The paper discusses Tarski’s approach to quotation. It starts from showing that it is vulnerable to semantic inconsistencies connected with what is known as Reach’s puzzle, formulated in 1938 by a Czech logician Karel Reach. This fact gives rise to serious problems concerning the relation between the metalanguage and an object language. Moreover, the paper touches upon a historic aspect, pointing out that the problem at hand is discussed in the only paper signed up as Al. Tajtelbaum, i.e. Alfred Tarski’s original name. It argues that the puzzle reveals the importance of reopening the discussion on the understanding and limitations of deriving the metalanguage from an object language.
An essay by the contemporary Portuguese philosopher José Gil addresses the prominent American choreographer and dancer Merce Cunningham’s conception of dance. Gil emphasizes that Cunningham approaches dance in a way that is fundamentally different from the traditional mimetic and expressive paradigm. With the help of Giles Deleuze’s observations, Gil proves that even in the case of dance shorn of the faculty to represent and express emotional contents, we can talk about units of dance, about their meaning and unity, and thus about the language of dance. Gil spells out this idea by showing a parallel between dance, in Cunningham’s conception of it, and modern painting. and Esej současného portugalského filosofa Josého Gila se zabývá pojetím tance u významného amerického choreografa a tanečníka Merce Cunninghama. Gil zdůrazňuje, že Cunningham pojímá tanec způsobem, který se zásadně odlišuje od tradičního mimetického a expresivního paradigmatu. Za pomoci úvah Gilese Deleuze Gil dokazuje, že i v případě tance zbaveného schopnosti reprezentovat a vyjadřovat emocionální obsahy můžeme hovořit o jednotkách tance, o jejich významu a jednotě, tedy o jazyku tance. Tuto myšlenku Gil upřesňuje pomocí paralely mezi tancem v Cunninghamově pojetí a moderním malířstvím.