In this article the phenomenon of an icon (as described by Jean-Luc Marion) is considered in relation with its media of appearance. Asking whether it can appear and be recognized as such in any medium or only in “iconic” media, attention is directed towards electronic media, namely the television, film and computer screens. The main question is whether “crossing of gazes” and recognition of the face is possible on screen. If not, the screen remains univocally a medium of an idol. (...) -/- Relation of an invisible icon to its medium (or environment) is found to be twofold: on the one hand, an icon itself is of ‘mediatic’ structure, since it implements the “medium is the message” phrase, given by Marshall McLuhan. The visible side of an icon is fully subservient to its invisible message – in other words, it becomes its message. On the other hand, an icon uses some kind of (additional) medium for its appearing. The medium can become an obstacle or a means due to its capabilities of presenting a situation of image and certain image logic with it. -/- Although, J.-L. Marion is strictly sceptical about the possibilities of audio-visual technologies to transmit the phenomenon of the face, several occasions for a doubt and further investigation are found. Firstly, the liberation from the status of an idol to a certain extent and hence a suggestion of an icon is found where the ‘content’ of the medium reveals the medium itself. Thus, it enables recognising the image as image and implies the segmentation of ‘layers’ of images. Secondly, strong suggestion of the face of the other addressing me (the viewer) personally is observed in the situation of accepted prayer. However, this possibility is only discovered in examples and it is still lacking theoretical background. Except of this, the screen remains a medium which ‘filters out’ the phenomenon of an icon. -/- On the whole, at least a suggestion of an icon is thought to be able to use the screen as its medium. (shrink)

Od połowy XIX w. w miastach przemysłowych Zachodu pojawiają się liczne detale architektoniczne eksponujące postać i atrybuty Hermesa-Merkurego, greckiego boga: handlu, kupców i złodziei, opiekuna podróżnych, posłańca bogów i psychopomposa, władcy pisma i komunikacji, pieniądza i wszelkich miar. W synkretyzmie aleksandryjskim Hermes objawia się jako prorok Trismegistos, strażnik wiedzy tajemnej (czarodziej i lekarz z różdżką kaduceuszem), patronuje alchemicznym przemianom i wraz z innymi tajemnicami sztuki królewskiej oraz ezoteryczną wiedzą współtworzy tradycje masońskie. Hermes-Merkury stał się patronem przemysłu, starożytną ikoną nowoczesności i (...) kapitalizmu, bohaterem grafik zdobiących dyplomy wystaw światowych, świadectwa buchalteryjne, etykiety towarów. Alchemiczny Hermes (zwany Merkuriuszem) to odpowiednik płynnej rtęci, intrygująca personifikacja nowoczesności postrzeganej jako płynna i ulotna, niosąca ze sobą upadek wielkich narracji opartych o transcendencję, co ilustruje wyparcie z uniwersum zachodniej kultury symbolu przez alegorię. Ta formacja kulturowa projektuje dzisiaj także wizję ponowoczesności jako maszynerii przemieniającej zasoby planety w towar. Tymczasem sięgnięcie do znaczeń wydobytych z głębokiej refleksji nad hermesową alegorią i wyjście ku posthumanistycznej wizji miasta i świata, pozwala dostrzec w dziedzictwie znaczeniowym Hermesa uwolniony od metafizyki potencjał zrównoważonego rozwoju, którego najprostszym znakiem jest metonimia postaci boskiego posłańca i jego atrybut (w kluczu symbolicznym i alegorycznym) – kaduceusz. (shrink)

t. 1. Svet nevecherniĭ : sozert︠s︡anii︠a︡ i umozrenii︠a︡ -- t. 2. Filosofii︠a︡ imeni ikona i ikonopochitanie.

W artykule stawia się pytanie o rolę poznania symbolicznego w poznaniu filozoficznym. Punktem wyjścia jest analiza słynnej mowy Diotymy przytoczonej przez Sokratesa w Uczcie Platona. Zagadnienie przedstawia się w panoramicznym ujęciu od czasów antycznych do współczesnych.

