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Czy psychologia potrzebuje koncepcji ludzkiej natury?

100%
Flis M.
Psychologia Rozwojowa
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2012
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vol. 17
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issue 1
31-38
EN
The primary thesis of this article is in accord with the postulate that notions about mankind are rooted in the concept of human nature. From the perspective of the history of ideas, it is clearly evident that the essence of the human being is intertwined with history while the influence of this intrinsic understanding of man has been and continues to exceed that of history. The strongest evidence of this is found in the philosophy of the human individual constantly present in the psychological discourse despite the intervening, temporary dominance of the empirical paradigm. The belief that everything can be measured and counted stems from mythical thought. This text undertakes an attempt to categorize the conceptual apparatus of contemporary cognitive science. Concurrently, it indicates the definitions and relationships which encompass such concepts as the mind, consciousness, and thinking.
2
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Brzmienia kultury. Wyobraźnia muzyczna w naukach o kulturze

63%
Flis M., Klimczyk W.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2017
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vol. 96
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issue 3
130-143
EN
Georg Simmel, one of the pioneers of sociology of music, discussed morality as the key form of socialisation. If one follows on this thought, it needs to be postulated that music, as an important type of cultural practice, is a unique form of socialisation due to its relationship-forming role as proven by contemporary psychology research. In this context, music becomes language of a kind, understood not as a set system of rules, but as communication space, a process of symbolisation. As such, it is always a social action in a Weberian sense. This, in turn, requires the research to adopt the ideal type approach, and, additionally, to emphasise “matter itself,” meaning music material, as Theodor W. Adorno posited, “society is reflected in music […] it is possible to learn it from its material”. In this paper, music is perceived in a category of a dialogue; therefore, an appropriate research method proposed here is experiment. As researchers, we could not only analyse culture, but also we could articulate it, ‘play it’ in a musical sense, and, for this, we need music imagination, the theory of which is presented in this article. To understand a society means also to grasp tones that dominate its audiosphere. If we follow Durkheim’s methodological guidelines, then one may assume that in each culture it is possible to distinguish musical facts-signposts, in other words, such empirical phenomena that signify the character of a specific type of ‘musicality’ that denote that particular society. The crux of our proposition is a directive stating that, in the field of cultural studies, it is not enough to establish facts, but it is important to make them audible in their whole, complicated, self. In order to make the investigation worthwhile and to yield rich results, these facts should be assembled in a creative way, treating them as ideal types, but also to musicalise the theory, thereby offering an innovative audial ideal type. The researcher then becomes here, not only a musical culture analyst, but also a creator of cultural music. If music is a union of a creator and a recipient, then the theory must be present simultaneously in both elements: reception and performance.
3
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The Conceptual Metaphor as an Ethical Kaleidoscope in Field Research

63%
Flis M., Piotrowski K.
Qualitative Sociology Review
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2024
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vol. 20
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issue 1
30-41
EN
Attention to metaphor as a tool for cognition and action has already been called by the classic work by Georg Lakoff and Mark Johnson-Metaphors We Live By (1980). However, some four decades after this publication’s first edition, the role of metaphor as a useful instrument in empirical research seems to have been forgotten. Therefore, the first step taken in the text at hand is to highlight that codes of ethics neither resolve nor befit the dynamically shifting circumstances of research conducted in the field. Ethical codes are often insufficient. Hence, an objective here will be to critically assess the broad application of such codes in general. The second step will be to turn to metaphor as a tool in developing the sociological imagination as understood by C. Wright Mills. The metaphor can also assist in finding oneself when confronted with difficult, ambiguous circumstances that may arise during fieldwork. Metaphor as a tool, as an ethical kaleidoscope coherently links the field research experience precisely with the sociological imagination.
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