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Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of the article is to look at the pluralistic democratic space of politics as a game of appearances devoid of authenticity, and shaped by contemporary media technologies in which political opinions have become a derivative of social cognition, referring primarily to perception (visualisation of politics). In this role, it replaced public debate, diversified in form and content, referring to the principles of rationality, which reflected the competitive system of interests and ideas. The theoretical basis for presenting democratic practice as a theatre game - more precisely, a strictly enacted and inauthentic staging based on diverse visual communication - will be Hannah Arendt's phenomenological perspective. According to the philosopher, the space of politics is mainly a public area of exchange and confrontation in the dimension of visibility and audibility, where we are dealing with revealing ourselves (political actors) in the space of appearance (the articulation process as a result of subjective activity). The starting point for presenting the tension between authenticity and visibility resulting from Arendt's assumptions will be a discussion of the attributes of a contemporary pluralistic society from the point of view of her theory of the human condition. [ABSTRACT FROM AUTHOR]

Copyright of Acta Universitatis Lodziensis. Folia Luridica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this article is to make out the most adequate intellectual reference frame for the work and thought of Wincenty Korab-Brzozowski and identify in each case the nature of his dependence or affinity. The points of reference are as follows: the natural philosophers of the Ionian school (the cyclical view of time and history, reality is shaped by the elements, the interaction of matter in the world of spirit), the Stoics (theory of being), Heraclitus of Ephesus (the concept of Logos, metaphysics and cosmology), and Camille Flammarion (extra-terrestrial life). [ABSTRACT FROM AUTHOR]

The aim of this article is to outline two philosophical approaches to metaphor that were developed in the 20th century. The first contends that metaphor opens up the possibility of liberating philosophical discourse from the prison of rigid conceptual schemes and can guide us to a new metaphysics founded on some deep, hidden, revelatory knowledge which eludes both empirical and rational inquiry. Paul Ricoeur, the author La metaphore vive (1975) is regarded as the main representative of this approach, but, as the article shows, his way of thinking about metaphor and its role made its appearance already in the 1920s and 1930s, and found its brilliant synthesis in Geneza metaforei şi sensul culturii, the second volume of the monmental Trilogia culturii by the Romanian philosopher Lucian Blaga. The second approach was inaugurated by Nietzsche with his “On Truth and Lie in an Extra-Moral Sense” and had its continuation in the thought of Heidegger, Derrida and De Man. Nietzsche insists that philosophical (metaphysical) discourse has no better claim to the truth than metaphor. Metaphor is at the root of language; metaphors are older than language; and metaphors underpin language in all its constructions and uses (rhetoric, tropology). Carried to its conclusion this argument leads to the dissolution of the borders between philosophy and poetry, and, in effect, the death of philosophy. [ABSTRACT FROM AUTHOR]

In this article, I introduce into the circulation of literary studies a deeper reflection on the affect of amazement. In my opinion, this category has aroused greater interest among philosophers than literary scholars over the centuries, which in a way entitles me to broadly discuss this omitted topic. Descriptions of this impulse, of course, often appear in scientific dissertations devoted to novels, drama or poetry, but most of them rarely go beyond the scheme of laconic, casual generalizations. To put it simply, they appear in passing, somewhere on the margin of other, more extensive investigations. This is a major oversight on the part of the savants. Therefore, this text, so to speak, fills a great gap in literary studies. I begin my considerations with a short theoretical introduction, in which I try to show how philosophers and writers have defined amazement in the past. Then, on the basis of the comments quoted, I formulate my own definition of this affect. In the latter part of the article, I turn theory into practice and use the term I proposed to interpret a specific novel - Prolegomena do wszelkich nauk hermetycznych (1958) by Michał Choromański, which is the first post-war work created by this author. In my analysis, I refer primarily to affective discourse to answer an important question: how did Choromański understand the mentioned concept? I believe that in Prolegomena do wszelkich nauk hermetycznych the writer presents his philosophy of amazement. [ABSTRACT FROM AUTHOR]

