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. (shrink)

Name der Zeitschrift: Klio Jahrgang: 99 Heft: 2 Seiten: 644-675.

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 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 ...

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 ...

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)

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 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)

A stereoscopic view on a particular historical event, in which contemporary assessments are combined with mental stereotypes of a medieval man, allows a slightly different assessment of the chronicle plot about the posthumous “baptism of bones” of Oleg and Yaropolk, Princes of Kyivan Rus, in 1044. While from theological positions it is perceived as an absurdity and a direct violation of the rules of the church, in the Middle Ages this act did not contradict the mass religious beliefs. From an (...) ethical point of view, the action of Yaroslav the Wise was regarded as concern for the souls of the ancestors who died pagans and therefore did not claim for the salvation. The soteriological optimism that prevailed in the eleventh century in countries of the late Christianization, including Kyivan Rus, gave hope that living people were able to influence the fate of the souls of the dead. From a political point of view, the baptism of the ashes of the ancestors and their reburial in the family tomb of the Princes of Kyiv in the Church of the Tithes was aimed at expanding the circle of heavenly patrons and protectors of the princely dynasty, expanding the period of the Christian history of Kyivan Rus, and, as a result, legitimizing the power of Yaroslav the Wise. (shrink)

The article explores specificities of thematization of science and scientific rationality in Martin Heidegger’s fundamental ontology. This analysis focuses on the concept of scienticity, character- istic for Heidegger’s “early” line of thought, as well as continuation and divergence of exposition of “science” and the nature of “theoretical attitude” as the subject of interpretation of transcen- dental phenomenology of E. Husserl. This research places an emphasis on particularity of Hei- degger’s explication of existential concept of science as opposed to prevailing logico-epistemolog- (...) ical philosophy of science, and foundation of thematization of scientific “subject matters” and theoretical attitude upon the universe of ontological understanding of being of entities (regional ontologies). It also focuses on Heidegger’s assertion of fundamental ontological projection in a status of a peculiar “science of knowledge”, which gives ground for a priori pre-conditions of specific sciences. Separate attention is paid to a specifically Heideggerian approach to explication of the rooting of initial scientific orientation in the sphere of pre-scientific experience, which ar- ticulates itself in so called “fundamental concepts”, as well as positioning of contemplative ‘present-at-hand’ paradigm of theoretical knowledge as a derivative modus of a primary use of ‘ready-to-handness’ as a phenomenological founding basis of everydayness’ experience. The author came to the attention that scientific knowledge is a project Dasein. It is within the framework of self-design that Dasein thematizes what happens to another region of being that is the subject of scientific knowledge. In other words, making things available in researching, applying themes, provided that the design allowed late as the systematic development of the most modern buildings, such as is done in the world, and possibly everyday greeting improvised performance. (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)

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 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 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)

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 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)

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)

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)

Research questions asked about Pompeius’ cura annonae – often termed “grain command” – dwell mainly on what made it more like any other promagistracy. Scholars tend to approach this office as if it were a kind of military command, albeit innovative. However, unlike promagistrates before him, Pompeius was endowed with the task which concerned the sphere domi. While not neglected, this aspect of Pompeius’ power becomes even more significant if appreciated through the lens of a more general problem of (...) class='Hi'>late-republican promagistrates’ interference in the sphere of domestic politics. This paper aims to supplement scholarly observations on the cura annonae, including F. Vervaet’s recent findings, by reconsidering especially the evidence on Pompeius’ making or revising a list of grain recipients. (shrink)

In his Bellum Ciuile, Caesar reports the events of 1 January 49 with these words : misso ad uesperum senatu omnes qui sunt eius ordinis a Pompeio euocantur. laudat Pompeius atque in posterum confirmat, segniores castigat atque incitat.When the Senate had been dismissed towards dusk, all who belonged to that order were summoned by Pompeius. He praised the determined and encouraged them for the future while criticizing and stirring up those who were less eager to act.This meeting has not attracted (...) much scholarly attention and admittedly for a good reason: other circumstances of the outbreak of the Civil War are, perhaps, more significant for understanding the events as well as the intentions and decisions of the political actors. The importance of this gathering lies, however, not so much in what its role might have been in the developments of the year 49 but rather in the context of the phenomenon of the promagistrates’ interference in the domestic politics of Late Republican Rome. (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)

This article outlines a discursive framework for understanding public policy uses in different narrative contexts. The framework describes a definition of the term «discourse,» its historic and intuitionally related nature, and how descriptions of «state» and «policy» transforms into legal, political science, managerial, and «public/state policy» discursive practices. The author postu- lates that the discourse of public policy is a place of a «clash of rationalities» in the industry. Because of this, the SS concludes that the essence of public policy, (...) its perception, understanding, and reaction to it are determined by the dominance of certain institutional discourses and the dominance of their bearers: «political scientists», human rights defenders, lawyers, managers and their ideas about the nature of the state and its «politics». The dominant discourses have the na- ture of uncritical extrapolations, or transfers of certain rationality inherent in one area to another, qualitatively different from it. The consequence of such an expansion of rationality from one sphere to another is the «inadequacy» of the discourse. It then discusses a comparative explica- tion of fundamentals, which constitute the narrative practices of each discourse. Furthermore, it proposed an explanation of the subject specifics of «public policy» as an area centered around «problems,» «options,» «impacts,» and «interests / stakes,» and then traces the significant distor- tions and contortions of this topic in the semantic horizons of related discourses. The article focuses on the rising issues of public policy, depending on the specifics of the discourse — whether «political», «legal,» or «managerial». For example, «political science» discourse emphasizes the problems of the consequences of one of the dimensions of influence for the interests of different parts of society; «Legal» discourse focuses on one group of instruments of influence (norms); «Managerial» discourse draws attention to a separate stage of implementation of already estab- lished public policy. Finally, this paper indicates the dominance of such discourses and their dependency on the historical context of contemporary Ukraine. (shrink)

While there are many stories of man, one moment seems to recur in all of them. This is the belief that we need to be able, and want, to look in the mirror of something that is qualitatively larger than us. This is the intention of the tradition whose philosophic patron is Plato. This need for unreality—the need for another world—presumably manifests itself in every area of human activity. One can therefore talk about a specific need for unreality that every (...) real life satiates itself with. I provide examples of this need: science, religion, love, past and future. In the light of eternal life, we would be continually beset by the values for which we would be obliged to sacrifice our lives. In the light of earthly life, such values are inconceivably less frequent. We learn the difficult art of living in a consumer world where we do not have to die. (shrink)