The research aims to obtain empirical evidence of the reliability, dimensionality, and validity of instruments of higher-order thinking learning environment inventory (HOTLEI). Data was collected using quantitative methods with the Rasch model analysis. The numbers sample is 1361 students from 15 junior high schools in DKI Jakarta, West Java, and Banten. The research concluded that the measurement reliability was at a good level and excellent in extensive trials. The HOTLEI fulfils unidimensionality adequacy based on raw variance explained of 31.6% and 42.3%, and eigenvalues less than 3.0. A mount of 32 valid items is categorised as productive for HOTLEI measurement.
The intention of the article is to follow up on the discussion between L. Kvasz and his critics (J. Peregrin, P. Labuda and J. Bánovský) that played out on the pages of Organon F. The article’s goal is to prove that Kvasz’s exclusion of natural language from the concept of instrumental realism is problematic. The argument takes place on two levels. On the first level, the article focuses on the evolution of the definition of the entirety of human experience. In Kvasz’s earlier work, experience is divided into the natural and the instrumental, while the conclusion of his book Inštrumentálny realizmus (Instrumental Realism) implies an understanding of experience as always being instrumental. The reason for this change is shown to be Peregrin’s and Labuda’s criticism. The second level of the argument presents its own interpretation of specific parts of Husserl’s work. In this interpretation, it is shown that Kvasz’s proclaimed divide between modern science and the living world can be overcome by means of a double understanding of the concept of the living world. In the broader sense, modern science, through our language, becomes part of the lived world. The concluding part outlines a possible interpretation of common language as a part of instrumental realism. The essence of the proposal is to show that the interpretation, used by Kvasz for mathematics and physics, is not necessarily the only applicable interpretation within the framework of instrumental realism.
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Zámerom tohto textu je nadviazať na diskusiu, ktorá prebehla medzi L. Kvaszom a jeho kritikmi (J. Peregrinom, P. Labudom a J. Bánovským) na stránkach časopisu Organon F. Cieľom, ku ktorému táto štúdia smeruje, je dokázať, že Kvaszovo vylúčenie prirodzeného jazyka z konceptu inštrumentálneho realizmu je problematické. Diskusia v príspevkoch publikovaných v Organonu F prebiehala v dvoch rovinách. V prvej rovine sa texty zameriavali na vývoj vymedzenia celku ľudskej skúsenosti. Ukazuje sa, že zatiaľ čo v skorších Kvaszových prácach bola skúsenosť rozdelená na prirodzenú a inštrumentálnu, záver knihy Inštrumentálny realizmus už implikuje chápanie skúsenosti ako vždy inštrumentálnej. Ako dôvod tejto zmeny sa tu ukazuje Peregrinova a Labudova kritika v Organonu F. Druhá rovina diskusie predstavovala vlastnú interpretáciu špecifických častí Husserlovej práce. V tejto interpretácii sa ukázalo, že Kvaszom ohlasovanú priepasť medzi modernou vedou a žitým svetom je možné prekonať prostredníctvom dvojitého chápania pojmu žitého sveta. V širšom význame sa totiž moderná veda, pomocou nášho jazyka, stáva súčasťou žitého sveta. Záverečná časť skúmanej diskusie priniesla náčrt možného výkladu bežného jazyka ako súčasti inštrumentálneho realizmu. Podstatou návrhu predloženého v tejto štúdii je ukázať, že prístup, ktorý Kvasz aplikuje pri riešení otázok matematiky a fyziky, nie je nutne jediný použiteľný výklad v rámci inštrumentálného realizmu.
