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    Wyświetlanie 1-4 z 4
    Tytuł:
    Teza Duhema czy teza Duhema-Milhauda?
    Duhem Thesis or Duhem-Milhaud Thesis?
    Autorzy:
    Szlachcic, Krzysztof
    Powiązania:
    https://bibliotekanauki.pl/articles/2096028.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    G. Milhaud
    P. Duhem
    Duhem Thesis
    French conventionalism in the philosophy of science
    conventionalism
    philosophy of empirical sciences
    teza Duhema
    francuski konwencjonalizm w filozofii nauki
    konwencjonalizm
    filozofia nauk empirycznych
    Opis:
    I give arguments supporting the claim that one of the most prominent methodological results of French conventionalism – rejection of the possibility of a crucial experiment in mature empirical sciences – was formulated simultaneously by Pierre Duhem and Gaston Milhaud in 1894. Thus, I attempt to question the standard approach in philosophy and methodology of science, which attributes the said result exclusively to Duhem. I am building my case of Milhaud’s true contribution to the debate on the rejection of the existence of the experimentum crucis, made in his PhD thesis Essai sur les conditions et les limites de la certitude logique.
    Źródło:
    Przegląd Filozoficzny. Nowa Seria; 2019, 3; 83-105
    1230-1493
    Pojawia się w:
    Przegląd Filozoficzny. Nowa Seria
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “The Judgment of Hercules”. Shaftesbury at the Crossroads of Art Theory
    „Sąd Herkulesa”. Shaftesbury na rozstajnych drogach historii sztuki
    Autorzy:
    Jaźwierski, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/2082092.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    art theory
    aesthetic theory
    literary theory
    18th Century British aesthetics
    18th Century French Art Theory
    18th Century moral philosophy
    neoclassicism
    aesthetic experience
    Opis:
    In the early 18th century, British art theory was an almost virgin field, open to inevitable influences from the continent. Anthony Ashley Cooper, the Third Lord of Shaftesbury, who devoted the last years of his life to various problems of art, made an attempt to create the first serious theory of art in England. In this article, I try to show that Shaftesbury was faced with the need to choose between two competing approaches to art widespread in France at the turn of the century: the traditional approach, based on the poetic understanding of painting, the essence of which was history and its moral meaning, and the new one, proposed by Roger de Piles, based on the action of color and light and shade, which create a comprehensive visual effect independent of the story presented in the picture. Shaftesbury took a traditional approach, driven by moral fears and rather reluctant to make sensual pleasure the goal of art. At the same time, he appropriated the key concepts of Roger de Piles: the pictorial unity and the whole picture, ignoring the ideas associated with them. This should be understood as a half-measure that allowed him to modernize the language of art without the danger of compromising the moral importance of painting.
    Źródło:
    Rocznik Historii Sztuki; 2020, 45; 31-40
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Gaston Milhaud: philosophy, science and rationality
    Gaston Milhaud – filozofia, nauka, racjonalność
    Autorzy:
    Kleszcz, Ryszard
    Powiązania:
    https://bibliotekanauki.pl/articles/2096158.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    G. Milhaud
    French conventionalism
    history of science
    concepts and principles of science
    free creation in science
    relationship between science and philosophy
    konwencjonalizm francuski
    historia nauki
    pojęcia i zasady nauki
    swobodna aktywność w nauce
    relacja nauka-filozofia
    Opis:
    Gaston Milhaud (1858–1918) was a French modern philosopher, who, having started from mathematics, came to philosophy (especially epistemology) and history of science. His works on the history of science were devoted to Greek science and modern science. Milhaud in his papers claimed that important concepts and principles of science (in different disciplines) result from decisions that simultaneously transcend both experience and logic. He emphasized the role of free creation and activity of the mind. The author discusses central problems of Milhaud’s thought, especially the problem of the relationship between science and philosophy.
    Źródło:
    Przegląd Filozoficzny. Nowa Seria; 2019, 3; 45-62
    1230-1493
    Pojawia się w:
    Przegląd Filozoficzny. Nowa Seria
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The relevance of history: Dramatic history poems by Stanisław Wyspiański and Tytus Czyżewski
    Czym jest historia dla życia. Rapsody historyczne: Wyspiański i Czyżewski
    Autorzy:
    Sienkiewicz, Barbara
    Powiązania:
    https://bibliotekanauki.pl/articles/2088292.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Polish literature of the late 19th and Interwar period
    philosophy of history
    historical epic poems
    emancipation and progress
    modernity
    the French Revolution
    Stanisław Wyspiański (1869–1907)
    Tytus Czyżewski (1880–1945)
    Wyspiański
    Czyżewski
    rapsody
    historia
    rewolucja
    teodycea
    nowoczesność
    Opis:
    This article examines the analogies, and more specifically the historical 'theatre of the imagination', between Tytus Czyżewski's Robespierre/Rhapsody (1927) and Stanisław Wyspiańs-ki's poetic dramas Rhapsodies (Kazimierz the Great and Bolesław the Bold). Each of those poems foregrounds its principal historical character. Wyspiański's dramatic poems, commonly known as Rhapsodies, focus on Kazimierz the Great, Bolesław the Bold, and Piast. kings of pivotal significance in his vision of Poland's historical destiny. Twenty years later Tytus Czyżewski, an acclaimed avant-garde painter and poet, composed a poetic-essayistic salmagundi, in which he sought to render in a similarly elevated style and condensed dialogue the drama of the leaders of the French Revolution, Robespierre and Danton. While Robespierre has to face, apart from some common people, God, the Spirit and Judges that sit in judgment on him, the final section of Rhapsody evokes Juliusz Słowacki. A monologue, mimicking his lofty verse, establishes a metaphorical common thread in Polish history – from the days of mail-clad knights to the wretched everyday life in the trenches – set against a broad background of wars, destruction and the French Revolution. For Czyżewski the French Revolution was a ground-breaking event, the first act of a great historical process that ushered in the Modern Age with its ideas of progress, reason, freedom, social justice, the elimination of poverty. It continues to inspire mankind with the hope that even a most ambitious change is possible. For Wyspiański, on the other hand, the grand project of human emancipation does give rise to doubts whether a wholesale obliteration of the Old is justified and to questions about God, free will, theodicy and destiny, and the 'tyranny of reason'. The differences between the two philosophies of history – Wyspiański's, from the turn of the 19th century, and Czyżewski's, representative of the artistic and intellectual climate of the late 1920s – are no doubt profound, and yet, what both of them seem to share is a deep concern with the relevance of history for the present and for designing the future.
    Źródło:
    Ruch Literacki; 2019, 6; 613-630
    0035-9602
    Pojawia się w:
    Ruch Literacki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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