One of the most controversial theses of Jacques Lacan is his conviction that a very specific relationship links ethics and desire. The aim of the article is to present what this new relationship consists in, and, further on, to outline the weaknesses of this concept, which does not take into account the existence of the sovereign good as a category available to cognition. According to my thesis, Lacan believes that the ethics of Supreme Good, or simply traditional ethics of goods, (...) leads the human subject to remain, voluntarily, within the Imaginary dimension. The idea of the ethical postulate will be treated here not so much as something applied during psychoanalysis, but as a general clue as to how people should behave. (shrink)

Justifying the existence of professional ethics in medicine is usually connected with the traditions of a profession and with a humanistic dimension of these ethics, pointing at the same time to their culture-forming character. With such an attitude, professional ethics is treated as a part of all mankind’s output, and its teaching turns out to be an important element of preparation for taking part in culture. Taking into account the cultural meaning of professional ethics, one should notice that all discussions (...) about the character of relations of medicine and ethics exceed the very health care system. The dilemma outlined in the article deals with the problem whether the existence of medical ethics requires external regulations or is this also a creation of the very representatives of medicine and only they can formulate it. If the latter is to be assumed, ethics in medicine would have to be independent of other detailed ethics and it would not need to be included in any other more general theory. In the first solution, medical ethics is becoming a part of general ethics and, therefore, it would be justified to include it in a more general theory – bioethics. The authors indicate that professional ethics does not limit freedom of the staff but gives a special opportunity to use it. Records constituting its contents are mostly standardized by a professional group which sets criteria of recruitment on its own and general duties resting on their members. (shrink)

The tension between the traditional scenario, in which women fulfil themselves mainly as mothers, as well as the emancipatory approach to women’s roles reverberates more and more in Polish society. This conflict between various social expectations has a significant impact on women’s experience of picking up the role of a mother, as well as the intensification of identity ambivalence accompanying their departure from said role. This paper describes the stage in mothers’ lives when adult children move out of their family (...) homes. As part of the [blinded for the review] project, the authors have analysed the stories told by 40 Polish women, whose adult children had moved out of the house, leaving behind a void. The moment of entering a new stage of motherhood and womanhood has been told in the context of a private place – their homes. To further highlight the experience of this moment by the women who participated in the study, the authors have conducted an analysis of their stories within the framework of Victor Turner’s liminality theory. In the case of the women, who participated in the study, the experience of liminality does not lead to a new status that would be socially recognisable. Only nine of them – according to the analysis carried out by the authors – experienced, among other things due to owning or changing their own space, the phase of aggregation, which is typical of becoming a woman in a new role – a mother of an adult child who left home. In contrast, their approach towards space and the practices of everyday life became a pointer showing them the way out of the role of mothers and let them change their status, which the sociologists lack a name for, as the authors argue. (shrink)

In order to fully render the “ideal of female beauty”, Dante Gabriel Rossetti was planning a picture which he never executed as an individual canvass. Its aim was to show Venus as seen from various perspectives. It was to be achieved through the use of a number of mirrors surrounding Venus in a complete circle. This project implies that the idea standing behind Rossetti’s art was to reveal the woman as the creator both of herself, being a reflection of a (...) concept created beforehand in her mind, as well as a creator of her own image, being a reflection of this “enhanced” her, in the mirrors. At the same time an infinite number of reflections, raises the power of feminine creation to a universal level and becomes a metaphor of her being the patron goddess of art as well. Thus a “universal” space where all different ladies “meet” is created. In his early paintings, Rossetti employs a combination of different “moments of perspective” that make pictorial space “universal”. His late works become separate “mirror perspectives” of Venus. As a collection, they constitute this set of images unattainable in one picture and extend this “universal space” onto the physical space surrounding them. Also, the manner in which these paintings are executed creates an impression of a “reflection” of the eyesight of each heroine outside of the canvass, returning back into the picture. Thus a new quality is given to the connection of the pictorial space within the frames and that surrounding it. (shrink)

This article reconstructs and interprets the evolution of the Minoan myth’s reception in literature, fine arts, and urban development during the twentieth century. The author’s understanding of this evolution is based on three assumptions: a) myth is a polysemantic symbol of metaphysical and historical origins and function; b) myth reflects the relationship of the cognitive vs. creative mechanisms of human activity; and c) as symbolic, myth’s form must be treated as an image as much as it is a narrative. As (...) a motif in literature and the arts, the Minoan myth in particular has displayed all three of these aspects by allowing first its heroic narrative and, more recently, its formal structure and visual setting to serve as porte-paroles of ongoing social and civilisational transformations: aestheticisation, deconstruction of cognitive and political hierarchies, technicisation, and intensive urbanisation. The displacement of the narrative and of the figure of the Minotaur is interpreted from the perspectives of psychoanalysis and post-structuralism. (shrink)

As one of the seminal theorists further developing François Laruelle’s politically-poised “non-standard philosophy,” Katerina Kolozova’s approach to animality and feminism is part of a particular post-humanist Marxist continuum (which includes Rosi Braidotti, Luce Irigaray, Donna Haraway and N. Katherine Hayles). Nonetheless, Kolozova distinguishes herself from this lineage by adhering to Laruelle’s method, liquidating philosophy of its anthropomorphic nexus. Thus, Kolozova also belongs to a more recently inaugurated and nascent tradition, working in tandem with post-Laruellean philosophers of media, technology, aesthetics and (...) feminist critique, such as Bogna Konior, Yvette Granata, Jonathan Fardy and John Ó Maoilearca. Within this variegated assemblage, Kolozova’s most recent project, Capitalism’s Holocaust of Animals(2019), saliently reconciles and radicalizes Haraway’s epochal dyad of the “inhuman”—a bifurcation riven by technology on one node and the animal on the other—by a resolution of superlative unity. This methodology, adhering to Laruelle’s system of“synthesis-without-synthesizing” attempts to dissolve the spectral chimeras that have haunted philosophy’s metaphysical heredity, proffering a generic identity. (shrink)