The presented study raises the issue of contribution payers in the field of social insurance, in particular based on the Covid-19 pandemic. Searching for ways of supporting was determined by the deterioration of the financial condition of entrepreneurs as payers of contributions. In 2020, there were no instruments or mechanisms to support entrepreneurs in a lockdown situation, which implied the need to build such tools and the legal environment for SMEs practically from the beginning. The Social Insurance Institution (ZUS) was (...) entrusted with the role of a stabilizer, consisting in servicing entrepreneurs as part of subsequent editions of the Anti-Crisis Shield. During the announcement of the COVID-19 pandemic, ZUS used the following forms of support for contribution payers: exemption from the obligation to pay contributions, postponement of the payment of contributions and payment of contributions in installments. The research question concerned the enforcement of the law and respect for the basic rights of entrepreneurs in the scope of the support used. In order to solve the research task legal interpretation were used in the work. The author’s considerations lead to the conclusion that forms of support used in connection with the Covid-19 pandemic turned out to be effective and may be used in the future in emergency situations. An important science contribution of the article results from the combination of the selected legal and economic aspects. (shrink)

Inspiration from Bauman’s analyses of„ liquid modernity” can be drawn to trace the transformations that love and hatred, as methods of solving the fundamental contradictions of human existence – stemming from the opposition between nature and culture, body and soul, death and immortality – undergo in these conditions. Those contradictions are manifested and reproduced in the relations between the subject and the other, relations of dividing and uniting, seeking transcendence. Analyzing these relations allows one to uncover the essence of death, (...) love, and hate between individuals and between communities of all sizes, including nations. Recognizing the essence of love and a subject‐object relationship, in which the truth of its subject and of onself is sought, a mutual surrender that transcendents the difference between egoism and altruism, and building a feeling of unity and dignity in a confrontation with inescapability of death – allows for the protection of those values against the destructive blows of hate. (shrink)

The hydrogen market in the world today is capable ovule and empirical evidence on activity of patents in fuel cells and hydrogen production is limited so far. Patent applications in zero-emission mobility in the aspect of fuel cells include: DAFC/dmfc&dmfc, PEMFC, SOFC, AFC, PAFC. As for the patents relating to the hydrogen production, they concern low carbon, electrolysis and inorganic. The purpose of the study was to investigate certain aspects of the activity of patents in fuel cells and hydrogen production (...) in the context of passenger car fleet in the Visegrad group (V4) countries and to explore the relationship between patent registrations and GDP per capita in V4. The research area relates to the answer to the question of whether a country’s involvement in zero-emission patent activity (patents in fuel cells and hydrogen production) could contribute to the renewal of the country’s passenger car fleet. The theses were formulated as follows: 1) activity of patents in fuel cells and hydrogen production in the V4 countries doesn’t depend on the car fleet in these countries, 2) the level of GDP per capita in the V4 countries is not followed by the number of patents registrations in hydrogen technology, 3) the highest patent activity in fuel cells and hydrogen production doesn’t mean that the car fleet in these country will be zero-emission in coming years. The method used in this article is a comparative analysis, but also the relationships between patent registrations, GDP per capita and passenger car fleet in V4 are considered. (shrink)

A review of Stephen Davies's book, Musical Works and Performances.

This is the first comprehensive book-length introduction to the philosophy of Western music that fully integrates consideration of popular music and hybrid musical forms, especially song. Its author, Andrew Kania, begins by asking whether Bob Dylan should even have been eligible for the Nobel Prize in Literature, given that he is a musician. This motivates a discussion of music as an artistic medium, and what philosophy has to contribute to our thinking about music. Chapters 2-5 investigate the most commonly (...) defended sources of musical value: its emotional power, its form, and specifically musical features (such as pitch, rhythm, and harmony). In chapters 6-9, Kania explores issues arising from different musical practices, particularly work-performance (with a focus on classical music), improvisation (with a focus on jazz), and recording (with a focus on rock and pop). Chapter 10 examines the intersection of music and morality. The book ends with a consideration of what, ultimately, music is. (shrink)

In this critical study of Julian Dodd’s Being True to Works of Music, I argue that the three-tier normative profile of the work-performance tradition in classical music that Dodd defends should be rejected in favour of a two-tier version. I also argue that the theory of work-performance defended in the book fits much more naturally with a contextualist ontology of musical works than with the Platonist ontology Dodd defends in Works of Music, despite his arguments to the contrary in the (...) afterword of the new book. Finally, I argue that the reasons he gives for preferring a ‘tradition-based’ over a ‘historicized’ theory of the understanding of classical scores are not convincing. (shrink)

