Artykuł jest próbą analizy wybranych elementów z komiksów Henryka Chmielewskiego o Tytusie, Romku i A’Tomku przy pomocy kwadratu semiotycznego i werydykcyjnego Algirdasa Greimasa. Kwadraty, użyte jako poręczne narzędzia analityczne o dużej i łatwo osiągalnej mocy eksplikacyjnej, służą tu do ujawnienia wewnętrznie dwuznacznej, wywrotowej natury komiksu.

The paper offers a new model of politics adequate for the Anthropocene epoch. It uses the concept of ‘heterotopia’ to argue for the environmental potential of Arendtian political philosophy. The adopted meaning of heterotopia combines its Foucauldian (as interpreted by L. De Cauter and M. Dehaene) and medical sources. It is argued that, thus understood, the concept can be applied to the Arendtian idea of judgment. In this capacity, the concept of heterotopia is both politically foundational and environmentally relevant. It (...) helps us maintain the idea of politics as humanely construed activity, while recognising that political actors are also natural beings, whose actions draw on and affect the non-human world. (shrink)

The paper starts from the wonderment-reverence distinction introduced by Dipesh Chakrabarty in his book The Climate of History in a Planetary Age. While Chakrabarty’s concept of the planetary as the framework for the Anthropocene is accepted, his skepticism about the political relevance of wonder(ment) in the Anthropocene is challenged. Pace Chakrabarty, the link between wonder(ment) and curiosity is severed, and wonder is instead defined through the connections to the faculties of listening and reflective judgment. As such, wonder can be relevant (...) to politics in the Anthropocene when engaging with the planetary. (shrink)

The paper brings together Steven Vogel’s concept of the environment and the category of the world in Hannah Arendt’s and Malcom Ferdinand’s interpretations. First, the similarities between the concepts are shown: they both refer to the networks of things and relationships and, as such, emphasize the political dimension of ecological concerns. Second, it is argued Vogel’s discursive model of politics can be enriched with the aid of the model of non-appropriative relating implied by the concept of the world. Two amendments (...) to Vogel’s project are analyzed. It is shown that non-appropriative relating provides additional support for the central value of Vogel’s approach, i.e., non-domination. In the next step, it is argued the model offers insights into the problem that Vogel considers important but impossible to solve, namely—the question of politically relating to non-human beings. (shrink)

The paper presents the agency of human beings as embodied, i.e. it shows what it means to think about agency as founded on being a body (rather than merely exercised through a body). It is also argued that the free—i.e. reflective and spontaneous—exercise of agency should likewise be understood as embodied. The paper argues that both the appreciation and experience of the free exercise of embodied agency require wonder. The latter is defined as the attitude that facilitates the relationship of (...) familiarization without appropriation. The paper shows how wonder contributes to the experience of freedom related to expressing one’s own unchosen (bodily) difference while relating to the differences of others. (shrink)

The paper intends to initiate a discussion on the politico-liberal concept of judgment. It is argued that whilst political liberalism (PL) – presented as an account of political objectivity – already appeals to judgment, this conception is an unsatisfactory one. This critical assessment is supported by the juxtaposition of PL with an Arendtian understanding of political objectivity which offers a more robust account of judgment. In the conclusion, the possibility of applying the Arendtian solution to PL is outlined.

The paper revises the idea of speech as a fundamental political faculty in response to the challenges of the Anthropocene. First, it is argued that, rather than as a subsystem of language, speech should be conceptualised as the expression of the embodied capacity of voice (in this respect, the paper follows Adriana Cavarero’s [2005] argument). Secondly, vocality is linked to the faculty of taste (understood as in Arendt’s reading of Kant) to locate politics in the broader order of materiality (physis).

