The literature on aesthetics often emphasizes the need to set into motion processes that promote the overcoming of alienation. In characterizing the realm of activity and the various causes of this phenomenon, it is necessary to direct attention to the fact that in contemporary aesthetics, the social aspect of art has been given pride of place. Without going beyond the bounds of preliminary systematization of its many-faceted connections, embracing both preconditions in the realm of history as well as ideology, it (...) should be observed here that the rise of interest in problems of social aesthetics coincides in time with the appearance of Marxist philosophy and that this interest became more acute because of the revolutionary triumph of Marxism and the organization of the first socialist state. Of course, it would be oversimplifying to reduce all the problems of social aesthetics that merit attention solely to the influence of Marxism, but the role of Marxist philosophy in shaping the priorities of problems of art and society in contemporary aesthetics is beyond question. The views of the founders of Marxism are undoubtedly the impulse that stimulated the development of social aesthetics. It is no accident that Western researchers who are interested in this subject and who polemicize with Marxism, such as H. Read, W. D. Gottschalk, T. Munro, nonetheless are significantly influenced by its methodology, system of categories, and the like. (shrink)

Alicja Gescinska verraste met haar kandidatuur op de Europese lijst van de Vlaamse liberalen. Op internet volgde een stortvloed aan reacties: lovende en lasterlijke. Niet enkel de keuze van de partij en het Europese project werden druk besproken, vooral ook wie aan politiek behoort te doen? en wie dus aan de zijlijn moet blijven? bleek stof voor discussie. Wat is de plaats van een filosoof in de samenleving? Zijn politiek en filosofie onverenigbare disciplines? En wat doe je wanneer uit (...) het hart van de Europese politiek het verzoek komt om uit je pen te kruipen? Politiek is meer dan dat wat politici doen. Politiek is alles en iedereen. In het gebrek van de wereld weerklinkt volgens Gescinska een moreel appel dat op ons allen wordt gedaan. 0'Intussen komen mensen om' is een essay over de persoonlijke worsteling met politieke betrokkenheid en intellectuele verantwoordelijkheid. (shrink)

This work is comprised of personal essays by some of the most noted Holocaust educators working in or with Holocaust museums, resource centers, or educational organizations across the globe.

The article presents an analysis of the position taken by Lenin with respect to revolutionary violence applied by the Russian proletariat in their struggle for obtaining and keeping political power. The analysis is introduced by reflections concerning the ethical content of Lenin’s works, a general localization of the problem of violence against the background of various types of relationships between morals and politics and by presentation of Lenin’s classification and moral evaluation of wars, since socialist revolution is a particular kind (...) of war. (shrink)

The paper examines the Renaissance philosophy of love, grasped as a “metaphysics of love.” Alongside its metaphysical interpretation, the phenomenon of Renaissance philosophy of love was subject to two other kinds of analysis: it was viewed either through the prism of its spiritual form, or as a fashionable social game which demanded that “every courtier recognise knowledge about how many and what varieties of love there are as necessary for his trade.” The author of the Renaissance theory of love was (...) the philosopher Marsilio Ficino, an “alter Plato;” so it is his views on love which are examined in this paper. (shrink)

The paper investigates changes in today aesthetics. It is demonstrated that the ongoing transformation of traditional aesthetics into aisthesis with its broader scope of influence calls for a review of to-date methodology in aesthetical research. Historical doxography, mere accounts of the past—even relating the most coherent and complete developments and events—hardly harmonise with the new approach to aesthetics, and could well distort and weaken it. The enlargement of the subject-matter of aesthetics and the clash between aesthetics and the aporias of (...) the modern approach to history allow both fields to experience modernity to a rather broad degree; both refer to aesthetics. (shrink)

