Dans ce m?moire nous nous proposons d?examiner le rapport qu?il peut y avoir entre, d?une part, le dualisme de Descartes et, de l?autre, son affirmation que l?homme repr?sente une unit? substantielle de l??me et de corps. En effet, nous nous effor?ons de d?montrer qu?en voulant concilier sa conception de la diff?rence r?elle avec sa propre d?finition de l??tre humain, le philosophe ne s?appuyait pas seulement sur St. Augustin mais aussi bien sur St. Thomas d?Aquin. U ovom se radu ispituje odnos (...) izmedju Dekartovog dualizma i njegovog stava da je covek supstancijalno jedinstvo duse i tela. Tu se nastoji pokazati da se filozof nije oslanjao samo na Avgustina nego i na Akvinskog onda kada je svo ju realnu razliku pokusao da pomiri s vlastitim odredjenjem ljudskog bica. (shrink)

U tekstu se traga za vezom između Descartesovih životnih obrata i razloga zbog kojih filozof u Raspravi o metodi i Meditacijama o prvoj filozofiji primjenjuje ispovjednički način pisanja. Takvo nastojanje otkriva posebnu ulogu maske pod kojom se Descartes namjerava prvi put pojaviti pred javnošću. Iako masku spominje još u dnevničkim bilješkama, on je konačno oblikuje, i to kao ‘osobu’, tek s otkrićem cogito, dakle, u vrijeme dok piše Raspravu o metodi. U tom mu djelu ‘osoba’, shvaćena kao čist razum, daje (...) mogućnost svoje filozofsko preobraćanje ispovijediti kao obrazac intelektualnog preobražaja čovječanstva, čime se njegova ispovijest pretvara u propovijed. U Meditacijama, međutim, Descartes ide korak dalje. Njegova vještina služenja maskom, te njegovo iskustvo koje je u snovima imao sa zloduhom i Bogom, dovode ga do toga da se u ovom spisu pojavljuje kao glumac sa tri lika: kao »ja«, kao zli genije i kao istinoljubivi Bog. Iza sva tri lika, naravno, stoji Descartesov ratio; ali bitno je primijetiti da zloduh nije samo maska kojom filozof prikriva grijeh skeptičke aktivnosti u koju uvlači čitaoca. Na osnovu Descartesovih snova može se tvrditi da postoji još jedan zloduh u Meditacijama, ovoga puta stvarni, koji stoji nasuprot meditirajućem subjektu. Taj je oličenje općeprihvaćenih stavova, predrasudnog mišljenja i lijenosti ljudskog uma.The text explores the connection between Descartes’ life conversions and the reason why in the Discourse on the Method and Meditations on First Philosophy he utilizes a confessional tone to his writing. Such an endeavour exposes a specific role of the mask under which the philosopher intends to present himself to the public for the first time. Although the mask is already mentioned in his Private thoughts, Descartes gives it a form of persona only after the discovery of cogito, as he is writing the Discourse. The mask of persona, conceived as a pure reason, allows him to confess his philosophical conversions as a paradigm of intellectual conversion of humanity, transforming his confession into a sermon. However, in the Meditations, Descartes takes a step further. His ability to utilize the mask, combined with his experience in dreams with a malicious demon and God, enable him to appear in this work as a multi-faced actor: as »I«, as a malicious genius and as a truthful God. Behind all three masks is evidently Descartes’ ratio, however it is important to recognize that the malicious genius is not only the mask the philosopher uses to hide the sins of the sceptical activity in which he involves the reader. On the basis of Descartes’ dreams, we can argue that there is one more malicious genius in the Meditations, this time a real one, standing opposite the meditating subject. This one is the embodiment of widely accepted opinions, prejudices and laziness of human intellect. (shrink)

It is well evidenced that patients with schizophrenia demonstrate impairments of figurative language comprehension. Their metaphor production has not attracted nearly as much scholarly attention. W...

