Natalia Anna Michna

The present book is an illustration of current approach to Roman Ingarden’s philosophy and to contemporary philosophy in general. Significantly, the articles contained herein are the works of authors representing various research centers around the world. This clearly demonstrates that Ingarden’s philosophical thought continues to be inspiring, regardless of whether individual researchers interpret it positively or negatively. At the same time, it should be emphasized that the present volume is not a commemorative publication devoted solely to the person and thought of Ingarden. The open formula of the book was intended to encourage and invite researchers representing various schools of philosophical thinking (both close to as well as distant from phenomenology) to publish in the present monographic volume. This applies to polemics both within and without the realm of phenomenology. In each case, we are dealing with an in-depth discussion which may serve as an inspiration for readers interested in a plethora of philosophical problems. The statements presented in this volume are offered in the spirit of research and creative exchange of views.

Rage has become an increasingly prominent affective and political force in contemporary feminist movements. In postsocialist Poland—where feminist resistance has long been sidelined in both national politics and global feminist discourse—rage has emerged as a powerful collective expression that fuses dissent with care, solidarity, and political agency. This article examines how feminist rage has shaped women’s political subjectivity in Poland, particularly in response to the tightening of abortion laws and the broader erosion of democratic norms since 2016. Drawing on the frameworks of “weak resistance” (Ewa Majewska 2019) and “uneventful feminism” (Maria Mayerchyk and Olga Plakhotnik 2021), I analyze rage not only as a form of resistance but also as a creative and transformative affect. The theoretical discussion explores how rage reclaims traditionally feminine traits such as care and tenderness to produce new forms of feminist agency within “affective publics” (Zizi Papacharissi 2014). The article concludes with a case study of Polish women’s street and digital activism from 2016 to 2024, incorporating the author’s firsthand participation to offer a situated, reflexive perspective on the role of rage in contemporary postsocialist feminist struggle.

The question of women’s corporeality and bodies is at the center of feminist research into questions of knowledge, as well as moral, aesthetic and political issues. All these areas relate to the question of women’s experience, the recovery, reinterpretation and appreciation of which is postulated by feminism. This chapter presents feminist reflections on women’s bodies and corporeality in relation to the problem of experience. First, it discusses different types of experience and their role in formulating feminist propositions about the specificity of gendered experience. Next, the problem of the influence of subjective conditions and socio-cultural factors on experience is presented. This is followed by an indication of selected currents of reflection on women’s bodies and corporeality within the framework of feminist theory. The chapter concludes with remarks on the bodily and emotional dimensions of experience from a feminist perspective.

This book promotes entirely new insights into women’s contributions to the history of philosophy and boasts papers spanning the centuries from Antigone until twentieth century phenomenology, covering fields from logic to mysticism, stretching from Brazil to Early Modern Europe. The book is of interest for all scholars and students of the history of philosophy, but especially for those who are interested in women philosophers and in new narratives in the history of philosophy. The book is representative of the immense scope of academic discussion women were involved in over the centuries as well as their varying styles and methods. It features papers in logic and in mysticism, presents papers on female authors in Antiquity and in the twenty-first century and it includes papers on phenomenology and analytic philosophy. The chapters consider philosophical positions in literature and drama, in letters and in classical philosophical treatises, ensuring this book contributes significantly to research on the individual women authors, who are all to date still understudied figures.

The starting point for the considerations in the article is the statement of Keiko Yamanaka that the Japanese know nothing about resistance to the bacterium represented by another human being. In the article, however, we put forward the thesis that Japanese culture has developed a collective immune system resulting not from individual but from shared systemic immunology in connection with the performance of family, professional and social functions. The analysis of Japanese ‘cultural immunology’ includes an examination of the ways of functioning of the body in contemporary Japanese culture. To this end, we first discuss the relationship between humans and nature in Japanese religious-ethical tradition. Next, we examine the Japanese relationship to the body as a special part of nature. Then we analyze the tension in the Japanese culture between individual and sociocultural bodies. In conclusion, we show what the sociocultural body is and how it functions in the system of ‘cultural immunology’ in contemporary Japan.

