CENA ZA TO, CO BEZCENNE
Recenzja książki: M. Tkaczyk, Futura Contingentia (Lublin, Wydawnictwo KUL 2015, s. 450)
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Recenzja książki: M. Tkaczyk, Futura Contingentia (Lublin, Wydawnictwo KUL 2015, s. 450)
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Any discussion about spiritual anthropology within the Sufi doctrine is almost impossible without comprehending the spiritual and metaphysical cosmology, as a kind of archetype of the Perfect human on the Earth. We can say that the cosmology of hazrat Ibn ‘Arabī (d.1240) can be taken as one of the most fragmented and most complete cosmologies. In this paper, we present introductory analysis of his cosmology from which all others develop in an analytical sense. It is about the development of the Tradition about “the Hidden treasury”and the Breath of the Merciful, as the cause of all the creation and the basis for “drawing”of “the five presences” or five hahrat which are famous in Sufism.
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This text attempts to trace the evolution of the political and philosophical thought of Georg Lukács, after his magnum opus History and class consciousness, as well as the influence that historical events had on this evolution. Against the dominant consensus that dismisses Lukács’s late work as an effect of his alleged “reconciliation with reality”, I argue that the line of continuity in his thought was the idea of peaceful coexistence, derived from the objective conditions – the isolation of the Soviet Union and the stabilization of Western capitalism. So, rather than explaining his choice to defend coexistence, or “socialism in one country” as a consequence of his reconciliation with, or surrender to Stalinism, one should see his compromise with Stalinism as a consequence of this choice. His commitment to the coexistence thesis shaped his final version of Marxism in a number of ways. From a political perspective, a readjustment of the temporal scale of the transition to socialism in post-revolutionary society constrained him to advocate a more realist strategy that combined revolutionary movements with evolutionary processes – this was reflected in his option for the Popular Front strategy and later in his support for the Western pacifist movements. His late philosophical work also bears the marks of this enduring political choice.
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The article deals with the issue of turning (Kehre) in the thought of Martin Heidegger. I show that, in Being and time the question of being posed from the perspective of a distinguished being as Dasein has led to the objectification of being, thus rather reproducing instead of overcoming, the so far way of thinking that Heidegger named “metaphysical”. The turning in Heidegger’s thought consists in his effort to make being independent from human being, i.e. he tries to go beyond the transcendental and subjectivist point of view of Dasein by placing historicality of Dasein against the background of the very existence of being. It is not Dasein who designs being, but on the contrary, being designs understanding for Dasein. In this context, I show that the thinking of being postulated by Heidegger takes the form of thinking the very proces of historical presencing of the historic types of interpretation of being.
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The article shows that being in Martin Heidegger’s philosophy is not free from the language of values. German philosopher defined values as “objectified human purposes” and criticized traditional axiology for its separation of facts and values. Instead, he postulated “thinking of being”. Thus, I investigate the issue of criteria which could let us claim we do think being (Sein), not beings (Seiende), i.e. a metaphysical understanding of being. Next I go on to argue for the thesis that critique of values that Heidegger proposes, coming out of the notion of being which is not axiologically neutral. In later part I present arguments for the thesis that the concept of being could only emerge in the era of the will to power. Eventually I show how the philosophy of being essentially precludes the inclusion of the body into its discourse.
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The study answers to three questions: 1. what is the possibility of a metaphysical experiment of the divine based on? 2. In what way could such an experiment be confessed? 3. Can the metaphysical experiment of the divine be understood starting from the confession of one of its subjects?
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Za ljubav se kaže da je to onaj fenomen ljudskog postojanja čiju svrsishodnost ne treba dokazivati, ona je naprosto aksiom dobrine života. Ipak, pita se jedan od junaka Dostojevskog u romanu Braća Karamazovi, da li je moguće voljeti istinski drugo biće kada je to drugo biće tako prolazno, ništavno u svom trajanju, nepostojano u svom bitku!? Ako postoji sumnja, onda nije čudno što je čovjek oduvijek bio toliko zaljubljen u dirljivost i očiglednost trenutka sadašnjosti. No, on-trenutak sada, kako se to dobro zna, posve izmiče, bježi i pretvara se u neku prošlost koja više nije, a na isti način se, i u isto vrijeme, zna da ni budućnost još uvijek nije. To je valjda najočiglednija tuga života, njegova ponajbolja prevara.
