The paper presents Polish culture from the X century to the present time inspected from a special perspective, namely that determined by the opposition universal-native. It is shown that in Poland the native, at times slightly modest artistic styles and forms as well as the more cosmopolitan and universal European trends always served the best-possible expression of the essence of the Polish people and their national traditions, unbrokenly preserved over ages.

In the paper we are analyzing the Polish ART market. It can be noticed that the lack of legal regulation has resulted in many discrepancies among the policies adopted by various ART agencies. The social acceptance of ART procedures available mostly in private clinics led to growing commercialization of the Polish ART market. Additionally, the language of gift and altruistic rhetoric that are overwhelmingly employed by ART agencies reveals hypocrisy of the Polish ART market.

This paper discusses the politics of remembering and the representation of the Holocaust in Polish contemporary art referring to the Lego Concentration Camp by Zbigniew Libera. The paper presents the ways in which Libera’s work challenges the traditional ways of representing the Holocaust and how it engages with issues such as the relation between atrocity and aesthetics. The associations brought to this mode of representation by the notions of game and toys and whether theatricality and play are in dialogue (...) with or violate the historical experience of the Holocaust is also discussed. The paper investigates the specificity of the Polish context in the way the Holocaust is approached and the reactions these artistic attempts raise in the public. Do the unconventional and shocking representations help understand the Holocaust or do they create the opposite effect of misguided and trivialised reading of history? (shrink)

The article focuses on identifying differences in the locus of control and styles of coping with stress among young students who are artistically gifted within the fields of music and visual arts. The research group includes Polish students of both music and visual art schools who develop their artistic talents in schools placing particular emphasis on professional training of their artistic abilities and competences within the field of music or visual arts respectively. We make an assumption that different types (...) of difficult situations experienced by youth educated at music and visual art schools may generate differences in dominating personal traits as well as in their sphere of emotions. The results of crosssectional research in 2013 confirm the assumption regarding differences among music and visual art school students both with regard to the source of the locus of control, understood as the personality variable, and dominating styles of coping with stress. Moreover, a positive correlation between the tendency towards internal locus of control and a task-oriented style of coping with stress in difficult situations has been observed in music school students. (shrink)

The main aim of this paper is to present the results of a job satisfaction survey conducted on a group of Polish sworn translators. The first part of this paper discusses the state of the art of sociology of translation as well as providing a definition of job satisfaction. Then, the author of the paper moves on to the presentation of the research procedure: the methodology, the limitations of the study, the results and a discussion about the findings. This (...) study presents evidence suggesting that Polish sworn translators experience a high level of job satisfaction. Nevertheless, due to research limitations, further studies on this topic are recommended before the issue of job satisfaction among sworn translators is more clearly understood. (shrink)

The article is an attempt to analyze the current trends of the development of Polish philosophy. It does not give a detailed description or systematization of Polish philosophy. The attention is focused on some vital issues: individuals, groupings, topics that determine its character and contribute to its native character and universal dimension. Polish culture follows an alternate pattern of development. Periods of idealistic vows, heroic deeds and great literature were followed by the time of “minimalism” restricted to (...) the world of facts and practicalities. At the times of cultural maximalism, philosophy accompanied literature (art) and tended to take the form of a world outlook, while in minimalistic phase it searched for connections with science and transformed into meta-science.The author believes that the period of scientific philosophy (the Lvov—Warsaw School of Philosophy) is over so it can be presumed that the future will belong to world outlook philosophy. (shrink)

Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phe-nomenologically ask about the essence of the fugue, and the musical work put under analysis will be The Art of Fugue by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artis-tic mode of the essential occurrence of beyng as (...) an event. (shrink)

It seems interesting to find out how the situation of the Polish ART practice is reflected in the medical students’ opinions. To answer this question we carried out a two-stage research adopting a data-driven methodology based upon the grounded theory, in which we collected a mixture of quantitative and qualitative data. Our study has revealed students’ high acceptance of IVF and most of the additional procedures, except for IVF in the case of women over 40 and postmenopausal ones. The (...) students’ main concerns were to be compatible with what is presented in medical literature and commonly accepted in medical practice, so the core categories they focused on in their argumentation were medical evidence and medical standards. Whereas the students were consistently trying to ground their reasoning on medical knowledge, their opinions reflected not only statements based on hard data, but also some gender stereotypes hidden in medical literature. (shrink)

