Critics of Human Rights from a Historical Perspective

Implementation of human rights is often criticized because it is perceived as being imposed on the rest of the world. In this case, human rights start to be seen as a sole abstraction, an empty word. What are the theoretical arguments of these critics and can we determine any historical grounds for them? In this paper, I will try to point at similar critics after the French Revolution – like that of the Historical School and Hegel – and try to show if some of these critics are still relevant. And I will compare these critics with contemporary arguments of cultural relativists. There are different streams and categorizations of human rights theories in today’s world. What differentiates them is basically the source of the human rights. After the French Revolution, the historical school had criticized the individuation and Hegel had criticized the formal freedom which was, according to him, a consequence of the Revolution. In this context Hegel drew a distinction between real freedom and formal freedom. Besides the theory of sources, the theories of implementation such as human rights as a model of learning, human rights as a result of an historical process are worth attention. The crucial point is about integrating human rights as an inner process and not to use them as a tool for intervention in other countries, which we observe in today’s world. And this is the exact point why I find the discussion of the sources more important. This discussion can help us to show how the inner evaluation of a society makes the realization of human rights possible and how we can avoid the above mentioned abstraction and misuse.

„Moja osobista przestrzeń” – prywatne wirtualne kolekcje sztuki

The phenomenon analyzed in the essay My Personal Space – The Private Virtual Collections of Art is the possibility of visiting the world’s museums by means of the Internet – visiting indirect, nevertheless enabling peaceful, profound, multiple and free contemplation of art. The function of Mon espace personnel (My Personal Space) of French museums of Louvre and Orsay that reveals some radical modifications in the perception, understanding and reception of art, is an illustration of this phenomenon. Using Mon espace personnel means traversing the virtual Louvre or Orsay and choosing works of art, their descriptions, analyses, publications etc. and then adding them to the internaut’s personal thematic albums. The phenomenon described is a starting point to the reflection on the significance of the space in which art exists (called, according to Golka, the form of art’s presence) with its ontology as well as its functions and the character of its reception. The identification of what this space is, in the context of the hybridization of the form and the content and the emergence of the computer culture (Manovich) as well as in the context of the popularization of the reality (Krajewski) and the decentralization of the world of art (Wójtowicz), is an important part of this essay. These phenomena are also inscribed in a wider context of the changes of the character, mission and role of the museum in the time of the digital revolution.