Tato studie se zabývá zobrazováním alchymie v malbách, knižních ilustracích i v architektuře v období raného novověku. Na jednotlivých příkladech obrazů či ilustrací prezentuje různé aspekty alchymistova života i jeho práce. Nezabývá se symbolickou alchymickou ikonografií, ale zaměří se především na zobrazování prostředí a vybavení alchymických dílen i osobností samotných alchymistů. Soustředí se zejména na vyobrazení zařízení alchymických laboratorií, s nimiž se lze setkat jak u renesančních malířů, tak v ilustracích alchymických rukopisů a poměrně ojediněle i v české architektuře. Poskytuje (...) také pohled na vyobrazení vzniklá v souvislosti s literární kritikou alchymie. Alchymisté byli zejména v dílech předních evropských humanistů často záměrně zesměšňováni, kritizováni a označováni za blázny a zloděje. V závěru se zabývá vybranými příklady ze žánrového umění, kde byli rovněž alchymisté zobrazováni často satiricky, ale i s určitou úctou, jako vzdělaní učenci. Výtvarné umění raného novověku nám představuje různé aspekty života alchymistů a je v dnešní době jednou z možností, jak se přiblížit porozumění jejich vědeckým aktivitám. Jak však studie ukazuje, k těmto obrazovým materiálům je třeba přistupovat kriticky. (shrink)

Shaped by Hegel, philosophy’s approach to Antigone has always been firmly rooted in all the assumptions of realism, with proper, true-to-life, consistent, and plausible characters. These characterological mimetic interpretations often feed off of each other within the context of what’s perceived as “realist” drama, with its focus on characters and their insoluble, hence tragic, conflict. Starting with the twentieth-century avant-garde, however, theatre became less and less interested in characterological mimicry as a foundation of drama and what follows, as the foundation (...) of the theatrical experience itself. Along with the shift in our approach to character, we have also experienced a shift in our understanding of other Aristotelian components of drama and dramatic genres. As our sense of character and Thought shifted from stable to unstable, so did our understanding of tragedy and its role at the junction of theatre and philosophy. Tragedy has shifted from dialectic to aporia, from binary to polynary. Antigone—with its multiple interpretations and critical lenses—illuminates this fundamental shift in our understanding of tragedy and, thus, the fundamental shift in the relationship between theatre and philosophy in postdramatic theatre. (shrink)

In his theory of thought style and thought collective, Ludwik Fleck states that every act of cognition is associated with the past of a given eld of science and de‐ eply rooted in the cultural context. He also points out that the way of thinking of all exploring individuals is determined by their past and the past of the eld of knowledge, which is the object of cognition. The individuals are not autonomous; they constitute a part of a certain thought (...) collective, and they are greatly dependent on it. The objective of this article is to nd out whether Ludwik Fleck’s theory can be used to explain religious phenomena and describe the structures of religious groups. The rst part of the article presents the arguments against the existence of an objective picture of the religious reality. Moreover, the author tries to prove the thesis, which assumes that every cognition and every religious experience are of a social na‐ ture. The second part is devoted to the analysis of the structure of religious groups understood as thought collectives. The third part of the article concerns the inadequacy of thought styles. The author also attempts to answer the question of whether the adoption of the proposed assumptions allows for one to enter into disputes over religious matters. (shrink)

Recenze: Lucie Storchová, Paupertate styloque connecti: utváření humanistické učenecké komunity v českých zemích. Praha: Scriptorium 2011, 538 s.

O Programa de Filosofia para Crianças de Matthew Lipman e Ann Margaret Sharp tem pouco mais de 40 anos e à sua criação de imediato se sucederam a difusão e a adaptação em diversos contextos geográficos e culturais. Quer isto dizer que a história da Filosofia para Crianças, sobretudo nas últimas décadas, tem consistido numa marcha, mais ou menos vertiginosa, de inovação e renovação. E nem sempre este ritmo de rápida disseminação se tem mostrado compatível com a sedimentação de reflexões (...) apuradas sobre as diferentes dimensões e problemáticas que a prática coloca. A formação dos facilitadores de sessões de Filosofia para Crianças, de acordo com o modelo da comunidade de investigação filosófica de Lipman e Sharp, é uma das dimensões deste projeto pioneiro que aguardam um debate de maior desenvolvimento. A presente reflexão pretende contribuir para essa discussão, apresentando de forma concisa algumas posições que consideramos relevantes para a compreensão do que está em causa. Não temos a pretensão de assumir a forma acabada de um cânone, mas de justificar opções que nos parecem decisivas no presente contexto de implementação da Filosofia para Crianças em Portugal. Esperamos, assim, contribuir para que se possa gerar uma comunidade alargada de diálogo sobre este tópico. (shrink)

