Foucault’s later writings continue his analyses of subject-formation but now with a view to foregrounding an active subject capable of self-transformation via ascetical and other self-imposed disciplinary practices. In my essay, I engage Foucault’s studies of ancient Greco-Roman and Christian technologies of the self with a two-fold purpose in view. First, I bring to the fore additional continuities either downplayed or overlooked by Foucault’s analysis between Greco-Roman transformative practices including self-writing, correspondence, and the hupomnemata and Christian (...) ascetical and epistolary practices. Second, I add exegetical support to recent arguments denying Foucault’s advocacy for the death of the subject per se. In fact, my analyses show that Foucault’s ethico-aesthetic turn and its corresponding concern with self-transformation and self-(re)constitution via ascetical practices assumes a subject with rational and volitional capacities. Without these capacities, the art of living Foucault describes is not possible. (shrink)

A review is undertaken of the contributions of 38 classical authors, from Pythagoras in the 6th century BCE to Isidore in the 6th century CE, to the classification of the sciences. Such classifications include some that are more theoretical in function, some that are more practical. The emergence of the quadrivium and trivium is charted; the Greek concept of “enkýklios paideía” and the Latin term “artēs liberales” are defined; and the ways in which the form, content, and function of science (...) classifications change during this period are assessed. (shrink)

This very long book sets out to track and trace the working-class men and, less commonly, women who, against the limited expectations of their social position, learned Greek and Latin as an aspiration for personal change. The ideology of the book is clear and welcome: these figures “offer us a new ancestral backstory for a discipline sorely in need of a democratic makeover.” The book's twenty-five chapters explore how classics and class were linked in the educational system of Britain and (...) in its cultural performativity: Is he a gentleman? Does he have Greek? became the paradigmatic questions, as the study of classics became a sign of cultural attainment and social exclusion. This book sets out to explore the counterstory of the cobblers and shepherds who, like Jude the Obscure, fought against society's oppressiveness to access classical learning.The book's breadth is exemplary. It looks at the issue through genres and media, through different communities and national identities, through the prosopography of ragged-trousered philanthropists, beggar-lecturers, body-building performers, and through other institutions and people who helped, including adult-education teachers, kind bosses, supportive vicars, and fiery communists. This breadth, and the fascinating research that it encapsulates, will make this book a fantastic resource for future scholarship: it outlines the richness of a field that has been all too rarely explored properly. If you do not know Stephen Duck, “the thresher poet,” or Hawkie, the crutch-wielding beggar who performed from the books he sold on the streets of Glasgow, then this book is the place to the meet them. The cast list alone is worth the entrance ticket.Yet this very breadth is also the source of the book's limitations. The sheer number of cases listed, treated at similar length and depth, repeatedly conceals the complexity and even the interest of individual figures or events. So, the numerous representations of Vesuvius in shows around London in the first half of the nineteenth century—after the discoveries at Pompeii—are duly noted as a source of excitement and knowledge about antiquity, but against the recent treatment by Clare Pettitt in Serial Forms (which came out the same year) this mere noting looks desperately thin. There is little discussion of how the characters themselves talked about or negotiated class. This deficiency is particularly important for someone like Charles Kingsley, who was very active in the Chartist movement but also became Queen Victoria's chaplain and the professor of history at Cambridge. There are hilarious descriptions of Kingsley's stammering engagement with the working-class leaders he actively supported, which capture how awkward the interaction of classes could be even and especially when the participants shared a goal of transformation. (Ed Richardson's Classical Victorians: Scholars, Scoundrels and Generals in the Pursuit of Antiquity is good on these moments of awkwardness but is one of several books whose absence from the notes looks pointed.) The authors list cases of working men who were picked up by fashionable society as poets or scholars, many of whom were dropped almost as quickly back into penury—but the telling description of such a case in Kingsley's Alton Locke is passed over, although it reveals an acute self-consciousness about such narratives in a best-selling novel.The very structure of the book tends toward listing cases rather than analyzing them in depth. It is not clear why “Shoemaker classicists” should take up a chapter, bar there having been some. Nor is it clear why some figures are not included. John Brown was an uneducated Scottish shepherd who taught himself Greek, Latin, and Hebrew. He was discovered by a professor, one John Pringle, when he went into a shop to buy a secondhand Greek Testament (though his own church thought this newfound and inexplicable linguistic brilliance suspicious or even satanic). Brown went on to write the wonderfully titled The Self-Interpreting Bible, which remained in print and sold very widely for more than a century after its publication in 1778—especially after it was championed by the evangelical preacher Charles Simeon. It is a pity that Brown escaped the authors’ net, but religion, one of the main reasons to learn the classical languages, is downplayed throughout this study, although its imbrication with classics is everywhere in evidence. The book, significantly enough, leads rather toward a rosy-eyed depiction of posh classical communists like Geoffrey de Ste. Croix and George Thompson, and other such heroes of the authors.The authors are much more at home in the years of ardent republicanism in the decades on either side of the turn of the nineteenth century and in the beginning of the twentieth century, when socialism and communism became embedded in British life. The last half of the nineteenth century, when classics really established itself institutionally as a discipline, and its revolutionary potential moved away from the zeal of the Romantic philhellenists into the artistic idealism of a Richard Wagner or the sexual freedom of an Oscar Wilde, are less adequately explored. The huge attendance at art galleries and the Great Exhibition at Crystal Palace as a route to encountering the past of antiquity in material form are barely addressed (Kate Nichols's Greece and Rome at the Crystal Palace would have helped); nor do shows like Astley's Circus get air time (Rachel Bryant Davies's Troy, Carthage, and the Victorians is revealing). It is particularly noticeable in such a voluminous study that there is no discussion of how turning to Greek was a crucial route for the self-understanding of what was considered transgressive male sexuality—and for a particular engagement between the classes. To understand the social force of classics requires a deeper appreciation of the dynamics between conservatism and transformation, disciplinarity and self-discovery. The big picture of how classics matters is lost in the gems picked out by the authors. Gems they are, but their facets need more attention and their setting a broader perspective. (shrink)

