Studie se zabývá problematikou renesančních historiae naturalis, zejména potom vztahem, který v tomto žánru zaujímala empirie a tradiční vedení. Článek analyzuje rozdíly mezi historiae naturalis Starého světa (Gessner, Aldrovandi) a světa Nového (Oviedo, Hernández). Hlavním cílem textu je charakterizovat specifika těchto dvou typů "přírodní historie" a stejně tak ukázat jejich podobnosti a poukázat na "zdánlivé paradoxy". and The central theme of this study is the problematics of historiae naturalis in Renaissance, especially the relationship between empiricism and tradition in this genre. The paper analyses the differences between historiae naturalis of The Old World (Gessner, Aldrovandi) and historiae naturalis (these) of The New World (Oviedo, Hernández). The main goal is to characterize the specific forms of these two ways of natural history and, on the other hand, to show their similarities and point out the "seeming paradoxes".
Cílem článku je prozkoumat Hegelovu koncepci dialektiky a určit, které její prvky pronikají do pozice hermeneutické fenomenologie, v níž se, zvláště díky H.-G. Gadamerovi, pojem dialektičnosti zkušenosti stal důležitou součástí teorie rozumění. Článek vychází z přesvědčení, že motivy platónské dialektiky působí v hermeneutice společně s motivy Hegelovy dialektiky, jež svůj smysl čerpají z vývojové souvislosti moderní filozofie. V článku se proto jak Hegelovou koncepcí dialektiky, tak způsobem hermeneutického osvojení některých prvků této koncepce zabývám v širším kontextu moderní filozofie. Zvláštní pozornost je věnována pojmu dialektického zvratu. and The aim of the article is to explore Hegel's conception of dialectics and to determine what elements of this conception infiltrate into the position of hermeneutical phenomenology, where, thanks in particular to H.-G. Gadamer, the notion of the dialectic experience has become an important part of the theory of understanding. In hermeneutics, the motives of platonic dialectics are linked to the motives of Hegel's dialectics, which are rooted in the tradition of modern philosophy. The article therefore analyses both Hegel's conception of dialectics and the way some of its elements have been appropriated in hermeneutics in the broader context of modern philosophy. Extra attention is paid to the concept of dialectical turn.
This paper discusses totalitarianism against the background of Hegel's concept of ethical life (Sittlichkeit). It employs Hegel's concept of experience from the Phenomenology of Spirit so that the reader could "experience" totalitarianism (in Hegel's sense), and thereby apprehend a universal (sittlich) ethical life within the state as a true antidote against totalitarianism. "Hegel's" state, understood here as an emergent middle that balances between its relation to itself (domestic policy) and to the other states (foreign policy) is contrasted with the totalitarian state that suspended its self-relation in the name of its relation to the outside, either in the form of a "total war" (Hitler) or the "total peace" (Stalin). Contrasting the totalitarian state with that of Hegel's aims to reveal, in turn, the substantial defect of liberal thought. Despite the fact that "total war" and the "total peace" had taken place, liberal thought still stubbornly preoccupies itself with domestic issues, traditionally with the question of how to secure the "Maginot" line between the state and its citizens, at the expense of overcoming its own impoverished knowledge of the state as an instrument, since this utilitarian knowledge of the state combined with the fact that the state is also the sovereign individuality appearing on the scene of foreign relations turned out to be totalitarian. Totalitarianism and liberalism are thereby not understood simply as enemies but rather as a tragical couple. To reveal this mutually enforced interdependence, the paper illustrates it on different and more commonplace examples in order to clarify how liberal thought can overcome animosity against its totalitarian enemy, namely via "experiencing" totalitarianism as nothing but the hitherto unknown dark side of its own instrumental understanding of the state.
The contribution deals with such artistic texts in Slovak literature which trough their themes are cinfronting experience of a literary character with a difficult verifiable social situation and his/her intimate memory. The author of the contribution has chosen artistic texts of the authors representing different generations; it means that the theme and the problem differ on the background of political, historical and social changes and experience. Thus, literature in the kaleidoscope records and interprets a dramatic relationship of man to politics and historical changes.
