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Rada Redakcyjna: Mira Czarnawska (Warszawa), Zbigniew Kaźmierczak (Białystok), Andrzej Kisielewski (Białystok), Jerzy Kopania (Białystok), Małgorzata Kowalska (Białystok), Dariusz Kubok (Katowice) Rada Naukowa: Adam Drozdek, PhD Associate Professor, Duquesne University, Pittsburgh, USA Anna Grzegorczyk, prof. dr hab., UAM w Poznaniu Vladimír Leško, Prof. PhDr., Uniwersytet Pavla Jozefa Šafárika w Koszycach, Słowacja Marek Maciejczak, prof. dr hab., Wydział Administracji i Nauk Społecznych, Politechnika Warszawska David Ost, Joseph DiGangi Professor of Political Science, Hobart and William Smith Colleges, Geneva, New York, USA Teresa Pękala, prof. dr hab., UMCS w Lublinie Tahir Uluç, PhD Associate Professor, Necmettin Erbakan Üniversitesi Ilahiyat Fakultesi (Wydział Teologii), Konya, Turcja Recenzenci: Vladimír Leško, Prof. PhDr. Andrzej Niemczuk, dr hab. Andrzej Noras, prof. dr hab. Tahir Uluç, PhD Associate Professor Redakcja: dr hab. Sławomir Raube (redaktor naczelny) dr Agata Rozumko, mgr Karol Więch (sekretarze) dr hab. Dariusz Kulesza, prof. UwB (redaktor językowy) dr Kirk Palmer (redaktor językowy, native speaker) Korekta: Zespół Projekt okładki i strony tytułowej: Tomasz Czarnawski Redakcja techniczna: Ewa Frymus-Dąbrowska ADRES REDAKCJI: Uniwersytet w Białymstoku Plac Uniwersytecki 1 15-420 Białystok e-mail: [email protected] http://filologia.uwb.edu.pl/idea/idea.htm ISSN 0860–4487 © Copyright by Uniwersytet w Białymstoku, Białystok 2016 Wydawnictwo Uniwersytetu w Białymstoku 15–097 Białystok, ul. Marii Skłodowskiej-Curie 14, tel. 857457120 http://wydawnictwo.uwb.edu.pl, e-mail: [email protected] Skład, druk i oprawa: Wydawnictwo PRYMAT, Mariusz Śliwowski, ul. Kolejowa 19, 15-701 Białystok, tel. 602 766 304, 881 766 304, e-mail: [email protected] SPIS TREŚCI WOJCIECH JÓZEF BURSZTA: Homo Barbarus w świecie algorytmów ................................................................................................. 5 ZBIGNIEW KAŹMIERCZAK: Demoniczność Boga jako założenie ekskluzywistycznego i inkluzywistycznego teizmu ................................... 20 SŁAWOMIR RAUBE: Religia na granicy mitu ........................................... 39 JÓZEF TARNOWSKI: Ernst Cassirer i Nelson Goodman: konstruktywna siła symbolizacji kulturowych .......................................... 52 BARTOSZ KUŹNIARZ: Architektura nowoczesności ................................ 64 ALICJA KISIELEWSKA: Seriale telewizyjne jako wspólnoty symboliczne .............................................................................................. 91 KAZIMIERZ PIOTROWSKI: Symbol (w) Cutting Age .......................... 107 ANDRZEJ KISIELEWSKI: „Dwa szybkie żubry”. Masowa kultura wizualna i koncepcja animal symbolicum Ernsta Cassirera ................... 139 KRZYSZTOF ARCIMOWICZ: Obraz kondycji współczesnego człowieka i społeczeństwa w nowej generacji seriali telewizyjnych .......................................................................................... 159 TOMASZ OLCHANOWSKI: Ponowoczesny wspaniały świat ................ 185 JERZY KAMIONOWSKI: “Superreal images for superreal people”. Black self-representation as self-invention in poetry and visual art of the black arts movement: the wall of respect ................................ 210 CLIFORD MEESUA SIBANI, EMMANUEL ASIA: The right to property in Nigeria: a reflection on the legal and Biblical laws ............. 233 4 Spis treści FRANKLYN EGWALI, GEORGE UKAGBA: The emphatic wood sculptures at the University of Benin – their cultural and philosophical contributions to Nigerian art space: an articulation of African aesthetics ................................................................................................ 