Author: Siwiec Marek Kazimierz Title: ZBIGNIEW HERBERT – TOWARDS MYSTERY OF SOCRATES (Zbigniew Herbert – ku tajemnicy Sokratesa) Source: Filo-Sofija year: 2010, vol:.11, number: 2010/2, pages: 7-28 Keywords: MYSTERY OF SOCRATES, ZBIGNIEW HERBERT, JOURNEY TO THE GREEK ROOTS (BEGINNINGS) TO THE EUROPEAN CULTURE AND SOURCES OF THE EUROPEAN HUMANITY Discipline: PHILOSOPHY Language: POLISH Document type: ARTICLE Publication order reference (Primary author’s office address): E-mail: www:In the essay the author follows Zbigniew Herbert’s path (...) by asking a question: “What is a mystery of Socrates?”. The author wants to present that Zbigniew Herbert in his books took a journey, a spiritual wander, to the Greek roots (beginnings) to the European culture and sources of the European humanity. He distinguishes the difference between ‘root’ (or ‘beginning’) from ‘source’. “The portrait of Socrates” by Herbert reflects the two main dimensions of poet’s creative as well as philosophical aspirations. Socrates represents different reflections on the human condition. He encompasses various – for many philosophers – unpredictable dimensions of human existence. He has ability to rational, intellectual examination of the world as well as tendency to investigate his artistic poetic work and vocation. However, the mystery of Socrates appears to be a source of creative thinking. (shrink)

Zbigniew Herbert studied philosophy at the Nicolaus Copernicus University in Toruń in the years 1949–1951 and attended seminars conducted by prof. Henryk Elzenberg, whose philosophical stance had a relevant impact on the poet’s oeuvre. This work analyses Stoic heritage present in the works of both the Philosopher and the Poet, as well as presents the axiological system of Elzenberg and its meaning for the attitude of “Mr. Cogito”. Elzenberg, following Seneca, divided values into the utilitarian and perfect ones, (...) where the latter possessed the quality of dignitas (“nobleness”). The perfect values referred to the Greek notion of kalokagathia and they were of primary importance in the creation of high culture that constituted the sphere of human dignity and freedom as opposed to the existential dread, indifference of nature or historical necessity. Herbert shared his Master’s stand on the meaning of culture and the table of values in human life, which is depicted, inter alia, in the poem dedicated to the Professor To Henryk Elzenberg on the Centenary of His Birth. Elzenberg claimed that axiologization the the world equals its substantialization. Finally, the acme of his axiology became natural mysticism and the source of perfect value the “transempirical” reality which Elzenberg used to call “the Undefined”. The Professor was distanced and sceptical towards the world and society. Herbert, on the other hand, remained faithful to the Christian heritage with its confirmation of the world as it is, as well as the everyday human reality, which he treated with sympathy and uderstanding, according to the idea of Christian agape. (shrink)

The article constitutes the second part of a larger paper concerning the philosophical heritage of Mr. Cogito, the lyrical subject of Zbigniew Herbert’s poems. The self-consciousness of the title character is formed, quite like in P. Ricoeur’s hermeneutics of existence, in relation to the sphere of history and culture, as well as to the other. Mr. Cogito, when confronted with the war and annihilation, cannot simply use the Cartesian deductive method of reasoning in order to intelligibly prove the (...) existence of God and an immortal soul. Therefore, he refers in his philosophical thinking not merely to rationalism, but also to symbol, which more profoundly than ratio describes the nature of his existence. When challenged by boundary situations, he unsuccessfully attempts to find consolation in the Upanishads, Stoicism, or the wisdom of Chasidism. His attitude towards the modern philosophy of nature as well as to the relative motion theory is that of a sceptic; he juxtaposes them with Aristotle’s Logic. The propensity of contemporary Western civilization to follow magic or gnosis is perceived by him as a sign of self-delusion, or even self-destruction. (shrink)