Copyright of Wielogłos is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents an analysis of Bolesław Prus’s satirical microstory Filozof i prostak [Philosopher and Simpleton] from the collection To i owo, właściwie zaś: ani to, ani owo, czyli 48 powiastek dla pełnoletnich dzieci [This and That, or Rather, Neither One Nor the Other: 48 Tales for Children of Age]. It discusses the manner in which China, as the setting of the story, is portrayed, in line with the nineteenth-century knowledge and awareness of the far-away country. The article addresses the question of the appropriateness of choosing China as a backdrop for events, given its geographical and cultural distance from the perspective of a Polish reader. In addition to embodying a significant concept in Prus’s entire body of work, namely humour understood as a precise and sophisticated literary tool, the work bears the characteristics of a parable. As shall be demonstrated, certain features that are present in this early work evolved and returned in a fuller form in Prus’s later works. [ABSTRACT FROM AUTHOR]

The aim of the article is to analyze the famous artistic and sociological experiment conducted in 1993 by two Russian artists living in the USA, Vitalij Komar and Alexander Melamid, and the attempts to explain it made by philosophers of art, environmental aestheticians, ethologists and evolutionary psychologists. The experiment was titled: The People's Choice and involved creating "favorite images" of societies in 14 countries based on the results of surveys conducted in them. From the analysis of the discussions surrounding the project by Russian artists, a conclusion emerges that calls into question the classical view of the necessary separation of aesthetic phenomena from other spheres of human axiology, and allows us to consider non-aesthetic values as an element of the continuum of: utilitarian, emotional and aesthetic values. It also directs our attention towards evolutionary explanations, emphasizing the universal nature of aesthetic categories (aesthetic universals) and the influence of the evolutionary history of the human species (phylogeny) on the tastes dominant in societies across cultures and times. [ABSTRACT FROM AUTHOR]

Copyright of Kultura i Wychowanie is the property of Akademii Humanistyczno-Ekonomicznej and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Jan Kochanowski's trifle II 37 Do snu (To Sleep) is a fairly enigmatic piece that researchers as a rule rightly interpret in the context of an exceptionally strong influence of Neoplatonism over the poet's oeuvre. This poem most probably deals with a reference to Anaxagoras' saying from Joannes Stobaeus' grand anthology that "there are two things that teach us about death: the time before our birth, and sleep." Kochanowski gave here a kind of Platonic commentary to the maxim from which it can follow that he did not entirely reject the Pythagorean teaching on the preexistence of the soul known from the works of Late Antique philosophers but questioned by Christianity. [ABSTRACT FROM AUTHOR]

The question of how the relationship between metaphysics and theology should be understood is one of the main topics of debate on the agenda of philosophers and theologians from Aristotle (d. 322 BCE) to Avicenna (d. 428/1037), from Avicenna to the late Islamic theological tradition, and even to medieval Jewish and Christian thought. Avicenna criticized Aristotle for identifying metaphysics with theology and presented a new perspective on the relationship between those two disciplines. He argues that God is not the subject but the goal of metaphysics, in other words — metaphysics is an ontological science in terms of its subject matter and a theological science in terms of its goal. In Islamic thought after Avicenna, the relationship between metaphysics and kalam continued to be one of the most heated topics of debate. Trying to explain the relationship between those two disciplines, thinkers such as Imam al-Ghazali (d. 505/1111), Shams al-Din Samarqandi (d. 702/1303), and Sayyid Sharif al-Jurjani (d. 816/1413) made a distinction between “Islamic science and rational science” and argued that metaphysics is an intellectual science while kalam is a religious (Islamic) science. On the other hand, Siraj al-Din al-Urmawi (d. 682/1283), who dealt with the relationship between metaphysics and kalam in his treatise On the Difference between Metaphysics (God-Science) and Kalam, revised Avicenna’s approach and criticized theologians who tried to explain the problem in terms of the distinction between religious and rational sciences. The aim of this article is to analyze Avicenna’s and Urmawi’s views on the relationship between metaphysics and theology, taking into account the historical-problematic context of the issue. [ABSTRACT FROM AUTHOR]

