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Realismus Ladislava Hejdánka

100%
Hejduk T.
Filosofický časopis (Philosophical Journal)
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2012
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vol. 60
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issue 2, Special No: Hledání ztraceného času
271-285
EN
The familiar division of political thinkers into moralists and realists leads the author to the question of how to classify Ladislav Hejdánek’s unique yet ambiguous approach to public weal and matters politic. Does Hejdánek base his understanding of democracy and liberalism (and of liberties an drights thereunto appertaining) on morality (on philosophy or on system theory) or does he recognise the primacy of matters politic? Though in Hejdánek’s writings moral appeals are frequent and fundamental, the author seeks to show that realism prevails. In the present text, the author delineates the specific realism of this Czech thinker more precisely by analysing Hejdánek’s texts, especially his Epistles to a Friend.
2
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Realismus a moralismus v díle Emanuela Rádla

100%
Hejduk T.
Filosofický časopis (Philosophical Journal)
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2014
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vol. 62
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issue 3
387-402
EN
An analysis of Rádl’s Útěcha z filosofie (The Consolation of Philosophy) reveals it to be a work in which Rádl, ailing and overcome by events, resorts to mere moralising. It is my view that, even here, he maintains the full dynamic unity of wordly reality, which governs life itself, and abstract morality, which is supported by philosophical theories and systems. Despite the fact that many theses and concepts in the Consolation give the impression of a stereotypical moralising of life (“The Moral Order”), we always find in the text, alongside these themes, counterbalancing realist theses (life itself, the individual). I understand this balance between a concrete and a moral approach to human life as the principle reason for treating Rádl as closer to Socrates than to Plato (on the basis of the conception of the difference between Socrates and Plato in “Eternity and Historicity”, I take issue with Patočka’s “Platonic” interpretation of Rádl).
3
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The Judgement of Paris as Examined by a Lawyer and a Christian Moralist: Dracontius’ De raptu Helenae

86%
Cichoń N.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2016
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vol. 26
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issue 1
157-170
EN
In this paper I examine Dracontius’ poem De raptu Helenae to prove his unconventionality and originality inpresenting a well-known myth. He analyses the story of the judgement of Paris from the legal point of viewusing professional, legal vocabulary. At the same time he takes into account also the moral and Christian dilemmasand thereby he finds completely new aspects and interpretations, ignored by previous poets.
4
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Uwagi o mowie cynicznej. Kallikles i Trazymach jako mówcy cyniczni

86%
Pietrzak M.
Studia Philosophica Wratislaviensia
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2019
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vol. 14
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issue 4
45 - 68
EN
Cynical speech is a proper form of manifestation of what we call cynicism. It takes the form of a persuasive strategy which assumes the achievement of the rhetorical consubstantiation of a cynical speaker and her/his auditorium. Cynical speech is a game that takes place between three sides: a cynical speaker posing as an immoralist, a moralist and an auditorium, the acquisition of which is the aim of both interlocutors. At the outset, the cynical speaker gives the identity of naive dilettantes’ to both the members of the auditorium and the moralist and then tries to persuade the audience to side with him and take on the role of the students of a cynical expert. This is what can be described as cynical modulation. In its course, the initial opposition of a professional versus dilettante turns into an opposition of master versus student, while the unattractive identity of a dilettante is transferred to a moralist. In this way, the speaker achieves what Kenneth Burke thinks is the right goal for any rhetorical act: the speaker’s consubstantiation with the auditorium. This process is presented based on the example of the disputes between Socrates, as a moralist on the one hand, and sophist-politicians Thrasymachus and Callicles, who personify the type of cynical speakers, on the other. The analysis of cynical speech carried out in the paper leads to an indication of some basic features of this way of speaking, as well as the relationship that exists between them and the content of viewpoints voiced by cynical speakers. These viewpoints have been described as aristocratic democratism and people’s anti-democratism. These are two forms of what has been described as the cynical counter-ideal. The adoption of these positions is an indirect expression of the same systematic ambiguity that lies in the form of cynical speaking, which belongs to the very essence of cynicism as a cultural phenomenon.
5
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Il panegiristico ‘arco trionfale’ di Jan Zamoyski quale immagine speculare del modello classico del ‘vir bonus’

72%
Kucharczyk O.
Perspektywy Kultury
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2023
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vol. 41
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issue 2/1
105-128
EN
“Arco trionfale” engraved by Giacomo Lauro in circa 1601–1603 is perhaps the most distinguishable period print associated with Jan Zamoyski (1542–1605), presenting an image of the Chancellor and Grand Hetman of the Crown. References to the print appeared in almost all studies dedicated to Polish modern art, in texts on the great Chancellor’s artistic patronage and in studies on art in the contexts of politics, propaganda and glorification. More often than not, an analysis of the concept was superficial, although the copperplate presents profound, though hitherto unrecognised content. Its highly erudite iconographic programme ought to be interpreted through the prism of ancient culture and the moral philosophy of Ciceronianism, Aristotelianism or the didactic and moral interpretation of Plato and Isocrates. We find in the print numerous motifs referring to moral civic education based on the rule of Stoic virtue, the need to exercise oneself in the service and defence of one’s homeland, the doctrine of “just war” as well as the ancient topos of pax et bellum. Readily apparent in the image, there are also elements of ethics, the science of the state and the Polish tradition of legal theory. The triumphal arch of Jan Zamoyski constitutes a parenetic mirror of his life and virtues as an “exemplary citizen” and an “ideal civil servant,” simply vir bonus.
IT
L’“Arco trionfale” inciso da Giacomo Lauro intorno al 1601–1603 è forse l’incisione dell’epoca più distinguibile associata a Jan Zamoyski (1542–1605), che presenta un’immagine del Cancelliere e Gran Etmano della Corona. Riferimenti all’incisione sono apparsi in quasi tutti gli studi dedicati all’arte moderna polacca, nei testi sul mecenatismo artistico del grande Cancelliere e negli studi sull’arte nei contesti della politica, della propaganda e della glorificazione. Nella maggior parte dei casi, un’analisi del concetto è stata superficiale, benché la lastra di rame presenti profondi contenuti, fino ad oggi tuttavia rimasti ignorati. Il suo programma iconografico estremamente erudito dovrebbe essere interpretato attraverso il prisma della cultura antica e della filosofia morale del ciceronismo, dell’aristotelismo o dell’interpretazione didattica e morale di Platone ed Isocrate. Nell’incisione possiamo trovare numerosi motivi che si riferiscono all’educazione morale civica basata sulla regola della virtù stoica, la necessità di esercitarsi nel servizio e nella difesa della patria, la dottrina della “guerra giusta” così come l’antico topos del pax et bellum. Sono inoltre evidenti nell’immagine gli elementi dell’etica, della scienza dello stato e della tradizione polacca della teoria giuridica. L’arco trionfale di Jan Zamoyski costituisce uno specchio parenetico della sua vita e delle sue virtù come “Cittadino esemplare” ed “ideale servo della stato”, semplicemente vir bonus.
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