246 FRANKLYN EGWALI: The intricacies of Benin bead motifs – their place in contemporary Nigerian art ............................................ 259 NELSON UDOKA UKWAMEDUA, VICTOR OMOKPO: The ontology of destiny and freedom among the Igbo-African: a discourse in existential metaphysics .................................................... 272 VICTOR OGHENEOCHUKO JECO: Philosophical integration of the human person: African standpoint .............................................. 287 WILSON E. EHIANU: The church and the making of Nigeria’s fourth republic ........................................................................................ 306 SZKICE FILOZOFICZNE JACEK BRECZKO: Imagine Lenona oraz The Empathic Civilzation Rifkina jako przykłady nowoczesnych utopii (analiza porównawcza i krtyczna) .. 327 ANDRZEJ KORCZAK: Mircea Eliade i pojęcie archetypu ....................... 357 TRANSLATORIUM JEAN-JACQUES WUNENBURGER: O narodzinach obrazu: obecność czy znikanie bytu? .................................................................... 375 Contents ........................................................................................................ 391 IDEA – Studia nad strukturą i rozwojem pojęć filozoficznych XXVIII/2 Białystok 2016 WOJCIECH JÓZEF BURSZTA (Warszawa) HOMO BARBARUS W ŚWIECIE ALGORYTMÓW W kulturze świata technicznego nie ma niczego trwałego Siegfried Zielinski Jakże niewinnie brzmią dzisiaj, nie tak odległe przecież w czasie, utyskiwa- nia George’a Steinera nad „natychmiastową diagnostyczną socjologią mass- mediów”1 i jego narzekania na wtórność oraz pasożytnictwo uczestnictwa w uświęconym terytorium, jakim winna być kultura symboliczna. Wielki kultu- rowy pesymista pisał: „Wyedukowanemu społeczeństwu rajfurzą miliony słów, drukowanych, przedstawianych, nadawanych, wyświetlanych: w książkach, któ- rych ludzie nigdy nie otworzą, muzyce, której nigdy nie wysłuchają, dziełach sztuki, na które nigdy nie rzucą nawet okiem”2. Jeśli zważymy, że Steiner troskał się lawinowo narastającymi symptomami przesycenia informacyjnego, budującymi stan świata, który nazywał postkulturą, w sytuacji, kiedy media elektroniczne ledwie raczkowały, a ich dzisiejszej potęgi 1 G. Steiner, W zamku Sinobrodego , przeł. O. Kubińska, Atext: Gdańsk 1993, s. 5. 2 G. Steiner, Rzeczywiste obecności , przeł. O. Kubińska, Instytut Kultury: Warszawa 1997, s. 24. 6 Wojciech Józef Burszta i kształtu naprawdę nie sposób było przewidzieć, mamy świadomość, że dopiero kultura cyfrowa stanowi na tej drodze krok prawdziwie milowy. Ale Steiner już wówczas wiedział przed czym ostrzega: postkulturą był dlań zwyczaj trawienia nieprzerwanego strumienia informacji z minimalnym stopniem ich „wchła- niania”. Odwołując się do innego szacownego badacza, Neila Postmana, mogli- byśmy powiedzieć, że z hierarchicznej triady: informacja – wiedza – mądrość, technologiczna postkultura promuje tylko tę pierwszą, pozbawiając ją dodatko- wo wszelkiego kontekstu 3. Co Steiner powiedziałby dzisiaj, mając możliwość pi- sania i myślenia w towarzystwie niezliczonych, ważnych i cenionych elementów kulturowego dziedzictwa, które miałby na podorędziu w postaci choćby własne- go pen-drive’a albo w tzw. chmurze? Czy nie o to wszak chodziło w pięknej idei oświeceniowej, by wiedzę i piękno maksymalnie upowszechniać i demokratyzo- wać dostęp do kultury? Myślę, że nestor filozofii zachowuje swój sceptycyzm, widząc jedno: że współczesna kultura globalnej logorei jest stanem, w ramach którego jego „epi- stemologia i etyka przypadkowej doczesności” może się realizować w pełni w postaci niekończącego się strumienia komunikacyjno-informacyjnego i cią- głego dostępu do wszelkiej wiedzy o wszystkim 4. Wszyscy mówią o wszystkim do wszystkich, bez przerwy, bez hierarchii, bez