The paper offers a contribution to the political account of wonder. The rationale for addressing this problem is provided by Hannah Arendt’s observations on the paradoxical relationship between wonder and politics—wonder appears here as both essential and indispensable to politics as the realm of opinions. This quandary corresponds to two common-sense uses of the term “wonder”—as an emotion and as an act of judging. It is argued that the political interpretation of wonder should link these two poles. Drawing on Martha (...) Nussbaum’s account of wonder and its reformulation developed by Jeremy Bendik-Keymer, the paper offers such a synthesis by emphasising the environmental and aesthetic dimensions of the concept. (shrink)

The paper presents wonder as a category of political philosophy. It is argued that wonder makes an essential contribution to the development of the relationship of assimilation without appropriation, which, in turn, is interpreted as foundational for politics. The argument draws on the interpretations of wonder as a non-eudaimonistic political emotion (Martha C. Nussbaum) and positive anxiety of considering things (Jeremy Bendik-Keymer), as well as discussing communication based on asymmetrical reciprocity (Iris Marion Young) and the connection between wonder and political (...) judgment (Hannah Arendt). (shrink)

Książka proponuje interpretację filozofii politycznej jednej z bardziej wpływowych współczesnych amerykańskich autorek – Marthy Craven Nussbaum. Praca skupia się na rozwijanej przez filozofkę wersji koncepcji zdolności (capability approach), która jest rozpatrywana w kontekście po- Rawlsowskiego egalitarnego liberalizmu. Biorąc pod uwagę takie zaplecze, książka ma na celu zbadanie warunków możliwości zrealizowania jego podstawowych założeń normatywnych, a więc wartości: wolności, równości i szacunku dla pluralizmu. Zgodnie z proponowaną interpretacją koncepcja Nussbaum ukazuje podstawy egalitarnego liberalizmu w nowym świetle, w tej mierze, w jakiej (...) zwraca uwagę na konieczność uzupełnienia instytucji o odpowiedni model rozumowania praktycznego. Książka wykazuje estetyczność takiej koncepcji, która przejawia się zarówno na poziomie pojęć (podobieństwa między doświadczeniem estetycznym a rozumowaniem praktycznym), jak i na poziomie przykładów (zastosowania sztuki dla kształcenia postaw obywatelskich). W ten sposób zaprezentowane ujęcie wpisuje się w ramy szeroko pojętej estetyki politycznej. Zagadnienia podejmowane w pracy obejmują między innymi następujące kwestie: dyskusja na temat tzw. waluty sprawiedliwości, liberalizm polityczny, psychologia moralna, emocje polityczne, władza sądzenia, związki między etyką a literaturą oraz kształcenie obywatelskie. Oprócz Marthy Nussbaum szczególne znaczenie dla argumentacji mają tacy autorzy, jak Amartya Sen, John Rawls, Charles Larmore, Immanuel Kant, Hannah Arendt, Crispin Sartwell. (shrink)

Kennedy School of Government, Harvard University, USA, mathias_risse{at}ksg.harvard.edu ' + u + '@' + d + ' '//--> It is a widespread view that support for Fair Trade is called for, whereas agricultural subsidies are pegged as unjustifiable. Though one supports farmers in developing countries while the other does the same for those in already developed ones, there are, nonetheless, similarities between both scenarios. Both are economically `inefficient', upholding production beyond what the market would sustain. In both cases, supportive arguments (...) can assume two forms. First, such arguments might draw on normative claims made by producers. In the case of agricultural subsidies, farmers in developed countries assert claims against their fellow citizens, who ought to accept redistributive measures to keep them in business. In the case of Fair Trade, the claim can be made by farmers in developing nations against consumers, who ought to pay higher prices to keep them in business (under conditions deemed acceptable). Second, arguments to keep producers in business might be presented as the prerogative of both groups: even if farmers in developed countries did not have a claim to be kept in business, these countries would have the right to take measures to do so because they value their products. In the case of Fair Trade, even if farmers in developing nations had no claim against consumers, it is a consumer prerogative to pay more to keep them in business because they value their product or the process of producing it. There are, of course, differences between these scenarios as well, but in light of these parallels in the moral cases for subsidies and Fair Trade, it will be illuminating to examine the arguments for and against subsidies and Fair Trade together. Key Words: trade • subsidies • fairness • markets • development. (shrink)

