The paper addresses a contemporary Polish debate on the limits and functions of juristic interpretation of law. After presenting the main theses and features of Jerzy Wróblewski’s clarificative theory of juristic interpretation and Maciej Zieliński’s derivational theory of juristic interpretation, the author critically discusses various arguments used in the debate. Finally, a tentative solution of the controversy, based on the criticism of Zieliński’s conception of legal norm, is proposed. It is argued that his conception is utopian and not recommendable, due (...) to unacceptable conceptual and practical consequences. (shrink)

This book is a study in the logic of questions (sometimes called erotetic logic). The central topics in erotetic logic have been the structure of questions and the question-answer relationship. This book doesn't neglect these problems, but much of it is focussed on other issues. The main subject is the logical analysis of certain relations between questions and the contexts of their appearance. And our aim is to elaborate the conceptual apparatus of the inferential approach to the logic of questions. (...) Questions are asked for many reasons and for different purposes. Yet, before a question is asked or posed, a questioner must arrive at it. In many cases arriving at a question resembles coming to a conclusion: there are some premises involved and some inferential thought processes take place. If we agree that a conclusion need not be "conclusive", we may say that sometimes questions can play the role of conclusions. But questions can also perform the role of premises: we often pass from some "initial" question to another question. In other words, there are inferential thought processes - we shall call them erotetic inferences - in which questions play the roles of conclusions or conclusions and premises. The inferential approach to the logic of questions focusses its attention on the analysis of erotetic inferences. This book consists of eight chapters. (shrink)

This paper argues for the idea that the logic of questions should focus its attention on the analysis of arguments in which questions play the role of conclusions. The relevant concepts of validity are discussed and the concept of the logic of questions of a semantically interpreted formalized language is introduced.

Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phe-nomenologically ask about the essence of the fugue, and the musical work put under analysis will be The Art of Fugue by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artis-tic mode of the essential occurrence of beyng as (...) an event. (shrink)

This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia Goehr (2010) and Siglind Bruhn (2000, 2001, 2019). The ekphrastic analysis of the first movement of Arnold Schoenberg’s Six Little Piano Pieces Op. 19 conducted in this article uses the methodology developed (...) by Gottfried Boehm (2014) and Georges Didi-Huberman (2005, 2015, 2017, 2018) in the discipline of art history. This article aims to delineate a new way of researching the art of music, an essential feature of which is the combination of the traditions of analytic philosophy and phenomenology. (shrink)

Our aim is to express in exact terms the old idea of solving problems by pure questioning. We consider the problem of derivability: "Is A derivable from Δ by classical propositional logic?". We develop a calculus of questions E*; a proof (called a Socratic proof) is a sequence of questions ending with a question whose affirmative answer is, in a sense, evident. The calculus is sound and complete with respect to classical propositional logic. A Socratic proof in E* can be (...) transformed into a Gentzen-style proof in some sequent calculi. Next we develop a calculus of questions E**; Socratic proofs in E** can be transformed into analytic tableaux. We show that Socratic proofs can be grounded in Inferential Erotetic Logic. After a slight modification, the analyzed systems can also be viewed as hypersequent calculi. (shrink)

Three semantic relations are analyzed: the relation of implication of a question by a question and a set of declarative sentences, the relation of implication of a question by a question, and the relation of strong implication of a question by a question and a set of declarative sentences. The connections between these concepts and the concepts of relative soundness, partial answerhood and presupposition are examined. The principal results are theorems about, to speak generally, epistemic reducibility of well-posed questions to (...) sequences of implied yes-no questions. (shrink)

First-order logic is formalized by means of tools taken from the logic of questions. A calculus of questions which is a counterpart of the Pure Calculus of Quantifiers is presented. A direct proof of completeness of the calculus is given.

The concept of search scenario is explicated in terms of erotetic logic, i.e., the logic of questions. Different kinds of erotetic search scenarios are characterized. The basic logical properties of erotetic search scenarios are analyzed.

Inferential erotetic logic and inquisitive semantics give accounts of questions and model various aspects of questioning. In this paper we concentrate upon connections between inquisitiveness, being the core concept of INQ, and question raising, characterized in IEL by means of the concepts of question evocation and erotetic implication. We consider the basic system InqB of INQ, remain at the propositional level and show, inter alia, that: a disjunction of all the direct answers to an evoked question is always inquisitive; a (...) formula is inquisitive if, and only if it evokes a yes–no question whose affirmative answer expresses a possibility for the formula; inquisitive formulas evoke questions whose direct answers express all the possibilities for the formulas, and each question erotetically implies a question whose direct answers express the possibilities for the direct answers to the implying question. (shrink)

(1996). Educational policy in Poland in the period of transition. The European Legacy: Vol. 1, Fourth International Conference of the International Society for the study of European Ideas, pp. 674-679.

The concept of erotetic argument is introduced. Two relations between sets of declarative sentences and questions are analysed; and two classes of erotetic arguments are characterized.