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Affective Spaces: Architecture and the Living Body by Federico de MatteisJasna SersicAffective Spaces: Architecture and the Living Body BY FEDERICO DE MATTEIS New York, NY: Routledge, 2021What is architectural space? For architects, urban planners, and all involved in the design and transformation of the environment, space is a central subject. However, despite this fact, nobody accurately states what space is all about. As a result, the concept of (...) space remains ambiguous, challenging to transmit, and a point of fundamental misunderstandings, with consequences on how we move, inhabit, and transform the world around us (1).In the attempt to provide order in today’s theory of space in architecture, De Matteis’ Affective Spaces invites the reader to explore the question of space from the subject’s point of view by asking what the encounter with architecture is like, and how do I feel, here, now?, borrowed from Eugene Minkowski (7). De Matteis offers an interconnected yet clear and instructive way to explore further what first-hand, direct experience with architecture can tell us about the effects it produces on us. Through this exciting intellectual journey, De Matteis thus shows how architecture, generally understood as an art of building space, does not regard the built environment alone. As people are also emotionally affected by the (built) world they live in, this book can ultimately be read as a quest to understand the relation between the feelings and moods arising from the bodily, corporeal experience of the built environment and the way they invite us to respond and act within environments we inhabit and modify (130).To accept De Matteis’ invitation to join him on his quest entails two things. The first is to take the position that the root of the emergence of sense and feelings is the subject’s corporeity. We must thus acknowledge the primacy of feeling (130). The second, by extension, is to put aside preconceived notions and conceptual tools for representing space inherited from modernity, as they are grounded in dualistic contraposition between physical reality, which is seen as objective (9). In contrast, experience and feeling are seen as subjective (9). Consequently, [End Page 142] they cannot adequately grasp the non- measurable dimensions of the lived space and thus the experience that the subject makes of it.Instead, De Matteis argues that one cannot describe space as a thing separate from us and that we are always a part of the space we inhabit. For this purpose, the book derives its theoretical model of space from phenomenology, which considers the felt body as a sounding board for the built environment and human experience of the world.The book is arranged into fourteen chapters that show the thematic progression of the argument, and is structured in three parts that explore space, the living body and corporeal dynamics, and the experiential character of some specific families of space. Titles of the chapters provide clear signposts to the reader about where the story is going and are much appreciated in this unique exploration. They also show that the author carefully weaves the conceptual intersections between phenomenology and its model of space with investigations in several fields of knowledge. Drawing across a multitude of disciplines, ranging from geography, anthropology, psychology, philosophy of mind, and aesthetics to neurosciences, and offering many examples from art, literature, film, and everyday life, the book helps the reader visualize the content discussed. This panoramic character and accessible language and format make it an engaging read for experts in the field and to a broader audience interested in topics addressed in the book.Perhaps one of the most compelling arguments the book brings forward is that the corporeal dynamics of space enable understanding of space as a thing that is not separate from us. It is from the coming together of persons and things that atmospheres arise. They are not objective, yet they exist as the natural qualities of things; neither are they subjective, yet they belong to sensing beings. This understanding implies a possible workable definition with no boundary between the subject and object. However, it also clearly points out that the book emerged in response to our modern understanding and critique... (shrink)

Tržište masovnih medija velikim je svojim dijelom okrenuto djeci i mladima. Sadržaji koji se nude mladima u masovnim medijima, nadilaze, u negativnome smislu, nekoć obrazovne i poticajne školske primjere edukativnih programa ili časopisa za djecu. U medijskome prostoru prevladavaju sadržaji koji vrijeđaju dostojanstvo mlade osobe, koji manipuliraju njihovim potrebama, te koji potiču mlade na izbor lišen svakih vrijednosti, gdje je sve relativno i ništa sigurno. Autorica propitkuje trendove u modernim medijima lišenima svake odgovornosti, obligacija i sankcija. Pokušava definirati značajke medija (...) 21. stoljeća u kojima je čovjekkonzument zatočenik medijske moći i utjecaja te traga za istinskim etičkim obzirom i smislom u medijima koji neće preskočiti čovjeka i njegove potrebe.The mass media market to its great looks of children and young people. Facilities that mass media provide to young people go beyond, in negative sense, once educational and moving examples of the school’s educational program or magazines for children. Mass media area is dominated by activities insulting the dignity of young people, manipulating their needs, and encouraging young people in depriving every choice of values, where everything is relative and nothing certain. Author researches trends in the modern media deprived of any responsibility, obligations and sanctions. She tries to define the 21st century media in which manconsumer is prisoner of media power and influence, and searches for true respect and ethical sense in the media who will not skip a man and his needs. (shrink)