Copyright of Studia Litteraria Universitatis Iagellonicae is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Theology & Morality / Teologia I Moralmosc is the property of Uniwersytetu im. Adama Mickiewicza (IH UAM) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article begins with the theory of the signifying silence proposed by Polish philosopher Izydora Dąmbska (1904–1988), through interpretation of the defined silence regarding God by Henryk Elzenberg (1887–1967), to arrive at a close reading of selected works by his apprentice, Zbigniew Herbert (1924–1998): “Zobacz” [See] and “Homilia” [Homily]. These texts have been interpreted in the context of the previously, and perhaps deliberately, untouched issues relating to the Indefinite, and they have been further confronted with an understanding of Christian apophatic theology. This approach seems justified as its creator is considered to be Dionysius the Areopagite (from the late 5th to early 6th century), who was one of the greatest authorities on the subject of the Supreme for Elzenberg and a source of angelological inspiration for Herbert. The main aim of the paper is to show all these converging perspectives on the subject that escapes verbalisation. [ABSTRACT FROM AUTHOR]

This article presents an analysis of the attitudes and contextualizes the conduct of Adolf Eichmann-the German Obersturmbannführer, executor of the Final Solution to the Jewish Question, whose trial, held in Jerusalem in 1961, became the basis for the book Eichmann in Jerusalem, written by the German philosopher Hannah Arendt. This study included a phrase concerning Eichmann’s behavior-the “banality of evil,” which, like the book itself, caused and constantly provokes numerous controversies, not only of a philosophical and existential nature, but also because of the way it is understood. The present article is an attempt to look at this issue from many angles, as well as to point out the avenues of criticism of the perception of A. Eichmann himself, whom Hannah Arendt describes as a cog in the German extermination machine. This perspective of the researcher, repeatedly questioned, has continued to provoke reflection for several decades. The question arises as to whether it is possible for a man who contributed to the extermination of more than 9 million Jews to be able to justify his acts only by the orders of his superiors he followed. [ABSTRACT FROM AUTHOR]

The article contains the author's thoughts on what awaits humanity in the near future, probably still this century. And it looks dramatic. Contrary to common sense and the warnings of ecologists, people continue to irresponsibly destroy the natural environment and exterminate many species of fauna. They reduce biodiversity, thanks to which they live. They indulge in exploiting the already depleted deposits of fossil and non-fossil raw materials, as well as water and oxygen. They also destroy, to a lesser extent and faster and faster, the social environment and do not resist its degradation. As a result, it becomes more and more unstable, chaotic, unpredictable, risky, and full of exacerbating conflicts and contradictions. They allow themselves to be fooled more and more by various manipulators - politicians, corporatocrats, advertisers, fashion dictators, etc. As a result, they lose their common sense, self-preservation instinct and freedom. They indiscriminately succumb to new standards of thought, expression, fashion and behavior that contradict standards traditionally considered good or correct. This is due to the ideologies of exaggerated liberalism and consumerism, the universal cult of money, and an excessive and naive faith in the benefits of the progress of science and technology. The rulers of the world ignore expert reports showing real threats and sinister scenarios of human collapse. Is it possible to turn back from the road that will lead you to the abyss? Various scientific experts, environmentalists, creators and philosophers try to answer this question and present more or less utopian solutions. One of the realistic proposals seems to be Ernst Ulrich v. Weizsãcker's proposal - to make a New Enlightenment and a New Metanoia consisting in the restitution of the priority for natural science and the importance of nature in people’s lives and its impact on social reality. As a result, various manipulators would not fool the masses. There would be conditions for an "ecological revolution", the first in history. This challenge should be taken up by the next generations of young people, who have nothing to lose and everything to gain. Its implementation is difficult, but not impossible. It requires a lot of effort, self-denial, great determination and organic work. If they were to cope with it, humanity would enter a new phase of the development of the Anthropocene epoch and would have a chance for longer survival on Earth. [ABSTRACT FROM AUTHOR]

