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Ad Kristina Andělová: "Jak mluvit o marxismu v humanitních vědách?"
Kristina Andělová hájí kolegu Kandu argumentem, že jsem použil nevhodnou formu vědecké polemiky, když jsem — pokud to shrnu — zesměšnil jeho seriózní vědecký výklad. S tím nehodlám polemizovat, ani se za to nehodlám kát: je na čtenářích, aby posoudili, nakolik byla moje polemická strategie adekvátní posuzovanému textu. Nicméně měl jsem důvod, proč jsem zvolil právě tuto formu polemiky. A nebyla to jen předpojatost příslušníka generace, který si s marxismem užil své. K takovémuto druhu reakce mě totiž pohnula — a domnívám se, že to lze z mého textu snadno vyčíst — skutečnost, že Roman Kanda ve své stati odpůrcům marxismu sice cosi vyčítá, ve skutečnosti to však sám zcela účelově činí. Řečeno konkrétně, vyčítá jim ahistorismus, sám však ve své argumentaci postupuje důsledně ahistoricky, abstrahuje, řečeno s Marxem, „od historického příběhu“. Proto jsem také použil přirovnání k Cimrmanovu „kroku stranou“.
More...Technology, Society, and the Magic of Language
This article takes its point of departure from Marshall McLuhan’s The Gutenberg Galaxy (1962) and Elizabeth L. Eisenstein’s The Printing Press as an Agent of Change (1979). The purpose, however, is not a detailed historical critique of both books, but to take issue with fundamental claim underlying both publications: the claim that media technology is the creative agent behind early modern social, political, religious, and intellectual revolutions. The article refers to Eric Voegelin, Hannah Arendt, Ernst Cassirer, and Wilhelm von Humboldt to lay the theoretical groundwork for an alternative claim: creative agency happens in the form of linguistic evocation. The final section of the article provides a brief case study on revolutionary agency, primarily at the example of the radical reformer Thomas Müntzer. It highlights the role of language in the revolutionary transformation of the early reformation period.
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The article focuses on the exemplarism of Linda Zagzebski (2017). Zagzebski proposes to found an ethical theory on the emotion of admiration. In the first explanatory part, I present the central assumptions of exemplarism. I explain what constitutes a moral exemplar; the role admiration plays in Zagzebski’s theory; and the unique nature of her approach. In the second, critical part, I highlight the strong and weak sides of exemplarist ethical theory. I refer to the rich empirical data that confirms the importance of modeling in moral education as well as the role of positive emotions in moral development. I underline the practical dimension of Zagzebski’s approach. The weakness of exemplarism lies in its overly strong emphasis on admiration as the foundation of moral theory. This is the case for the following two reasons. Firstly, the kind of admiration that Zagzebski has in mind is difficult to define and distinguish from other similar emotions that do not deserve to be regarded as foundational for an ethical theory. Secondly, it seems that it is not admiration that comes first, followed by the moral values that we discover through this emotion, but rather that admiration is secondary, constituting a response to the values that we already recognize as admirable.
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До XIX века политическая философия была всеобъемлющей наукой о человеке и обществе. Но с появлением и развитием других социальных наук, всего за сто лет, политическая философия достигает точки закрытия. Исайя Берлин и его коллеги смогли продемонстрировать, что предмет политической философии остался неизменным со времен Древней Греции. Иными словами, до тех пор, пока в нашем обществе не доминирует только одна цель, пока существуют различные интерпретации эмпирических событий, и авторы, способные открывать нормативные истины, политическая философия будет занимать свое место среди общественных наук. Ее место находится между позитивной политической наукой и философией. В то время как первая отвечает на вопрос «что есть?», философия ищет ответ на вопрос «что (должно быть сделано)?», а политическая философия содержит вопрос «что делать, когда есть разногласия по поводу того, что делать». Таким образом, в самом своем бытии остается нормативный подход, но он не обсуждается в каком-то вакууме. Цели и предмета, конечно, недостаточно, чтобы называть дело наукой, но оно должно обладать систематическим и организованным знанием предмета в форме поддающихся проверке объяснений или принципов, каких-то правил поведения или методов. Благодаря теории справедливости Ролза, а также политическим теоретикам его века, мы получили методы, которые проверяют мыслительный процесс теории. Однако использование одного и того же метода не приносит с собой равного уровня теоретизирования. В то время как теория справедливости Ролза создает новое общество, нормы которого противоречат нашему 359 существующему обществу, теория консоциальной демократии Лейпхарта участвует в модернизации существующей системы, опираясь на эмпирические данные и дедуктивные выводы. Другими словами, теория справедливости является вершиной теоретической области, а с другой стороны, теория консоциальной демократии показывает нам нижнюю границу теоретизирования, необходимую для теории.