Pozornosť autorky textu sa sústredila na rodovo exponovanú prózu M. Durasovej. Ambíciou nie je sonda do feministickej prózy. Skutočnosť, že v próze dominuje práca s literárnym časom a literárnym priestorom zaujala dominantné postavenie pri analýze a interpretovaní výrazu a možných významov v koncepte stratégie autorky a jej odraz v stratégii textu. Extrémne rozpätie literárneho času (vtedy - teraz), fyzického času rozprávačky a postavy (mladosť - staroba), odlišnosť literárneho priestoru (Ázia - Európa) vytvorili takú naračnú príležitosť pre ženskú postavu, v ktorej zaujme jej tenzijný vzťah voči všetkému, čo ju identifikuje ako konkrétny subjekt konzervatívnom spoločenskom prostredí. Senzuálne rozvíjaná erotická línia, zmyslové reflektovanie subjektu svojho jestvovania má svoje epicentrum v emocionálnej, sociálnej a rodinnej träume. Práve problému uchovania a navrstvovania traumy v pamäti sa premietol do kompozične precízne organizovanej deštrukcie tajomstva subjektu. and The author's attention is focused on the phenomenon of the strongly exposed motif of a family line in the prose work of M. Duras. The ambition of the study is not to analyse feminist prose, rather the fact that the dominant feature of the prose's poetics is handling with literary time and space which occupied a dominant position in the analysis and interpretation of literary expression and its potential meanings in the concept of the prose writer's strategy and its reflection in the strategy of the text itself. The extreme range of literary time (once - now), the physical time of the female narrator and the literary character (youth - old age), the otherness of literary space (Asia - Europe) formed a specific narrative chance for a female character in which she adopted the narrative position as a permanent tension in relation to all that identified her as a concrete subject in the conservative social environment. The sensually developed erotic plot, the sensual reflection of the subject of its existence has its focus in the emotional, social, and family trauma. The very problem of the protection and formation of the layers of the trauma in memory were reflected in the precisely organised composition of destruction of the secret of the subject's enigma.
One of the core themes of Stanisław Lem's 1961 novel Solaris is the encounter with radical otherness. The ocean planet being studied by scientists form earth is usually interpreted as a representation of radical otherness, which eludes human efforts of understanding. In this paper we argue that in Solaris Lem attempts to show not merely that the ocean is unknowable, but that the unknowability is itself impossible to adequately conceptualise and represent. However, we further argue that this impossibility is the subject of an experience in which the presence of otherness is made available. We focus on the images of chaos which Kelvin discovers on Solaris to show that Lem presents the epistemic situation of the main protagonist as radically unstable. Contrary to most interpretations, however, we argue that the discursive narration in the novel engages with the presence of otherness only superficially. Rather, we suggest that the encounter with otherness is shown as something that manifests itself in bodily emotions, and is, therefore, only possible to convey non-discursively. The fear and dread inspired by the vastness and strangeness of the ocean are always presented by appeal to sensuality and bodily experience. These emotive reactions to encounters with otherness subvert its conceptual representations. We suggest that in this way Lem attempts to convey what cannot be discursively described, or even depicted. He presents radical otherness as something impossible to represent conceptually but offers a vision of the possibility of an encounter with otherness through bodily emotions. On this interpretation Solaris is not only a novel about the encounter with otherness, but also about the very possibility of representing such an encounter.
Článek se soustřeďuje na analýzu Jarvisovy teorie učení. Představuje tři klíčové principy této teorie, kterými jsou koncept nesoladu, pojetí zkušenosti a model procesu učení. Tyto principy tvoří základní interpretační rámec pro Jarvisovu teorii. Taktéž text poukazuje na spojitost Jarvisovy teorie s jinými autory, předně těmi, kteří pojednávají o zkušenostním či reflektivním učení, například Dewey, Kolb, Boud, Mezirow a další. Diskutovány jsou jednotlivé složky Jarvisovy teorie, rozdělující proces učení na neučení, náhodné sebeučení, nereflektivní a reflektivní učení. and The articles focuses on the analysis of Jarvis's theory of learning. It presents three key principles of this theory, namely the concept of disjuncture, the concept of experience and the model of the learning process. These principles make up the basic interpretative framework for Jarvis's theory. The article also comments on the relation of this theory to other authors, especially those who discuss experiential and reflective learning, such as Dewey, Kolb, Boud, Mezirow, and more. Jarvis's view of the learning process is presented, with discussion over its components, which divide the process into non-learning, random self-learning, non-reflective and reflective learning.