ExcerptCzesław Miłosz issues from an age and place when making a distinction between the ethos of a poet, an essayist, or a philosopher seemed an unnecessary and imprudent indiscretion. His resplendent work on political philosophy, The Captive Mind, is along with Albert Camus' The Rebel one of the most insightful, historically accurate, and devastating critiques of Marxism and its entrenchment in twentieth-century thought to date. As such, The Captive Mind is unrivalled by other “theoretical” and abstract treatises in its (...) sheer ability to grasp the vital essence of political reality under totalitarian regimes. As a poet and an essayist, Miłosz's…. (shrink)

Kevin Mulligan | : La philosophie des valeurs cognitives, et des vertus et des vices intellectuels, prête peu d’attention au phénomène de la liberté intérieure et de son rapport à la sottise. On doit au poète et penseur polonais, Czesław Miłosz, une étude classique de ce rapport, La pensée captive (1953), examinée ici. Il est aussi question ici de l’apport d’une autre analyse de Miłosz au sujet du coeur de Julien Sorel et du ressentiment à la philosophie (...) de la sottise. | : The philosophy of cognitive values and of intellectual vices and virtues pays little attention to the phenomenon of inner freedom and its relation to foolishness. We owe to the Polish poet and philosopher, Czesław Miłosz, a classic study of this relation, The Captive Mind (1953). I examine the contribution of this study and of an earlier and little known analysis by Miłosz of the heart of Julien Sorel and resentment to the philosophy of foolishness. (shrink)

In this paper I hope to cast light on Wittgenstein enigmatic remark, “one should really only create philosophy poetically”. I discuss Wittgenstein’s ambition to overcome metaphysics by way of an appeal to ordinary language. For this purpose I contrast “realism” in philosophy (i.e., metaphysical realism, particularly its modern scientific version) with “realism” in poetry. My theme is the capacity of poetry to provide a model for Wittgenstein’s resistance to the inhumanity unleashed in metaphysics—exemplified by two distinct forms of skepticism—which obliterates (...) the ordinary world under the guise of discovering its true nature. The poem I shall use to illustrate the difficulty in maintaining our grip on reality, hence our grip on our humanity, is Czeslaw Milosz’s poem “Realism”. (shrink)

The paper discusses the impact of the thought of Stanisław Brzozowski (1878–1911) on several Polish emigré writers, including Józef Czapski and Gustaw Herling-Grudziński, but first of all Czesław Miłosz (1911–2004) and Aleksander Wat (1900–1967). Miłosz’ approach oscillated between early fascination through an unjust rejection during the war, due to the “appropriation” of Brzozowski’s thought by the right wing publicists, to the new phase of fascination after the war, culminating in the publication of a book on Brzozowski ( (...) A Man Among Scorpions , 1962) and prolonged in several important articles till the very end of his life. Wat’s approach shifted from the communist practice of “overcoming” Brzozowski through the affirmation of his criticism and rejection of catholic obscurantism to the process of the internalization of the catholic faith. (shrink)

The article is an attempt to place Czesław Miłosz in the tradition of Gnosticism and Manichaeism, to recall the Nobel Prize winner’s literary fascinations which have especially influenced his poetry, as well as to show a possible way of interpretation of his works. The starting point for further discussion is the question posed by the Rev Józef Sadzik in Wstęp (the Preface) to Ziemia Ulro (The Land of Ulro): “co stało się z kulturą europejską w jej «romantycznym przesileniu»” (...) (What has become of European culture at the time of its «Romantic turning-point»), when, generally speaking, the spiritual and material elements separated? In the time when western civilization openly turned against its Christian roots, each artist connected with this cultural tradition was made to make choices. At that time Miłosz took to analysing the motif of unde malum (Where does evil come from?) and had a number of lectures on Dostojewski at the University of California. This led him to the philosophy of Mani, who is widely regarded as the founder of Manichaeism. A volume of poems with the title Hymn o Perle (A Hymn to the Pearl), published by Miłosz in 1982, which, as the poet explains, directly alludes to the apocrypha of Gnostic origin, seems to support this supposition. The next stage consisted in the fusion of the two threads, that is to say, the Manichaean and the Gnostic motifs. The poet finds elements of Manichaeism and gnosis in works by Emanuel Swedenborg, William Blake, Adam Mickiewicz and his relative Oskar Miłosz. Czesław Miłosz seems to me to be the next link in the chain of the same philosophical and religions movement. (shrink)