The work begins by asking the questions of how contemporary phenomenology is concerned with music, and how phenomenological descriptions of music and musical experiences are helpful in grasping the concreteness of these experiences. I then proceed with minor findings from phenomenological authorities, who seem to somehow need music to explain their phenomenology. From Maurice Merleau-Ponty to Jean-Luc Nancy and back to Edmund Husserl and Martin Heidegger, there are musical findings to be asserted. I propose to look at phenomenological studies of (...) the musical aspects of existence as they appear in various philosophical works bringing together different accounts of music and aesthetics and pointing towards phenomenological study as a methodology for everyday aesthetics. While there are many different areas of music phenomenology such as studies of sound and listening, studies in perception of musical works, in experience of artistic creation, in singing and playing musical instruments, and phenomenology of transcendent or religious horizons of the experience of music, it is most promising—I suggest—to look at phenomenological studies of music from the perspective of everyday happenings and discoveries of musical aspects of life. Thus, I attempt to display the uses of phenomenology in finding musical aspects of everyday existence as well as in describing and illuminating the art of music. A look at Roman Ingarden’s and Mikel Dufrenne’s most intuitive and promising ideas will be broadened with a perspective from Don Ihde and Arnold Berleant. (shrink)

Małgorzata Czarnocka tries to clarify the problem of representation, by the reconstruction of its historical roots.

Author: Bogaczyk Małgorzata Title: THE DIFFERENT ART. ON THE PRIMITIVE ART, NAÏVE ART AND ART BRUT (Sztuka Inna. O sztuce prymitywnej, naiwnej i surowej) Source: Filo-Sofija year: 2006, vol:.6, number: 2006/1, pages: 239-256 Keywords: DIFFERENT ART, PRIMITIVE ART, ART BRUT, NAÏVE ART Discipline: PHILOSOPHY Language: POLISH Document type: ARTICLE Publication order reference (Primary author’s office address): E-mail:In the sketch I show some similarities in the artist’s way of perceiving the work of art, the process of artistic creativity, and the (...) fate of work in the inner reality, to quote Proust. The fact that all art is met with wider or narrower reception is the background for my analysis of the general phenomenon of the popularity of art fascinating or being rejected because of its variety. (shrink)

Drawing from an ethics of care, relational approaches to autonomy have recently emerged in bioethics. Unlike individual autonomy with its emphasis on patients’ rights, choice, and self-determination which has been the hallmark of bioethics consistent with the ideology of individualism in neoliberal democracies in Western countries, relational autonomy highlights the relatedness, interdependency, and social embeddedness of patients. By examining the mediating role that male Hospital Liaison Committee members in Germany play in facilitating care that supports Jehovah's Witnesses’ refusal of blood (...) transfusions, this article moves beyond ‘dyadic relations’ and contexts of caregiving. It also contributes to a deeper understanding of care and relational conceptualizations of Witness patients’ autonomy globally. (shrink)

ABSTRACTThe present study was designed to address the hypothesis that differences and similarities in patterns of attentional processing in recently proposed types of anxiety and depression are connected with the dominant function they play in stimulation processing and their structural components. Participants filled out the Anxiety and Depression Questionnaire, which assesses types of anxiety and depression, and completed the Emotional Faces Attentional Test one week later. The obtained results confirmed our prediction and suggested that the proposed typology of anxiety and (...) depression is valid in the adaptive meanings of both phenomena. (shrink)

Metaphor in Experience of Musical Work. Account of Roger Scruton's Theory Author analyses Roger Scruton's theory of metaphorical transfer outlined in his The Aesthetics of Music. Tone and a special kind of listening constitute the main elements of music in Scruton's music aesthetics. It is through the listening experience, one in which physical sound changes into musical tone, that music comes into being. The change - Scruton argues - takes place when spatial and time metaphors are employed to describe and (...) name what we listen to. Author further examines Scruton's theory, his concept of metaphor and metaphorical transfer and also his account of experience of music understood as an experience of double intentionality. In conclusions, author argues that Scruton's account of music is inspirational and phenomenologically true even if -author feels - it fails to explain what is really unique in the listening experiences of music. (shrink)

a translation of A. Schoot "Kivy and Langer on Expressivity in Music".

