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Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos 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 Filosofija, Sociologija is the property of Lithuanian Academy of Sciences Publishers 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.)

Traditionally, tourism in Kuna Yala has been studied through the prism of kuna governance and its resistance to preserve biocultural heritage. In other words, the framework for analyzing the management of kuna tourism has been the long history of indigenous resistance to the policies of acculturation and assimilation of Latin American nation states. The study aims to position kuna tourism management in general, and kuna ecotourism in particular, in the debates animating post-pandemic tourism studies around the concepts of post-development and degrowth. To do this, first, an inventory of the projects/initiatives resulting from international cooperation and carried out in the comarca between 1979 and 2023, was realized. This inventory aimed at observing the types of projects carried out in tourism as well as the kuna autonomy in setting development priorities in relation to international trends. Then, a reading of these projects was made from the perspective of degrowth to conclude or not that there is an alternative development model to growth in kuna tourism sector.

The category of the body is the main object of this study. The paper hopes to further examine the “corporal” theme in the research of the history of the Grand Duchy of Lithuania while simultaneously aiming to outline the countours of the concept. Being a legal codex, The First Statute of Lithuania (1529) was chosen as a foundational text for this study since it pertains to various aspects of both public and private life. Albeit not exhausting all possible interpretations, three bodies were examined more closely: that of a nobleman, of the grand duke, and of the state (the Grand Duchy) – each more abstract than the former. First of these can be associated with terms of status and honour, the second functions as if by extensions of ducal officers and medias, while the third is characterized by the matters of indivisibility, inalienation and membership. Moreover, three different properties (or faculties) were attributed to the body: epistemological (via senses and body marking), agential (as a mean to excercise one’s will and freedoms), and individualizing (as in the problem of belonging). [ABSTRACT FROM AUTHOR]

This article presents an object designer's view of the parallels and intersections of body perception in Early Modern times and nowadays, aimed to expand the role of the human body in contemporary design practice. It seeks to trace the origins of our today's relation to the body and the relation of the body to its material surroundings, focusing on the meaning of the body as a medium of sensual experience in the contemporary design discourse. Just like anatomy cannot fully describe the phenomenon of the human body, the role of the body in design cannot be fully expressed by means of ergonomics and anthropometry alone. The article questions why we tend to look at the body from the outer rather than inner perspective. When did the body become an object and our relation to the body and our experience of the body become detached from selfhood? When was the sense of wholeness lost? In 1543, Andreas Vesalius (1514-1564) published seven books on human anatomy titled De humani corporis fabrica libri septem, known as Fab-rica. Despite some biologically erroneous beliefs, a visual narrative through allegorical images, and an obvious confusion of an anatomical and erotic gaze in depicting the female body, this book was a breakthrough in the history of anatomy. In the 16th and 17th centuries, the theme of the body and its parts became dominant in all fields from medical, religious, and literary texts to art. The previous focus on the entire body gave way to the individualised importance of separate parts of the body. Due to the rapid progress of anatomical knowledge, the dissection of the human body becomes a key motif of acquiring knowledge. The inside of the body represents the hidden truth and is also a fundamental place to connect with God. With the rise of the science of anatomy, unfamiliar knowledge turns into a spectacle, and the body becomes objectified. The dramatic experiences of Shakespeare's protagonists illustrate this conflict of excepting the revealed body and show that the pre-Cartesian perception of a human individual does not separate selfhood and its materiality, and body parts are associated with individual psychology. These examples can be related to the neurobiological term of intero-ception, which refers to the sense of the internal state of the body. In the context of design and well-being, pre-Cartesian self-perception and especially interoception could be used as a certain mindset to create and use objects in a more fulfilling, mindful way. The advent of anatomical wax models that were anonymous and normative made it clear that the constitution of all humans is more or less the same. This idea allowed the interior of the body to be mechanised and to move gradually from the self within the body to the perception of the Cartesian or, in other words, purely mechanical relationship between oneself and the standardised material body. The English philosopher, poet, scientist, and writer Margaret Lucas Cavendish (1623-1673), conversely, emphasized vitality, sensory cognition, and equal integrity of the physical body in human existence. She sought to question the mechanistic view by presenting an empirical view of the body and its relation to the environment. Cavendish belongs to organic materialism, according to which knowledge and senses are inseparable. She stated that the matter can think and, therefore, knowledge is embodied. This cognitive tactility and sensory pluralism of knowledge was opposite to Descartes' perception that the body is something other than human nature and that the dualism of mind and body gives the mind a higher position against the misleading material world. Cavendish's play The Convent of Pleasure (1668) containing a detailed description of material surroundings where the body can settle and enjoy the pleasures can be an inspiration for a more sensitive and refined designer's look. It sensually awakens our imagination and identifies a possible human sensitivity to the material environment. All of Cavendish's descriptions are based on sensations. Her play was a reaction to the belief that women are more bodily by nature, while the body was rejected as an obstacle to pure thought or an unreliable mediator between the mind and the material world. Both the belief of Shakespeare's protagonists that the truth lies within the body and Cavendish's cognitive sensuality are related to tacit knowledge, a term introduced by Michael Polanyi (1891-1976), which can be related to Gestalt psychology and phenomenology. Conscious inclusion of this pre-logical knowledge could be considered a necessary methodology in the process of meaningful, powerful design. According to Polanyi, the body is the main instrument of all external knowledge, both intellectual and practical. Nevertheless, the body is the only thing we usually do not experience as an object. This article examines how we neglect the body in design, both in the creation and use of objects. This historical context has inspired quite a few designers, usually from the aesthetic or technological viewpoint. There are several contemporary designers who are sensually interested in the human body or are looking for a special relation to the body (Olivier van Herpt, Hansol Kim, Giulia Sol-dati, and Aldo Bakker are among them). Even though bodily objects do exist, they are often designed for visual stimulation and association or are accidental projects that are not embedded in design practice. The historical perspective allows us to look at the human body from a new angle and to re-evaluate what is taken for granted. It helps to erase what is known and what is an accepted fact, to analyze the phenomena from a distance, and to use the learn to unlearn method in a creative way. This kind of mental experiment creatively opens a possibility of speculative interpretation or accepting ideas directly. Decontextualised historical ideas take on new meanings in the present. On the other hand, history can be viewed timelessly due to the unceasing relevance of ideas or works. Early modern examples draw attention to the established concept of the body and question the synthetically, rationally created and conceptual design when it has no embedded sensual experiences. [ABSTRACT FROM AUTHOR]

