Search results

1

Zwischen Endlichkeit und Ewigkeit. Adolf Reinachs Konzept des religiosen Erlebnisses

100%

Adamczyk M.

Poznańskie Studia Teologiczne

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2014

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issue 28

115-130

EN

In 1914, the year World War I broke out, Adolf Reinach, one of Edmund Husserl’s most notable students, a teacher and mentor of the young generation of phenomenologists, abandoned his work at the university and enlisted in the army. At the front, as a result of various experiences, he went through a vehement turn to religion. He left traces of his conversion in the notes about the religious act he made most probably while in the trenches. In them, Reinach conducted a thorough analysis of the human encounter with the Absolute, discussing the conditions for the opening up of the finite being to infinity and the detailed structure of the religious act. The latter, according to the phenomenologist, is constituted in the feeling consisting in the sense of dependence and safety experienced in the presence of God and the response to it, the sense of gratitude and trust. The conclusion of the whole act is the moment of affirmation of the human being who “in” God finds peace and happiness, not desiring to aspire to or strive for anything else.

2

R. G. Collingwood’s Views on the Feeling – Thought Relation and Their Relevance for Current Research

88%

Zaborowski R.

Studia Humana

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2016

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vol. 5

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issue 3

45-52

EN

Current research in affectivity is often dominated by perspectives on the feeling/thinking dichotomy. In the paper first I reconstruct Collingwood’s position on this point as it is presented in his Religion and Philosophy, The Principles of Art, and New Leviathan, and then compare it shortly with Bergson’s view. In total five of Collingwood’s different readings of the feeling/thought relation are brought to light. Finally, I opt for a view that takes feeling and thought to be complementary and inseparable, and I try to explain why and how they are better treated in this way.

3

Inteligencja a świadomość

88%

Stanisławek J.

Edukacja Filozoficzna

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2016

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issue 62

5-19

XX

According to the author, intelligence is not connected immanently with the awareness. Awareness is the final form of feeling, but there are intelligent objects which are not aware and which do not feel anything. The examples are presented in the genetic codes of particular species and, for instance, in an anthill. These both structure can solve their problems without external help and it is the essence of each intelligence. A human being is a combination of three elements of existence: matter, applications saved in brain (thus abstract objects) and non-spatial self (the object of a spiritual nature). The human intelligence is independent of awareness even though it co-exists and connected with it.

4

Affective Management and its Effects on Management Performance

75%

Authayarat W., Umemuro H.

Journal of Entrepreneurship, Management and Innovation

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2012

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vol. 8

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issue 2

5-25

EN

Affective management is a new concept which suggests that top managers should take stakeholders’ affective experiences into account when making their management decisions. To show that this concept could contribute to the improvement of management performance in organizations, this study investigated the correlations between the affectiveness of top management and management performance indices. Our questionnaire based on the Affective Management Scorecard was employed to assess top managers’ recognition of the importance, as well as the actual practices of affective management. Top managers from 43 Thai organizations participated in the study. A correlation analysis was conducted to observe whether affective management indices would correlate with management performance indices, such as return on equity, return on assets, price to earnings ratio, and price to book value ratio. The findings showed that the results for organizations practicing affective management were positively correlated with their management performance in both profitability and good perceptions by investors.

5

Feeling and Time: The Experience of Passage and its Relation to Meaning

75%

August III J. W.

Eidos. A Journal for Philosophy of Culture

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2018

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vol. 2

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issue 4(6)

82–92

EN

This essay notes the relationship between meaning and the felt passage of time. The concrete experience of fluctuations in the rapidity of passage seems to be universal to the human condition. We often associate the rapid passage of time with pleasure. This article shows that this commonly held view of passage is mistaken and that the more fundamental relationship between transformations of passage is found in fluctuations of meaning. Through explorations of boredom, ambition, and concern, this essay illustrates this connection between passage and meaning through an analysis of these feelings on what the author calls “the axis of fluidity,” a theoretical construction utilized to measure the experience of passage. The result of this essay is an assertion that fluctuations in the saturation of experience with meaning influences the feeling of passage. At the end of the work, an unresolved problem appears, and a potentially ameliorating hypothesis is offered.

6

Sztuka i mistyka. Ekspresja jako artystyczne doświadczenie absolutu

75%

Prusik W.

