This article discusses selected conceptions of aesthetic value formulated by representatives of the Lvov-Warsaw School, including Kazimierz Twardowski, Władysław Witwicki, Władysław Tatarkiewicz, Tadeusz Czeżowski, Mieczysław Walfisz-Wallis, Stanisław Ossowski, Leopold Blaustein, and Tadeusz Kotarbiński.

The paper deals with the concept of empty name in the theory of Tadeusz Kotarbiński - one of the representatives of Lvov-Warsaw School. The aim of the article is to reconstruct Kotarbinski's definition of empty names, his thesis concerning structure and connotation of empty names, his interpretation of categorical sentence with empty names and to point out problems which arise in consequence of these theories. Only same expressions regarded traditionally as empty names are empty names according to Kotarbinski, e.g. "son (...) of childless mother" or "centaur". Expressions like "Brotherhood of the sons of childless mother" - in opinion of Kotarbiński - aren't names at all, they are onomatoids. In Kotarbiński's syntactic-semantic definition of empty name several vicious circles can be found. His theories of empty names and their connotation are at odds with his thesis of reism. He doesn't make any distinction between different types of empty names, but he prompts to distinguish three types of such names: (1) names of objects the non-existence of which is known by experience and names of such non-existing objects, which could exist in the past, (2) names of incoherent objects and (3) names of objects, which can exist in future. The semantic definition of empty names consistent with reism is possible on condition that empty names are only the names of objects that will exist in future. (shrink)

The main aim of the paper is to define trade mark and to indicate varied semiotic functions which it fulfils. We define trade mark as a product of man used on the market to identify products or services of a certain firm or to distinguish products or services of a certain firm from those of other firms. All trade marks fulfil an identificative or differentional function. We distinguish trade mark from trade name: the trade name becomes a trade mark iff (...) it has such-and-such a specified visual form. We claim that trade name is a proper name which refers to a certain firm and has no connotation. Trade mark in advertising (1) refers to particular products or services and (2) connotates the product’s (service’s) property being produced or distributed by a particular firm. The trade mark placed on the package of some product is both: (1) an index sign, which “points to” the fact that the object in the package is produced or distributed by such-and-such a firm and (2) a performative (a sign which generates a new state of affairs), which certifies that the object in the package is produced or distributed by such-and-such a firm. (shrink)

The aim of the paper is to present views and opinions of the representatives of Lvov-Warsaw School upon subject, tasks, methods of aesthetics and its place among others sciences. Although writings on aesthetical problems appeared in the Lvov-Warsaw School relatively late, many scholars from that scientific circle contributed very much to the development of aesthetics - among others - Stanisław Ossowski, Mieczysław Wallis, Leopold Blaustein, Władysław Tatarkiewicz, Tadeusz Czeżowski, Stefan Baley, Władysław Witwicki and Tadeusz Witwicki. The opinions of these philosophers (...) and psychologists (and also other representatives of Lvov-Warsaw School which were not interested in particular aesthetical problems) upon subject of aesthetics and its place among sciences are varied, but they agree that aesthetics is a philosophical science and that the concepts and thesis of aesthetics should be clear and well constructed, whereas incorrectly posted problems - eliminated. (shrink)

Author: Horecka Aleksandra Title: THE CONCEPT OF AESTHETICAL VALUE IN TATARKIEWICZ’S PAPERS (Pojęcie wartości estetycznej w pracach Władysława Tatarkiewicza) Source: Filo-Sofija year: 2011, vol:.13/14, number: 2011/2-3, pages: 601-615 Keywords: WŁADYSŁAW TATARKIEWICZ, AESTHETICAL VALUE, ONTOLOGICAL CATEGORY Discipline: PHILOSOPHY Language: POLISH Document type: ARTICLE Publication order reference (Primary author’s office address): E-mail: www:The purpose of this paper is to report and analyse the main theses of Tatarkiewicz’s theory of aesthetic value. We concentrate on ontological problems – what is aesthetical value and what (...) is the ontological category of valuable object. Tatarkiewicz claims, that: “The term ‘value’ refers to an abstract: property of thing, or to a concrete: to thing endowed with this property”. Many types of aesthetic value (aesthetic value in narrow sense, literary value and poetical value) exist. The only difference between using concept of aesthetic value only in positive sense and using concept of aesthetic value both – in positive and negative sense – is formal. Concerning thesis (1) we claim, that expression “thing” in Tatarkiewicz’s theory is the synonym for “physical object”; not only material objects, but also physical events and processes are Tatarkiewicz’s things as well. In our opinion the concept of aesthetic value proposed by Tatarkiewicz is objective, therefore formulation of thesis of aesthetic subjectivity, which Tatarkiewicz also did, is problematical. Using Tatarkiewicz’s terminology, we construct concept of value as a state of affairs (that some object is endowed with value-property) and we accept monocathegoriality of values (value is a property, a thing endowed with this property or a state of affairs). Concerning thesis (2) we divide all objects into semantic and asemantic and we claim, that in Tatarkiewicz’s theory, only asemantic objects or semantic but semantically uninterpreted object could be endowed with aesthetic value in narrow sense. The aesthetic value in narrow sense is its property considering its appearance or structure. As to the literary and poetical values – they are ascribed to semantic object in consideration of represented object. Concerning thesis (3) we argue, that it is significant whether we use concept of value only in positive sense or both – in positive and negative sense. Only in language with both expressions (“positive aesthetic value” and “negative aesthetic value”) we can formulate the theses about aesthetically neutral objects. (shrink)