uwzględniania autorytetów, hej- tując i analizując, nienawidząc i kochając, ciesząc się i smucąc, cierpliwie szuka- jąc wiedzy rzetelnej albo radując się plotką i zmyśleniem. Logorea nigdy nie śpi, a jej treści są niemożliwe do ogarnięcia. To mieszanina słowoobrazów z meta- komentarzami bez granic. Wiemy już dzisiaj, przekonując się o tym codziennie, że kultura „dostępu”, podobnie jak i cały internet, mają Janusowe oblicze: „jedno egalitarne, otwarte i wolnościowe, drugie – groteskowe. Boga nie ma, hulaj du- sza, wszystko wolno: kłamstwo, oszczerstwo, nienawiść, co zechcesz. Równole- gle toczą się dwa procesy: demokratyzacja wiedzy i normalizacja barbarzyń- 3 Zob. N. Postman, Technopol. Triumf techniki nad kulturą , przeł. A. Tanalska-Dulęba, PIW: Warszawa 1995; tenże W stronę XVIII stulecia, przeł. R. Frąc, PIW: Warszawa 2001. 4 W niektórych partiach tekstu rozwijam wątki poruszane w książce Preteksty , WN Katedra: Gdańsk 2015. Homo Barbarus w świecie algorytmów 7 stwa”5. Rzecz bowiem w tym, że to, co określa się mianem multimediów, albo nowych mediów umożliwia kolonizację rzeczywistości przez owe słowoobrazy, które zawłaszczają wyobrażenia przeszłości, teraźniejszości i możliwej przyszło- ści. To prawdziwa, może koszmarna, ale jednak ludowa demokracja w dosłow- nym sensie planu wyrażania i treści, by rzec semiologicznie. Technologicznie ułatwione budowanie signifiants tworzy rozległa panoramę logoreicznych sen- sów signifiés . W innej perspektywie rzecz ujmując, mamy do czynienia z nową, technologicznie zapośredniczoną fazą buntu mas Ortegi y Gasseta, a sieć jest je- go areną i agorą. Zobaczmy, w wielkim skrócie, jak do tego stanu doszło. Jak pisze Jan van Dijk, cztery wzory przepływu informacji, możliwe dzisiaj (wymiennie i łącznie), pozwalają lepiej zrozumieć, dlaczego historia kultury po- strzegana jest dzisiaj nade wszystko jako dzieje rozbudowywania i uelastycznia- nia struktury komunikacji – od tradycyjnej piśmienności do nieskrępowanej lo- gorei dzisiejszych mediów elektronicznych. W XX stuleciu wzorem obowiązują- cym w mediach była alokucja. Radio, telewizja
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    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 2-2009 It’S ‘A Good Thing’: The Commodification Of emininityF , Affluence, And Whiteness In The Martha Stewart Phenomenon Melissa A Click University of Massachusetts - Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Part of the American Studies Commons, Gender and Sexuality Commons, and the Mass Communication Commons Recommended Citation Click, Melissa A, "It’S ‘A Good Thing’: The Commodification Of emininityF , Affluence, And Whiteness In The Martha Stewart Phenomenon" (2009). Doctoral Dissertations 1896 - February 2014. 42. https://doi.org/10.7275/5645130 https://scholarworks.umass.edu/dissertations_1/42 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. IT’S ‘A GOOD THING’: THE COMMODIFICATION OF FEMININITY, AFFLUENCE, AND WHITENESS IN THE MARTHA STEWART PHENOMENON A Dissertation Presented by MELISSA A. CLICK Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2009 Communication © Copyright by Melissa A. Click 2009 All Rights Reserved IT’S ‘A GOOD THING’: THE COMMODIFICATION OF FEMININITY, AFFLUENCE, AND WHITENESS IN THE MARTHA STEWART PHENOMENON A Dissertation Presented by MELISSA A. CLICK Approved as to style and content by: ____________________________________ Carolyn Anderson, Chair ____________________________________ Lisa Henderson, Member ____________________________________ Marta Calás, Member ____________________________________ Jan Servaes, Department Head Communication ACKNOWLEDGEMENTS This dissertation has been many years in the making and is the result of the support, guidance and generosity of many invaluable people.
