Post-modernism's use and abuse of Nietzsche

I focus on Nietzsche's architectural metaphor of self-construction in arguing for the claim that postmodern readings of Nietzsche misunderstand his various attacks on dogmatic philosophy as paving the way for acceptance of a self characterized by fundamental disunity. Nietzsche's attack on essentialist dogmatic metaphysics is a call to engage in a purposive self-creation under a unifying will, a will that possesses the strength to reinterpret history as a pathway to "the problem that we are". Nietzsche agrees with the postmodernists that unity is not a pre-given, however he would disavow their rejection of unity as a goal. Where the postmodernists celebrate "the death of the subject" Nietzsche rejects this valorization of disunity as a form of Nihilism and prescribes the creation of a genuine unified subjectivity to those few capable of such a goal. Postmodernists are nearer Nietzsche's idea of the Last Man than his idea of the Overman.Articl

Curated Issue: Cultural Works—Transitions and Dislocations, Introduction

Introduction to the curated issue of PORTAL Journal of Multidisciplinary International Studies, Cultural Works—Transitions and Dislocations. Some parts of this introduction contain material previously published in my review of Silvia Spitta's Misplaced Objects: Migrating Collections and Recollections in Europe and the Americas (Austin: University of Texas Press, 2009), in The Comparatist, 34 (May 2010), pp. 201–7

Polaroid, aperture, and Ansel Adams: rethinking the industry-aesthetic divide

This article takes the history of Polaroid photography as an opportunity to question a presupposition that underpins much thinking on photography: the split between industrial (ie useful) applications of photography and its fine art (ie aesthetic) manifestations. Critics as ideologically opposed as Peter Bunnell and Abigail Solomon-Godeau steadfastly maintain the existence of this separation of utility and aesthetics in photography, even if they take contrasting views on its meaning and desirability. However, Polaroid, at one time the second largest company in the photo industry, not only enjoyed close relations with those key representatives of fine art photography, Ansel Adams and the magazine Aperture, but it also intermittently asserted the ‘essentially aesthetic’ nature of its commercial and industrial activities in its own internal publications. The divide between industry and aesthetics is untenable, then, but this does not mean that the two poles were reconciled at Polaroid. While Aperture may have underplayed its commercial connections and Polaroid may have retrospectively exaggerated its own contributions to the development of fine art photography, most interesting are the contradictions and tensions that arise when the industrial and the aesthetic come together. The article draws on original research undertaken at the Polaroid Corporation archives held at the Baker Library, Harvard, as well as with the Ansel Adams correspondence with Polaroid, held at the Polaroid Collections in Concord, Massachusett

THE RULE OF SÁNDOR PETŐFI IN THE MEMORY POLICY OF HUNGARIANS, SLOVAKS AND THE MEMBERS OF THE HUNGARIAN MINORITY GROUP IN SLOVAKIA IN THE LAST 150 YEARS

Sándor Petőfi was the greatest poet of the Hungarian romantic literature, but aft er his participation in the events of the Hungarian revolution of 1848 he became the legendary fi gure of the national liberty and republicanism. Petőfi ’s mysterious disappearance aft er the batt le of Segesvár further confi rmed the importance of his personal heroism and at the end of the 19th Century Petőfi became an emblematic fi gure of the national freedom and independence not just in Hungary, but in Europe too.Petőfi ’s cult was signifi cant in the period between the two world wars too, mainly at the time of hundredth anniversary of his birth. A memorial banknote was issued on this occasion and were staged a national commemoration in 1925.In the communist era Petőfi was the idol of the radical revolutionary republicans, who fought against the members of the oppressive ruling classes. His glorious and heroic image became one of the fi gures of the Hungarian communist pantheon. But also the anti-dictatorship young intellectuals viewed Petőfi as a role model and founded Petőfi Circle prepared for the events of the revolution of 1956.Until the end of the seventies Petőfi became again the emblematic historical hero of the antiregime democratic opposition movement. Th e square at Petőfi statue was the scene of many demonstrations. Th is square was also the favorite commemoration place also of the Hungarianliberal political party aft er the Hungarian political transition in the last decade of 20th Century

Regarding Marxism

My paper refers to Leszek Kołakowski’s Main Currents of Marxism: Its Origin, Growth, and Dissolution (Oxford: Clarendon Press 1987). Kołakowski’s intention was to write a textbook on the history of Marxism based on his lectures but his book is much more than that. It is a philosophical treatise in which Marx’s doctrine of mankind and the program of its liberation are critically analysed and reinterpreted. The core of Marx’s philosophy is the idea of man and the belief that the real existence of humans is not identical with their essence. Kołakowski shows that this belief is rooted in mythological thinking, the Platonic tradition, and in the Christian thought. A moral that follows from Kołakowski’s critical analysis of Marx’s doctrine is that man has never lived in a paradise and yet he perceives himself as banished thereof; that he will never enter a paradise and yet he cannot live without the faith that this is somehow possible. Therefore, what he should do is to have a minimum of common sense and skepticism related to it, for they would protect him against the traps laid by false prophets repeatedly asserting that they know the means to construct the paradise today or at least tomorro

Imagining Village Life in Zambian Fiction

The dualism between the urban and the rural space, and between the systems of social relationships obtaining in each sphere, has proved to be an enduring source of inspiration to African fictional writers since the inception of the genre. Many studies of the genre, however, have failed to recognise the extent to which literary representations of the town and the village have changed over time. Using the case of Zambia, this paper argues that African ideas about the city and the country - and their literary expressions - are historically contingent and rooted in specific socio-economic contexts

The Victorian and the Historical in Post-Victorian Fiction

Zadanie pt. „Digitalizacja i udostępnienie w Cyfrowym Repozytorium Uniwersytetu Łódzkiego kolekcji czasopism naukowych wydawanych przez Uniwersytet Łódzki” nr 885/P-DUN/2014 dofinansowane zostało ze środków MNiSW w ramach działalności upowszechniającej nauk