Paunang Salita Ang kasalukuyang aklat ay produkto ng masigasig na pagsusumikap ng mga mag-aaral ng BA Kasaysayan sa Politeknikong Unibersidad ng Pilipinas, Sta. Mesa sa ilalim ng klase na Historiograpiya ni Dr. Zeus A. Salazar. Tinatangka nitong maitala para sa salinlahi ang mga kaganapan sa kanilang suplemental na klase tuwing Martes sa Bahay Escaler, ang tahanan ng kanilang Guro. -/- Magkagayumpaman, hindi ito talaga maitatangi sa mahabang kasaysayan ng pagtuturo ni Salazar. Ang pagkakatitikan/pagpapakatitikan higit sa lahat ay isa nang signature (...) style sa pagtuturo ni Salazar mula pa noong dekada 1970. Mababanggit din ang kinagawian niyang pagdaragdag ng oras labas sa opisyal na oras ng klase upang magpalalim ng mga paksang inaral sa loob nito, kung hindi man sa mga kapihang matatagpuan sa kaligiran ng U.P. Campus kung saan siya nagturo nang may 40 taon, at sa Bahay Gomburza mismo, ang dating tahanan ni Salazar. (shrink)

This paper continues the defense of a version of scientific realism, Tautological Scientific Realism, that rests on the claim that, excluding some areas of fundamental physics about which doubts are entirely justified, many areas of contemporary science cannot be coherently imagined to be false other than via postulation of radically skeptical scenarios, which are not relevant to the realism debate in philosophy of science. In this paper we discuss, specifically, the threats of meaning change and reference failure associated with the (...) Kuhnian tradition, which depend on a descriptivist approach to meaning, and we argue that descriptivism is not the right account of the meaning and reference of theoretical terms. We suggest that an account along the lines of the causal-historical theory of reference provides a more faithful picture of how terms for unobservable theoretical entities and properties come to refer; we argue that this picture works particularly well for TSR. In the last section we discuss how our account raises concerns specifically for perspectival forms of scientific realism. (shrink)

In a series of recent experimental philosophy articles, Florian Cova and colleagues have cast doubt on the existence of a traditional tension that aestheticians since Hume and Kant have noted in our aesthetic judgements and practices, viz. the paradox of taste. We argue that Cova et al. misrepresent the way in which the aesthetics tradition has conceived the paradox of taste, and question the relevance of their experiments for the existence of the paradox of taste as traditionally understood in aesthetics.

The story of the Ship of Theseus is one of the most venerable conundrums in philosophy. Some philosophers consider it a genuine puzzle. Others deny that it is so. It is, therefore, an open question whether there is or there is not a puzzle in the Ship of Theseus story. So, arguably, it makes sense to test empirically whether people perceive the case as a puzzle. Recently, David Rose, Edouard Machery, Stephen Stich and forty-two other researchers from different countries have (...) undertaken that task. We argue that their tests do not provide any evidence that bears on the question as to whether the Ship of Theseus case is a genuine puzzle. In our discussion we address also what should be taken into account if one wishes to test the puzzling, or not puzzling, status of the Ship of Theseus story. (shrink)

