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Martin Heidegger: Prolegomena za povijest pojma vremena Preveo s njemačkog i priredio: Borislav Mikulić Demetra, Filosofska biblioteka Dimitrija Savića, Zagreb 2000.
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Martin Heidegger: Prolegomena za povijest pojma vremena Preveo s njemačkog i priredio: Borislav Mikulić Demetra, Filosofska biblioteka Dimitrija Savića, Zagreb 2000.
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Krzysztof Zanussi w swoich filmach podejmuje od samego początku tematykę etyczną, często jednak z istotnymi odniesieniami do teologii. Jego najnowszy film, Obce ciało (2014), analiza sporu pomiędzy postawą wiary w Boga a ateizmem oraz między ponadnarodową korporacją, symbolizowaną przez Kris, a Angelo, człowieka wiernego swoim katolickim poglądom, jest w gruncie rzeczy opowieścią o nocy ciemnej, tak jak ją opisał św. Jan od Krzyża. Protagoniści doświadczają obecności bądź nieobecności Boga (Deus absconditus): Włoch Angelo, początkowo pewny swej wiary, przeżywa poważne wątpliwości, gdy jego bliska przyjaciółka Kasia postanawia wstąpić do klasztoru. Adam, walczący o życie ciężko chorego ojca, odrzucający obraz Boga niemiłosiernego, doświadcza nieoczekiwanej odpowiedzi: cud ratuje życie ojca. Filozoficzno-antropologiczny traktat Zanussiego, oparty na filozoficznych podstawach, odsłania nie tylko możliwe postawy głównych bohaterów wobec Boga, ale także sugeruje Jego działanie w ich życiu.
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Nietzsche’s philosophy of politics and power is acquainted with Machiavellian principles in the distinction between the ruler type and ruled type, elite and masses, master and slave, discourse on the necessity of social ranking and subordination, subordination of morality to politics, the emphasis on power in political analysis, need for regional spaces with the foundation of the state in imperialism and violence. Machiavelli and Nietzsche political philosophy are based on a conception that life or nature is immoral and life is the will to power. Politics as one important sphere of life, has aimed at expansion of power, at growth, at superiority and operate in its basic functions throughout injury, assault, exploitation, destruction. Napoleon, as a late representative of the Renaissance, is for Nietzsche higher man because he embodied power and spiritual strength. Napoleon is a political actor as the artist and another possible realm of creativity. As the artist he is using the public arena as the medium on which practices his art for selfovercoming and spiritual growth, but also a space which ruin him because in the end he did not succeed to cross over the dangers of the political realm. Human greatness offers a way out of the closed circle of Christian morality and a new path for human evaluation. In the case of Napoleon, Nietzsche’s conception of higher man and some sort of hero is not only abstract ideal. Higher man’ s soul is a chapter of richness of artist, philosopher and tyrant. His failure deprives us of something extraordinary, but his mixed characters are always accompanied by danger and failure which are only steps away of success. He is frightening because he can bring pain and he is terrible because of his dedication to his own project of selfovercoming. Nietzsche is showing how suffering and hope go together in higher man creation. Nietzsche offers a different perspective than traditional political philosophy because almost all political thought is goal oriented in using politics as achievement. Nietzsche’s intention was to challenging the way about politics because the value of political action is not determined by the action, only by the deeds. The power is the basis of all rights, not a social contract affirming the rule of the person over law. By examining politics through an existential philosophy of life, Machiavelli goes to the core of politics. Cesare is expert deceivers, skilled in use weapons and words who desires power for himself and this desire is in the heart of man of politics. He is kind of heroes who suffers in the name of others. The hero’s agonistic experience can be reduced to 3 principles: independence, acquisition, appearance which are closely connected with virtue exercised on directed his power toward crowed or making one’s own laws. He is a hero because of the implication of his action beyond morality and because he knows how to eliminate enemies by skillfull dissembler. For achieving political power he will do anything necessary, because politics is a realm onto it. Because all humans are in a perpetual act of exercising power in order to achieve their particular purposes, successful political man is the highest form of human achievement because he is able to bring order in a world of discord and chaos. In the cases of Cesare Borgia and Napoleon it can be seen that is possible for higher person or ruler to show their immoral power without barriers in the realm of politics and if they have enough strength state is essentially an instrument of power, because the will to power is the philosophy of politics.
