Author: Kuczyńska Alicja Title: WŁADYSŁAW TATARKIEWICZ’S VISION OF THE OTHER (Władysława Tatarkiewicza wizja Innego) Source: Filo-Sofija year: 2011, vol:.13/14, number: 2011/2-3, pages: 451-458 Keywords: WŁADYSŁAW TATARKIEWICZ, MASTER, PUPIL Discipline: PHILOSOPHY Language: POLISH Document type: ARTICLE Publication order reference (Primary author’s office address): E-mail: www:The author locates her memoirs about Tatarkiewicz in the context of dialogical philosophy of Levinas and the Georg Steiner’s category: master – pupil.

The paper is on Katarzyna Kobro’s artistic achievements and theoretical writings which present the foreshadowing of a new understanding of the space, articulated later by philosophers. Her and her husband conception of avant-garde sculpture postulates new mechanisms of seeing reality. By eliminating borders between sculpture and space, Kobro initiated a true breakthrough in art. Her achievement should be recognized for its truly pioneering and visionary status. Kobro was one of the first artists who revealed the intimate relation between art and (...) its environment. (shrink)

In the Renaissance there was a kind of linguistic-pictorial osmosis, in which mythological configurations derived from antique literature, the poetic metaphoric of Neoplatonism, semi-fantastic and semi-realistic visions and a visible penchant for decorative rhetoric intertwined with elements of rational thought, the cult of nature, traditional reference to higher authority and practical as well as theoretical acceptance of pictorial symbolic. This language was employed to explore philosophical, ethical, and even natural categories related to issues like the beginnings of the world and (...) nature, death, transience, vanity, temperance, virtue, harmony, vita activa and contemplativa—categories in which the people of the era strove to describe youth, maturity, old age and death. In this specific language writing about a truth, idea or moral principle primarily involved presenting it as a picture, a concrete, sensually embraceable form, thing or person. Thus, if it was necessary, logos followed imago, which was genetically precedent and most important in the cognitive sense. (shrink)

This is the second part of the investigations of melancholia. Melancholia is examined here in relation to one of its opposition, namely hope. Reflection on melancholia entails reference to conditions commonly regarded as aggravating: sadness, uncertainty, indecision, self-criticism, despair, disenchantment, fear, desperation or bitterness. This content is common both to melancholia and hope; the difference lies in the kind of behaviour it evokes. Not yet either hope or melancholia, it is already conspicuously developing the characteristics of one of the options. (...) This moment is especially important in the process of artistic creation. The tension that appears between both poles enables the experiencing subject to feel indecision about its choice, and hence to ultimately declare itself on one or the other side. (shrink)

In the Renaissance the beauty of a garden was for people a source of energy, it nurtured their inherent love of plant life, enchanted them and gave them a sense of pure aesthetic contentment. This fascination with nature and the values nurtured by the emerging culture of the garden also had broader reasons than just the desire for subjective experience. They can be sought in the belief that the style of an epoch is reflected not only in all the forms (...) of pure art, but also in the sphere of applied art. The aesthetic criteria which determined the early-Renaissance conception of the garden were at least twofold: first, the then-emerging culture of the garden co-formed the identity of the entire era as one of the few enclaves of a rising trend away from the classical tradition. The culture of the garden contested the adulation of the Antique that was common at the time and ruled supremely in art. (shrink)

The paper examines The Endless Column by Mircea Eliade and the main problem of this play, i.e. that of transcendence. It is shown that The Endless Column constitutes a summa of Eliade’s anthropological and philosophical ideas. Besides, the play refers to the indirect genetic determinants of the conception advanced in the play, pointing to its relations with certain currents of philosophical thought, like for example existentialism, structuralism, Indian philosophy or the philosophy of Neoplatonism.