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The article aims to outline the presence of a metaphysical perspective in Stanisław Barańczak’s poems which is already present in the poet’s earliest works. Barańczak outlines this process in his debut collection. His translation achievements support the presence of a metaphysical perspective in his original poems, and the mutual dependence of his poetry writing and translation can already be clearly felt in his initial works. The article compares the views of poets from generations younger than Barańczak’s and their reactions to the work of the author of A Postcard from the Other World (Widokówka z tego świata).
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The article focuses on the functioning of the term ‘baroque’ in the reception of Stanisław Barańczak’s poems. The author takes into account the context of fashion for returning to the legacy of the baroque which became visible after 1956 in both poetry itself and in the discourse of both literary criticism and literary studies.
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The paper presents the classical theory of the subject in the predication judgment, and then the Hegelian doctrine on the subject, with the intention of conducting a comparative analysis. The results of the analysis sustain the viewpoint according to which between the classical subject and the subject of speculative judgment there are some relations that entitle one to consider speculative judgment as a development of classical judgment, for the cases in which the subject is taken as a process.
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The contribution of the Jewish thinkers to world philosophy is difficult to measure. Many of them became assimilated, adapting their mentality to the mentality of the countries in which they lived. It is worth mentioning here such figures as Henri Bergson, Léon Brunschvicg, Georg Simmel and Ernst Cassirer. Franz Rosenzweig, Martin Buber or Emmanuel Levinas traced their thinking back to religious and historic origins. They attempted to explain away philosophical and universal problems, reinstating Jewish and biblical metaphysics, without formally referring to the Jewish thought. However, when they devote themselves to their own work, they are Jewish through and through. There is yet another group of Jews: agnostic and atheistic Jews desperately seeking salvation, striving to discover their own identities, shattered by Shoah. I undertake to analyse the output of these thinkers, who, as it were, feel uncomfortable in their own skin. Gershom Scholem’s considerations of messianism, hasidism and kabbalah show different ways of seeking the identity of being Jewish and understanding the history of Judaic thought.
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This article focuses on the multifaceted and thematic nature expressed by the concept of creation in 20th-century cosmology, namely in the construction of the big bang cosmology and its rival, the steady state cosmology. Regarding the approaches of three of the main founders of big bang cosmology (Friedmann, Lemaître, and Gamow), we can find, in an explicit or implicit way, two different forms of creation – creation from nothing or creation from shapeless matter. On the opposite side, suggested by the proponents of steady-state cosmology (Hoyle, Bondi, and Gold), we can find another form of creation – the continuous creation of matter. It is proposed that the multifaceted concept of creation, due to the wide interest it aroused and the intensity of cosmological debates it provoked, as well as its historical longevity and its disciplinary and cultural transversality, may be recognized as a thema.
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The article demonstrates how Charles Sanders Peirce built cosmological ideas based on the analysis of the specifics of a human being. It is proved that the possibility of a certain degree of anthropocentrism in Peirce’s cosmological conception was laid down in the categorical system, including the level of the Firstness, Secondness, and Thirdness. It is shown why according to his scientific metaphysics, for everyone, the concept that corresponds to human nature is more true than other ones, as well as why a person instinctively feels the truth. This situation is possible because the laws of thought are formulated in accordance with the laws of nature. Human nature reflects what is in the world. Thus, through self-knowledge, a person also discovers reality itself as a dynamic universe in which the physical and the mental, the real and the ideal are subject to the same laws (habits-regularities). However, human beings do not know all of them, but only those that correspond to the level of their understanding and interests. Subsequently, science and technology are built on the basis of individuals’ own intentions. Human beings realize that the universe is boundless and not everything they are able to understand and justify. This makes fallibilism inevitable. It is analyzed how to solve the difficulties of fallibilism; Peirce proposed to use the concept of practical certainty as a basic criterion for recognizing the system of knowledge about the world as true. It is shown that the concepts of tychism, synechism, and agapism, which reveal the meaning of Peirce’s cosmological theory of evolution, are also based on the principles of anthropocentrism and anthropomorphism. Thus, it is argued that human being becomes the key to understanding Peirce’s metaphysical cosmology.
