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  1. 2 Fišerová M.

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1

Equivalence instead of representation

100%
Mencwel A.
Przegląd Kulturoznawczy
|
2006
|
vol. 1
|
issue 1
6-21
EN
The author's interpretation of The Children's Memorial in Yad Vashem in Jerusalem suggests that the most important factor of changes in the 20th century art is the replacement of representation (typical of earlier art, particularly to that of the 19th century) by equivalence. To grasp the essence of this change we have to surpass the rules of predominant formulations/interpretations - based on particular 'schools' or 'genres'. We have to observe/understand art in communication aspect, in 'medial environment', to see essential changes in it. The most important change here consists in rejecting the position of absolute observer, typical of positivistic science as well as of realistic prose and naturalistic painting. This has been caused by the change of the point of view. The point of view, revealed in various artistic techniques, means that an individual perspective is always present in an act of expression - in poetry, prose, essay. A humanist principle is the equivalent of a point of view in research territory - as this principle is based on recognition that the science is developed by tools/methods created by human consciousness - categories, types, models. The science does not reflect directly external reality - the science creates models, mental equivalents of this reality. The author concludes by defining the characteristics of art and thought of the 20th century and the interpretation of a masterpiece by Tadeusz Kantor - an artist whose entire creative path embodied the idea of equivalence.
2

NON-FRONTAL GAZE. ANAMORPHOSIS IN MODERN IDEAS OF REPRESENTATION (Kulisowe spojrzenie.Anamorfoza w nowozytnych ideach reprezentacji)

100%
Kalitko K.
Przegląd Kulturoznawczy
|
2008
|
vol. 1
|
issue 1(4)
210-231
EN
The revival interest of anamorphosis, especially among postmodern theorists, may at first appear puzzling, due to its seeming reliance upon notions subjectivity and a general hostility to the objectivity of perspective construction. In perspective construction the picture is conceived of as a window, whereby depicted objects (or images) not parallel to picture plane are foreshortened as they are projected onto that plane as seen from a fixed eye position (the projection point). In anamorphosis, the same geometrical laws are used to stretch or elongate a image so that it appears distorted on the picture plane. Perhaps the apparent subjectivity of all this (namely, that the world appears differently from different points of view) explains the appeal of anamorphosis among some contemporary writers but sometimes metaphors construed on this base are wrong and confused. The author has begun its article with the regerence to Bruno Latour who uses anamorphosis as a metaphor for the conflict between science and religion from about 1450 to 1550. He uses, as a crucial example, Holbein's 'The Ambassadors', a painting that conveniently fits into his time period. Latour uses anamorphosis as a metaphor because he sees within the phenomenon an opposition between two incompatible viewpoints. The author believes that Latour's interpretation (it is not impossible to view both the skull unskewed and the ambassadors) is wrong and it is possible to see both parts of composition. Thus, he supposes, it is possible to break up created for him opposite of scientific to religious vision of World in 17th century. This paper tries to reconstruct scientific and religious influences in creation new ideas of architectural representation especilly in connection with anamorphosis as a instrument of representation.
3

Externalization of Spirit? Use Theory of Representation in Kant's Philosophy

80%
Schoenrich G.
Przegląd Filozoficzny. Nowa Seria
|
2004
|
vol. 13
|
issue 4(52)
243-261
EN
The paper compares certain views of Kant's with positions taken by Putnam, Prauss, Frege and Peirce on the origin and status of the contents of representations. The author focuses on the shift that is detectable in the 'Critique of Pure Reason', where Kant seems ready to abandon the 'representation' position for the 'use' position, and the 'internalist' position for the sake of the 'externalist' position to emphasise the process-like character of concepts and contents. This shift is tantamount to 'expelling contents out of mind'. Contents is understood as a system of rules formulated conditionally, pertaining to conceptual determinants and dependent on our knowledge. The semantic test of adequacy of use is the world. Thus, instead of speaking about 'contents' of concepts, it is preferable to speak of rules of using concepts. The author proposes to replace 'representations' with 'instances of direct insight', which will facilitate understanding of the alleged question of externalisation of contents of representations. In author's proposal the signifying sign cannot be separated from the signified object and its history in our knowledge. Both are aspects of the same process, and direct insight is a non-conceptual phenomenon. But on the other hand, even the most scrupulous observation of the rules of correct usage of concepts will not guarantee that a representation will reach an external object for which it is intended or that the object will possess the stable identity that we wish to assign to its representation.
4

