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The article analyses the 1930s–1960s. The myth of the “Polish intellectual pioneer”, created by the Polish historiography in the USA, is devoted to the newcomer from Lithuania educator Alexander Carolus Curtius, the rector of the Latin school in New Amsterdam (New York) (1659–1661). The deconstructive approach aims to reconstruct the historical, cultural and political contexts of its creation, to identify its creators (M. Haiman et al.), and to establish its relationship to sources and other historiography. [ABSTRACT FROM AUTHOR]

Copyright of Social Education / Socialinis Ugdymas 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.)

This text explores the nuances of choice and consequence through the philosophical lenses of Pascal and Sartre. It contrasts Pascal's transcendental faith-based approach with Sartre's terrestrial decision-making, emphasizing the inherent paradox of engagement beginning before choice. It argues that authentic choice demands embracing the unknown and its extreme consequences, rejecting the spectator's role for active participation. The text also examines the intellectual's duality, caught between bourgeois origins and subaltern solidarity, and the antinomy of integrating science and revolution. It concludes with reflections on the intellectual's role in revolutionary movements, highlighting the necessity of continuous critical engagement and the interplay of truth and error. Ovaj tekst istražuje odnose između izbora i posledica kroz filozofske okvire Paskala i Sartra. Stavlja u uporednu perspektivu Paskalov transcendentalni pristup zasnovan na veri sa Sartrovim svetovnim interpretativnim okvirom, naglašavajući inherentni paradoks angažovanja koje počinje pre izbora. Tvrdi se da autentičan izbor zahteva prihvatanje nepoznatog i njegovih ekstremnih posledica, odbacujući ulogu posmatrača sa aktivnim učešćem. Tekst takođe ispituje dualnost intelektualca, uhvaćenog između buržoaskog porekla i solidarnosti sa potlačenima, i antinomiju integrisanja nauke i revolucije. Zaključuje se promišljanjem uloge intelektualca u revolucionarnim pokretima, ističući neophodnost kontinuiranog kritičkog angažovanja i međusobne igre istine i greške. [ABSTRACT FROM AUTHOR]

V prispevku razpravljam o načinih, kako se metadramske modalnosti simultane dekonstrukcije in rekonstrukcije fiktivnega vesolja pojavljajo v dveh sodobnih igrah, Zapiranju ljubezni (2011) Pascala Ramberta in Avtorju (2009) Tima Croucha. Pokažem, da obe priznani igri spadata v trdoživo avtorefleksivno linijo dramatike, ki preizprašuje zaprtje reprezentacije, ki se začenja v zgodnjem modernem obdobju s klasičnimi besedili, kakršni sta Shakespearov Hamlet in Calderónovo Veliko gledališče sveta.

Copyright of Art of Words / Umjetnost Riječi is the property of Umjetnost Rijeci 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.)

V prispevku razpravljam o načinih, kako se metadramske modalnosti simultane dekonstrukcije in rekonstrukcije fiktivnega vesolja pojavljajo v dveh sodobnih igrah, Zapiranju ljubezni (2011) Pascala Ramberta in Avtorju (2009) Tima Croucha. Pokažem, da obe priznani igri spadata v trdoživo avtorefleksivno linijo dramatike, ki preizprašuje zaprtje reprezentacije, ki se začenja v zgodnjem modernem obdobju s klasičnimi besedili, kakršni sta Shakespearov Hamlet in Calderónovo Veliko gledališče sveta

The negative discourse that is represented in the works of Jacques Derrida, as well as in the works of Dionysius the Areopagite, is the reason why certain authors claim that deconstruction can be interpreted as equal to apophatic. In this paper, we will consider the relationship between these ideas. On the one hand, we will agree with the thesis that there is a certain similarity between them, which refers to the examination of language boundaries. However, our thesis is that these concepts are completely different in their essence when it comes to the attitude towards language that the mentioned authors have. [ABSTRACT FROM AUTHOR]

Copyright of Musicology of Lithuania / Lietuvos muzikologija is the property of Lithuanian Academy of Music & Theatre 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 Filozofija i Drustvo is the property of University of Belgrade, Institute for Philosophy & Social Theory 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 Filozofija i Drustvo is the property of University of Belgrade, Institute for Philosophy & Social Theory 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.)

