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The overcoming of metaphysics is the main goal set as a task by the Vienna Circle. It can be reached by the differentiation of the "real" knowledge and the "real" science from the "pseudoscience" on the basis of the "scientific perception of the world" ("wissenschaftliche Weltauffassung") with the help of a logical analysis of language and verification. From this position anything that cannot by verified lacks sense. Senseless are the propositions of philosophy, too. But the fight against philosophy is a "fight with windmills" because these philosophers do not realise that the denial of philosophy is philosophy itself.
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The author of this essay is the deputy director of Institute for economic strategies at the Social sciences division of the Russian Academy of sciences, the Chairman of the Committee for social and cultural problems of globalization, etc. The essay is part of his latest work The Russian World. A Civilization of Many Peoples, 2010. It deals with the main characteristics of the Russian faith.
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Hidden Jewish children”, Holocaust survivors. Traumatisms and mourning. Retrospective studies. This contribution concerning traumatism and the mourning of Jewish children, holocaust survivors hidden in France during WWII, is a retrospective study on the psychological consequences in a situation of genocide in childhood. In this article two different types of research, carried out in France, will be underlined. The first concerns a group of former hidden children who created an association, more than half-century after the end of the war, to establish a self-therapeutic group. The second research studies former hidden children who have remained isolated and generally have had difficulties in metabolizing their traumatic experiences.
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These are reflections born by the reading of Richard Dawkin’s new book under the title Outgrowing God. A Beginner’s Guide. The text is not intended to be a review of this book, but an attempt at formulating problems and providing assessments of their putative answers. They refer to Dawkin’s optimism about the explanatory potential of natural selection and his atheistic position.
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Тезиси към поетиката на разколебания образ
This is a text-experiment of thinking simultaneously intentional implication and transitive intentionality, with a focus on the affective side of perceptions harmonized in subjectivity. Kinesthetic activity is a permanent immanent transcendence. The technique thrown outside is the ‘blind spot’, the ‘point of the gaze’ behind the ‘point of view’. The exteriority of technique is not objective, we touch or see it when we touch or see the image: we see the invisible and touch the untouchable on the surface – this is the contact with the impossible possibility of the image. In technique, recognition and conceding by anonymous others is an inseparable part of our own kinesthetic organization: a permanent, intrinsic transition within ourselves as something other than ourselves. Our horizons of expectations do not remain unaffected by indexical analogies, by the ‘pinning’ of a related to habitually assimilated context ‘blind spot’ in the midst of ‘doing-work-as-if’. The affective tissue that accompanies the indexical analogy in mimesis, inscribes into the ‘scene’ of space the ‘scene’ of its own habitualized space, and thus a change of optics and perspective becomes possible, decentering becomes possible. This decentering makes the image fluctuating by analogy – “indexical analogies of experience” – with the indexical history.
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In “The Laugh of the Medusa of Hélène Cixous – The First Manifesto of Écriture Féminine“ the first manifesto of woman’s writing as écriture féminine is illustrated. Hélène Cixous defines écriture féminine as a text written by femininity and with the female body language. According to Cixous, feminine writing is circular and fluid similarly to the female body. Women writers have a maternal sense of self, and that is why they write with white ink, i.e., with breast milk and the mother’s gender role. Based on this thesis, Cixous equates the mother with the writer. According to Cixous, writing for women is an attempt to change the world. She points out that every female subjectivity is unique and is a key to writing different women’s histories and experiences in language. The main thesis of Cixous in this manifesto is that the transformation of women’s history can be accomplished on two levels: a) At the level of individuality - The woman writes for herself. She will turn into the body that is placed like a strange alien on the screen. The body’s censorship censors both breath and voice. Thus, the writer will penetrate into the secrets of the female body organs and gender markers when writing. Body territories that are darkened by self-awareness and self-analysis lead to the exploration of the female body as a dark continent. The female subject realizing herself must urgently become aware of herself and start talking about herself. In this sense, the woman must inspire the breath of the whole woman aware of herself and aware of her needs. b) At the level of the female subject’s utterance - Writing about her own bodily sensations, the woman actually expresses herself and her spiritual state and breaks the trap of silence. The body speaks the truth, physically materializes what it thinks, sees, listens to and loves. She insinuates what she is saying outside the linear, objectified and generalized story of history. Through this, Cixous emphasizes female points of view and the female narrative and expressive subject(s) on the statement itself. This Manifesto defines the paradigm of écriture féminine and its stylistic features and themes. The creativity and metaphor of birth, sex differences and differences in literary discourse are presented as differences between female and male script. The power of women is to get out of syntax by breaking the popular themes, having to write about a small topic that they express. The writer uses bodily syntax, bodily and passionate words. The writer’s language is a body language. Body language is created when the oppressed exits through the act of utterance, and then, the voice and truth of women is heard.
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Plato's Timaeus is taken as a background for certain views presented by Aristotle in his On the Heavens. The author discusses possible arguments for introducing a new (“fifth”) element.
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