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The aim of the article is to reveal that Heidegger’s philosophy established the conception of nonrepresentational language, which is close to No theatre and the postmodern scene where dialogue as such disappears. Rejecting the traditional concept of Logos, Heidegger conceptualizes the language from the perspective of oriental indeterminateness. As No theatre gesture does not match with referential reality, language does not match with a natural expression and thus it primarily opens what it is said. It is such a poetic language which not having a clear speaking but only “contours sketching utterance” is expressed by the openness for the world, at the same time leaving some space for silentness. This particular moment of openness enabled Gerald Bruns to compare Heidegger’s language conception with Jacques Derrida’s concept of différance. Unlike the latter, Heidegger’s différance refers not to an empty space but to another dimension of existence where consciousness, language and meaning veil. Their place is taken by sound, rhythm, tonality, voices and vibrations that do not require understanding – all the things that are dissociated from a specific signification and manifest the being itself. From this point of view, Heidegger’s conception of language is compared with such postmodern theatre which manifests itself as a poetic message. What is being said here is understood as what is revealed (reality) and what veils (signification), and that is no longer a referential meaning of dramaturgical text “grasped” by understanding. In this type of theatre, language is free from rational logic explanations and is usually created lively on the scene, allowing it to flow freely, following its very course, emphasizing the transcendent birth of language or its negative sides – boredom, emptiness, inability to express the meaning, impossibility of significance. Naming Antonin Ataud’s theatre of cruelty as the predecessor of such an expression, theatre critics’ discussions about reality in modern and postmodern theatre that rose in the context of Jacque Derrida’s criticism of metaphysical Western tradition have been presented. It is argued that postmodern performances do not seek for reality but they create it through the energetic interactions of objects and performers. As examples of such an expression in the Lithuanian theatre, Eimuntas Nekrošius’s productions “Genesis. Donelaitis. The Seasons”, “Song of Songs” and also performances of Edmundas Leonavičius, Skaidra Jančaitė, Benas Šarka have been analysed.
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Die Geschichte der philosophisch-theologischen Reflexion uber die Selbsttotung ist im Grunde durch die Argumente bestimmt, die die moralische Zulassigkeit solcher Tat bestreiten. In ihrer Mannigfaltigkeit lassen sie sich in drei Argumentationsmodelle einordnen: das individualethische, das sozialethische und das theonome. Was die Beweiskraft betrifft, zeigt eine sorgfaltigere Analyse der zwei ersteren Argumente, das sie nicht zureichen, das Verbot der Selbsttotung eindeutig zu begrunden. Deswegen gelten sie allgemein als unzulanglich. Das theonome Argument fuhrt sich im Wesentlichen auf folgendes zuruck: Als der Schopfer des menschlichen Lebens, ist Gott sein eigentlicher Herr und Eigentumer, so das dem Menschen nur das Recht der Benutzung gehort. Wer also sich selbst das Leben nimmt, verfugt uber das Leben so, als ob er dessen Herr ware und so usurpiert er das Recht, das ihm nicht zukommt. In diesem Kontext wird das Verbot der Selbsttotung allgemein als deontologische Norm betrachtet. In der neueren theologischen Literatur trifft man dagegen kritische Diskussionen mit dem Versuch auch dieses Problem teleologisch zu losen, womit das Verbot wenigstens teilweise relativiert wird. Es scheint am Ende, das die Selbsttotung eine Grenzhandlung des Menschen ist, die sich in ihrer Komplexitat dem Blick entzieht, der den Kern der Entscheidung fur eine solche Tat und ihr letztes Geheimnis erreichen, und eine ganz eindeutige Beurteilung ermoglichen wurde.
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The review of: "Do not bother, do not come to any shores ...": funeral and commemoration of the Vologda region, (Issue 1: Totem, Tarnog, Babushkinsky and Nikolsky districts), comp. and entry. art. YUGAY EF, Vologda 2011, 112 s.
