The phenomenon of “hyperintensionality” can be linked to Frege’s famous article “Über Sinn und Bedeutung” (1892). Frege here showed the need in semantics to take account not only of reference but also of the way in which referent is given – and this “mode of presentation” he named sense (Sinn). The basic property of sense (which Frege did not, however, define) is that two expressions, though they differ in sense, may pick out (refer to) the same object. For example (Frege offered other examples), the expression “integer larger than 1 and divisible only by itself and the number 1” certainly differs from the expression “integer having exactly two divisors”, but both expressions pick out, by virtue of their (different) senses, one and the same object, that is, the set of prime numbers. It can be shown that no set-object can have this property. In order that the proof of this important property of set-objects be easily comprehensible, the main part of the paper focuses on an account of the basic characteristics of Tichý’s transparent intensional logic (TIL), in which hyperintensionality is defined as a procedural property. There may seem to be a disproportion between the several pages of the text and the brief and straightforward proof. In this brief proof, however, it is assumed that the concept of construction is clear, that the sense of an expression is represented as a construction, and that the reference (if it exists) is that which the sense-construction construes, so that the property of Frege’s sense given by the statement VS can be thus formulated by an assertion concerning not expressions, but primarily the relation between sense and referent, for example thus: Two differing senses can be the mode of presentation of the same object (referent). The preponderance of text providing concise information about the basic concepts of TIL over the proof itself can therefore be easily explained.
This article reveals the exceptional union of two metaphysical poems by John Donne, so far regarded as separate entities. By conducting a thorough linguistic analysis, the author gradually shows subtle links between The good-morrow and The Flea on the lexical, thematic, and structural levels. Their existence provides evidence that J. Donne’s works may form meaningful assemblages and should therefore be interpreted only in the context of the whole manuscript. The Flea and The good-morrow clearly comment on one another and together complete the vision of the world which emerges from their verses. Thanks to their autotelic character – the material form that itself conveys a message − the reader experiences this lyrical diptych as an observable phenomenon and an intellectual puzzle. The poet deliberately breaks existing patterns and rules to expose chosen elements. It is the irregularities in the composition of the verses and stanzas, frequently perceived as imperfections, that open the door to deeper levels of his metaphysical concept.
The text concerns the issue of translation in relation to education. It begins with a reference to contemporary discussion on translation study. The reference is done in order to show a complexity of problems in the field and to introduce the hermeneutic perspective of translation, reading and education. The main conclusion is that education is a translation of experiences, different ways of understanding the world. The more the world changes and seems to be completely different and alien than the one we used to understand, the more it needs a hermeneutist, i.e. a translator and an interpreter with – at least in the Gadamerian context – a poetic ear. The hermeneutist of education has the very ‘ear’ that makes him/her feel that theory is practice and practice is theory.
The principal objective of this paper is to analyse the sensory impact on customer's behaviours as well as the limitations of its application. The analysis is based on the results of various international studies. It was proved that music and odours through their various characteristics may affect customers' perception of products and services as well as the perceived time passage and contribute to more money and time being spent in the establishment. The results of the study indicate that managers should allow their customers to tactually investigate their products. It was proved also that visual characteristics of an establishment and product may have an influence on customers' behaviour within the retail environment. The implementation of the sensory strategy would involve the introduction of musical, olfactory, visual and haptic cues into the brand design and/or the retailing atmosphere. However, from the environmental and social point of view, the existing law regulations ought to be taken into account while implementing such a solution.
PL
Zasadniczym celem artykułu jest analiza oddziaływania zmysłów na zachowania klientów, jak również ograniczenia jego stosowania. Analiza opiera się na wynikach różnych badań międzynarodowych. Wykazano, że muzyka i zapachy poprzez swe różne cechy mogą wpływać na percepcję przez klientów produktów i usług, jak również postrzeganego upływu czasu i przyczyniać się do tego, że w placówce wydaje się więcej pieniędzy i spędza więcej czasu. Wyniki badania wskazują, że menedżerowie powinni pozwalać swym klientom na dotykowe badanie swych produktów. Wykazano również, że wizualne cechy placówki i produktu mogą mieć wpływ na zachowanie klientów w środowisku placówek detalicznych. Wdrożenie strategii sensorycznej wiązałoby się z wprowadzeniem bodźców muzycznych, węchowych, wzrokowych i dotykowych do projektu marki i/lub klimatu w handlu detalicznym. Z drugiej strony, ze środowiskowego i społecznego punktu widzenia należałoby brać pod uwagę istniejące przepisy prawne w trakcie wdrażania takiego rozwiązania.