W artykule analizuję znaczenia, jakie można przypisać pojęciu i doświadczeniu obcości.Najpierw przypominam dwa opisy fenomenologiczne tego doświadczenia, z których wynika, iż już na tym abstrakcyjnym poziomiedoświadczenie obcości ma sens ambiwalentny: obcy może być doświadczany jako zagrożeniedla mojej podmiotowości, ale również jako wezwanie do jej pogłębienia. Następnie przyglądamsię bardziej empirycznym sposobom doświadczania obcości w świecie społeczno-politycznym,stawiając tezę, iż kryje się za nimi polityczna konstrukcjaobcości. Wreszcie pytam o moralny sens doświadczenia obcości, konkludując, że również natym poziomie jest to sens ambiwalentny: chociaż słuchanie (...) obcego można uznać za obowiązekmoralny, to moralnie dopuszczalne, a czasem konieczne jest również traktowanie go jakowroga w imię uniwersalnych wartości. (shrink)

Music, as sung and listened to, has been described in many a tale as powerful and transformative. Yet, the important question is not so much if that claim is true or whether it may be verified, but what kind of power and transformation are alluded to in those mythical and literary sources? Taking these symbolic claims and elaborating on their possible meaning, alongside thinkers such as Carolyne Abbate or Roland Barthes, proceeds to find ways in which these claims may suggest (...) different roles that music and singing play in human lives. As much as current musicological and anthropological academic narratives point to the power and its negotiation in society, there is more to singing voices’ charms than this. The author points to an important transformation that happens when the human existential qualities found in the voice’s imperfections (its materiality) are matched with the music’s aesthetic qualities (its beauty, sublimity, its symmetry, its impression) to transform the listener and make her listen. (shrink)

A Few Notes on Aspect Seein g in Contemporar y Aesthetics In this paper author examines the problem of aspect seeing in reference to works of Ludwig Wittgenstein and Virgil C. Aldrich posing the question of whether they are applicable to experience of musical works. Drawing on examples from Wittgenstein’s Philosophical Investigations, author maintains that hearing a melody as solemn, sad, et cetera is neither universal nor unequivocal. Musical work, author suggests, does not present itself spontaneously to the listener. Conversely (...) it must be sought and found. To speak of aspect hearing or hearing as (as aesthetic hearing) in reference to music, one must seek out those qualities of musical work that are perceptual but also individually grasped in contrast to what is given in experience through acculturation and training. (shrink)

Niniejszy artykuł traktuje o możliwościach i powinnościach procesu nauczania fonetyki na polskich uczelniach wśród studentów germanistyki. Zważywszy na bardzo dobrą podstawę poprawnej wymowy, jaką jest korzystna baza artykulacyjna Polaków, jak też rónorodność metod, które powinny być stosowane podczas uczenia fonetyki, nie ulega wątpliwości, że studenci są w stanie sprostać bardzo wysokim wymaganiom stawianym przez wykładowców. Zawarta w artykule baza pojęciowa jest jedną z metod, które winno się wykorzystywać, aby osiągnąć rzeczony cel. A zatem obok nader świadomej artykulacji niemieckich głosek na (...) zajęciach fonetyki na kierunku germanistyki jest również miejsce dla dwóch kolejnych zdecydowanie bardziej praktycznych metod. Chodzi tu oczywiście o metodę werbo-tonalną oraz metodę zmierzającą do automatyzacji jedynie okazyjnie poprawnie artykułowanych głosek. (shrink)

Autorka rozważa relacje między wartościami, szczególnie moralnymi, a dziełem muzycznym. Przedstawiając najpierw rozumienie wartości w filozofii Romana Ingardena, a następnie przywołując przykładowe sformułowania moralizmu w odniesieniu do muzyki (autorstwa Rogera Scrutona, Platona i Petera Kivy’ego), autorka pyta, czy możemy uważać dzieło muzyczne za nośnik wartości moralnych. Następnie badając, w jaki inny sposób dzieło muzyczne może być związane z wartościami moralnymi, autorka dochodzi do wniosku, że relacje między wartościami moralnymi a dziełem muzycznym należą do stosunków subtelnych i być może tym, co (...) zawdzięczamy dziełom muzycznym jest umiejętność słuchania. (shrink)