The paper examines the phenomenon of melancholia, taking into account views on it by Emil Cioran, Joseph Campbell, Jerzy Kosiński, Georg Simmel and Maurice Merleau-Ponty. Regardless of its commonly known clinical variant—which is not the subject of the presented reflections—melancholia has no clear philosophical definition, because its status usually resembles a clinging plant affixed to and “fed” by more concise thought constructs. It is demonstrated that the self-disclosure imperative is an essential aspect of melancholia and that a typical and frequent (...) symptom of melancholia is rejection of others and immersion in indifference, desperation, silent apathy and loneliness. (shrink)

The paper examines the Renaissance philosophy of love, grasped as a “metaphysics of love.” Alongside its metaphysical interpretation, the phenomenon of Renaissance philosophy of love was subject to two other kinds of analysis: it was viewed either through the prism of its spiritual form, or as a fashionable social game which demanded that “every courtier recognise knowledge about how many and what varieties of love there are as necessary for his trade.” The author of the Renaissance theory of love was (...) the philosopher Marsilio Ficino, an “alter Plato;” so it is his views on love which are examined in this paper. (shrink)

Early artistic and aesthetic pluralism is not an accidental phenomenon in Polish aesthetic theories. This article shows its nineteenth and twentieth century origins and various theoretical considerations, and brings to the foreground the philosophical motifs entangled in the historical events of Poland. Cited documentary material focuses on two selected topics. They are: the philosophized version of history, in particular the multicultural history of aesthetics and the extended categorization of the active site of subjectivity.

Thee paper presents Marcilio Ficino’s aesthetics which is of a specific kind and differs from what we usually understand under the term. It expresses more than only thoughts on beauty and art, speaks about more than only the varieties of beauty, and deals with more than just the work of art—the object of art—and its relation to beauty. Traditional concepts played an important part in Ficino’s aesthetics, but alongside narrowly understood “proper” aesthetics, he offered another, very broad view of the (...) entire aesthetic sphere, which allows his entire philosophy to be viewed as aesthetically rooted: love and beauty, which are among the driving ideas of his philosophy, are also aesthetic concepts. There are two other important elements in Ficino’s philosophy, God and the world, bound by a special relation based on his concept of the circuitus spiritualis. A cardinal theme in his philosophy, the circuitus spiritualis combines God with the world and is at once beauty, love and the highest degree of happiness. (shrink)

The paper investigates changes in today aesthetics. It is demonstrated that the ongoing transformation of traditional aesthetics into aisthesis with its broader scope of influence calls for a review of to-date methodology in aesthetical research. Historical doxography, mere accounts of the past—even relating the most coherent and complete developments and events—hardly harmonise with the new approach to aesthetics, and could well distort and weaken it. The enlargement of the subject-matter of aesthetics and the clash between aesthetics and the aporias of (...) the modern approach to history allow both fields to experience modernity to a rather broad degree; both refer to aesthetics. (shrink)

The paper examines some rare specific features of Alicja Kuczyńska’s aesthetics. It is demonstrated that Kuczyńska connects the field of aesthetics to the realm of philosophical anthropology and social philosophy. Her interdisciplinary approach is based on postulated bonds between art, society, aesthetics and sociology.

In this essay, I trace different motives in Alicja Kuczyńska’s thought that are linked together in her philosophy of image. According to Kuczyńska, the creative power of forming artistic images is deeply rooted in existential experience that can be described in terms of finitude, fragmentality, evanescence. The desire to find a way out of such a state is the origin of philosophical as well as artistic creation. It is hope which joins together the individual wish or desire and culture. (...) Hope can be treated as yearning for indeterminacy that is characteristic of existence, as longing for the state of lost totality. (shrink)

The subject of my analyses is the concept of melancholy developed by Alicja Kuczyńska. I am interested in the connection between the creative aspect of melancholy—understood as a certain kind of philosophical attitude—and the concept of a whole. Taking a whole to be an “ideal model in the evaluation of the world and of things” gives us an insight into the meaning of being provided by the philosophical attitude of melancholy. Kuczyńska believes the application of this model is connected (...) both with the possibility of harmonising the parts of this whole and with the search for what varies within the same whole. As a result, melancholy comes to the fore as a state of suspension between repetition and originality—an essential requirement for creativity. (shrink)

Garden and melancholy have been analysed by Alicja Kuczyńska from the standpoint of Renaissance Neoplatonism. I try to work out a common denominator for them, and attempt to compare Renaissance and Romantic melancholy—in the garden space. I see a positive moment in the notions developed by Kuczyńska, namely in that melancholy, as an expectation, acquires a positive dimension, approaching hope.

