http://hdl.handle.net/11089/20094 Fri, 03 Apr 2026 19:13:04 GMT 2026-04-03T19:13:04Z https://dspace.uni.lodz.pl:443/xmlui/bitstream/id/b7aa3bfb-7aa0-4f9d-a63c-64f8b301f088/ http://hdl.handle.net/11089/20094 http://hdl.handle.net/11089/20234 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 Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/11089/20234 2016-01-01T00:00:00Z http://hdl.handle.net/11089/20233 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 Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/11089/20233 2016-01-01T00:00:00Z http://hdl.handle.net/11089/20146 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. Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/11089/20146 2016-01-01T00:00:00Z http://hdl.handle.net/11089/20142 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. Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/11089/20142 2016-01-01T00:00:00Z