Between the zone of certainty beyond all doubt and the zone of incomprehensible uncertainty, the sources of which are nothing but chance, we need to use solid results from a vast interdisciplinarity. We wish to give here a sense of the factors in play and the state of the debate and advance in the territory of how interdisciplinarity may help to solve problems which are common in many areas of knowledge. Chaos and complexity certainly put limits on what we can (...) know. High complexity, asymmetry and/or non-linearity are universal types of imprecision. Can hazard have purpose and direction?The idea is that the more effort we put into project design to cover as many details and possible consequences as possible we can grasp in our in-depth analysis aiming to create the project (in art or science or society), the greater the chances that the random occurrence of the unpredictable event will settle on the project's purpose and direction and not on contrary to them. There is no vicious circle here. This kind of method can explain many good results already obtained in such circumstances. Simplicity, beauty, rationalistic optimism, are features of unshakeable scientific results We may call this feature of scientific theory or art _uniqueness. _Uniqueness is strongly correlated with _essentialization. _Science is working in that sense: to simplify a phenomenon to its essence in order to study it easily without losing anything important in the analysis. That is _essentialization. _Why and how complex systems move to the edge of chaos? And what do they do to stay there? They are in constant struggle to create or keep order in complexity. That is the pattern of self-organization, the specific feature of human nature. That is why our action is meant to build resilience to deal better with unpredictable events and prevent the emergence of a critical threshold. Uncertainty, indeterminacy, randomness, and contradictions appear, not as non-essential substances of debate to be eliminated by explanation, but as everlasting ingredients of our conception of reality. There are compelling reasons to believe that it is impossible to make accurate, nontrivial predictions concerning human behavior. Logic and reason are and remain priority, but unpredictability forces us to imagination and creative thinking. Indeed we are confronted with a new human landscape. The anomalies become the new normal. (shrink)

Most scientific models are not physical objects, and this raises important questions. What sort of entity are models, what is truth in a model, and how do we learn about models? In this paper I argue that models share important aspects in common with literary fiction, and that therefore theories of fiction can be brought to bear on these questions. In particular, I argue that the pretence theory as developed by Walton (1990, Mimesis as make-believe: on the foundations of the (...) representational arts. Harvard University Press, Cambridge/MA) has the resources to answer these questions. I introduce this account, outline the answers that it offers, and develop a general picture of scientific modelling based on it. (shrink)

Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and ...