Entrepreneurs as individuals are the main drivers of entrepreneurship and possess distinct personality characteristics. The study focused on entrepreneurial openness and creativity on the entrepreneurial level relative to business growth. Hypotheses were developed and empirically tested in structural equation models using survey data obtained from SMEs’ entrepreneurs in three countries. This study adds to what is known about entrepreneurship and small business management in terms of normative research on firm growth by empirically examining the relationships between the entrepreneurial openness, creative (...) personality, and creativity of the entrepreneur and growth of the company. Moreover, the study develops refined internationally comparable measures of entrepreneurial openness, entrepreneur creativity, and a creative personality. An entrepreneur’s openness and creative personality may be essential for their creativity. The entrepreneur’s creativity may be a vital element of company growth in some countries. (shrink)

Vrednovanje i ocjenjivanje u nastavi Glazbene kulture važna je sastavnica odgojno-obrazovnog procesa koja sa sobom nosi razne poteškoće i subjektivnost. U nastavi Glazbene kulture realiziraju se različite glazbene aktivnosti i sadržaji, koji su više ili manje specifični te se navedeno odražava i na vrednovanje i ocjenjivanje. Navedene aktivnosti i sadržaji u okviru Kurikuluma nastavnog predmeta Glazbena kultura za osnovne škole i Glazbena umjetnost za gimnazije organizirane su u okviru tri domene/nastavna područja: Slušanje i upoznavanje glazbe, Izražavanje glazbom i uz glazbu (...) i Glazba u kontekstu. U radu je prikazano istraživanje provedeno tijekom 2019. godine, a koje je obuhvatilo 269 ispitanika, tj. 30 osnovnoškolskih učitelja Glazbene kulture i 239 učenika osmih razreda. Istraživanje je provedeno u Osječko-baranjskoj i Požeško-slavonskoj županiji te je obuhvatilo učitelje Glazbene kulture i učenike osmih razreda šest osnovnih škola od kojih se četiri nalaze u urbanom, a dvije u ruralnom području. Cilj ovog istraživanja bio je doznati stavove učenika i učitelja o vrednovanju i ocjenjivanju u nastavi Glazbene kulture, utvrditi moguću povezanost sociodemografskih varijabla i mišljenja učitelja i učenika te utvrditi na koji se način provodi ocjenjivanje u nastavi Glazbene kulture. Slušanje glazbe i pjevanje su aktivnosti koje se, prema mišljenju i učitelja i učenika, najčešće vrednuju i ocjenjuju u nastavi Glazbene kulture. Ujedno, učitelji u većoj mjeri smatraju da provode individualno i skupno ocjenjivanje nego li to smatraju učenici. Utvrđeno je da učitelji najčešće ocjenjivanje provode tako što tijekom svakog sata prate učenike, skloni su učenike ocijeniti odmah na satu i najčešće usmeno. Utvrđeno je da su učitelji i učenici mišljenja da učenik ne treba imati razvijene glazbene sposobnosti za ocjenu ‘odličan’ u predmetu Glazbena kultura. S obzirom na povezanost sociodemografskih varijabla i mišljenja ispitanika o vrednovanju i ocjenjivanju, pokazalo se kako su područje na kojemu se nalazi škola i spol značajni prediktori učeničkih stavova, dok se kod učitelja nijedna varijabla nije pokazala prediktorskom. Evaluation and grading in the teaching of Music Culture is an important component of the educational process that carries various difficulties and subjectivity with it. In the course of Music Culture, various music activities and contents are realized, which are more or less specific and also reflect on the evaluation and evaluation. The activities and contents of the Curriculum for the Elementary School Music Culture and High School Musical Arts curricula are organized within three domains/teaching areas: Listening and learning about music, Expressing music and with music, and Music in context. The research was conducted in 2019 and included 269 respondents, i.e. 30 elementary music teachers and 239 eighth grade students. The survey was conducted in Osijek-Baranja and Pozega-Slavonia counties and it included Music teachers and eighth grade students from six primary schools, four of whom are in urban and two in rural areas. The aim of this research was to find out students’ and teachers’ views on evaluation and assessment and to determine the possible correlation of sociodemographic variables and teachers’ and students’ opinions on evaluation and assessment in Music Culture teaching and to determine how the assessment is conducted in Music Culture teaching. Listening to music and singing are activities that, in the opinion of both teachers and students, are most commonly evaluated and graded in teaching Music Culture. At the same time, teachers are more likely to carry out individual and group assessments than students. Teachers usually conduct their assessment by monitoring students every class, they tend to evaluate students during class and most often orally. Teachers and students think that student should not have the developed musical skills to score excellently in Music Culture. Considering the correlation between sociodemographic variables and the respondents’ opinions on evaluation and grading, it was shown that the area in which school is located and gender are significant predictors of students’ attitudes, while in the teachers no variables proved to be predictive. (shrink)