Mark Twain, the great American writer of the South whose characters struggle with difficult choices, famously said: Always do what is right. It will gratify half of mankind and astound the other. Taking Twains phrase as a starting point, this book considers how literature and art explore different systems of values and principles of conduct, and how they can teach us to cope at times of trial. Morality remains one of the most contested areas of thought and ethics in the (...) modern world, due to numerous misapprehensions and the move away from solidarity, from what we share and hold in common, particularly our inherent pursuit of virtue and consideration of principles concerning the distinction between right and wrong, good and bad. Featuring essays by scholars from countries which have seen traditions of virtue and character formation perish in the course of tragic social experiments, this book highlights the role of literature and arts in educating about virtues and character, in both a regional and global context. The volume offers philosophical analysis of moral education and engages with the literary canon, discussing the ways in which virtue was taught and can still be taught with Aristotle as one of the regained tools of learning. The essays span countries from England, Spain, Italy and Belgium to the USA, Costa Rica, ancient China and Israel, with Poland, the Polish-Lithuanian Commonwealth and Central Europe receiving considerable coverage. They address themes of virtue and character formation from the Bronze Age to the present and serve as inspiring reading for educators, literary scholars, historians, ethicists, artists and active readers. (shrink)

Maria Gołaszewska (1926–2015), a Polish philosopher, was associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the postwar and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for the (...) perspective of gender, and in this sense should be acknowledged as an important contribution to contemporary gender-sensitive/feminist philosophy. In the article, I present Gołaszewska’s life, academic career, and philosophy as a cognitively valuable response to feminist philosophy’s search for a suitable description of women’s experiences related to art and aesthetic perception. (shrink)

W NINIEJSZYM opracowaniu analizuję klauzulę dobra wspólnego zawartą w art. 1 Konstytucji Rzeczypospolitej Polskiej z 2 kwietnia 1997 r., zmierzając do uwyraźnienia, w jakim sensie można mówić o jej prawnonaturalnym charakterze (zatem i do zarysowania możliwych znaczeń zwrotu "prawnonaturalny charakter klauzuli dobra wspólnego") oraz do ujawnienia „momentów" prawnonaturalnych, które mogą wchodzić w grę przy interpretacji tej klauzuli.

Since the mid-20th century, there has been a noticeable shift of interest in topics related to disability, illness, old age and the discourse of exclusion, both in practice and theory. Numerous artists, who often employed diverse strategies and aesthetics in their works, would confront similar themes, engaging in activities aimed at counteracting various forms and manifestations of social ostracism. This article describes and analyzes selected projects by Polish representatives of critical art and independent theatre which address these issues. The (...) primary aim of this text is not to catalogue as many artistic undertakings as possible but to highlight a certain trend and demonstrate the significance and purpose of art that boldly explores disability, illness, and deteriorating, ageing and dying bodies. Such themes are often taboo in consumer culture, while the task of art is to expose the mechanisms of exclusion and stigmatization and to draw public attention—often in a highly debatable manner—to topics that are omitted in the official discourse. The artistic projects discussed in the text demonstrate that persons with disabilities can be successful artists, dancers, performers, and actors. (shrink)

This paper deals with an analysis of debris produced during the polishing of diamond. The debris is carefully collected 'as ejected' to shorten the history of the freshly removed material. Using high-resolution electron microscopy as well as electron-energy-loss spectroscopy, the structure of the material is revealed and analysed in terms of density, percentage of sp 2 hybridized carbon, and oxygen content. Debris from polishing in the so-called hard and soft directions were involved in this investigation. Overall the structure of all (...) debris is amorphous carbon. The material appears to be composed of small clusters, some nanometres in diameter, in which the graphite basal planes can be recognized. Very few and very small nanometre-sized diamond particles were found in the debris from polishing in the hard direction. The results support a polishing mechanism based on a mechanically induced transformation of diamond to graphite, after which material removal easily occurs. The well-known anisotropy observed in polishing can be explained satisfactorily on the basis of this model. Finally, in appendices, the art of polishing and the role of the black powder during preparation of the scaife are discussed. (shrink)

Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI into (...) artistic creation marks a new chapter in the narrative, which seems to have reached its end, or if it represents a significant rupture with past artistic traditions. (shrink)

_The Cinema of Andrzej Wajda: The Art of Irony and Defiance_ Edited by John Orr and Elzbieta Ostrowska Foreword by Andrzej Wajda London: Wallflower Press, 2003 ISBN 1-903364-89-2 227 pages.

