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Doctrina multiplex, veritas una

100%
EN
Coherent thoughts about the truth seem to be more difficult than about any other abstract concepts. According to some fundamental presuppositions, the truth should be one and in a sense unchangeable. On the other hand, even a simple observation suggests something opposite – the truth seems to be variable and relative and that is why given in some different, alternative forms. The paper deals with all the above mentioned problems and other relative ones concerning the truth. The entire discussion coincides with an ancient dictum being the title of the article
EN
The issue of reduction of propositions to sets of possible worlds is addressed. It is shown that, under some natural assumptions, there always exist recursive propositions, i.e. decidable sets of possible worlds, which are not assigned to any sentence of a language. Some consequences of this result are discussed.
EN
The aim of this article is to interpret Szymborska’s poem entitled The Railroad Station and its English translation, from the point of view of the key poetics of negation. From the point of view of linguistics, literary studies, and translation studies, the poem is demonstrative of the variety of forms of negation and their semantic functions used in Szymborska’s entire oeuvre. The translators use numerous and various forms of formal and semantic negation as well, but they lack the central pragmatic negation. Szymborska doubts whether ‘our’ world is the best of possible worlds: since there is only one course of events, ‘the paradise of probability’ is ‘artificial’; the world is a burial ground of possibilities that did not come true.
EN
In his novels, Pierre Senges (born in 1968) constantly questions the limits of the literary representation as he emphasizes the textual nature of any fictional world. Veuves au maquillage (2000) is a relatively continuous narrative of an unusual suicide planned by the protagonist-narrator as a methodic murder gradually committed on him by his six mistresses, the six jealous widows; whereas Études de silhouettes (2010) consists of a series of short texts, each based on a phrase from Kafka’s drafts, without any thematic bounds between them. In Senges’s universe, the borders become blurred between different possible worlds so that the reader does not get the possibility to determine whether any of these worlds has a priority over the others. His postmodern writing is a lesson and a practice of relativity of values and significations.
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Cyberprzestrzeń i zmysły

75%
EN
As the author of this article claims, science fiction as a worldcentric convention, creates a fictitious world through the activation of the difference between the norm and the extraordinariness. A configuration of possible worlds arises, in the center of which the current world of fiction is. Science fiction enjoys a great variety of possibilities of confronting worlds. A particularly interesting variant is realized by the cyberpunk containing creations of simulated space or cyberspace.
EN
The article focuses on the reading of Waldemar Frąc’s film theory in the context of the newest film examples. In the first part, the author presents the most important features of the “possible cinema” and expands it with a philosophical possible worlds theory, and also gives the context of mind-game films. In the second part, the author proposes an interpretation of two films: Annihilation and Arrival, and the Dark series in the face of the presented theoretical solutions. The main point of the analysis is to show how the worlds presented in the given films exist, how the concept of possibility/the possible world is manifested, and what changes occur at the level of the film narrative itself. Interpretation of the film examples leads the author to the conclusion that metaphysical possibilism in the film and series reveals not only ontological themes, but also has significant intercultural value and moves existential reflection.
Roczniki Filozoficzne
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2017
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vol. 65
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issue 4
115-136
PL
Przedmiotem artykułu jest status ontologiczny światów możliwych oraz niemożliwych. Zgodnie z jedną ze współczesnych wersji meinongianizmu, o ile świat aktualny jest przedmiotem istniejącym, o tyle światy czysto możliwe oraz niemożliwe uznawane są za przedmioty nie­ist­niejące. Zwolennicy tego podejścia twierdzą ponadto, że światom nieaktualnym nie przysługuje żaden inny rodzaj istnienia. Celem artykułu jest wskazanie na problematyczne konsekwencje wspomnianego stanowiska oraz zarysowanie poglądu alternatywnego, który oparty jest na pluralizmie ontologicznym, tj. na poglądzie uznającym wielość rodzajów istnienia.
EN
The subject of the paper is the ontological status of actual and non-actual worlds. According to one version of contemporary Meinongianism, while the actual world exists, merely possible and impossible worlds are nonexistent objects. Moreover, they do not have any other form of being. The aim of the paper is to indicate some problematic consequences of this kind of Meinon­gia­nism, and to sketch an alternative view, which is based on ontological pluralism—the view according to which there are many kinds of being.