The third part of the article is focused on the interpretation of a well-known poem by Zbigniew Herbert, “The Message of Mr. Cogito”. The rhetorical figure, the golden fleece of nothingness, has been interpreted in the context of Meister Eckhart’s apophatic theology, as well as the phenomenology of Bertrand Welte. Since nothingness has been described by the predicate of the golden fleece, it paradoxically comes across as something that is. The golden fleece, in turn, alludes to the ancient (...) Greek poem by Apollonius of Rhodes, in which it became a reward for the Argonauts’ virtue of courage in their fight against evil. In the ancient myths of Hellas, the golden fleece is also a symbol of divine providence and protection. Therefore nothingness, described in the poem by the predicate of the golden fleece, does not have to mean non-existence, or mere nothing, but it can point to reality which transcends the limits of human language and as such, it can be described merely in the terms of apophatic theology. For B. Welte, on the other hand, nothingness exists in the consciousness of Dasein as the inevitability of death and its ontological status is ambiguous. This is because nothingness exists as something that is. Since Dasein intends to endow his/her being-here with meaning by following the rules of ethics, the only guarantee of their rightfulness is nothingness understood as the mystery of transcendence. (shrink)

This article constitutes the first part of a larger paper concerning the philosophical provenance of Mr. Cogito, the title character of poems by Zbigniew Herbert, which were published under the same title by “Czytelnik” in 1974. The poet used to study philosophy and corresponded for many years with his Master, Professor Henryk Elzenberg. The first part of the paper presents Mr. Cogito’s polemics with Cartesian apriorism, according to which only rational thinking leads to the knowledge of the truth. (...) Herbert’s lyrical character draws attention to the fallacy of Cartesian methodological reductionism; Mr. Cogito’s knowledge is individual, connected with both his mind and his sense and empirical experience. In the terminology of J.H. Newman, whose philosophy was known to Herbert, there is not merely notional knowledge, based on ratio, but the equally important real knowledge, which stems from the experience of an individual human being. (shrink)

The marginality of poetry in American culture has been taken for granted at least since the dawn of the modernist period, when Walt Whitman printed his first volume of poetry at his own expense. More recently, it has become an article of faith that there is a real popular audience for poetry, but somewhere else-in the East. Literary journals, the popular press, and publishers have made household names of a handful of Eastern European writers: Czeslaw Milosz, Joseph Brodsky, Zbigniew (...) Herbert. One is regaled with chestnuts about ordinary people in the Eastern bloc who care about "the Word," manuscripts passed from hand to hand, even poems preserved orally. Inevitably, the questions are revived: Where are the great American poets? Has American poetry been reduced to private confessions and personal trivia? Why is it that our poetry lacks that public, political relevance? The answer to such questions is often that we do not have the weight of History on our backs, the state oppression under which, as Milosz says, "poetry is no longer alienated," no longer "a foreigner in society," and can become more important than bread.1 But what has not surfaced in the vaunted "poetry and politics" debate is the extent to which our homage to victims of censorship everywhere has become a fetishization of totalitarianism, and a self-serving one at that. The mythology of our freedom, unbounded and unmediated, depends precisely on this other world, on what happens over there. 1. Czeslaw Milosz, The Witness of Poetry , p. 95; hereafter abbreviated WP. Bruce F. Murphy's work has appeared in the Paris Review, Pequod, and An Gael. He has completed a manuscript of poems and with Friedrich Ulfers is writing a study of Friedrich Nietzsche. (shrink)

The article attempts to consider the philosophical foundations of the literary works of two authors: Zbigniew Herbert and Francis Ponge. In the literature devoted to the author of the String of Light, the theme of similarity of his work to the works of the French poet has been present for a long time. Critics listed a number of Herbert’s works that could be compared with the works from Ponge’s The Nature of Things, published in 1942. It has (...) been already shown what they have in common in terms of the literary descriptions of things and phenomena. The main subject of this study are non-literary texts regarding Herbert’s and Ponge’s views on poetry. The article is the result of an interdisciplinary comparative study, using knowledge in the field of literary studies, philosophy and philology. The author examines the hypothesis that the poets’ proposition to describe the objects is based on the attitude toward the world and the type of sensitivity that are common to both Herbert and Ponge. They both wrote against the rationalist tradition in philosophy. They opposed the abandonment of the concrete and the emotional layer of experience in favor of concepts and systems. Their concepts of reality and cognition were influenced by Epicure and Lucretius. It was probably through them that the poets could have assimilated certain ideas that Maurice MerleauPonty developed into the framework of a comprehensive project in his phenomenological reflection. Their approach to description reveals the conviction of the French philosopher that “all knowledge substantiates in horizons that are opened through perception”. Their sensitivity to the objects of the outside world reflects the living body’s perception of the world. Herbert and Ponge go beyond the perspective of an objective order of thought, prior to expression. Thus, they do not reduce reality to thinking about the world. (shrink)