The article explicates the main fields of hermeneutic research activity of Alicja Kuczyńska in which Neoplatonic inspirations, Renaissance models of life, and the values and traditional paradigms for understanding aesthetic categories that are dominant within them—such as image, creation, fiction, and mimesis—are viewed against the background of the phenomena, transformations, and problems that are unique to our own times, thereby providing old frameworks with new forms of philosophical relevance. Kuczyńska’s research topics, i.e. beauty, love, the anthropological dimension of creativity, (...) the role of imagination, and deification of creative personality gain revised interpretations, in which the accent is placed on creative activity and its value-creating dimension consisting in the transcendence of everyday reality. Characteristic of her research attitude is the tendency to consider philosophy and art in the context of transcending the finite dimension of being and undertaking anew and in different ways the effort to reach what is infinite, unconditioned, lost, truly existent in the Platonic sense. Kuczyńska’s research of this tendency takes on the dimension of positive valorisation of the state of “being in between” and exploration of artistic figures of “ascending.”. (shrink)

Alicja Gescinska verraste met haar kandidatuur op de Europese lijst van de Vlaamse liberalen. Op internet volgde een stortvloed aan reacties: lovende en lasterlijke. Niet enkel de keuze van de partij en het Europese project werden druk besproken, vooral ook wie aan politiek behoort te doen? en wie dus aan de zijlijn moet blijven? bleek stof voor discussie. Wat is de plaats van een filosoof in de samenleving? Zijn politiek en filosofie onverenigbare disciplines? En wat doe je wanneer uit (...) het hart van de Europese politiek het verzoek komt om uit je pen te kruipen? Politiek is meer dan dat wat politici doen. Politiek is alles en iedereen. In het gebrek van de wereld weerklinkt volgens Gescinska een moreel appel dat op ons allen wordt gedaan. 0'Intussen komen mensen om' is een essay over de persoonlijke worsteling met politieke betrokkenheid en intellectuele verantwoordelijkheid. (shrink)

This work is comprised of personal essays by some of the most noted Holocaust educators working in or with Holocaust museums, resource centers, or educational organizations across the globe.

The paper presents George Steiner’s view of the right conditions for the contemplation of art. The position has been presented as motivated by a certain concept of artistic creation and the reception of art.Steiner’s vision of art finds its legitimacy in a belief which describes the linguistic activity of man as one which is at the same time creative and conditioned by external discourses. In this view both the speaking subject and the subject of an artistic activity are motivated by (...) a desire to become independent from an impartial discourse of mind. An artist is someone who opposes the past and present forms of expression in an attempt to incarnate a sense which in the light of the established forms of discourse appears inexpressible. The key point of Steiner's concept is his argumentation in favor of the ambiguity of dividing the human activity into the original and the derived. An artist, a recipient of art or a theorist do not have the tools which could point at the divide.The analysis sets out to make an outline of Steiner’s rendition of the problem of interpretation and development o art. The originality of the position on the issue results from attributing a major significance to interpretative errors for the survival and the constant appeal of art. The process of interpretation is also described as one which yields to no theoretical taxonomy. According to Steiner, a recipient of art disposes of no tools that would warrant access to a transcendental sense of a work of art. Therefore, it ought to be ascertained that a reliable act of reception is one which does not pursue agreement with its object. The recipient must remain detached from the work of art. Paradoxically, only thanks to such an attitude can they make art part of their experience. (shrink)

Klanken uit mijn kindertijd -- Het goede van het schone -- Empathie -- De eenden van Stravinsky -- De grond onder onze voeten -- Slotakkoord.

When we talk about the coherence of a story, we seem to think of how well its individual pieces fit together—how to explicate this notion formally, though? We develop a Bayesian network based coherence measure with implementation in _R_, which performs better than its purely probabilistic predecessors. The novelty is that by paying attention to the network structure, we avoid simply taking mean confirmation scores between all possible pairs of subsets of a narration. Moreover, we assign special importance to the (...) weakest links in a narration, to improve on the other measures’ results for logically inconsistent scenarios. We illustrate and investigate the performance of the measures in relation to a few philosophically motivated examples, and (more extensively) using the real-life example of the Sally Clark case. (shrink)