Copyright of Colloquia is the property of Institute of Lithuanian Literature & Folklore 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 Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos 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 Colloquia is the property of Institute of Lithuanian Literature & Folklore 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.)

Kinesthesia is a universal condition. It may be understood as the creative condition for all sense and sensibility. Kinesthesia operates as an enabling mechanism of "I can" and "I cannot". Health communication requires a reconsideration of the situated communicative body and expression found in comparative East/West wellness practices. In order to accomplish this task, the exploration of whole and healthy require a different understanding, that is, that wholeness is a process of the interaction of body's internal environment and external environment in rhythmic interplay of healthy/unhealthy, wholly/unwholly play. The articulation of the above will see that kinesthesis is the creative condition of maintaining and restoring health. It is through a phenomenology of kinesthesia that the fundamental dimension of health communication can be established as a science. [ABSTRACT FROM AUTHOR]

Copyright of Études Caribéennes is the property of Etudes Caribeennes 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 Culture & Society: Journal of Social Research / Kultūra ir Visuomenė: Socialinių Tyrimų Žurnalas is the property of Vytautas Magnus University 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 Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos 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 analyzes the military expeditions deployed in the Darien between 1784 and 1790, with the goal of presenting the reduction model designed and implemented in this province. The article also aims to expose the commercial underpinnings of the expeditions that may have had social effects upon the region, its indigenous inhabitants, and the Neogranadine Viceroyship. This is done to support the argument that the Viceroy's offensive in the Darien combined persuasive and violent methods driven by the English and that resulted in the mobilization of large amounts of resources, important diplomatic actions, and the transportation of people from various places on the Atlantic. The paper also supports the argument that, despite their apparent magnitude, the expeditions were not effective due to the power of the indigenous peoples in negotiating with colonial authorities and evading them, as well as to the weak presence of local colonization agents that could protect the new foundations.

Copyright of Culture & Society: Journal of Social Research / Kultūra ir Visuomenė: Socialinių Tyrimų Žurnalas is the property of Vytautas Magnus University 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 Man & the Word / Zmogus ir zodis is the property of Vytautas Magnus University 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 Man & the Word / Zmogus ir zodis is the property of Vytautas Magnus University 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 Menotyra is the property of Lithuanian Academy of Sciences Publishers 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.)

