Celem artykułu jest przeanalizowanie Ajschylosowej _Orestei _pod kątem wybranych motywów, dynamiki oraz konsekwencji popełnionych zbrodni przez głównych bohaterów tragedii. Wśród motywów występków uwzględniono klątwę rodową Atrydów, indywidualny charakter bohaterów oraz międzypokoleniowy charakter zemsty. Te trzy elementy razem oddziaływały na siebie, potęgując cierpienie ofiar i wzmacniając w bohaterach trylogii przeświadczenie o nieuchronności ludzkiego fatum, które popycha człowieka ku złu. Omawiając dynamikę _Orestei_, zwrócono szczególną uwagę na trzy występujące obok siebie rodzaje mordów: dzieciobójstwo, którego dopuścił się Agamemnon; mężobójstwo (_maritricidium_), które popełniła Klitajmestra, (...) oraz matkobójstwo, którego sprawcą był Orestes. Podobnie jak w przypadku motywów zbrodni, również między nimi zachodzi nierozerwalna zależność przyczynowo-skutkowa. Ostatnia część artykułu zwraca uwagę na konsekwencje popełnionych złych czynów, które zostały ujęte w trzy zasadnicze kategorie. Pierwsza kategoria ma charakter społeczny i dotyczy roli instytucji publicznych w podejmowaniu decyzji o życiu i śmierci obywateli. Druga kategoria ma charakter religijny i stawia pytanie o rolę religii w życiu społecznym, w szczególności o wpływ zmarłych na żywych oraz znaczenie rytuału religijnego w oczyszczeniu zbrodniarza. Trzecia kategoria ma naturę prawną i stawia pytanie o genezę prawa, ze szczególnym uwzględnieniem attyckiej procedury sądowej. (shrink)

Literature that can be found everywhere in Jacques Derrida’s writing forms the backbone of his whole corpus from democracy to law, from politics to ethics, from philosophy to art. He uses literature as a weapon against the domination of philosophy where main philosophical figures like Plato and Socrates who exclude literature had a share of this literary work. Many interpreters of Derrida sees him not a philosopher but a literary writer and this claims are both fair (from the traditional philosophical (...) concept) and unfair (from the era where reaching the absolute is impossible). In this sense, recent years there have been various efforts to engage Jacques Derrida's conception of literature. In this work, because of literature is the "experience of singularity" for Derrida, we will try to deal with Derrida and literature relations through the singularity. (shrink)

Sadness is one of the most important philosophical issues. However, it was not often a problem that philosophers devoted a lot of time to. What does sadness involve? What are its consequences? What is its meaning? Sadness is a part of existence. How does philosophical reflection interpret this problem?

Many find the prospect of death distressing at least partly because they believe that death deprives its subject of life’s benefits. Properly qualified, the belief is surely true. But should its truth lead us to conclude that there is something dreadful or awful about death, something that merits distress?

Three experiments were conducted in order to validate 56 musical excerpts that conveyed four intended emotions (happiness, sadness, threat and peacefulness). In Experiment 1, the musical clips were rated in terms of how clearly the intended emotion was portrayed, and for valence and arousal. In Experiment 2, a gating paradigm was used to evaluate the course for emotion recognition. In Experiment 3, a dissimilarity judgement task and multidimensional scaling analysis were used to probe emotional content with no emotional labels. The (...) results showed that emotions are easily recognised and discriminated on the basis of valence and arousal and with relative immediacy. Happy and sad excerpts were identified after the presentation of fewer than three musical events. With no labelling, emotion discrimination remained highly accurate and could be mapped on energetic and tense dimensions. The present study provides suitable musical material for research on emotions.Keywords. (shrink)

Listening to music can be an intensely moving experience. Many people love music in part because of its power to alter or amplify their moods, and turn to music for inspiration, comfort, or therapy. It is a puzzle, then, why many of us spend so much time listening to sad music. If music can influence our moods, and assuming that most people would prefer to be happy not sad, why would we choose to listen to sad music? I revisit the (...) question of why we like sad music, drawing from work in both the philosophy and psychology of music, as well as work in the philosophy and science of affect. I argue to shift the focus of the question to music-induced moods, not emotions. This reframes the debate but does not dissolve the paradox. To understand what is appealing about the affective experience of listening to sad music I suggest we take into account the unique features of music-induced sad mood. I argue that sad mood and a certain sort of focused music listening are mutually reinforcing in ways that differ from other mood/music interactions. Sad mood and sad music are, in a sense, made for each other. (shrink)

Graphical AbstractSAD is a state of depression induced by a lack of sufficient sunlight that occurs at high latitudes during the fall and winter. SAD causes people to be risk-adverse. Granting agencies of high latitude countries should time high-risk research competitions so they do not coincide with the SAD months.

Recent work on hypercomputation has raised new objections against the Church–Turing Thesis. In this paper, I focus on the challenge posed by a particular kind of hypercomputer, namely, SAD computers. I first consider deterministic and probabilistic barriers to the physical possibility of SAD computation. These suggest several ways to defend a Physical version of the Church–Turing Thesis. I then argue against Hogarth's analogy between non-Turing computability and non-Euclidean geometry, showing that it is a non-sequitur. I conclude that the Effective version (...) of the Church–Turing Thesis is unaffected by SAD computation. (shrink)

This chapter contains sections titled: The Nature of Beauty Truth, Goodness, and Beauty Beauty and the Blues Notes.

