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Počátky vědecké filosofie v USA : nový realismus

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Zámečník H. L., Vrabeľ O.
Filosofický časopis (Philosophical Journal)
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2019
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vol. 67
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issue 2
183-206
EN
This article aims to present the philosophical conception of the New Realism movement which formed at the beginning of the twentieth century in the United States in reaction to the thinking of the idealist consensus, whose foremost representative was Josiah Royce. It also aims to reconstruct the basic procedure of argumentation of the programme of reform of philosophy proposed by the New Realism, and to subject to critical scrutiny the epistemological conception of direct realism. The New Realists were significantly influenced in their opinions by the work of Bertrand Russell, something which explains certain visible parallels with the programme of the Vienna Circle and with thinking that anticipates the philosophy of science. Last but not least, we aim to argue in favour of the view that New Realism is not a comprehensive philosophical conception, but rather the sum of the approaches found in the different New Realist thinkers. Despite this, however, some views of the New Realists are shown to be a still relevant and inspiring source for further philosophical investigation.
DE
Ziel des vorliegenden Beitrags ist es, das philosophische Konzept der Bewegung des Neuen Realismus vorzustellen, die sich Anfang des 20. Jahrhunderts in den USA als Reaktion auf die Gedanken des idealistischen Konsens mit seinem führenden Vertreter Josiah Royce formte. In diesem Beitrag soll auch die grundlegende Argumentationsweise der vom Neuen Realismus angeregten Philosophiereform rekonstruiert werden. Des Weiteren wird das epistemologische Konzept des direkten Realismus einer kritischen Analyse unterzogen. Die neuen Realisten gehen in ihren Ansichten insbesondere vom Werk Bertrand Russells aus, wodurch wir gewisse Parallelen zum Programm des Wiener Kreises sehen, bzw. zu den Gedanken, die die Wissenschaftsphilosophie antizipieren. Nicht zuletzt ist es unser Ziel, jene Interpretation argumentativ zu unterstützen, der gemäß der Neue Realismus kein abgeschlossenes Philosophiekonzept darstellt, sondern die Summe der Ansätze einzelner neorealistischer Denker. Dennoch erweisen sich einige Ansichten der Neorealisten als nach wie vor aktuelle und inspirative Quelle der weiteren philosophischen Untersuchung.
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K rekonstrukci teologie po konci postmoderny

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Vokoun J.
Studia theologica
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2015
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vol. 2
40-72
EN
The author addresses the present-day challenge to theology involving a philosophical turn to Realism and its critique of Constructivism and Postmodernism. The author welcomes this critique. He also points out the benefits of radical Constructivism which have been directed toward theology but have not yet been fully utilized. He presents two successful (in his opinion) German attempts to apply Constructivism to theology. The author believes that a Constructivism free of erroneous ideological assumptions is permanently suitable as a methodology for the study of the obviously designed social phenomena. This reasoning is supported in the author’s exploration of the theology of tradition. In the final section, the author makes mention of the main initiatives that New Realism offers for theology, for example in the area of a dialogue between theology and science, the restoration of metaphysics and ontology, and the theological concept of truth, which could include perspectivity and contextuality of cognition into a realistic position.
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Between Brueghel, Surrealism, and New Realism: Wachsman's stage design for Heavy Barbara

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Šlaisová E.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2022
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vol. 25
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issue 1
109-136
EN
In 1937, Jiří Voskovec and Jan Werich wrote and staged the play Těžká Barbora [Heavy Barbara], which was inspired by the art of Pieter Brueghel the Elder and represents a unique experiment involving dramatisation and theatricalisation of his paintings. This article focuses on Alois Wachsman's scenography for this play and explores it in relation to Brueghel's paintings; the poetics and humour of Voskovec and Werich; trends and artists of the period; Wachsman's scenography for the National Theatre; and his paintings. The study brings attention to the previously unknown fact that Wachsman created two different versions of the set design for Heavy Barbara. Both versions alluded to Brueghel; however, one was inspired by Surrealism/ Wachsman's imaginative painting, while the other accentuated the folk atmosphere of the play through its use of New Realism and New Objectivity.
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