This essay examines the work of Ewa Lipska, who, since the publication of her first book in 1967, has been among the most acclaimed of recent Polish poets but less well known in the West than Czesław Miłosz, Wisława Szymborska, or Adam Zagajewski. She is a philosophical poet, making frequent reference to the tradition of the Frankfurt School, in order to ironize the Enlightenment, Marxism, and Critical Theory, but also in order to assess the dangers of globalization. The (...) focus of the analysis is Lipska’s volume 1999, the linchpin of a poetic project that engages centuries of social systems (political, economic, scientific, technological, artistic) and their vocabularies in order to examine the viability of human knowledge and the motivations underlying its creation. (shrink)

Philip Larkin’s poem “Aubade” tackles the subject of mortality with technical facility and unsparing candour. It has a reputation for profoundly affecting its readers. Yet poets Seamus Heaney and Czeslaw Milosz think “Aubade” is bad for us and for poetry: it lures us into the underworld and traps us there, and betrays poetry’s purpose by transcribing rather than transforming the depressing facts of reality. Philosophers, however, quite like it. “Aubade” crops up repeatedly in contemporary philosophy of death. I examine the (...) various appeals that philosophers have made to Larkin’s poem with a view to drawing out subtleties in the poem and the philosophical texts, before turning my attention to broader questions of its merit. At first glance, philosophy’s affinity for “Aubade” may seem to confirm Heaney and Milosz’s contention that the poem is somehow against poetry and on the side of “reason, science, and science-inspired philosophy” (Milosz). I argue that the philosophical uses of the poem help to undercut if not entirely dissolve Heaney and Milosz’s polarising efforts; they are mistaken in their views about the different purposes of poetry and philosophy, but there is some philosophical support for their commitment to averting mortal despair. (shrink)

This article introduces the topic and offers an overview of the issue. The author argues that despite the dismantling of the Iron Curtain in 1989 there is still a gap of indifference that separates Western from Eastern Europe when it comes to the exchange of ideas and the dissemination of knowledge. While East European intellectuals most often feed themselves on West European authors, intellectual fashions and cultural products, their Western counterparts pay comparatively little attention to what comes, intellectually, from the (...) East – as though the traffic of ideas between Eastern and Western Europe is only one way. On closer inspection, however, this may be due in part to a sense of existential fragility, insecurity and dislocation that characterizes the “East European mind” itself. The author traces briefly this characteristic in the works and opinions of such authors as Czesław Miłosz, Arthur Koestler, Milan Kundera, Krzysztof Kieslowski and Mircea Eliade. (shrink)

