the very unsuccessful attacks of the Austro-Hungarian army on Serbia. The literature of the Czech participants in the Great War is very colourful, both those who wrote about their war journey within the Austrian army and those who, for various reasons, switched to the side of the Triple Entente who fought against their "wider homeland" and returned home, unlike the former, crowned with the glory of heroes. Much has been written about this literature, and it would seem that there is not much more to add. However, something is missing: the introduction of the works of those Czech authors who fought in the Balkans in the Serbian army. Whether from the very first weeks of the Austro-Hungarian aggression on Serbia, or only later, on the Salonika front. There were not as many of them as the writers who fought in the Czechoslovak Legion in Russia. However, only a little more than 3,000 Czechs fought in the Serbian army. Of these, even more than half were those who, although part of the Serbian army, were nevertheless volunteer divisions, built up from Yugoslav and Czech war prisoners in Russia. Of these Czechs, most eventually joined the Czechoslovak legions in Russia in early 1917 anyway. Of course, Czech writers from the Serbian army can hardly be compared with those who described their experiences of the Balkan war from the other, Austro-Hungarian side - with already established writers or journalists such as Egon Ervin Kisch, Stanislav Kostka Neumann, Jaromír John, Rudolf Weiner, Karel Sellner or Jaroslav Křenek. No true “war novel” came out of the pens of Czech soldiers - volunteers in the Serbian army. Perhaps we could call the work of Jeroným Holeček, son of the famous writer Josef, an autobiographical novel, which, however, describes only the post-war stories of former Czech combatants in the Serbian army. Nevertheless, we can highlight some of the memoirs, especially those of Lev Švyhnos (1885-1954) and Melichar Houžvice (1883-1929), who fought in the Serbian army from the first days of the war. The works of both of them are in places of unprecedented artistic quality for this type of literature. In contrast, the work of the first Czech legionary ever, František Kryštof (1891-1960), is merely descriptive. Kryštof, however, was a valued legionary poet in his time, admittedly sometimes overly epic. Only Miloš Wurma (1892-1918) was a truly great poet among the Bohemians on the Salonika front, but this can only be said on the basis of a few surviving poems. The gifted writer fell in the last weeks of the war and most of his literary legacy was irretrievably lost. He was not the only great loss of Czech literature. Summarily, the works of the Czechs from the Serbian army are rather marginal in the vast legionary literature, but they have a firm place in it.

The article discusses certain aspects of the description of bispecific verbs of the Polish language in comparison with a similar category of the Russian language. The comparison carried out according to the following parameters: quality and quantity of bispecific verbs; inconsistency in the qualification of the similar verb forms in the compared languages (for example, two-aspect Russian verbs бежать and молвить and Polish imperfective verbs biec and mówić ); the conditionality of the expression of bispecificity and manifestation in a bispecific verb of particular kind of morphological category that the given verb expresses, and the context; transition of two-aspect verb to the one-aspect when prefixal or suffixal correlates appear (for example, the verb арестовать becomes perfect when the imperfect арестовывать appears; the verb aresztować becomes imperfective when perfect zaaresztować appears). The necessity of involving dialectal material in the comparison of Polish and Russian ambitransitive verbs of native origin is substantiated.

The electronic inhabitants of the Cosmos, their experiences, the places where they move, inhabit and aspire to them, described in Stanislaw Lem "Cyberiad" are named with neologisms. Their world is very distant in time and space from today's reader which affects to a challenge to the translator translating from Polish into Macedonian.