Representationism and Anti-Representationism in Philosophy of Mind

80%
Schetz A.
Przegląd Filozoficzny. Nowa Seria
|
2004
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vol. 13
|
issue 2(50)
59-73
EN
The author is concerned with the problem of the nature of experience conceived as a perspectival mental picture of the world. The question she raises is: Can we make sense of the representational view, according to which there are no such items subjective, nonrelational qualia, and all mental entities--treated by anti-representationalists as qualia--are nothing but configurations of representations? Her tentative answer is yes. She goes on to argue that the representational view is more promising than the antirepresentationalis approach that highlights the significance of nonrelational qualia.
5

LIMITY REPREZENTÁCIE: CHARLES SANDERS PEIRCE A NELSON GOODMAN O REPREZENTÁCII

80%
Šedík M.
Filozofia (Philosophy)
|
2021
|
vol. 76
|
issue 8
608 – 623
EN
Philosophical conceptions of representation developed by Nelson Goodman and Charles Sanders Peirce come from different metaphysical positions (Goodman’s nominalism and Peirce’s realism). This fact causes serious problems when comparing both conceptions and often results in inaccuracies or oversimplifications. The aim of this paper is to find a framework for the comparison of the two conceptions of representation and consider their possible role in understanding representation as a source of knowledge. The first and the second part of the paper shortly introduce Peirce’s and Goodman’s conceptions of representation. Subsequently, a comparison of these conceptions is proposed in the context of limits of our representations. The limits of representations are suggested as a basis for further comparison without the need to reject one of the conceptions. The conclusion outlines some consequences of this approach for the analysis of representations as a source of knowledge.
6

Michael Foucault in front of Velazquez's painting. Between the illustrative and cognitive functions of a paiting

80%
Kociuba M.
Przegląd Kulturoznawczy
|
2007
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vol. 1
|
issue 2
42-61
EN
The article is an analysis of the essay by Michael Foucault included in 'The Order of Things'. A question is posed whether Velazquez's painting is mentiones as an illustration of well known theses which were formulated earlier on the basis of a purely linguistic discourse, or whether it rather makes a functionally indispensable fragment of a complete conceptual construction. An attempt to answer this question, undertaken in the present work, aims at determining certain general properties of condition based on a linguistic discourse and a kind of 'pictorial' cognition. The fundamental difference is that the nature of cognition which refers to the language is successive, temporal and performative (though not in the sense understood by J.L. Austin), whereas pictorial cognition is holistic, embracing a number of elements simultaneously and, as a result, is situated as if beyond time. Michael Foucault states that we see cannot be adequately expressed by what we say, yet he still takes up an effort of describing Velazquez's painting and, what is more, his description becomes the key to the whole book. Paradoxically, a linguistic analysis of a painting, previously regarded as impossible, introduces the reader into the problems of double representation. The present work proposes a thesis that, apart from the annihilation of the subject, Foucault destroys the sphere of the object as well. Paraphrasing Poper, one might say that Foucault talks about presentation without the representing subject. The disapperance of subject may be compared with implementing the Buddhist principle of non-substantiality. Foucault's epistemological considerations thus refer to a discourse which has distinct brahmanical featueres. The disappearance of the subject is accompanied by the disapperance of reality. What is left is a representation without the represented reality. Foucault uses the painting by Velazquez to illustrate its inner self-reference which reaches an absolute limit and becomes an independent reality. Foucault doesn't want to make a speech for us, but he wants to disappear in stream of the language revealing its own energy. The answer to the initial question is not unambiguous. On the one hand Foucault uses Velazquez's painting in a rather instrumental way and treats it as an illustration of some linguistic game, an illustration of an operation carried out on symbols, yet on the other hand he comes to a reflection on a double representation in whose context Velazquez's work becomes a more formal tool of analysis. The considerations upon the order of things, words and pictures presented by Foucault in 'Las Meninas' are situated in the limits of a broad conceptual horizon which marks the idea of representation. It makes the widest context and all symbolic structures, pictorial presentations or symbolic systems are closed within this horizon. Thus the opposition of words and images fades into the background and is partially blurred in the universal space of representation
7

THE POWER OF ATTORNEY TO ACT IN A BANK ACCOUNT (Pelnomocnictwo do czynnosci na rachunku bankowym)

80%
Jedlinska M.
Pieniądze i Więź
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2011
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vol. 14
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issue 1(50)
147-155
EN
The article presents legal issues related to the authorization given by the bank account holder (the bank attorney). In particular, it includes sample solutions to such problems as: admissibility of the contract and closure of bank account through a proxy, range of activities to which it is entitled, consequences of going beyond the mandate and ways and consequences of the expiry of bank attorney.
8

