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RIGIDNÁ DESIGNÁCIA A STABILNOSŤ VZŤAHU POMENOVANIA

100%
Zouhar M.
Filozofia (Philosophy)
|
2015
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vol. 70
|
issue 10
817 - 830
EN
Proper names are standardly claimed to be rigid designators i.e. to refer to the same objects with respect to all possible worlds. Apparently, this view is incompatible with the assumption that statements such as “The object o need not be named α” or “The object o might be named β” (where it is true that α is the proper name of o) are true. The reason is that the naming relation is merely contingent. As a result, one should make room for the possible worlds with respect to which the naming relation does not hold. The aim of the present paper is to show that this line of argument fails because it ignores certain vital distinctions making the above mentioned statements ambiguous. The problem is eliminated once linguistic expressions are strictly distinguished from semi-expressions and the real world is distinguished from the actual world (and other possible worlds).
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Niebezpieczne rozrywki. Motyw gry w zbiorze opowiadań Sępy Roberta Cichowlasa i Jacka M. Rostockiego

84%
Olkusz K.
Literatura i Kultura Popularna
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2011
|
vol. 17
99-111
EN
This paper deals with the motif of game in Sępy, a collection of short stories by Robert Cichowlas and Jacek M. Rostocki. Among the chief characteristics of those stories is their multiple reality perceived by the protagonists as having various levels and dimensions. The ambiguity of the world’s identity is brought on by the clash between the real and the virtual — which points out to the authors’ interest in the relations between the real world and the imagined one. The games presented in the stories tend to impair the protagonists’ perception, making them incapable of proper assessment of the actual situation, which brings about their physical destruction or moral defeat. Here the convention of horror fantasy turns out a useful tool for the creation of the atmosphere of an inconsistent world, resulting in a cognitive dissonance. The game motif’s function is to make the atmosphere of danger and uncertainty of the world’s real nature. The authors also draw on technological and metaphysical fears, which sets their stories in the modern social-moral context.
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