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Ziel des Textes war die Anknüpfung an eine Diskussion zwischen L. Kvasz und dessen Kritiker (J. Peregrin, P. Labuda und J. Bánovský) in der Zeitschrift Organon F. Dabei sollte gezeigt werden, dass das Ausschließen der natürlichen Sprache vom Konzept des instrumentalen Realismus bei Kvasz problematisch ist. Die Argumentation verlief dabei auf zwei Ebenen. Auf der ersten Ebene befasste sich der Text mit der Entwicklung der Definition des Komplexes der menschlichen Erfahrung. In den früheren Arbeiten von Kvasz wird die Erfahrung aufgeteilt in natürliche und instrumentale Erfahrung, währen zum Schluss des Buches Inštrumentálny realizmus (Instrumentaler Realismus) die Erfahrung stets als instrumentale Erfahrung impliziert wird. Als Grund für diese Änderung zeigt sich Peregrins und Labudas Kritik. Die zweite Argumentationsebene stellt eine eigene Interpretation spezifischer Teile von Husserls Werk dar. In dieser Interpretation zeigte sich, dass der von Kvasz deklarierte Abgrund zwischen moderner Wissenschaft und gelebter Welt vermittels einer dualen Auffassung des Begriffs der gelebten Welt überwunden werden kann. In der weiteren Bedeutung wird nämlich die moderne Wissenschaft mithilfe unserer Sprache zum Bestandteil der gelebten Welt. Der abschließende Teil bringt eine Skizzierung einer möglichen Auslegung der Umgangssprache als Bestandteil des instrumentalen Realismus. Dieser Entwurf zeigt im Grunde genommen auf, dass die von Kvasz bezüglich der Mathematik und der Physik verwendete Auslegung im Rahmen des instrumentalen Realismus nicht unbedingt die einzige Auslegung sein muss.
Aprés une récapitulation brève des essais étymologiques antécédents, qui sont trouvés dans la littérature, une étymologie de latin nimbus ‘nuage de pluie, forte averse soudaine, etc’ complète et d’accord avec règle – en comprenant une explication précise de la nasale médiale – est proposée. Elle est basée sur le processus indo-européen de réduplication qui genère les noms, comme décrit par Cohen (2014; 2015; 2017), et sur des lois phonologiques latines donneés et exemplifiés par Weiss (2009).
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After a brief review of prior etymological attempts found in the literature, a complete, rule-governed etymology of Latin nimbus ‘rain cloud, sudden downpour, etc.’ – including a precise explanation of the medial nasal – is propounded. It is based on the Indo-European reduplication process that produces nouns, as delineated by Cohen (2014; 2015; 2017), and on Latin sound laws given and exemplified by Weiss (2009).
This article focuses on the analysis of the semantic and syntactic properties of the motion verb nager in order to determine its objects and adverbs, according to the criterion of non-selection represented inde- pendently by different syntacticians or semanticians. The analysis has been carried out on the basis of a comparative investigation with French and Polish as the main reference languages. The author’s goal is to compare the argument structures of the predicate nager and its homologues: pływa and płyn, in order to verify the universal status of their presuppositions and selectionnal restrictions.
The process of realization of the main goal of firms is complex. Vari-ous instruments participate in it. We can list here, for example, finance management of firms and investments in human capital and their fi-nancing that are instruments of this management. There are mutual rela-tionships between these instruments. Financial management of firms has impact in certain way on investments in human capital and their financ-ing. In turn, the investments in human capital and their financing have impact in certain way on financial management of firms. In scientific research and practice one should not skip the consideration of both spheres of activity of firms from the point of view of their mutual rela-tionships.
According to instrumental realism (Don Ihde, Instrumental Realism, 1991) science comes about by virtue of instruments and within experimental situ¬ations. This is the idea of the technological embodiment of science in experi¬mentation. In its broader sense, instrumental realism: (a) emphasizes dyna¬mically-developing scientific praxis, giving a central role to instruments; (b) offers a critique of a purely propositional view of the character of analysis used in the philosophy of science; and (c) gives some degree of “reality-sta¬tus” to entities often taken (by the preceding philosophy of science) to be merely theoretical (Ihde, 98-114). However, one can ask what the nature of the instruments is? Do they constitute any specific kind of experience? In this paper I examine the problematic status of the instruments within the IR position developed by Ladislav Kvasz, and I go on to suggest how to defend the position that instruments are not only a part of scientific praxis, but also a key part of our everyday life and our ordinary language.