  • How Actress Marcia Cross Learned to Manage Severe Migraines

    How Actress Marcia Cross Learned to Manage Severe Migraines

    SEPTEMBER/OCTOBER 2006 BY LINDA CHILDERS How Actress Marcia Cross Learned to Manage Severe Migraines Cross found ways to limit debilitating migraines —and found serenity on TV's ho}est series, "Desperate Housewives." Marcia Cross knew desperation long before she took up residence on Wisteria Lane. She was only 14 when her first migraine left her frightened and writhing in pain. For the next 20 years, migraines would drive her to the school nurse's office, off the set of the TV shows she starred on, and ultimately even to the emergency room. These days, ironically, her character on the hit series "Desperate Housewives," the Stepford-like Bree Van De Kamp, would seem an ideal candidate for migraines. Bree's tightly wound personality is strained by events that couldn't be more stressful: her first husband was killed by her psychotic suitor, her second husband murdered his first wife, her estranged teenage children are out of control, and not coincidentally she's got a drinking problem. All of which she tries to hide behind her porcelain smile and her perfect garden. Cross has taken up yoga to reduce stress and the risk of migraines. As hard as Bree Van De Kamp works to keep up appearances on Wisteria Lane, even Marcia Cross herself is surprised that her character hasn't suffered so much as a single headache in the first three seasons of TV's hottest show. "You know," Cross muses, breaking into a genuine smile, "I might have to ask the writers about putting it in." Then again, as she's quick to point out, in real life she's nothing like the fictional Bree, who's a consummate control freak.
  • Gender Stereotypes in Desperate Housewives

    Gender Stereotypes in Desperate Housewives

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Croatian Digital Thesis Repository Sveučilište u Zadru Odjel za anglistiku Preddiplomski studij engleskog jezika i književnosti (dvopredmetni) Martina Matijević Gender Stereotypes in Desperate Housewives Završni rad Zadar, 2018. Sveučilište u Zadru Odjel za anglistiku Preddiplomski studij engleskog jezika i književnosti (dvopredmetni) Gender Stereotypes in Desperate Housewives Završni rad Student/ica: Mentor/ica: Martina Matijević Dr. sc. Zlatko Bukač Zadar,2018. Izjava o akademskoj čestitosti Ja, Martina Matijević, ovime izjavljujem da je moj završni rad pod naslovom Gender Stereotyes in Desperate Housewives rezultat mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na izvore i radove navedene u bilješkama i popisu literature. Ni jedan dio mojega rada nije napisan na nedopušten način, odnosno nije prepisan iz necitiranih radova i ne krši bilo čija autorska prava. Izjavljujem da ni jedan dio ovoga rada nije iskorišten u kojem drugom radu pri bilo kojoj drugoj visokoškolskoj, znanstvenoj, obrazovnoj ili inoj ustanovi. Sadržaj mojega rada u potpunosti odgovara sadržaju obranjenoga i nakon obrane uređenoga rada. Zadar, 26. rujan 2018. Table of contents 1 Introduction ......................................................................................................................... 1 2 Desperate Housewives ........................................................................................................ 2 3 Representation