Volume 69 (2014), 2

The present article is the first part of a longer paper in which we outline a model of (scientific) method as a system of instructions aimed at a certain kind of (cognitively interesting) goal. The article both gives an informal presentation of the model and introduces conceptual tools required for a more rigorous presentation. To begin with, the character of… Čítať ďalej

Though the distant Other, the faceless stranger becomes ever closer and more accessible through various technological mediations and social networks, we seem to grow increasingly disconnected from any possibility of what Levinas calls ‘proximity’. ‘Proximity’ – the face-to-face encounter with the other person – signals a traumatising indictment of the… Čítať ďalej

Marian Váross significantly contributed to the institutionalization of psychology in Slovakia. As a result of an intensive study of values and kinds of evaluation at the universities in Paris and Cambridge he formulated a system of knowledge, which even today is still the original base in the field. According to him, theories of values can be divided into three… Čítať ďalej

The aim of the first part of the paper is to make the reader acquainted with the se- lected parts of Váross’s large study of fanaticism (Le Fanatisme. Une analyse psychologique et axiologuiqe; Paris: Sorbonne 1947, 541 pp.). The second part deals with two contemporary most expanded kinds of fanaticism: political and ideological ones as two distinctive kinds of… Čítať ďalej

Artistic image is one of the central concepts of Váross’s posthumously published writings titled From creativity to creation (Bratislava 1989). Contrary to most common users of language in Váross the concept was to denote the concretization of an artwork in the percipient’s consciousness. The paper aims at a closer analysis of Váross’s definition of the concept… Čítať ďalej

The nature of an artwork is one of the basic topics in aesthetics. In Slovak aesthetics authors such as M. Kusý, J. Volek and S. Štúr defined an artwork only through its relation to reality, i.e. as derived from reality. M. Váross tried to define it via category “artistic function.” From 1949 to 1970 he saw the aesthetic function as dominating the creative… Čítať ďalej

The paper explores Váross’s understanding of philosophy, his philosophical stand, undoubtedly influenced by Popper’s critical realism, as well as Váross’s critique of Marxist dialectic and the unity of psychology and philosophy which is inherent in all his works. Váross’s axiology as the main focus of the author, is seen as relevant not only for theory, but… Čítať ďalej