This monograph offers a critical introduction to current theories of how scientific models represent their target systems. Representation is important because it allows scientists to study a model to discover features of reality. The authors provide a map of the conceptual landscape surrounding the issue of scientific representation, arguing that it consists of multiple intertwined problems. They provide an encyclopaedic overview of existing attempts to answer these questions, and they assess their strengths and weaknesses. The book also presents a comprehensive (...) statement of their alternative proposal, the DEKI account of representation, which they have developed over the last few years. They show how the account works in the case of material as well as non-material models; how it accommodates the use of mathematics in scientific modelling; and how it sheds light on the relation between representation in science and art. The issue of representation has generated a sizeable literature, which has been growing fast in particular over the last decade. This makes it hard for novices to get a handle on the topic because so far there is no book-length introduction that would guide them through the discussion. Likewise, researchers may require a comprehensive review that they can refer to for critical evaluations. This book meets the needs of both groups. (shrink)

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Work of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which the (...) basic general structure of all literary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

Featuring contributions from leading experts, this book represents the first collection of essays on the topic of art and science in the analytic tradition of ...

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Word of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which the (...) basic general structure of all lliterary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

The United Kingdom Climate Impacts Program’s UKCP09 project makes high-resolution forecasts of climate during the 21st century using state of the art global climate models. The aim of this paper is to introduce and analyze the methodology used and then urge some caution. Given the acknowledged systematic errors in all current climate models, treating model outputs as decision relevant probabilistic forecasts can be seriously misleading. This casts doubt on our ability, today, to make trustworthy, high-resolution predictions out to the end (...) of this century. (shrink)

Virtue epistemology is one of the most flourishing research programmes in contemporary epistemology. Its defining thesis is that properties of agents and groups are the primary focus of epistemic theorising. Within virtue epistemology two key strands can be distinguished: virtue reliabilism, which focuses on agent properties that are strongly truth-conducive, such as perceptual and inferential abilities of agents; and virtue responsibilism, which focuses on intellectual virtues in the sense of character traits of agents, such as open-mindedness and intellectual courage. This (...) volume brings together ten new essays on virtue epistemology, with contributions to both of its key strands, written by leading authors in the field. It will advance the state of the art and provide readers with a valuable overview of what virtue epistemology has achieved. (shrink)

The paper provides an overview of the early considerations regarding the phenomenon of plagiarism – from Greco-Roman antiquity to the time when a thorough study examining literary theft in its textual, legal, and moral manifestations was printed, i. e. “Philosophical Dissertation on Literary Plagiarism” by Jacob Thomasius. Although the issue of plagiarism was very vital in ancient times, all the oldest considerations concerning the appropriation of other people’s texts were essentially pragmatic moves or reactions rather than purposeful theoretical (...) interpretations of the subject. However, in addition to the situational grounds of the accusation, they can reveal certain principles that, according to estimations of the time, could prevent or refute allegations of plagiarism. It was enough if the author stated, albeit generally but clearly, that the fragments of other people’s texts, whether altered or not, were used. It was also acceptable if the reader believed that the author considered his borrowings recognizable to educated readers. Another reason for the elimination of possible accusations was the factor of competition – the author’s desire to adapt the achievements of another cultural environment in his own one, significantly improving them. The medieval and early modern materials generally testify to the relevance of ancient views and reveal some new problems. This is, in particular, the incompatibility of new more formalized ideas about authorship and traditional educational practices, which encouraged the uncontrolled use of others’ texts. Some authors also emphasized that plagiarism was an obstacle to the development of science. The paper ends with examples that show how European ideas about the rules of using others’ writings may help interpret the writing methods of the early modern Ukrainian authors, including philosophers. (shrink)

The time honoured philosophical issue of how to resolve the mind/body problem has taken a more scientific turn of late. Instead of discussing issues of the soul and emotion and person and their reduction to a physical form, we now ask ourselves how well-understood cognitive and social concepts fit into the growing and changing field of neuropsychology. One of the many projects that have come out of this new scientific endeavour is Zaidel’s (2005) inquiry into the neuropsychological bases of art.

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Work of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which the (...) basic general structure of all literary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

The tenth volume of the Frontiers of Japanese Philosophy focuses on the theme of “transition,” dealing with transitory and intermediary phenomena and practices such as translation, transmission, and transformation. Written in English, German and Japanese, the contributions explore a wide range of topics, crossing disciplinary borders between phenomenology, linguistics, feminism, epistemology, aesthetics, political history, martial arts, spiritual practice and anthropology, and bringing Japanese philosophy into cross-cultural dialogue with other philosophical traditions. As exercises in “thinking in transition,” the essays reveal novel (...) modes of doing philosophy as a way of boundary crossing that takes transition not only as an object of inquiry, but also as a method of philosophical practice itself. (shrink)

