Obraz stosunków językowych polsko-niemieckich w historii języka polskiego. Księga sądu wójtowskiego m. Opola z lat 1698-1721 jako językowy wyraz kontaktów międzyetnicznych

Wydział Filologii Polskiej i Klasycznej: Instytut Filologii Polskiej

Polskie tradycje muzyczne na południowo-wschodniej Syberii i ich rola w kształtowaniu tożsamości narodowo-etnicznej

Wydział Historyczny: Katedra Muzykologii

Problemy z pojęciem wiedzy w ramach epistemicznej koncepcji znaczenia Michaela Dummetta

According to epistemic theory of meaning the meaning is not understanding-transcendent – understanding is a kind of knowledge and the meaning is the content of this knowledge. The main problem of such a theory is to provide an adequate characteristic of the notion of knowledge. Dummett claims that understanding cannot be reduced neither to purely practical abilities, nor to explicit theoretical knowledge. In his opinion the most important part of the knowledge that constitutes understanding is a kind of implicit knowledge, something halfway between practical ability and theoretical knowledge. Unfortunately is not so simple to provide sufficiently clear characteristics of it. Moreover, because of implicitness of this knowledge, there is problem with manifestation of possession of such knowledge. Understanding should be related to the practice of making assertions. In the article I try to argue for soundness of thesis that important part of knowledge that constitutes understanding is a kind of procedural knowledge. This type of knowledge (called “knowledge-how”) cannot be reduced to propositional or conceptual knowledge (“knowledge-that”). Procedural knowledge has manifestation in activities doing in accordance with some set of the rules, but possession of this knowledge does not require explicit knowledge-that of the rules. Procedural knowledge is also located in the middle of the spectrum – between reflex actions and theoretical knowledge.

Polski Hamlet

Chapter is an attempt at reconstruction of the culminating moment of the first stage of the Polish reception of Shakespeare's "Hamlet". It has been entirely devoted to J. Słowacki's "Horsztyński". There is no doubt that "Horsztyński" should be viewed as the fullest and deepest interpretation of Shakespearean elements in the literary output of Juliusz Słowacki. Numerous citations and references to the works of the Elizabethan dramatist reach deeply into the structure of the world and human's life. Thanks to many adductions (citations) to Shakespeare, Słowacki approached the so much important problem for the Romantic period in Polish literature, namely the problem of individual tragedy of existence of the main character of a play and a clash with historical dilemmas of the community. The analysis of the text is aimed at showing all references to Shakespearean masterpiece with a particular emphasis on the hamletism of the charactwe of Szczęsny Kossakowski. The author describes the motif of betrayal, ever-present on different levels of the text structure, which in the most complete way describes the organisation of space between humans and their interaction in "Horsztyński". The author focuses his attention on detailed description and analysis of the recurrent themes frequently repeated in Szczęsny's statements, namely motifs of "man-harp", "man-actor in the theatre of the world", and "man-puppet", harlequin, clown. These motifs prove the sensibility of Szczęsny's to the theatrical aspect of the surrounding reality. The motif of darkness and of a blind man groping his way in the darkness so frequent in Szczęsny's statements can be interpreted as a manifestation of utter lack of hope and the feeling of uselessness of one's existence in the world.