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Number of results: 5
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Abstract

Analytic philosophy is sometimes understood in opposition to continental tradition. In this article, I would like to show that a Lviv‑Warsaw School shared many fundamental traits with analytic orientation. In afterwar Poland, this tradition clashed with the dialectical materialism that lacks strong scientific tradition but had the full support of the communist party. This situation produced a unique scenario in which the methodology of science could strive as a mainstream area. A crucial role was attributed to the theory of history.
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Authors and Affiliations

Piotr Kowalewski Jahromi
1

  1. Silesian University, Katowice
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Abstract

In the present contribution the Beja botanical terminology is analyzed from the point of view of semantic motivation. The study is limited only to the unborrowed part of the botanical lexicon (with some exceptions), together 76 terms. First 51 terms are etymologized with help of external comparisons with probable cognates in other Cushitic or Afroasiatic languages. The last 25 terms are understandable from the point of view of internal etymology and their semantic motivation is more transparent than in the preceding cases.
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Authors and Affiliations

Václav Blažek
1
ORCID: ORCID

  1. Masaryk University, Brno
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Abstract

The focus of the article is the Vatin culture settlement at the site of Vinča-Belo Brdo in Northern Serbia. The general idea is that this settlement, whose existence was relatively short in time, benefited from being established by the Danube — a great connective factor in the world of the Middle Bronze Age. It shares many characteristics with the contemporary settlements in the southernmost part of the Carpathian basin, starting from the position in the vicinity of the Danube, at the places which had already been settled in prehistory, prior to the Middle Bronze Age. Not only do they have pottery style in common, but the wider repertoire of finds illustrating the material culture. What’s more, comparison of the material remains from Vinča with the neighbouring sites from the left Danube bank enlightens how the Vatin culture was integrated into a wider space of the Bronze Age cultures of the Carpathian basin, influencing the Balkans hinterland, too.

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Authors and Affiliations

Marija Ljuština
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Abstract

Polish photography in the first years after Poland regained independence remains a poorly documented area of research. Studies so far had mostly focused on the interpretation of the works of a few key artists from the avant-garde milieu (Witkacy) or photography (Jan Bułhak). It transpires however, that photography – not only as an artistic practice, but as poetic metaphor or an element of a broader aesthetic reflection – has functioned within the circle of the artistic avant-garde. An analysis of the presence of this medium in the consciousness and creativity of Polish artists allows us to see in a new light certain aspects of their technique and intellectual viewpoint. The article focuses on selected characteristics of this assimilation of modern reflection on photography by the Polish avant-garde artists in the first decade after the country regained independence. For the Formists – Tytus Czyżewski and Leon Chwistek – photography was an important point of reference as a metaphor of a new, cognitively uncertain, but also “deeper” way of seeing reality. It was an important help in defining the relationship between reality and its image and subject within a broader theoretical program (the theory of plurality of realities). For the Constructivists in turn – with Władysław Strzemiński and Mieczysław Szczuka at the forefront – photography became the means that enabled them to go beyond the usual schemes of capturing the external world, and as part of the concept of photomontage, it became a new material for creating an artistic reality. The dynamics of the process of assimilation of photography by the avant-garde artists was analysed in the context of the reception of new artistic trends born outside of Poland, primarily Futurism (the theory of photography by Anton Giulio Bragaglia) and Suprematism (reflection by Kazimierz Malewicz).

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Authors and Affiliations

Kamila Dworniczak-Leśniak
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Abstract

The paper presents the mainstream methodological reflection in the field of art history, shaped by the reception of Karl Popper’s philosophy of critical rationalism from the 1940s to the 1980s. A key role in this process was played by various attempts to respond to the deductive-nomological model of scientific explanation. Referring to Popper’s ideas, Gombrich developed the project of deductive iconology, associated with the conventionalist approach to the principles of image representation and communication. In dialogue with Gombrich’s views, alternative and mutually contradictory versions of the adaptation of the DN model for the methodological explanation of images were put forward by Oskar Bätschmann and Michael Baxandall. Michael Fried and Norman Bryson proposed opposing versions of viewing the image as a form of response to the objective and fundamentally fixed initial conditions of contact with the viewer. The divergence and incommensurability of the methods of art history facing Popper’s methodology revealed the inherent paradox of the notion of fact, on the one hand treated realistically and opposed to theories, and on the other depending on the interpretive perspective and theoretical assumptions.
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Authors and Affiliations

Stanisław Czekalski
1
ORCID: ORCID

  1. Uniwersytet im. Adama Mickiewicza w Poznaniu

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