Purpose: The main aim of the research was to analyse aggression dimensions among athletes practising martial arts and combat sports.Material and Methods: There were 219 respondents. The Buss and Perry Aggression Questionnaire in the Polish adaptation by Siekierka was applied.Results: Martial arts apprentices turned out to present a statistically significantly lower level of hostility and of the general aggression index than combat sports athletes. It turned out that lower level of aggression was noted in female participants, verbal aggression, hostility, (...) and the general aggression index. Analysis revealed that the training experience and the training rank did not differentiated the level of the respondents' particular aggression dimensions.Conclusions: It would be advisable to perform parallel analyses in other areas of Poland and take into account the respondents' education and place of residence. (shrink)

In this essay, I analyze Romare Bearden’s art, methodology, and thinking about art, as well as his attempt to harmonize his personal aesthetic goals with his sociopolitical concerns. I then turn to Hans-Georg Gadamer’s reflections on art and our experience (Erfahrung) of art. I show how Bearden’s approach to art and the artworks themselves resonate with Gadamer’s critique of aesthetic consciousness and his contention that artworks address us, make claims upon us, and even reveal truth. Lastly, I discuss Gadamer’s emphasis (...) on the spectator’s active yet non-mastering role in the event of art’s address—an event that implicates the spectator and has the potential to transform him or her. This leads to a discussion of Gadamer’s notion of the type of self-(and world) understanding that occurs through aesthetic experience. I close by returning to Bearden in order to discuss how his art unearths a crucial feature of our being-in-the-world. I call this feature “world-unmasking” and show how it expands and enriches Gadamer’s account. (shrink)

This essay argues that bullshit art is a meaningful concept that differs from bullshitting about art, although the two may occur in tandem. I defend what I call the social pretense theory of bullshit art. On this view, calling a work of art ‘bullshit’ highlights a discrepancy between the prestige accorded a work of art and its nonsense character. This category of aesthetic criticism plays a unique role that cannot be identified with kitsch but bears only a contingent connection to (...) it. (shrink)

COVID-19 infects cities, here grasped as quasi-living functioning systems, and the changes inflicted can poetically open us to certain things. Drawing on ecological psychology, we maintain that this brings people into contact with different realities depending on their overall wellbeing, arguing that the aesthetic experience of cities accordingly varies. We then consider iterations of these ideas in dystopian cinema, which portrays global threats altering human relations with technology, art, and the world.

In der Philosophie der Wissenschaft wird die Konzeption der Supervenienz fur einen Vorschlag, der die bisherigen Lucken in den konzeptualen Schemen uberwindet, betrachtet. Die Unmoglichkeit der Reduzierung der Daseinsebenen erzwingt die Notwendigkeit der Annahme der Begrenzung bei der Benutzung des methodologischen Naturalismus. Der methodologische Naturalismus bildete das Postulat der Autonomie der Naturwissenschaften im Gegensatz zu Metaphysik. Zur Zeit kommt die Frage der Trennung der Naturwissenschaften von der Asthetik und der Ethik. Die Versuche, die beiden in die Erklarungssysteme einzufugen, ohne das (...) Prinzip des methodologischen Naturalismus zu verletzen, verursachen dass, der Naturalismus in sich keine Ausschliessung der philosophischen Fragen nach der Wirklichkeit als Ganzheit enthalt. Er impliziert auch keine konkrete Antworten auf die Fragen dieser Art. (edited). (shrink)

Roman Ingarden published his two major works in aesthetics in the 1930’s. The Literary Work of Art was published first in a German edition in 1931 and The Cognition of the Literary Work of Art was published first in a Polish edition in 1937. A revised and enlarged edition of the second book was published in Germany in 1968 and it is the German edition translated into English in 1973 which is the subject of this review. Ingarden’s two works, (...) founded on the antipsychologism of Edmund Husserl are intended as companion volumes, the first responding to the question, "How is the object of cognition, the literary work of art, structured?" and the second answering the question, "What is the procedure which will lead to knowledge of the literary work?" In The Cognition of the Literary Work of Art, Ingarden is concerned with the mode of cognition which corresponds to the necessary structures of the literary work of art which he has analyzed in his earlier study. He sets out to show that such a cognition is composed of heterogenous but closely connected processes and that it is accomplished in a temporal process. (shrink)

In the year of our Lord 1862, Polish painter Jan Matejko finished his first famous work, Stańczyk, fully translated into English as “Stańczyk during a ball at the court of Queen Bona in the face of the loss of Smolensk.”1 The piece was painted in oils and depicts a famous political figure of Renaissance Poland, Stańczyk the court jester. Stańczyk, an influential figure of Polish history who was as much a political philosopher as a funny man, is depicted (...) in this scene sitting alone and apoplectic as a royal party rages on just outside his door. As the illustration implies, he and the partygoers have just received some correspondence that declares the Polish territory of Smolensk has been besieged, and, appallingly.. (shrink)

Edmund Husserl has famously declared that “Without an image, there is no fine art.” The aim of the article is to find out whether conceptual art can be experienced as image as well. It will be shown that Joseph Kosuth’s conceptual artwork One and Three Chairs (1965) perfectly illustrates Husserl’s theory of image consciousness and the concept of “image.” Thus, Husserl’s theory makes a valuable contribution in understanding conceptual (and contemporary) art.