Analiza i Egzystencja. Czasopismo Filozoficzne

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2013

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issue nr 21

131-147

EN

Theory of art as so called the theory of intuition-expression extremely and clearlydemonstrates the way of a mystic experience as a experience of the Absolute. Croce’sconcept of the Absolute is a sign of being spiritual, no diverse in itself, what is morefully given in an emotional (feeling)artistic expression (artwork). Imagination asan appropriate representational power expressively became, in this context, thesphere of the Absolute (indifferent intuition, totality of Being) in which the Absolute realizes – through creation of art – the material world. An artist, because ofhis creative imagination, appears for Croce as a complete, perfect man and fulfillsa creative and demiurge function for the world. According to Kandinsky, inspiredby Steiner’s antroposophy, art doesn’t present concrete thingsbut using a maximumsimplistic concrete form, expresses and shows things in itself, as an ideal, spiritual,absolute but compared to the world of concretes, the mentioned thingsare internal,substantial, essential and “abstractive”. Abstraction as a “true reality” demands ofgiving up the empirical world and looking continuously at the sphere of absolute“necessity”. Art is a specific, inspired knowledge of the Absolute and an abstractartist inspired by this knowledge and expressing it in his artworks must be understoodin a way characteristic of mysticism (an inspired visionary-prophet, perfect man).In Adorno’s aesthetic theory art actualizes the nature in aspect of beauty and thisactualization consists in changing towards the lack of identity. An individual (eachone ) artwork is the “epiphany” of “spirit” of art, that is an aesthetically Absolute.As a result an artwork presents itself as a kind of “mystic event”, but an artist expressing the sphere of the Absolute still be an inspired visionary going beyond thenatural (empirical) order.All of these theories of art are based on the old neoplato-arabian theory of “creativeimagination” which determinates their quasi- or pseudo-mystic aspiration. Theyare not go beyond tradition, that is “natural mysticism” (characteristic of pantheism). This kind of mysticism differs from revelation mysticism on the grounds ofTranscendence (aspect of a object) and classical moment ofcontemplatio (aspectof a subject).

7

Językowy obraz miłości w ujęciu translatorycznym (na podstawie „Zbrodni i kary” Fiodora Dostojewskiego)

75%

Nawacka J.

Acta Neophilologica

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2020

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vol. XXII/1

127-148

EN

Emotions and feelings, which determine mental experiences and activities of individuals, find their reflection in literary works. Love manifests itself externally as a behaviour of an individual, including the language he or she uses to communicate. The article constitutes an attempt to present the linguistic image of the world embodied in a Polish translation from Russian. For that purpose the research material was excerpted from Crime and Punishment, a novel by Fyodor Dostoyevsky.

8

Rola uczuć w estetyce Franza Brentana

75%

Ruks J.

Estetyka i Krytyka

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2016

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issue 3(42)

145-166

EN

The subject of the article are the feelings in the aesthetics of Franz Brentano. This study is divided into two parts. The first one deals with the determination of how the subject is experiencing beauty. Fundamental role in the experiencing of a beautiful fully the specific feeling determined by Brentano correct joy. It remains in a strong relationship with other feelings, such as feeling of correct preference and sensual feelings, as well as a specific group performances. The second part of the article are the issues of artistic creation. The purpose of this part of article is to outline the conditions conducive to artistic creation, with particular emphasis on mental processes taking place among artists in the creation of brilliant works of art. Mental phenomenon, which forms the basis of artistic creation, it turns out in the aesthetics of Brentano feeling of aesthetic sensitivity.

9

Scheler and the Very Existence of the Impersonal

75%

Auxier R. E.

Eidos. A Journal for Philosophy of Culture

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2018

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vol. 2

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issue 1(3)

74–86

EN

Usually philosophers worry about the existence of mind, or consciousness, or persons, or other difficult-to-explain phenomena. Having posited matter or nature, or fields, they wonder where can person or consciousness originate? This kind of thinking is backward. Only persons ask such questions. Persons exist. I turn the tables on the traditional problem of person by asking whether anything impersonal really exists. I argue that the impersonal almost exists, using the theory of feeling of Max Scheler and supplementing it with insights from Alfred North Whitehead and Josiah Royce. Even though feeling almost succeeds in divesting itself of the pre-supposed act of the person, but its concrete actuality blocks such complete self-abstraction.

10

Koťátko o chrobákovi vo Wittgensteinovej škatuľke

63%

Čana T.

