Wyniki wyszukiwania - Biblioteka Nauki

1

Representation of Lattices with Modal Operators in Two-Sorted Frames

100%

Hartonas C. , Orłowska E.

Fundamenta Informaticae

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2019

|

tom Vol. 166, nr 1

29--56

EN

We study general lattices with normal unary operators for which we prove relational representation and duality results. Similar results have appeared in print, using Urquhart’s lattice representation, by the second author with Vakarelov, Radzikowska and Rewitzky. We base our approach in this article on the Hartonas and Dunn lattice duality, proven by Gehrke and Harding to deliver a canonical lattice extension, and on recent results by the first author on the relational representation of normal lattice operators. We verify that the operators at the representation level (appropriately generated by relations) are the canonical extensions of the lattice operators, in Gehrke and Harding’s sense.

2

Living in the senses and learning with love – John MacMurray’s philosophy of embodied emotion

80%

MacAllister J. , Thorburn M.

Journal of Pedagogy

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2014

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tom 5

|

nr 2

143-160

EN

In this article we analyse the central role that the body plays in John MacMurray’s account of learning to be human. As with Merleau-Ponty, MacMurray rejected mind-body dualisms and argued for the need to understand what it means to be a person. Through our analysis we highlight the key principles that characterize MacMurray’s philosophy in relation to personhood and the body, namely: 1) all human knowledge and action should be for the sake of friendship and 2) human persons exist first and foremost in their bodies as ‘knowing agents’ rather than in their minds as ‘knowing subjects’. We thereafter explain MacMurray’s views on education and how it must support people to live in personal rather than functional relation with each other by attending more to bodily experience and education of the emotions. Accordingly, MacMurray considered that persons can either ‘use’ their bodily senses as mere instruments for functional purposes or they can ‘live’ in their bodily senses by learning to love (not ‘using’ but rather apprehending the real value of) other persons. In conclusion, we suggest that MacMurray’s philosophy can open up a different way of thinking about the educational value of physical activity. For MacMurray shared physical pursuits are especially educational when carried out for their own sake and when all persons’ present experience moments of bodily joy and togetherness and a better understanding of each other.

3

Pure Pleasure and Film Thinking – Watching Instead of Interpreting

80%

Koschany K.

Estetyka i Krytyka

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2014

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nr 3(34)

45-56

EN

In his reflection on watching instead of interpreting as a way of getting to know a film, the author wishes to focus on two issues: (i) one related to the sensuous experience of the cinema, the pleasure of the act of watching itself (in accordance with the formula “seeing as only seeing”), and supported by the long tradition of the aesthetic thought (Baumgarten, Dewey, Shusterman, Gadamer, Merleau-Ponty), and (ii) one connected with film thinking – inspired by the thesis of Rudolf Arnheim: “The visual perception is visual thinking”. Thus, the concept of watching instead of interpreting raises the status of the pre-intellectual and sensuous way of receiving a film work, which does not act against the interpretation (as Susan Sontag claimed), but constitutes its alternative or complementary version.

4

Proslogion 6: …sentire non nisi cognoscere aut non nisi ad cognoscendum est…

80%

Otisk M.

Filosofický časopis (Philosophical Journal)

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2017

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tom 65

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nr Special Issue 2

11-28

EN

This paper aims to analyse and evaluate the character and role of sense perception in the works of Anselm of Canterbury written during the relatively short period of the 1070s and 1080s, namely the Monologion, the Proslogion (including the responses to the objections raised by monk Gaunilo), and De veritate. First, attention is devoted to sense perception in God – whether God possesses this kind of knowledge and whether God can be said to have sensually perceivable characteristics. The subsequent parts examine sense perception in the context of human knowledge on two levels: 1. human sensory knowledge and its role in understanding God (i.e., whether the senses are useful in any way in the struggle to find God) and 2. sensory knowledge and its truthfulness (including sensory illusions). Lastly, an attempt is made to explain why Anselm paid such little attention to sensory perception, even though it seems, according to the analysed texts, that the senses played an important and irreplaceable role in his noetic endeavour.

5

Dotyk w poradnikach medycznych i paramedycznych – spojrzenie językoznawcze

80%

Dombrowski A.

Językoznawstwo

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2016

|

tom 10

99-109

EN

The article shows how the 'touch' concept is presented in culture and communication. This phenomenon has not been the subject of lingual studies yet, however it has been only a few articles about this. The sense of touch plays an important role in contemporary world. It comes to be the most important way to build doctor-patient relation. The purpose of this text is to show the material extracted from old medical guides (ninetieth/twentieth centuries) which presents ‘tactile’ communication between doctor and patient, techniques and ways of cure, describes the doctor-patient contact, and analysis of this material. Cognitive classification of speech acts was helpful in to show, which directive acts are present in old medical guides (e.g. prohibitions, commands, manual procedure). First of all there are obliging acts in the pragmalingual analysis. It is worth noting that in the material show directive acts too. These acts cause pressure to recipient and have to get to do something by him (e.g. a lot of prohibitions, commands and also manual procedure of touch of the patient).