The following article begins with my recollection of the only academic conference on Zdziechowski that was organised still under the communist regime in the autumn of 1984 at the Jagiellonian University and ends with a description of the discussion on the genesis and power of evil, with the participation of Czesław Miłosz and Leszek Kołakowski, which was triggered in Poland immediately after the publication of the last edition of On Cruelty in 1993. On Cruelty was first published in (...) 1928 in the journal Przegla̧d Współczesny [Contemporary Review] in Krakow, a second time in 1938 in the volume of articles In the Face of the End, Krakow 1938, and a third – and so far last – time also in Krakow in 1993. On Cruelty, published three times but so far only in Polish, has never been thoroughly analysed or even discussed, which is why this article focuses on discussing it and related questions about the origins and nature of evil, mainly in Europe and Asia, from the earliest times to the present. Zdziechowski was particularly outraged when the cruelty he condemned was justified by religion, especially Christianity (Catholic and Protestant). From these condemnations, he described the activities of the Inquisition, the witch trials, cruelty to animals, and – in the introduction – the “psychology of cruelty.” At the same time, however, he meticulously listed the names of those political and spiritual leaders in Europe and Asia, theologians and thinkers, who, over many centuries, up to the present day, have resolutely spoken out against evil, including cruelty, within and outside the Church. A separate and important issue is Zdziechowski’s attitude to Tsarist Russia and Bolshevism, as outlined in his work On Cruelty. On the one hand, he pointed out that at least two rulers of Russia before 1917 – Ivan the Terrible and Peter the Great – had made major contributions to the history of cruelty in Europe and Asia. But Bolshevism, which Zdziechowski condemned in the strongest terms, was in his eyes not a continuation of pre-1917 Russian despotism, but emanated from the depths of Asia. (shrink)

In _Art Can Help_, the internationally acclaimed American photographer Robert Adams offers over two dozen meditations on the purpose of art and the responsibility of the artist. In particular, Adams advocates art that evokes beauty without irony or sentimentality, art that “encourages us to gratitude and engagement, and is of both personal and civic consequence.” Following an introduction, the book begins with two short essays on the works of the American painter Edward Hopper, an artist venerated by Adams. The rest (...) of this compilation contains texts—more than half of which have never before been published—that contemplate one or two works by an individual artist. The pictures discussed are by noted photographers such as Julia Margaret Cameron, Emmet Gowin, Dorothea Lange, Abelardo Morell, Edward Ranney, Judith Joy Ross, John Szarkowski, and Garry Winogrand. Several essays summon the words of literary figures, including Virginia Woolf and Czeslaw Milosz. Adams’s voice is at once intimate and accessible, and is imbued with the accumulated wisdom of a long career devoted to making and viewing art. This eloquent and moving book champions art that fights against disillusionment and despair. Distributed for the Yale University Art Gallery. (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 aim of this paper is to present the 1951 dicussion on Czesław Miłosz’s escape from Poland. Wirpsza’s poem, published in January 1951, was dedicated to Czesław Miłosz. It was was commented on in a literary cultural newspaper over the next few months. Miłosz is shown as a deserter and a traitor, who has lost his poetic talent. The analysis of censorship documents shows that instructions for Miłosz’s texts and texts about him must have (...) been issued in May 1951. (shrink)

The article reviews the book Los, zło, tajemnica: ku twórczym źródłom poezji Aleksandra Wata i Czesława Miłosza [Fate, Evil, Mystery: Toward the Creative Sources of Aleksander Wat's and Czesław Miłosz's Poetry], by Marek K. Siwiec.