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EN
In this paper I present a difficulty for Matczak’s sophisticated textualism. I argue that, due to his claims about the descriptive character of legal language and the unity of the possible world postulated by the legal text, his theory cannot successfully account for norms that express factors that an authority should take into account when determining the measure of sanction. I reject two replies to this objection that do not require a modification of Matczak’s account. The upshot of my argument is that in order to accommodate norms pertaining to sanctions, Matczak should drop the assumption of unity of the possible world described by the legal text.
EN
This paper is devoted to the brilliant Czech logician and philosopher of language Pavel Tichý (1936–1994) who, after emigrating to New Zealand in 1970 and spending half his life there as a political refugee, committed suicide shortly before returning to his alma mater, Charles University in Prague, as Chair of the Department of Logic in the Faculty of Arts. After tracing a biographical profile of the Czech logician, the paper explains some of the central ideas of Tichý’s highly original theory, called Transparent Intensional Logic, while locating it in the wider context of the analytic philosophy of language. The paper concludes by highlighting the role played by Tichý’s intensional theory in advancing various disciplines, including artificial intelligence, with the aim of shedding light on the significant contributions of the Czech logician, who has yet to gain due recognition.
EN
Wittgenstein is the author of two conceptions of “grammar”, that were meant to be tools of reaching the same goal: discrediting of the traditional, i.e. “metaphysical” questions of philosophy. His early conception concerns logical grammar being the language of logic notation, which is devoid of logical constants. This idea was supported by the ontological thesis that there are no logical objects. In fact, it was not indispensable for achieving the intended purpose, since the elimination of philosophical problems was provided by the semantic argument that the only sensible statements are those of the natural sciences. The second concept of grammar, presented in the writings of the later Wittgenstein, seems more ambiguous. Grammar is a set of rules of the language game, having a status of grammatical statements. Examples of such statements are diverse, and desirable, according to the authors, reformulation of them all into concrete orders or prohibitions seems problematic. In the Investigations Wittgenstein distinguishes between deep and surface grammar, which serves to determine the proper task of philosophy as description of the deep grammar (especially the grammar of philosophically relevant words). In this sense New Philosophy is a kind of philosophical grammar. Wittgensteinian grammar is also anti-philosophical, as it aims at the elimination of erroneous (pseudo)metaphysical claims derived from misleading forms of surface grammar. Despite the differences in the concepts of language and grammar in the early and late Wittgenstein, he has not changed his critical approach to the traditional philosophical questions.
PL
Futurologię zdają się charakteryzować dwa główne paradygmaty: historyczno-literacki, który podkreśla znaczenie wyobraźni i talentu artystycznego, oraz techniczno-naukowy, który sprzyja rygorystycznej analizie danych i precyzji prognoz. Artykuł ten pokrótce przedstawia ewolucję tych dwóch paradygmatów i pokazuje, w jaki sposób znalazły one syntezę we współczesnych „analizach scenariuszy”, których inicjatorem jest Herman Kahn. Co więcej, pokazuje, że ten trzeci sposób analizy może zyskać większą świadomość teoretyczną dzięki koncepcji „współczynnika wyobraźni”. Autor rozwija tę koncepcję, biorąc pod uwagę analityczne rozróżnienie historii i poezji wprowadzone w Poetyce Arystotelesa, rolę wyobraźni w nauce podkreślaną przez filozofa Karla Poppera i chemika Jacobusa Henricusa van't Hoffa oraz dwie dobrze znane zasady metodologiczne socjologii , a mianowicie „współczynnik humanistyczny” opracowany przez polskiego socjologa Floriana Znanieckiego i „wyobraźnię socjologiczną” teoretyzowaną przez Charlesa Wrighta Millsa.
EN
This article reconstructs the historical circumstances that led to the emergence of futurology, as a distinct field of research, and of Herman Kahn’s scenario analysis, as an investigative tool alternative to trend analysis. Two main paradigms characterized prospective thinking up to the mid-20th century, a historico-literary one that emphasized the importance of imagination and artistic talent, and a technical-scientific one that favored the rigorous analysis of data and precision of forecasts. After the Second World War, these two paradigms found a virtuous synthesis in scenario analysis, a halfway approach between literary arts and science. The author argues that the use of imagination and creativity does not undermine the scientific status of futurology, just as it does not put in jeopardy that of other sciences. He also introduces the term imaginative coefficient to indicate a fundamental ingredient of prospective thinking and provides the theoretical basis of this concept.
