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The aim of this paper is to survey informal interpretations of relational semantics for relevant logics in terms of the theory of semantic information. Relational semantics for relevant logics introduced a ternary accessibility relation which was often criticized as unintuitive. The paper presents three interpretations of the ternary accessibility relation based on the framework of situation theory.
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In this article an attempt has been made to describe the activity of three significant figures in the history of Church: St. Paul of Tarsus, John Paul II and pope Francis as regards the relationships they try to establish with their environment. The inspiration for this work have been the propositionsexpressed in the exhortation of the present pope Evangelii gaudium and the references to the two above mentioned figures in this text. The need for the two areas to coexist – mass media and the Church – in fulfilling the mission was noticed sometime ago, but nowadays, in the era of the modern media and fast technological transformations this need is realized in the operational dimension, also in the area of public relations. Reaching for the available tools and the way these tools are usedon the grounds of evangelism are the basis for the main proposal of this article that each time in case of the above mentioned figures we are faced with the creative process of “Gospel inculturation”, and measurable outcomes of this activity area component of knowledge, sensitivity, motivation and charisma of the spiritual leaders of the Church.
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The text concerns the symbolic-relational aspect of poverty’s social exclusion. It consists of two parts. In the paragraphs 1–3 the theoretical concepts are introduced. They focus on social exclusion and its linked phenomena: space, reproduction, consumption and giving up. Paragraph 4 describes the empirical research on preventing social exclusion caused by poverty. The example of warminsko-mazurskie voivodeship provides a number of actions, which are undertake to counter this problem – strategic planning, widening the access to public service, activation policy or social economy.
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When the phenomenological approach began to be studied by architects, due to its potential to bring back the essence of existence through direct contact with the world, the design process itself began to change. The way the perception of space once built is intercorrelated directly with the capture of its essence. Such a spot will instantly evolve into a place that will order and organize the space around it by its own presence. The amplitude of successive experiences in such a space, which we can call place, precisely because of these experiences, can be animated through formal searches, experiments with a range of materials, light and color that are no longer distinguishable from the existing context. The perception of space is interpreted as a product of experience, viewed as innate capacity, or as having a purely sensory nature, or, finally, as having a cognitive-intellectual nature. Cartesian coordinates become insufficient in trying to define a place, its limits being both uncertain and unclear; summing up the experiences, the sensations it induces, the feelings and sensations caused or exerted in that space. Thus, the connotations that a place can have for each of us become seemingly infinite but dazzling in precision, the compatible personalities often being attracted by similar places. The influence of the building, or its absence, as well as the materiality present in such places, on their connotations is the theme of this paper.
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In the article the aesthetical and art research of well known French postmodernist Roland Bart, which reflect, first of all, the early period of his creativity are described. Roland Bart during certain time was the head of the movement of "new criticism". Among R. Bart's aesthetical and art practices we will emphasize his interest to a wide range of the questions connected with a problem of art creativity which is both philosophical, and aesthetic, both art criticism, and ethical, and – it is clear – psychological. The position of the theorist is analyzed against his general theoretical installations and in the ratio with the main tendencies of development of the French aesthetics of the 50 – the 70 th years. It is worth to write, that Barthes's ideas and his approach to writing evolved over the course of his career, and critics often discuss his works in terms of four stages in his critical thinking. In the first stage of his career, Barthes, influenced by the ideas of Sartre and Karl Marx, demonstrates a strong interest in issues of language, its relationship to historical and social context, and its relationship to power. In these works he developed his notion of écriture, the aspect of discourse in which the author's social and historical context imbues his or her writings with unintended meanings that are revealed in structural analysis. In Mythologies Barthes analyzed aspects of contemporary French culture–for example, advertising, travel guides, and professional wrestling–to explore ways in which they support a bourgeois worldview. The next phase of Barthes's career, which also marked the high point of Structuralism in France, is a rigorously theoretical one and includes his famous 1964 essay "Eléments de sémiologie" (published in English as Elements of Semiology). Encompassing the ideas of Saussure, Roman Jakobson, and other noted linguists, Barthes theorized about the role of language versus that of speech. To Barthes, language is based on an abstract set of rules and conventions regulating verbal and written communication, whereas speech refers to individual instances of how that language is used. The third phase of Barthes's career, influenced by French theorists Jacques Derrida and Julia Kristeva, marks a shift in his thinking from Structuralism to Post-Structuralism in the 1970s. In such works as S/Z and The Pleasure of the Text, Barthes stresses the idea that literary texts contain multiple and shifting connotations, and are therefore open to a number of possible interpretations. He also distinguishes between "readerly" and "writerly" texts: the former refer to common areas of knowledge and accommodate traditional interpretation, while the latter are more open and invite the reader to fill in gaps and make intertextual connections in the process of reading. The final phase of Barthes's career, which includes his autobiography, Roland Barthes (1975; Roland Barthes by Roland Barthes), as well as A Lover's Discourse, Le chambre claire (1980; Camera Lucida), and Incidents (1987; Incidents), is a more personal one. In these works, Barthes writes about his diverse intellectual interests, from literature to travel, and photography, in a more meditative and introspective style.