6

Metaphor Saves

80%

Krzeszowski T. P.

Academic Journal of Modern Philology

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2019

|

tom 8

139-148

EN

What is said about metaphor in the present paper will mainly concern the Christian Bible as directly or indirectly translated from the original languages (mostly Ancient Hebrew and New Testament Greek). However, unless otherwise indicated, all biblical quotations are based on New International Version of the Bible. Metaphor is conceived as a cognitive-conceptual device rather than a merely rhetorical ornament, which is consistent with basic tenets of cognitive linguistics. Among conceptual metaphors the metaphor MENTAL REALITY IS PHYSICAL REALITY stands out as one of the most productive metaphors as it generalizes the cognitive process of creating and understanding abstract concepts in terms of concrete, physical entities. The subject of religious thinking, contemplation and discourse cannot be experienced through senses, because such things are “What no eye has seen, what no ear has heard, and what no human mind has conceived” (1 Corinthians 2:9). Thus, metaphor is a kind of hyper-sense allowing us to perceive what our senses cannot perceive in all domains of our knowledge. According to the New Testament Christ himself explained to his disciples why he used parables (i.e. metaphors) in his teachings (Matthew 13:10-13). Conceptual metaphors appearing in the Bible are like a kind of a road, or a kind of a bridge, or a kind of a ladder—all leading man to God. The corruption of language connected with the original sin and manifested in using language as an instrument of deception and lying rather as an instrument of communication with God, was overcome by Jesus Christ as the Word (Logos) offered by God to annihilate the consequences of the original sin. As Christ saved Man from sin and death, metaphor frees language from its corruption, which is also a consequence of the original sin. Understood as the hyper-sense metaphor allows man to re-establish and maintain contact with God. Metaphor will not be needed when we see things as they really are. We shall also see God as He really is.

7

Przestrzeń „uzmysłowiona”. Psychogeografia miasta w Japońskim wachlarzu Joanny Bator

80%

Konończuk E.

Białostockie Studia Literaturoznawcze

|

2014

|

tom 5

EN

This article is a proposal for interpreting of Joanna Bator’s Japoński wachlarz [Japanese Fan] in the context of psycho-geographical concepts of the city, with the use of such domains as sensory geography or emotional geography of districts. The objective of the analysis is to demonstrate how Bator, from the perspective of an anthropologist, presents the poetical nature of the city.

8

A Return to Senses: The Healthy Self in Nadine Gordimer’s Writings

80%

Caraivan L. M.

Romanian Journal of English Studies

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2012

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tom 9

|

nr 1

182-193

EN

The paper analyses some aspects of healthy and diseased bodies presented in Nadine Gordimer’s latest writings that mark the writer’s return to senses. Some of Susan Sontag’s considerations on‘illness and its metaphors’ are introduced in order to accentuate the significance of the healing proces in the circle of health, disease and recovery.

9

At the senses' edge. Multisensual architecture

80%

Widera B.

Architectus

|

2010

|

tom Nr 2(28)

215--218

EN

Designing buildings at the beginning of the 21st century became a field in which the development of technology and design support software resulted in a clearly visible trend to move the barriers which until recently were considered ultimate architectural limits. This is in line with the expectations of both investors and end users who are accustomed to the swift exchange of information and to the performance in virtual reality. Contemporary society which is oriented to consumption driven by the media and accustomed to quickly satisfy their needs, naturally impose similar requirements on architecture. At the same time this is only the first level of expectations. Advanced users of modern architecture, apart from a high level of complexity and functionality, want to use it to experience the contact with art in its broad sense and recently more and more often also with nature.

PL

W dobie błyskawicznego rozwoju technologii granice możliwości architektonicznych stają się coraz bardziej umowne. Odbiorcy, przyzwyczajeni do szybkiej wymiany informacji oraz funkcjonowania w wirtualnej rzeczywistości, oczekują od obiektów architektury wysokiego poziomu funkcjonalności i złożoności, pozwalającego zaspokoić ich potrzeby. Projektanci nie wahają się również wprowadzać elementy zaskoczenia. Starają się włączyć końcowego użytkownika w proces kreowania architektury tworząc rozwiązania interaktywne. Wielu twórców dąży do umożliwienia odbiorcy jak najpełniejszego przeżywania kontaktu z architekturą. W tym celu obiekty architektoniczne mają oddziaływać na kilka zmysłów jednocześnie. Zjawisko architektury multisensualnej dotyczy w coraz większym zakresie obiektów kultury (muzea, powierzchnie wystawowe, teatry czy sale koncertowe), przestrzeni rekreacyjnych (obiekty SPA), komercyjnych (strefy handlowo-usługowe), a także prywatnych domów.