In this essay I first outline contemporary Platonism about musical works – the theory that musical works are abstract objects. I then consider reasons to be suspicious of such a view, motivating a consideration of nominalist theories of musical works. I argue for two conclusions: first, that there are no compelling reasons to be a nominalist about musical works in particular, i.e. that nominalism about musical works rests on arguments for thoroughgoing nominalism, and, second, that if Platonism fails, fictionalism about (...) musical works is to be preferred to other nominalist ontologies of musical works. (shrink)

Subject and purpose: Using annual data for the periods 2009–2019, this paper examines trade flows between China and the Visegrad Group countries. The aim of this article is to assess real changes taking place in international trade in the Visegrad Group countries over the last eleven years. The starting point for the analysis was 2009 – the time after the 2008 economic crisis, and it was compared especially to 2018 – a year marked by a significant improvement in the economy. (...) The purpose is to discuss concerns related to the differences in bilateral trade between China and Poland, Czech Republic, Hungary, and Slovak Republic. The main aim of this research is to distinguish the characteristics of bilateral trade by products between V4 and China in years 2009–2019. The purpose of this article is also to systematize and discuss points of view, rationalizing further empirical research. Two research hypotheses, resulting from the research purpose, were formulated: H1: in the V4 countries import exceeds export, and this trend seems to be growing, H2: Chinese goods imported to the V4 are much more sophisticated than those exported. Design/methodology/approach: To assess the initial and current situation on international trade between the V4 and China, the author uses variables obtained from WTO and OEC resources, diagnosing the situation in Poland, Czech Republic, Hungary, and Slovak Republic. The collected empirical data were processed using theoretical methods such as analysis, synthesis, and comparison to formulate conclusions using deductive and inductive inference methods. Practical Implications: The results can be used in scientific and expert work on diagnostic and forecast trends in bilateral trade by products between the V4 and China. Originality/value: It concerns the indication of the importance of the V4 trade with China compared to the share of the V4 countries in world trade. It was also possible to identify the top export and import products of the V4. The findings also confirm the significant change in China’s trading structure. (shrink)

According to explanatory individualism, every action must be explained in terms of an agent's desire. According to explanatory nonindividualism, we sometimes act on our desires, but it is also possible for us to act on others' desires without acting on desires of our own. While explanatory nonindividualism has guided the thinking of many social scientists, it is considered to be incoherent by most philosophers of mind who insist that actions must be explained ultimately in terms of some desire of the (...) agent. In the first part of the paper, I show that some powerful arguments designed to demonstrate the incoherence of explanatory nonindividualism fail. In the second part of the paper, I offer a nonindividualist explanation of the apparent obviousness of belief-desire psychology. I argue that there are two levels of the intelligibility of our actions. On the more fundamental (explanatory) level, the question "Why did the agent do something?" admits a variety of folk-psychological categories. But there is another (formation-of-self) level, at which the same question admits only of answers that ultimately appeal only to the agent's own desires. Explanatory individualism results from the confusion of the two levels. (shrink)

An overview of attempts to define music in the Western philosophical tradition.

I respond to Martin Ricksand’s recommendation that my arguments that current, typical video games are not works for performance be replaced with an argument that no video game could possibly be a work for performance. I cast doubt both on Ricksand’s premise that all video games are games, and on his arguments that no game could be a work for performance.

Philosophical reflections on the trope of the femme fatale in the films of Christopher Nolan.

Autor artykułu podejmuje następujące zagadnienia: mentalistyczną analizę ruchów podstawowych ; zachowanie się tancerza w zamkniętym pomieszczeniu; oddziaływanie figur geometrycznych na ruch, na odczuwanie i percepcję przestrzeni; ruchowe przekraczania samotności; przechodzenia ruchu przez my.li i uczucia do tańca.

I investigate the widely held view that fundamental musical ontology should be descriptivist rather than revisionary, that is, that it should describe how we think about musical works, rather than how they are independently of our thought about them. I argue that if we take descriptivism seriously then, first, we should be sceptical of art-ontological arguments that appeal to independent metaphysical respectability; and, second, we should give ‘fictionalism’ about musical works—the theory that they do not exist—more serious consideration than it (...) is usually accorded. CiteULike Connotea Del.icio.us What's this? (shrink)

I argue that the work of art in rock music is a track constructed in the studio, that tracks usually manifest songs, which can be performed live, and that a cover version is a track (successfully) intended to manifest the same song as some other track. This ontology reflects the way informed audiences talk about rock. It recognizes not only the centrality of recorded tracks to the tradition, as discussed by Theodore Gracyk, but also the value accorded to live performance (...) skills, emphasized by Stephen Davies. (shrink)