The Polish philosopher Roman Ingarden is, with Heidegger, Sartre and Merleau-Ponty, one of the foremost representatives of the phenomenological movement founded by Edmund Husserl. The ideas of his most famous work, The Literary Work of Art, have made a powerful impact on contemporary aesthetics and literary theory. The present volume, a collection of essays all of which appear in English here for the first time, derives from the period towards the end of Ingarden's life when he turned from special (...) problems in aesthetics to the general theory of value and to the study of human nature. Six of the essays, including the longest piece, a masterly study of the problem of responsibility, were originally published in Polish as Little Book on Man. The remaining three essays: on the objectivity and relativity of values, on our knowledge of values and on the foundations of ethics, have been specially translated for this volume, which includes an introduction by the editor. The work is above all of interest to philosophers, who will find here an aspect of Ingarden's thought hitherto unknown to English readers. But the clear and forceful style of these pieces, which has been captured admirably by the translator, will also make the work of interest to the layman, to whom it offers an insight into the ways in which phenomenological philosophy may be put to work in solving problems which have a direct bearing upon his own life. Of interest to: Philosophers, anthropologists, aestheticians, students of these disciplines. (shrink)

Jon Robson and Aaron Meskin have argued that the insights obtained through the philosophical analysis of video games is not specific to video games, but to a larger class of artistic creations they term Self-Involving Interactive Fictions, or SIIFs. But there is at least one aspect of SIIF video games that is philosophically interesting and does not apply to the class of SIIFs as a whole, the ability to represent non-classical time. If SIIF video games are considered to be an (...) extension of the art form of graphic narrative story-telling, the art form dominated by film, then the ability to represent time in in this fashion represents a revolution akin to that of vanishing point perspective in painting. This makes SIIF video games philosophically interesting for both philosophers of film and philosophers of video games. (shrink)

The Logic & Structure project is about the language of mathematical logic and how it can be of use in the visual arts. It involves a conversation between a mathematical logician and a group of artists. The project is ongoing, and this is a report on its first two phases. This text has two parts. The first, “Logic”, is a short introduction to certain aspects of logic, as it was presented to the participants. The second part, “Structures”, describes some of (...) the outcomes.The inspiration for the project comes from modern model theory whose advances revealed the extent to which formal methods may be helpful in describing and analysing mathematical structures. While the structures that are studied are often immensely complex, the formal language in which their properties can be expressed is simple. Its syntax is precisely defined and well understood, and this understanding often successfully guides us in our explorations of the rich world of mathematical objects. Our goal is to see the extent to which a similar approach could be of value when talking about works of art as structures. To this end, one could try to describe existing art objects in terms of suitably chosen formal languages, but we follow a reverse route. The language is described first, and the participating artists are asked to come up with artwork in which formal elements and their relations are chosen in advance, making it easier to identify those features of the created pieces that can be formally expressed. In other words, we are not thinking of applying formal methods to create art; rather we want to begin with samples that can serve as material for discussion. (shrink)

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Work of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which the (...) basic general structure of all literary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

This article assesses the role of an important Russian public institution, the Russian Orthodox Church (ROC), in shaping the religious discourse on bioethics in Russia. An important step in this process was the approval of ‘The Basis of the Social Concept of the Russian Orthodox Church’ (2000), one chapter of which is devoted to bioethics. However, certain inadequacies in the creation of this document resulted in the absence of a clear position of the Russian Orthodox Church on some end-of-life issues, (...) reproductive technologies, embryo stem cells, and other topics.Using the example of reproductive dilemmas, the author researches how the ROC clarifies its teaching on issues relating to bioethics. In the 2010s the ROC introduced a new method of taking into account the views of believers and the articulation of the church’s position. This article examines the extensive public discussion of a new document, ‘Ethical issues Associated with In Vitro Fertilization’. (shrink)

Philosophe polonais et disciple d'Edmund Husserl, Ingarden envisage la relation a l'oeuvre d'art comme une experience menee dans un echange reciproque et continu avec l'objet. Il defend ainsi une esthetique qui n'est ni purement subjectiviste en ce qu'elle n'est en rien reductible aux sentiments emotionnels d'un sujet, ni purement objectiviste en ce que les determinations reelles et materielles de l'oeuvre donnee exigent la participation intentionnelle du spectateur pour s'accomplir en manifestation intuitive concrete. Objet intentionnel par excellence, l'oeuvre d'art se tient (...) entre monde reel et monde spirituel, entre realite et jeu imaginaire. Elle se donne au spectateur comme une invitation a deployer son activite intentionnelle et, ce faisant, a participer a la vie de l'oeuvre a travers l'histoire de ses receptions. Les textes reunis ici offrent un large panorama des preoccupations esthetiques d'Ingarden. Ils presentent les principaux resultats de ses recherches theoriques concernant la nature des vecus et des objets esthetiques, ainsi que des applications concretes des analyses ontologiques menees sur differents types d'oeuvres d'art (litterature, peinture, architecture et film). L'ensemble des analyses ontologiques et phenomenologiques y est egalement toujours adosse a la question des valeurs, et de l'evaluation artistique ainsi qu'a la recherche d'un fondement objectif des valeurs. (shrink)