Posljednjih desetljeća u brojnim crkvenim dokumentima, izjavama papa, biskupskih konferencija i pojedinih biskupa dekonstrukcija rodnih stereotipa tumači se kao destrukcija kršćanske antropologije. Za razliku od toga, postoje dokumenti i izjave u kojima se crkveno učiteljstvo ograđuje od biološkog determinizma te dopušta dekonstrukciju rodnih stereotipa, ali bez dovođenja u pitanje muško-ženske prirode na kojoj se temelje. U drugom dijelu članka prikazat ćemo da se (de)konstrukcija katoličke antropologije trajno događa i da ne vodi do razaranja i negiranja ljudske prirode već do shvaćanja procesa koji su utjecali na način na koji se muško-ženska priroda definirala. Na taj način se otvaraju mogućnosti za daljnji razvoj teološke antropologije u interdisciplinarnom znanstvenom pristupu. Koliko se sa stereotipnim izjavama o ženama i muškarcima slažu religiozni katolici koji pohađaju vjerske obrede analiziramo na temelju podataka prikupljenih u istraživanju provedenom u Hrvatskoj 2018. godine u sklopu projekta »Relacijski rodni odnosi u Hrvatskoj: modernizacijske i razvojne perspektive« (GENMOD).

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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.)

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The word »crisis« often appears in the writings of the Croatian musicologist Eva Sedak (1938--2017). In this study, based on the research of her literary heritage, it is shown that Eva Sedak's thought about the crisis unfolds in the tension between two mutually exclusive meanings of the term, since the first meaning implies that everything is subjected to crisis, and the second that the crisis manifests itself precisely in relation to something that is considered to be beyond the crisis. The author shows that the field of tensions between two meanings appears in three characteristic contexts, which to some extent overlap. In the writings until the mid-1970s, Eva Sedak appeared as a kind of witness to the »crisis« into which fell, in her opinion, contemporary composition on the one hand and music criticism, on the other. In the second context, which began in the late 1970s, »crisis« was the term to describe the state of musical life in Croatia in past and present times, which, precisely because of its position in the »border area«, posed a challenge to musicological considerations. Finally, in the third context, outlined gradually but particularly strikingly in the late 1990s, the »crisis« emerged as an integral part of a historiographical conception capable of adequately responding to the »crisis« state of music in the »border area«. In this context, the notion of »crisis« gradually gives way to the notion of »deconstruction«. [ABSTRACT FROM AUTHOR]

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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.)

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[straipsnis ir santrauka lietuvių kalba; santrauka anglų kalba] Neheteroseksualios realybės galimybė Lietuvos istorijoje ir tradicijoje ilgą laiką buvo ignoruojama ir slopinama įstatymais, o pati tema yra virtusi tabu. Sisteminis vienos tiesos kultivavimas kuria normatyvią visuomenę ir nustumia alternatyvias buvimo žmogumi formas. Postmodernizmas problemina epistemologines struktūras ir hierarchijas, kviečiama mąstyti apie švietimą asmens ir struktūros lygmenimis. Šiame straipsnyje, pasitelkiant interviu su mokytojais analizę, siekiama ištirti mokytojų turimą žinojimą ir lytiškumo ugdymo nuostatas ir jomis perteikiamą žinojimą mokiniams lytiškumo temomis bei aptarti galimybę dekonstrukcijos metodą naudoti heteronormatyviai visuomenei .

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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.)

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Copyright of Athena: Filosofijos studijos is the property of Lithuanian Culture Research Institute 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.)

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Copyright of Musicology of Lithuania / Lietuvos muzikologija is the property of Lithuanian Academy of Music & Theatre 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.)

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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 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.)

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Postmoderni diskurz je pokazal nezaupanje do nekaterih osnovnih konceptov razumevanja zgodovine glasbe. Z zanikanjem obstoja temeljnih zakonov, ki naj bi usmerjali domnevno naravni razvoj glasbe, je dekonstrukcija podvomila v absolutne in neodvisne notranje vrednote, ki naj bi jih imela dela klasične glasbe. Ni naključje, da se je dekonstrukcija zgodovine glasbe pojavila v času, ko je z množico specialističnih študij vedenje o glasbi različnih zgodovinskih okolij naraslo do tolikšne mere, da se celotna zgodovina glasbe ne da več razlagati z enim samim konceptom. Gledano s tega zornega kota je dekonstrukcija študij glasbe osvobodila od v preteklosti uveljavljenih vnaprejšnjih konceptov z njihovimi vrednostnimi sistemi in ideološkimi implikacijami. S postmoderno dekonstrukcijsko kritiko je zgodovino glasbe mogoče videti kot osvobojeno ideoloških vezi; taka pa je še vedno velika zakladnica znanja in razlag glasbe od antike do danes, zakladnica, ki nudi relevantno izhodišče domala vsaki novi študiji ali pristopu. V zvezi z naravo glasboslovja je pomenljivo, da se teorije in pristopi z različnih humanističnih področij morejo aplicirati na glasbo. To je mogoče razložiti s podmeno, da glasba, čeprav je navidezno brez vsebine, ne nastaja neodvisno od svojega okolja; globoko je vkoreninjena v svojih kontekstih, istih, v katerih nastajajo tudi ostali izrazi človekovega duhovnega hotenja, ki so predmet humanističnih področij. Ker se koncepti z drugih humanističnih področij morejo prenašati na glasbo, je glasboslovje v širšem smislu mogoče razumeti kot humanistični diskurz o glasbi.

