Suchergebnisse

Reprinted from Preuves. Translated from the French by Lionel Abel.

While most media research on the Covid-19 pandemic focuses on misinformation or polarisation of society, we find a niche in what strategies mass audiences chose to adopt when receiving the news. We addressed this very question immediately at the beginning of the pandemic in the Czech Republic in 2020, choosing a quantitative method and apply it on a representative sample of the Czech population according to standard quota sampling parameters. The specificities of the Czech Republic, as one of the most affected countries and holding the primacy with the highest number of deaths from Covid-19 per population in the world, played an important role in the selection of news. Our research identified four basic groups of recipients: Concerned, Careful, Sceptical, and Detached. Research in Germany (Wolling, Schumann & Arlt, 2020), for example, has found similar classifications. Another important finding was the audience's preferences in terms of the use of different types of media, with our respondents being completely dominated by television as the primary source of information. Other key finding is that audiences felt overwhelmed by news of the pandemic, which implies challenges for further research but especially for journalistic practice.

The article deals with the reflection of Western cultural crisis in Czesław Miłosz's creativity expressed as "catastrophism". The experience of crisis must be linked with the political situation between the two World Wars, but Miłosz perceives it as a crisis of culture and first of all a crisis in the changed social sphere. His view is close to the opinion of the Spanish philosopher Ortega y Gasset: "the rebellion of the mass" is one of the signs of cultural crisis. Miłosz rejects Ortega's idea of "dehumanization of art" because, according to Miłosz, a contemporary artist reflecting himself as a single individual and seeking to avoid the man of mass in fact is part of that mass. "The Captive mind" is the analysis of Polish writers' timeserving policy after World War II. In this book, Miłosz tried to find some kind of justification of writers' position and introduced a concept of "ketman". Miłosz practiced "ketman" himself when he worked in diplomatic service of the Polish People's Republic and later in West emigration.

The article deals with the reflection of Western cultural crisis in Czesław Miłosz's creativity expressed as "catastrophism". The experience of crisis must be linked with the political situation between the two World Wars, but Miłosz perceives it as a crisis of culture and first of all a crisis in the changed social sphere. His view is close to the opinion of the Spanish philosopher Ortega y Gasset: "the rebellion of the mass" is one of the signs of cultural crisis. Miłosz rejects Ortega's idea of "dehumanization of art" because, according to Miłosz, a contemporary artist reflecting himself as a single individual and seeking to avoid the man of mass in fact is part of that mass. "The Captive mind" is the analysis of Polish writers' timeserving policy after World War II. In this book, Miłosz tried to find some kind of justification of writers' position and introduced a concept of "ketman". Miłosz practiced "ketman" himself when he worked in diplomatic service of the Polish People's Republic and later in West emigration.

The article deals with the reflection of Western cultural crisis in Czesław Miłosz's creativity expressed as "catastrophism". The experience of crisis must be linked with the political situation between the two World Wars, but Miłosz perceives it as a crisis of culture and first of all a crisis in the changed social sphere. His view is close to the opinion of the Spanish philosopher Ortega y Gasset: "the rebellion of the mass" is one of the signs of cultural crisis. Miłosz rejects Ortega's idea of "dehumanization of art" because, according to Miłosz, a contemporary artist reflecting himself as a single individual and seeking to avoid the man of mass in fact is part of that mass. "The Captive mind" is the analysis of Polish writers' timeserving policy after World War II. In this book, Miłosz tried to find some kind of justification of writers' position and introduced a concept of "ketman". Miłosz practiced "ketman" himself when he worked in diplomatic service of the Polish People's Republic and later in West emigration.

The article deals with the reflection of Western cultural crisis in Czesław Miłosz's creativity expressed as "catastrophism". The experience of crisis must be linked with the political situation between the two World Wars, but Miłosz perceives it as a crisis of culture and first of all a crisis in the changed social sphere. His view is close to the opinion of the Spanish philosopher Ortega y Gasset: "the rebellion of the mass" is one of the signs of cultural crisis. Miłosz rejects Ortega's idea of "dehumanization of art" because, according to Miłosz, a contemporary artist reflecting himself as a single individual and seeking to avoid the man of mass in fact is part of that mass. "The Captive mind" is the analysis of Polish writers' timeserving policy after World War II. In this book, Miłosz tried to find some kind of justification of writers' position and introduced a concept of "ketman". Miłosz practiced "ketman" himself when he worked in diplomatic service of the Polish People's Republic and later in West emigration.

In The Captive Mind, Czesław Miłosz describes two mechanisms of intellectual enslavement, namely Murti-Bing pills and Ketman. Although these mechanisms are similar, in reality they function somewhat differently. I believe that the former, Murti-Bing pills, leads to more significant enslavement than the latter, namely Ketman. This is because the former blurs the distinction between fiction and reality, while the latter can coexist with the awareness of the deceitful nature of communist propaganda and even with a cynical attitude. Both mechanisms generate a double identity, albeit each in a different way. It seems, moreover, that while Miłosz describes universal phenomena occurring in different societies and at different times, these are particularly intense precisely in the communist totalitarian state.