PERSPEKTÍVY INFERENCIALIZMU V SÉMANTIKE MORÁLNEHO DISKURZU

80%
Spodniak S., Kováčová D.
Filozofia (Philosophy)
|
2022
|
vol. 77
|
issue 3
205 – 221
EN
The aim of the paper is to point out that semantic inferentialism is a suitable semantic theory of moral discourse. This aim is pursued by comparison of semantic inferentialism with another two popular semantic approaches to moral discourse, namely representational and expressivist approaches. While the representionalism claims that statements gain their meanings by representing certain states of affairs, the expressivist semantics claims that the meanings of moral statements consist in the emotions or desires we express by them. Thesis of this paper is that semantic inferentialism is a promising semantic theory of moral discourse because it allows us to take the position that moral statements are meaningful without assuming the existence of controversial entities in the form of objective ethical facts, and at the same time, it does not require us to interpret moral discourse merely as a means for expressing our emotions and desires.
9

CLOTHING DISPLAYED IN MUSEUMS: FROM CONSERVATION TO INNOVATIVE DESIGN REPRESENTATIONS

80%
Lahoda O., Alferova Z., Hurdina V.
Muzeológia a kultúrne dedičstvo
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2022
|
vol. 10
|
issue 4
47 - 62
EN
The presentation in museum exhibitions of samples of historical clothing, fashionable costumes from different periods and conceptual costumes of our time has acquired particular relevance. The development of exhibition design has attracted the attention of gallery owners, curators and representatives of the scientific community. The general cultural significance of the practices of preserving the heritage of material and artistic cultures and their representations synthesises traditional and innovative approaches to reconstruction, conservation and perception of costume, while remaining poorly studied. The strategies of contemporary curatorial practices form alternative approaches to fashion exhibitions and their organisation. In the information society, fashion exhibitions have become self-sufficient art projects that require careful scientific consideration.
10
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ANXIOUS AFFINITIES: HOW THEATRICAL PERFORMANCE CAN GENERATE A PLATFORM FOR INTERPERSONAL DIALOGUE

70%
Motal J.
Slovenské divadlo (Slovak Theatre)
|
2017
|
vol. 65
|
issue 3
316 – 326
EN
The article combines both philosophical and psychological approaches to argue that art and theatre performance especially can be grasped as a revelation of the universal and basic human concern, which is existential anxiety. The author presents an opinion, that via performative acts on stage, spectators and performers/actors are interconnected in hermeneutic situation (Hans-Georg Gadamer), in which they play their existential experience. Therefore, the universal death anxiety (Irvin D. Yalom) can be understood as a possible platform for interpersonal and intercultural dialogue (Martin Buber). The article concludes that archetypes (Carl Gustav Jung) are such a place for mutual understanding, representing both mental and physical answers to the basic existential experience of humankind.
11

Visualisations of Memory - Holocaust Commemorated in Museums

70%
Ziebinska-Witek A.
Kwartalnik Historii Żydow
|
2006
|
issue 3(219)
366-378
EN
The authoress looks at the question of the presentation of the Holocaust in museums and monuments. The museums established on the site of former Nazi concentration camps and death camps are special places. They are sometimes referred to as historical museums of a new type, due to the fact that the topics they deal with do not concern history alone but also other areas, such as sociology, social psychology or anthropology. Apart from the moral and historical obligations to the victims and the survivors, they carry responsibility for shaping the consciousness and historical memory of contemporary generations. Even so, the past presented in the museums is not what actually happened, not is it an objective reconstruction of traumatic events. It is rather a product of the present times, reflecting the current assumptions and judgements of the authors of the display, their vision and concept of past reality. The authoress takes up the problem of building public memory in institutionalized forms and asks about the limits of representation of the Holocaust in museum space.
12
Content available remote