This paper presents gesture as an element of aesthetic experience of musical work. It focuses on specific dialectics of gesture in musical works as that which is visual or highlighted and at the same that which speaks to the listener. The difficulty in describing what constitute musical expressive gesture is there to guide us. The gesture stands in way of recognizing meaning and providing communication but at the same time that, which speaks to the listener is the most secluded, intimate (...) part of musical experience. (shrink)

Is Gilles Deleuze’s concept of virtuality sufficiently close to the concept of virtuality used in informatics and the philosophy of information for computer-created objects and virtual reality to justify the latter’s explanation by means of the former? This question is the main objective of the present paper. We aim to show that, contrary to its most widespread interpretations, the Deleuzian conception of virtuality is epistemological and not ontological, and that this invalidates the belief that Deleuze’s virtuality and that of computer (...) science are sufficiently close to justify the transposition of one to the other. (shrink)

The author points out to the rehabilitation of listening which occurs in Lyotard's philosophy in the field of his aesthetic analysis. The philosophical grasping of time and especially the instant is being explained in Lyotard through the listening mode and in invoking the aural experiences and the experiences of sound. The author suggests that the category of listening is often used in place of the category of aesthetic and as metaphor of the aesthetic perception. In contrast to seeing, listening can (...) be undertaken together with other sensual experiences and thus it allows for a more polyphonic experience. Listening, author maintains, is a very special type of experience, on one hand it is open and welcoming, on the other discrete and prone to solitude, qualitatively changing its course. (shrink)

Author refers to theories of mater and form, trying to find a way to establish the material grounds for musical sound. From Aristotle basic definition of physis author turns to Roger Scruton and his doubts whether what listeners hear as music, tone and even sound may be found among the physical things.

Author begins with setting up a problematics of relations between values and evaluation in art and aesthetics experience. Following Bohdan Dziemidok work on American Axiology and Aesthetics (2014) author offers her remarks on the subject and joins the discussion on values and qualities and the possibility of assessing and evaluating the work of art with or without grounding it in aesthetic experience. Following Ingarden’s aesthetic phenomenology and turning to Władysław Stróżewski, author suggests that the values are a necessary part of (...) any aesthetic theory yet the understanding of the work of art and its proper evaluation should also place the values in the proper if changing cultural and historical context. (shrink)

Autorka przedstawia analizę pojęcia wstrząsu jako kategorii estetycznej użytej przez Th. Adorno w kontekście niemożności odbioru muzyki nowej. Nawiązując do Filozofii nowej muzyki oraz Teorii estetycznej autorka wyznacza kilka sposobów opisu i rozumienia wstrząsu, jakie znaleźć można u Adorno. Przy okazji śledząc tok myślenia filozofa zadaje sobie pytanie o to, czy wstrząs, o którym pisze Adorno jest zasadniczo czymś negatywnym, czym też może autor widzi w tym, gwałtownym sposobie reakcji na muzykę nową – ratunek.

Autorka nawiązuje do artykułu J.F. Lyotarda „A Few Words to Sing” w której filozof podejmuje się analizy utworu Sequenza III Luciano Berio napisanego i śpiewanego przez Cathy Bereberian. „A Few Words to Sing” jest przykładem podejmowania przez Lyotarda tematów muzycznych „na granicy”. W tym konkretnym przypadku autorka sugeruje, że wspomniana analiza bardzo dobrze wpisuje się w postulowane przez Lyotarda kategorie figury oraz oddania głosu [ofierze] w opozycji wobec tego co [czysto]estetyczne (resisting the aesthetic). Zainteresowania muzyczne Lyotarda, być może nie tak (...) wyeksponowane jak jego zainteresowania obrazem (choć kategorie figury i gestu okazują się łatwo przekraczać granice rodzajów sztuki) także bardzo wyraźnie wskazują na szczególny rodzaj [anty]estetyki uprawiany przez Lyotrada, gdzie udzielenie głosu ofierze staje się istotnym, jeśli nie podstawowym kryterium sztuki. (shrink)

