As with any historical study, including that of knowledge and ideas, the progress of the semiology of the theater is subject to periodicity. The aim of any division into periods is to obtain a global view, even at the price of simplifications, but it can also bring out the hidden aspects of the phenomena under study.The semiology or semiotics of the theater, that is, the application of the idea of sign to the art of the spectacle, has a long past, (...) in which several stages may be distinguished, and first of all those that I would call the presemiology and the protosemiology of the theater. (shrink)

According to reductive intellectualists about knowledge-how :147–190, 2008; Philos Phenomenol Res 78:439–467, 2009) knowledge-how is a kind of knowledge-that. To the extent that this is right, then insofar as we might conceive of ways knowledge could be extended with reference to active externalist :7–19, 1998; Clark in Supersizing the mind: embodiment, action, and cognitive extension: embodiment, action, and cognitive extension. Oxford University Press, Oxford, 2008) approaches in the philosophy of mind, we should expect no interesting difference between the two. However, (...) insofar as anti-intellectualist approaches to knowledge-how are a viable option, there is an overlooked issue of how knowledge-how might be extended, via active externalism, in ways very differently from knowledge-that. This paper explores this overlooked space, and in doing so, illustrates how a novel form of extended knowledge-how emerges from a pairing of active externalism in the philosophy of mind with anti-intellectualism in the theory of knowledge. Crucial to our argument will be a new way of thinking about the extended mind thesis, as it pertains to the kinds of state one is in when one knows how to do something, and how this state connects with non-accidentally successful performance. (shrink)

Argues that the key distinction between human and nonhuman social cognition consists in our complex, diverse and flexible capacities to shape each other's minds in ways that make them easier to interpret.

Argues that the key distinction between human and nonhuman social cognition consists in our complex, diverse and flexible capacities to shape each other's minds in ways that make them easier to interpret.

Anti-intellectualists about knowledge-how insist that, when an agent S knows how to φ, it is in virtue of some ability, rather than in virtue of any propositional attitudes, S has. Recently, a popular strategy for attacking the anti-intellectualist position proceeds by appealing to cases where an agent is claimed to possess a reliable ability to φ while nonetheless intuitively lacking knowledge-how to φ. John Bengson & Marc Moffett (2009; 2011a; 2011b) and Carlotta Pavese (2015a; 2015b) have embraced precisely this strategy (...) and have thus claimed, for different reasons, that anti-intellectualism is defective on the grounds that possessing the ability to φ is not sufficient for knowing how to φ. We investigate this strategy of argument-by-counterexample to the anti- intellectualist’s sufficiency thesis and show that, at the end of the day, anti-intellectualism remains unscathed. (shrink)

Hilary Putnam (1926–2016) was prone to change his mind on variety of philosophical issues and almost constantly to modify his views. The last period of the development of his philosophy is known as the phase of commonsense or natural realism, eloquently presented in his 1994 Dewey Lectures. This paper is focused on three facets of his position and tries to identify three difficulties it encounters. Firstly, Putnam claims that in the contemporary realism debate we have, on the one hand, proponents (...) of extravagant metaphysical realism, and, on the other hand, advocates of various versions of irresponsible antirealism. Unfortunately, the delineation of the debate is too coarse-grained, since there are many forms of metaphysical realism, and lumping together various antirealisms is confusing and unhelpful. Secondly, Putnam’s naïve direct realism in the philosophy of perception seems incompatible with his transactional account of perception. Thirdly, for some time Putnam was under a spell of Wittgensteinian quietism that distorted the true character of his philosophical ideas. (shrink)

The article presents two concepts of indexicality. The first, more standard and narrow, identifies indexicality with systematic (meaning controlled) context-sensitivity. The second, broader (derived from the work of Jerzy Pelc), conceives indexicality in terms of the potential variability of the general semiotic characteristics expressions (with respect to the context of use). The text introduces the concept of a pragmatic matrix that serves for a schematic representation of contextual variation. I also recapitulate briefly the views of Jerzy Pelc on the meaning (...) (manner of use) and use of expressions, and briefly indicate its relationship approaches with contemporary debates around contextualism and status of non-sentential speech acts. Finally, the relationship between the broader notion of indexicality and the directival theory of meaning is analyzed. (shrink)

The author presents the problem of humanizing the demon and giving to the human being the demonic features. The analysis focuses on modern Polish prose, especially on such works: Cz. Miłosz, A. Szczypiorski, J. Broszkiewicz, A. Gołubiew, T. Konwicki, G. Herling- Grudziński. He is mostly interested in the devil figure as an evil spirit.

Cet article aborde le rôle du personnage du diable dans le roman de Jerzy Krzysztoń Obłęd. Jusqu'à présent ce rôle n'est pas suffisamment apprécié, malgré qu’il soit de très grande importance. La raison d’être du diable dans ce roman e’est la personnification des états psychiques du heros et du narrateur en commun. Dans Obłęd le diable a été présenté, avant tout, du point de vue médical et il a enrichi la description de la maladie du héros principal. Comme la figure (...) du mal, le personnage du diable facilite à contempler la réalité du mal et de la souffrance. (shrink)

Le roman épistolaire de Kazimierz Brandys, intitulé Les Variations postales (1972), est une sorte d’imitation du recueil des lettres de la familie Zabierski de 1770 à 1970. En décrivant les faits auquels les membres de cette famille ont participé, soit dont ils ont entendu parler, les narrateurs des lettres successives exercent la «microhistoire» - c’est-à-dire ils construisent «la vérité individuelle» comme une opposition par rapport aux généralisations historiques. Donc le point de vue individuel est opposé au processus historique. Cet article (...) analyse le roman de Brandys en tenant compte de la technique du fragment. Il s’agit du caractère fragmentaire, nommé naturel, qui résulte de la situation existentielle des narrateurs particuliers et qui sert à mettre en lumière «la vérité individuelle». (shrink)