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EN
In this study, I discuss Roger Scruton’s last book, devoted to Wagner’s Parsifal, in the light of Scruton’s previous books on Wagner (particularly his book on Wagner’s Ring) and his aesthetics of music in general. This is done against the background of Scruton’s differentiation between symbolic and allegoric readings of art, and their implementation in an analysis of Wagner’s leitmotifs that, as I claim, is of a broader philosophical significance and can be made use of, e.g., in a complex reading of Hegel’s “master and slave” parable.
EN
In his paper, some of the most influential –isms in the philosophy of mathematics are discussed with respect to their attitude to intuition. By the end of the all -isms, at first, their tendency to arrive eventually at just the opposite of their previously proclaimed principle is meant. The positive significance to the given tag line is connected with as a simple observation (due to both William James and Wittgenstein) that most of the -isms are justifiable if treated as practical attitudes rather than theoretical systems. Accordingly, intuition’s role will be twofold: first, as a reference point with respect to which the given -isms were portrayed as turning into their very opposites; and, second, as the focal point to which all of them might be seen as contributing to intuition’s pragmatic reading. Along these lines, the path of intuition might be transformed from an epistemological Calvary — or the path of despair, to use Hegel’s words from the beginning of his Phenomenology in which one particular theory is replaced by another which is itself later replaced, etc. — into the path of progress in which some traditional dilemmas such as that between mathematical realism and nominalism are solved.
EN
The paper deals with Petr Rezek’s philosophy in relation to two of his central themes, matter-of-factness (Sachlichkeit) and conflict, through the prism of the problem of non-matter-of-fact (unsachlich) quoting and its manifestations. According to Rezek, these point to the defective forms of intersubjectivity. The dialectic of quoting reason begins with a critique of these forms in order to become a true dialectic of matter-of-factness, through contrasting structures and techniques of analysis, such as the so-called boundary approach or the method of repetition.
EN
The paper deals with the central problem of Lessing’s Laocoön „Why does not marble Laocoön in his famous depiction scream?“ against division of our experience into scientific knowledge and art. First, Lessing’s original solution based on the constitutive differences between poetry and plastic arts is generalized leading to the difference between causal and intentional explanation. Second, the resulting discontinuity between science and art is presented as an instance of a more basic discontinuity between knowledge and its object to be overcome by a reflective account of knowledge as derived from the philosophy of Hegel.
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