This paper is an attempt to clash the problem of forgiveness as formulated in contemporary secular and Christian ethics with Kierkegaard’s considerations concerning this issue. Kierkegaard’s thought is increasingly used in the modern debate on forgiveness. It is therefore worth investigating whether Kierkegaard’s considerations are really able to overcome in any way contemporary disputes concerning this problem or enrich our thinking in this area. The main thesis of this paper states that there is a fundamental, ontological difference between Kierkegaard’s understanding (...) of forgiveness and that of modern thinkers. While the Danish philosopher refers to the transcendent reality of spirit, where the act of forgiveness is always performed by God, in contemporary ethical and Christian thought, forgiveness is first and foremost formulated from an immanent point of view that appeals to the world of human values. This difference is demonstrated by analyzing the four main themes corresponding to the most important issues taken up in the contemporary debate on forgiveness. These are: the victim-offender relation, the conditionality and unconditionality of forgiveness, the issue of condonation, and the problem of the unforgivable. As a result of the analyses presented herein, the impossibility of directly applying Kierkegaard’s transcendent theses to ethical thought of the immanent variety will be shown. (shrink)

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)

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 Author is of the opinion that cultural impact of modern theoretical physics is entirely negative. This is so because modern theoretical physics does not have a consistent view of the world. This is to be compared with the blessing of having a consistent and understandable view of the world, as given, for example, by the mediaeval astronomy and theology.

The article attempts to characterize three key doctrinal controversies in the Carolingian Renaissance, namely: the disputes over the Eucharist, the so-called trina deitas, and predestination. The core of the article is an exposition of the controversy concerning predestination, whose main protagonist is Gottschalk of Orbais. The article discusses four crucial issues related to the problem: (i) the concept of God, (ii) the understanding of grace, nature and free will, (iii) the relation of foreknowledge to predestination, and (iv) the doctrine of (...) redemption, i.e., specifically the relationship betweenjustice and mercy. The article is largely an attempt at an interpretation of the texts of the epoch, mainly those of Gottschalk of Orbais and his adversary, Hincmar of Reims. The conclusions point to difficulties in the issues discussed and outline what attempts at solving this problem have taken place in the coming centuries. (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 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)

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)

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)

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)

In his late works, Maurice Merleau-Ponty attempts to show the direction for the development of a new phenomenology. While analysing the intertwining of the visible and the invisible, he raises a question about the way we participate in Being. For Merleau-Ponty, experiencing a work of art is a representative example of our participation in the flesh (la chair). This article will analyse the broadly understood idea of visibility in art and its ability to transcend its apparent aesthetics into its invisible (...) side, which is the source of all appearance and self-knowledge of existence. (shrink)

In the article I analyse the phenomenological possibilities of sanctioning a religious revelation through the experience of art. First, I present the context for reflections on the religious dimension of art on the grounds of contemporary phenomenological research. Next, I analyse the main methodological problems within the research area under consideration. I also propose an interdisciplinary approach to the issue of art and revelation, which allows for a complementary presentation of this complex research problem at the intersection of aesthetics, phenomenology, (...) philosophy of religion and theology. (shrink)

The article discusses the problem of musical time presented in Edmund Husserl’s 'The Phenomenology of Internal Time-Consciousness'. The author of this article aims to describe the basic properties of immanent time on the basis of an analysis of the musical, resp. sound examples given by Husserl. Husserl’s reflections on inner time-consciousness – preceding Roman Ingarden’s examination of musical time included in 'The Work of Music and the Problem of Its Identity' – constitute an important stage in the reflections on immanent (...) time in a musical work. The article, as a study belonging to the phenomenology of music, is a critical analysis of the basic terms of phenomenology of time, such as original impressions, retention, protention, consciousness, perception, and intentionality. (shrink)

Tekst dotyczy wybranych problemów związanych z utylitaryzmem jako koncepcją etyczną. Autor prezentuje krótki zarys tej teorii, z uwzględnieniem podstawowego jej podziału na utylitaryzm czynów i utylitaryzm reguł. Zasadniczym przedmiotem zainteresowania są jednak zarzuty formułowane w stosunku do tej doktryny. Przedstawiona krytyka oraz niektóre odpowiedzi na nią dotyczą różnych budzących kontrowersje punktów utylitaryzmu. Wśród nich znajdują się odniesienia do nadmiernych roszczeń wysuwanych wobec sprawców czynów. Inne ujemne oceny odwołują się do trudności przewidywania następstw działań. Kolejne głosy wiążą się z zarzutem ignorowania (...) przez rozpatrywaną koncepcję fundamentalnych intuicji moralnych. W niektórych opiniach podnoszona jest kwestia hedonizmu charakterystycznego dla klasycznej wersji propozycji sformułowanej przez Benthama i Milla. Przedmiotem negatywnego osądu stało się też ignorowanie osobowego kontekstu moralności i idei sprawiedliwości przez koncepcję użyteczności. (shrink)

The article raises the subject of intentionality of art in the light of transformations that counter-intentional phenomenology and non-intentional phenomenology have undergone. The changes to the way intentionality was understood substantially influenced aesthetic reflection and for that reason the starting point for the article is the analysis of Edmund Husserl’s intentional phenomenology followed by counter-intentional phenomenology of Jean-Luc Marion and non-intentional phenomenology of Michel Henry. Next, we will analyse how the ideas were absorbed by the developing phenomenological reflection on art, (...) which paradoxically resulted in counter-reduction of the world and existential opening to experiencing its contents thanks to art. At the same time, the changes in understanding intentionality opened new directions for research into the intentionality of art itself. Therefore, the article aims at pointing towards contemporary research areas for phenomenological aesthetics and also indicates major methodological problems related to counter-intentional and non-intentional research perspective. (shrink)