The article analyzes the interpretation of Witold Gombrowicz’s The Wedding by Józef Tischner, the founder of the philosophy of drama. It distinguished and describes three stages of exegesis. It also explores what hermeneutics defines as pre-understanding of the text. In Tischner’s case, there are four constitutive assumptions of his own philosophy of drama. The article also points to the passages of the text that were omitted by the philosopher and explains the reasons for this decision. The most important of these is the ambiguous status of such concepts as mimesis, reciprocity and desire, which Gombrowicz developed in the drama. [ABSTRACT FROM AUTHOR]

The article analyzes Judith Butlers discourse on sex/gender and refers to the philosophical concept of the non-dualizing mode of speaking proposed by the Austrian philosopher Josef Mitterer. In the opinion of the author, Butler non-intentionally seems to use the non-dualizing rhetoric when discussing sex/gender differentiation, especially when she considers the performative understanding of gender. According to the non-dualizing logic, there is no difference between sex and gender for both are the product of social and cultural practices. Sex, gender, femininity are notions which are not stable, constant and coherent. They cannot be treated as objective and independent from the discourse. The conclusions coming from both conceptions may have significant pragmatic consequences in social and political practices, allowing formulation of less oppressive statements on sex/gender. [ABSTRACT FROM AUTHOR]

Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The author examines Olga Tokarczuk’s presentation of ways of perceiving the environment in Empuzjon and the place that humans occupy within it. This reflection is linked to questions about possible connections between the latest novel by the Nobel laureate and the considerations of contemporary researchers and philosophers regarding issues such as corporeality, subjectivity, and environmental concerns. The author also attempts to contextualize the novel within the context of contemporary ecological problems. [ABSTRACT FROM AUTHOR]

This text is an analysis of the problem of inequality in the treatment of animals, which Olga Tokarczuk, the Polish winner of the 2018 Nobel Prize for Literature, addresses in her extensive literary output. Above all, the author focuses on the contrast between the ‘privileged’ human species and all other species (animals), which always (despite their influence) remain only in the shadow of humans and, according to the will of humans, should obey them. Referring to the theories proposed by the various philosophers whose attitudes were proposed by Olga Tokarczuk in ‘Animal Masks’ (an essay from the volume ‘The Tender Narrator’), the author demonstrates that the Nobel Prize winner in her work (both literary and essayistic) shows the intense participation of animals in feeling the world and fighting for their place in it, and that any mistreatment of them translates into their behaviour and existence. To illustrate this theme in more detail, the author finds the works of Eva Meijer (‘When Animals Speak’ and ‘Animal Languages’) and Éric Baratay. In addition, the author also focuses on characterising the position of animals in the human world created by the Nobel laureate, as well as her portrayal of the good points of ‘non-human’ species. [ABSTRACT FROM AUTHOR]

The little known legacy of Julian Ochorowicz in Cieszyn Silesia is discussed in this article. This is the region where the controversial philosopher and psychologist spent several years. The scientist conducted his research on mediumists in Wisła, where he engaged in social and scientific activities and gathered a large collection of books. The author discusses the fate of his material legacy and the endeavours of the heirs of his scientific theories. Julian Ochorowicz’s scientific achievements and thought were propagated by the people he had met personally, such as Jan Pilch and Jan Wantuła or by those associated with the esoteric centre that developed in Wisla in the interwar years (Andrzej Podżorski, Józef Chobot, Jan Hadyna). As it turns out, Julian Ochorowicz had a significant influence on teachers of folk schools who were also publishers of magazines and esoteric books in the multi-denominational Cieszyn Silesia. [ABSTRACT FROM AUTHOR]

