Selected works of the contemporary Polish abstract painting in the light of Ingarden’s conception of metaphysical qualities: The main thesis of my article is that Roman Ingarden’s concept of metaphysical qualities can be adapted to analyze and interpret artworks that represent some tendencies in abstract painting. I start by summarizing this concept, taking into consideration the elements of its reconstructions that are present in the source literature, especially those aspects that concern art. Although Ingarden’s idea can be used with many (...) examples, I employ it to analyze chosen artworks by the outstanding Polish abstract artists Tamara Berdowska, Władysław Podrazik, Tadeusz G. Wiktor and Jan Pamuła. I do not intend to refer to these paintings strictly in Ingarden’s terms, but I use these criteria in a way that allows me to enrich the interpretation of these artworks by showing them in a new light. By recognizing the role of contemplation of art, I try to fnd the genesis of the analyzed examples and reveal how metaphysical qualities manifest in them and infuence the viewer. I underline aspects that are distinctive of the presented artists and are related to the exceptional ability of abstract language to correspond to Ingarden’s idea. Subsequently, when developing my point of view I maintain the relationship between aesthetic and metaphysical sense that creates a kind of interdependence. These artists intentionally go beyond purely aesthetic efects to relate to transcendence. By adapting Ingarden’s concept to some contemporary abstractions, I try to link philosophical and critical ways of approaching these artistic phenomena with special regards to their metaphysical connotations that tend to be overlooked in contemporary discourses. (shrink)

W niniejszym artykule rozważam możliwość orzekania prawdy i fałszu o wytworach aktywności artystycznej człowieka, czyli dziełach sztuki. Rozważania te zawierają trzy ograniczenia: w polu moich zainteresowań pozostają przede wszystkim literackie dzieła sztuki; chodzi mi przede wszystkim o czysto poznawczy sens prawdy i fałszu, w szczególności, możliwość aplikacji tzw. klasycznej definicji prawdy; za podstawę swoich rozważań biorę przede wszystkim ustalenia wypływające z rozważań fenomenologów, w szczególności: W. Stróżewskiego, R. Ingardena, M. Heideggera i E. Husserla. Ustalenia te pozwalają mi ostatecznie przyjąć, iż (...) dzieła sztuki nie mogą być wprawdzie nosicielami prawdy klasycznie pojętej, ale są i mogą być siedliskiem „prawdy jako manifestacji”. (shrink)

This paper presents an attempt to describe Józef Tischner’s philosophy of drama from the point of view of Larry Laudan’s philosophy of science. That is achieved with the help of the concept of Philosophical Research Traditions developed in the paper. A~certain conceptual problem of Tischner’s philosophy, and some future research topics are also presented.

Ingarden’s puzzle is: how can we come to know what is essentially involved in an act of knowing? As starting point he takes what he holds to be a particular good candidate example of such an act, namely an act of perceiving an apple. Here we have act and object standing in a certain first-level relation to each other. We now in a second level act of reflection, make this first-level relation into an object, and strive to apprehend this object (...) as an instantiation of the essence knowledge. But how, on this basis, could we ever establish that we had indeed grasped this essence, and that this is indeed the appropriate essence? Surely, through some third-level act of reflection on this second-level act. We expound from an ontological point of view Ingarden's idea as to how this regress can be avoided. (shrink)