H.m. is the science of the most general laws and root forces in the development of human society. H.m. came into being in the mid-19th century. Its creators were the leaders and ideologists of the working class: Marx and Engels. In founding a new philosophical world view, dialectical materialsm, Marx and Engels applied it to cognition of society, its history and life.

t. 1. Obʺektivnai︠a︡ dialektika -- t. 2. Subʺektivnai︠a︡ dialektika -- t. 3. Dialektika prirody i estestvoznanii︠a︡ -- t. 4. Dialektika obshchestvennogo razvitii︠a︡ -- t. 5. Kritika idealisticheskikh kont︠s︡ept︠s︡iĭ dialektiki.

The purpose of this article is to consider critically the humanistic potential of Olympism. We consider the concepts ‘human’ and ‘humanism’ from an existential perspective. Existentialism argues that human beings exist in a state of freedom. Freedom, as the basis of being human, holds a human fully responsible for his or her own existence. This responsibility assumes an active mode of behaviour, predicated on human effort. It can also include the making of specific artifacts such as creating creations. According to (...) Mamardashvili, creating creations are unique cultural mechanisms that remain in the boundaries of morality, beauty, thought and so on, adding quality to human existence. The article argues that the desire to be fulfilled as a human being is the moral basis to which Olympism directs Olympic athletes. Moreover, Olympism expresses the human’s need of self-overcoming, constant self-perfection which is necessary aspect of the humanity. Thus, the humanistic potential of Olympism lies in the fact that it allows for the creative space in sport which is itself a place for human realization. Therefore, Olympism can be characterized as opera operans, creating creation. (shrink)

Amongst the most treated questions in Western research on the works of Svetlana Aleksievich is the question of the genre of Aleksievich’s prose works, followed closely by the question of the historical authenticity of her method of collecting oral information about the Soviet period of history from witnesses of that history. The questions treated, such as the problem of genre, aesthetic authenticity and the relationship of history and fiction, can be distilled into the question of the authority of the literary (...) text. If the Nobel Prize for literature is awarded on the assumption that Aleksievich’s work is literature—and no one, including the author, has questioned that assumption—then it is justifiable to pose the question of the authority of the literary text as an aesthetic message—as literary truth—using the tools of literary analysis, not of historiography or sociology. In this essay, the claim that Secondhand Time [Vremia second hend] is a novel will be examined in the context of the narratological model of the literary text of Russian Formalism and Prague Structuralism and by applying the test of “artistic quality” (khudozhestvennost’), which validates the aesthetic value of texts of the literary canon. This examination will allow us to answer the question about what kind of text has been created using oral testimonies as material for a work of fiction. (shrink)

Mamardašvili’s ‘classical’ paradigm of knowledge is seen to be minimally based on extrapolations from Descartes’ classical philosophy to which Mamardašvili attributes features that rather anticipate his own post-classical ontology. The latter is oriented towards the primacy of perception as a subjective process, in which the self-conscious subject constructs the world, not as illusion, but as a ‘picture’ or ‘model’ (Wittgenstein’s Bild). By examining Mamardašvili’s definition of the ‘phenomenon’ against the␣background of Husserl’s ‘reduction’, Wittgenstein’s ‘object’ and the Freudian and post-structuralist psychoanalytic (...) model of subjectivity, the paper arrives at the inference that Mamardašvili is essentially a post-Structuralist thinker who appropriates concepts from various critical and philosophical disciplines to construct his own multi-disciplinary theory of consciousness and perception. (shrink)

The philosophical works of Merab Mamardashvili are part of the emergence of phenomenological thought on the “margins” of the Eastern European sphere, appropriating and mediating a version of French poststructuralism in the “Soviet” 1980s, in which deconstruction constitutes both method and content. More specifically, Mamardashvili uses Descartes as the point de repère for his investigations into the phenomenology of the object of knowledge and the structure of consciousness, which come to model Mamardashvili's phenomenological Self, anticipating a modern, post-ideological Subject. Mamardashvili's (...) paradigm of the object constitutes the “linguistic” turn in late Soviet Georgian philosophy. Mamardashvili's phenomenon or “fact” makes its appearance in an ideologically determined regime, like a “Centaur,” as a melange of myth, belief and “physical” event, as something unseen, not as an unmediated experience of the world, yet neither as pure “thought from outside.”. (shrink)