Thirty-Five Years of Research on Neuro-Linguistic Programming. NLP Research Data Base. State of the Art or Pseudoscientific Decoration? The huge popularity of Neuro-Linguistic Programming therapies and training has not been accompanied by knowledge of the empirical underpinnings of the concept. The article presents the concept of NLP in the light of empirical research in the Neuro-Linguistic Programming Research Data Base. From among 315 articles the author selected 63 studies published in journals from the Master Journal List of ISI. Out of (...) 33 studies, 18.2% show results supporting the tenets of NLP, 54.5% - results non-supportive of the NLP tenets and 27.3% brings uncertain results. The qualitative analysis indicates the greater weight of the non-supportive studies and their greater methodological worth against the ones supporting the tenets. Results contradict the claim of an empirical basis of NLP. (shrink)

Polish translation of an article by Gérard Chazal, devoted to the relationship of François Dagognet’s philosophy to the work of Gaston Bachelard. The author shows the complexity of this relationship, analyzing it in relation to the philosophy of science, the philosophy of technology and the philosophy of art. In many dimensions Chazal shows that Dagognet was inspired not so much by the letter of Bachelard’s texts as by their spirit, using his methods and concepts in areas that Bachelard was (...) not or only marginally interested in. The article is also an interesting voice in the discussion about the essence of the reception of philosophical concepts and currents. In this aspect author asks about the negation of the source theory in its continuations at the same time asking whether it is not this kind of negative inspiration that best testifies to the vitality of the theory — alive due to constant creative transformations. (shrink)

In Polish philosophical aesthetics Karol Tarnowski’s considerations about art reflect transformations that occurred in phenomenology – particularly French – in the second half of the 20th century. Religious thinking combined with the scholastic tradition and the classical doctrine of transcendentals turn out to be similar in many aspects, but still not identical with Jean-Luc Marion’s phenomenology of donation and Michel Henry’s nonintentional phenomenology of invisible life. The aesthetic views of Karol Tarnowski, an outstanding philosopher of religion and pianist himself, (...) can be found in scattered texts whose main subject matter is not always art. This is why the article aims at a synthetic presentation of this particular reflection in the context of current debates around phenomenology. (shrink)

The Polish philosopher Roman Ingarden is, with Heidegger, Sartre and Merleau-Ponty, one of the foremost representatives of the phenomenological movement founded by Edmund Husserl. The ideas of his most famous work, The Literary Work of Art, have made a powerful impact on contemporary aesthetics and literary theory. The present volume, a collection of essays all of which appear in English here for the first time, derives from the period towards the end of Ingarden's life when he turned from special (...) problems in aesthetics to the general theory of value and to the study of human nature. Six of the essays, including the longest piece, a masterly study of the problem of responsibility, were originally published in Polish as Little Book on Man. The remaining three essays: on the objectivity and relativity of values, on our knowledge of values and on the foundations of ethics, have been specially translated for this volume, which includes an introduction by the editor. The work is above all of interest to philosophers, who will find here an aspect of Ingarden's thought hitherto unknown to English readers. But the clear and forceful style of these pieces, which has been captured admirably by the translator, will also make the work of interest to the layman, to whom it offers an insight into the ways in which phenomenological philosophy may be put to work in solving problems which have a direct bearing upon his own life. Of interest to: Philosophers, anthropologists, aestheticians, students of these disciplines. (shrink)