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The analyses conducted in this paper are an attempt to sort out the possible relations between guilt and feeling of guilt. The problem of feeling guilt turns out to be complicated due to the ambiguous relationship with actual culpability. Guilt is not necessarily preceded by the execution of an action, for which we might blame someone, and the belief that one is guilty is not the same as actual guilt. When the guilty claim to be innocent, it can be the result of both a misunderstanding of moral standards and a loss of moral sensitivity often combined with a belief in their own impunity. Wrong judgment is also one of the reasons why the innocent claim to be guilty. The innocent also feel guilty for causing evil of which they were only involuntary, physical makers, or over which, through an unfortunate coincidence, they seemed to have only a minimal and ineligible influence.
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The subject of the article is the paradox of fiction. I present the most important attempts to explain and solve it. I argue that this paradox results from the assumption that an emotional response requires the belief that something is really there. This belief is not necessary at all — someone can be afraid that p, and at the same time not have a strong belief that p. It is enough to have a specific thought. I defend the thesis that our emotional reactions are mediated by the mind and its representational and content-related equipment. Due to the modest literature on this topic in Polish, the article was written in the author’s native language. The article is therefore educational and, above all, popularizing.
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In the research on emotions in dance, scientists focus mainly on their motor expression. This article deals with the mental conceptualization of emotions in a specific movement practice, the Gaga language of movement, created by an Israeli choreographer — Ohad Naharin. The language is based on movement interpretation of verbal instructions during dance improvisation. The verbal communication system plays an important role in Gaga’s practice. Emotions in movement function implicitly and are an important element of working with the movement and the bodies of dancers. The phenomenological considerations of Edmund Husserl and Marice Merleau-Ponty on the subject of the body, which also influenced the contemporary concept of embodied cognition, is an important factor in considering the functioning of emotions in the Gaga language. The key issue in analyzing the functioning of emotions in the language of the Gaga movement is the concept of dynamics from a phenomenological and linguistic perspective. The purpose of this article is to show that: 1) emotions, although they do not appear directly in Gaga’s instructions, are an important part of a dancer’s creative work; 2) their functioning, understanding and motor interpretation is based on the metaphorical understanding of various aspects of dynamics; 3) the phenomenological analysis of the body are essential to understand the functioning of emotions during dance.
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The article discusses Philosophy for Children (P4C) in the context of understanding emotions. First, we present the origins of Philosophy for Children as a pedagogical method designed to support critical thinking, and its subsequent evolution into a research tool based on psychological interventions. We then show how P4C can be applied in research on children’s understanding of emotions. We argue that not only does P4C serve to build knowledge and improve cognitive abilities, but also promotes understanding of affective phenomena. We show that the benefits of philosophizing about emotions are being observed in increasingly younger children. We point out that P4C has only recently been used for supporting the development of emotion comprehension, and that research using P4C interventions with preschoolers is also a recent development. We believe both of these to result from a change over the recent decades in how the child’s mind is conceptualized in developmental psychology.
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The main aim of this paper is to scrutinize William Kingdon Clifford’s ethical evidentialism and to defend it against the criticism formulated by pragmatist thinkers. Clifford famous thesis states: “It is wrong, always, everywhere, and for anyone, to believe anything upon insufficient evidence.” Clifford’s argumentation for this thesis, which fits into 19th century positivist epistemology, consciously included pragmatist elements which defy the classical pragmatist criticism of its supposed radicality. Additionally, it seems that contemporary pragmatists accounts support normative intuitions that backed up Clifford’s account of ethics of belief, proposed almost 150 years ago. The latter includes a normative-ethical argument for the grounds of epistemology.
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The idea of the end of history is of philosophical importance and is broadly commented by the representatives of various philosophical traditions. In the following text we present the way in which this idea is understood in the postmetaphysical thought by referring to three of its representatives: Gianni Vattimo, Odo Marquard, and Villém Flusser. In spite of the differences between their accounts of the end of history, one can also see a certain common trait connected mostly with the understanding of history as a metanarrative and with the critical attitude towards metaphysics.
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Herman Cappelen in his book Fixing language (2018) proposed a project within conceptual engineering according to which what we revise in concepts is their intension and extension. He undertook a polemic with the ideas in concept engineering according to which we appeal to functions and purposes when revising. In the first part of this paper I describe the aforementioned discussion. In doing so, I refer to Amie Thomasson’s article “A Pragmatic Method for Normative Conceptual Work” (2020). Next, I attempt to defend positions that refer to functions and purposes in conceptual revision. For this purpose, I refer to Michael Prinzing’s article „The Revisionist’s Rubic: Conceptual Engineering and Discontinuity Objection” (2018). In the second part of the article, I intend to describe the method of explication as one of the methods by which we perform conceptual revision. I turn my attention to the explication used by Quine. He proposes to focus when explicating on what function a concept serves.