Roland Barthes's "Camera Lucida. Reflections of Photography" is a book that attracted attention not only from researchers of photography, but also those of other visual expressions, philosophers, and cultural critics. The last decade has seen intensive analyses of the relation between his photography and phenomenology. Meanwhile, this paper suggests a different approach - reading "Camera Lucida" in the context of all Barthes works, i.e. in the framework of his theoretic thought. In the analysis of his theoretic thought we explore the meaning of the question: "What does my body know about phenomenology?" asked by the author in this book. This question describes an approach to photography that could be named "corporeal knowledge". Corporeal or body knowledge in the description of emergence, formulation and production of signification is a common topic in Barthes's works. A look at the corpus of his works makes it apparent that Barthes cared about several essential problems that connect his works of different themes and styles into one methodological field. One of such problematic threads continues in a dashed but consistent fashion all the way until his final works is the signification of body (or corporeality) in the production of meaning. This paper studies how the conception of "corporeal knowledge" is spread in a book dedicated to photography. The paper carefully looks at the Barthes's photography researchers' notion that in "Camera Lucida" the author returns to phenomenology, since such concepts of phenomenological philosophy as perception, experience, memory, and imagination have never left Barthes's sight. We raise an assumption that instead of talking about a turn or return to phenomenology, it is better to talk about the isotopy of body and corporeality in the Barthes's works. Therefore the further discussion raises the questions of: how is Barthes treating the concept of body? What does he call the corporeal knowledge? What does the body mean generally in an attempt to answer the question what is photography? This paper shows that in Barthes' "Camera Lucida" for the first time an ontological question is raised, i.e. it aims to understand what is photography itself, what is its essence. The author has never raised the question of essence and not signification before, since structuralists or semioticians do not raise such questions. The analysis of the chronological way the author follows in his descriptions of the phenomenon of photography shows how he starts with photography as a message without a code and gradually reaches the concept of photography as an object, in which expression, content and the referent (the reality) coincides. This identity is photography's essence without signification that, according to Barthes, cannot be described by any traditional analytical methods. A rational, analytical view takes apart and generalizes; therefore, it cannot reach the essence of photography. This view is counterpoised by a personal view. Therefore, it is argued that the only possible way to understand what photography is in itself is to research the primal, true relationship between the viewer and the photographical image that takes shape before any conceptualization. Such relationship is exactly what Barthes calls "corporeal knowledge", where the basis of understanding is the position of the personal "1". Unlike in his other works, in "Camera Lucida" Barthes asserts that there are such fields or phenomena, where only this alternative (personal "corporeal knowledge") understanding is possible. Further on this study analyzes the conditions for such alternative view. The third part analyzes Barthes's description of the essence of photography by using two concepts studium and punctum. This analysis shows how these two elements of photography are connected to corporeal knowledge. 1t shows two conceptions of punctum. Several important aspects of corporeal plane are elucidated: describing punctum with corporeal terms (wound, stab, sting, cut, etc.) he attributes this element to the plain of corporeal senses instead of rational cognition. 1n the further description for the first time he conceptualizes the essence of photography - that which allows understanding the point of photography is indescribable, experienced and unarticulated. 1t also shows how the temporal aspect of punctum (photography shows that the object existed) is linked to the bodies' direct relationship. The conclusions propose that even though Barthes's last book "Camera Lucida" stands out among other books dedicated to photography and other expressive objects due to its conceptualization of the plain of "corporeal knowledge", a lot of issues still remain. That is especially because in his works Barthes has not described the conception of "body". 1t is stated that only by analyzing the fragments that create the isotopy of corporeality in his theoretical works it is possible to reconstruct the Barthesian conception of corporeality. By interpreting Barthes's question "What does my body know about Photography?" in the context of all his works, it becomes evident that on the one hand, the descriptions of the signification of photography and the search for its essence are inscribed in the systemic structure of the development of significations. 1n his analysis of visual objects Barthes uses the structures of linguistic significations, which means that he also faces challenges that arise in the text theory. One of such challenges is the place of corporeal experience and meaning in the description of signification, its emergence and comprehension. Therefore, after considering the development of his theoretic thought, what is in his critique called Barthes's return to phenomenology appears to be a consistent step towards the description of those uncoded, irrational and unsystematic elements of meaning that Barthes assigns to the plain of "corporeal knowledge". [ABSTRACT FROM AUTHOR]

Domicėlė Tarabildienė expressed herself in various fields of art, first of all, we know her as graphic artist and children's books illustrator although she was educated in Sculpture. Her early adopted form of creation - photography and photo graphics. Around 1930s Domicėlė, then student of the Kaunas Art School, started taking photographs, encouraged by her classmate Vaclovas Kosciuška (1911-1984). From her family's kept photographs and negatives we can see dynamic moments of Kaunas Art School students' lives, quiet everyday life of interim capital and its suburbs communities, family portraits in Jočiūnai village, bits of her studies and travels in Paris and Italy in the late 30s. For the first time the wide audience had an opportunity to see her photographs only in 2002 (The exhibition Unseen and Unknown Domicelė Tarabildienė: Photographs and Photo Graphics). Modern researchers, including me, are most interested in Tarabildienė's self-portraits and use of photo graphics, which was unique in the interwar Lithuania's photography. It allowed her to move from provincial village commonness to the world of imagination. I do not doubt that Tarabildienė (then Tarabildaitė) had to admire her own personality as there are direct tries to identify herself with images of stage heroes in remaining photographs and negatives. Photomontage with Lillian Roth's skirt (1932) prototype was initially named by art critic Giedrė Jankevičiūtė in first catalogue of Tarabildienė's photography exhibition (2002). In this photomontage the young experimenter "borrowed" and tailored a chequered skirt, which she has seen worn by American actress and singer Lillian Roth in "Naujas žodis" ("The new word") magazine, for herself. There are more images and paraphrases of this kind. This article presents several Tarabildienė's prototypes from foreign movie actors or other popular characters photographs published in local periodicals. Their interpretations are discussed in 1930s Tarabildienė's photomontages. Other creative inspirations, such as women nude photographs taken by Czech photographer František Drtikol (1833-1961) in 1920s and 1930s, are mentioned as well. Finally, the significance of images from media or cinema to artist's self-realization and creative work experiments are questioned and corresponding findings are formed. [ABSTRACT FROM AUTHOR]