In Herbert’s poetry the words which are the names of musical instruments function both on the level of literary text stylistic composition - they are constituent elements of the metaphors and comparisons - and as signs of concrete or symbolic objects, which constitute one of the categories of motifs visible in the poems. The essay is an attempt to define the function performed by the motifs of the lyre and the lute, the first two instruments to appear in (...) class='Hi'>Zbigniew Herbert’s poetry. The group of poems in which the motifs of the lyre, the lute and the string - a frequent synexdoche of the two instruments - appear includes twelve poems: Do Apollina [To Apollo], O Troi [On Troy], Do Marka Aurelego [To Marcus Aurelius], Struna [The String], Las Ardeński [The Forest of Arden], Arijon [Arion, from the volume Struna Światła [The String of Light]), Niepoprawność [Incorrectness], Do Pięści [To the Fist], Prośba (A Request, from the volume Hermes, pies i gwiazda [Hermes, a Dog and a Star]), Apollo i Marsjasz [Apollo and Marsyas], Szuflada (The Drawer, from the volume Studium przedmiotu [A Study of an Object]), Wit Stwosz: Uśnięcie Najświętszej Marii Panny (Veit Stoss: Repose of the Virgin, from the volume Elegia na odejście [An Elegy on Passing Away]). In the symbolism of the poems by Zbigniew Herbert the motif of the lyre has ambivalent value. It symbolizes a type of art which does not suit twentieth century experiences or kind of poetry ruthlessly indifferent to evil and thus deserving ethical criticism on the one hand and represents art., which can provide man with a sense of the order of existence, on the other. It is because of the second function that is must be saved. In Herbert’s poems the lyre symbolizes classical poetry - its stylistic tone and function; it is also a symbol of music and harmony - presented as a desired state existing in the world. The string - if it is not a synexdoche of the lyre or the lute - becomes a symbol of new poetry, which results from twentieth century catastrophes, but does not totally reject classical tradition (though compared to it, it is only partial and incomplete). The way the two motifs function in Herbert’s poetry illustrates one of the author’s fundamental dilemmas. The question is: How can a poet who has rejected traditional classicism remain a twentieth century classical poet? (shrink)

The primary goal of this article is to get to the specifics of Zbigniew Herbert’s work. The poet had formal philosophical education and cannot be treated merely as a writer raising existential issues. The consequence of his studies in philosophy with the most eminent Polish philosophers of the time was that he took up important philosophical questions rather than used the answers that philosophers of the past had given. This is an important feature of his poetry and distinguishes (...) Herbert from those writers who subscribed to the worldview of their era. Failure to distinguish between these two stances has led to one-sided readings of his poem To Marcus Aurelius. The interpretations of the last sixty years quoted in the article lead to the conclusion that we are dealing with a kind of “contemporary”, or modified, “stoicism”. Later scholars interpreted the work as existential. A comparison of the poem with the work of Marcus Aurelius, and above all, an analysis of the differences between the ancient and modern understanding of such concepts as “nature”, “fate”, “self”, or “suffering”, allowed us to show the internal intellectualemotional tension in Herbert’s poem, and above all, the general idea of philosophizing poetry. The poet himself believed that it resembles primary reflection, such as that of the early Ionian thinkers. This is not about philosophizing on the basis of an elaborate conceptual apparatus, but about philosophical intuition and “philosophical experience”, an intellectual and emotional tension, in which – thanks to poetic talent – beauty is born. The dialog in To Marcus Aurelius is precisely a record of such poetic agitation. (shrink)