Studies into fiction and its linguistic specifies are frequently done from the perspective of comprehension. In this study comprehension means finding and construing senses. Therefore the entire text is the area for building up senses. The sense of the text is explained as a configuration of ties and relationships among various elements in a situation emerging as a result of some activity or communication at the moment when that situation is being created or recreated by a person who adequately understands the text. In the article the figurative sense of the prose by Boris Pasternak and the semantic diversity of the language in the prose by Henry James and the comedy by William Shakespeare are shown. In prose semantic vagueness and polysemantic ambiguity are connected. The process of understanding the texts of implied sense is described. A complementary principle in the system of language tunes down and brings together the multicoloured canvas of the text. The naturalistic meticulousness is contrasted to the overall whole. Determination arouses the reader’ s curiosity and encourages him to look for the inexplicitly expressed sense of the text. Today, given the available findings of extensive scholarly research, it is imperative to probe into the issues surrounding sense from new offbeat angles and vantage points.
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The history of translation is as ancient as the theories concerning translation. Within the progress of this item the discussion focuses on two conflicting positions, based on the concepts of semantic equivalence and one-to-one correspondence respectively. The question which has always been significant is, whether to move the text to its reader or to move the reader, that is to say how to deal with the text`s overdetermination. An individual word may relate to one word through assonance, to another through syntactical equivalence or morphological parallelism. Signs participate in several different paradigmatic and syntagmatic patterns which, in their complexity, cannot be transferred completely into another language. The article deals with the question “how to translate?”, which means to substitute one sign for another and not to lose too much of its significance. Is authenticity possible or just a Utopian dream?
The article begins with a short presentation of an interesting semantics concerning the notion of sense from Jean Grondin’s book Du sens de la vie. Essai philosophique. The author singles out four aspects of sense: directional, semantic (the issue of lingual meaning and values), sensous/sensory (connected with taste, sensus communis) and reflective (connected with the wisdom to judge rightly). Grondin suggests considering the issue of the sense of life not as something added, imposed to life (the constructivist perspective) but rather as something to be discovered, or read from within our experience. In the context the most important question about the sense of education has been posed. The main conclusions of the text are as follows. Contemporary education seems to be reduced to different forms: techno-instrumental, moralizing or ideological, aesthetic “French-polished” and bureaucratically statistical. However, hermeneutics can still provide a crucial inspiration for modern education. The hermeneutic rehabilitation of taste in its sense of (re)cognition, savoring (relishing) and understanding of things needs to be (re)discovered within education. It seems that the modern tendency to reduce human reality and human experience to a narrow area of specialisation, might be overcome by a hermeneutic invitation to see things in a wider, non-generalised, horizon. Reducing the sense of education to one of the aspects mentioned by Grondin means to make education something perhaps useful, effective, attractive because of the ‘ends and means’ technology, but at the same time senseless and lacking life, spirit, inspiration and taste. The sense of education is to be uncovered/discovered and not merely imposed and then assimilated. However, education needs – paradoxically – a kind of repetition and imitation comparable to the experience full of listening to the sounds and words in the process of uttering something. It is not the same as the reproduction or duplication of content. That is why in education the interpreter’s fine inner ear is needed. It is needed not in order to replace the content with something elusive, but rather to regain – thanks to this sensual elusiveness – a sense of the content and its voice. The importance of the voice is that in listening out for it an encounter with something different from our own particularity is possible.
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В статье Исповедь: смысловое содержание понятия (в аспекте размышлений А.В. Михайлова о ключевых словах культуры) автор, опираясь на ряд суждений ученого, предпринял попытку несколько расширить смыслы исповеди в сравнении с ее традиционной семантикой (как покаяния, как утверждение вероучения), и, таким образом, через изучение самого слова указать на неучтенные его смыслы. Древнееврейский оригинал давал возможности для достаточно широкого использования лексико-семантической палитры при переводе слова исповедь и его производных в книгах Священного Писания, однако русские переводчики старались уйти от синонимии. Кроме того, внимание обращено на некоторые особенности истолкования исповеди блаженным Августином.
EN
Relying on a number of A.V. Mikhailov’s judgements, the author attempts to broaden the meaning of the concept confession in comparison to its traditional semantics (penance; statement of the creed), and to indicate its unaccounted senses. The Hebrew original allowed for a fairly extensive use of lexical-semantic palette when translating the word confession and its derivatives in the books of Holy Scripture. However, the Russian translators tried to avoid synonymy. In addition, attention was drawn to some particular interpretation of the word confession provided by Saint Augustine.