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In der Studie werden jene von den apulischen Vasen im Budapester Museum der Schönen Künste behandelt, auf deren Darstellungen von zwei oder drei Gestalten – Eros, Frau, Jüngling – häufig auf mehreren Ebenen bedeutungsvolle Symbole (Kranz, Spiegel) bzw. zum dionysischen, aphroditeischen und orphischen Kreis gehörige Elemente (thyrsos, Weintraube, tympanon, Vogel, Blume, Ei usw.) gemischt, nebeneinander vorkommen. Die Geschenkdarreichungs- (Abb. 1; Abb. 3) und die sog. Verfolgungsszenen (Abb. 2) hat G. Schneider-Herrmann als aufeinander folgende Elemente der Eheschließung interpretiert. Die Verfolgungsszenen sind jedoch nicht unbedingt als Paare zu deuten, die zum Schauplatz der Hochzeitszeremonie eilen, sondern ähneln viel mehr dem Frauenraub, für den es auch in der Mythologie Beispiele gibt: die Hochzeit der Thetis oder Persephone. Vielenorts wurde der Pseudofrauenraub auch ein Teil des Hochzeitsrituals. Im Falle jener Szenen, auf deren Eros vorausgeht und die Frauengestalt ihm folgt, kann auch an einen Typ der Liebesmagie (agog#) gedacht werden, wenn das Opfer der Beschwörung (die Frau) vom Trieb zum Haus dessen geführt wird, der sie angewandt hat.
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The Gospel of John says: “No one has ever seen God, but the one and only Son, who is him-self God and is in closest relationship with the Father, has made him known” (J 1, 18). In the scene where Philip asks Jesus: “Lord, show us the Father and that will be enough for us”. Jesus answers: “Don’t you know me, Philip, even after I have been among you such a long time? Anyone who has seen me has seen the Father” (J 14, 8–9). The subject of this article Merciful face of God in the sign of the picture “Jesus, I trust in you” refers to those words “Anyone who has seen me has seen the Father”. Looking at the image of the merciful Christ we have unusual experience. Faustina says that it represents the Incarnated Word of God, which took a human body with its limitations. The picture which was painted according to Jesus’ directions has its “limitations”. But still it is the icon of God who is rich in mercy.
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Cross in the Jesus’ preaching in commonly interpreted neither as a symbol or as post-Eastern projection produced by Christian community. Similarly the figure of Jesus’ helper, Simon of Cyrene, is frequently interpreted as symbolic one, as the dramatic repetition of Jesus’ indications for his disciples. In this study we try to explain the possibility of real (not symbolic) meaning of the disciple’s cross in the Gospels. We present the texts about cross and disciples divided into three groups: Matt 16, 24 (par. Mark 8, 34; Luke 9, 23), Matt 10, 38 (par. Luke 14, 27), Matt 27, 32 (par. Mc 15, 21; Luke 23, 26). Our analysis of these texts offers the possibility of understanding the preaching of Jesus as eschatological self-revelation of the Lord of Life. In the pericope about Simon we see the historical narrative with relevant information about the members of primitive Christian community presented by Marc. In Luke’s version we recognize the literary rearrangement of this fact in the compatibility with the Jesus’ teaching about disciple’s cross.
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The paper explores the place of discourse on children’s clothes within the ideological discourse of the Soviet epoch: what meaning was carried by colors of children’s clothing, what ideological messages were conveyed through verbal and visual utterances on how to dress kids. As research methods, discourse analysis and visual content analysis were used. The authors studied recommendations on children’s clothes contained in books, brochures, magazine articles published in the USSR from the 1950s to the 1980s, and postcards depicting children from 1960 to 1980. The research results indicate that in the Soviet official discourse of the late 20th century, children’s world was considered in some cases as distinguished from the adults’ one. It seems that one cannot speak of a single and consistent Soviet conception of childhood throughout the whole period of existence of the Soviet Union.