Straipsnyje analizuojamos moderniosios vaizduotės sampratos transformacijos fenomenologinėse Edwardo Casey, Mikelio Dufrenne’o (1910–1995) ir Vosyliaus Sezemano (1884–1963) koncepcijose. Straipsnio tikslas – parodyti, kad estetinėje patirtyje akivaizdžiai atsiskleidžia kūniškas vaizduotės pobūdis. Casey kritikuoja Dufrenne’o bandymą vaizduotę susieti su estetine raiška. Jis pabrėžia vaizduotės autonomiją, tačiau tokiu atveju lieka neaiškus vaizduotės ir suvokimo santykis. Dufrenne’o ir Sezemano pozicija vaizduotės klausimu iš dalies sutampa. Abu jie teigia, kad vaizduotė yra ne produktyvi, bet reproduktyvi ta prasme, kad ji yra apribota materialinio a priori formomis. Kitaip sakant, estetinė raiška yra negalima, jeigu ji nesilaiko suvokiamojo ir suvokiančiojo koreliacijos principo. Sukurti galima tik reprodukuojant išraiškoje kito suvokimo galimybę. Sezemanas pabrėžia kūniškos vaizduotės pirmumą. Įkūnytas vaizduotės judesys atskleidžia būtiną objekto ir subjekto koreliaciją. Vaizduotės kūniškumas pabrėžia buvimo pasaulyje pirmumą, nes vaizduotė yra laisva veikla ir ją riboja tik „pasaulio horizonto stilius“.

Copyright of Problems / Problemos is the property of Vilnius University 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 Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos 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.)

Referring to the surviving photographs, artworks, reminiscences by contemporaries, and other written sources, the paper discusses the representation of the naked body in visual arts and its public reception in Lithuania in the 1920s and 1930s. Nude photographs of the Russian-born ballet dancer and painter Olga Dubeneckienė-Kalpokienė (1891-1967) become an impetus to discuss what might have been the reasons for a woman to undress in front of the camera and what meaning this kind of act had. The paper analyses the general attitude towards the naked body made public, referring to the origins of the movement of nude aesthetics and naturism, and the spread of its ideas in interwar Lithuania. The analysis of the history of creation of the artist and ballet dancer's nude photographs and portraits allowed to highlight the fact, which has not been previously emphasized in Lithuanian art history, that painter Petras Kalpokas (1880-1945) used photography as an aid in his works. The author of the paper presents new facts attesting to the close relationship between Dubeneckienė- Kalpokienė and Kalpokas, which began earlier than is asserted in traditional Lithuanian art history. This proof is important not only for the biographies of the above-mentioned artists, but also for that of Vladimiras Dubeneckis (1888-1932), as it may explain several dramatic moments in the famous architect's life. Moreover, Dubeneckienė-Kalpokienė and Kalpokas's wedding date is specified (1935). A sketchbook, which was thought to belong to Dubeneckienė-Kalpokienė, is newly attributed to Kalpokas. Research of the public attitude towards the naked body in the interwar period has revealed that even the priest Juozas Tumas-Vaižgantas did not hide his fascination with partially naked portraits. Dubeneckienė- Kalpokienė's allegorical nude photographs received exclusive attention from exhibition visitors and reviewers. Even the nude photographs by foreign artists, displayed in an international photographic exhibition in Kaunas (1938), were acclaimed by some professionals. However, despite the fact that interwar society was becoming more modern, it was not ready to accept fellow-countrymen's nude photographs about which we learned only in the 21st century and which are still 'without a place' in the history of Lithuanian photography. [ABSTRACT FROM AUTHOR]