After almost a decade of study, research, and dissemination in the field of philosophy for children (p4c), the University of the Azores has created a Master’s degree in Philosophy for Children. While it may appear to be just another university course of study in the academic field of philosophy, we believe that this Master’s is a case study in its own right, as it has allowed us to think about what p4c is capable of when it takes over the university. (...) Not only has the Master’s degree helped shape p4c, but p4c has itself driven the development of the Master’s. Through this process, a different way of existing “within the university” emerges, revealing points worthy of attention that conventional academia does not always value. This article reflects on some of the ideas relating to this process and, without any pretension of establishing rules or claiming to be a finished product, offers some considerations that in our view constitute a turning point for the way people exist within the university. After experiencing a Master’s based upon p4c, neither the university nor philosophy itself can be understood in the same way as before. What is it about p4c, then, that makes it capable of transforming whatever it touches? (shrink)

In the world of Philosophy for Children (P4C), the word “method” is found frequently in its literature and in its practitioner’s handbooks. This paper focuses on the idea of community of philosophical inquiry (CPI) as P4C’s methodological framework for educational purposes, and evaluates that framework and those purposes in light of the question, what does it mean to bring children and philosophy together, and what methodological framework, if any, is appropriate to that project? Our broader aim is to highlight a (...) problem with regards to the concept of method in P4C, and to question the consequences of that concept in the practice of philosophical dialogue with children. To better situate the concept of method within P4C (which, we think, will help to clarify some of the dialogues and debates within P4C as a philosophical field), we will identify two different historical understandings—represented by Rene Descartes and Hans Georg Gadamer—of the concept, and suggest new possibilities for understanding philosophical practice with children in light of their difference. (shrink)

Este ha sido el mundo infantil – imposible y contradictorio – que sentimos habitar en este escrito, en esta escritura. En ese mundo, como ahora, el inicio y el final coinciden. En ese mundo, que Heráclito llamaría aión, es la infancia la que gobierna. Un gobierno infantil. Por lo tanto, es tiempo de callarnos. De estarnos sin tanta luz y sin tantas palabras. Para dormir y soñar. Es tiempo de terminar. O de comenzar. Los y las lectores infantiles (no) tienen (...) la palabra. Nosotros ya (no) la tenemos… (¡hipo!). (shrink)

A child arrives as a new world because in her and with her we feel that the whole world can start over. But that is not the only reason. A child also arrives as a new world because her arrival tells us what, being so simple, we had almost forgotten: that the world is not just old and unquestionable. The child doesn’t let us be indif-ferent; she breaks with conformity and arrives as hope, reeking of the unpredictable. Of questions. A (...) similar arrival to that of a child is that of certain childlike ideas, such as the idea offered by Matthew Lipman when he created “philosophy for children.” We cele-brate his childlike, daring, irreverent, inquiring character, commemorating his birth nearly 50 years ago. With this childlike idea, a new world began—or at least it be-came possible to start—in worlds which were already a little old and stuck in con-formity. When those in institutionalized philosophy and education heard about the audacity of welcoming children among their reputable interlocutors in dialogue and thought, they frowned and turned up their noses. Philosophy for children? How come? Childhood in philosophy? (shrink)

Complex problem solving (CPS) and related topics such as dynamic decision-making (DDM) and complex dynamic control (CDC) represent multifaceted psychological phenomena. In a broad sense, CPS encompasses learning, decision-making, and acting in complex and dynamic situations. Moreover, solutions to problems that people face in such situations are often generated in teams or groups. In turn, this adds another layer of complexity to the situation itself because of the emerging issues that arise from the social dynamics of group interactions. This framing (...) of CPS means that it is not a single construct that can be measured by using a particular type of CPS task (e.g. minimal complex system tests), which is a view taken by the psychometric community. The proposed approach taken here is that because CPS is multifaceted, multiple approaches need to be taken to fully capture and understand what it is and how the different cognitive processes associated with it complement each other. (shrink)

This paper discusses two novels by contemporary writer Inga Iwasiów (b. 1963), Bambino (2008) and Ku słońcu [Towards the Sun] (2010), in the context of geopolitical, ideological, social and psycho-cultural transformations as they specifically affect different generations of inhabitants of the Polish city of Szczecin (pre-1945 German Stettin) from 1945 until the first decade of the 21st century. Bambino covers the years 1945–1981, but also contains flashbacks to pre-war memory of Stettin and to the suppressed experiences of the new post-war (...) inhabitants, as well as ‘flash-forwards’ to post-1989, post-communist reality; Ku słońcu covers 1981 to the first decade of 2000s. It shows how the novels portray these transformations through the experience primarily of women (but not only) — in Bambino, through the main protagonists: Ula (formerly Ulrike), Anna and Marysia, and through that of the hidden narrator Magda (Marysia’s daughter born in the same year as the author, Iwasiów, 1963); and in Ku słońcu, primarily through the experience of Magda herself, as well as through that of two generations of ‘feminist’ academics: Małgorzata and Sylwia (in which it is hard not to perceive the personal experience of the author, though she is at pains to emphasize elsewhere that her work is a collective biography of the city, not so much of herself). The analysis follows Katarzyna Chmielewska’s supposition that contemporary Polish fiction dealing with the past ‘constantly oscillates between memory and genealogy’, and that it raises raw issues not yet addressed by historians; it also derives inspiration from the new ‘postdependency’ studies proposed by Hanna Gosk and Ryszard Nycz. It also attempts to capture the specific nature of Iwasiów’s use of language, her style of feminism, her method of portraying place, and the connections in her prose between place and memory. (shrink)