The article deals with the images of Lithuania found in Czesław Milosz’s poetry. The novels and essays have only been used to confirm the conclusions drawn from the interpretation of selected poems. Despite the frequently-declared unwillingness of the author of Dolina Issy [The Valley of the Issa] to accept and use any autobiographical elements in literature, the land of his childhood has always been present in all the poet’s works. The explanation of this fascination with nostalgia seems to be (...) unsatisfactory. The author of the article perceives the poetic images of Lithuania created by the uprooted immigrant as a symbol of his inner, not purely geographical, settlement. The subject of the discussion is the ever-changing perception of the Eastem-Borderland, which corresponds to particular stages of the protagonist’s journey through life. The starting point is the experience of eviction. It modifies the originally idealized vision of the „little homeland” and makes the hero’s attempt to reject or „amputate” it. The poems from the volume Światło dzienne [Daylight] surprise the reader by a hostile attitude towards the poet’s youth spent in Lithuania and the perception of these early memories as some destructive forces threatening the artist. It is only after a many-years’ quest that the borderland heritage is appreciated and conquered again. Now, however, it acquires a different, more symbolic form. The cycle Miasto bez imienia [A Town without a Name] and the poem Gdzie wschodzi słońce i kędy zapada [Where the Sun Rises and Sets] are evidence of a gradual transformation. The faithful recreation in the poet’s memory of particular places and people changes into the construction of some outside religious space, built from the traces of the real world. Lithuania changes into a perfect reality, a Super-Land, capable of retaining the past and combining it with the present. It is a prop freeing the poet from the waste land of Urizen. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Edward MacKinnon BORIS PASTERNAK'S CONCEPTION OF REALISM To desire truth is to desire direct contact with a piece of reality. To desire contact with a piece of reality is to love. —Simone Weil, The Needfor Roots According to czeslaw milosz, Boris Pasternak "did not pluck fruits from the tree of reason, the tree of life was enough for him. Confronted by argument, he replied with his sacred dance." (...) Pasternak's poetry, he concludes, is "antispeculative, anti-intellectual," and though he was compelled to make certain concessions in the course of writing Doctor Zhivago, speculative thought nonetheless remained for him a perennial and decided "adversary." ' However, the familiar and conveniently stark distinction between lyricist and thinker upon which such judgments depend is in fact both naive and tiresome since, plainly, creativity and reflection need in no way necessarily subvert one another. Accordingly, while it is indeed likely that the most valued feature of Pasternak's poetry and best prose is its detailed recording ofthe world's incessant change, of the magic and movement of weather and gardens, seasons and landscapes, Milosz is far from just in so readily and categorically dismissing any attribution of poetic thought to Pasternak. For as much as the whole of his poetry amounts to a celebration of life's small wonders, unrivaled in their greatness, there remains at bottom the inspiration of the thinker, of one who has seen and felt, but who at the same time has had to compile and consider in an attempt to make sense of the whole. As if in open challenge to Milosz, CM. Bowra notes that Pasternak's poetic sensibility is "both physical and intellectual." The mental states described in his poems, Bowra writes, "begin with sensations of the eye and ear but contain something else in their mental appreciation of the 211 212Philosophy and Literature situation," namely, his "gift for grasping abstract problems." 2 If Milosz remains unconvinced, and if Wladimir Weidle dismisses Pasternak's poetic thought as "puny and piteous," still more poets and critics have shared Bowra's view.3 Henry Gifford refers to Pasternak's "philosophical habit of mind," Ronald Hingley to the "pyrotechnics" ofhis "darting intellect," and Yury Lotman to his personal and "thoroughly professional philosophical culture." 4 In her review ofPasternak's My Sister, Life, meanwhile, Marina Tsvetaeva observes that "thought is what works in him, burrows in subterranean passages...." 5 And though Nadezhda Mandelstamclaims that the word of all poets "flows from a general, integrated view of the world," she acknowledges too that poets "vary in the range and depth of their understanding" and proceeds to cite Pasternak as her one example of a poet with a particularly unified worldview.6 If we were to agree with Francis Sparshott that "the fiercest hatreds spring from the closest relationships," we could assume in turn that the fundamental antagonism customarily alleged to obtain between the creative and critical faculties in fact indicates only some common, if confused, origin or inspiration.7 In creating, after all, it is predictable rather than idiosyncratic that the artist will be led to investigate the roots ofart within himself, tiiat he will be tempted by the urge to define, to entertain, that is, some rudimentary theory. And indeed, in Pasternak 's case, it is not simply a matter of his poetry and prose having been informed by certain tacit, if stray, aesthetic conceptions, but rather of his having supplemented his intensely thoughtful artwith aconcurrently developed theory. In this article, I want specifically to consider Pasternak's conception of realism, that standard of achievement which, according to his theory, constitutes the touchstone of all great art. In order more firmly to ground this notoriously vague and unwieldy notion, I will appeal not only to complementary theoretical conceptions of Pasternak's, but also to those central ideas advanced by Iris Murdoch in The Sovereignty of Good. My intention will be to locate Pasternak's brand of realism within what I take to be an identifiable tradition, or at least a conspicuous and pervasive theoretical tendency, according to which the most crucial criterion of artistic realism is judged to be not any properly physical aspect ofthe completed work, and certainly... (shrink)