Filosofický časopis (Philosophical Journal)

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2015

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vol. 63

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issue 2

267-278

EN

Wittgenstein’s metaphor of the beetle in the box in the Philosophical Investigations has been the object of a robust critique by Petr Koťátko. In the book Interpretace a subjektivita (Interpretation and Subjectivity) he resolutely opposes the view that mental experiences do not figure in our vocabularies of the mental, which he associates with the metaphor in question. The aim of this article is to show that the critique in question is founded on a misunderstanding of the real sense of the metaphor. Its motivation is quite different. In addition, the aim is to show that, in reality, there is agreement between Koťátko’s critical thoughts and the motivation of Wittgenstein’s metaphor of the beetle in the box.

11

W obronie pojmowania przyjemności jako uczucia

63%

De Lazari-Radek K.

Internetowy Magazyn Filozoficzny Hybris

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2018

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vol. 43

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issue 4

123-149

EN

Gilbert Ryle and Fred Feldman regard pleasure as, respectively, a disposition anda propositional attitude. I consider whether their accounts can seriously threaten the traditional understanding of pleasure in terms of feeling or sensation. I argue that their reluctance to treat pleasure as a mental state results from misunderstanding the difference between sensation and feeling. These concepts relate to different psychological phenomena and should not be used interchangeably. Understanding the difference between them makes it possible to defend the concept of pleasure in terms of feeling, though not sensation.

PL

Gilberta Ryle oraz Fred Feldman definiowali przyjemność jako, odpowiednio, dyspozycję i nastawienie sądzeniowe. Zastanowię się, czy ich koncepcje mogą poważnie zagrażać tradycyjnemu pojmowaniu przyjemności w kategoriach uczucia albo doznania. Skłaniać się będę ku tezie, że niechęć Ryle’a i Feldmana do traktowania przyjemności jako pewnego rodzaju stanu umysłu wynika z niezrozumienia różnicy między doznaniem a uczuciem. Pojęcia te odnoszą się do różnych zjawisk psychicznych i nie powinny być używane wymiennie. Ukazanie i zrozumienie różnicy między nimi pozwoli mi bronić pojmowania przyjemności w kategoriach uczucia, choć nie doznania.

12

Realizacja potrzeb bezpieczeństwa u osób starszych na przykładzie projektu koncepcyjnego domu seniora w Katowicach

63%

Zawadzka N.

Społeczeństwo i Edukacja. Międzynarodowe Studia Humanistyczne

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2015

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issue 2(17)

221-232

EN

The need for security is one of the basic human needs with the Maslow’s pyramid. Senior houses are a specific form of housing for the elderly people, where it forms a social group, including community of residence. In designing time this building we need remember about: • physical security inhabitant- prevent for falling, physical injury as a consequence of inadequate arrangement of living spaces and public spaces. • Mental Safety-the need for privacy and personalization space (eg. private objects, colors affect positively or negatively) • health security- related to the observation and monitoring of resident heaiht, while respecting the private and intimate sphere, • Security related to the state of emergency such as evacuation situations-compliance with the relevant legal requirements. An attempt was made to create guidelines that will help ensure the elderly people need for feeling security.

13

Feelings Matter: Historian’s Emotions

63%

Rossi L., Aarnio T.

Historyka Studia Metodologiczne

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2012

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vol. 42

14

Feelings Matter: Historians Emotions

63%

Rossi L., Aarnio T.

Historyka Studia Metodologiczne

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2007-2008

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vol. 37-38

15

What are Emotions? Structure and Function of Emotions

51%

Mordka C.

Studia Humana

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2016

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vol. 5

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issue 3

29-44

EN

This paper attempts to coin a stipulative definition of “emotions” to determine their functions. In this sense, “emotion” is a complex phenomenon consisting of an accurate (reliable) determination of the state of affairs in relation to the state of the subject and specific “points of adaptation”. Apart from the cognitive aspect, this phenomenon also includes behavior, physiological changes and expressions (facial expression, voice, posture), feelings, and “execution” of emotions in the nervous system. Emotions fulfill informative, calibrating, identifying, existential, and motivating functions. Emotions capture the world as either positive or negative, important or unimportant, and are used to determine and assign weightings (to set up a kind of hierarchy). They emerge automatically (involuntarily), are difficult (or hardly possible) to control and are (to some extent) influenced by culture.

16

Słownictwo związane z pojęciem smutku we współczesnej polszczyźnie

51%

Taczkowska K. M.

Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny

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2021

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vol. 20

195-211

EN

This study discusses units from the lexical family of sorrow and from the semantic group of ‘sorrow-like’ feelings in the Polish language. Based on the material – the publications of linguists, the dictionaries of the Polish language, the National Corpus of the Polish language, and the utterances of the users of the web portals – the author reconstructed the lexical and semantic field organized around the lexeme sorrow. She also examined the relationships between particular elements in the field, with special emphasis on those that are subject to neo-semantization in contemporary texts of the Polish language.

PL

W pracy omówione zostały jednostki z rodziny leksykalnej smutku oraz z grupy „odczuć w rodzaju” smutku. W oparciu o materiał – publikacje językoznawców, słowniki języka polskiego, Narodowy Korpus Języka Polskiego oraz wypowiedzi użytkowników portali internetowych – autorka zrekonstruowała pole leksykalno-semantyczne zorganizowane wokół leksemu smutek. Zbadała także relacje między poszczególnymi elementami, które znalazły się w polu, ze szczególnym uwzględnieniem tych, które we współczesnych tekstach polszczyzny podlegają neosemantyzacji.

17

Rozum versus (u)czucie. Filozofii krytycznej z (neo)platonizmem przypadki (kilka słów od tłumacza)

51%

Banaszkiewicz A.

Internetowy Magazyn Filozoficzny Hybris

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2021

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vol. 53

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issue 2

79-101

EN

The following paper provides a historical and biographical introduction to the reading of the translation of Kant’s essay Von einem neuerdings erhobenen vornehmen Ton in der Philosophie. It consists of three parts. In the first one, called Introductory remarks, I point out the specific role of Kant’s polemical writings in his work. In the second, Protagonists, I outline the biographies of both of Kant’s opponents: J. G. Schlosser and Friedrich Leopold Graf zu Stolberg-Stolber. Finally, in the third one, I discuss a number of translation problems with the terms “Ahnung” and “ahnen”.

18

Nominalist re-turn in contemporary art

51%

Schollenberger P.

Art Inquiry. Recherches sur les arts

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2015

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vol. XVII (XXVI)

69-82

EN

Hans Blumenberg has shown (Die Legitimität der Neuzeit) that the appearance of nominalism in the debates of the Middle Ages had laid grounds for modernity. Nominalism assumes that only individual, concrete objects exist and that common properties are not grounded in any kind of supra-individual properties or relations that would exist independently of what is singular. In Thierry de Duve’s interpretation, “pictorial nominalism” of Duchamp puts stress on a particular or a singular name, stops the process of reference and shows its “plastic being”. This aesthetic idea opens up a new field that we now call “art”, where art becomes a “proper name”. I would like to follow his analysis, but also to re-think it the context of the present, to explore the specificity of the nominalist re-turn in contemporary art. The contemporary aesthetic experience of art as such is nominalist in the sense I would like to examine in this article.

PL

Hans Blumenberg pokazał w swojej Die Legitimität der Neuzeit, w jaki sposób pojawienie się nominalizmu w średniowiecznych debatach położyło podwaliny pod nowoczesność. Nominalizm zakłada, że tym, co istnieje są jedynie pojedyncze, konkretne rzeczy, a wspólne własności nie są osadzone w jakichś innych ponad-indywidualnych własnościach, czy relacjach, które mogłyby istnieć niezależnie od tego, co jednostkowe. W interpretacji Thierry de Duve’a „nominalizm pikturalny” Duchampa kładzie nacisk na jednostkowe imię, zatrzymuje proces odniesienia i ukazuje jego „plastyczne istnienie”. Ta idea estetyczna otwiera całkowicie nowy obszar, który określamy współcześnie mianem „sztuki”, gdzie sztuka staje się „nazwą własną”. W artykule pragnę prześledzić tę analizę, jak również chcę ją przemyśleć w kontekście współczesności, by odpowiedzieć na pytanie o charakter nominalistycznego zwrotu/powrotu w sztuce współczesnej. W tym rozumieniu współczesność charakterystyczna dla doświadczenia estetycznego okazuje się nominalistyczna w sensie, który zamierzam wypracować w artykule.

19

The Called. Church Musicians in the Face of Cultural Changes

51%

Kierska-Witczak M.