10

Sensorial Aesthetics: Cross-Modal Stylistics in Modernist Fiction

80%

Salmose N.

Text Matters: A Journal of Literature, Theory and Culture

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2020

|

nr 10

321-335

EN

This article argues that modernist fiction pointedly involves all our senses as part of its reaction to the project of modernity and progress, as well as to Victorian realism; it is not just a response to a heighted sensibility towards new soundscapes, new perceptions of motion and new olfactory experiences in the aftermath of industrialization and modernization. This “rebellion” involves a shift of focus from outer, rational and objective reality to inner, irrational and subjective consciousness, which drives the emphasis on emotional and sensational experience. The article suggests that in light of recent important developments in cognitive, psychological and neurological research, as well as in affect studies and intermedial and multimodal studies, there is reason to revise modernist stylistics. This could predominantly be done within the theoretical field and taxonomy of intermediality, as proposed by Lars Elleström. The latter half of the article discusses some textual modernist samples to more convincingly establish a theory of modernist sensorial aesthetics.

11

When Salt Turns Bitter and the Tablecloth Must Be Blue. On Food in Autism

71%

Rzepkowska A.

Łódzkie Studia Etnograficzne

|

2015

|

tom 54

PL

The article presented herein forms a part of the broad and rich trend of anthropological research on corporeality. The detailed problem undertaken by the author is the issue of eating disorders evinced by people with autism. Food is understood here as a broad and diverse set of practices, reactions and forms of behaviour. The topic is discussed from the perspective of an anthropologist, with reference to concrete examples derived from several sources, i.e. selected biographical/autobiographical reports concerning the question of living with autism, materials collected during field research conducted since 2013 in the “Jaś i Małgosia” Foundation in Łódź and the author’s personal contacts with people with autism spectrum disorders. The reflections focus on the influence of the senses on the autists’ consumption practices, considering that autists certainly overstep the limits of the culture of food consumption accepted in their community, undermine the normative order of this culture and develop their own eating-related forms of behaviour and rituals, which are often undesirable from the point of view of the community in general.

12

Sensing the Present: “Conceptual Art of the Senses”

70%

Bal M. , Burke R. E.

Text Matters: A Journal of Literature, Theory and Culture

|

2017

|

nr 7

27-54

EN

After Rachel E. Burke briefly introduces the essays presented with a focus on our contemporary relationship to modern subjectivity, Mieke Bal will make the case for the sense of presentness on an affective and sensuous level in Munch’s paintings and Flaubert’s writing by selecting a few topics and cases from the book Emma and Edvard Looking Sideways: Loneliness and the Cinematic, published by the Munch Museum in conjunction with the exhibition Emma & Edvard. It is this foregrounded presentness that not only produces the ongoing thematic relevance of these works, but more importantly, the sense-based conceptualism that declares art and life tightly bound together. If neither artist eliminated figuration in favour of abstraction, they had a good reason for that. Art is not a representation of life, but belongs to it, illuminates it and helps us cope with it by sharpening our senses. As an example, a few paintings will clarify what I mean by the noun-qualifier “cinematic” and how that aesthetic explains the production of loneliness.

13

„Trzeci sens” – pomiędzy potencją znaczenia a teorią interpretacji

70%

Koschany R.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2011

|

nr 2

6-14

EN

The reflection on the theory of interpretation described in this article is based on the text “The Third Meaning” by Roland Barthes. Analyzing photographs from the Eisenstein’s films Barthes tries to name a moment of surprise, which cannot be verbalized. It is possible to find a similar moment of astonishment in every act of interpretation of an artwork. That is the pre-reflective and preverbal level of interpretation, connected to the sphere of emotions, intuition and sensual perception. That is the “third sense” (significance), a special quality of the contact between the work and its viewer. The recipient is located between the direct (aesthetic) experience and (impossible to describe) cognition.

14

Eksploracja wzrokiem, słuchem i węchem w językowym obrazie ludzi i zwierząt – na podstawie tekstówz czasopisma „Kumpel”

70%

Bortliczek M.

Białostockie Archiwum Językowe

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2017

|

tom 17

EN

The article entitled Exploration with sight, hearing, and smell in the linguistic picture of people and animals – on the basis of texts from “Kumpel” magazine concerns the manner of describing three dominating senses in the world of fauna such as sight, hearing and smell. The names of these senses determine also the structure of analysis. The senses of taste and touch were not included in the description of behaviour and animals’ predispositions probably due to the anthropocentric perspective. These senses, which can be assumed, have not been examined so much as to be presented in the texts for the general public related to fauna and addressed to the receiver at the age between 7 and 10.