Współcześnie próby systematyzowania sztuki na podstawie jej wartości zastępują raczej teorie opisowe, które stronią od jej ocen. Co więcej, refleksja postmodernistyczna, zmieniając swój stosunek do sztuki niskiej, skutecznie zatarła różnice w hierarchizacji walentnych treści sztuki. Wzmocnienie głoszonych w awangardzie programowych tez zmierzających do unieważnienia dotychczasowych kryteriów postaw oceniających wartość sztuki przyszło wraz z tzw. filozofią postmodernizmu. Założenia postmodernizmu ukazują wizję sztuki współczesnej, która osiągnęła kres swoich możliwości twórczych, innymi słowy nie ma współczesnej możliwości powiedzenia w sztuce czegoś nowego, co nie (...) będzie tylko cytatem, powtórzeniem, rekapitulacją tego, co już w sztuce było. Tego rodzaju hipoteza zakłada, że wyobraźnia ludzka jest zbiorem skończonych możliwości, a w procesie rozwoju kultury doszliśmy w czasach współczesnych do punktu, w którym wszystkie możliwe kombinacje zostały już wykorzystane. W tej sytuacji możemy albo przyjąć postawę zniechęcenia, albo sięgnąć do czasów minionych i wyselekcjonować poszczególne elementy, zestawiając je w eklektycznej kombinacji tak, aby nosiły znamiona nowości. Ale, aby przeprowadzić ten eklektyzm, który ma spełniać pozory nowości, trzeba wyjść od zwątpienia w kategorię racjonalnego rozumu, czyli braku wiary w naturalny porządek świata. Tylko wtedy głównym operatywem na gruncie kultury pozostanie wszechobecna ironia. I w tym duchu, zgodnie z założeniami postmodernizmu, należy czytać tzw. wielkie narracje historyczne, czyli systemy filozoficzne, religie, projekty społeczne czy też teorię sztuki. Obecne w historii narracje należy traktować jak wielkie literackie opowieści, które, być może, mają ciekawą fabułę, ale nie są prawdziwe i nie wychodzą poza zdawkowy komentarz. Katalog często stawianych hipotez wybranych i omówionych w artykule wskazuje na ich niejasną i często wadliwą konstrukcję. Nie oznacza to jednak niemożności stawiania pytań o wartościowanie na gruncie estetyki. Należy pamiętać, że pewne kwestie pozostają niezmienne w ocenie sztuki. Kryterium oceny dzieła sztuki uzyskane na podstawie cech empirycznych pozostaje niezmienne, a zatem to, co nazywamy kwestiami warsztatowymi, może przejść jako pierwsza przesłanka uznania, bądź nie, dzieła sztuki za wartościowe. Podobnie na bazie pewnej fikcji wizualnej urzeczywistniane są wartości, które nie są dostępne w świecie realnym, tym samym nie pełnią funkcji czystej repetycji doświadczenia ze świata realnego, więc mogą zaistnieć w świecie sztuki. Tym samym wartość sztuki może być mierzona skalą wprowadzenia do doświadczenia podmiotu poznającego czegoś, czego dotąd podmiot nie doświadczył. (shrink)

Si les écrans sont multiples, les images sont toujours à construire dans une expérience perceptive qui participe aux cheminements du sens et des imaginaires. En virtualisant ses émotions esthétiques par le recours permanent à Internet et aux réseaux sociaux, le spectateur s'engage dans des approches complexes, à la fois conceptuelles et émotionnelles. Une coexistence qui lui permet de vivre des expériences esthétiques au fort potentiel critique. Face à la présence de plus en plus grande du virtuel dans les vies quotidiennes, (...) et aux débordements de l'image hors de la surface écran à travers les technologies de réalité augmentée, l'enjeu est aujourd'hui de repenser la place du corps. (shrink)

