The author of this article reacts to a discussion study by Radim Šíp “How to Revive ‘Frozen’ Evolutionary Ontology” (Filosofický časopis, 62, 2014, No. 3). He argues that Šíp’s critique is unacceptable, as is his proposal for a radical reform of the doctrine of Josef Šmajs. He draws attention to Šíp’s misinterpretation of the evolutionary-ontological theory of information and to the consequences of this misinterpretation for the other arguments in Šíp’s text. Šmajs‘ diagnosis of the problematic relation of culture and nature consists in a cleavage between natural information (structural and semantic) and socio-cultural information (semantic and structural). Šíp, however, mistakenly supposes that in evolutionary ontology there is an opposition between semantic, experiential information (natural and cultural) on the one hand and structural, genetic information (natural) on the other. It is only because of this misinterpretation that Šíp can treat the conflict between culture and nature as a conflict between man and nature, subject and object. Only thus can he treat evolutionary ontology as early-modern metaphysics and call for the recognition of a greater continuity between nature and culture – for the “appreciation” of allegedly unappreciated socio-cultural information.
Predkladaná štúdia analyzuje, porovnáva a hodnotí koncept evolučnej ontológie Josefa Šmajsa a etiku sociálnych dôsledkov Vasila Gluchmana. Na jednej strane sa zameriava na určité podobnosti, ktoré tieto dve teórie spájajú, na druhej strane identifikuje odlišnosti, a to najmä v kontexte environmentálnej etiky. Obidve koncepcie vznikali ako originálne teórie približne v rovnakom období v dvoch susediacich krajinách, pričom sú stále veľmi inšpiratívne, otvorené kritike a pomerne reflektované filozoficko-etickou obcou. and The article deals with an analysis, comparison and evaluation of Evolutionary Ontology by Josef Šmajs and Ethics of Social Consequences by Vasil Gluchman. It focuses on the similarities between the two theories as well as on some of their differences, especially in relation to environmental ethics. Both theories were created simultaneously in two bordering countries and are still to a great extent inspirational, open to criticism and reflected in the philosophical and ethical community.
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
V srdci Austrálie, v jejím vyprahlém středu na jihu Severního teritoria, se nachází národní park Uluru – Kata Tjuta, zaujímající plochu 1 326 km2 a vyhlášený v r. 1985, kde je chráněna unikátní aridní a semiaridní krajina s dominantami dvou skalních útvarů. Z nich je známější jeden z největších pověstných monolitů, domorodým národem Anangů nazývaný Uluru. Uluru má pro místní obyvatele nesmírný kulturní a náboženský význam. Celé území okolo skály Uluru a soustavy nedalekých skalních homolí (Kata Tjuta) odpradávna patřilo místnímu národu Anangů (kmeny Pitjantjatjara a Yankuntjatjara) a zároveň bylo podle pověstí křižovatkou domorodých cest stvoření. Australská vláda v r. 1985 vrátila celé území Anangům a je zapsáno do Seznamu světového kulturního a přírodního dědictví UNESCO. V národním parku bylo zaznamenáno přes 600 druhů rostlin, potvrzeny zatím byly čtyři druhy žab, 74 druhů plazů, 176 druhů ptáků, 50 druhů savců a množství druhů bezobratlých., The Uluru – Kata Tjuta National Park is Australian aboriginal land, recognized by UNESCO as a World Heritage Area. The park covers 1 326 km2 and is located near the centre of the continent, in arid and semi-arid landscape. Uluru (also called Ayers Rock) and Kata Tjuta are world-renowned rocks made from arkose sandstone and conglomerate. Unique natural and cultural features of this park are mentioned and examples of typical landscape, plant and animal species (both native and alien) are presented., and Lubomír Hanel, Jana Hanelová.