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Dialog o białym koniu (Bai Ma Lun) - metodologiczne problemy badań porównawczych logiki chińskiej i zachodniej

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Sikora S.
Investigationes Linguisticae
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2006
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vol. 14
97-110
EN
In the paper I am dealing with issues of comparative methodology in the scope of Chinese and Western logic. To exemplify the problem I chose interpretation of The White Horse Dialogue by three different sinologists. The results of the analysis carried out permits us to state that in the case of the comparative research on Chinese logic, it is rather the choice of the research method which determines the object of the examination, rather than the other way round. 
PL
In the paper I am dealing with issues of comparative methodology in the scope of Chinese and Western logic. To exemplify the problem I chose interpretation of The White Horse Dialogue by three different sinologists. The results of the analysis carried out permits us to state that in the case of the comparative research on Chinese logic, it is rather the choice of the research method which determines the object of the examination, rather than the other way round.
2

O "Miłości" Michaela Hanekego trochę inaczej. Aporie cielesności

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Sikora S.
Kwartalnik Filmowy
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2013
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issue 83-84
152-162
PL
Michael Haneke nie po raz pierwszy stawia przed swoimi widzami wyzwanie. Jak rozumieć to, co film przedstawia i ukazuje? Jak rozumieć to, co film „opowiada”? Autor eseju stara się wskazać na performatywny charakter filmu i wagę cielesności w przedstawieniu, „opowiedzeniu” tej historii. Twierdzi, że działania (wykonanie) są w tym filmie ważniejsze niż słowa i że to dlatego ten film może tak mocno oddziaływać na widza. „Performatywność” filmu wymusza na widzu inny rodzaj refleksji, zdecydowanie przekraczający łatwe do jednoznacznego zwerbalizowania znaczenia. Reżyser stawia też bardzo mocno kwestię samostanowienia człowieka, możliwości decydowania o własnym losie nawet wówczas, gdy ów los trudno wziąć już we „własne ręce”. Przedstawia sytuację, „miejsce”, gdzie jednostka najczęściej „przegrywa” ze zorganizowaną racją „społeczeństwa” opowiadającego się zażyciem. Autor artykułu podnosi też kwestię adekwatności tytułu filmu. Dochodzi do wniosku, że zdanie Gabriela Marcela, który twierdzi, że kochać to znaczy mówić drugiej osobie: ty nigdy nie umrzesz, paradoksalnie jest bardzo adekwatne w odniesieniu do tego filmu.
EN
It is not the first time that Michael Haneke challenges his audience. How are we to understand what the film shows and reveals? What is the meaning of the film’s story? The author of the article tries to pin point the performative nature of the film and the importance of corporeality in the presentation and telling of this story. He claims that the action (performance) is more important than words in the film, which is why this film can have a very strong impact on the viewer. The “performativity” of the film forces onto the viewer a different kind of reflection, one far exceeding easy expressed meaning. The director puts forward very strongly the issue of self determination, the possibility of deciding one’s own fate, even when it is no longer an easy matter to take that fate into one’s own hands. He presents a situation, a “place” where the individual loses out to the organised raison of “society”, which supports “life”. The article also raises the question of the adequacy of the film title. The author comes to the conclusion that Gabriel Marcel’s opinion that to love means to tell the other person: “you are never going to die”, paradoxically, is highly adequate in relation to this film.
3

"Ukryte" MIchaela Hanekego jako eksperymentalny "dokument" performatywny

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Sikora S.
Kwartalnik Filmowy
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2013
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issue 82
92-104
PL
Interpretacja filmu wiedzie autora do kilku podstawowych konkluzji. Według Sikory można uznać, że (1) film Hanekego należy rozpatrywać w paradygmacie kina krystalicznego, a nie organicznego (G. Deleuze); (2) Haneke w bardzo wyrafinowany sposób zaciera rozróżnienie na to, co zewnętrzne i wewnętrzne, a tym samym zaciera różnicę między tym, co „rzeczywiste”, i tym, co „wyobrażone” – obie sfery w ciekawy sposób splatają się ze sobą (wstęga Möbiusa), odnosząc się do tego, co realne; (3) owa wyrafinowana gra pokazuje, jak trudnym do uświadomienia sobie fenomenem może być rasizm; (4) w istocie to widz zostaje intelektualnie, zmysłowo i „cieleśnie” uwikłany w konieczność uświadomienia sobie bolesnych kwestii społecznych (m.in. rasizmu) – i właśnie dlatego można ten film nazwać eksperymentalnym „dokumentem” performatywnym.
EN
The interpretation of the film leads the author to some basic conclusions. According to Sikora it can be concluded that (1) Haneke’s film should be interpreted through the paradigm of crystalline cinema, and not the organic one (G. Deleuze); (2) Haneke in a very sophisticated way blurs the distinction between what is internal and external, and thus blurs the distinction between what is “real” and what is “imagined” – that way both spheres are intertwined with each other (Möbius strip), when they refer to the reality; (3) this sophisticated game shows how difficult it can be to become aware of racism; (4) in effect the viewer is intellectually, sensually and “physically” forced to become aware of painful social issues (e.g. racism) – and that is the reason why this film can be considered to be an experimental performative “documentary”.
4