Copyright of Prace Filologiczne. Literaturoznawstwo is the property of University of Warsaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Christian Philosophy / Filozofia Chrześcijańska is the property of Uniwersytetu im. Adama Mickiewicza (IH UAM) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article offers a new understanding of Kazimiera Iłłakowiczówna's poetry in the context of Hans Urlich Gumbrecht's theory of clash of two cultures: the culture of presence and the culture of meaning, and of the philosopher's corresponding concepts of discursive formations: oral and written. The author presents the juxtaposition of orality and literacy, typical of modernism, immersed in the technology of printing and the postulate of universal literacy, which significantly influenced the meaning and sound values of Iłłakowiczówna's poetry. At the same time, as the article demonstrates, the desire for presence and the means of expression associated with it make the poet's work original and unique. [ABSTRACT FROM AUTHOR]

The aim of this article is to confront the problem of the unclear genre identity of the works that make up the cycle Berliner Kindheit um neunzehnhundert (Berlin Childhood around 1900) by the well-known German philosopher and writer Walter Benjamin. The short autobiographical prose forms included in this collection are sometimes referred to in German as Erinnerungsepisoden (reminiscence episodes), Denkbilder (images of thoughts) or Prosaminiaturen (prose miniatures), but basically none of the terms proposed by researchers conveys their specificity. According to the author, a possible reason for the "genrelessness" of these texts is to be found in the theory of memory adhered to by Benjamin, which lies at their genesis. The intellectual situation prevailing at the turn of the 20th century (a crisis of thinking about literature, especially prose, through the prism of genre norms, a "turn towards objects" in literature and phenomenology) also influenced their difficult genre classification. Benjamin himself referred to his works in his self-commentaries and correspondence as "Stücke" which can be translated as "fragments" or "pieces." Thus, we are faced with an interesting case where the author himself creates a genre name for his own texts that did not previously exist in the tradition. These considerations lead to the conclusion that it was more important for the writer to present a specific thought, consisting of an object, place, or event from the author's childhood recalled from his memories, which formed the basis of the works examined, than to fulfil the criteria of a particular genre. Indeed, Benjamin, wanting to focus solely on illustrating his memories, limited the number of factors that could distract the reader from the objects and situations to which he "gives voice." He therefore turns away from giving the clear message that the choice of genre available in the genology carries with it. [ABSTRACT FROM AUTHOR]

Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article deals primarily with the concept of pleasure in Jean-Luc Nancy's thought. It occurs in many texts by the philosopher and connects with key concepts of his deconstructive project: the body, relational ontology and the writing. For Nancy, pleasure is, among other things, a particular somatic experience, the effect of peculiar writing practice, and finally, the experience of non-identity of a singular plural subject. The distinctive feature of pleasure (in various conceptualizations) is the opening that it makes every time, which Nancy derives from his deconstructive considerations on the works of Freud, Kant and Barthes. In the thesis, Nancy's revised concept of pleasure as an opening is also referenced to Derrida's thought in order to analyse the general relations between pleasure and deconstruction and to consider how deconstruction can be a source of pleasure. [ABSTRACT FROM AUTHOR]

Lech Majewski's The Mill and the Cross (2011) is a full-length feature film, a screen adaptation of Pieter Bruegel's painting The Way of the Cross (1564). Majewski proves to be an excellent interpreter of Bruegel's art, whom he considers a philosopher, an epic, and a poet. He relies on the research of Michael F. Gibson, and in his plotting he draws on a long-standing tradition of literary experience and digital technology (without this, it would have been impossible to faithfully reproduce the overall plan and realities of the painting). Majewski exposes the palimpsest nature of the narrative and shapes the film like a contemporary novel of space. In order to make the ideas of the screened painting comprehensible and to emphasize the fictionality of the depicted world, he introduces various versions of "literature about literature". In the film, he perfectly integrates painterly features (word reduction, stop motion, long static camera shots) and literary features (the structure of an episodic novel of manners). [ABSTRACT FROM AUTHOR]

