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Cécilia Bognon-Küss, Bohang Chen and Charles T. Wolfe

. Paris: Béchet. Blackburn, S., 2003, Metaphysics, In Nicholas Bunnin, E. P. Tsui-James (eds.), The Blackwell Companion to Philosophy, Second Edition (1 st edition 1996), 61–89. London: Blackwell. Brooke, J.H.,1968, Wöhler’s Urea and its Vital Force – A Verdict from the Chemists. Ambix , 15, 84–114. Bruylants, G., Bartik, K., Reisse, J., 2010, Is it useful to have a clear-cut definition of life? on the use of fuzzy logic in prebiotic chemistry. Origins of Life and Evolution of Biospheres , 40(2), 137–143. Cleland, C.E. 2012, Life without

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Santiago Sia

References A. N. Whitehead in Adventures of ideas (Cambridge University Press,] 942),] 25-] 26. CLOOTS, A., Sia, S. (eds.): Framing a Vision of the World. Essays in Philosophy, Science and Religion, Louvain Philosophical Studies 14 (Leuven University Press, J 999). JOHN PAIL II: Veritatis Splendor JOHN PAUL II: Fides et Ratio MOUNCE, H. O.: The End of Metaphysics. In: New Blackfriars (September 2005), s. 518

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Carla Portilho

Press, 1988. Print. Harth, Erica. Last Witnesses: Reflections on the Wartime Internment of Japanese Americans. New York: Palgrave, 2001. Print. Haycraft, Howard. Murder for Pleasure: The Life and Times of the Detective Story. New York: Appleton-Century, 1941. Print. Holquist, Michael. “Whodunit and Other Questions: Metaphysical Detective Stories in Post-War Fiction.” New Literary History 3.1, Modernism and Postmodernism: Inquiries, Reflections, and Speculations (1971). 135-156. Print. Hutcheon, Linda

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Błażej Skrzypulec

Review of Metaphysics 19(1), pp. 87–102. 10. Hoffman, D. D., Richards, W. A. 1984, “Parts of Recognition”, Cognition 18(1–3), pp. 65–96. 11. Hubel, D., Wiesel, T. N. 1962, “Receptive Fields, Binocular Interaction and Functional Architecture in the Cat’s Visual Cortex”, The Journal of Physiology 160, pp. 106–154. 12. Hummel, J. E. (2013), Object Recognition , in D. Reisburg (ed.), Oxford Handbook of Cognitive Psychology , Oxford University Press, Oxford, pp. 32-46. 13. Kahneman, D., Treisman, A. M., Gibbs, B. J. 1992, “The Reviewing of

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Derrida on Being as Presence

Questions and Quests

David A. White

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The Far Horizons of Time

Time and Mind in the Universe

H. Chris Ransford

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Magdalena Holy-Luczaj

References 1. Attfield, R. Beyond Anthropocentrism , In A. O’Hear (ed.), Philosophy and the Environment , Cambridge 2011. 2. Baker, L.R. The Ontology of Artifacts, Philosophical Explorations , 7(2), 2004. 3. Baker, L.R. The Metaphysics of Everyday Life , Cambridge: Cambridge UP, 2009. 4. Bennett, J. Vibrant Matter: A Political Ecology of Things , Durham – London: Duke University Press, 2010. 5. Benso, S. The Face of Things: A Different Side of Ethics , New York: SUNY, 2000. 6. Bińczyk, E. Posthumanist Tendencies in

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Krzysztof Majer

Abstract

Before Joel and Ethan Coen’s 2009 production A Serious Man, Jewish motifs have consistently appeared in their cinematic output. However, the Jewish characters functioned in an ethnically diverse setting and rarely took centre stage, with the notable exception of the eponymous struggling leftist playwright in Barton Fink. Nevertheless, even here the Jewishness seemed to be universalized into “humanity.” Elsewhere, through their accessory characters, the Coens primarily offered a nod to the illustrious and/or notorious Jewish presence in various spheres of American society (e.g., smalltime gangster Bernie Bernbaum in Miller’s Crossing or movie mogul Jack Lipnick in the aforementioned Barton Fink). In addition, steadfast religious observance has been an object of affable ridicule (e.g., store owner Walter Sobchak in The Big Lebowski). A Serious Man, however, reveals an unprecedented strategy. Described by the Coens as their most autobiographical film to date, it has a predominantly Jewish cast, deals almost exclusively with a Jewish community in the Midwest, and is heavily steeped in themes which have long been the staple of the Jewish literary tradition. Most evident is the familiar figure of the schlemiel, the eternal loser, embodied in the protagonist Larry Gopnik, whose seemingly endless predicaments form the spine of the plot. Marketed as a comedy, A Serious Man nevertheless consistently exhibits a dark, existential undercurrent, which renders its decidedly grim ending a rather logical payoff. Drawing on the research of seminal scholars on the subject of schlemiel narratives (e.g., Ruth Wisse, Sanford Pinsker), the essay is an attempt to situate the film within this tradition. Furthermore, I argue that the Coens reinvest the figure of the schlemiel with a philosophical charge that it possessed in folk legends and Yiddish literature; at the same time, they adapt the schlemiel to the postmodern condition. This allows them to address the fundamental uncertainty of our age, signalled in the film through the formulae of Heisenberg and Schrödinger.