Awangarda i tradycja w cieniu terroryzmu. Transkulturowe kino Leonarda Retela Helmricha

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Sikora S.
Kwartalnik Filmowy
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2010
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issue 70
217-223
PL
Sikora prezentuje dokumentalną twórczość Leonarda Retela Helmricha, którego nazywa mistrzem płynnej wędrówki kamery. Retel Helmrich filmuje „z ręki”, wykorzystując skonstruowany wedle własnego projektu statyw, zwany steadywings, który pozwala na bardzo płynne manewrowanie kamerą. Dzięki temu reżyser osiąga w swoich filmach efekt płynnego poruszania się w filmowanej rzeczywistości, zyskuje możliwość wejścia w tę rzeczywistość tak, by kamera stała się doskonale niewidoczna dla protagonistów. Jego filmy często składają się z codziennych wydarzeń nietworzących jasnych nitek narracyjnych. Reżyser koncentruje się na rzeczywistości południowo-wschodniej Azji, zwłaszcza Indonezji, i stara się ją chwytać w procesie zmian i transformacji. Sikora nazywa Retela Helmricha reżyserem „transkulturowym” (m.in. ze względu na indonezyjsko-holendersko-żydowskie pochodzenie) i podkreśla, że jego obrazy nie są w prosty sposób reprezentacją narzuconą z zewnątrz. To spojrzenie również od środka, albo też spojrzenie z granicy. Autor zwraca również uwagę na awangardowość tego spojrzenia i decyduje się nazwać Retela Helmricha Wiertowem XXI wieku (m.in. ze względu na ciekawe rozwiązania montażowe, poszukiwanie i włączenie niespodziewanych punktów widzenia, ale też z uwagi na podobieństwo pracy kamery w filmach Retela Helmricha do pracy, jaką wykonuje ludzkie oko).
EN
Sikora presents Leonard Retel Helmrich’s documentary films. According to Sikora the director is a master of fluent camera movement. He films with camera “in hand” and uses special camera mount, called steadywings, which he designed and which allows for a very fluent and flexible camera movement. Thanks to it, the director is able to achieve the effect of fluent movement in reality being filmed and to enter the reality in a way, in which the camera is invisible to the protagonists. His films consist of everyday events that do not form a clear narrative. The director concentrates on South East Asia, especially Indonesia, and tries to capture the process of transformation and changes. Sikora calls Retel Helmrich a “transcultural” director (in part due to his Indonesian, Dutch and Jewish roots) and argues that his work is not a mere representation made by an outsider. It is a view created from within and from the frontier. This way of seeing is avant-garde, and causes Sikora to call Retel Helmrich a Dziga Wiertow of the 21st century (in part due to original editing, the seeking of and inclusion of original point of view, and the similarity between work of camera in the films of Retel Helmrich and the work of the human eye).
5
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Metody budowy pojęcia zbioru w problemie interpretacji tez Hui Shi

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Sikora S.
Investigationes Linguisticae
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2010
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vol. 22
115-138
EN
The article presents an alternative conception of the problem of interpretation of the shortest and also most enigmatical text of Chinese philosophy, i.e. the ten theses of Hui Shi. Leśniewski claimed that the source of Russell’s dif-ficulties with antinomies is related to a lack of dis-tinction between a distributive and a collective class. Mereology is the logic of a certain concrete whole constituted by the parthood relations of a collective class. The use of Leśniewski’s formal solutions in the analysis of thesis (8) of Shi Hui: Linked rings can be disconnected, shows that in Chinese philosophical discourse two kinds of set theory were applied: distributive and collective. This is confirmed by thesis (5): When it is said that things greatly alike are different from things a lit-tle alike, this is what is called making little of agreements and differences; (when it is said that) all things are entirely alike or entirely different, this is what is called making much of agreements and differences. Therefore the hypothesis seems plausible that the paradox of Hui Shi’s theses was the result of a dual-istic formulation of the world order: on the one hand by the distributive order of distinguishing things by their names, on the other by the collective order of embracing all things within the frame of a common Universe.
6
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Logika Dignāgi – problemy interpretacji