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The paper deals with the development of an applied ethics for the diplomatic service – a section of applied ethics that is clearly called for in order to non-repressively regulate this part of the public administration, yet one that so far has hardly been addressed in depth. The paper explores some of the specificities of diplomacy as a cooperative game-based profession and builds on the legacy of Max Scheler’s philosophical views on the role of sympathy in human relations to lay groundwork for a diplomatic ethics based on sympathy. In doing so, the author revises some of Scheler’s starting positions — for Scheler believed that sympathy cannot be a basis for ethics — through first exploring the reasons for Scheler’s pessimism about an ethics of sympathy, and then by developing empirically informed groundwork for precisely such an ethics in the diplomatic field. The paper’s argument rests on the assumption that, if there is to be an effective ethics for diplomacy as a discipline, it must be simple and based on a dynamic principle that will motivate all participants to cooperate, regardless of their cultural or geo-strategic differences and interests. In other words, such ethics must be capable of taking account of the differing interests, while at the same time providing sufficient common ground in values to ensure cooperation. The author argues that an applied ethics that is grounded in the functional mechanism of “sympathy” of “fellow-feeling”, allows for a regulatory system of behaviour that would satisfy both mentioned conditions: simplicity and sufficient motivational potential to generate cooperative initiatives.
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The authors argue that diplomacy as a higher-order cooperative activity is possibly only against the backdrop of assumptions about a prior disposition of those taking part in it to reach out to their counterparts not only rationally, but also emotionally. While the traditional, negotiations-based model of diplomacy continues to be verbally depicted as the generic model for diplomacy as a whole, it is essentially a negative stereotype that portrays diplomatic relations as compromise-seeking efforts between otherwise entrenched opposed positions. Modern diplomacy transcends this traditional model and can thus be called “integrative diplomacy”: it arises from broadening perceptions of common identities and similarities between the various communities, and thus rests much more on empathy, sympathy and solidarity than the negotiations-based model. It is thus not surprising that the integrative methodology of diplomacy makes it predominantly multilateral, as opposed to structurally fundamentally bilateral traditional negotiations.
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The article presents and analyzes the approaches, used by the Dimitrov’s pioneer organization (DPO) ‘Septemvrijče’ in Bulgaria to obsess and control the students and teachers’ school life (and in some aspects even their personal life), in order to prepare and discipline the future loyal citizens of the socialist society. The emphasis here is on Foucault’s concept of the ‘exam’ (in the broadest sense of the term) as a form of disciplinary control that should make the individuals visible and readable for the Authority. At the same time, I refer to Dejan Dejanov’s critical thesis about the double public gaze which allows the Authority to control both the examinees and the examiners. My research is based on a study of official documents of DPO ‘Septemvrijče’, school documents, biographical interviews and my own memories
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The focus of this paper is a research field that has (until now) remained outside the main academic theoretical frameworks – the question of the visual identity of Belgrade seen (and experienced) from the perspective of children. In methodological terms, the paper relies on the results of field research conducted in March 2021 at the Kneginja Milica (Princess Milica) Primary School in New Belgrade, which included a sample of 60 children from Years 1 to 4. The aim of the paper is to discuss from an anthropological perspective some of the key issues of perceiving the appearance of the capital as a visual entity per se: 1) Which visual markers of Belgrade, in the opinion of children, are key to its visual identity and what are the central points on the symbolic map of the capital?; 2) What is the main symbol of Belgrade and what criteria guide the participating children when selecting this central visual marker?; 3) (To what extent) are individual children’s perceptions of the panorama of the capital compatible with each other and what are the characteristics of the general children’s image of the capital?; 4) (In what way) Is the children’s image of the city in harmony with the ‘official’ image of Belgrade? and 5) Is the child’s perception of the visual identity of the capital the result of direct or indirect urban experience
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This paper collates research on the ideas about the origin of the universe and the planet Earth that pupils from Years 5 to 8 of primary school in Belgrade have. Such knowledge should open space for us to further analyse the attitude of young people towards science and the world it describes. With them, it is possible to gain a better insight into the basic ideas about reality that people build and adopt in general. The starting hypothesis is that pupils themselves create hybrid concepts that combine knowledge from classes, ideas from popular culture, and modern scientific theories that are available to them through various media. The cosmological knowledge offered to pupils in geography classes will be analysed, along with the popular discourse accessible to young people. Finally, a preliminary ethnographic study of pupils’ cosmogonic ideas conducted on a pilot sample will be presented. The aim of the research is to understand the pupils’ fundamental knowledge about reality, about the formation of a cognitive framework in which pupils inscribe their own ideas about the place of the Earth and life in space
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In this paper, we will discuss two issues. First, the relation between political theory and film studies is discussed as the basis for the emergence of critical film studies and its contemporary transformation. Second, we consider the kynical subversion and ironic appropriation as a set of frameworks for understanding the social reality and politics in the Yugoslav Black Wave cinema as well as in the movies of the contemporary Serbian cinematography. New forms of popular appropriations of cinematographic heritage show the ways through which both the very movies and critical film studies have disassociated themselves from Althusserian social critique and embraced contemporary ideas of kynical appropriation and irony as forms of social critique
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