While the traditional boulevard novel of Eugène Sue wants to entertain and sell, Umberto Eco's boulevard novel wants to entertain and educate the contemporary reader in Italian history and in a form of modern semiotic theory. However, Eco's educational mission does not transform the low genre of the boulevard novel but remains bound by its limitations of “rhetoric and ideology.” Eco's reader is left with a representation of history as pastiche and a populist misconception about the potential of semiotics to (...) relativise the perception of reality. Both history and semiotics are ultimately used by Eco not as heuristic devices but as instruments of seduction directed at a modern middle-class reading public with intellectual aspirations. (shrink)

The philosophical works of Merab Mamardashvili are part of the (re-)emergence of phenomenological thought on the “margins” of the Eastern European sphere, appropriating and mediating a version of French poststructuralism in the “Soviet” 1980s, in which deconstruction constitutes both method and content. More specifically, Mamardashvili uses Descartes as the point de repère for his investigations into the phenomenology of the object of knowledge and the structure of consciousness, which come to model Mamardashvili's phenomenological Self, anticipating a modern, post-ideological Subject. Mamardashvili's (...) paradigm of the object constitutes the “linguistic” turn in late Soviet Georgian philosophy. Mamardashvili's phenomenon or “fact” makes its appearance in an ideologically determined regime, like a “Centaur,” as a melange of myth, belief and “physical” event, as something unseen (in both senses of the word), not as an unmediated experience of the world, yet neither as pure “thought from outside.”. (shrink)

In this article, we provide an ethical analysis of the first porcine cardiac xenotransplant, performed in Maryland, USA in early 2022. David Bennett was offered the experimental procedure after he was deemed ineligible for human heart transplantation and mechanical circulatory support, based on a history of non-compliance. It was reported that Mr Bennett’s previous instances of non-compliance were for medically non-life-threatening conditions years earlier, where the risks of non-compliance were not as high. We argue that, in Mr Bennett’s case, a (...) history of non-compliance in a different context, should not necessarily rule him ineligible for a potentially life-saving treatment now. Furthermore, using previous non-compliance to exclude individuals from donor organs may have the unintended effect of placing the burden of testing xenotransplantation on those who are already disadvantaged. We then argue that it is not enough to rely on patient consent to ethically justify xenotransplantation research. Taking a broad ethical perspective is crucial when mapping a clinical pathway for xenotransplantation. (shrink)

Spis z naslovom Knjiga Lucija Cecilija izpovedovalcu Donatu o smrtih preganjalcev (De mortibus persecutorum) je ohranjen v enem samem rokopisu iz 11. stoletja, odkritem leta 1778 v samostanski knjižnici v Moisacu. Ob prvi objavi (1779) ga je Etienne Baluze pripisal krščanskemu piscu in učitelju retorike Laktanciju (ok. 250–ok. 325), najbolj znanemu po prvi celoviti obravnavi krščanske vere, spisu Božji nauk (Divinae institutiones), a kmalu so se pojavili dvomi o njegovem avtorstvu. Tako po formi kot po obravnavani temi, strahotnih koncih cesarjev (...) preganjalcev, ki jih je Bog strogo kaznoval za njihove zločine, spis v antični književnosti nima prave primere. Zato je bil deležen različnih opredelitev kot krščanski pamflet, Konstantinov panegirik, konstantinska propaganda ipd. Forma je izrazito retorična, vsebuje tudi elemente krščanskega in poganskega zgodovinopisja in hagiografije, zgleduje se po judovski in antični tradiciji, v njem so opazne sorodnosti z Drugo knjigo Makabejcev in Konstantinovim govorom Oratio ad sanctorum coetum. Po vrsti razprav in člankov za in proti Laktancijevemu avtorstvu, ko se je zdelo že, da dvomov ni več, je leta 2013 izšla knjiga Jeana Rougeja in Daniela de Deckerja z obnovljeno tezo, da je spis služil konstantinski propagandi in je nastal na pobudo cesarja, podkrepljeno s temeljito študijo drugih Laktancijevih del, in argumenti, oprtimi tudi na izsledke računalniško pripravljenih analiz. Zdi se, da vprašanje ostaja odprto. (shrink)

In November 1969, the USSR Academy of Sciences' Presidium held a discussion on the principal lines of work being engaged in by the Academy's Institute of Philosophy. A report on this matter was presented by the Institute's director, P. V. Kopnin, Member of the Ukrainian Academy of Sciences. Participants in the discussion of the report were M. V. Keldysh, President of the USSR Academy, Academicians F. V. Konstantinov, M. B. Mitin, A. M. Rumiantsev and P. N. Fedoseev, and Corresponding Academician (...) Ts. A. Stepanian. (shrink)