El presente artículo propone el paradigma andino del “Vivir Bien” como alternativa al modelo económico, civilizatorio y social de un capitalismo neoliberal y depredador que manifiesta serias señales de crisis. Estas crisis se manifiestan en lo financiero, económico, político, axiológico y ecológico, de modo que se puede hablar de una “crisis civilizatoria”. El “Vivir Bien” andino es la expresión de una civilización opuesta en muchos aspectos al paradigma filosófico y civilizatorio de Occidente. Las contradicciones y tensiones entre los dos modelos (...) pueden verse, por ejemplo, en el proceso de cambio actual en Bolivia. (shrink)

The aim of the paper is to reconsider Barthes’s theory of textuality, as presented in his The Pleasure of the Text. Barthes’s approach is based on the rejection of the “referential” or “realistic” theories of literary text: the Barthesian pleasure is drawn from the texture of the text itself rather that from its alleged referential character. In this sense, the author’s suggestion is to return to the notion of representation rejected by Barthes, even though this representation should not be identical (...) with the reference in the classical sense of the word. The notion of “weak representation”, suggested by the author, does not mean a return to a naïve conception of realism. It rather implies that the referent would be a fantasmatic rather than “realistic” entity. The notions of representation and reference are exemplified by the interpretation of Richardson’s Clarissa and Hardy’s Tess of the d’Urbevilles. (shrink)

Introduction : heroes like us -- Hegel, the western and classical modernity -- The myth and the frontier -- The hero in the epochs of mythical and the bourgeois -- The end of the individual -- The end of the subject -- Romanticism, crime and agonal modernity -- The return of tragedy in modernity -- Heroes of coolness and the ironist -- Nietzsche, science fiction and hybrid modernity -- Heroic individualismus and metaphysics -- Superhumans, supermen, cyborgs -- Heroes of the (...) future. (shrink)

In der klassischen Metaphysik war der alle speziellen Aspekte der Wirklichkeit übergreifende Gesichtspunkt der des „Seins". Dem entspricht in Puntels Buch ein Theorierahmen für das uneingeschränkte „universe of discourse". Methodisch angemessen ist ihm ein nicht-fundamentalistisches kohärentiell-reflexives Begreifen, dem sich auch die Sache selbst in eben dieser Struktur darstellt, nämlich als Beziehungseinheit von Begriff und Wirklichkeit, von Semantik und Ontologie, woraus sich sowohl eine an der Sprache orientierte Sicht der Dinge ergibt als auch eine mit dem Ganzen koextensive, also sich selbst (...) einschließende Geist-Strukur als reflexiver Maßstab allen Begreifens. Damit ist eine „prima philosophia" wiedergewonnen, die als methodisch-inhaltlicher Rahmen für das Begreifen der einzelnen Bereiche des Universums geeignet ist, nämlich der Naturphilosophie und Anthropologie, der Ethik und Ästhetik, der Geschichts- und Religionsphilosophie.In classical metaphysics, „Being" constituted the one viewpoint, which encompassed all particular aspects of reality. In Puntel's book, corresponding to this viewpoint is a theoretical framework for the unrestricted „universe of discourse." For him, a non fundamentalist comprehension of reality will be methodologically adequate, insofar as it is both coherent and reflexive. For only in and though the structure of this comprehending can the subject matter present itself as a relational unity of concept and reality, and of semantics and ontology. This structure will yield both a view of things that is linguistically orientated, as well as a mind-structure that is coextensive with the whole of reality, itself included. This mind-structure serves, then, as a reflexive criterion for all acts of comprehension. With this, the book regains a „prima philosophia," understood as a methodological and content-filled framework suitable for the comprehension of individual spheres of the universe, namely, the philosophy of nature and anthropology, ethics an aesthetics, as well as the philosophy of history and religion. (shrink)

Voyages and crises of philosophy refer to philosophical knowledge of truth, in contrast to skepticism and relativism. They encompass the rational foundation of philosophy and the application of a critical method to central contents. Realist phenomenology plays a key role in the seventh voyage by providing an objective foundation to a priori knowledge. It shows also that essential necessity possesses a supreme form of intelligibility. Cognition is reached via insight and deduction. Three kinds of essences explain the difference between empirical (...) and a priori sciences, while the "impoverishment of a priori" is transcended through necessary essences. Rethinking Edmund Husserl's method allows access to real existence, where objective values replace axiological nihilism. Rigorous philosophy is thus compatible with divinely revealed truth about the mysteries of God and man. (shrink)

This study aims to identify student attitudes to and perceptions of the topical phenomenon of plagiarism at the Faculty of Regional Development and International Studies at Mendel University in Brno, Czech Republic. The paper includes a theoretical framework describing plagiarism, academic ethics and provides a different perspective on plagiarism by many authors. Furthermore, the article presents a semi-structured questionnaire conducted in July 2018 with a sample of 235 respondents. The questionnaire was used in this research to explore students’ personal experiences, (...) recommendations and other information relating to their attitudes to and perceptions of plagiarism. The results indicate that FRDIS students were familiar with the concept of plagiarism but not always able to clearly identify the correct answers. The recommendation for the Faculty, based on the data analysis, is to hold a tutorial on all the important aspects of plagiarism, such as citations, referencing, and common mistakes. This paper concludes that plagiarism can only be eliminated if it is tackled at the prevention phase, not merely through the use of warnings and threats. (shrink)

During the past fifty years, a dispute over the nature of historical discourse has taken place with the narrativist approach, arguing for the dominance of narration in history, on the one hand, and professional historians defending historiography's will to tell the truth, on the other. Paul Ricoeur entered the discussion with his work Time and Narrative where he offered an inventive response. According to him, both narration and scientific explication are essential to historical discourse. To support his statement, he introduces (...) terms such as ‘a third time,‘ ‘a quasi-narration’ or ‘a historical consciousness.’ Thus, he shifts attention from narration to time. These terms can prove their usefulness when interpreting historical works. In the rest of the article, we aim to carry out such an interpretation on the example of Landscape and Memory by Simon Schama. In a Ricœurian perspective, Schama's book reveals its deep time significance. (shrink)

Since the beginning of the twentieth century, abstract art has formed a central stream of modern art. To attain purely aesthetic goals, many avant-garde artists turned painting in particular into a pursuit of breaking off the relations with natural forms. Instead of copying them, they have merely relied on their inner visions. When externalizing these visions directly on the canvas or sheets of paper, the practitioners of abstract art have inadvertently used the phenomenological method and its epoché. In this essay (...) I argue that the philosophies of Kupka and Husserl are largely compatible. This is not because the two use the same terminology, but because they virtually mean and do the same thing in their respective fields. Even where there are significant differences between them, these are not as great as it might at first seem. In the essay’s conclusion I sum up some of the most significant implications their compatible theories have for the philosophy of art and for various theories of art today. (shrink)