Autor artykułu prezentuje hermeneutyczną metodę interpretacji jednego z najwybitniejszych filozofów XX wieku, jakim był Paul Ricoeur. Hermeneutyka jako taka nigdy nie znajdowała się w głównym nurcie filozofii, ale zawsze stanowiła jej znaczący obszar i przedmiot zainteresowania. Myśliciele wykorzystywali te narzędzia, by pełniej zająć się człowiekiem i zrozumieć wszystko, co stanowi typowo ludzki wytwór, jakim są teksty. Mówiąc o tekstach, hermeneutyka nie ogranicza się do słów i fraz, lecz uwzględnia także rytuały, gesty, obyczaje i relacje pomiędzy ludźmi oraz grupami społecznymi. W tym wszystkim jest działanie, które chce uchwycić pierwotne intencje autora i sensy zawarte w tekstach. Często sensy znacznie wykraczają poza to, co wniósł autor nam samym początku. Odkrycie tego wszystkiego jest zadaniem hermeneutyki.
EN
The author presents the hermeneutic method of interpretation of one of the most eminent 20th century philosophers, Paul Ricoeur. Hermeneutics as such has never been in the mainstream of philosophy but it has always been a significant domain and object of interest. The thinkers used its tools to study human beings more in depth and to understand everything there was about one of the unique to humans creations, their writings. Speaking of texts, hermeneutics is not limited to words and phrases but it extends to rituals, gestures, customs and relationships between people as individuals and social groups. In all of this, the aim is to capture the original intentions of the authors of the texts but also the intentions and meanings that may go beyond what they consciously intended to convey in the first place. The meaning that originates in the course of functioning in a certain place and time.
In this paper we would like to highlight the current developments in the field of arts pedagogy in the context of wider trends in the philosophical and psychological thinking, which points to the the most significant aims of arts education, but which in teaching practice has still not been sufficiently accepted. At the same time, the paper aims to draw attention to a very effective and unique concept as proposed by the Slovak composer and pedagogue Juraj Hatrík. This musical-pedagogical method very effectively solves the identified problems of musical pedagogy, starting at the elementary level, where he addressed mainly conceptual and methodical questions. Allmost all projects and methodologies of that are proven and effective in practice.
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Background: Touch is playing an important role in human’s life. Thanks to it, people can discover the world around them, communicate emotions and create strong bonds. Touch is significant part of every human relationship and especially the relationship between physiotherapist- patient, because the touch is the basic tool of a physiotherapist’s daily life. The goal of this pilot study was to evaluate how the physiotherapists perceive the touch and if they know and follow right recommendations of touch. Material and methods: 80 therapists took part in the study (39 female, 41 male). Average age 30, 36 years (SD 6, 62) and average work experience 6, 62 years (SD 5, 05). They were asked to complete a questionnaire (28 questions) pertaining three aspects of the touch: physiotherapist’s attitude towards touch, psychological aspects of touch and circumstances assuring a comfort of touching. Results: According to the answers physiotherapists treat touch mainly as a technical tool of gathering information and treating. They are aware of influence of the touch on a patient’s psyche and body, it is working in both directions; physiotherapist <=> patient. The majority neither feels nor have any emotions while touching a patient. The respondents made sure that they follow the recommendations of right touch: respecting patients’ rights to autonomy, privacy, information and therapists cared enough about comfort and safeness of their patients. Conclusions: The respondents use the touching as a technical tool while they neglect its psychosocial side. They know and they follow the recommendations of touch in correct way.
In this paper we would like to highlight the current developments in the field of arts pedagogy in the context of wider trends in the philosophical and psychological thinking, which points to the the most significant aims of arts education, but which in teaching practice has still not been sufficiently accepted. At the same time, the paper aims to draw attention to a very effective and unique concept as proposed by the Slovak composer and pedagogue Juraj Hatrík. This musical-pedagogical method very effectively solves the identified problems of musical pedagogy, starting at the elementary level, where he addressed mainly conceptual and methodical questions. Allmost all projects and methodologies of that are proven and effective in practice.