I argue that even if video games are interactive artworks, typical video games are not works for performance and players of video games do not perform these games in the sense in which a musician performs a musical composition (or actors a play, dancers a ballet, and so on). Even expert playings of video games for an audience fail to qualify as performances of those works. Some exemplary playings may qualify as independent “performance-works,” but this tells us nothing about the (...) ontology of video games or playings of them. The argument proceeds by clarifying the concepts of interactivity and work-performance, drawing particularly on recent work by Dominic Lopes, Berys Gaut, and David Davies. (shrink)

In this paper I argue against the theory--popular among theorists of narrative artworks--that we must posit a fictional narrative agent in every narrative artwork in order to explain our imaginative engagement with such works. I accept that every narrative must have a narrator, but I argue that in some central literary cases the narrator is not a fictional agent, but rather the actual author of the work. My criticisms focus on the strongest argument for the ubiquity of fictional narrators, Jerrold (...) Levinson's ontological-gap argument. Finally, I outline an alternative "minimal theory" of narrators, and some consequences thereof. (shrink)

This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.

The experience of notes as higher or lower than one another, and of movement within passages of music, underpins many other musical experiences. Several theories of such an experience have been defended, claiming that concepts of space and movement variously play some sort of metaphorical role in our experience, can be eliminated from musical discourse, or apply literally to the music. I argue that all such theories should be rejected in favour of the view that our experience of musical space (...) and movement is imaginative, in much the same way our experience of fiction is widely believed to be. (shrink)

ABSTRACTThis study is situated within corpus-assisted discourse analysis. Corpora and discourse studies: Integrating discourse and corpora. London: Palgrave Macmillan.) and provides a critical discussion of key topics and stances in the marriage equality debate in Germany. The ways in which the German print media covered the debate are explored through two corpora which include relevant texts from three German newspapers and two magazines from two key periods ; in 2001, Germany introduced ‘civil unions’ but it was only in 2017 that (...) marriage was opened to same-sex couples. Qualitative and quantitative analyses using AntConc and ProtAnt suggest that while there are parallels to marriage equality debates in other countries, there are also language-/culture-specific features. For example, there is a stronger focus on children’s welfare in the contemporary data, since marriage equality meant joint adoption rights for same-sex couples. Through an exploration of keywords/collocations and close reading of prototypical texts, it is shown how linguistic choices contribute to framing the arguments for/against marriage equality and how these stances are connected to culture-specific and cross-cultural norms. (shrink)

I discuss a recent notable attempt to sharply distinguish pornography from erotic art, and argue that the attempt fails. I then turn to methodological questions about how we ought to go about defining ‘pornography’, questions which lead quickly to others about why we want such a definition. I believe that philosophers of art can make important contributions to this definitional project, but only if their contributions are informed by recent work in feminism, philosophical analysis, and art history.

An overview of current issues in musical ontology, including debates about "fundamental" vs. "higher-order" musical ontology and skepticism about both kinds.

This book is about beliefs, language, communication and cognition. It deals with the fundamental issue of the interpretation of the speaker's utterance expressing a belief and reporting on beliefs of other people in the form of oratio obliqua. The main aim of the book is to present a new account of the problem of interpreting utterances expressing beliefs and belief reports in terms of an approach called Default Semantics.

This paper offers a memoir of living with Zygmunt Bauman. It begins with the early encounter of Bauman and Aleksandra Kania in Warsaw in 1954, where both were Masters students working with the humanist Marxist Adam Schaff. Kania and Bauman followed their separate life paths for decades, though they were both postwar communists and reconstructionists. Much later, the loss of their partners led to union, in Leeds and across the globe in travel. This is a story of friendship (...) and mutual enthusiasms, then intimacy between two working sociologists. There are also some apparent differences, as between the Lark and the Owl, or between Phosphorous and Hesperus. Life together leads especially to Italy, and to Pope Francis. This is a reflection on what Bauman called the art of life. (shrink)

Aaron Ridley has recently attacked the study of musical ontology—an apparently fertile area in the philosophy of music. I argue here that Ridley's arguments are unsound. There are genuinely puzzling ontological questions about music, many of which are closely related to questions of musical value. While it is true that musical ontology must be descriptive of pre-existing musical practices and that some debates, such as that over the creatability of musical works, have little consequence for questions of musical value, none (...) of this implies that these debates themselves are without value. (shrink)