FROM TOMÁŠ KULKA ON KITSCH AND ART TO ART AS A SINGULAR RULE

70%
Avital D., Dolanská K.
ESPES
|
2019
|
vol. 8
|
issue 2
17 – 27
EN
The article takes as its starting point the work of Tomáš Kulka on Kitsch and Art to further philosophical move aiming at the very logical core of the question of art. In conclusion, the idea of singular rule is offered as a capturing the defining logic of art. In so doing, the logical structure of a singular rule is uncovered and in that also the sense in which the idea of singular rule both explains and justifies the role that art plays in our life. In his Kitsch and Art Tomáš Kulka extends Karl Popper's refutation principle in science to the arts. An admissible alteration according to Kulka is a change or a modification of the work that does not “shatter its basic perceptual gestalt. Kulka offers us a rational reconstruction of key aesthetics concepts such as unity, complexity and intensity. His reconstruction will show that a work of kitsch does not qualify as art in direct analogy to a proposition that cannot qualify as scientific if it is not (potentially) refutable. Kitsch cannot be “refuted” by any of its possible alterations as they are all of equal aesthetic value. This explains the aura of empty perfectionism that accompanies the experience of kitsch since the work of kitsch does not carry any promise for improvement nor does it show itself superior to any of its possible alterations. Notwithstanding Kulka’s novel analysis, its premise we must note is grounded in the work of art impression on us a single basic perceptual gestalt with respect to which an alteration can qualify as admissible. But in acknowledging the possibility of a gestalt-switch or the fact that the work of art can impress on us a variety of mutually-exclusive perceptual gestalts, Kulka's analysis loses the logical anchor necessary for it to work. However, in what might look at first sight as an unrecoverable logical deficiency, we find an anchor to a novel analysis to the question of art. This is our analysis to the idea of art as a singular rule. Indeed, the concept of a singular rule - a rule onto itself which has exclusively itself as its own argument - must strike us as paradoxical. But in offering to reconstruct the work of art through the complementary concepts of background and figure we are able to provide a structural resolution to the idea of singular rule as what defines art. In this we believe we deliver a definitive answer to the question of art.
13

META-REPREZENTACE. MICHEL FOUCAULT A SÉMANTICKÉ NÁSILÍ STRUKTURALISMU

70%
Fišerová M.
Filozofia (Philosophy)
|
2016
|
vol. 71
|
issue 1
14 – 24
EN
The article tries to answer the question: Why the publication of The Order of Things aroused the polemics about M. Foucault’s being a structuralist? Unlike structuralism, Foucault’s archaeology introduces semantic structures into history: he examines the dramatic rearrangement of words and things in history to unveil the historical background of the production of the period-related, transitory, discontinued, relative knowledge. In the author’s view, this method is contradictory in itself as it does not consider its own politics of meaning. While describing the three ways of the epistemic generating of representations Foucault nevertheless ascribes the arbitrary representation of things by words to the only episteme, namely the „classical“ one. It is the later Foucault who reflects on the ethics of meaning, which unveils the production of representation in every politics of meaning, even in its own one, creating thus the meta-representations.
14

„VZDORUJÚCE ČÍTANIE“ LITERATÚRY 19. STOROČIA

70%
Taranenková I.
Slovenská literatúra (Slovak Literature)
|
2021
|
vol. 68
|
issue 6
661 – 670
EN
The study focuses on revising approaches to literary and cultural representations produced in the nineteenth century, an epoch that is an important part of cultural memory in both domestic and European contexts. It draws attention to the ambivalent nature of the persistence of the 19th Century in the present, in which there is a tension between its mediation by representations and their determining influence on the contemporary shape of cultural memory and its institutional forms. Part of their reassessment may involve not only pointing to their constructed nature, but also making visible marginalised representations that confront and carry oppositional or alternative meanings to the established ones. The study confronts two attitudes to nineteenth-century literature and culture - the subversive and the affirmative. Using the example of reflection on Victorian culture, it shows how a revising approach, a 'resisting reading', becomes a source of its actualization in the present. It also recapitulates this type of revising approaches in the context of Slovak literary historiography.
15

JESUS CHRIST AS THE DIVINE MERCY BY EUGENIUSZ KAZIMIROWSKI. THE MOST INFLUENTIAL POLISH PAINTING OF THE TWENTIETH CENTURY?

70%
Gaskell I.
ARS
|
2009
|
vol. 42
|
issue 1
81-91
EN
Eugeniusz Kazimirowski painted the oil-painting Jesus Christ as the Divine Mercy in 1934 under the patronage of Father Michał Sopocko, who served as a confessor to Saint Maria Faustyna of the Most Blessed Sacrament and championed her mystical experiences, especially the crucial one from February 22, 1931 - a direct basis of the painting. Its devotional effectiveness - the devotion to the Divine Mercy via various congregations and orders - worldwide in the Catholic Christianity and its role in the transformations of Poland in the 20th and early 21st centuries make this painting one of the socially most influential paintings of the twentieth century.
16

CHOOSING AN INTERACTION PARTNER: THE ROLE OF REPRESENTATIONS OF OTHER PEOPLE AND CODING SYSTEMS IN THE PREFERENCE PATTERN FOR SELECTION CRITERIA

70%
Rutkowska D., Szuster A.
Studia Psychologica
|
2011
|
vol. 53
|
issue 2
185-199
EN
The theories and research on pro-social behaviour have indicated how important the way of representing other people can be as far as giving help is concerned. This paper explores this further by studying the preference for four types of criteria which may be applied to choose partners for social interactions that go beyond altruism. Ninety-nine upper secondary school students participated in the study. The findings reveal that the accessibility of representations of other people together with the activation of verbal and non-verbal systems of representations modify the preference pattern for particular selection criteria.
17