Perceptual load plays a critical role in identification and awareness of stimuli. Given the differences in emotion–attention interactions, we investigated the perception of distractor emotional faces in two different load conditions under divided attention with a task based on the inattentional blindness paradigm. Participants performed a low- or high-load task with a string of letters presented against a happy, sad or neutral face (in a circular form) as the background. Participants were asked to identify the face that appeared in the (...) critical trial. Results indicate an interaction between emotion and load. First, identification of faces with happy expression was better than chance and unaffected by load. Second, performance was worse than chance for faces with sad expression in the high-load condition, indicating inhibition of unattended sad distractor faces in the critical trial. This indicates that inhibitory processes during a difficult attentional task under divided attention influence subsequent perception of distractor stimuli especially sad faces. The results have implications for the theories of selective attention as well as the role of emotions in conscious perception. (shrink)

Sadness is generally seen as a negative emotion, a response to distressing and adverse situations. In an aesthetic context, however, sadness is often associated with some degree of pleasure, as suggested by the ubiquity and popularity, throughout history, of music, plays, films and paintings with a sad content. Here, we focus on the fact that music regarded as sad is often experienced as pleasurable. Compared to other art forms, music has an exceptional ability to evoke a wide-range of feelings and (...) is especially beguiling when it deals with grief and sorrow. Why is it, then, that while human survival depends on preventing painful experiences, mental pain often turns out to be explicitly sought through music? In this article we consider why and how sad music can become pleasurable. We offer a framework to account for how listening to sad music can lead to positive feelings, contending that this effect hinges on correcting an ongoing homeostatic imbalance. Sadness evoked by music is found pleasurable (1) when it is perceived as non-threatening; (2) when it is aesthetically pleasing; and (3) when it produces psychological benefits such as mood regulation, and empathic feelings, caused, for example, by recollection of and reflection on past events. We also review neuroimaging studies related to music and emotion and focus on those that deal with sadness. Further exploration of the neural mechanisms through which stimuli that usually produce sadness can induce a positive affective state could help the development of effective therapies for disorders such as depression, in which the ability to experience pleasure is attenuated. (shrink)

I call Derrida ‘The Sad Rider’ for reasons that will become clear. In his two main roles, as a philosopher and as a historian of ideas, Derrida took up the ladder after him. The younger Wittgenstein called it the philosopher’s duty, and I think Derrida accepted it. He wrote in a way that was unexcerptable and barely quotable, and formulated few propositions. His unteachability was a living instance of what he meant by non-iterability. He hoped to avoid the fate he (...) ascribed to ‘writing’. (shrink)

Artykuł dotyczy ukształtowanej przez anglosaski romantyzm przemiany kulturowego obrazu doświadczenia religijnego — przemiany dostrzeżonej w literaturze przez amerykańskiego krytyka literackiego Geoffreya Hartmana. Najważniejsze aspekty tej przemiany to: zwycięstwo modelu poezji kreatywnej nad jej modelem mimetycznym, epitafijność oznaczająca uwrażliwienie na przemijalność świata, naturalizacja nadprzyrodzoności, a także rezygnacja z odpowiedzi na pytania ostateczne. Horyzont poszukiwań sensu tych przemian wyznaczany jest u Hartmana przez quasi-mesjanizm w ujęciu Adorna — przeświadczenie, że wyżej należy cenić różnorodność niepełnych i ułomnych odpowiedzi niż integralność prawd ostatecznych.

But never let it be doubted that depression, in its extreme form, is madness. (Styron, 1990, p. 62)There is nothing wrong with our biology or our intelligence; sometimes we are just stuck. (Cvetkov...

Many people appear to attach great value to sad music. But why? One way to gain insight into this question is to turn away from music and look instead at why people value sad conversations. In the case of conversations, the answer seems to be that expressing sadness creates a sense of genuine connection. We propose that sad music can also have this type of value. Listening to a sad song can give one a sense of genuine connection. We then (...) explore the nature of this value in two experimental studies. The results suggest a striking relationship between music and conversation. People see something distinctively musical in works that express precisely those emotions that they think most create connection within conversation. (shrink)

This guest column marks the tenth anniversary of the death of Jacques Derrida. The journal in which it appears, Common Knowledge, was not especially receptive to deconstruction during Derrida's lifetime, but Lesley Chamberlain in retrospect sees reasons to reconsider his role in intellectual history now. The delicacy of Derrida's mission, she argues, has been misunderstood. He is best placed in the company not of the “deconstructionists” who thought to follow in his footsteps but, rather, in the company of the moralistic (...) and theologically minded German philosophers and thinkers who inspired him, from Kant and Hegel to Heidegger and Walter Benjamin. A personal fear of being pinned down, coupled with his tragic Jewish witness to a philosophical quest for certainty gone astray, led the “Sad Rider,” one of many possible Derridas, to want to “erase” as much as he wanted to write — despite which, he was not spared being turned into an industry. (shrink)