Background. Yachting requires specialist knowledge and the skills that guarantee safety while sailing in all weather conditions. Therefore it is essential to measure the effectiveness of training – in view of the limited number of hours available – in order to improve the teaching process. The main aim of the paper was to analyze the effectiveness of the teaching methods applied in sail training and to assess the changes occurred in the subjects’ ability to control their movements due to the training. Material and methods. The sample consisted of the first-year students (men and women) of the University School of Physical Education who took part in a sailing course in Olejnica. In the 30-hour specialist part of the training, the subjects learned to sail two sloop-type sailboats. The amount of the training time for each crew on a given training vessel was the same, and both crews were trained by experienced sailing instructors. Each student was supposed to master basic sailing maneuvers in 30 hours of training within 5 days. Before and after the experiment, the subjects were examined on a kinesthesiometer that registered the repeatability of the generated force in the upper limbs. These results were used to assess the effect of sailing on movement control in terms of the numerical assessment of kinesthetic differentiation ability on the basis of the generated power repeatability. Results. A 35-hour (5h theoretical part + 30h practical) sail training carried out in the traditional way – with an instructor on board the yacht – enables beginners to acquire basic yacht maneuvering techniques. The analysis proved that 35-hour sailing course does not significantly affect the repeatability of the generated power in the upper limbs. Conclusions. In the next phase of the research, the importance of a sailing instructor should be assessed in the process of teaching techniques of maneuvering on training yachts, such as Omega-class yachts or cabin yachts, equipped with electronic devices (GPS, chip log, anemometer) which enable precise collection of information on performed maneuvers.
The article deals with the category of sense. It examines the meaningfulness of the absurd and takes realism to be a basic strategy in comprehending being. This strategy is compared with constructivism and reflection, or correspondence (copy) theory.
Filozofia od wieków towarzyszyła człowiekowi jako droga wiodąca ku odkrywaniu mądrości. W objawieniu chrześcijańskim człowiek otrzymał od Boga w osobie Jezusa Chrystusa odpowiedź na fundamentalne pytania, przed jakimi staje. Niniejszy artykuł nakreśla zadania, które w świetle encykliki Fides et ratio stoją przed filozofią w jej służebnej roli wobec teologii. Za pomocą pojęć i definicji zaczerpniętych z pism filozofów możliwe jest właściwe objaśnianie treści wiary, jej przybliżanie, pod warunkiem że stać ona będzie na gruncie realizmu i obiektywizmu. Współczesny kryzys tożsamości człowieka związany jest z porzuceniem dziedzictwa myśli klasycznej, na których zbudowana była klasyczna filozofia. Tym, co charakteryzuje dzisiejszą mentalność, jest filozofia nihilizmu, relatywizmu i pragmatyzmu, które nie są w stanie ukazać człowiekowi prawdziwego obrazu rzeczywistości.
EN
Philosophy has always accompanied a human being as the way leading to discover wisdom. The Christian Revelation given by God in the person of Jesus Christ answers to the fundamental questions. The article states new tasks which, according to the encyclical Fides et ratio, stay in its serving role regarding theology. The definitions and concepts mentioned in philosopher’s writings enable us to explain the content of the faith as far as it is supported by realism and objectivity. The modern crisis of identity of a human being is connected with the abandonment of legacy of a classical idea that classical philosophy was based on. Nihilism, philosophy of relativism and pragmatism are characteristic features of present mentality but they cannot show the real sense of actuality to a man.
W poetyckiej szacie swoich utworów Cyprian Norwid daje wyraz głębokiemu zrozumieniu fundamentalnych zagadnień, obecnych w europejskiej tradycji filozoficznej. Przedmiotem jego poezji bywa więc zarówno śmierć, obecna w swoich banalnych zewnętrznych przejawach, ale także w grozie swej nieodwracalności, jak i budzące się dopiero życie, które przedstawiane bywa przez poetę w naturalnych kontekstach obrazu młodej matki i dziecka. Piękne postaci młodych kobiet bywają u Norwida pretekstem do ironii skierowanej przeciwko ułomnościom społecznego życia, kiedy nastawione jest na blichtr i pozór. Natomiast kobiecość w swoich najwyższych przejawach łączy w sobie w jego twórczości piękno i dobro. Zarówno formalne nowatorstwo, jak i wykorzystanie motywów dobrze znanych w ludowej kulturze ziem polskich służą u Norwida zawsze przedstawieniu rzeczy dla człowieka najważniejszych. Głęboki humanizm tej twórczości łączy pierwiastki typowe dla tradycji europejskiej z tym, co uniwersalne. Fascynacji ulotnym, a zarazem wszechobecnym pięknem natury towarzyszy perspektywa nieskończoności, otwarta przed człowiekiem. W niczym nie uszczuplona, żywa emocjonalność poety stanowi tło dla pochwały rozumu, po sokratejsku poszukującego najwyższego dobra człowieka.
