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Cognitive Metaphors of the Mind in "The Canterbury Tales"

100%
Wawrzyniak A.
Research in Language
|
2014
|
vol. 12
|
issue 1
49-60
EN
The paper presents an analysis of a number of cognitive metaphors pertaining to the concept of mind (e.g. sanity and insanity), heart, and fire. The study has been based on the text of Canterbury Tales by Geoffrey Chaucer. The paper contains a short theoretical introduction and a discussion of different linguistic and psychological approaches to issues related to figurative and literal, conventional language use. The analytical part focuses on the detailed contextual study of the cognitive metaphorical concepts. It is argued that many apparently similar concepts can evoke semantically conflicting metaphors, while concepts that appear to be mutually exclusive can sometimes evoke common associations and thereby similar metaphors.
2
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Cognitive Metaphors of the Mind in the Canterbury Tales

100%
Wawrzyniak A.
Research in Language
|
2014
|
vol. 12
|
issue 1
49-60
EN
The paper presents an analysis of a number of cognitive metaphors pertaining to the concept of mind (e.g. sanity and insanity), heart, and fire. The study has been based on the text of Canterbury Tales by Geoffrey Chaucer. The paper contains a short theoretical introduction and a discussion of different linguistic and psychological approaches to issues related to figurative and literal, conventional language use. The analytical part focuses on the detailed contextual study of the cognitive metaphorical concepts. It is argued that many apparently similar concepts can evoke semantically conflicting metaphors, while concepts that appear to be mutually exclusive can sometimes evoke common associations and thereby similar metaphors.
3

Demokracja i wolność

86%
Kochan J.
Nowa Krytyka
|
2016
|
issue 37
EN
The article presents the understanding of freedom and democracy from the perspective of Athusser’s theory of ideology. Freedom turns out to be a subtle medium of interpellation in modern capitalist society and plays a role similar to religion and god in feudal society. The foundation for the freedom is the individual, the private ownership of the workforce. Democracy is in the modern world concretization of freedom and as a kind of universalism fulfills today, like freedom, first of all functions of a war machine and epistemological obstacle. Freedom, democracy is a empty advanced vehicles for various ideological, political, philosophical content.
4
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Aristotle’s Method of Understanding the First Principles of Natural Things in the Physics I.1

72%
Mouzala M. G.
Peitho. Examina Antiqua
|
2012
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vol. 3
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issue 1
31-50
EN
This paper presents Aristotle’s method of understanding the first principles of natural things in the Physics I.1 and analyzes the three stages of which this method consists. In the Physics I.1, Aristotle suggests that the natural proper route which one has to follow in order to find out the first principles of natural things is to proceed from what is clearer and more knowable to us to what is more knowable and clear by nature. In the Physics I.1, the terms καθόλου (universal) and καθ΄ ἕκαστα (particular) are not used in their usual meaning (e.g., the meaning which the same terms have in the Posterior Analytics I. 2). This paper examines the Physics I.1 in comparison with the Posterior Analytics II. 19 in order to elucidate the meaning of καθόλου in the first chapter of Aristotle’s Physics. Furthermore, it reaches the conclusion that the structure of the natural world to which we belong determines the structure and the form of our knowledge. On the one hand, natural things are composite and, on the other hand, perception is involved in the initial grasping of natural things as composites. Thus, since perceptual knowledge is more accessible to us than any other kind of knowledge it is natural to reach knowledge of simple things, i.e., of the principles, starting our inquiry with the composites.
5
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The Silence of Socrates: The One and the Many in Plato’s Parmenides

58%
Barmore S.
Studia Gilsoniana
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2020
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vol. 9
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issue 2
209-236
EN
Parmenides was not a metaphysician (he was a materialist), so there is no such thing as Parmenidean metaphysics. Plato’s Parmenides, however, offers metaphysical insights otherwise overlooked by readers unfamiliar to what St. Thomas Aquinas offers concerning the One and the Many. This article highlights some of these insights and will interest students of St. Thomas. It might also acquaint students of Plato to a more perfect metaphysics, and it could even corrode the beliefs of others who maintain that there is no such thing as metaphysics. The fact that none of the sciences may dispense with the first science is brought heavily to bear upon the reader of the Parmenides, who finds it otherwise impossible to resolve any of the difficulties attendant upon reconciling the One and the Many. The many apparent contradictions between the One and the Many displayed in Plato’s Parmenides really cannot be solved without sound metaphysics, and sound metaphysics cannot proceed unaided by St. Thomas and his inheritors. Go to Thomas to understand Plato’s Parmenides.
6
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Uniwersalno-teologalny wymiar muzyki i śpiewu w ujęciu Benedykta XVI