Gerontologia kreatywna - dział gerontologii społecznej postulowany przez Anitȩ Stefańsk¸a} i Martȩ Szabelsk¸a}-Holeksȩ. Docelowo subdyscyplina ta ma zajmować siȩ problematyk¸a} twórczości i kreatywności osób starszych. Gerontologia kreatywna jest przede wszystkim zwi¸a}zana z psychologi¸a} twórczości, a szczególnie z akmeologi¸a} kreatywn¸a}, czyli psychologi¸a} osobowości twórczej człowieka. Gerontologia kreatywna z jednej strony korzysta z wiedzy pochodz¸a}cej z geriatrii, gerontopsychologii, gerontologii eksperymentalnej, gerontosocjologii i geragogiki. Z drugiej strony zaś podstawy gerontologii kreatywnej osadzone s¸a w działach akmeologii kreatywnej, w szczególności w: historii akmeologii kreatywnej, akmeologii (...) kreatywnej działalności zawodowej, akmeologii kreatywnej osobowości, eksperymentalnej akmeologii kreatywnej oraz stosowanej akmeologii kreatywnej. Konceptualizacja teorii gerontologii kreatywnej jest prób¸a zastosowania teorii istniej¸acych już na gruncie psychologii i gerontologii. Gerontologia kreatywna jako nauka multidyscyplinarna ma także korzystać z dorobku socjologii, filozofii, medycyny, biologii, ekonomii, demografii, antropologii społecznej i kultury, pedagogiki społecznej, kultur i twórczości oraz nauk o kulturze i sztuce. ** Creative gerontology - department of social gerontology postulated by Anita Stefańska and Marta Szabelska-Holeksa. Ultimately, this sub-discipline is to deal with the issues of creativity and creativity of older people. Creative gerontology is primarily associated with the psychology of creativity, and especially with creative acmeology, or the psychology of the creative personality of a human being. On the one hand, creative gerontology uses knowledge derived from geriatrics, gerontopsychology, experimental gerontology, gerontosociology and geragogy. On the other hand, the foundations of creative gerontology are embedded in the sections of creative acmeology, in particular in the history of creative acmeology, creative occupational acmeology, creative personality acmeology, experimental creative acmeology and applied creative acmeology. Conceptualization of the theory of creative gerontology is an attempt to apply theories already existing on the basis of psychology and gerontology. Creative gerontology as a multidisciplinary science is also to use the achievements of sociology, philosophy, medicine, biology, economics, demography, social anthropology and culture, social pedagogy, cultures and creativity as well as the sciences of culture and art. (shrink)

Sẽ có nhiều góc nhìn về định hình chiến lược thời kỳ sau khi Việt Nam vào WTO. Bài viết dưới đây của ông Đặng Lê Nguyên Vũ (Chủ tịch tập đoàn Trung Nguyên, G7 Mart) và ông Vương Quân Hoàng (Nghiên cứu viên cao cấp, Trung tâm Emile Bernheim, Đại học Tổng hợp Brussels) là một ví dụ, mặc dù có thể có nhiều người không đồng tình lắm về xu hướng nhấn mạnh thương mại hơn sản xuất.

Raymond Carver's stories have received many labels: minimalism, K-mart fiction, low-rent tragedy, neo-realism. Paring language, plot, and characterization to the bone, Carver concentrates his stories on instances of judgment and choice. These climactic moments affect not only the characters, but also the reader, who is called to fill the gaps in the text. The gaps generally show the unrelatedness of the characters' responses to the situations in which they find themselves. Relying on formulae, concepts, and rules taken for granted as (...) common knowledge, Carver's characters make choices and judgments which reveal the displacement of their consciousness of themselves and of the world. In trying to fill the gaps, the reader finds himself/herself in the same stance of making judgments and choices, and of looking at his/her own displacement. This predicament is more poignantly conveyed in the early stories, collected in Will You Please Be Quiet, Please?, Furious Seasons, and What We Talk About When We Talk About Love, since Carver writes about people "on the other side of the tracks," that is, on the edges of the sites of power and decisions. Bartenders, wage workers, and salespeople, Carver's characters in these early stories see their lives always threatened by joblessness, bankruptcy, and homelessness. In the later stories, collected in Cathedral and Where I'm Calling From, Carver explores possibilities in conversation, storytelling, and rituals that celebrate the here and now of each occasion and allow the merging of voices and feelings that places the individual's consciousness in the world. (shrink)

Bu yazıda Sayıl Cengiz Gündoğdu'nun geliştirdiği roman inceleme yöntemiyle İrfan Yalçın'ın "Pansiyon Huzur" adlı romanı incelenmektedir.