Social robots serve people as tutors, caretakers, receptionists, companions, and other social agents. People know that the robots are mechanical artifacts, yet they interact with them as if they were actual agents. How is this possible? The proposal here is that people construe social robots not as social agentsper se, but asdepictionsof social agents. They interpret them much as they interpret ventriloquist dummies, hand puppets, virtual assistants, and other interactive depictions of people and animals. Depictions as a class consist of (...) three physical scenes with part-by-part mappings between them: (a) a base scene (the raw physical artifact), (b) the depiction proper (the artifact construed as a depiction), and (c) the scene depicted (the scene people are to imagine). With social robots, evidence shows people form the same three scenes plus mappings: They perceive the raw machinery of a robot, construe it as a depiction of a character, and, using the depiction as a guide, engage in the pretense that they are interacting with the character depicted. With social robots, people also recognize three classes of agents – the characters depicted, the intended recipients of the depictions (those who view or interact with the robots), and the authorities responsible for the robots (the designers, makers, and owners). Construing social robots as depictions, we argue, accounts for many phenomena not covered by alternative models. (shrink)

The current paper studies the formal properties of the Global Reflection Principle, to wit the assertion “All theorems of$\mathrm {Th}$are true,” where$\mathrm {Th}$is a theory in the language of arithmetic and the truth predicate satisfies the usual Tarskian inductive conditions for formulae in the language of arithmetic. We fix the gap in Kotlarski’s proof from [15], showing that the Global Reflection Principle for Peano Arithmetic is provable in the theory of compositional truth with bounded induction only ($\mathrm {CT}_0$). Furthermore, we (...) extend the above result showing that$\Sigma _1$-uniform reflection over a theory of uniform Tarski biconditionals ($\mathrm {UTB}^-$) is provable in$\mathrm {CT}_0$, thus answering the question of Beklemishev and Pakhomov [2]. Finally, we introduce the notion of a prolongable satisfaction class and use it to study the structure of models of$\mathrm {CT}_0$. In particular, we provide a new model-theoretical characterization of theories of finite iterations of uniform reflection and present a new proof characterizing the arithmetical consequences of$\mathrm {CT}_0$. (shrink)

The article considers, in a historical setting, the links between varieties of nominalism—the extreme nominalism of the Quine-Goodman variety and the trope nominalism current today—and types of idealism. In so doing arguments of various twentieth century figures, including Husserl, Bradley, Russell, and Sartre, as well as a contemporary attack on relations by Peter Simons are critically examined. The paper seeks to link the rejection of realism about universals with the rejection of a mind-independent “world”—in short, linking nominalism with idealism.

In Executive Order No. 10521, March 17, 1954, President Eisenhower stated: “…only a small fraction of the Federal Funds is being used to stimulate and support the vital basic research which makes possible our practical scientific progress. I believe strongly that this Nation must extend its support of research in basic science.”.

This Introduction describes the approach and rules applied when translating a 25-page excerpt from Marx’s Manuscript of 1867–68, as published in the MEGA, Volume II/4.3. The draft status and terseness of the text required that the translation proceed along with a working-out of its mathematical content. The translation’s main guideline was to translate the draft such as it stood, while correcting figures and formulas wherever possible. Remaining major deficiencies and inconsistencies are discussed in depth, showing also what an outstanding level (...) of acuity Marx had already achieved in a manuscript at first-draft stage. (shrink)

In China, the transformation from a centrally planned economy to one dominated by market forces has been characterized by the devolution of authority from the center to localities. This is as true of the enormous state bureaucracy associated with the control of fertility as it is with the economic bureaucracies more often studied in transitional societies. Using observations from several field sites, the authors document how county-, township-and village-level family planning cadres have gone from being agents of the state to (...) autonomous actors who must negotiate between the ongoing demands of the central bureaucracy and the new opportunities available in the locales in which they work and dwell. They suggest that any serious change in the draconian restrictions on fertility that have obtained in China for almost thirty years is likely to derive from initiatives at the local level. Local actors have already begun to adjust to the tensions between responsibilities and available resources that have tended to induce paralysis in the upper levels of this long-standing state bureaucracy. (shrink)