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In the article, the author analyses the most important memorial-like works and sculptures of well-known Lithuanian people by the distinguished Lithuanian sculptor, Stasys Žirgulis. Also, the monumental and small sculptures, full of strong associative and symbolic themes loved by the artist, are discussed here. The plot peculiarities and their expressions in plastics are presented. The artist’s extraordinary knowledge of materials is emphasized as well. S. Žirgulis’s creative development is summarized by highlighting the diversity of the artist’s works that predisposed a significant parting of two stylistic tendencies in the sculptor’s oeuvre.
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This article discusses the conception of the Holy in the age of mechanical reproduction formulated by the Romanian-born philosopher and religious scholar Mircea Eliade. The conception refers to homo religiosus in whom manifestations of sacredness and holiness provide meaning. In this article the age of mechanical reproducibility reveals problems for the existence of homo religiosus. In the age of mechanical reproducibility, the phenomenon of the Holy encodes religious archetypes and gradually loses the primary ontological status. A change of place and time lead to religious archetypes undergoing a desacralization process. Religious symbols and marks are abundantly reproduced by modern technical support. The analysis of the conception of the Holy by Mircea Eliade provides an opportunity to consider the age of mechanical reproduction from the perspectives both of the archaic and the contemporary religious man, where a person is understood not only as a process of chemical reactions, mental formations, nerve impulses, but also as a whole conscious entity with a permanent possibility to choose, and being independent from the forces of historicism. Studies of Mircea Eliade’s homo religiosus also uncover an attempt to deconstruct the modern secularized person’s thinking pattern, revealing an interface between postmodern thinking and primitive religious archetypes. Homo religiosus in Eliade’s works is particularly relevant in the context of the modern world of technology and secular society.
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By emphasizing two points from a recent monograph on Aquinas and evil, I attempt to reply to the critique of Gintautas Vyšniauskas who reviewed my Aquinas and the Cry of Rachel. First, Aquinas’ philosophical thoughts on evil are soberly earthbound. Though an afterlife and a resurrection are philosophical possibilities, they are not philosophically demonstrable truths. Aquinas will not stretch the truth for religious gain. He leaves philosophers to stop, pause and dream. Second, his philosophical psychology of the human as an intellector of analogical being possesses resources to explain a persistent disposition of personalist philosophers in the evil debate, e.g., McCord Adams, Stump, Hick, Dostoevsky, Camus, Flew, and Maritain, to overvalue the human person. In the human mind, being can become intensely associated with certain things, such that they acquire a value out of all proportion to the philosophical truth. The high dignity that personalists claim for the human is actually a theological truth. Again, Aquinas is shown not to be pushing a theological agenda. Conclusi on. Aquinas’ thoughts on the afterlife, resurrection, and the play of the notion of being in human psychology, show that he is no ideologue. In other words, they show that in his philosophizing we find “a free search for truth, an atmosphere of risk and endless questions, an effort to begin from arche, not a real passion for thought.”
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This article discusses the conception of the Holy in the age of mechanical reproduction formulated by the Romanian-born philosopher and religious scholar Mircea Eliade. The conception refers to homo religiosus in whom manifestations of sacredness and holiness provide meaning. In this article the age of mechanical reproducibility reveals problems for the existence of homo religiosus. In the age of mechanical reproducibility, the phenomenon of the Holy encodes religious archetypes and gradually loses the primary ontological status. A change of place and time lead to religious archetypes undergoing a desacralization process. Religious symbols and marks are abundantly reproduced by modern technical support. The analysis of the conception of the Holy by Mircea Eliade provides an opportunity to consider the age of mechanical reproduction from the perspectives both of the archaic and the contemporary religious man, where a person is understood not only as a process of chemical reactions, mental formations, nerve impulses, but also as a whole conscious entity with a permanent possibility to choose, and being independent from the forces of historicism. Studies of Mircea Eliade’s homo religiosus also uncover an attempt to deconstruct the modern secularized person’s thinking pattern, revealing an interface between postmodern thinking and primitive religious archetypes. Homo religiosus in Eliade’s works is particularly relevant in the context of the modern world of technology and secular society.