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The monument “The Motherland calls!” as a visual image has become popular not only in static forms of information transmitting (postcards, stamps, photos, books, albums, etc.), but also in dynamic forms, such as films. The article studies documentary films as practices of using the monument “The Motherland calls!”, erected in 1967 in Volgograd, and analyzes the variants of using the symbolic potential of the monument in these cinema sources. The author concludes that the meta-discourse of the monument includes the set of various patterns of speech — communicational events, such as the discourses of peacefulness, memory, border, locus.
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The piece studies the use of E. Vuchetich’s sculpture “The Motherland Calls!” on Mamayev Hill in Volgograd in the modern Russia’s politics of memory. The author considers the problems of including the image into the memorial discourse, compares local and global context and analyzes the “memory wars” caused by referring to this symbol — the struggle for the right to use and interpret its visual images. Special attention is given to the attempts to reconsider the image and the role of this sculpture in regional identity. Based on the analysis, the author concludes that the practices of political use of the monument are determined by its unformalized status in the symbolical political space, and are defined by the struggle between various political actors trying to capitalize on the image of the Motherland.
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The article deals with the analysis of inclusion of the monument «Motherland calls!» in educational policy. The study showed that the image of Motherland is actively used in educational process because its visibility and clarity allows the actors of educational policy to construct knowledge about the history of the country and the attitude toward it.
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The article suggests the study of the meaning of the sculpture «The Motherland Calls!» for the Dagestanis as a result of the symbolic politics of modern Russia. Forms of inclusion and society's reaction to sculpture and the context of its inclusion in social discourse are considered. The work contains the comparative analysis of the attitude of the Dagestanis to the mother image of Russia and the sculpture «Motherland Calls!». The author comes to the conclusion that the Dagestanis as a whole perceive the sculpture «The Motherland -Calls!» as part of the common past with the rest of Russia; the contexts of inclusion of the sculpture in the public discourse correspond to the all-Russian; it is a patriotic discourse, a memory of victory in the war.
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Edward Bond is a major voice in contemporary political theatre. He has played a great role in shaping the landscape of British theatre. His career spans over sixty-five years and he has written more than fifty plays as well as poems, penned drama theory and drama notes. Lear (1971) is seen as one of Edward Bond’s most important plays by many critics. With Lear, which is the rewriting of Shakespeare’s King Lear, Edward Bond seems to express his hidden instinct to overcome Shakespeare and to make Lear mythology more useful for his age. In the play he questions the possibility of social change, explores oppressive systems of the contemporary world, discusses the social role of the artist and gives hope with optimism for salvation of the human being. The aim of this paper is to examine Edward Bond’s ambition of rewriting Shakespeare’s King Lear in order to reveal the political and social ills of contemporary societies, and to investigate his effort to cope with Shakespeare and to evaluate his criticism of Shakespeare in the play.
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In this paper, I analyse the standpoint according to which alleged subsentential speech acts are in fact ellipses. I argue that extralinguistic context usually does not determine unique linguistic expression which could be regarded as the elided fragment. Next, I critically examine the view which regards subsentential utterances as unenriched situated illocutions and claim that it is not adequate, since it does not satisfactorily explain why such acts are successful. Finally, I propose a pragmatics-oriented view based on Recanati’s moderate relativism. Contrary to Recanati, I postulate unarticulated constituents in the content of subsentential utterances. I argue that this view can disarm the objection from case-matching which is one of the most powerful objections against all pragmatics-oriented views.
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Pierre Bourdieu (1930-2002) is one of important names in sociology because of the theories and opinions he proposed. Pierre Bourdieu gave to sociology many new terms, such as; metaphor of game and area, habitus, symbolic capital and symbolic violence. Research that Pierre Bourdieu conducted and the opinions that he proposed became important sources for new research not only in sociology but also in many other fields. It is evident that especially his findings on symbolic violence have an important role in many research studies of social sciences. Symbolic violence can be defined as a pressure that is not physical and that is applied for the survival of the current system. This kind of pressure is a violence that is applied on a social subject with their own complicity. In this study, which is a novel analysis, the novel “Tırpan” of Fakir Baykurt (1929-1999) is assessed in terms of the symbolic violence of Pierre Bourdieu. Fakir Baykurt, who adopts the socialist realist point of view, is an important writer in Turkish literature. Fakir Baykurt, in his works, approaches society and the dynamics that keep it alive and that effect it, from a point of view that blends his philosophy of life and his opinion on art. The TRT novel award was given to Tırpan. The novel approaches the marriages of girls who are still in their childhood with men who are rich and old and the consequences of these marriages. This is a very important problem. The novel shows the opinions of people on this subject and the problems that it creates. This novel is chosen for this study and analysed because of its chain of events and the point of view of the author on this subject.