The evolution, in its pluralistic form, is a constant characteristic of the humankind history: in fact man has successively started discoveries and restarted experiments to improve his wealth and horizons. Law, in its positivist dimension, also is subjected to this evolutionary process. Firstly, because it is a social phenomenon; secondly, because it is a necessary instrument of organization and maintenance of order. Legal systems always tend to change and innovate to meet the needs of order in societies, either for a group or for a minority. The mechanisms and tools that ensured the transition from legal dispositions to others, were often conducted by an innovative idea whose efficiency is proven, even if theoretically, and then has been publicly and officially supported. Recent legal regulations, the so-called unified, harmonized and standardized, in turn have imposed the implementation of legal techniques and concepts to accommodate the global organizational order. These changes are heavily felt because of values and specificities that express its resistance and mistrust toward the new invasive practices, especially if they come from abroad. For states the issue is about sovereignty, whereas for individuals the question is related to the identity and the sacred that united them in a political and social model.
Johann Sebastian Bach’s church cantatas hold a special place among composer’s works. Although they were primarily intended for use in the Lutheran church liturgy in order to deepen the understanding of readings from the Bible, they are at the same time masterpieces of highest artistic value. The cantatas, accompanying Bach throughout his artistic career, became a kaleidoscope of all the forms, techniques, motifs and musical means he employed. Forgotten after the composer’s death, the works were rediscovered in the 20th century. The first chapter of this work is devoted to the description of the cantatas and their performance history. The popularization of Bach’s cantatas was connected with both their inclusion in the concert repertoire and the development of recording industry. The first, single recordings of cantatas come from 1950s. Recordings of cantata cycles began soon after. As around two hundred cantatas survive to this day, each project of recording the complete cycle excites interest among music lovers and professional critics. Until today, only a few recordings of the complete cycle of cantatas have been made, some of which deserve particular attention due to their high artistic value and cognitive significance. A detailed discussion of these selected renditions constitutes the second chapter. Apart from recordings of Bach’s complete cycle, there exists a number of recordings containing variously selected cantatas. Many of these have been internationally recognized as most important masterpieces of world phonography. These works are listed and compared in chapters two and three.
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Kantaty kościelne Johanna Sebastiana Bacha zajmują szczególne miejsce wśród dzieł kompozytora. Będąc muzyką użytkową, przeznaczoną do wykonania w trakcie liturgii i służącą lepszemu zrozumieniu czytań biblijnych, są jednocześnie przykładem arcydzieł prezentujących najwyższe artystyczne walory. Towarzysząc Bachowi w trakcie całego twórczego życia, stały się kantaty kalejdoskopem wszelkich stosowanych przez niego form i technik, a także wykorzystywanych motywów i środków kompozytorskich. Zapomniane po śmierci kompozytora, dzieła te zostały na nowo odkryte w XX wieku. Charakterystyka i historia wykonawstwa kantat wypełnia I rozdział pracy.Upowszechnienie kantat Bacha związane było z wprowadzeniem ich do repertuaru koncertowego oraz z rozwojem światowej fonografii. Pierwsze pojedyncze nagrania płytowe kantat pochodzą z lat 50. XX wieku. Nieco później rozpoczęto cykliczne nagrywanie tych utworów. W związku z tym, że liczba zachowanych do dnia dzisiejszego kantat wynosi około 200, każdorazowy projekt nagraniowy cyklu wzbudza ogromne zainteresowanie słuchaczy, melomanów i krytyki muzycznej. Do chwili obecnej zarejestrowanych zostało zaledwie kilka kompletów kantat Bacha. Ze względu na wysokie walory artystyczne i poznawcze niektóre z tych nagrań zasługują na szczególną uwagę. Wszystkie one zostały szczegółowo opisane w rozdziale II.Oprócz kompletnych nagrań kantat Bacha istnieje szereg płyt zawierających ich większy lub mniejszy wybór. Wiele z tych nagrań uznane zostało przez muzyczną krytykę za najważniejsze osiągnięcia światowej fonografii. Ich zestawieniem i porównaniem zajmuje się autor w rozdziałach II i III.
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