Forensic fiction is a subgenre of crime fiction that depicts the work of forensic anthropologists, crime scene investigators and other specialists whose work includes analysing physical evidence. The focus on physicality allows to explore the role of the body in forensic fiction, and to ask whether physicality correlates with an advantageous or disadvantageous position in the narrative, what is the role of descriptions of forensic science procedures, what kind of relationship between the mind and the body forensic fiction represents, and whether it is in any way different from early examples of crime fiction. [ABSTRACT FROM AUTHOR]

In many post-socialist societies, the artist as a historian has seemingly found a new historiographic writing tool: the body. Since the post-socialist transition, the body has increasingly gained significance as an important instrument for shaping contemporary video installations as 'mnemonic topographies'. The video piece Imagining the Absence (2014) by the Lithuanian artist group ŽemAt provides a rich example of the mnemonic and historiographic complexity of the 'textual nature' of performing bodies. [ABSTRACT FROM AUTHOR]

The walls and ceiling of the nave of the Church of St Atanass in Arbanassi, Bulgaria, are covered in tightly packed compositions. In most compositions the body is only suggested rather than explicitly represented. By contrast, from the seventeenth century the Roman Church encouraged the realistic portrayal of the human body through the Baroque style, which spread throughout Europe. However, realistic depiction of the body did not appear in Bulgarian art and church decoration until the nineteenth century. This paper will argue that the adherence to what appears to be an archaic tradition of representation was for neither wholly theological nor purely aesthetic reasons, but was instead a symptom of the struggle for dominance between Rome and the Patriarchate of Constantinople. [ABSTRACT FROM AUTHOR]

The relationship between body and soul in classical metaphysics was always a problematic one. This issue was one of the major points of philosophical concern - starting with the Pythagorean treatment of the body as a prison for one's soul, the Platonic and medieval distinction of temporal and eternal, and ending with the Cartesian attempt to solve the problem of body-soul dualism. The body-soul distinction was linked to the difference of space and time. St. Augustine's presentism in his concept of time related time to the soul. The subjectivistic psychological concept of time was long based on the statement that 'the soul counts time'. Only the modern scientific revolution opened the door for different views. This situation existed almost until Newton who tried to imply an objective mathematical measurement. However, mathematics as a sphere of pure thinking or, according to Kant, synthetic a priori knowledge, is directly linked to the thinking part of the soul in classical metaphysics. Body, on the other hand, was always treated as space, and its extensity and division - as the main properties directly revealing it. While the Modern Era tried to overcome this distinction by unifying both parts, it is still deeply rooted in the Western classical metaphysical thought. The role of Euclidean geometry is important in the classical notion of the body. For ages it has been understood as the ratio of proportions of geometrical figures expressed in Euclidean space and bounded by straight lines and points as 'atoms' of such geometry. Geometrization becomes especially apparent with Renaissance linear perspective. Any attempts to break this geometrical order are fruitless until the establishment of non-Euclidean geometry. One of the last classical metaphysical thinkers, Kant tried to move space and time into the sphere of pure reason. However, he failed to resolve the problem of controversy between empirical realism and transcendental idealism. This paper deals with the analysis of body-space and soul-time structures in the classical metaphysical worldview. [ABSTRACT FROM AUTHOR]

Objetivo: Estudiar la incidencia anual de malaria, en 2001-2003, entre los tules del resguardo de Caimán Nuevo. Metodología: Estudio descriptivo: a) retrospectivo: búsqueda de datos en los registros hospitalarios de Turbo y Necoclí y del puesto del Resguardo; b) prospectivo: medir la prevalencia de paludismo con gota gruesa (GG). Resultados: A) Incidencia malárica 2001-2003 según registros de consulta externa hospitalarios. El índice parasitario anual (IPA), por mil personas expuestas, es 154,67 en 2001, 146,89 en 2002 y 601,17 en 2003. B) Según registros de consulta en el puesto del Resguardo, la GG fue positiva en promedio en 39,4%. C) Prevalencia palúdica según GG por búsqueda activa: 433 GG, positivas 7,16%. La parasitemia falciparum fue 993 parásitos/µL en promedio, con desviación estándar de 678. 13% narró antecedentes de malaria en el último mes y 31% en el último año. De las mujeres adultas, 41% dijo haber sufrido paludismo gestacional. 76% de la población utiliza medicina tradicional para prevenir la malaria. Cada caso de malaria tiene incapacidad de 7 días. Conclusiones: En Urabá hay un IPA promedio >10, pero entre los tules es más elevado. La carencia de la variable grupo étnico en los registros permite que la malaria pase inadvertida para las autoridades de salud; urge una intervención intercultural.Objective: To study the annual incidence or malaria in 2001-2003 among the Tules of Resguardo Caimán Nuevo. Methodology: a descriptive study: a) retrospective: with data search in hospital records of Turbo and Necocli Hospitals and the Local Health Center at the Resguardo; b) prospective: to measure malaria prevalence by thick smear. Results: A) Malaria incidence during 2001-2003 according to our patients records. The annual index, per 1000 exposed was 154,67 in 2001, 146,89 in 2002 y 601,17 in 2003. B) According to records at the Resguardo Local Health Center a mean number of a positive thick smear was found in 39,4%. C) Malaria prevalence after active search was 433 (7,16% positive). The mean P. falciparum parasitaemia was 993 parasites/ µL (SD= 678). A 13% had history of malaria during the past month and 31% during the past year. Of all adult women, 41% had history of malaria during a pregnancy, a 76% of the population uses traditional medicine to prevent malaria. Each malaria case resulted in a loss of 7 working days. Conclusions: Urabá has a mean PAI >10, however, this is higher among the Tules. The lack of identification of the ethnic group in the regions studied, allows malaria to go undetected for the health authorities, an intercultural intervention measure is urgent.

