Az etika és esztétika tükrében tűnnek fel a korunkra jellemző társadalmi és kulturális jelenségek, hálózatok és diskurzusok, olvasva Márfai Molnár László - ahogy ő nevezi - alkalmazott filozófiai írásait. Az összeállításban összesen tizenegy esszé kapott helyet. Az első (Kockázati tőke és kreativitás) azt az ellentmondást elemzi, amely a tudás vélt időtlensége, stabilitása és a valóság múlékonysága között feszül. A folytatásban a szerző kísérletet tesz az elmúlt időszak új kommunikációs modelljének a továbbgondolására; vizsgálja a virtuális hálózatok társadalomra, lokális tudásra és "offline" (...) intézményekre gyakorolt hatását; kifejti meglátásait azokról az új antropológiai modellekről, amelyek hatási kimutatható a kortárs pedagógiában; illetve a korunkban radikálisan megváltozott fogyasztásfogalom lehetséges következményeit, ennek etikai vonatkozásait gondolja át. A kötet második felében olyanokról esik szó, mint az internethasználó és hálózati közösségek etikájának eredete, önálló értékrendjének kialakulása; az internetes bolhapiac sajátosságai, jellemzői; Marcel Duchamp tevékenységének újraértelmezése néhány kortársi elmélet segítségével; a "gender studies" világszerte érvényesülő tényezővé válásának a következményei; Simone Weil filozófiáján belül a modernség demokráciaelméletének és személyiségfogalmának "misztikus-anarchista" kritikája; valamint a túlélés és megértés antropológiai összefüggései. A kiadvány felsőoktatási és szakgyűjtemények anyaga. (shrink)

There are two quite common views which appear to be embraced by a large number of aestheticians as well as a large number of nonaestheticians. It is quite commonly believed by many of both groups that God is omniscient with respect to the future, that is, that God knows everything that will ever occur. I refer to this belief as the doctrine of divine omniprescience. It is also quite common to many of both groups to believe that literary authorship is (...) creative in the sense that by means of his composing activity an author is an agent who brings about the existence of some thing which did not exist prior to the composing activity of that agent and which would not exist without the composing activity of that agent or some similar agent. I shall call this belief the doctrine of literary creativity. What does not appear to be recognized is that these two doctrines cannot both be consistently endorsed. I argue that the two doctrines jointly entail a contradiction and I will point out some of the logical consequences of trying to avoid that contradiction. (shrink)

In this essay I will try to show that there are what would appear to be some unnoticed consequences of the doctrine of divine foreknowledge. For the purposes of this discussion I will simply assume that future events are possible objects of knowledge and, hence, that foreknowledge is possible. Accordingly, I will not be concerned with discussing such questions as the status of truth-values for future contingent propositions or whether knowledge is justified true belief. Furthermore, I will not be concerned (...) with the issues involved in the claim that the doctrine of divine foreknowledge conflicts with doctrines concerning the properties of created beings, e.g., the doctrine of voluntary human action. (shrink)

This work is available on its own or as part of the 7 volume set Selected Works of R. D. Laing.

With very few exceptions philosophers believe that no account of the doctrine of divine omnipotence is adequate if it entails that God can do what is logically impossible. Descartes is credited with believing otherwise. In his article ‘Descartes on the Creation of the Eternal Truths’ Harry Frankfurt attributes to Descartes the belief that God is ‘a being for whom the logically impossible is possible’. In addition, Frankfurt claims that because of this belief Descartes’ account of God's omnipotence is open to (...) the charge of being incoherent. I will argue that it is wrong to attribute this belief to Descartes and that if his account of divine omnipotence is incoherent, it is incoherent for reasons other than that it entails the possibility of what is logically impossible. (shrink)

With very few exceptions philosophers believe that no account of the doctrine of divine omnipotence is adequate if it entails that God can do what is logically impossible. Descartes is credited with believing otherwise. In his article ‘Descartes on the Creation of the Eternal Truths’ Harry Frankfurt attributes to Descartes the belief that God is ‘a being for whom the logically impossible is possible’. In addition, Frankfurt claims that because of this belief Descartes’ account of God's omnipotence is open to (...) the charge of being incoherent. I will argue that it is wrong to attribute this belief to Descartes and that if his account of divine omnipotence is incoherent, it is incoherent for reasons other than that it entails the possibility of what is logically impossible. (shrink)

In ‘The Politics of Experience’ and the visionary ‘Bird of Paradise’, R.D. Laing shows how the straitjacket of conformity imposed on us all leads to intense feelings of alienation and a tragic waste of human potential. He throws into question the notion of normality, examines schizophrenia and psychotherapy, transcendence and ‘us and them’ thinking, and illustrates his ideas with a remarkable case history of a ten-day psychosis. ‘We are bemused and crazed creatures,’ Laing suggests. This outline of ‘a thoroughly self-conscious (...) and self-critical human account of man’ represents a major attempt to understand our deepest dilemmas and sketch in solutions. ‘Everyone in contemporary psychiatry owes something to R.D. Laing’ Anthony Clare, the Guardian. (shrink)

An interdisciplinary collection of essays of some of the concepts central to Augustine's philosophy of art, largely ignored in previous works.

Philosophical discussions on beauty have a long history. The discussions manifest the ambiguity of the concept; meanings of beauty and its role as an explanatory power of diverse tangible and intangible phenomena vary between disciplines and theoretical points of view. What is the essence of beauty? The notions of beauty comprises opposing qualities by being simultaneously a timeless idea penetrating all cultures and a profoundly historical concept, whose focuses, definitions, and contents change in the process of time and vary between (...) different cultural contexts. The significance of beauty for man is undeniable: it is a driving force in cultural production and creative thinking and a source of diverse emotions ranging from exhilaration to religious devoutness. Philosophies of Beauty on the Move investigates the essence of beauty by exploring its ontological and epistemological terms of existence in order to understand the paradoxes of beauty. (shrink)

Study of Samayasāra, treatise on Jaina philosophy by Kundakunda.

En estos tiempos de orgía cultural generalizada, Biblioclasmo es un texto producto de una tradición escéptica; un tratado de «filología negativa»; un ejercicio de controversia, plagado de consideraciones intempestivas.