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51%
EN
A standard contemporary formulation essentialism defines essential properties with a help of a concept of possible worlds. It is often argued that in order to use possible worlds effectively, facts about transworld identity of individuals need to be determined. In this paper I discuss how essentialist might attempt the issue of transworld identity of individuals. Specifically, I analyze a connection between essentialism and the two theories that explain the transworld identity issue, that is, haecceitism and antihaecceitism. I provide a detailed analysis of different variants of antihaecceitism and argue, that all of them are incompatible with basic intuitions that stay behind essentialism. In contrast to that, I defend a position that essentialism ought to be combined with some form of haecceitism. In the remainder of this paper I provide the two ways through which essentialist might be a haecceitist.
15
51%
EN
A standard contemporary formulation essentialism defines essential properties with a help of a concept of possible worlds. It is often argued that in order to use possible worlds effectively, facts about transworld identity of individuals need to be determined. In this paper I discuss how essentialist might attempt the issue of transworld identity of individuals. Specifically, I analyze a connection between essentialism and the two theories that explain the transworld identity issue, that is, haecceitism and antihaecceitism. I provide a detailed analysis of different variants of antihaecceitism and argue, that all of them are incompatible with basic intuitions that stay behind essentialism. In contrast to that, I defend a position that essentialism ought to be combined with some form of haecceitism. In the remainder of this paper I provide the two ways through which essentialist might be a haecceitist.
Tematy i Konteksty
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2022
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vol. 17
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issue 12
43-54
EN
This article is an introduction to theoretical considerations focused on biographical allusions to reality that find their place in poetry. The author, following the theories of literary fiction rooted in Aristotle's thought, takes the position that all scientific considerations concerning the actual prototypes of the creation of the represented worlds must start with the rejection of existential monism and assume the existence of "possible worlds". The author proposes to introduce the concept of "biographical allusion formulated with the use of a lyrical strategy" into the science of literature. It turns out that there are three basic lyrical strategies of this type: testimony, confession, and challenge.
PL
Niniejszy artykuł stanowi wprowadzenie do teoretycznych rozważań dotyczących biograficznych aluzji do rzeczywistości obecnych w utworach poetyckich. Autor, podążając za teoriami fikcji literackiej znajdującymi swe źródło w myśli Arystotelesa, wyraża pogląd, że wszelkie naukowe dociekania dotyczące rzeczywistych prototypów kreacji światów przedstawionych muszą opierać się na odrzuceniu monizmu egzystencjalnego oraz uwzględniać istnienie "światów możliwych". Autor proponuje wprowadzić do obiegu literaturoznawczego pojęcie "biograficznej aluzji formułowanej przy użyciu strategii lirycznej". Okazuje się, że można wyróżnić trzy zasadnicze tego typu strategie: strategię świadectwa, wyznania oraz wyzwania.
EN
The article deals with the problem of meaning of a poetic text of economic, lapidary form devoid of linguistic metaphors, where the construction of expression directly reaches the sense. The style of ostensible redundancy is functional in analytical sentences and repetitions, which is connected with the title Chwila. The intention of stopping the time is expressed by the excess of text form, whose function is global meaning. In the analyzed poetry, the meaning is formed by the style; there is not a subject of description in an ontological sense. The elements of the represented world are incompatible and involve a number of choices or options. The meaning lies beyond the scope of reference of text elements. In Szymborska’s poetry, the meaning is not independent. It is not that she chooses appropriate means of expression for already prepared content; for example, when a lofty style is adapted to serious content, or trivial things are spoken playfully about. In Szymborska’s poetry, it is the other way round; a joke, a witticism is the material of her poetry, but the content is serious and concerns the fundamental problems of existence. The lack of loftiness is balanced by omnipresent irony, and the genius of this poetry is underlain by the simplicity and subtlety of medium, the brilliance of expressions and amazing grammar and style as far as linguistics is concerned.
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