Pro Musica Sacra

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2022

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vol. 20

9-28

PL

Artykuł jest próbą zdiagnozowania wybranych kulturowych i społecznych zagrożeń oraz odniesienia ich do zawodowej codzienności muzyków kościelnych w oparciu o analizę zawarta w książce Macieja Zięby OP Kłopot za kłopotem. Katolik w dryfującej Europie. Kolejno, tekst wykorzystuje model trzech głównych komponentów muzyki sakralnej: uczucia, estetyki i misterium, sformułowanego przez teologa, członka Papieskiej Akademii Teologicznej, prof. Inosa Biffiego, aby w tym modelu poszukać odpowiedzi na interesujące nas pytanie – w jaki sposób chrześcijański muzyk może planować i realizować swoją zawodową przyszłość, czy i w jaki sposób może mierzyć się z narastającymi problemami.

EN

The article is an attempt to diagnose selected cultural and social threats and to relate them to the everyday life of church musicians and their profession. In this regard, the reflection is based on the analysis presented in the book Kłopot za kłopotem. Katolik w dryfującej Europie [Trouble follows trouble. A Catholic in a drifting Europe] by Fr Maciej Zięba OP. In the second part, the article refers to the tripartite model of sacred music, consisting of feeling, aesthetics and mystery, proposed by an eminent theologian, member of the Pontifical Academy of Theology, Professor Inos Biffi. This model should provide answers to quetions of interest to us: How can a Christian musician plan and shape his professional future? Can he face the growing problems, and if so, then how?

20

Nastrój

45%

Ronge G.

Forum Poetyki

|

2016

|

issue 3

78-83

EN

This text on the keyword “mood” offers an attempt to define that category in the context of poetics. Though the term itself frequently appeared in discussions of literature in the eras of Romanticism and Symbolism, its meaning was then understood more intuitively and arbitrarily and it constituted rather a means of aesthetic evaluation of literary works than a strictly defined concept in the field of literary studies. A new approach to the idea of mood proposed by Hans Ulrich Gumbrecht and his simultaneous exhortation to examine it within the categories of literary and cultural theory and poetics demands a clear definition of its position among poetics concepts and an effort to define the function in scholarly discourse that could be performed by this category-a traditional one, but read by Gumbrecht in a completely new fashion.

PL

Hasło „nastrój” stanowi próbę zdefiniowania tej kategorii na gruncie poetologicznym. Choć sam termin pojawiał się często w dyskusjach o literaturze już w epoce romantyzmu i symbolizmu, jego znaczenie odczytywano raczej intuicyjnie i arbitralnie i stanowił on bardziej środek estetycznego wartościowania dzieł literackich niż ściśle określone pojęcie z zakresu literaturoznawstwa. Postulowane przez H. U. Gumbrechta nowe spojrzenie na nastrój i zaproszenie do rozważania go w kategoriach teorii literatury i kultury oraz poetyki wymaga jasnego określenia jego pozycji w repertuarze pojęć poetologicznych i podjęcia próby zdefiniowania naukowych funkcji, które ta tradycyjna, ale odczytywana przez Gumbrechta w zupełnie nowy sposób, kategoria mogłaby realizować.

Refine search results

Zwischen Endlichkeit und Ewigkeit. Adolf Reinachs Konzept des religiosen Erlebnisses

R. G. Collingwood’s Views on the Feeling – Thought Relation and Their Relevance for Current Research

Inteligencja a świadomość

Affective Management and its Effects on Management Performance

Feeling and Time: The Experience of Passage and its Relation to Meaning

Sztuka i mistyka. Ekspresja jako artystyczne doświadczenie absolutu

Językowy obraz miłości w ujęciu translatorycznym (na podstawie „Zbrodni i kary” Fiodora Dostojewskiego)

Rola uczuć w estetyce Franza Brentana

Scheler and the Very Existence of the Impersonal

Koťátko o chrobákovi vo Wittgensteinovej škatuľke

W obronie pojmowania przyjemności jako uczucia

Realizacja potrzeb bezpieczeństwa u osób starszych na przykładzie projektu koncepcyjnego domu seniora w Katowicach

Feelings Matter: Historian’s Emotions

Feelings Matter: Historians Emotions

What are Emotions? Structure and Function of Emotions

Słownictwo związane z pojęciem smutku we współczesnej polszczyźnie

Rozum versus (u)czucie. Filozofii krytycznej z (neo)platonizmem przypadki (kilka słów od tłumacza)

Nominalist re-turn in contemporary art

The Called. Church Musicians in the Face of Cultural Changes

Nastrój