The article examines the thought of the Japanese Confucian philosopher Ogyū Sorai, asking whether any traces of historicism can be found in his ideas. Ogyū Sorai was a prominent early 17th-century thinker, whose considerable role in the development of Japan’s modern philosophical tradition is widely known, mostly because of how he criticized the dominant node of Neo-Confucianism that supported the Tokugawa political system. Contrary to the most common trends in analyzing Ogyū Sorai, the author focuses neither on the political or strictly philosophical aspect of his thinking, but rather on his views regarding the past and its role in shaping the future. While discussing the Japanese philosopher’s major works, such as Benmei, Bendō, and Sorai-sensei tōmonsho, the author comes to the conclusion that a historicist approach toward the flow of time can be clearly seen in Sorai’s thinking. His philosophy displays no ahistoricism nor cyclical understanding of time. This creates a strong case for further research on how Sorai’s thought facilitated the development of ideas on progress and modernization in the late Edo period of Japanese history. [ABSTRACT FROM AUTHOR]

Surveys are the most widely used research tool in experimental philosophy. In this paper, I analyze two types of criticism of the questionnaire method put forward in the literature. The first type is metaphilosophical. It asserts that the surveys used by experimental philosophers are based on a flawed and unproductive method of cases. The second type is methodological. It argues that currently used questionnaires are unfit to measure philosophically relevant phenomena. I show that these objections can be met by a) improving questionnaires used in research practice and b) expanding the methodological repertoire of experimental philosophy. [ABSTRACT FROM AUTHOR]

Copyright of Studia Gdańskie is the property of Gdanskie Seminarium Duchowne, Kuria Metropolitalna Gdanska and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Limit is the key notion in Ludwig Wittgenstein's Tractatus Logico-Philosophicus, and it was expressed in the aphorism that is probably the best-known quotation from the treatise: „The limits of my language mean the limits of my world" (5.6). The subject of the article is comparative analysis of this notion in the presentation of the Austrian philosopher L. Wittgenstein, and of the Polish novelist, Wiesław Myśliwski. Wittgenstein believes that language only refers to the real world, and what is beyond it (e.g. religion, God or ethics) is inexpressible. For Myśliwski everything is expressible in language (he himself says nothing about it). It is because literature is a limitless creator of language and the world. [ABSTRACT FROM AUTHOR]

In his text titled Comedy, included in the collection of essays named The End of the Poem, Giorgio Agamben - the famous contemporary Italian philosopher - took up the problem of the ambiguity of Dante Alighieri's Divine Comedy title. This issue has always been present in Dante studies since the Comedy itself was written. However, Agamben's essay concerning this topic has not yet been met with interest among researchers of medieval or Italian literature, which seems to be quite significant. In this paper the author critically examines Agamben's suggestions for interpretation of the title to see if they can broaden the horizon of Dante research. The confrontation of Agamben's theses with previous concepts - the historical (Giovanni Boccaccio, Benvenuto da Imola) and the contemporary (Erich Auerbach, Amilcare A. Ianucci, Teodolina Barolini) - reveals the originality, but also the controversy of his ideas. The Italian philosopher entangles himself in the philological tradition, pointedly disputing with personages from the exegetical history, but at the same time he expounds his own interpretation. Nevertheless, as the author proves, there is no doubt that Agamben makes a significant contribution to the state of research on the title of the Divine Comedy revealing - among other things - deeply hidden cultural motivations of this academic phenomenon. [ABSTRACT FROM AUTHOR]

Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the theories of Xenophanes, Parmenides and Melissus on being, its unity and identity, taking into account Zeno's views. The main problem considered is the question of the nature of the relation of being and the world in each of the philosophers of Elea. Comparative analysis based on preserved fragments from their works shows that Xenophanes endorsed the idea of a One God identical with the world, whereas Parmenides formulated the original theory of being transcending the corporeal world, but constituting the reason for its identity as a whole. The interpretation of Parmenides presented in this article deviates from the commonly accepted one. Melissus borrows the Parmenidean way of understanding being as one and places it in the world, which brings his views close to Xenophanes's account. Each of these theories, however, poses many problems of interpretation, resulting mainly from the small number of original texts available. [ABSTRACT FROM AUTHOR]

Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)