Badania nad twórczością Brunona Schulza, ze względu na brak ciągłości w zapiskach autobiograficznych, zaginioną korespondencję czy wreszcie nawet zaginione dzieła, nie od dziś przysparzają problemów badacz(k)om. Kompletne archiwum Schulza nie istnieje. Twórca, którego historia nie dysponuje kopią zapasową w postaci multimedialnych archiwów, zmienia się zatem w medialny byt, którego los jest nierozerwalnie związany z gestem tworzenia narracji. W ciągu ostatnich lat szczególnie dominującą narracją stała się ta wiążąca twórczość i całe życie Schulza z dyskursami kultury pamięci poświęconej Zagładzie. Poszukując znaczenia (...) archiwum w kontekście interpretacji dzieł pisarza i dyskursów biograficznych, autorka artykułu szuka odpowiedzi na pytanie dotyczące znaczenia luk w biografii Schulza i ich udziału w tworzeniu mitu pisarza poprzez referencje do teorii mediów i archiwistyki. Porównując biograficzne trendy z tymi dominującymi polską kulturę pamięci, tekst oferuje uaktualnione spojrzenie na twórczość Schulza oraz na sposoby pisania o pisarzach dwudziestolecia międzywojennego. Wykorzystując warsztat metodologiczny charakterystyczny dla badań medioznawczych, tekst udowadnia zasadność pozycjonowania prozy Schulza na szerszym socjopolitycznym i kulturowym tle Galicji początku XX wieku. Poprzez ponowną analizę takich tekstów, jak Wiosna czy Druga jesień, artykuł ukazuje twórczość pisarza jako multimedialne i komunikacyjne archiwum, którego jedną z płaszczyzn (istotnych dla prawidłowej interpretacji) jest ewokowanie kontekstów kulturowych związanych z dokładnie określonym czasem i przestrzenią. (shrink)

Subjective determiners of treating the final secondary school examination as a threat The article discusses the findings of the research carried out basing on the investigation procedure originating from the function-action approach to psychological defense developed by A. Senejko, where every reaction to threat can be considered as a defensive reaction. A nation-wide final secondary school examination was employed as the threat in the study and the reactions to such a threat were diagnosed twice: in January 2005 and two weeks (...) before the exam in April 2005.The participants were 177 students of secondary schools of the Lower Silesian and Upper Silesian regions of Poland.In the she study two questionnaires were employed. Part one of The Psycho-Social and Psychic Defenses Questionnaire and the Questionnaire of Personal Judgements developed by Kinga Lachowicz-Tabaczek and Alicja Senejko for identifying the following psychological dispositions: self-esteem, social anxiety, depressiveness, obligation will, emotional reactivity, sensitivity, activity and endurance.The basic research questions concerned the effect which the diagnosed factors had on the two dimensions of the subjects' attitude to their final exam as a threat as well as how they influenced their reactions to it, that is their psychological defenses. The multiple regression analyzes showed that the two dimensions of the participants' approach to their exam as a threat were the most substantially influenced by endurance, self-esteem, gender and reactivity. However, the way the examinees reacted their exam was the most substantially influenced by their obligation will, depressiveness and endurance. (shrink)

The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting to (...) delve into the way Crane approaches painting in general and Siqueiros’ œuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—”Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature. (shrink)

This essay attempts to elaborate a first thorough comparative analysis of August Cieszkowski and Nikolaj Berdjaev. Although the latter is well known as one of the most important Russian philosophers, the former is hardly known beyond the Polish borders. This general lack of recognition contrasts with the fact that Cieszkowski played a significant role in nineteenth century philosophy in Germany, France, Poland and Russia. A comparative analysis of Cieszkowski and Berdjaev will undergird the idea that Cieszkowski was not merely a (...) ‘marginal’ figure in the history of philosophy. This essay has sought the reasons why Berdjaev considered himself to a large extent as a disciple of Cieszkowski. The stress is put on the central aspects of both philosophers’ thinking: freedom, praxis and the way they relate to morality in general. (shrink)

The article, which is a fragment of a larger whole, presents the typical traits of the moral attitudes among the prisoners at the Concentration Camp in Auschwitz. The source on which the present reconstruction of the picture of the camp morality is based is the published memoirs of Polish prisoners of that camp.