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The article defines the potential and aspects of the philosophical and anthropological approach in modern urban studies. The theoretical basis is represented by the works of the modern researchers of philosophical anthropology and urban studies, as well as the studies aimed at finding thinking frameworks alternative to anthropocentrism (new materialism, speculative realism, processes ontology). The scientific novelty of the research involves the review of the epistemological status of philosophical anthropology as the methodology of practically oriented thought. The conceptual analysis of the use of the anthropological approach in socio-humanitarian knowledge is presented, its philosophical component is suggested. There have been reconstructed the urban anthropology methodological principles as an actual direction of urban research. The philosophical anthropology resource is the key to the further development of the city pragmatic analysis concerning the nonclassical approaches in socio-humanitarian knowledge. On the one hand, philosophical anthropology is presented as an independent discipline, and on the other, as a special focus or aspect of analysis. Thus the epistemological status of philosophical anthropology is clarified, and the possibility of its statements systematization and transforming the compendium into a method of modern practically oriented thought are defined.
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This paper is a review of the book On the Metaphysical Cognition by Stanisław Kamiński, one of the founders of the Lublin School of Philosophy (Poland) which refers to the Aristotelian-Thomistic tradition. The book consists of a selection of Kamiński’s five articles devoted to the specificity of metaphysical cognition. According to the author, Kamiński’s book is not only a unique contribution to the understanding of cognition in classical metaphysics, but also a valuable reading suggestion for all interested in the general methodology of sciences and philosophy.
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In his study Nymphs, the Italian philosopher Agamben explores the origin of iconography, examining video and other indications. He develops a poetics of dance, putting time and not movement at its core, and discusses image. This study, though it takes as its pretext an exhibition by the video artist Bill Viola, establishes numerous links with ancient, mediaeval and moden philosophy.
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In this article, the author reflects on various phenomena of life, taking as a starting point two widely known musical works: Samuel Barber’s Agnus Deiu and Scorpion’s Holiday. Through this personal reading are extracted the eternal messages of these works.
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Love was and remains a theme that often finds treatment in philosophy, literature, mainly viewed from a positive angle, as a source of inspiration, as a contact with the divine, as a way becoming conscious of humanity and human nature. Schopenhauer thinks otherwise, and treats love as merely an illusion that serves the will to live, a will that is evil and brings only suffering. Here this philosopher is seen in relation with Hegel and Kant.
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To think art from a philosophical point of view in our (confusing) time means, first of all, to analyze the artist himself, it is his creation, because the artist has always proved himself to be architects of a new coming reality. He is the creator of something new, enters a new one into reality and thus influences the change of consciousness of man, thereby preparing him for the new one, for the upcoming one. It has been shown in the history of art philosophy that the artist has never been burdened by the past, the transient one, he is not an operative; but is a speculator who draws the truth of a being from the depths of reality into the light of day. In ancient times, the artist was seen as a demonic being; in the Middle Ages, the artist was (observed from the outside) completely limited by the regimes strictly imposed on him; in the Renaissance, the artist finds ways to get rid of imposed strict regulation by speculative means and to show how the world can be transformed through art because art carries in it, in its specific way, a torch of light, that Prometheus fire that brought light into people's souls; in our time, artists try to get out of a pessimistic upcoming uncertain transhumanist future. Artists of the 20th century. and the 21st century. they realize that being an artist means being a rebel and actively engaging in social and cultural life. Why is that? One reason is that today's man has given too much of his trust, and thus responsibility for his existence, to modern science and technique, and (too)he has become burdened with modern means of communication. All this has led us to passivity of spirit, general alienation and expectations of finished solutions. In fact, most have reduced their existence to the sense-material world. The consequences of this are also the growing mental and mental illness, the absence of spirit and the overall reaction. The artist is here to tear us out of such a lethargy of spirit, not only with his works of art, but also by critical opinion and free public speech.
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The topic of the paper is aimed at determining the basis and starting point for the development of the idea of transcendental philosophy, whose first conception is presented in the collected volume Latin Writings, where we can clearly see Kant's direction of thought, whose development and more detailed idea we have in Kant's Critique of Pure Mind. Kant sought to overcome two different directions of cognition, the difference of which stems from the source of cognition. Transcendental idealism is also developing in the direction of that movement.
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