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)

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.

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

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)

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)

The systems of patent rights in force in Europe today, both at the level of national law and on the regional level, contain general clauses prohibiting the patenting of inventions whose publication and exploitation would be contrary to “ordre public” or morality. Recent years have brought frequent discussion about limiting the possibility of patent protection for biotechnological inventions for ethical reasons. This is undoubtedly a result of the dynamic development in this field in the last several years. Human genome sequencing, (...) the first successful cloning of mammals, and the progress in human stem cell research present humanity with many new questions of an ethical nature. Directive 98/44 of the European Parliament and of the Council of July 6, 1998, on the Legal Protection of Biotechnological Inventions created a new basis for patent protection in this field of technology. Based on the European experience to now, however, it must be said that patent law is not the right place to legislate the consequences of the morality of an invention. (shrink)

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)

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 attempts to define music in the Western philosophical tradition.

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)

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)

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)

An overview of analytic philosophy of music.

Name der Zeitschrift: Nietzscheforschung Jahrgang: 23 Heft: 1 Seiten: 314-318.

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)

According to contrastivism in epistemology - advocated chiefly by Jonathan Schaffer - the knowledge relation is not binary (s knows that p) but ternary (s knows that p rather than q). Thus knowledge ascriptions are contrast-sensitive. The aim of this paper is to portray, investigate and assess the details of this view. In the first three sections I focus mainly on arguments for contrastivism. Section fourth is devoted to the contrastivist solution to the skeptical puzzle. In the last three sections (...) I present several problems for contrastivism as well as three main binary explanations for contrast-sensitivity. (shrink)

This is the third installment of a paper which deals with comparison and evaluation of the standard slingshot argument (for the claim that all true sentences, if they refer, refer to the same object) with the doxastic formulation.

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)

An overview of philosophical issues raised by musical performances and recordings.

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)

Author: Michalski Rafał Title: ANCIENT SOURCES OF MEANING OF THE TERM “MIMESIS” (Antyczne źródła pojęcia mimezis) Source: Filo-Sofija year: 2005, vol:.5, number: 2005/1, pages: 45-64 Keywords: ‘MIMESIS’, PLATO, PYTHAGORAS Discipline: PHILOSOPHY Language: POLISH Document type: ARTICLE Publication order reference (Primary author’s office address): E-mail: www:In this article I show the evolution of meaning of the term ‘mimesis’ in ancient Greece. I distinguish its two basic meanings: copying (imitation) and expression. The older meaning (mimesis as expression) comes from the Pythagorean (...) tradition, whereas the newer one (mimesis as copying) can be traced back to the philosophy of Plato. Analysis of Plato’s dialogues step by step reveals ambivalence of the notion, and, what is most important, points out how useful it can be in epistemology, philosophy of language, psychology and aesthetics. (shrink)

We generalize the Bolzano-Weierstrass theorem on ideal convergence. We show examples of ideals with and without the Bolzano-Weierstrass property, and give characterizations of BW property in terms of submeasures and extendability to a maximal P-ideal. We show applications to Rudin-Keisler and Rudin-Blass orderings of ideals and quotient Boolean algebras. In particular we show that an ideal does not have BW property if and only if its quotient Boolean algebra has a countably splitting family.

A response to Peter Alward's objections to the view that there may be fictional narratives without nonactual narrators.

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.

This is a spin-off paper to [3, 4] in which we carried out an extensive analysis of Andrzej Grzegorczyk’s point-free topology from [5]. In [1] Loredana Biacino and Giangiacomo Gerla presented an axiomatization which was inspired by the Grzegorczyk’s system, and which is its variation. Our aim is to compare the two approaches and show that they are slightly different. Except for pointing to dissimilarities, we also demonstrate that the theories coincide in presence of axiom stipulating non-existence of atoms.

I argue that if we want to condemn sexual relationships between professors and students we must also condemn friendships between them. On the other hand, if we want to allow such friendships, we must condone (some) professor-student sexual relationships. My main reasons for this conclusion are, first, that the differences between close friendships and sexual relationships are more subtle than most people think — there is no clear boundary between the two — and, second, anything that would concern us about (...) the latter should concern us about the former. I will argue, further, that though there may be reasons to avoid such relationships, there is nothing about the student-professor relationship in particular that should lead us to condemn all such relationships. (shrink)