Roman Law is an important legal systematic that contains important codings of world law history. This legal system not only affected Continental Europe, but also the Near East, which was a period under its domination. Especially in the Justinian period, the law collection that emerged as a result of the legal studies starting from the East Roman capital is considered as a monumental work by many historians and jurists. Researchers who praise Corpus Juris Civilis are right. However, this selection, which (...) is one of the most effective law coding, is far from being practical. For this Leo III prepared his law book called Ecloga. Referred to as the first Christian law book, this work was later expanded with some additions. Ecloga was given its final shape during the period of Empress Irene. Irene is one of the strongest female figures in Roman history. Emperor Constantine V married his son Leo (who is from his first wife Çiçek Hatun, the Caspian Princess) to Irene. Irene was the daughter of an ordinary family. She was Athenian as origin. However, Athens was not a city as flashy as it was in ancient times. At the same time, the Athenians were against icon-breaking, which was the official ideology of the empire. It was really interesting that Irene was chosen by Constantine V as wife for his son Leo. After the death of Constantine V, Leo IV acceded to the throne without any problems. The fact that Leo IV had chronic tuberculosis prevented him from state administrations. Actually, it was Irene who filled in this gap. After the early death of Leo IV, due to the aforementioned disease, his 10-year-old son Constantine VI became officially regent. After killing her son by abacina-tion Irene became the sole owner of the throne. In the ongoing process, she abused law and religion to maintain her power. Irene’s first law supplement was on oaths. There were many references to the Holy Book in the annex of this law. It was mentioned that it is not a sin to swear in the Old Testament, but it is now forbidden to swear with the New Testament. In addi-tion, the law stipulates that the oath is the way to deny God precisely after lying. However, it was claimed that the oath tradition to the Roman society passed through the Hebrews. Un-doubtedly, Irene used the text of this law to prove that the oath of devotion of the majority of the eastern Roman army, allegedly to her son Constantine VI, was invalid. Because in the Ro-man army, fulfilling the necessary oath and loyalty to the emperor were in front of everything. It was possible for the empress to take over the throne with this proclaimed law article that the vows of the soldiers who swore in order to remain committed to Constantine VI within the army were void. It is obvious that Irene was trying to prevent a possible coup attempt within the army. The empress’ second annex to the law concerns those who married for the third time. The law was titled “About those who illegally contract to third or later marriages and about those who marry their own slaves”. In Christianity, it was allowed to marry for the sec-ond time after the death of one of the spouses. There were certain phrases that marriages to be held for the third time in the Holy Book were forbidden. It is clear that Irene had a political benefit in reminding this ban. Because her power was based on her marriage with Leo, who was the son of Constantine V from his first wife. Their rivals were the sons of Constantine V from his third marriage. Therefore, with this law, she eliminated her political rivals. (shrink)

Rozumienie sztuki w chrześcijaństwie nie jest jednolite. Kościoły różnie podchodzą do tej kwestii, tłumacząc się przestrzeganiem II przykazania dekalogu (Wj 20, 3–4). Ważne tu jest jednak podejście do danego dzieła sztuki: czy patrzymy na nie jako na obraz Boży, czy raczej jako na okno do transcendencji. Spotkanie ze sztuką opiera się na trzech płaszczyznach: na intencji autora, intencji dzieła i intencji odbiorcy. W bogactwie różnorodności ekumenicznej sztuka jest jak symbol, który stał się narzędziem umożliwiającym dostęp do Boga i całej rzeczywistości (...) niedającej się w pełni poznać przez współczesny język werbalny i rozum ludzki. Jej głównym zadaniem jest doprowadzenie aktu myślenia człowieka poprzez podobieństwa do zrozumienia jakiejś rzeczy lepiej i pełniej niż przez rozpoznanie zmysłami. (shrink)