Im Jahr 1986 gab der Autor unter dem Pseudonym Per Ketman eine Band mit Texten über Ost-West-Begegnungen zu Zeiten der deutschen Teilung heraus. Die neu zusammengestellte Auflage von "Geh doch rüber!" 30 Jahre nach dem Mauerfall enthält eine ausführliche Entstehungsgeschichte und Rückblicke der Autoren. Rezension: Im Jahr 1986 gab der in Westberlin lebende Autor (heute Psychoanalytiker) u.d. Pseudonym Per Ketman die Anthologie "Geh doch rüber! Begegnungen von Menschen aus Ost und West heraus. Das Buch hatte die Intention, bei seiner Generation Interesse für das Leben im Osten zu wecken und dorthin zu reisen, was möglich, aber mit Schwierigkeiten verbunden war. Bei den Ostlern überwiegt staatsferne Sicht. Die neu zusammengestellte Ausgabe enthält, neben den fast vollständig übernommenen Texten, die vom Herausgeber dargestellte Entstehungsgeschichte - Intentionen, Autorenbegegnungen, Beobachtung durch Stasi. Die (vorwiegend literarischen) Texte von 1986 wurden um aktuelle persönliche Kommentare der Autoren ergänzt. Neu aufgenommen, ein damals thematisch unpassender Text über einen Mauerschützen von K. Lange-Müller. Mit S-W-Fotos des Herausgebers von 1984/85, Personenverzeichnis. - 30 Jahre nach dem Mauerfall, Fremdheit gegenüber dem Osten wirkt fort, bietet das Buch Blicke auf ein prägendes Stück Zeitgeschichte. In Auszügen für ältere Schüler gut geeignet, Cover und Format haben Lehrbuchcharakter. (2 S)

The aim of the article is to investigate some of the possible sources of inspiration for Orwell's concept of the artificial language called Newspeak, which, in his novel Nineteen Eighty-Four, is shown as an effective tool of enslavement and thought control in the hands of a totalitarian state. The author discusses, in this context, the putative links between Newspeak and really existing artificial languages, first of all Esperanto, and also between Orwell's notion of "doublethink", which is an important feature of the totalitarian mentality, and Czesław Miłosz's notion of "ketman", developed in his book The Captive Mind. But the main emphasis is on the connection between Orwell's book and the slightly earlier novel by C.S. Lewis, That Hideous Strength. It is well known that Orwell knew Lewis's book and expressed his mixed feelings about it. There are many specific, though far from obvious, similarities between the two books, but what seems to have been particularly inspiring for Orwell was Lewis's vision of a thoroughly degenerate language that is used for political manipulation rather than for communication. ; Celem artykułu jest zbadanie wybranych źródeł inspiracji, które mogły posłużyć G. Orwellowi do stworzenia koncepcji sztucznego języka zwanego Nowomową, który w powieści Rok 1984 ukazany jest jako skuteczne narzędzie zniewolenia i kontrolowania myśli w ręku totalitarnej władzy. Autor omawia w tym kontekście możliwe związki między Nowomową a rzeczywiście istniejącymi sztucznymi językami, takimi jak Esperanto. Wskazane są również podobieństwa i różnice między Orwellowską koncepcją "dwójmyślenia" a pojęciem "ketmanu" zdefiniowanym w książce Czesława Miłosza pt. Zniewolony umysł. Jednak główny nacisk położony jest na związki między powieścią Orwella a fantastyczno-naukową powieścią C.S. Lewisa pod tytułem Ta ohydna siła. Wiadomo, że Orwell książkę Lewisa znał i nawet ją zrecenzował. Istnieje wiele bardziej i mniej oczywistych podobieństw między tymi dwoma wybitnymi wizjami zdegenerowanego języka, który służy bardziej politycznej manipulacji niż wzajemnemu zrozumieniu.

The aim of the article is to investigate some of the possible sources of inspiration for Orwell's concept of the artificial language called Newspeak, which, in his novel Nineteen Eighty-Four, is shown as an effective tool of enslavement and thought control in the hands of a totalitarian state. The author discusses, in this context, the putative links between Newspeak and really existing artificial languages, first of all Esperanto, and also between Orwell's notion of "doublethink", which is an important feature of the totalitarian mentality, and Czesław Miłosz's notion of "ketman", developed in his book The Captive Mind. But the main emphasis is on the connection between Orwell's book and the slightly earlier novel by C.S. Lewis, That Hideous Strength. It is well known that Orwell knew Lewis's book and expressed his mixed feelings about it. There are many specific, though far from obvious, similarities between the two books, but what seems to have been particularly inspiring for Orwell was Lewis's vision of a thoroughly degenerate language that is used for political manipulation rather than for communication. ; Celem artykułu jest zbadanie wybranych źródeł inspiracji, które mogły posłużyć G. Orwellowi do stworzenia koncepcji sztucznego języka zwanego Nowomową, który w powieści Rok 1984 ukazany jest jako skuteczne narzędzie zniewolenia i kontrolowania myśli w ręku totalitarnej władzy. Autor omawia w tym kontekście możliwe związki między Nowomową a rzeczywiście istniejącymi sztucznymi językami, takimi jak Esperanto. Wskazane są również podobieństwa i różnice między Orwellowską koncepcją "dwójmyślenia" a pojęciem "ketmanu" zdefiniowanym w książce Czesława Miłosza pt. Zniewolony umysł. Jednak główny nacisk położony jest na związki między powieścią Orwella a fantastyczno-naukową powieścią C.S. Lewisa pod tytułem Ta ohydna siła. Wiadomo, że Orwell książkę Lewisa znał i nawet ją zrecenzował. Istnieje wiele bardziej i mniej oczywistych podobieństw między tymi dwoma wybitnymi wizjami zdegenerowanego języka, który służy bardziej politycznej manipulacji niż wzajemnemu zrozumieniu.