Music plays an important role for adolescents since personal and social identities are formed during this period of life, but they also build musical preferences. Within this paper, an online survey was conducted, which included 200 respondents, i.e. primary school students from five Croatian counties aged 13 and 14. The aim of the research was to find out the musical preferences of students and whether sociodemographic variables and music teaching influence their preferences. The girls showed a slightly greater preference for (...) all types of music offered, and especially for popular music. Respondents whose parents are involved in music are significantly more inclined to artistic and popular music. When it comes to place of residence, significant differences were observed in the preference for rock music, which is significantly higher among respondents from the city. Respondents who estimate that there is an impact of music teaching and those who listen to compositions from classes at home report an interest in art music significantly more often. The results of the research indicate the need for greater involvement of music teachers and parents in acquiring children’s musical preferences, especially towards quality music. (shrink)

Person‐centred practice indubitably seems to be the antithesis of technology. The ostensible polarity of technology and person‐centred practice is an easy road to travel down and in their various forms has been probably travelled for decades if not centuries. By forging ahead or enduring these dualisms, we continue to approach and recede, but never encounter the elusive and the liminal space between technology and person‐centred practice. Inspired by Haraway's work, we argue that healthcare practitioners who critically consider their cyborg ontology (...) may begin the process to initiate and complicate the liminal and sought after space between technology and person‐centred practice. In this paper, we draw upon Haraway's idea that we are all materially and ontologically cyborgs. Cyborgs, the hybridity of machine and human, are part of our social reality and embedded in our everyday existence. By considering our cyborg ontology, we suggest that person‐centred practice can be actualized in the contextualized, embodied and relational spaces of technology. It is not a question of espousing technology or person‐centred practice. Such dualisms have been historically produced and reproduced over many decades and prevented us from recognizing our own cyborg ontology. Rather, it is salient that we take notice of our own cyborg ontology and how technological, habitual ways of being may prevent (and facilitate) us to recognize the embodied and contextualized experiences of patients. A disruption and engagement with the habitual can ensure we are not governed by technology in our logics and practices of care and can move us to a conscious and critical integration of person‐centred practice in the technologized care environments. By acknowledging ourselves as cyborgs, we can recapture and preserve our humanness as caregivers, as well as thrive as we proceed in our technological way of being. (shrink)

BackgroundThe European Charter of Patients' Rights (ECPR) presents basic patients' rights in health care. We analysed the characteristics of patients' complaints about their rights submitted through the official complaints system and to a non-governmental organization in Croatia.MethodsThe official system for patients’complaints in Croatia does not have a common pathway but offers different modes for addressing patient complaints. In this cross-sectional study, we analysed the reports about patients’ complaints from the official regional committees sent to the Ministry of Health. We also (...) analysed the complaints received by the Croatian Association for the Protection of Patient’s Rights (CAPR) and mapped them to the ECPR.ResultsThe aggregated official data from the Ministry of Health in 2017 and 2018 covered only 289 individual complaints from 10 out of 21 counties. Complaints were most frequently related to secondary and tertiary healthcare institutions and details were not provided. CAPR received a total of 440 letters, out of which 207 contained 301 complaints about violations of patients’ rights in 2017–2018. The most common complaint was the Right of Access to health care (35.3%) from the ECPR, followed by the Right to Information (29.9%) and the Right to Safety (21.7%). The fewest complaints were about the Right to Complain (1.9%), Right to Innovation (1.4%), Right to Compensation (1.4%), and Right to Preventive Measures (1.0%).ConclusionsReporting and dealing with patients’ complaints about violations of their patients’ rights does not appear to be effective in a system with parallel but uncoordinated complaints pathways. Mapping patient's complaints to the ECPR is a useful tool to assess the perception of patients’ rights and to plan actions to improve the complaints system for effective health care. (shrink)

Práce si klade za cíl kriticky prozkoumat teorii J. S. Milla o rozlišení kvalitativní a kvantitativní charakteristice požitků (pleasure). Mill svoji teorii představil jako reakci na kritiku, že utilitární teorie vyhovuje jen zvířecí povaze lidské přirozenost a neuvažuje o vyšších schopnostech lidského ducha. Millova expozice teorie ale není v mnoha pasážích zcela jasná a průhledná. Práce se zaměřuje hlavně na prozkoumání problematického vztahu mezi kvantitativní stránkou a kvalitativní stránkou potěšení.

