http://hdl.handle.net/11089/20094 2026-04-07T03:58:22Z 2026-04-07T03:58:22Z Dziczek, Szymon Paweł http://hdl.handle.net/11089/20234 2018-02-01T11:21:07Z 2016-01-01T00:00:00Z

Teizm, naturalizm i ewolucja Dziczek, Szymon Paweł Recenzja książki: Daniel Dennett, Alvin Plantinga, Nauka i religia. Czy można je pogodzić?, Kraków: Copernicus Center Press, 2014

2016-01-01T00:00:00Z Treppa, Zbigniew http://hdl.handle.net/11089/20233 2018-02-01T11:21:07Z 2016-01-01T00:00:00Z

Rozum, wiara i światło Treppa, Zbigniew Recenzja książki: Paulina Tendera, Od filozofii światła do sztuki światła, Uniwersytet Jagielloński, The Polish Journal of the Arts and Culture (seria Estetyki i Krytyki) MONOGRAFIE, Kraków 2014

2016-01-01T00:00:00Z Kopeć, Anna http://hdl.handle.net/11089/20146 2018-02-01T11:21:01Z 2016-01-01T00:00:00Z

Tragizm vs. Ironia – spór o sensowność „tego, co ludzkie” Kopeć, Anna The article compares two approaches of subjectivity: ‘tragic subjectivity’ and ‘ironic’ one. Both of them include different anthropology. Tragic subjectivity is most fully expressed in commitment to values. Tragic protagonist is the one who by acting according to his commitment to values becomes self–conscious. However, subjectivity which emerges from tragic vision cannot exist in postmodern times, because of some reductions which postmodern philosophy has brought. Ironic subjectivity took the place of the tragic one. This subjectivity manifests in negation. Ironic protagonist understands freedom as being uncommitted, as an abstraction from the externality. This escape from reality brings to the subject the feeling of self–doubt. In the end of the article the author shows that ironic project is not a remedy for the problems which appear from postmodernity and suggests that new form of tragic vision (which again brings to the notion of ‘humanity’ special content) is possible.

2016-01-01T00:00:00Z Bastek, Adam http://hdl.handle.net/11089/20142 2018-02-01T11:21:01Z 2016-01-01T00:00:00Z

Początki kina. Rozważania filozoficzne Bastek, Adam This article centres on the beginnings of the art of cinematography as viewed from a philosophical perspective. Every art form has its beginnings, and cinema is no exeption. Nevertheless, some film theorists, as Jean Louis Baundry, have challenged this view: cinema has no genesis and no single discovery from which it sprung. The purpose of this article is to analyse these arguments in the light of the theories found in Greek philosophy.

2016-01-01T00:00:00Z