I argue for an ontology of jazz according to which it is a tradition of musical performances but no works of art. I proceed by rejecting three alternative proposals: (i) that jazz is a work performance tradition, (ii) that jazz performances are works of art in themselves, and (iii) that jazz recordings are works of art. I also note that the concept of a work of art involved (1) is nonevaluative, so to deny jazz works of art is not to (...) judge it inferior to artistic traditions with works, and (2) is univocal across other musical traditions, so to claim there are works of art in jazz would be to use a different sense of the term than we use when, say, discussing classical music. (shrink)

Wherever I Go the Ministry Follows is an answer to a vision given to Matthew Webster at the young age of fifteen. The book took six years to complete and is a testimony of how God can use the most ordinary people to accomplish extraordinary things through Jesus Christ. It is Matt's prayer that you will be inspired, convicted, and prompted by the Holy Spirit to answer the calling from God to be and act as a chosen generation, a royal (...) priesthood, an holy nation, a peculiar people; that ye should shew forth the praises of Him who hath called you out of darkness into His marvelous light 1 Peter 2:9. The goal of Wherever I Go the Ministry Follows is for you the reader to meditate individually on each chapter and how it relates to surrendering yourself totally to God. This book is short because it is intended to be read slowly and read over and over again. It is an ideal book for a ten or eleven week Bible study. As you read each chapter you are faced with the question, am I taking the gospel everywhere I go? You are challenged to move towards a holy and a righteous lifestyle, to effectively reflect the image of Christ. The amazing thing about Wherever I Go the Ministry Follows is that as you read it you can see how each chapter is intricately woven together to give us the whole picture of what God expects from His people and what God is trying to mold each one of us into. Wherever I Go the Ministry Follows does not shy away from answering the tough questions we face in life like; What is God's will for my life? Is healing for everyone and if so then why am I not healed? Instead of dancing around the issues this book tackles the issues head on. This book is a great book for non-believers, new Christians, and mature Christians alike, because it has something unique to offer each person and it has challenges for all walks with the Lord or for those who currently are not in a personal relationship with Jesus Christ. (shrink)

Celem artykułu jest wykazanie, że filozofia może sięgać po ustalenia neuronauki, w tym psychologii, w zakresie poczucia winy i wstydu, w czym mają pomóc postawione w artykule pytania i poruszane zagadnienia. Autorka przywołała dane na temat neuronalnych korelatów poczucia winy i wstydu i neuropsychologiczne interpretacje niektórych z nich. Szczególną uwagę zwróciła na kwestie związane z oceną moralną i moralnymi sankcjami.

Within a short space of time, the film Memento has already been hailed as a modern classic. Memorably narrated in reverse, from the perspective of Leonard Shelby, the film’s central character, it follows Leonard’s chaotic and visceral quest to discover the identity of his wife’s killer and avenge her murder, despite his inability to form new long-term memories. This is the first book to explore and address the myriad philosophical questions raised by the film, concerning personal identity, free will, memory, (...) knowledge, and action. It also explores problems in aesthetics raised by the film through its narrative structure, ontology, and genre. Beginning with a helpful introduction that places the film in context and maps out its complex structure, specially commissioned chapters examine the following topics: memory, emotion, and self-consciousness agency, free will, and responsibility personal identity narrative and popular cinema the film genre of neo-noir Memento and multimedia Including annotated further reading at the end of each chapter, Memento is essential reading for students interested in philosophy and film studies. (shrink)

Over the past few decades, various philosophers of music have appealed to the notion of recognizability in their theories of the performance of works of Western classical music. In this paper, I attempt to clarify that notion and examine whether it can actually do the jobs it is called upon to execute. I begin with a discussion of Jerrold Levinson’s appeal to (something like) work-recognizability as a criterion of successful work-performance and its influential uptake by Stephen Davies. I then attempt (...) to clarify the notion of work-recognizability. I argue that the concept cannot do the task it is asked to in theories of work-performance, and that we should instead appeal to a robust notion of the intention to perform a work. (shrink)

This is a collection of nine papers dealing with the topic of reporting on beliefs and other attitudes, and in particular with the issue of the semantics-pragmatics boundary dispute which is the core topic of research in the field.

Nemesio G. C. Puy argues that the "nested types" ontology of works of Western classical music can solve recent disagreements about such works' authentic performance. I raise several objections to his argument.

In this essay, I investigate musical silence. I first discuss how to integrate the concept of silence into a general theory or definition of music. I then consider the possibility of an entirely silent musical piece. I begin with John Cage’s 4′33″, since it is the most notorious candidate for a silent piece of music, even though it is not, in fact, silent. I conclude that it is not music either, but I argue that it is a piece of non-musical (...) sound art, rather than simply a piece of theatre, as Stephen Davies has argued. I end with consideration of several other candidates for entirely silent pieces, concluding that two of these are in fact pieces of music consisting entirely of silence. (shrink)