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. (shrink)

The aim of this article is to show the influence of Jacques Maritain’s philosophical work Art et scolastique on the young Czesław Miłosz and his work, and how it shaped the poet’s views on art in subsequent years. The author analyzes Maritain’s work on art in the context of theology and Miłosz’s articles published between the two world wars. In terms of methodology, the article draws on the concept of intertextuality, pointing to the dependence of the poet’s (...) thinking during this period on that of the French philosopher. Maritain’s aesthetic creationism was seen by some inter-war literary critics, including Miłosz himself, as a third way between the mimetic aesthetics or art in the service of ideas and the “angelism” of symbolic art and art for art’s sake. In Maritain’s aesthetics, the writer found a system of concepts through which he opened himself up to issues related to human spirituality, ontology and religion. Maritain’s distinction between the purpose of the work and the purpose of the maker directed Miłosz’s attention to the author, as one that has been singled out as bound to strive for self-improvement and self-development. To a much lesser extent, this concept influenced his poetics. His works written in the twenty-year interwar period are saturated with dark symbolism and modernistic mannerisms. (shrink)

An NYRB Classics Original Simone Weil—philosopher, activist, mystic—is one of the most uncompromising of modern spiritual masters. In “On the Abolition of All Political Parties” she challenges the foundation of the modern liberal political order, making an argument that has particular resonance today, when the apathy and anger of the people and the self-serving partisanship of the political class present a threat to democracies all over the world. Dissecting the dynamic of power and propaganda caused by party spirit, the increasing (...) disregard for truth in favor of opinion, and the consequent corruption of education, journalism, and art, Weil forcefully makes the case that a true politics can only begin where party spirit ends. This volume also includes an admiring portrait of Weil by the great poet Czeslaw Milosz and an essay about Weil’s friendship with Albert Camus by the translator Simon Leys. (shrink)

In this paper, I aim to determine the place of Marxism in Polish literary studies of the 20th century. The starting point is (1) Czesław Miłosz’s comment on the identity of Marxism and structuralism; (2) the absence of the term ‘Marxism’ in the names of Polish workers’ parties and pro-Marxist academic discourse (except an insignificant short period directly after the Second World War when Marxist rhetoric prevailed). Referring to political history, I suggest an explanation of this state of (...) affairs, revealing the function of Marxism under different names in philosophical texts from the beginning of the 20th century. To support my argument, I draw on documents from the newly discovered archive of Dawid Hopensztand. I use this archive to reconstruct his social biography and justify the main thesis about the permanent presence of Marxism in the works of such thinkers as Leszek Kołakowski, Zygmunt Bauman, and even Czesław Miłosz. (shrink)

This article is a translation of the paper in Polish (Alfred Tarski - człowiek, który zdefiniował prawdę) published in Ruch Filozoficzny 4 (4) (2007). It is a personal Alfred Tarski memories based on my stay in Berkeley and visit the Alfred Tarski house for the invitation of Janusz Tarski.

In the paper I propose a modification of the position called “Skeptical Theism.” It was created as a response to two most serious arguments against the existence of God: “the argument from evil” and “the argument from hiddenness.” The paper attempts to answer the questions: how sceptical theism differs from other forms of theism? Is “Skeptical Theism” a step forward in dealing with the problem of evil and the problem of hiddenness? Is it possible to modify “skeptical theism” in such (...) a way that it is able to cover individual cases of experiencing evil and the feeling that God is absent. “Individualized Skeptical Theism” that I propose not only contains all the new elements that “Skeptical Theism” has brought to the discussion of the problem of evil and the problem of hiddenness, but also secures the element of individuality that is present in every person’s struggle with these problems. It also allows us to outline strategies that may prove useful for supporters of theism, the most important of which is the testimony of one’s own struggle with the problem of evil and the problem of hiddenness. (shrink)

