Ve 30. letech 20. století se Martin Heidegger pokusil vysvětlit „dějiny Bytí“ vedoucí ke stavu, jejž nazýval „zapomněním Bytí“. Zaměřil se přitom na vliv moderní vědy, jež je podle něj jistým druhem metafyziky. Základní povaha moderní vědy podle Heideggera spočívá v jejím mathématickém charakteru. Řecký výraz " to mathéma“ znamená "to, co se lze naučit“ a "co je předchůdně známo“. Heideggerovým cílem je ukázat, že mathématický charakter moderní vědy rozhoduje o obecném chápání významu "bytí“ a že moderní věda nahrazuje metafyziku, v níž tkví její původ., In the mid of 1930s Martin Heidegger attempted to explain the
“history of Being” leading to what he called “the oblivion of Being". In this he focused on the impact of modern science, which he grants to be a sort of metaphysics. According to Heidegger, the main feature of the modern science consists in what he calls the mathéma -character. Th e Greek word “to mathéma” means “that what can be learned” and “what must be know beforehand.” It is Heidegger’s intention to show that the mathéma-character of modern science is deciding about the general understanding of the meaning of “being” and that modern science is replacing the metaphysics, which is the origin of the modern science., and Aleš Novák.
The discussion study takes as its starting point the thinking, which Professor Šmajs and others presented in Filosofický časopis 6, 2013 on evolutionary ontology. The author shows an enduring aspect of evolutionary ontology: ontology as the product of human culture attains to knowledge that has the seeming character of objective truth - it thus expresses the true nature of the ontic order of nature. This is not, however, the usual nonsense of inconsistent philosophy. The author of the text identifies as lying behind the step Kantian and Hegelian strategies which make possible this shift from the order of culture to the order of nature. These strategies are (i) a sign of the grounding of Professor Šmajs´ ideas in early-modern thinking; and (ii) they are the cause of a strongly anthropocentric attitude, which unwittingly influences the system of evolutionary ontology. At the end of the study, the author points to the fact that it would be more appropriate for evolutionary ontology if its proponents were able to give up their early-modern argumentative approach, and thus rid themselves of their strong anthropocentrism. In this way they would be able to avoid the conceptual conflict which makes evolutionary ontology "frozen" from within., Radim Šíp., and Obsahuje poznámky a bibliografii
a1_The pastoral opera L’Amor non ha legge (premiered in Jaroměřice, 1728) was composed by the vicekapellmeister Antonio Caldara, based on libretto by Domenico Bonlini. It is the first attested dramatic musical composition written at the direct order of Count Johann Adam Questenberg (1678-1752), a connoisseur of music, skilled lute player, an occasional composer, and - above all - a passionate promoter of the Italian opera seria. The present article concerns with the generic examination of the plot of opera seria, with regard to its superior genre, favola pastorale. In L’Amor non ha legge, living in harmony with the Nature gains general appraisal, the Idyllic merry-making in the countryside being sharply contrasted with life in the city and at the (imperial) court. As a result, the main character, young aristocrat, having become enamoured with a shepherdess, leaves for the country where he is allowed to repose and forget the hustle and bustle of the city, as well as its corruptness. These characteristics seem to be fitting the personality of Count Questenberg himself, who sought a refuge from the city to his castle of Jaroměřice, set in the rural region of Southern Moravia. As Bonlini states in his introductory argomento, the aim of the opera is, primarily, to celebrate simple, undemanding Love. Not coincidentally, both meanings of the word ’Amor’ are made use of in the libretto; the abstract ’Love’, as well as the personified name of the God of Love - Amor. Love verses and lovely affections are abundant in the language and the plot of the opera; what Bonlini is most concerned with, especially in the arias, is to depict as many aspects of Love, hence the affects, as possible: constant love, love suffering, requited love, noble love, miserable love, vain love, martyred love, jealous love, despising love, even paternal love., a2_The message of the opera L’Amor non ha legge, therefore, is the imperative of symbiosis between Man and the Laws of Nature; the Law of Love, superior even to the obstacles of social inequality, should - according to Bonlini - always be in accordance with the Reason. Favorizing the pastoral environment over the court and city, in particular, can be read as a laud of the castle of Jaroměřice, which the Count was justly proud of, and which he identified with considerably., Jana Perutková., and Obsahuje bibliografické odkazy
Karel Kálal ; S illustr. R. Hartmanna, St. Hudečka, K. Klára, J. Kouly, L. Kuby, K. Liebschera, S fotograf. snímky, mapkou a se 6 obraz. příl., and Converted from MODS to DC version 1.8 (EE patch 2018/05/24)