I present the scope andcharacteristics of Marx''s interest in Russiaand review its evolution. Initially, Marx''sattitudes were marked by russophobia,pronounced anti-panslavism, assessments ofRussia as an outpost of European reaction andcounterrevolution, and even as the head of aconspiracy to block the world revolution. Withtime, however, Marx came to consider Russia asthe country in which the outbreak of theRevolution was most likely. In his research forsucessive volumes of Capital, he readRussian theoretical works by, among others, V.Bervi-Flerovskij and A. Koshelev. Marx''sattitudes to the anticipated (...) peasant revolutionin Russia remained ambivalent; to a certaindegree he feared its occurrence suspecting thatit could take on an `asiatic'' hue. (shrink)
This essay examines the work of Ewa Lipska, who, since the publication of her first book in 1967, has been among the most acclaimed of recent Polish poets but less well known in the West than Czesław Miłosz, Wisława Szymborska, or Adam Zagajewski. She is a philosophical poet, making frequent reference to the tradition of the Frankfurt School, in order to ironize the Enlightenment, Marxism, and Critical Theory, but also in order to assess the dangers of globalization. The focus of (...) the analysis is Lipska’s volume 1999, the linchpin of a poetic project that engages centuries of social systems (political, economic, scientific, technological, artistic) and their vocabularies in order to examine the viability of human knowledge and the motivations underlying its creation. (shrink)
In this chapter the life, education, scientific path, and research of Ewa Orłowska are presented. Information on her service for the logic community, in particular on activities in scientific organisations, councils, and committees, on membership of editorial boards, and on participation in national and international projects is also mentioned.
The chapter is a transcription of editors’ discussion with Ewa Orłowska. It reveals some extracurricular flavors of Ewa Orłowska’s biography, brings to light a difficult historical context of her academic career and life, and shows how much internal fortitude she demonstrated while overcoming these difficulties.
Author: Starzyńska-Kościuszko Ewa Title: BRONISŁAW F. TRENTOWSKI – “POLISH HEGEL”, “POLISH SCHELLING” OR “POLISH KRAUSE” (Bronisław F. Trentowski – „polski Hegel”, „polski Schelling”, „polski Krause”) Source: Filo-Sofija year: 2005, vol:.5, number: 2005/1, pages: 125-138 Keywords: TRENTOWSKI, HEGEL, SCHELING, KRAUSE Discipline: PHILOSOPHY Language: POLISH Document type: ARTICLE Publication order reference (Primary author’s office address): E-mail: www:In this article author wanted to answer a question: Is Trentowski an original thinker or Polish imitator of Hegel’s, Schelling’s and Krause’s philosophy? Referring to existing settlements (...) and analyses, author finds that Trentowski was the original thinker. He criticized and carried on a controversy with Hegel, Schelling and Krause. What is more, Trentowski always modified their ideas in a very creative way. (shrink)
Author: Bogusz-Bołtuć Ewa Title: WŁADYSŁAW TATARKIEWICZ’S DISJUNCTIVE DEFINITION OF ART. IN ANALYTIC PHILOSOPHY OF ART (Władysława Tatarkiewicza alternatywna definicja sztuki a analityczna filozofia sztuki) Source: Filo-Sofija year: 2011, vol:.13/14, number: 2011/2-3, pages: 591-600 Keywords: WŁADYSŁAW TATARKIEWICZ, ALTERNATIVE DEFINITION OF ART, DISJUNCTIVE DEFINITION OF ART, BERYS GAUT Discipline: PHILOSOPHY Language: POLISH Document type: ARTICLE Publication order reference (Primary author’s office address): E-mail: www:As a historian of ideas, Władysław Tatarkiewicz sought to introduce order to the meanders of philosophical debates of the past, (...) but as a philosopher, he tried to determine what a given thing is. In this essay I will attempt to show that the voice of Tatarkiewicz was significant for the philosophical debate about ‘what art is?’. In the fifties of the twentieth century, Morris Weitz concluded that defining art through describing the necessary and sufficient conditions for something to be a work of art, is unfounded. His thesis not only began the anti-essentialist trend in analytic aesthetics, but also prompted attempts to define art by drawing attention to its relational properties. In the disjunctive definition of art, which he formulated in the late 1960s, Władysław Tatarkiewicz opened a new option, where to get something regarded as a work; it is enough to set certain minimal sufficient conditions. What’s more, this way of defining art seems to be one of the more promising projects. The latest version of the disjunctive definition of art, the cluster definition of art by Berys Gaut, is also part of a trend set by the Tatarkiewicz’s definition. (shrink)
What kind of challenge does sexual and racial difference pose for postmodern ethics? What is the relation between ethical obligation and feminist interpretations of embodiment, passion, and eros? How can we negotiate between ethical responsibility for the Other and democratic struggles against domination, injustice, and equality, on the one hand, and internal conflicts within the subject, on the other? We cannot address such questions, Ziarek argues, without putting into dialogue discourses that have hitherto been segregated: postmodern ethics, feminism, race theory, (...) and the idea of radical democracy. Addressing a constellation of diverse thinkers - including Emmanuel Levinas, Patricia Williams, Jean-François Lyotard, Michel Foucault, Frantz Fanon, Julia Kristeva, and Luce Irigaray - the author proposes a new conception of ethics, an ethics of dissensus that rethinks the relation between freedom and obligation in a double context of embodiment and antagonism. (shrink)