Spiders have always fascinated humankind as whilst they are often reviled, their product, the web and its silk, are commonly viewed in awe. As such, silks’ material properties and the fear and fascination surrounding the animals that spin it are seen to play an important role in the development of many cultures and societies. More recently this is even more so with the formalization of this inspiration in scientific and technical communities through biomimetics. The aim of this work is to (...) reflect on the beginnings of our relationship with silk and discuss concepts associated with spider silks and webs in ancient Greek and Roman times whilst comparing this with our current understanding of the field. In this way, ancient texts, namely Greek and Latin ones, are found to intersect with modern advanced disciplines, ranging from architecture to medicine to physics. This allows us not only to understand how natural observation has evolved from antiquity to today, but also how such a highly interdisciplinary research network has been spun by some shared conceptual threads. (shrink)

Transformer-based language models (TLMs) have widely been recognized to be a cutting-edge technology for the successful development of deep-learning-based solutions to problems and applications that require natural language processing and understanding. Like for other textual domains, TLMs have indeed pushed the state-of-the-art of AI approaches for many tasks of interest in the legal domain. Despite the first Transformer model being proposed about six years ago, there has been a rapid progress of this technology at an unprecedented rate, whereby BERT and (...) related models represent a major reference, also in the legal domain. This article provides the first systematic overview of TLM-based methods for AI-driven problems and tasks in the legal sphere. A major goal is to highlight research advances in this field so as to understand, on the one hand, how the Transformers have contributed to the success of AI in supporting legal processes, and on the other hand, what are the current limitations and opportunities for further research development. (shrink)

The development of the vital potential of the drama theater is in a continuous search for new forms of expression. Today, in an attempt to establish itself on the territory of a multicultural environment, as well as in an attempt to gain a unique method of communication with society, the theater as an art sphere expands the boundaries of its purpose. Going beyond the stage space turns out to be an important subject of research from the point of view of (...) the search for the artistic existence of the theater in the conditions of digital reality. This article discusses the issue of finding a place for a drama theater in a digital environment where the energy of human relations is significantly minimized and manifests itself in a specifically different way. The subject of the research for the author was the cultural and creative activity of the Tovstonogov BDT. The St. Petersburg Bolshoi Drama Theater does not need recommendations: it has a great history in the twentieth century, an attractive stage "today" for the audience and, undoubtedly, interesting prospects. In the practice of BDT under the leadership of Andrei the Mighty (2013-2023), there are such turns of dramatic action that are not directly connected with the stage and are almost out of place for the "repertory" theater. The phenomenon of the theater, as if removed from its ancestral roots, leaving the walls breathing tradition, is considered in the article as an experience of cultural and theatrical "exit" to the "stage" of digital reality. Among such experiments, the most significant are the social action "Help the doctors", as well as the experiments of "Minecraft" performances. In addition to the usual comparative historical method for art studies, others will be used, first of all, the formal method, which distinguishes the St. Petersburg school of theater studies. Scientific novelty is determined by the subject of research itself: BDT is considered as a phenomenon of a multi-genre cultural space, in which, as before, a special place is rightfully given to the actor, his role, as well as to the viewer who finds himself in the conditions of a new socio-cultural picture of the world. (shrink)

The article deals that biblical theology of Еmerging church focused primarily on the issues of the role of the community in the interpretation of Holy Scripture, the characteristics of the Biblical narrative and comparison of the Bible and the Word of God. According the theology of community sources for the development of theology found in Holy Scripture, tradition and culture, through which God speaks. Therefore Holy Scripture is not the monopoly authority in matters of faith and theology. To explain Holy (...) Scripture can only staying in the church community where truly knowable Christian truth. According B.McLaren the Bible should never be studied and analyzed. The Bible should be seen as a work of art and to read like a story based on the fact that most of the text of Holy Scripture is precisely the narrative. The cause of erroneous traditional reading of the biblical narrative is that it was generated by the synthesis of the Greek philosophical tradition with the political, economic and military dominants of Roman Empire. B.McLaren considers the correct way of understanding the Bible attitude to it as a library of specific community, which traces its history to the biblical patriarchs. The task of the modern reader of the Bible - put yourself in text, in conversation, in history, in a community of people who seek God. (shrink)

The article is an attempt not only to refer again, but also interpret some pivotal elements of the concept of sublimity presented in Kant’s Critique of Judgment. Kant presented a source interpretation of the category referring to sublime phenomena of nature or simple works of art, but such delineating of the field of interest was caused by the epistemological aims of the third Critique. In this presentation I would like to widen Kant’s interpretation of the conception and add some references (...) of the sense of freedom to the content of psychological character. This problems are a subject of intensive research among Torun aestheticians. (shrink)