El objetivo de este artículo es examinar el papel de la imagen y de la imaginación desde la perspectiva del proceso ternario místico basado en la tradición del Pseudo Dionisio Areopagita. Destaco en este proceso la etapa primera relacionada con la teología simbólica y la experiencia exterior y sensorial; la etapa intermedia relacionada con el conocimiento racional y con la experiencia interior; la etapa tercera relacionada con la teología mística, esto es con la experiencia sobrenatural. Llego a la conclusión de (...) que en la primera etapa la imaginación sobrepasa lo exterior y lo superficial que se le atribuía tradicionalmente, porque varios autores metafísicos y místicos introducen en su contexto un momento de la comprensión intuitiva. En la segunda etapa la imaginación no sólo es un fundamento del pensamiento discursivo, sino que también constituye un ejercicio espiritual que ha de intensificar el proceso pensativo. En la tercera etapa la imagen y la imaginación son un medio que ayuda a vencer la inefabilidad de la experiencia mística. The objective of the article is to examine the role of the image and imagination from the perspective of the tripartite mystical process based on the tradition of Pseudo-Dionysius the Areopagite. I distinguish in the first stage of this process the symbolical theology related to the external and sensuous experience; in the second stage the rational cognition and internal experience; in the last stage the mystical theology related to the supranatural experience. I arrive at a conclusion that in the first stage the imagination exceed the exterior and superficial character which was attributed traditionally to it, because various metaphysical and mystical authors introduce in the context of it a moment of a intuitive comprehension. In the second stage it is not only a basis of discursive thinking but it constitutes spiritual exercise which should intensify the process of thinking. In the third stage the image and imagination are a medium which help to overcome the ineffability of the mystical experience. (shrink)

The present research investigates gender gaps in the results of secondary school exit exams in mathematics in Poland in 2015. The analysis shows that, in the basic level exam, males are highly overrepresented at the upper end of the score distribution. The same pattern did not exist in the extended-level Matura. Two explanations are offered here. The differences are driven by gender self-selection in high school programs. Students who decide on maths-related tracks have more maths lessons than other students. Secondly, (...) a student who takes the extended Matura also has to take the basic Matura exam. As a result, the population of students taking the basic Matura is highly differentiated in terms of maths competence and motivation. Additionally, the analysis of differential item functioning shows that only a few items were flagged as having DIF. (shrink)

Some theories of rational belief assume that beliefs should be closed under conjunction. I motivate the rejection of the conjunction closure, and point out that the consequences of this rejection are not as severe as it is usually thought. An often raised objection is that without the conjunction closure people are unable to reason. I outline an approach in which we can – in usual cases – reason using conjunctions without accepting the closure in its whole generality. This solution is (...) based on the notion of confidence levels, which can be defined using probabilities. Moreover, on this approach, reasoning has a scalable computational complexity adaptable to cognitive abilities of both rationally bounded and perfectly rational agents. I perform a simulation to assess its error rate, and compare it to reasoning with conjunction closure. (shrink)

Maria Kokoszyńska‑Lutman, the outstanding female member of the Lvov‑Warsaw School, played an important role in the rise of the modern version of semantics. She very early noticed the importance of Alfred Tarski’s results for the established tradition of Lvov‑Warsaw investigations on truth, including Twardowski’s refutation of relativism. She contributed to the common recognition of these results, among others in Vienna and during the Congress for the Unity of Science in Paris in 1935. In the paper, I examine some Kokoszyńska’s semantical (...) views. They are supplemented by the translation of Kokoszyńska’s letters to Kazimierz Twardowski written from Vienna and Paris. (shrink)