15

Руђер Бошковић о чулима

70%

Lazarević di Đakomo P.

Slavica Wratislaviensia

|

2015

|

tom 161

331 - 338

EN

The paper deals with the theories of Ruđer Bošković (1711–1787) on senses. Bošković did not systematically present his approach, but it can be considered on the basis of his works on optics, but, firstly, in his Theoria Philosophiae Naturalis redacta ad legem unicam virium in natura existentium (Vienna 1758). In this study the basic concepts of Bošković’s viewpoints on senses regard the genesis of our individual ideas that are acquired through the senses, which are based on the principle of causality. For Bošković senses are directly related to the ideas, actually to the so-called acquired ideas. Our senses are, however, limited and that is the reason why we cannot experience the absolute change of state.

16

Przestrzeń n-wymiarowa i węch. Uwagi o futuryzmie

70%

Kokoszka M.

Białostockie Studia Literaturoznawcze

|

2014

|

tom 5

EN

The author’s subject of interest is olfactory experience and its effect on the form of the space presented by futurists. The futurists develop new sensitivity, open to “sharp” stimuli, and not avoiding dissonances. The smell becomes in this context a component of the constructed space, appertaining to the forms of intensity, dynamic forms. The scent appeals to intuition rather than reasonable calculation, encouraging the futurist “new opening”. Also a broader context of the considerations seems important: the pursuit, declared in program texts of the futurists, of going beyond the convention of three dimension towards an n-dimensional space experienced with all senses; in other words the will to differentiate the ways of perception in order to enrich special imagination.

17

Maria Dąbrowska w Jugosławii

70%

Nawrocka E.

Białostockie Studia Literaturoznawcze

|

2014

|

tom 5

EN

This article discusses different forms – in terms of genre – of recording (private letters, diaries, reportage) of Maria Dąbrowska’s three journeys to Yugoslavia. In the author’s opinion these accounts reveal the tension between the subjective truth of being here and now, which Dąbrowska wanted to express, and the objectivity of being, which she wanted to present objectively. They are also a testimony of a typically female, or rather more intensive in women, polisensory experience of the world.

18

Sensing the Present: “Conceptual Art of the Senses”

70%

Bal M. , Burke R. E.

Text Matters: A Journal of Literature, Theory and Culture

|

2017

|

nr 7

27-54

EN

After Rachel E. Burke briefly introduces the essays presented with a focus on our contemporary relationship to modern subjectivity, Mieke Bal will make the case for the sense of presentness on an affective and sensuous level in Munch’s paintings and Flaubert’s writing by selecting a few topics and cases from the book Emma and Edvard Looking Sideways: Loneliness and the Cinematic, published by the Munch Museum in conjunction with the exhibition Emma & Edvard. It is this foregrounded presentness that not only produces the ongoing thematic relevance of these works, but more importantly, the sense-based conceptualism that declares art and life tightly bound together. If neither artist eliminated figuration in favour of abstraction, they had a good reason for that. Art is not a representation of life, but belongs to it, illuminates it and helps us cope with it by sharpening our senses. As an example, a few paintings will clarify what I mean by the noun-qualifier “cinematic” and how that aesthetic explains the production of loneliness.

19

Dotyk, który „widzi”. Próba postawienia problemu

70%

Łazicka A.

Białostockie Studia Literaturoznawcze

|

2018

|

nr 12

91-105

EN

The paper is intended as preparation for a detailed analysis of Zbigniew Herbert’s reﬂection on ontology and epistemology. An initial assumption is that the poet tries to evoke the sensual dimension of experience in his poetry. The main focus of the analysis is the metaphor of touch that “sees”. It is conceivablethat through this metaphor Herbertexpresses a connection between touch and sight.

20

Perception and functionality of space in view of potential and dysfunction of senses Sense-sensitive Architectural Design

70%

Gawlak A. , Matuszewska M. , Ptak A. , Priefer M.

Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych

|

2020

|

tom T. 16, nr 2

7--16

EN

This article is of an illustrative nature. It is intended to juxtapose the possible options of architectural perception and the potential capabilities and dysfunctions of senses. It is, further, aimed at highlighting the co-dependence of the perception of architecture on mental and physical abilities of man (its observer and user). The way space is perceived is dictated by the perceptual capabilities of our senses. Understanding the physiology and the role of the senses can sensitise the designers to the fact that the users’ responses to his/her works might diverge from the perceptual processes in the brain of the creator him/herself. More importantly, architecture itself can generate sensory feedback and exert a therapeutic effect in view of sensory dysfunctions.