In his text, the author develops the notion of trust as a condition for the possibility of any relational anthropology. Referring to the root associated with trust as the foundation of the relationship, he takes a position in the dispute about the primal nature of trust or perfidy; believes that in the abusive practices of credit and debt there is a reversal of the meaning of what is a necessary element of human life, relationships based on trust. Perfidy is possible (...) precisely because there is trust. On the basis of such concepts, he develops an analysis of events in the global economy at the turn of the 20th and 21th century, especially the financialization, based on the ideas of such authors as Arrighi, Bourdieu, Eichegreen, Pobłocki and Stiegler but also Lacan. (shrink)

The author reflects on the Warsaw Uprising and its effects on his contemporaries and subsequent generations. The Uprising has evoked conflicting emotions, the hottest debates whether it was justified in light of the ensuing losses and the destruction of Warsaw. A frequently-asked question is whether it was worth sacrificing so many people for an obviously lost cause.The Warsaw Uprising also functions as a national legend of selflessness, sacrifice, solidarity, and courage, its protagonists displaying uncommon determination and perseverence in their struggle (...) to free their country. A legend which successive generations of Poles have kept alive despite the years that have elapsed. (shrink)

The paper refers to selected issues of exploitation in the face of justice. The analysis is based on the definitions of exploitation contained in the Penal and Civil Codes. The main goal is the identification of the necessary and sufficient conditions for the recognition of exploitation as being unjust. A supplementary question will refer to a specific type of justice which should be considered in this case. In this respect, we should consider retributive, distributive and social justice. Another important factor (...) in this regard is the accepted theory of value. In the presented considerations, we will focus on the labour theory of value. The principal issue can be expressed by the questions whether exploitation is ipso facto unjust and how the phenomena of exploitation and justice are related to each other. (shrink)

Głównym przedmiotem badań jest sens nadawany idei sprawiedliwości społecznej w katolickiej nauce społecznej. Równie ważną kwestię stanowi to, jaki wpływ wywiera jej rozumienie na koncepcję wspólnoty politycznej. Doktryna katolicka została w tej dziedzinie zestawiona z, jedynie szkicowo zarysowanymi, rozstrzygnięciami w innych tradycjach refleksji społecznej. Punktem odniesienia były propozycje zawarte w myśli liberalnej i lewicowej. Z racji rozległości tematyki konieczne stało się ograniczenie do prezentacji jedynie wybranych wątków tego zagadnienia.

Artykuł opisuje wybrane aspekty sporów, jakie zajmowały część osiemnastowiecznych filozofów. Zostały one zainspirowane niektórymi Locke’owskimi propozycjami, a dotyczyły sposobu rozumienia osoby i zagadnienia tożsamości osobowej. Wymiana poglądów na temat osobowej identyczności odnosiła się do kwestii jej substancjalnego charakteru i roli, jaka jest w niej przypisywana świadomości. W tej pierwszej sprawie Leibniz, Butler i Reid opowiadają się za substancjalnym charakterem tożsamości człowieka, zaś Locke uchyla się od zajęcia stanowiska. Drugi problem w dużej mierze związany jest z poprzednim, na co wskazuje m.in. (...) podobny rozkład poglądów. Locke uznaje świadomość za zasadnicze kryterium tożsamości osobowej, a Leibniz, Butler i Reid się temu stanowisku przeciwstawiają. (shrink)

Artykuł dotyczy pewnych problemów związanych z relacją między ideą sprawiedliwości a państwem. W tekście zostały przedstawione następujące problemy: państwo opiera się na źródłowej niesprawiedliwości; współczesne państwo demokratyczne niweczy możliwość ustalenia podstaw dopuszczalnej niesprawiedliwości; powyższy stan redukuje podmiotowość moralną osób i transferuje ją do instytucji politycznych. Aby uniknąć takich konsekwencji, państwo winno zostać ustanowione na jakiejś formie umowy społecznej. Fundamentalna zgodna co do sprawiedliwych warunków powinna zostać uzgodniona pomiędzy pojedynczymi osobami oraz pomiędzy osobami a państwem.

W latach 40. XIX wieku Luigi Taparelli i Antonio Rosmini wprowadzili do publicznego obiegu termin „sprawiedliwość społeczna”. Od tamtego czasu znaczenie tego pojęcia znacznie się poszerzyło. Autor stara się pokazać specyfikę poszczególnych sensów nadawanych „sprawiedliwości społecznej”. Sprawiedliwość społeczna będąca przedmiotem analizy w tym tekście utożsamiana jest z ideami równości i solidarności. Rozpatrywana równość dotyczy szans i uprawnień.

W latach 40. XIX wieku Luigi Taparelli i Antonio Rosmini wprowadzili do publicznego obiegu termin „sprawiedliwość społeczna”. Od tamtego czasu znaczenie tego pojęcia znacznie się poszerzyło. Literatura przedmiotu notuje liczne identyfikacje tego konceptu. Niniejszy tekst koncentruje się na wskazaniu kilku jego ujęć. Autor, w siłą rzeczy skrótowo zaprezentowanych analizach, stara się pokazać specyfikę kilku znaczeń nadawanych „sprawiedliwości społecznej”. Sprawiedliwość społeczna będąca przedmiotem analizy w tym artykule utożsamiana jest ze sprawiedliwością ogólną (prawną) i rozdzielczą.