Publikacijoje nagrinėjami su žmogaus fenomenu susiję filosofiniai klausimai. Teigiama, kad žmogaus esmė yra save suvokiantis aš, sąmonė, nepriklausoma nuo erdvės ir laiko bei kūniškųjų apibrėžčių. Aptariama kūno ir dvasios perskyra, kūno vaidmuo žmogaus gyvenime – kūnas traktuojamas kaip priemonė žmogiškumui išsiskleisti. Žmogaus esmė stengiasi užvaldyti kūną: atsigręždama į būtį, ji iš pradžių pasiekia tik vidinius, subtiliuosius besiformuojančio pavidalo klodus ir tarsi postūmių dėka pasiekia kūno išorę. Įvairių rūšių ir laipsnių gyvybiškumo pasireiškimai vyksta kol neprasideda apribojimai, susiję su kūniškosios gyvybės nykimu, ir kol jų visiškai nenutraukia pastarosios išnykimas. Aptariamos žmogaus gyvenimo pakopos, kurios skirstomos į septynerių metų laikotarpius, pateikiami kiekvieno šių laikotarpių svarbiausi bruožai. Vykstant kūniškojo pavidalo sužmogėjimui, jame vis labiau pasireiškia sąmonė, tikrasis žmogiškumas. Tikroji laisvė yra visiškas, nevaržomas žmogaus esmės pasireiškimas. Žmonijos vystymasis analogiškas individualaus žmogaus raidai, dabartinė žmonija pasiekė visiško atsidavimo daiktų pasauliui pakopą.

Straipsnyje teigiama, kad prieš keturis šimtus metų R. Descartes‘o pasiūlytas principas cogito ergo sum yra svarstomas iki šiol ir bus nagrinėjamas ateityje. Keliamas klausimas, ar žmogus kaip dvasinė būtybė yra realus, ar jo prigimtis dvejopa – materiali ir dvasinė? Teigiama, kad žmogus nėra materiali būtybė (materialus žmogaus kūnas). Terminai „žmogus“ ir „kūnas“ nėra sinonimai. Žmogus yra tikroviškas tik kaip mąstanti būtybė, o kūnas yra tik jutiminis reiškinys (biologinis lygmuo). Teigdamas protą esant esmine žmogaus savybe, R. Descartes iš to kildina pažinimo, t. y. mokslo, laimėjimus, kurie turi taikomosios, praktinės reikšmės žmonių gyvenimui. Straipsnio autoriaus teigimu, argumentai, pagrindžiantys žmogaus materialiąją esmę yra negalimi, nes pats argumentas turi būti traktuojamas kaip gamtinis reiškinys. Net ir teigdami priešingai nei R. Descartes – „nemąstau, bet vis vien esu“ – pripažintume esantys mąstantys individai.

Publikuojama Vosyliaus Sezemano veikalo „Laisvės problema“ pirmoji dalis. Tai yra profesoriaus parengtas specialus kursas Kauno universiteto Humanitarinių mokslų fakulteto studentams. Taikomas fenomenologinis metodas, kurio uždavinys – tiksliai aprašyti fenomenus, kuriuose laisvė pasirodo, ir remiantis šiuo aprašymu iškelti laisvės esmę ir prigimtį. Skiriama objektyvi (apsisprendimas, nepriklausomumas nuo išorinių priežasčių) ir subjektyvi (įsisąmoninta objektyvi laisvė, laisvės jausmas, idėja) laisvė. Galimybė yra teigiama subjektyvios laisvės pusė. Nagrinėjamas sąmonės ir laisvės ryšys: sąmonei plečiantis bei skleidžiantis, subjekto sugebėjimas apsispręsti, jo laisvė didėja; sąmonė (sąmoningumas) yra yra esmingiausias žmogaus išorinės laisvės, jo nepriklausomybės nuo išorinio pasaulio konstitutyvus momentas. Kartu jis yra vidinio pasaulio savarankiškumo bei laisvės pamatas. Vidinė sąmonės laisvė apribojama ir varžoma ne tik vidinių, psichinių faktorių, bet ir išorinių veiksnių, pirmiausia žmogaus kūno, tarpininkaujančio tarp psichinio ir fizinio kūno. Išorinė laisvė neatskiriama nuo žmogaus išorinės galios, nuo viešpatavimo gamtoje; galios troškimas glaudžiai susijęs su laisvės troškimu.