Der vorliegende Beitrag ist als ein Versuch zu verstehen, dem polnischen Leser eine recht seltsame Position aus der Reihe der deutschsprachigen Lodzaica, nämlich die 1913 im Verlag August Grüning in Pabianice herausgegebene Sammlung von Witzen und Anekdoten mit dem Titel 'Ne Mütze voll Witze aus Lodz und Pabianice’, näherzubringen. Der Verfasser des schmalen Bändchens, der sich hinter dem Pseudonym Wilfried Spectator verbirgt, ist Reinhold Piel, ein Deutscher aus Pabianice. Als Satelitenstadt von Łódź, der sich damals sehr rasch entwickelnden Textilmetropole, bildete (...) auch Pabianice in jenen Jahren zweifelsohne ein Teil des in ganz Europa einmaligen und eigenartigen multikulturellen und multiethnischen Tigcls. Reinhold Piel stellte sich mit seinem Büchlein die Aufgabe, ein Sammelporträt der Mentalität des typischen Vertreters jenes Tigels von Kulturen und Sprachen zu zeichnen. In der mehrere disparate Elemente integrierenden Gemeinschaft funktionierte der Humor sicherlich als eine Art Sicherheitsventil, mit dessen Hilfe man bestrebt war, Fremdes zu „zähmen“ und Konflikte zu entschärfen. Scheinbar abstrakte, „auslachende“ Beispiele haben sich wahrscheinlich ebenfalls vortrefflich als Methode bewährt, andere diplomatisch zu sensibilisieren, aber auch eigene Nachteile und Unzulänglichkeiten mit Abstand zu sehen. Der universale Charakter der Anekdote als literarisches Genre beruht u.a. auf ihrer Ahistorizität und Konkretheit zugleich, ihr narratives Werkzeug hingegen - die individualisierte Sprache des multiethnischen Milieus - liefert hervorragenden StolT für sprachwissenschaftliche Forschung. Ein besonders interessanter Aspekt ist dabei vor allem die Frage nach der Übersetzbarkeit bzw. Unübersetzbarkeit von Kulturidiomatik. Um dem Leser entgegenzukommen und ihm den historischen und informativen Wert der besprochenen Sammlung bewusst zu machen, wird im Anhang - zum ersten Mal in der polnischen Sprache - eine Auswahl von besonders charakteristischen Witzen der genannten Sammlung von R. Piel präsentiert. (shrink)

Summary: In this paper author maintains that the term “ideal border” used by Roman Ingarden several times in his writing on music perception has more to offer than its face value suggests. The term is ambiguous and in its first reading seems to imply that Ingarden's take on musical work is all but coherent. Yet author tries to show that the term itself if taken seriously in its various possible interpretations makes Ingarden's aesthetics of music more interesting and inspiring then (...) ever. The musical work seen as wobbly yet somehow graspable ideal [border] which is at the same time the point of departure and the point of destination for composers, artists and listeners in their respective experiences, makes Ingarden's music aesthetics more accessible and more telling in its attempt to discover the true nature of our aesthetic perception of music. (shrink)

Niniejszy artykuł stanowi praktyczną analizę czasowników utworzonych od jednego rdzenia -sprechen przy wykorzystaniu wszystkich możliwych w tym przypadku przedrostków czasownikowych. Celem analizy było jednakże nie tylko stworzenie części praktycznego słownika, w którym oprócz przykładów łączliwości danych czasowników na wzór istniejących słowników języka niemieckiego zawarte zostały również informacje dotyczące ich walencji, lecz biorąc pod uwagę całościowo badany paradygmat, chodziło o wykazanie zależności walencyjnych pomiędzy poszczególnymi derywatami, czyli ukazanie wpływu przedrostków na zmianę walencji czasownika o rdzeniu -sprechen.