In current research on the work of Franz Kafka, war issues occur rather incidentally. In the presented article, the Author points out the omission of kafkology and tries to indicate possible directions of belumic interpretation. The sketch for Kafka’s war portrait is inspired by the short story Fratricide. The text, which shows the inspiration of the biblical story of Cain and Abel, is a beginning of Kafka’s thinking about a world determined by violence, controlled by a bloody conflict. The first (...) assassination is a prototype of mass destruction, war and genocide. Kafka seems to have subordinated his future feature projects on the subject of war. The author of the article postulates the reading of Kafka’s books as texts about war, not only about the metaphorical one but also the real one. (shrink)

Niektóre fragmenty książki mogą przywodzić na myśl filozofię Gianniego Vattimo, który dokonuje bardzo ciekawej reinterpretacji tradycji katolickiej, ale w wersji zsekularyzowanej i całkowicie immanentnej. Głębsze rozważenie tego wątku mogłoby wzbogacić i tak niezwykle erudycyjną oraz bardzo fachowo napisaną książkę. --------------- Zgłoszono: 06/09/2020. Zrecenzowano: 31/10/2020. Zaakceptowano do publikacji: 24/11/2021.

The use of experimental animals, mostly rodents, in biomedical research and especially in oncology and immunology should be acknowledged with respect, recognizing the contribution of animal experimentation in the fascinating scientific progress in these disciplines of research. It is an obligation of the investigator to justify the scientific and ethical aspects of each study requiring the use of animals. The international guiding principles for using animals in biomedical research are well defined and have been distributed worldwide by the International Council (...) for Laboratory Animal Science (ICLAS) since 1956, when this Organization was founded. In Poland the ICLAS philosophy and principles are highly respected and were implemented firstly by the members of the Commission on Biology of Experimental Animals appointed in 1962 by the Department of Medical Science of the Polish Academy of Science in Warsaw. Animal Protection Acts, first proclaimed in 1928 were gradually modified and improved. Actual legislation (enacted in 1997, 2003 and 2005) is consistent with EU Directives (86/609/EEC) and follows the internationally recommended principles that include ICLAS guidelines concerning animal welfare and care condition in biomedical research. The problem of “alternative methods” is briefly discussed. Dr. Donald Boisvert, CCAC — Canadian Council on Animal Care. (shrink)

In this article I propose a new concept: The Embodied Mind of God. I also point out the benefits that can flow from using it. This concept is combination of two concepts broadly discussed in contemporary philosophy: „The Mind of God” and „The Embodied Mind”. In my opinion this new concept can be very useful in the area of Philosophical Christology, because one of the most important questions there concerns the mind of Jesus Christ - Incarnate Son of God. I (...) present my own model of Christ’s mind that is able to avoid at least part of the problems faced by christology and sheds the new light on some of epistemological issues. (shrink)

That which connects ethics and epistemology is the concept of truth. The threads concerned with the ethical and epistemological understanding of truth are interwoven throughout the history of philosophy. They are also interwoven in Józef Tischner’s philosophy. In Tischner’s thought, the description of this interweave and its consequences, as well as ways of dealing with it, are very inspiring. In the present paper, I address Tischner’s highly interesting analysis of the development of the “political reason.” Then I juxtapose this analysis (...) with Tischner’s demand concerning the “ethics of truth.” I also show how Tischner, by referring to the Gospel and proposing a peculiar ‘Christological imperative,’ resolves dilemmas emerging at the interface of epistemology and ethics. Thanks to the reference to Christ, who not only realizes the ideal of the “ethics of truth,” but also becomes the privileged “vantage point of the world,” and thus a peculiar epistemological centre, the connection between the epistemological and ethical dimensions of truth is established. Also, a sufficiently solid justification for the demand that the “ethics of truth” be realized becomes possible, and the way of defending oneself against the charm spread by the “political reason” and its works is identified. (shrink)