Straipsnio tikslas – analizuoti gamtinio ir visuomeninio prado santykį žmogaus koncepcijoje. Skiriamas filosofinis ir sociologinis žmogaus aiškinimas. Filosofiniu požiūriu labiau pabrėžiami žmogaus gyvenimo, jo tikslo ir prasmės, būties klausimai, jo santykių pobūdis su pasauliu. Sociologiniu požiūriu analizuojamas žmogaus visuomeniškumas. Teigiama, kad vienas iš svarbesnių sociologinio aiškinimo uždavinių yra pateikti tikslesnį, nuoseklesnį, darnesnį paveikslą tų požymių, kurie išreiškia žmogaus esmę. Paskirų požymių iškėlimas, jų atsiejimas nulemia klaidingą, iškreiptą žmogaus esmės supratimą. Tą rodo ir paskirų fizinių, žmogui būdingų požymių aiškinimo raida. Aptariama žmogaus, kaip biologinės būtybės, samprata, visuomeniško ir gamtiško pradų santykis. Skiriama žmogaus kūno veikla ir žmogaus, kaip visuomeninės, sąmoningos būtybės, veikla. Gamtiškumas, t. y. įgimtos kūno savybės, apibrėžia žmogiškumo, žmogiško pasireiškimo ribas. Žmogui, jo savitumui suprasti būtina tirti žmogaus reiškinius. Žmogaus kūno, jo savitumo tyrinėjimai padėjo išryškinti idealistinės žmogaus sampratos klaidingumą, padėjo išplėtoti dialektinę, materialistinę žmogaus sampratą.

Straipsnyje nagrinėjama R. Descartes‘o žmogaus, kaip kūniškos ir mąstančios būtybės, samprata. Teigiama, kad R. Descartes praplėtė kūno sąvokos apimtį ir susiaurino sielos funkcijas, susiejo jas su mąstymo aktais. Kūniškas žmogaus buvimas intensyviai veikia sielos išgyvenimus. Mąstymas yra neabejotinai egzistuojantis, substanciškas ir žmogiškas fenomenas. R. Descartes, sekdamas šv. Augustinu, laikėsi radikalaus dualizmo: sielą ir kūną traktavo kaip lygiavertes, savarankiškas, substanciškas būtis, nereikalaujančias savo egzistavimo pagrindo. R. Descartes, griežtai atskyręs sielos ir materijos pasaulius, pakreipė gamtos, socialinių ir humanitarinių mokslų tyrimus į materiją, kurios matavimas ir pseudomatavimas tapo mokslo raidos pagrindu. Autorius teigia, kad vertingiausia R. Descartes‘o pažiūrose (nors ir nerealizuota) yra mąstančios esmės ir kūniškos substancijos vieningumo programa.

Publikuojamas Vosyliaus Sezemano speckurso, skirto intersubjektyvumo problematikai, tezių rankraštis. Kursas skirtas atsakyti į klausimą, kaip galima įsivaizduoti kito žmogaus vidaus gyvenimą – jausmus, išgyvenimus, polinkius, nuotaikas. Nagrinėjamas suvokimo aktas. Jis diferencijuojasi, apima tai, kas duota ir kas neduota. Teigiama, kad aš jaučiu kitų išgyvenimus ne taip, kaip savuosius: aš suvokiu kito gyvybę ir tik per šį suvokimą kito pajautimas siejasi su manuoju „aš“.

Straipsnyje apžvelgiami prancūzų fenomenologo M. Merleau-Ponty biografijos ir filosofijos svarbiausi bruožai. Vienintele filosofijos problema M. Merleau-Ponty įvardijo pažinimo klausimą. Jis pabrėžė, jog ir psichologizmas, ir transcendentalizmas neapmąsto žmogaus būties klausimo ir įteisina jo subjektyvumo susvetimėjimą: šis subjektyvumas tiriamas tartum daiktas ir todėl natūralizuojamas; kitu atveju jis tiriamas grynosios galimybės erdvėje lyginant jį su absoliutu. Galiausiai M. Merleau-Ponty galutinai atsisako tiek empirizmo, tiek intelektualizmo pozicijos ir nukreipia visas pastangas į autentiškąją egzistenciją. Jos prasmės atskleidimas reikalauja grįžti į gyvąjį jos patyrimą, kuriame konstituojama ši prasmė. Daroma išvada, kad šios egzistencinės fenomenologijos specifiką sudaro atskiro žmogaus subjektyvumo, kaip būties pasaulyje, aprašymas bei subjektyvumo prilyginimo grynajai sąmonei atsisakymas. Apriorinės žmogaus būties struktūros yra žmogaus kūno būties struktūros. Fundamentalioji struktūra-suvokimas konstituoja ir būtį, ir sąmonę.