Niniejszy artykuł dotyczy problemu egzystencjalnej komunikacji w sztuce i literaturze. Problemu, który został przedstawiony i zanalizowany w oparciu o klasyczne teksty S. Kierkegaarda, G.W.F. Hegla, F.W.J. Schellinga, z odniesieniem do polskich klasyków estetyki, choćby R. Ingardena, W. Tatarkiewicza czy St. Ossowskiego. W artykule nie zabrakło także stałych odniesień do takich postaci, jak Don Juan Mozarta, Faust Goethego oraz sędzia Wilhelm Kierkegaarda. Taki dobór autorów, jak i literackich postaci, pozwolił na zderzenie dwóch punktów widzenia na kwestię komunikacji – subiektywnej i obiektywnej. (...) Dzięki temu stało się możliwe udzielenie odpowiedzi na pytanie o możliwość komunikacji w chwili, gdy przedmiot komunikacji nie jest w pełni osiągalny. Odpowiedzi, którą było zrozumienie natury i funkcji, jaką ma do spełnienia sztuka i literatura. A co dało się ostatecznie streścić w formułach, iż sztuka naśladuje życie, lecz nim nie jest, a także, że przeżycie estetyczne, podobnie jak każde inne egzystencjalne przeżycie, da się jedynie w niewielkiej mierze wyrazić słowami. Prawda artysty wymyka się bowiem konceptualizmowi filozoficznemu, a możliwość egzystencjalnej komunikacji skłania go, by wyrażał siebie w obliczu najtrudniejszych pytań, jakie stawia mu los. Pytań o jego własne przeznaczenie i sens twórczości. Tak oto twórca, dla którego jego własne życie jest dziełem sztuki bądź artysta dokonujący wyboru języka znaków, zawsze wyrażają jakieś przesłanie. Zarówno to wzniosłe, jak i najbardziej prozaiczne, które karmi się zafascynowaniem powszednią egzystencją. Biorąc pod uwagę powyższy kontekst, treść artykułu sugeruje, że egzystencjalizacja poznania, która skupia uwagę na subiektywnej, podmiotowej percepcji świata, jest najwłaściwszym sposobem zbliżenia się do samego twórcy, jak i jego artystycznej aktywności. Rzecz jasna, odpowiada to długiej tradycji myślenia egzystencjalnego i możliwości wykorzystania metody egzystencjalnej komunikacji. (shrink)

Dr. Sašo Dolenc je nedvomno med našimi najuspešnejšimi avtorji na področju poljudne znanosti, saj mu uspeva zapletene znanstvene dosežke razložiti širši javnosti na jasen in zanimiv način s tem, da ostane pri tej razlagi natančen in znanstven. Serija njegovih člankov je izredno pomembna, saj pokriva vsa področja moderne znanosti na nevsiljiv, skorajda lahkoten način, zato je prav, da jo imamo tudi v knjižni obliki. Na področju moderne poljudne znanosti smo v Sloveniji šibki, saj se naši znanstveniki v glavnem ne lotevajo (...) takega dela, drugi pa niso usposobljeni zanj. Zato delo dr. Dolenca zasluži vso pohvalo in spoštovanje. Ali znanost misli? Na to vprašanje je svojčas Heidegger odgovoril z odločnim ne. Zapisi o sodobni znanosti spod vešče roke Saše Dolenca, te male zgodbe o velikih zgodbah, nas hitro prepričajo o nasprotnem. Ne le, da znanost misli na stotero nepričakovanih načinov, njeni miselni izzivi in vpogledi so obenem neizčrpni vir vzpodbud in zabave. Jasna misel in prijazen slog naredita knjigo dostopno vsakomur: v najboljši tradiciji populariziranja znanstvene vednosti, njenih dosežkov, dilem in zagat. (shrink)