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The paper aims to reveal the differences in the treatment of the human body in Christianity and Confucianism, as they became evident in the spread of Christianity in 16th-17th century China. It will stress the influence of Chinese metaphysical and cosmological ideas in the Confucian understanding of human body, which, as will be argued, became the basis of the whole program of self-cultivation, on the one hand, but a seriuos problem for the Christian missionaries in their popularization of their doctrine in China, on the other hand. The investigation is based on the comparative analysis of Confucian texts and the „Diary of Oral Admonitions“ (Kouduo richao 口鐸日抄), written by Li Jiubao and translated into English by Erik Zurcher. It records the conversations between the famous Jesuit Giulio Aleni, as well as Lithuanian Jesuit Andrius Rudamina, with Chinese converts and those interested in Christian doctrine. The paper will discuss some Chinese concepts related to the understanding of the body (such as vital energy qi, five agents wuxing, spirit shen, heart mind xin, human nature xing) and their relations, in oder to reveal the main points of disagreement as well as possible ways to resolve the differences of its understanding in two religions.
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The purpose of this paper is an attempt to answer the question: how the interpretation of the main hero of "The Stranger"’s Albert Camus as “an animal in human skin” can be applied to understanding the actions of the hero in the world and whether Camus describes Meursault as an animal in fact, and not just symbolically. The author argues that such extreme treatment of “the animality” of a hero is useless in the broader context of this book and Meursault has human nature – the complexity of his psyche confirms this.
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The article discusses cosmological, existential, and moral kinds of fear as expressed in the plots of Lithuanian myths and fairy tales as well as in the symbols they employed. The interpretation of the above is based on the works of Lithuanian historians, ethnographers, and cultural writers as well as H. Biedermann‘s ‘New Dictionary of Symbolism’. Cosmological fears reflect the ancient culture people’s striving for survival, setting up in a specific territory, and establishing a certain order that provides all kinds of needed security. Existential and moral fears are related to the human pursuit of personal happiness. Fear manifests itself through the outer and inner factors that prevent one from achieving the above aims. The article presents an analysis which provides a deeper insight into the prevailing sets of values and behavior models of the Lithuanian national mentality.
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In this article the author argues that in the works of Camus people are particularly associated with vegetation. Joanna Roś analyzes the selected passages from the three literary works by Albert Camus, successively proving that: in The first man the fun with a palm tree is a symbol of passion for life, which is inextricably linked with nature as a model of survival; in Happy death vegetation teaches the hero that what would dishonor him as a man is the desire of death, denial of life; and Camus, presenting in The Minotaur or The Stop in Oran this city as a place where vegetation is masked, shows how this space devoid of vegetation urges a man to seek a counterbalance in a wild nature.
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In this article, attention is focused on the beginnings of Maurice Merleau-Ponty’s art philosophy as they are presented in his program work Phenomenology of Perception. Also the author tries to explicate the meanings of the fundamental concepts of the work as well as their functions in existential phenomenology. Further he analyses Merleau-Ponty’s turn from the problems of “aesthetic perception”, characteristic of his early works, towards the concept of relation of the artist to his creative work, as inspired by ideas of a “new ontology” in his later works. The peculiarity of Merleau-Ponty’s art philosophy, the problems of the art hierarchy, the subject of artistry, the creative process and style, the piece of art, non finito and many other problems are succinctly discussed. Special attention is paid to artist’s psychical pathologies, that is, the relation of normality and abnormality in artistic work. The thinker’s approach to the expressive capabilities of different branches of art and their relations to East Asian art theories are also inquired.
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Darwinian evolution theory has always been a subject of reflection, discussion, and even of serious quarrel. Achievements of empirical scientific research allow us to assert that this theory is more than a speculation; nevertheless, the range of problematic issues does not recede, but, on the contrary, increases. Spontaneous self-arrangement of the matter, purposeful, successive and progressive process of development without external intelligent factors or higher intellect as well as the lack of information and intermediate links, the issues of macro-evolutional process – these are only a few problems unexplainable by the theory of evolution. The Church also analyses and evaluates this interpretative theory of the origin of the world, life, and human beings and agrees with the possibility of evolution as such. But the Church grants this possibility only if evolution is not understood as a blind and spontaneous process based on some haphazard events but as a part of a divine project that was conceived and maintained by God. The Church does not consider the theory that human body has originated from animals out of line with divine Revelation but insists that the human soul is a divine gift rooted in the person by the Creator, and not the product of evolution.