58%
Warzeszak J.
Pro Musica Sacra
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2020
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vol. 18
EN
This article was written mainly on the basis of numerous pope’s Benedict XVI speeches given on the occasion of over 40 of the great world music concerts offered to him. From them emerges an image of the pope as a great lover and expert in this field. In his comments he had presented the context in which the work performed by the orchestra or choir was created, the composer’s intentions, what thoughts he contained and by what musical discourse he expressed them. One can also see his great sensitivity to the performed music, he was able to see what the conductor with the orchestra and choir intended to express and he was able to appreciate the masterly original performance. He could also experience this music; it was able to move his emotions, penetrate his heart and move his spirit. Thanks to this, music was reviving his everyday life and giving to it a festive and sublime character.In the musicological comments and statements of the pope, two basic features of music and singing stand out: universal character and theological character. Universal, because music is not – as he said – an accidental combination of sounds, but has a beauty, depth, message that sends the listener above the present, above materiality, raises up the spirit to matters of everlasting, timeless, supranational, supracultural. And these aspects were tried to be extracted from the papal speeches in the first part of the article.However, this orientation of music and singing towards the universal is not Benedict’s XVI orientation towards some pure abstractionism, towards some existential emptiness, but it is theologically oriented, i.e. towards Truth, Goodness, Personal Beauty, towards Someone Transcendent, Someone distant, towards the Creator of the beauty of the cosmos, but also artistic beauty, including music, towards the Giver of the talents who create beauty, and at the same time towards God who is close, God‑Man, Christ, who revealed himself as Personal Love. Music and singing make possible search for God and at the same time contemplation of the mysteries of his existence and saving action. According to the pope’s idea, the universal and theological dimensions cannot be separated; in his teaching they interpenetrate each other.An important element of the pope’s teaching about music and singing is to make the recipients aware of the evangelical roots and the Christian nature of the Western civilization. The meeting with God - Love was throughout the history of the Western Europe a source of music and singing: love for God and the will to worship him were the spiritus movens of the great musical works in which the Western Europe boasts. These issues are focused in the second part of this article, where based on the specific works are pointed these roots. There is also presented Benedict’s description of the essence of the Church music, the path of beauty to God, the role of music and singing in conversion and strengthening the faith in emphasizing of the salvific events, in expressing love for the creatures and the Creator, in intensifying the zeal of prayer. Besides, there is presented the importance of the sacred music and liturgical singing and at the end the organ music – as the crowning achievement of the music of all instruments. Thus, this article attempts to present holistically the musicological issues raised in the papal speeches, giving generally a rich and systematized image.
PL
Niniejszy artykuł został napisany głównie w oparciu o liczne przemówienia Benedykta XVI z okazji ofiarowanych mu koncertów wielkiej muzyki światowej. Wyłania się z nich obraz papieża jako wielkiego miłośnika i znawcy tej dziedziny. W jego komentarzach i wypowiedziach muzykologicznych wybijają się dwie podstawowe cechy muzyki i śpiewu: charakter uniwersalny oraz charakter teologalny. Uniwersalny, ponieważ odsyła słuchacza ku sprawom nieprzemijającym, ponadnarodowym, ponadkulturowym. Te aspekty starano się wydobyć z papieskich przemówień w pierwszej części artykułu. Jednak to zorientowanie muzyki i śpiewu ku temu, co uniwersalne, nie jest u Benedykta XVI ukierunkowaniem ku jakiemuś czystemu abstrakcjonizmowi, jakiejś pustce egzystencjalnej, lecz jest ukierunkowaniem teologalnym, tzn. ku Stwórcy piękna kosmosu, ale i piękna artystycznego, w tym muzycznego, Dawcy talentów tworzących piękno, a równocześnie ku Bogu‑Człowiekowi, który objawił się jako Miłość osobowa. Muzyka i śpiew umożliwiają poszukiwanie Boga i zarazem kontemplację tajemnic Jego istnienia i działania zbawczego. W przekonaniu papieża nie da się oddzielić wymiaru uniwersalnego od teologalnego; w jego nauczaniu nawzajem się przenikają.
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