In his Vermischte Bemerkungen 43, Wittgenstein notices that he was also influenced by Oswald Spengler. The paper deals with the question of in which way Spengler influenced Wittgenstein’s late works and if it really was influence or only a coincidence of ideas. It is put forward that Spengler’s rather unknown philosophy of language influenced Wittgenstein’s philosophy of language, especially the concepts of family resemblance, antiessentialism, and language-game (Sprachspiel). A picture of the famous Neapolitan gesture of “negation” which motivated Wittgenstein to (...) give up the picture theory of language is also shown with an example taken from Andrea de Jorio, La mimica degli antichi investigala nel gestire napoletano, Napoli 1832. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art's DetourA Clash of Aesthetic TheoriesS. K. Wertz (bio)Both John Dewey1 and Martin Heidegger2 thought that art's audience had to take a detour in order to appreciate or understand a work of art. They wrote about this around the same time (mid-1930s) and independently of one another, so this similar circumstance in the history of aesthetics is unusual since they come from very different philosophical traditions. What was it (...) about the climate of the times that led them to such an idea? Is it still viable today? Both philosophers thought that art's audience is not in a position to immediately appreciate works of art—that we are missing something for a direct appreciation or apprehension—so we must take a detour. Why the detours and what are they? Are the detours similar? And are Dewey and Heidegger right about this? The essay that unfolds below attempts to answer these questions.First a definition is in order so we know what the term "detour" means when I use it. What is a detour? It is a deviation from a direct course or the usual procedure; a roundabout way temporarily replacing part of a route; in other words, a bypass or a roundabout way to some destination. The Little Oxford Dictionary adds a different twist on my characterization: "a course that leaves and rejoins [the] direct route."3 Applying this idea to art, we can say that a detour describes an audience who ordinarily perceives an artwork is a legitimate beginning for an appreciation of it, but that course must be bypassed for another (conception) before it can rejoin the direct route (perception). In other words, perceptions in the aesthetic experience must be aided by conceptions—a decidedly Kantian stance taken by Dewey and Heidegger. Their illustrations make my interpretation plausible.One of Heidegger's examples is Van Gogh's painting of a pair of peasant boots.4 He selects this painting to illustrate his metaphysics, which centers around the notion of "equipment." Peasant boots are equipment in [End Page 100] the sense that they are worn or used; the mere thing (like shoes or boots in a store [exhibited] or a closet [in storage]) disappears in use and becomes equipment. Between equipment and mere things—these two categories of being—are artworks. They are pictorial representations of equipment (in Heidegger's illustration; a pair of shoes as mere things could be a pictorial representation, like an advertisement, but it wouldn't be the same). Through the painted boots, a world comes into focus—a network of meaning. The world Heidegger sees in the Van Gogh painting is captured in the following descriptions: "In the vicinity of the [art]work we were suddenly somewhere else than we usually tend to be…. The art work let us know what shoes are in truth" (ATCR 233). So the nature of art is still a question about the nature of representation for Heidegger: it is what the shoes disclose to us about human existence. As he says, it is not just merely a pair of shoes portrayed but shoes "from the dark opening of the worn insides … the toilsome tread of the worker stares forth" (ATCR 232). In other words, we see the difficult labor that this particular owner toiled with in her daily chores.In Tralbaut's book, he quotes Heidegger in a caption alongside the painting: "Engraving in the intimate obscurity of the hollow of a boot is the weariness of the steps of work. The rough and solid weight of the clog tells of the slow and obstinate trudge across the fields."5 Heidegger continues in the same vein:In the stiffly rugged heaviness of the shoes there is the accumulated tenacity of her slow trudge through the far-spreading and ever-uniform furrows of the field swept by a raw wind. On the leather lie the dampness and richness of the soil. Under the soles slides the loneliness of the field-path as evening falls. In the shoes vibrates the silent call of the earth, its quiet gift of the ripening grain and its unexplained self-refusal in the fallow desolation of... (shrink)