EN
In the poetical form Cyprian Norwid reveals his deep understanding of the fundamental issues of the European philosophical tradition. Therefore the subject of his poetry is both death, inherent in its trivial external manifestations, but also in the menace of its irreverability, and newly rising life, which the poet depicts in its natural context of an image of young mother and her baby. Figures of young, beautiful women often serve as a pretext for irony directed at deficiencies of social life, anticipating solely glitter and appearances. Feminity in its highest aspects, however, in his output combines beauty and good. Both formal inventiveness and recourse to familiar motives of the Polish country culture, always serve Norwid to present things essential for a man. Profound humanism of his output combines motives which are typical for the European tradition and universal issues. His fascination for the ephemeral, omnipresent beauty of the nature is accompanied by the perspective of infinity, open for each human being. The poet’s emotionalism, thorough and vivid, is the background for his praise of reason, which seeks for the Highest Good along Socratic lines.
Autor natchniony Apokalipsy św. Jana dwukrotnie przywołuje pojęcie pokoju – w Ap 1,4 i 6,4. Analiza ukazuje istniejące między tymi fragmentami powiązania semantyczne. Bóg zostaje przedstawiony jako posiadający i oferujący pokój człowiekowi, jak również dopuszczający usunięcie go z ziemi. Powiązanie pokoju z miłością uzależnia jego posiadanie od przyjęcia Bożej charis (Ap 1,4), a zarazem lokując go na pozycji owocu takiej relacji, wskazuje, że tam, gdzie nie ma pokoju, nie będzie też miłości ofiarowywanej drugiemu człowiekowi, a jedynie wrogość (Ap 6,4). Autor natchniony wzmacnia przekonanie dotyczące wagi pokoju, wprowadzając obrazy Ap 7,15b-17 i 21,1–22,5, które swoją sensorycznością kreują w odbiorcy doświadczenie. Personalizm odniesień podkreśla znaczenie ludzkiej decyzji w przyjęciu/podjęciu/zwróceniu się do Boga o ten dar.
EN
There are two passages in the Book of Revelation where the author evokes the subject of peace (Rev 1:4; 6:4) and, through analysis, we can detect semantic connections between them. God is presented as the source and owner of peace, offering it to human beings (Rev 1:4). Then again, God also allows the second horseman, after the breaking of the seal, to take peace from the earth (Rev 6:4). The union between peace and love/mercy is dependent upon receiving charis from God (Rev 6:4), the result being peace in the world and in the human heart. It implies the need to love one another, with the lack of it leading to hostility (Rev 6:4). The author strengthened that reflection by a series of sensory depictions of peace, in Rev 7:15b-17 and Rev 21:1–22:5, where peace is manifested as an internal experience. On a personal level, the emphasis lies on the value of an individual's decision to turn to God and thus receive the blessings of peace.
Artykuł jest wynikiem refleksji zainspirowanej konferencją „Kultura i metoda” (Lublin, KUL, 18-19.04.2013). Autorka dostrzega przemiany w kulturze współczesnej, jak i pewne niepokojące tendencje w kulturoznawstwie. Są to: 1) eksplozja różnorakich jego odmian, a zarazem aspektowość i fragmentaryczność badań przy wielorakim rozumieniu kultury; 2) zacieranie się granic przedmiotowych; 3) wielość metod z przewagą opisowych i faktograficznych; 4) zanik nastawień aksjologicznych. Brak wartościowań prowadzi do upadku krytyki – artystycznej, literackiej czy naukowej. Trzeba podkreślić, że badania nad kulturą są także badaniami nad człowiekiem. Kulturoznawca nie może/nie powinien więc uchylać się od pytań o wartość i sens wytworów ludzkich ani wyrzekać się stanowisk wartościujących i tych kryteriów aksjologicznych, które pozwalają widzieć w kulturze odpowiedzialne dzieło człowieka.
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The article is the result of reflection inspired by the conference “Culture and Method” (Lublin, CUL, 18-19 April 2013). It perceives changes in contemporary culture, as well as some disturbing trends in cultural studies. They are: 1) the explosion of its varieties, and at the same time—multiple aspects, and fragmentariness of research with multifarious meanings of culture; 2) the blurring of subject boundaries; 3) the multiplicity of methods with a predominance of descriptive and factual one; 4) the loss of axiological attitudes. The lack of valuations leads to the collapse of criticism—artistic, literary or scientific. It should be emphasized that the studies on culture are also studies on man. A scholar in cultural studies, therefore, can not/should not refrain from questions about the value and meaning of human creations or renounce evaluative positions and axiological criteria that allow to see man’s responsible work in culture.
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