This is the second part of the investigations of melancholia. Melancholia is examined here in relation to one of its opposition, namely hope. Reflection on melancholia entails reference to conditions commonly regarded as aggravating: sadness, uncertainty, indecision, self-criticism, despair, disenchantment, fear, desperation or bitterness. This content is common both to melancholia and hope; the difference lies in the kind of behaviour it evokes. Not yet either hope or melancholia, it is already conspicuously developing the characteristics of one of the options. (...) This moment is especially important in the process of artistic creation. The tension that appears between both poles enables the experiencing subject to feel indecision about its choice, and hence to ultimately declare itself on one or the other side. (shrink)

In the Renaissance the beauty of a garden was for people a source of energy, it nurtured their inherent love of plant life, enchanted them and gave them a sense of pure aesthetic contentment. This fascination with nature and the values nurtured by the emerging culture of the garden also had broader reasons than just the desire for subjective experience. They can be sought in the belief that the style of an epoch is reflected not only in all the forms (...) of pure art, but also in the sphere of applied art. The aesthetic criteria which determined the early-Renaissance conception of the garden were at least twofold: first, the then-emerging culture of the garden co-formed the identity of the entire era as one of the few enclaves of a rising trend away from the classical tradition. The culture of the garden contested the adulation of the Antique that was common at the time and ruled supremely in art. (shrink)

The paper presents George Steiner’s view of the right conditions for the contemplation of art. The position has been presented as motivated by a certain concept of artistic creation and the reception of art.Steiner’s vision of art finds its legitimacy in a belief which describes the linguistic activity of man as one which is at the same time creative (innovative) and conditioned by external discourses. In this view both the speaking subject and the subject of an artistic activity are motivated (...) by a desire to become independent from an impartial discourse of mind. An artist is someone who opposes the past and present forms of expression in an attempt to incarnate a sense which in the light of the established forms of discourse appears inexpressible. The key point of Steiner's concept is his argumentation in favor of the ambiguity of dividing the human activity into the original and the derived (mediated by secondary narratives). An artist, a recipient of art or a theorist do not have the tools which could point at the divide.The analysis sets out to make an outline of Steiner’s rendition of the problem of interpretation and development o art. The originality of the position on the issue results from attributing a major significance to interpretative errors for the survival and the constant appeal of art. The process of interpretation is also described as one which yields to no theoretical taxonomy. According to Steiner, a recipient of art disposes of no tools that would warrant access to a transcendental sense of a work of art. Therefore, it ought to be ascertained that a reliable act of reception is one which does not pursue agreement with its object. The recipient must remain detached from the work of art. Paradoxically, only thanks to such an attitude can they make art part of their experience. (shrink)

Author: Kuczyńska Alicja Title: WŁADYSŁAW TATARKIEWICZ’S VISION OF THE OTHER (Władysława Tatarkiewicza wizja Innego) Source: Filo-Sofija year: 2011, vol:.13/14, number: 2011/2-3, pages: 451-458 Keywords: WŁADYSŁAW TATARKIEWICZ, MASTER, PUPIL Discipline: PHILOSOPHY Language: POLISH Document type: ARTICLE Publication order reference (Primary author’s office address): E-mail: www:The author locates her memoirs about Tatarkiewicz in the context of dialogical philosophy of Levinas and the Georg Steiner’s category: master – pupil.

The relation between bioethics and ethical methodology is the subject of this article. The author is of the opinion that bioethical considerations demand both medical and biological knowledge as well as some general ethical theory. As we know there is not one ethical theory. but many. The author asks whether we have any moral rational foundations for choosing one of the competing ethical systems, and, if this is not possible, whether normative ethics is at all necessary for the solution of (...) practical conflicts. In other words, the author poses the question whether the cultivation of normative ethics. while one is aware of the pluralism of values and variety of ethical theories, has any scientific and practical sense. Still, according to the author methodological relativism need not necessarily imply the acceptance of an axiologically relativistic stand and need not necessarily lead to moral indifference. Beauchamp and Childress work shows a fine approach to bioethical problems. (shrink)