No part ot Plato's writings has been more debated than the three similes in Books VI.-VII. of the Republic, and still there is a diversity of opinion about their meaning. I believe that most of these difficulties arise from certain assumptions about their purpose which need revision. The current view applies the Cave to the Line, as Plato seems to direct, and this application, which is itself attended by considerable difficulties, leads to an assimilation of the two figures till they (...) seem to have much the same content and purpose. Again, as this makes the lower line appear to be the phenomenal world, it is thought that the simile of the sun foreshadows the theme of the Line by hinting at a connexion between the intelligible and the sensible which is made more explicit in the Line. Thus the group of similes seem mainly intended to show the dependence of Becoming upon Being. This paper will argue that such a view depends upon the misrepresentation of the symbolism adopted by Plato, that two antithetical groups of symbols are confused with one another, and that symbols are even identified with antitypes. Owing to these misinterpretations the Form of the Good has been mistaken for a material cause; both the Line and the Cave have been thought to reveal Plato as embarrassed by a dualism between sense and intellect, and the purpose of the Cave in particular, since the error is cumulative, has been completely obscured. This paper will attempt to substitute for current accounts another interpretation which will relate the three similes closely with the political arguments of Book VI., and with the Platonic education which is set forth in close connexion with them. (shrink)

Studie poukazuje na tři základní slabiny současného českého diskurzu o kolapsech komplexních společností, jehož předním mluvčím se stal egyptolog Miroslav Bárta. Zaprvé nedošlo k vyrovnání s absencí vědeckého konsenzu ohledně determinantů historického vývoje a teorii, která by poskytla jednotící rámec pro zařazení a interpretaci konkrétních prediktorů kolapsu, byla věnována jen minimální pozornost. Zadruhé nebyla podána jasná odpověď na otázku, která společenská struktura je při studiu kolapsu vlastně předmětem zkoumání, přestože se volné přechody mezi rovinami kultur, států a civilizací nejeví z (...) analytického hlediska možné. Zatřetí se řada navržených prediktorů kolapsu ukazuje už při zběžném ohledání jako zásadně problematická. Studie dochází k závěru, že současný stav poznání problematiky kolapsů komplexních společností neospravedlňuje vyslovování žádných vědecky podložených predikcí, které by mohly být zdrojem pragmatické legitimizace pro společenské a humanitní vědy. (shrink)

This paper treats Deleuze's first synthesis of time and the corresponding concept of larval subjectivity by routing it through a biophilosophy of organism. I develop, out of my reading of Deleuze, a temporal concept of organismic subjectivity.

The history of the idea of biological progress shows that it is not a selfexplanatory category, so a clear definition is required. Biological progress exists if: “more progressive” is defined as “more complex” – in that case evolution is synonymous with progress, i.e. development from simple to complex, from homogeneous to heterogeneous; we perceive the expression “more progressive” as more successful in relation to the environment, in these terms some groups in the history of life were more progressive because/so that (...) they survived, while others were retrogressive or less progressive because/so that they died out; on the other hand, within their ecological niches, certain forms of life are perfectly adapted to their environment as long as it is stable ; we take the span or reach of a potential adaptation of populations as a measure . However, there is no active, innovative problem solving in relation to the environment either with plants or animals – only the variability mechanism / selection is in place, automatism, instinct. In the light of the above-mentioned biological criteria, man is the most complex living creature by his constitution , he is the least dependent on the environment and can be innovative in relation to the environment. Man is the only living creature capable of establishing an active relationship with the environment through his special tool – culture. Considering the level of organization and quantity of information, the mammal genome is more progressive than the bacterium genome, while the human genome comprises most information which makes man the most progressive living thing. We can talk about biological progress if we define progressiveness as advancement toward complexity of organisation, but sometimes thesimplification of structure enables survival. It seems that we can talk about progressivenessin biology only if we accept the anthropic principle – that is why only cultural progress is possible. Information is the link between biological and cultural-anthropological successfulness . Biological information is a “complete” piece of information to an animal . To a human being, it is only a condicio sine qua non for the reality of human spirit which receives, keeps and generates information. Progress can be measured according to the capability ofestablishing an active and innovative relationship with the environment, but only within some sort of anthropocentric outlook which is a criterion of value. It is not possible to talk about progressiveness of life if man is not the measure of all things.Povijest ideje biološkog napretka pokazuje kako to nije samorazumljiva kategorija, pa se traži jasna definicija. Biološki progres postoji ukoliko: “naprednije” definiramo kao “složenije” – evolucija je tada sinonim napretka, tj. prelaženja iz jednostavnijeg u složenije, iz homogenog u heterogeno; “naprednije” shvatimo kao “uspješnije” s obzirom na okoliš; u tom smislu neke skupine u povijesti života bile su naprednije jer/pa su opstale, dok su druge bile nazadnije ili manje napredne pa/jer su izumrle; s druge strane unutar svojih ekoloških niša pojedini oblici života savršeno su prilagođeni svojem okolišu dokle god je on stabilan ; kao mjerilo uzmemo raspon ili širinu moguće prilagodbe populacija jer tada postoje razlike; ipak ni u biljaka ni u životinja tu nema aktivnog inovatorskog rješavanja problema okoliša, nego djeluje samo mehanizam varijabilnost/selekcija, automatizam, nagon. U svjetlu gore navedenih bioloških mjerila čovjek je svojim ustrojstvom najsloženije biće , najmanje je ovisan u odnosu na okolinu, može se novativno nositi spram okoline. Čovjek je jedini kadar za pravi aktivni odnos prema svom okolišu putem specifičnog oruđa kulture. S obzirom na stupanj organizacije i količinu informacija, genom sisavca je napredniji od genoma bakterije, a genom čovjeka raspolažes najviše informacija, pa je on po tome najprogresivnije biće u prirodi. O biološkom progresu možemo govoriti ako progresivnost definiramo kao porast složenosti organizacije, no ponekad pojednostavljenje građe omogućava preživljavanje. Čini se da o progresivnosti u biologiji možemo govoriti samo usvajajući princip antropičnosti, zato je u svijetu moguć samo kulturni progres. Posjedovanje informacije je veza između biološke i kulturno-antropološke uspješnosti . Posjedovanje biologijske informacije za životinju je “potpuna informacija” , dok je za Čovjeka samo condicio sine qua non za zbiljnost ljudskog duha koji dobiva, posjeduje i stvara informaciju. Progres je moguće mjeriti prema sposobnosti aktivnog i inovativnog odnosa spram okoliša jedino u nekoj vrsti antropocentričnog obzora koji u središtu ima mjerilo vrijednosti. Nemoguće je govoriti o progresivnosti života ako svemu nije mjera sam čovjek. (shrink)