Straipsnyje pateikiami XVIII a. prancūzų materialisto J. O. de La Mettrie gyvenimo ir kūrybos svarbiausi bruožai. Autorius supažindina skaitytoją su marksistinių ir buržuazinių tyrinėtojų veikalais apie šį filosofą, aptaria jo biografiją, pagrindines kūrybos idėjas, nurodo jų įtaką vėlėsnei filosofijai. Pirmame filosofiniame traktate „Gamtinė sielos istorija“ J. O. de La Mettrie iš nuosekliai materialistinių pozicijų gvildeno psichikos priklausymo nuo kūno būsenos problemą, kuri turėjo tiesioginį sąlytį su pačiais religijos pagrindais. Filosofas teigė, kad dvasinius procesus lemia materialūs: pojūčiai, mąstymas ir pan. yra tam tikru būdu organizuotos materijos savybė, to organizavimo rezultatas. Ši žmogaus koncepcija, ypač gamtamokslinis jos pagrindimas, ryškiai atspindėjo pažangiausias to meto mokslo ir ideologijos pozicijas. J. O. de La Mettrie filosofijos trūkumais laikoma pernelyg biologizuotas požiūris į žmogų, ryškus individualistinis žmogaus ir jo tikslų aiškinimas, žmogų supančios aplinkos socialinio pertvarkymo būtinumo nesupratimas.

The author of the article presents a method of artistic research that she uses to reflect on everyday experience and different turns of circumstances, constantly symbolically reconstructing them along with her own thinking. While referring to the statements by Jean Francois Lyotard, Nelson Goodman, Wofgang Iser and other thinkers, the fluidity and constant dynamism of postmodern reality and artistic research reflecting on that reality is emphasised. With the help of fantasy the author connects the perception of what is "here and now" with what is not yet there, and in her artistic research flexibly depicts the occurrences of daily life as if they were a kind of intellectual adventure whose participants cannot predict its outcome. In the article special attention is devoted to one of the principles of artistic thinking - bricolage, which is developed on the basis of the "primeval" mode of thinking described by anthropologist Claude'o Levi-Strauss in his work Savage Mind. It is mythical (artistic) thinking based on sensations, imagination and intuition, a kind of intellectual craftsmanship. Bricolage often means a movement or detour from the direct route in order to avoid an obstacle. In the article this principle is illustrated by a (hopefully) funny example of collaboration between art and science. It is an amusing chance event, during which art critic Agnė Narušytė, philosopher Vytautas Ališauskas, photographicartist Alvydas Lukys, artist Kęstutis Grigaliūnas and the author of the article, artist Laisvydė Šalčiūtė spontaneously drew their own versions of ELEFANTUS FURIOSUS (a mad elephant). The author describes an unexpected movement of thought or a kind of bricolage when, several months after this event, a book that accidentally fell into the author's hands and was opened (The Unnamable by Samuel Beckett), influenced the creation of a new image - LEPUS FURIOSUS (a mad rabbit) and its appearance in the author's work environment. The article stresses the incompleteness of a narrative as a means of artistic expression that leaves some space for an undefined creative exchange between the reader / viewer and an artistic object - a text and proposed images found on the internet. [ABSTRACT FROM AUTHOR]

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Straipsnis nagrinėja, kaip Shaunas Gallagheris sprendžia fenomenologijos ir natūralizmo suderinamumo klausimą. Pirmoje dalyje aptariamas Gallagherio tyrimų atspirties taškas: fenomenologinės kūno schemos sampratos pritaikymas interpretuojant trečiojo asmens prieiga gautus duomenis. Antroje dalyje aptariamas bendras Gallagherio fenomenologijos natūralizavimo projektas: argumentai už tai, kad į natūralistinę programą būtų įtrauktos ne paskiros fenomenologų įžvalgos, bet metodiškas pirmojo asmens prieigos taikymas. Trečioje dalyje aptariami argumentai prieš fenomenologijos natūralizavimą. Teigiama, kad pagrindinė problema fenomenologiją ir natūralizmą derinančiam filosofui – mąstymo fenomenologijos natūralizavimas. Galiausiai bandoma apibrėžti fenomenologijos natūralizavimo projekto perspektyvas.