Much attention has recently been paid to the idea, which I label ‘External World Acquaintance’ (EWA), that the phenomenal character of perceptual experience is partially constituted by external features. One motivation for EWA which has received relatively little discussion is its alleged ability to help deal with the ‘Explanatory Gap’ (e.g. Fish 2008, 2009, Langsam 2011, Allen 2016). I provide a reformulation of this general line of thought, which makes clearer how and when EWA could help to explain the specific (...) phenomenal nature of visual experience. In particular, I argue that by focusing on the different kinds of perceptual actions that are available in the case of visual spatial vs. colour perception, we get a natural explanation for why we should expect the specific nature of colour phenomenology to remain less readily intelligible than the specific nature of visual spatial phenomenology. (shrink)
Tekst podejmuje temat kondycji i tożsamości etyki środowiskowej XXI wieku w oparciuo analizę wybranych narracji występujących w debacie na temat antropocenu. Czy zwrotw stronę antropocenu odmienia nasze dotychczasowe myślenie dotyczące troski o przyrodę?Artykuł pokazuje, że nauka o systemie Ziemi i ograniczeniach planetarnych umożliwianam identyfikację zupełnie nowych problemów etycznych. Są to m.in. problem nieodwracalnychstrat, utraty kontroli i sterowalnościa także kluczowa kwestia irracjonalnej krótkowzroczności wpisanej w ludzkiehoryzonty moralne. Tekst szuka odpowiedzi na dwa dodatkowe pytania: 1) Czy troskao postprzyrodę okaże się wyłącznie zarządzaniem (...) stratą? 2) Czy etyka postprzyrody jestantropocentryczna? (shrink)
ABSTRACTThe present study was designed to address the hypothesis that differences and similarities in patterns of attentional processing in recently proposed types of anxiety and depression are connected with the dominant function they play in stimulation processing and their structural components. Participants filled out the Anxiety and Depression Questionnaire, which assesses types of anxiety and depression, and completed the Emotional Faces Attentional Test one week later. The obtained results confirmed our prediction and suggested that the proposed typology of anxiety and (...) depression is valid in the adaptive meanings of both phenomena. (shrink)
This volume of essays, all but one previously unpublished, investigates the question of Levinas’s relationship to feminist thought. Levinas, known as the philosopher of the Other, was famously portrayed by Simone de Beauvoir as a patriarchal thinker who denigrated women by viewing them as the paradigmatic Other. Reconsideration of the validity of this interpretation of Levinas and exploration of what more positively can be derived from his thought for feminism are two of this volume’s primary aims. Levinas breaks with Heidegger’s (...) phenomenology by understanding the ethical relation to the Other, the face-to-face, as exceeding the language of ontology. The ethical orientation of Levinas’s philosophy assumes a subject who lives in a world of enjoyment, a world that is made accessible through the dwelling. The feminine presence presides over this dwelling, and the feminine face represents the first welcome. How is this feminine face to be understood? Does it provide a model for the infinite obligation to the Other, or is it a proto-ethical relation? The essays in this volume investigate this dilemma. Contributors are Alison Ainley, Diane Brody, Catherine Chalier, Luce Irigaray, Claire Katz, Kelly Oliver, Diane Perpich, Stella Sandford, Sonya Sikka, and Ewa Ziarek. (shrink)
Building on our diverse research traditions in the study of reasoning, language and communication, the Polish School of Argumentation integrates various disciplines and institutions across Poland in which scholars are dedicated to understanding the phenomenon of the force of argument. Our primary goal is to craft a methodological programme and establish organisational infrastructure: this is the first key step in facilitating and fostering our research movement, which joins people with a common research focus, complementary skills and an enthusiasm to work (...) together. This statement—the Manifesto—lays the foundations for the research programme of the Polish School of Argumentation. (shrink)
Experimental emotion inductions provide the strongest causal evidence of the effects of emotions on psychological and physiological outcomes. In the present qualitative review, we evaluated five common experimental emotion induction techniques: visual stimuli, music, autobiographical recall, situational procedures, and imagery. For each technique, we discuss the extent to which they induce six basic emotions: anger, disgust, surprise, happiness, fear, and sadness. For each emotion, we discuss the relative influences of the induction methods on subjective emotional experience and physiological responses. Based (...) on the literature reviewed, we make emotion-specific recommendations for induction methods to use in experiments. (shrink)