PODOBNOST A BOHATSTVÍ. FOUCAULTOVA ARCHEOLOGIE VERSUS FOTOGRAFICKÝ DISKURS

70%
Černý V.
Filozofia (Philosophy)
|
2016
|
vol. 71
|
issue 1
38 – 49
EN
Foucault’s book The Order of Things brings the hypothesis of three different epistemes. The first one is defined by Renaissance resemblance, the second one by Classical identity and the third one by Modern causality. This paper aims to examine the photographic discourse through a new reading of Foucault’s monograph The Order of Things. There are two selected parallels: the principles of resemblance (convenientia, aemulatio, analogy, sympathy) and the field of wealth (the relationship between money and “the world of things”). Other included subtopics include picture verbalization and word visualization, photographic representation, photographic picture recognition, authenticity and value of truth.
18
Content available remote

Koncept liczbowy w polskich i hiszpańskich związkach frazeologicznych

70%
Głowicka M.
Studia Iberystyczne
|
2009
|
vol. 8
75-93
EN
The purpose of this article is to discuss the presence of numerical concept in phraseological units in Polish as well as to compare them with their Spanish equivalents. The comparative analysis allows us to assess what numbers are usually represented in the phraseology of the two languages, what is the representation of non-linguistic phenomena and whether the numbers carry similar connotations. The objects of our interest are cardinal and ordinal numbers found in stable word-groups typical of everyday language. Due to the large amount of phraseological material, the article is limited to determining the equivalents of word-groups in Spanish, without describing them in terms of ethnolinguistics and therefore without rich and complex symbolism of numbers.
19

REPRESENTATIONS AND RELATIONS

70%
Koťátko P.
Organon F. medzinárodný časopis pre analytickú filozofiu
|
2014
|
vol. 21
|
issue 3
282 – 302
EN
The paper focuses on Uriah Kriegel’s non-relational account of representation, based on the rejection of the widely shared assumption that “representing something involves (constitutively) bearing a relation to it”. Kriegel’s approach is briefly compared with another version of non-relational theory presented by Mark Sainsbury. The author discusses several reasons why the relational aspect of representation should stand in the centre of our theoretical interest, despite the arguments of non-relationists. They concern (1) the origin of the very capacity to represent in our interactions with elements of our external environment; (2) the externalist arguments attempting to show that some of our states and acts are irreducibly embedded in our relations with external environment and these relations play an in-eliminable role in the constitution of their content; (3) the fact that representations typically have conditions of satisfaction which relate the representing states or acts to the external world in such a way that if the conditions are not fulfilled, this counts as a representation-failure; (4) the fact that the representation ascriptions are often based relationally and the claim that two subjects think about the same often admits only relational interpretation. The author concludes by pointing to the wide variety of phenomena called “representation” and argues that there is no a priori reason to presuppose that all such cases admit, or even require a unified analysis.
20

SUBJEKT A ŠIALENSTVO. ROMÁN PETRA KOMPIŠA BLUDNÁ PÚŤ VELIKÉHO ČARODEJA (2. ČASŤ)

70%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2013
|
vol. 60
|
issue 4
304 – 323
EN
The study interprets the novel by Peter Kompiš Bludná púť velikého čarodeja (Wanderings of a Great Wizard, 1929) in terms of the way the literary subject is constituted in the text and in respect of the literary representation of madness. Within the context of the Slovak inter-war prose the author classifies the novel as the theme invariant of a character breaking out of the social relationships and the inter-subjective world. On the topological text level, the motif of madness causes the discontinuity of chronotopes, on the motif level, flying motifs (supposedly „astral travels“ of a soul set free of the body). The semantic curve of the subject transformation in the text leads from the absolute „divine“ subject, voluntarily ruling the reality (when the character´s madness bridges the gap between self and not-self) to a subordinate, dependant subject (the character eventually becomes a slave to a mad „theatrical“ performance). This subject transformation in the text is considered to be a modernist (Modern-dependant) subject and it is also found in the writings by the modernist Ján Hrušovský. The supposedly original philosophy of the literary character Rojko (Dreamer) is an inter-textual patchwork of the motifs present in the contemporary philosophies (e.g. the „super-human“ concept) as well as Gnosticism and is generated, like the motifs of hallucination, by the character´s megalomaniac figment of imagination. The representation of madness in the text is enabled by Modern-Age subject constitution, which is opposed to the world and is presented as the basis and the source of the reality representation: thus the gap between self and not-self is bridged even further.
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