DOŚWIADCZENIE PRZESTRZENI W PAMIĘCI O HOLOCAUŚCIE

This paper analyzes different experiences of space by which memory of Holocaust could be passed on. The Memorial for the murdered Jews of Europe in Berlin gives visitors the feeling of insecurity and overwhelms them with monumentality. For that reason it is criticized as reflecting the other side of German memory: The Third Reich’s megalomania and dream about power. The Hamburger memorial against fascism designed in 1986 by conceptual artists Jochen and Esther Gerz offers quite an opposite experience of space. A twelve-meter-high pillar has been established for visitors to sign on it. Once the area was covered by signature it was lowered into the ground till it completely disappeared. The intention of the artists was to put memory not into the monument but into people. Pozdrowienia z Alej Jerozolimskich (Greetings from the Jerusalem Avenue, 2002) by Joanna Rajkowska – a fifteen-meter tall artificial palm tree installed in the centre of Warsaw – is an attempt to infuse with Israel's scenery a Warsaw's street whose name and history sends the observer to the history of the Jews in Poland. In another work called Dotleniacz (Oxygenator, 2007) Rajkowska created an artificial lake with oxygen concentrators, gold fish, flowers and banks. Again, the installation was placed in a very meaningful place – Grzybowski Square – which is strongly connected with Jewish life in Poland as well as Polish anti-Semitism. The synagogue in Poznan was transformed during the Nazi occupation into a swimming pool which it has remained until the present day. This fact ( just like the building) seems to be invisible for most citizens. In 2003 Rafał Jakubowicz changed the fact by projecting a Hebrew inscription הייחש-תכירב (swimming pool) on the façade of the former synagogue. In Berek (The Game of Tag, 1999) by Artur Żmijewski a group of naked men and women of various age play tag. The artist filmed them in two rooms: in a symbolically neutral space and in a gas chamber of a former Nazi death camp. The film is an attempt at breaking the spell of this horrifying and paralysing space.

ΑΝΑΛΥΣΙΣ ΠΕΡΙ ΤΑ ΣΧΗΜΑΤΑ. Restoring Aristotle’s Lost Diagrams of the Syllogistic Figures

The article examines the relevance of Aristotle’s analysis that concerns the syllogistic figures. On the assumption that Aristotle’s analytics was inspired by the method of geometric analysis, we show how Aristotle used the three terms (letters), when he formulated the three syllogistic figures. So far it has not been appropriately recognized that the three terms — the major, the middle and the minor one — were viewed by Aristotle syntactically and predicatively in the form of diagrams. Many scholars have misunderstood Aristotle in that in the second and third figure the middle term is outside and that in the second figure the major term is next to the middle one, whereas in the third figure it is further from it. By means of diagrams, we have elucidated how this perfectly accords with Aristotle's planar and graphic arrangement. In the light of these diagrams, one can appropriately capture the definition of syllogism as a predicative set of terms. Irrespective of the tricky question concerning the abbreviations that Aristotle himself used with reference to these types of predication, the reconstructed figures allow us better to comprehend the reductions of syllogism to the first figure. We assume that the figures of syllogism are analogous to the figures of categorical predication, i.e., they are specific syntactic and semantic models. Aristotle demanded certain logical and methodological competence within analytics, which reflects his great commitment and contribution to the field.