The Deve­lop­ment of Leibniz’s Con­si­de­ra­tions in John Yench’s Pro­ject

The purpose of the article is to present John Yench’s a priori language as a continuation of Leibniz’s idea. Before I proceed to show the project of the Inter-Disciplinary International Reference Language, I would like to discuss the development of Gottfried Wilhelm Leibniz’s view on artificial languages. I will try to show the evolution of Leibniz’s universal language: from its ideal conception to a tool which formalizes the whole of human knowledge. Also, I will show Leibniz’s influence on further ideas of artificial language. I will compare his projects with Yench’s language – Idirl. An analysis of Idirl’s main assumptions will be useful to show the degree of continuation of Leibniz’s ideas in the a priori language of John Yench.

The Offstage of Democracy: The Problem of Social Dialogue in John Dewey’s and Walter Lippmann’s Writings

The aim of this article is to present and discuss John Dewey’s and Walter Lippmann’s views on the problem of communication in a democratic society, particularly their views on the question of a role of communication in forming social processes. First part of the paper outlines the framework of this problem and its meaning to the question of possibility of democracy. Part two is concerned with anthropological and socio-political considerations: I discuss the Deweyan and the Lippmannian understanding of individual, society, intelligence and democracy. In part three I examine in detail the problem of communication, with special attention given to the questions of the role of communication in forming social processes, the foundations and conditions of communication, the debaters, and a subject matter of a debate as well as the questions of who and what forms this debate and whether we can form it altogether.

John Adcock, In place of schools, New Education Press Ltd, Londyn 1994, ss. 112.

Recenzje i sprawozdania z książek

The ‘Faust’ or ’Lucifer’ Sonata? On Liszt’s idea of programme music as exemplifi ed by his Piano Sonata in B minor

The musicological tradition places Liszt’s Sonata in B minor within the sphere of compositions inspired by the Faustian myth. Its musical material, its structure and its narrative exhibit certain similarities to the ‘Faust’ Symphony. Yet there has appeared a diff erent and, one may say, a rival interpretation of Sonata in B minor. What is more, it is well-documented from both a musical and a historical point of view. It has been presented by Hungarian pianist and musicologist Tibor Szász. He proposes the thesis that the Sonata in B minor has been in fact inspired by Milton’s Paradise Lost, with its three protagonists: Adam, Satan and Christ. He fi nds their illustrations and even some key elements of the plot in the Sonata’s narrative. But yet Milton’s Paradise Lost and Goethe’s Faust are both stories of the Fall and Salvation, of the cosmic struggle between good and evil. The triads of their protagonists – Adam and Eve, Satan, and Christ; Faust, Mephisto and Gretchen – are homological. Thus both interpretations of the Sonata, the Goethean and the Miltonian, or, in other words, the Faustian and the Luciferian, are parallel and complementary rather than rival. It is also highly probable that both have had their impact on the genesis of the Sonata in B minor.