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Sikora S.
Investigationes Linguisticae
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2012
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vol. 25
127-156
EN
In the article an example of logic and epistemology of the Buddhist philosopher Dignaga indicates some limitations of both standard logic languages and adequacy of basic epistemological concepts: meaning and truth. Contrary to the methodological lines suggested by Łukasiewicz and Schayer, the structure of inference schema anumāna is not determined by truth-functional operator between sentences. Semantic inference structure is determined by generic name, relation qualifications on the basis of distributive or collective class. The Buddhist inference can not be reflected by the relationship between a cause and an effect. The recognition of the thesis is the result of applying the operation to the exclusion (apoha) of other meanings for the hetu premise. At the level of syntax, the cognitive act of agreement with the thesis of inference (based on the exclusion of other meanings for the hetu) is expressed with the ablative case (separation) by the suffix “-at”.
7
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Nyāya Sữtra jako zmiana epistemiczna

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Sikora S.
Investigationes Linguisticae
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2012
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vol. 26
82-107
EN
The work concerns the problem of comparative research methodology and methods of argument in the philosophical systems of culturally diverse areas. The analysis and comparison is part of the Indian system of philosophical and epistemological – religious Nyāya Sữtra. The Nyāya Sữtra is interpreted in semiotic theory Ch. S. Peirce. On the basis of certain assumptions artificial intelligence and the theory of belief change, constructed for the semiotic model. As a result of the study shows that, in the epistemological Nyāya Sữtra is a system of acquiring knowledge. This system is characterized by abductive argumentation, and is aimed at the changing attitudes epistemic.
8
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Przedwczesne pożegnanie

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Sikora S.
Etnografia. Praktyki, Teorie, Doświadczenia
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2015
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issue 1
174-176
EN
Commentary to Michał Żerkowski's article: A farewell to field: an anthropological essay
PL
Komentarz do artykułu Michała Żerkowskiego, Pożegnanie z terenem. Esej antropologiczny
9
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Struktura działań komunikacyjnych w koncepcji pragmatyki formalnej J. Habermasa

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Sikora S.
Investigationes Linguisticae
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2003
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vol. 9
39-50
PL
This paper gives an analysis of some basic concepts and categories in formal pragmatic of J. Habermas. His theory allows to parameterise the pragmatic analyses and base them on the assumption of the speaker’s rationalism which refers in turn to the question of the truth of utterances, their sincerity and the legitimacy of norms and regulations accepted by language users in inter-subjectively divided worlds.
10

Czy film obserwacyjny musi byc realistyczny? (Cannibal Tours Dennisa O’Rourke’a)

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Sikora S.
Kwartalnik Filmowy
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2011
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issue 75-76
301-306
EN
Sikora examines Dennis O’Rourke’s film in terms of the elements of its construction and its realistic (or documentalistic) elements. The theme of the film is a non realistic journey. The focus is not on specific places, but on tourism. This is an interesting example of multi-sited anthropology, that poses many questions. Do tourists encounter real places and learn about the authentic lives of “the natives”, or quite the opposite – do they enter spaces of created fictions, that they themselves in part are responsible for? Should film, that demonstrates the creation of fiction, refer to “real” space and time, or should it follow the markers of its fictionalised time-space? Does observational film need to be realistic?
11
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A. Tarskiego kryterium monotoniczności operatora konsekwencji w międzykulturowych badaniach systemów wniskowań

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Sikora S.
Investigationes Linguisticae
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2016
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issue 34
37-50
EN
In this article I refer to the issue of comparative research methodology and methods of philosophical argumentation systems with different cultural areas. In relation to that shown by A. Tarski logical consequence operator, will establish criteria for the comparative analysis of systems inferences different cultural areas of the property based on the operator monotonic consequences.
12
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Porządek rzeczy. Magazyny Piotra B. Szackiego

63%
Sikora S.
Zbiór Wiadomości do Antropologii Muzealnej
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2017
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issue 4
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