The article is an attempt to outline a long-neglected issue and relate a general category, usually placed outside the achievements of “traditional” art, to stricte literary phenomena. The first chapter, Na tropach kiczu (On the trail of trash), concentrates on establishing the range of meaning of the term discussed. It is not aimed at constructing an unambiguous definition but at producing a brief outline of the complex character of the issue. The author does not limit herself to a negative understanding (...) of the phenomenon, but also emphasizes its multi-aspect presence in widely termed culture. The second chapter, О kiczu literaturze (On trash in literature), deals with the general ways in which the phenomenon functions and the ways of revealing the phenomenon in literary works and discusses various manifestations of the problem in particular texts. It presents instances of plain trash as well as pieces of writing where trash appears at the level of the world presented and where it is often subject to all sorts of tricks and many kinds of mystification. Chapter third, entitled Kicz opisany i sparodiowany: proza Manueli Gretkowskiej (Trash described and parodied: the prose by Manuela Gretkowska), is directly connected with the issues raised in the title of the article. The subjecl of this part of the publication is the literary output of this contemporary Polish writer, particularly her first three novels: My zdies' emigranty [1992], Tarot paryski (The Paris Tarot) [1993] and Kabaret Metafizyczny (Metaphysical Cabaret) [1994]. However, the aim of this chapter is not to characterize the novels but to comprehensively present the issue of trash in actual practice; that is, to give examples of the problems briefly discussed above. In the prose trash manifests itself at various levels of meaning and is subject to parody, the aim of which is not only to discredit or mock the phenomenon, but also to reach its essence and reveal its unique mechanisms. In the texts discussed here trash seems to lead to parody and parody to trash, which means that both the categories are closely and inseparably linked with each other. This is especially visible at the level of the strategy of reception, which is part ol the novels. The issue is discussed in the fourth chapter, entitled Gdzie jest czytelnik, gdy go nie ma? Strategia odbioru według Manuell Gretkowskiej (Where is the reader when there is no reader? The strategy of reception by Manuela Gretkowska). The last chapter, with the title Wokół postmodernizmu (On postmodernism), is an attempt to summarize the above issues and place them in a wider context. It presents the three novels against a background of the achievements of contemporary literature and art, which are usually regarded as postmodernist, makes them part of aesthetics, using a specific sort of style called camp-art by Susan Sontag, which consists in deliberate staggering on the borderland between bad and good tastes, an apotheosis of exaggeration as well as exhibiting trash perceived as a cultural element, a symptom of “new sensitivity” and an absolutely ambiguous phenomenon. (shrink)

Polish philosophers’ contribution to the philosophy of our times is not limited to logic. Neither was Polish philosophy mainly one more form of analitical school. The scope of this philosophy was broader, and its methods were much more diversified. This may be confirmed by many examples. One of these is Polish value theory as represented by Ingarden, Tatarkiewicz, Czezowski, and Ossowska.The differences in their methods are striking: we have Ingarden’s phenomenolgy as a tool of axiological inquires into (...) the nature of works of art, various analytical procedures presented by Tatarkiewicz, Czezowski and Elzenberg, the descriptive method of Ossowska. In spite of deep substantial differences these thinkers have much in common: subtlety in their philosophical work, faithfulness to the facts that are the point of departure in their axiological investigations, clearly objectivist tendency in solving the problems of value theory (except for Maria Ossowska). Another common feature: these thinkers tested their views with their lives opposing - when need arose - the outbursts of totalitarian barbarity. (shrink)

By the late 1920s in Europe new art directions were regarded as already completed phenomena, a part of “avant-garde tradition.” Such views were expressed by Jean Arp and El Lissitzky’s in their book Kuntismen, and by Amédée Ozenfant’s in Art. Bilan des arts modernes en France. Similar opinions were also voiced by Jan Brzękowski, a Polish poet and critic, who regarded this time as a period of “establishing certain values” rather than new breakthroughs. In this article I discuss Brzękowski’s (...) strategies as a spokesman of modern art, an intermediary between the Parisian artworld and Polish avant-garde, an author connected with constructivism, and also with surrealist circles in Paris. My main focus is his magazine “Sztuka Współczesna – L’Art Contemporain” and his series of articles “Mileages,” in which he summarizes the developments of modern art. Conscious of the “wearing up” of avant-garde ideas and critical about seeking “novelty” for its own sake, Brzękowski tried to establish a progressive position based on the idea of formal discipline and creative construction. While rejecting a mimetic conception of art, he argued for abstract artistic form that would be “anchored to the bottom of life,” thus emphasizing the interplay of abstract and figurative elements and their dialectic. (shrink)

Author looks into the problem of Marian Zdziechowski’s cooperation with the journal „Nový život”, the newsletter for Czech Catholic modernists. The background for author’s considerations is a historical outline of The Modernist Crisis, its intellectual origins and historic consequences. From 1902 to 1905 five Zdziechowski’s essays were translated and published in „Nový život”. The ideas of the Polish philosopher significantly influenced the development of the Catholic modernism in Bohemia. Zdziechowski discussed such issues as: the crisis and the revival of (...) religion at the turn of the 19th and 20th centuries, the significance of the Catholic Modernism for the renewal of Roman Catholic Church and the relation between religion and modern art. (shrink)