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This study analyzes two popular YA fantasy series: Cassandra Clare’s The Mortal Instruments and Sarah J. Maas’ Throne of Glass. We evaluate both series for explore tropes and themes common to YA fantasty. Research shows that popular series have importat effect on identity formation of readers, for good or ill. We conclude that, despite often being written by women and about girls, the narratives found in YA often perpetuate internalized sexism, play into racist tropes, reduce heroines to love interests, romanticize unhealthy relationships, use rape as a plot device, and abuse characters’ reproductive abilities.
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Żaglewski outlines the most important examples of Polish comic texts with a focus on superheroes. Using an approach based on media comparative studies, he examines common and individual aspects of comic series from the US and Poland. The main goal is to define the Polish superhero monomyth as a local version of the American monomyth, which is strongly codified both in terms of theme and ideology, and which serves as a foundation for superhero stories. This allows Żaglewski to distinguish subversive and affirmative Polish variations of Western superheroic tales.
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Enciklopédikus természetű művek bírálatánál mindegy, hogy hol kezdjük, az értelmezés úgyis kikerülhetetlenül körbe-körbe jár, hosszú kűröket kell lejteni, mielőtt értelmes véleményt fogalmazhatna meg az ember. Aki kedvét leli ebben, az már feltehetőleg Ecot is élvezte, s remélem, nem unja az alábbi eszmefuttatásokat sem. Kezdem tehát azzal, amivel Umberto Eco, az utóbbi évtizedek esztétikai-szemiotikái irányzatainak divatos sztárja bámulatba ejtette a világot, és megbotránkoztatta tudós kollégáit, vagyis A rózsa nevével, amelyben irodalom- és kultúrelméleti szakértelmét először kamatoztatta. A második regény, A Foucault-inga e bírálat tulajdonképpeni tárgya is jobban értelmezhető, ha megvizsgáltuk az első sikerét.
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The paper continues the philosophical treatment of information, and the first idea/ in fact, the premise is that information is a concept, videlicet constructed in/by the human mind as a result of manifold human experiences, so of the multi-mediated contact of the consciousness with the external world to it. But this constructedcharacterof concepts –here, of the concept of information –raises a problem, put in the paper as the second idea: that of the correspondence of the concept of information with the real world, or in other words, that of the objective character of information. Is there this objective character? Why and how do we arrive at this conclusion, and thus what do we mean by information? The third idea mentioned in the paper is that in parallel with the development of sciences which have demonstrated the objective character of information in the inorganic and non-human living worlds, a vulgar dominant “philosophy” has put its mark on the modern and contemporary worldviews and mentalities: that the social information, given and received by humans, would be as “natural and inevitable” as the objective information in the non-human worlds. But, especially,the social information is – however reflective would it be –subjectively created and decided, not governed by physical laws. Nevertheless, this subjective character of information in the humans’ world does not mean that it is tantamount to moral relativity or taste judgements.And – this is the penultimate idea – since the social information takes place in asymmetrical power Relations subordinated to private restrictive interests, and within which those who control matter also control information, it results that the privately controlled social information producesharmful results: because the private interests subordinate all the human consequences to the hic et nunc/ short term and focusedprivategoals. The private control of Information and Communication Technologies (ICT) has led to informationbombardments of the masses of human beings –considered only as consumers –in order to buy more and more commodities, including IT gadgets,and programmes which make their beneficiaries vulnerable and infantile. The dominant ideology pictures the privately directed information bombardments as progress, equating them with the importance of information and the right to information. Butthe main feature of the information issued from the privately conducted information bombardments is itsquantitative and qualitative excess, leading to what was called a disease produced by information, informatonosis.Therefore, what is important is to distinguish information from quantitative and qualitative noise/trash, and there are criteria for this: the consequences of information and noise/trash.If so, the last moment of the paper is only a reminder of a “solution” given by the ancient philosophy: the concept of measure. This one has remained for the dominant modern and contemporary thinking a marginal and unpleasant memento.But nowadays,to keep measure seems to be a condition of persistence of both the humans and their creation, i.e. information/culture.
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