This paper develops a new proof method for two propositional paraconsistent logics: the propositional part of Batens' weak paraconsistent logic CLuN and Schütte's maximally paraconsistent logic Φv. Proofs are de.ned as certain sequences of questions. The method is grounded in Inferential Erotetic Logic.

By and large, Inferential Erotetic Logic (IEL, for short) is an approach to the logic of questions which puts in the centre of attention inferential aspects of questioning. IEL is not an enterprise of the last few years only. The idea originates from the late 1980s. It evolved through time. Initially, the stress was put on the phenomenon of question raising. This changed gradually, as some forms of reasoning that involve questions have appeared to be analyzable by means of the (...) conceptual apparatus developed. In this essay I present the basics of IEL and comment on them. Most, though not all, of the ideas discussed here have been scattered across my earlier publications. The invitation from the organizers of the Asking and Answering workshop (Greifswald, September 2020) resulted in an attempt of presenting the themes of IEL in a concise but, as I hope, also comprehensible way. (shrink)

The concepts of question evocation and erotetic implication play central role in Inferential Erotetic Logic. In this paper, deduction theorems for question evocation and erotetic implication are proven. Moreover, it is shown how question evocation by a finite non-empty set of declaratives can be reduced to question evocation by the empty set, and how erotetic implication based on a finite non-empty set of declaratives can be reduced to a relation between questions only.

The objective of the paper is a presentation and an interpretation of Władysław Stróżewski’s views on aesthetics. Built upon the foundation provided by classical metaphysics, Stróżewski’s aesthetics is simultaneously a continuation of the tradition of phenomenological interpretation of art. Stróżewski extends Roman Ingarden’s aesthetic theory by including the idea of numinous concretion, largely inspired by the works of Rudolf Otto. As a result, this new phenomenological perspective transcends the narrowly understood ‘aesthetics’ of the work of art towards the inherent dimension (...) of the sacred. Moreover, Stróżewski’s scrutiny of the aspect of art that goes beyond the aesthetic reveals an important relationship obtaining between his insights and the theological aesthetics of Hans Urs von Balthasar. Thus Stróżewski’s ideas turn out to be of significance to contemporary aesthetic and theological debates. In particular, he shows the movement of beauty from aesthetic to transcendental, and ultimately towards the sacred, where numinosum is manifested as Mystery. (shrink)

Roman Ingarden has exerted an immense influence on the development of aesthetics, and his texts in this field continue to inspire in-depth studies on art, despite the passage of several decades since the publication of his major works. At the same time, however, phenomenology – especially in France – brought about crucial changes during the second half of the twentieth century with regard to thinking about art, undermining its own methodological principles and tenets, as well as redefining fundamental phenomenological concepts. (...) In this article, I address the question of the continued relevance of Roman Ingarden’s approach to the musical work within the context of current phenomenological research, in particular that which concerns the subject of aesthetic concretisation. (shrink)

In 'The Work of Music and the Problem of Its Identity' by Roman Ingarden we are presented with a philosophical theory of the structure of the musical work. The author includes melody, rhythm and harmony among the primary elements of the musical work while dynamics, tempo and colouration (sonoristics) are classified as its secondary elements. The elements designated by the score constitute a schematic prescription for creating a particular work. Still, the scheme also includes numerous gaps and indeterminacies which can (...) be filled in only through performance which makes the work an individualized concretum. However, it is puzzling why the list of the elements of the musical work does not include articulation. In this article I claim that the absence of articulation in the theory of the structure of the musical work indicates its omnipresence, thus the broader we understand the term articulation, the better it penetrates into the remaining elements of the musical work, preserving its distinctiveness at the same time. (shrink)

Martin Heidegger in 'The Origin of the Work of Art' (Der Ursprung des Kunstwerkes) developed a whole new way of thinking about art, going beyond traditionally understood aesthetics or even philosophy of art. Some of Heidegger’s thoughts, however, appear to be understated and only signal a huge complexity of both experiencing works of art and the very issue of the origin of the work of art. The analysis of the terms ‘anxiety’ and ‘eyeblink’ from 'Being and Time' presented in this (...) article complement and develop Heidegger’s ideas included in his essay. Linking art to these two crucial phenomena of fundamental ontological analysis of Dasein casts light on the status of art and its existential significance. The author aims mainly at demonstrating the aletheic connection (based on unclosedness) between the experience of ‘originary source’ of a piece of art and ‘anxiety’, and also, in conclusion, he points to the ‘event of beyng’ as the essential, non-metaphysical origin of art. (shrink)

In the first part of his magnum opus Hans Urs von Balthasarpresents his project of theological aesthetics where the experience of art becomes an entrance to a religious act and an ennobling way leading to the contemplation of God. Defining the essence of being human as a spiritual being directed towards God bears a deep ethical meaning in this consideration. H.U. von Balthasar’s reflection over the religious dimension of the essence of art is shaped within theology but at the same (...) time in the opposition to aesthetic theology which is de-scribed as ‘aesthetisation’ of the Mystery of Revelation. The art of music occupies a particular place in this reflection. For this reason Mass in B Minor BWV 232 by Johann Sebastian Bach, which is an emblematic example of the revelation of the glory of the Lord (Herrlichkeit), will be analysed not only from the perspective of philosophical or musicological aesthetics, but also theological aesthetics. This article outlines characteristic features of theological aesthetics specifically developed from traditional philosophical aesthetics whose range was extended by the human being’s relation to God. (shrink)

The article considers the problem of the meaning of a musical discourse from the perspec-tive of hermeneutic phenomenology. The analysis is based on the collected essays by Paul Ricoeur, included in the book 'Language, Text, Interpretation'. The author of the article aims at contextualization of such terms as discourse, event, meaning, distance, appropriation, interpretation, self-understanding, projection of ‘the world of work’ and the projection of the possibility of ‘being-in-the-world’ with reference to a musical work of art.