Supercommentary on Praśastapādabhāṣya of Praśastapādācārya, commemtary on Vaiśeṣikasūtra of Kaṇāda, compendium of Vaiśeṣika philosophy.

China’s remarkable gains in science over the past 25 years have been well documented but it is less well known that China and the United States have become each other’s top collaborating country. Science and technology has been a primary vehicle for growing the bilateral relationship between China and the United States since the opening of relations between the two countries in the late 1970s. During the early 2000s, the scientific relationship between China and the United States—as measured in coauthored (...) papers—showed significant growth :295–302, 2007). Chinese scientists claim first authorship much more frequently than U.S. counterparts by the end of the decade. The sustained rate of increase of collaboration with one other country is unprecedented on the U.S. side. Even growth in relations with eastern European nations does not match the growth in the relationship between China and the United States. Both countries can benefit from the relationship, but for the U.S., greater benefit would come from a more targeted strategy. (shrink)

In verse twelve of the Tao Te Ching, Lao Tzu makes a curious claim about the five flavors; namely that they cause people not to taste or that they jade the palate. The five flavors are: sweet, sour, salt, bitter and spicy or hot as in 'heat'. To the Western mind, the claim, 'The five flavors cause them [persons] to not taste,' is counterintuitive; on the contrary, the presence of the five flavors in a dish or in a meal would (...) expand or enhance the senses and the palate, i.e., taste would be augmented by the five flavors. So what is the plausible meaning of the Taoistic claim? To answer this question, I look very briefly at the history of the doctrine of the five flavors and the history of Chinese cuisine. Lao Tzu probably has Confucian feasts in mind in making such a claim, but other interpretations are discussed. (shrink)

In this lecture Justice Breyer examines three classical criticisms of constitutional judicial review. Those criticisms say that a grant to unelected judges of the power to set aside legislation as contrary to a written constitution leads to judicial decision-making that is (a) undemocratic, (b) subjective, and impractical. Justice Breyer describes features of the constitutional decision-making that do not dictate results in individual cases, but none the less hold the judges' 'subjective' will in check. He also describes necessary judicial efforts to (...) focus upon considerations of administrative practicality. The description seeks, not to refute the criticisms in their entirety, but to help evaluate the extent to which those criticisms militate against the adoption of a system of constitutional judicial review. (shrink)