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The article analyzes the early sources of existential phenomenology of Merleau-Ponty and the ideas of its predecessors and contemporaries. The article focuses on the development of Merleau-Pointy’s phenomenology and its relatedness to Gestalt and Behaviorism psychology, to Husserl’s and Heidegger’s phenomenology, to non-classical “subjective ontology” (Kierkegaard, Nietzsche) and Malraux theories. It also considers the main stages of the thinker‘s creative evolution, his gradual transition from existential phenomenology to the so called “new ontology”, and the growing importance of aesthetic problems during the process. Special attention is paid to Merleau-Ponty’s aesthetics concepts and problematic field formation. His peculiar approach to problems of aesthetics and art philosophy is exposed.
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In the Phaedo, Plato discussed the soul. It was Socrates who included the soul on the agenda of philosophy. In his ardent polemics with sophists, Socrates promoted an alternative man measure. Socrates spoke of the need to take care of the soul by making it better. Plato attempted to reconstruct theoretically the practical philosophizing of Socrates. So Plato was compelled to define the subject of the imperative as well as the preconditions that make sense of the imperative. Sensual soul or body, which already has been defined by sophists as the anonymous subject of pragmatic or daily thinking, was taken as the starting point for the definition of the soul as a subject of ethically specified philosophizing. Following Heraclitus, daily thinking and its subject were related to death. In opposition to them, philosophical thinking and its subject were marked with a meaning of immortality. Therefore, the definition of the subject of ethically modified philosophizing turned into theoretical arguments for the soul’s immortality. This article attempts to reconstruct those aspects of the new subject of philosophizing which became apparent in the dialectical and gnoseological arguments for the soul’s immortality. The dialectical argument for the soul’s immortality rests on the ambiguity of speech that in synoptical thinking is ontologically interpreted as an ambiguity of reality. The latter assumption presupposes an alternative to daily thinking and demarcates the traditional image of the soul from the area of daily thinking. The gnoseological argument for the soul’s immortality departs from the gnoseology of daily thinking and constructs a theory of recollection as a specific cognitive feature of the ethically specified soul.
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The article attempts an analysis of the first texts by Martin Heidegger written in 1909–1919. This analysis identifies a central shift in philosophical thought — from theologically-conceived adoration of eternity to philosophical absolutization of time which makes the essence of the first period in the German philosopher‘s thought. Revealed are the young Heidegger’s inveteracy in Catholicism, along with his apologetic disposition, which saw a crisis in 1911. The author also explores Heidegger’s transition to Neo-Kantians of Freiburg University, the battle against psychologism developed there, as well as the Habilitation thesis on Duns Scotus influenced by Rickert and Husserl. The Finding of that thesis gave birth to the concept of correlativity between eternity and time, which, itself based on Hegel’s philosophy, would support the rest of the development in Heidegger’s thought. Concentration on the time concept is analysed in the context of the conversion to Protestantism, which explains Heidegger’s attitudes, but then presents certain essential questions for him.
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The review of: “Archipelagoes of Melancholy / Melancholijos archipelagai: Žodžiai ir vaizdai” by Arvydas Šliogeris; Vilnius: Apostrofa/Publicum, 2009. – 168 p. ISBN 978-9955-605-54-6 „Archipelagoes of Melancholy“ is one of newest books by Lithuania’s most prominent and original contemporary philosopher, Arvydas’s Šliogeris’s (b. 1944). This is a book of images (philosopher’s photos) and texts. In this book there are more of Presence and Transcendence than of Nihil, negation. While reading „Archipelagoes of Melancholy“, we can notice, that A. Šliogeris shifts a little bit moves from philosophical existentialism and approaches a phenomenological and experiential notion. But all of A. Šliogeris’ publications have one unifying feature – an especially creative and dynamic philosophical thought.
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