Interest in “the flesh” (Leib, la chair) in phenomenological research leads to revealing the original (ursprünglich) and non-phenomenal essence of the very appearance. Contemporary phenomenological aesthetics is heading in the same direction. While describing the intentional content of particular, i.e. subjectively “embodied” aesthetic objects, it reveals the ultimate origin (Ursprung) thanks to which the appearance of phenomena is possible at all. At the same time, revealing the ultimate origin — differently named but always meaning the furthest horizon of the possibility (...) of the appearance of phenomena — sometimes claims to be called “first philosophy”. However, such ambitious cognitive aspirations of phenomenological aesthetics may arouse suspicion. This is why, first, we should ask about its differentia specifica and its position among other types of aesthetics, and then consider whether its most significant essential statements are not just as insightful as questionable. I argue for admitting that phenomenological aesthetics has the broadest cognitive horizon and at the same time for limiting its validity for individual actualizations (concretions) of potentiality (potentia) of given phenomena. I also point out that the basic cognitive procedure within phenomenological aesthetics is reductive reasoning, which goes in the opposite direction to logical entailment. (shrink)

A work of music as an artefact is a particular acoustic material. However, the sounds are not identical with music since they only constitute the external appearance of a musical work and its most explicit layer, while aesthetic perception is certainly not limited to the superficial perception of sounds. Contemporary research in the field of fine arts by Gottfried Boehm and Georges Didi-Huberman showed new possibilities of revealing the hidden inner phenomenality of a work of art. Yet, is it possible (...) to apply the methodology of research on the invisible visuality of a painting to the field of non-acoustic sound of a musical work? What kind of additional research problems does a work of music cause, taking into account the fact that it is not only created by its author-composer, but it also requires a re-creational performance to phenomenally exist? The article provides the critical analysis of Roman Ingarden’s views on the subject of a musical work and indicates the need to expand the research horizon as regards the issue of nonsounding elements of music. The article aims mainly at bringing new research perspectives on a work of music in the light of contemporary phenomenology. (shrink)

In this article, an analysis was made of what’s new in the debate on the condition of the contemporary political community brought up by the discussion about the relationship between care and justice. The author introduces the category of care in philosophy and its understanding and with particular emphasis on the views of Virginia Held. He analyzes the importance of a relationship of care as the foundation for the proper functioning of the socio-political community and criticism of the idea of (...) a social contract undertaken by representatives of the ethics of care. Critically, he presents the consequences of the assumptions of the civic community accepted by Held. (shrink)

There are inferences from a sentence or a set of sentences to a question. The relation between the premises and conclusions of such inferences is sometimes called arising.

Phenomenological reflection on the essence of art goes towards the revelation of its ultimate Source, which is also the Source of spirituality of a man and, finally, of artistic works. Art occupies a prominent place in the works of Martin Heidegger, Hans Urs von Balthasar and Michel Henry, and what they have in common is pointing out the ability of transcending artistic work towards beyond-aesthetic and over-aesthetic dimensions. For those philosophers the work of art is a ‘way’ which may lead (...) human spirit towards Transcendence (the Absolute, God), but also towards the inner self. In this article the reflection over a religious dimension of the essence of art is extended by the analysis of St John Passion, BWV 245 by Johann Sebastian Bach, as a particular example of an artistic realization of phenomenologically rooted philosophical and theological reflection. (shrink)

In the field of phenomenology philosophers more and more frequently show interest in early Christian thought – including apophatic theology – which, in result, affects the understanding of the role and significance of art. „Invisibility” in art and the manifestation of God through the work of art is a mystery which cannot be satisfactorily explained by traditional philosophical aesthetic models. Negative theology, together with its key apophatic way brings a new perspective of understanding art into contemporary aesthetic debates. Its 'reductive' (...) application can be found especially in the theory of the icon. Paweł Florenski's icon analysis and Jean-Luc Marion's category of the ‘saturated phenomenon’ converge in many points. Henry Dume ry’s henological reduction which is complementary to, but at the same time exceeds Edmunda Husserl's reductions, extends the horizon of the 'invisible' dimension of art by the relation the Spirit (intelligibility) makes with Transcendence. In the article I will show the cohesion of contemporary phenomenological thought, early Christian apophatics and the theory of the icon. I will also consider whether an aesthetic and theological framework so structured could be valid and useful as a general philosophical theory of art. (shrink)