SStraipsnyje detaliai analizuojama tikrovės sąvoka, kuri interpretuojama kaip teorinis įrankis, leidžiantis pasiprie šinti postmodernioms diskurso teorijoms. Slovėnų filosofas Slavojus Žižekas tikrovės sąvoką pasiskolina iš Jacques'o Lacano psichoanalizės; Žižeko teigimu, tikrovė yra nereprezentuojamas, trauminis branduolys, plytintis "kažkur anapus" simbolinės tvarkos. Remdamasis šia tikrovės samprata, Žižekas kritikuoja postmodernias diskurso teorijas, negalinčias paaiškinti, kas yra anapus diskurso ir kaip įmanoma apibrėžti paties diskurso ribas. Judith'os Butler ir Charles'o Shepherdsono kritika atskleidė Žižeko pozicijos prieštaringumą: net jei teigiame, jog tikrovė sukuria diskurso ribas, šias ribas galime aptikti tik remdamiesi diskursyviomis praktikomis. Atsižvelgdamas į kritiką, Žižekas patikslino savo koncepciją: dabar tikrovė yra ne transcendentinis anapus, kurį veltui bando įvardyti simbolinė reikšmės struktūra, bet tai, kas priklauso simbolinei tvarkai. Kitaip tariant, tikrovė negali būti įvardijama ne dėl to, kad ji yra išoriška simbolinei tvarkai, bet dėl to, kad ji šiai tvarkai priklauso, yra jos vidinė riba. Tačiau ši tikrovės aiškinimo versija, interpretuojanti tikrovę kaip vidinę simbolinės reikšmės struktūros ribą, darosi paradoksaliai artima postmodernioms diskurso teorijoms. Taigi tikrovės sąvokos apibrėžimai reflektuoja "postmodernaus proto antinomiją": tiesioginė nuoroda į tikrovę rodosi per daug naivi, jog būtų laikoma filosofiniu problemos sprendimu, o postmoderni diskurso ideologija yra autoreferentiška ir nepajėgi nurodyti nieko anapus savęs. Straipsnyje analizuojamos tikrovės sąvokos implikacijos seksualinio, etinio ir politinio diskurso plotmėje, be to, keliamas klausimas, kokias "realias" reikšmes slepia filosofinio "tikrovės sugrįžimo" simptomai.

Dekonstrukcija gali būti apibrėžta kaip filosofinis projektas, interpretacijos metu siekiantis atskleisti tam tikrą prieštaravimą, neišsprendžiamumą, glūdintį filosofiniame tekste. Tai gali būti prieštaravimas tarp teksto formuluojamų teiginių ir jo neįsisąmonintų prielaidų, tarp skirtingų to paties termino reikšmių, tarp skirtingų to paties teiginio funkcijų (konstatyvo ir performatyvo). Toks reiškinys senovės graikų filosofijoje buvo vadinamas aporija. Neišsprendžiamumo, arba aporijos, patirtis reikalinga tam, kad rastųsi būtinybė priimti sprendimą. Aporija yra ne tik sprendimo sustabdymas, jo negalimybė, bet ir sprendimo kaip tokio galimybės sąlyga. Postmoderni etika gali būti apibrėžta kaip tokia etika, kuri suspenduoja etinį sprendimą: jis yra arba prievartiškas ir neįvykdomas, todėl atidėtas grynajai ateičiai, arba yra neįmanomas, bet jau įvykęs praeityje. Postmodernios politikos teorijos taip pat parodo politinio sprendimo negalimybę. Aporija, į kurią patenka įstatymas, taip pat suspenduoja politinį sprendimą. Įstatymo negalimybė savo ruožtu taip pat reiškia politikos kaip įstatymo reguliuojamos santykio su kitu erdvės negalimybę.

Straipsnyje nagrinėjama viena iš kontroversiškiausių šiuolaikinės minties temų – kartografijos teorinės problemos. Tekste atsispiriama nuo Jeano Baudrillard'o poleminės tezės, jog šių dienų pasaulyje žemėlapis eina pirma kartografuojamos teritorijos. Teigiama, kad šią tezę patvirtina ir radikalizuoja istorinė kartografijos traktuotė, pagal kurią kiekvienos epochos žemėlapis „ gimdo" teritoriją, nes išreiškia tos epochos istorinius ir kultūrinius kontekstus. Tekste nagrinėjami Vilniaus žemėlapių pavyzdžiai, analizuojami jų sudarymo principai, žvelgiama, kokius miesto parametrus kartografuoja šių dienų žemėlapiai.