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

Niniejszy artykuł został poświęcony charakterystyce poglądów wybranych scholastyków i dekretalistów z XIII wieku dotyczących kwestii spożywania w poście słodkich wyrobów aptekarzy, zwanych po łacinie _electuaria_, w angielskiej literaturze przedmiotu znanych jako _electuary_. Autor omówił to zagadnienie, opierając się na analizie fragmentów dzieł autorstwa: Wilhelma z Auxerre (_Summa aurea_, znanym też jako _Summa in IV Sententiarum_), Aleksandra z Hales (_Summa teologii_), Tomasza z Akwinu (_Komentarz do czterech ksiąg Sentencji Piotra Lombarda_ (łac. _Scriptum super libros Sententiarum_) i _Summa teologii_), Innocentego IV (_Commentaria (...) super libros quinque decretalium_) oraz Henryka z Ostii (znanego jako Hostiensis, _Apparatus in Decretales_). Poglądy poszczególnych autorów niniejszej kwestii były zbieżne i sprowadzały się do stwierdzenia, że spożycie elekwarzy w poście jest dopuszczalne, o ile będą traktowane jako słodycze. Każdy z wymienionych autorów używał nieco odmiennych argumentów. I tak Wilhelm z Auxerre wskazał, że przyjmowanie powidełek leczniczych, choć prowadzi do złamania postu, nie skutkuje utratą zasługi, tj. nagrody do życia wiecznego. Aleksander z Hales dokonał analizy typologicznej produktów spożywczych i podzielił je na cztery kategorie, takie jak: lekarstwa, właściwa żywność, lekarstwa pokarmowe i żywność lecznicza. Elekwarze zostały zaliczone do grupy trzeciej i z tego względu mogły być spożywane w poście. Święty Tomasz z Akwinu podkreślił znaczenie czynnika ilościowego i roli walorów smakowych jako kryteriów oceny dopuszczalności spożywania elekwarzy w czasie postu. Zaś zarówno Innocenty IV, jak i Henryk z Suzy (Hostiensis) uwypuklili jedyny warunek spożycia powidełek leczniczych w czasie postu, jakim jest choroba. W konkluzji autor dochodzi do wniosku, że uwaga wybitnych przedstawicieli ówczesnej myśli teologicznej, jak i prawniczej, poświęcona zagadnieniu dopuszczalności spożywania w poście elekwarzy, czyli słodkich wyrobów aptekarskich, stanowiła odpowiedź na zmieniającą się wówczas rolę tego typu wyrobów aptekarskich. Traktowane uprzednio jako lekarstwa na różne dolegliwości (na ogół o podłożu gastrycznym), stawały się słodyczami jedzonymi dla przyjemności i w nadmiarze. Tym samym ich przyjmowanie w czasie postu, czyli umartwiania, rodziło istotny dylemat moralny. W zgodnej opinii zarówno scholastyków, jak i dekretalistów zostały one uznane jako medykamenty i jako takie mogły być przyjmowane w poście. W efekcie ten typ wyrobów aptekarskich, obok kontektów (łac. _confectes_), na trwałe wszedł do menu postnego u schyłku średniowiecza. Co więcej, postrzegane jako produkty postne, cieszyły się rosnącą popularnością, niezależnie od uwarunkowań ówczesnej medycyny, jak i poglądów myślicieli i dekretalistów z XIII wieku. (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)

Le scepticisme de Montaigne a jusqu'à présent dominé le débat sur la portée philosophique des Essais. C'est pourtant le concept épicurien du plaisir qui oriente la pensée philosophique tout entière de Montaigne. En tant que force motrice principale régissant les actions humaines, le plaisir constitue en effet la seule mesure des choses, le tamis par lequel doit passer tout contenu existentiel, quelle que soit sa nature: religieuse, philosophique ou passionnelle.

This article presents German loanwords in the Polish language. Its aim is twofold: to discuss words of German origin in Polish, as well as to stress Polish-German language contacts and their influences on vocabulary. The analysis will not only deal with the meaning and etymology of particular words, but will also scrutinize their description in the dictionaries of Polish edited by Doroszewski and Sobol.

Artykuł podejmuje próbę rekonstrukcji teorii wyparcia Sigmunda Freuda. Punktem wyjścia jest wykazanie sprzeczności pomiędzy dwoma odmiennymi ujęciami wyparcia: według pierwszego z nich, wyparcie polega na całkowitym wykluczeniu patogennego impulsu z obszaru świadomości, według drugiego zaś, wyparcie pozbawia odrzucany impuls energii emocjonalnej, ale nie odcina go od świadomości. W dalszej części artykułu omówione są paradoksy, które pojawiają się w topicznym i ekonomicznym modelu psychiki.