In the article, tenderness, a category presented in the Nobel Prize speech by Olga Tokarczuk, is analyzed as a new ethical imperative, developing the feminist relational ethics, i.e. the ethics of care. In the proposed interpretation, tenderness is a broader category than care understood in feminist terms: it is more universal, inclusive, and unifying. Tenderness also applies to – or perhaps most of all – the world beyond-the-human, as it goes beyond the anthropocentric perspective of the ethics of care. The article opens with a brief overview of feminist interventions in ethics, with an emphasis on the ethics of care. In the next step, the differences between care and tenderness are identified and described to show how the latter can develop and complement feminist ethics of care. Considerations are driven by the question of why tenderness is a better moral imperative than care – more adequate and responding to the challenges of the present times. in the last part of the article, the tender existential attunement is also interpreted in aesthetic terms as an attitude sensitizing to the beauty and complexity of the post-anthropocentric world.

Maria Gołaszewska (1926–2015) was a Polish philosopher associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the post-war and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for the perspective of gender, and which in this sense should be acknowledged as having anticipated the main postulates of contemporary feminist philosophy. In the article I present Gołaszewska’s philosophy as a cognitively valuable response to the search of feminist aesthetics for a suitable description of women’s experiences related to art and aesthetic perception. In accordance with this aim, I discuss Gołaszewska’s theory of the aesthetic situation, a framework within which she proposed solutions similar to feminist standpoint theories. These theories were developed chiefly on the basis of the feminist philosophy and feminist epistemology (Elizabeth Anderson, Donna Haraway, Sandra Harding, Elizabeth Potter). In recent years they have also found creative applications in feminist aesthetics (Anne Eaton).

Marking the thirty-fifth anniversary since its emergence in the United States, feminist aesthetics commemorates its significant contributions to feminist philosophical inquiry. This anniversary provides an opportunity to reflect on the field's current status and its potential to further enrich philosophical discourse. This article sets out to (a) synthesise the existing theoretical frameworks within feminist aesthetics, (b) delineate its subject matter and (c) chart the dominant trends and interventions marking feminist engagements with aesthetics. In contemporary feminist debates, aesthetics often occupies a peripheral position, a phenomenon attributed to its perceived detachment from the socio-political core of feminism (Plonowska-Ziarek) and its dismissal as a ‘feminine’ or ‘girly’ discipline (Brand Weiser). This marginalisation is further compounded by critiques of the field's allegedly slow response to the ideas, problems and methodologies present in related domains and broader philosophical inquiry (Eaton). So, despite acknowledging the vital role of aesthetics within feminist philosophy, the articulation of a systematic and coherent feminist aesthetic theory remains elusive. The purpose of this article is to provide an overview of the most significant and representative positions within feminist aesthetics in the US tradition. The first section introduces the topic of feminist aesthetics. The second section examines feminist interventions in aesthetics, including their evolution towards intersectional and transnational approaches. The challenges of establishing autonomy within and defining feminist aesthetics are discussed in the third, fourth and fifth sections. The sixth section explores the main currents of feminist aesthetics: (a) historical-critical, (b) essentialist (revisionism vs perspectivism), (c) gynocentric and (d) anti-theoretical.

Combining aesthetic theory with gender analysis opens a large and diverse territory to explore. Both familiar issues in the philosophy of art and new, expanded questions about the influence of culture on imagination and identity have become subjects of feminist research. Film, literature, graphic arts, advertising, and the legacies of history all contribute to the forces that shape self-image, desire, behavior, and social role – as well as the ability to imagine possibilities for change. This issue brings together an international group of scholars from several disciplines who explore gender and femininity, sexuality and its several iterations, and the politics of everyday life and culture.

The present article discusses the main issues and threads of the ontological and aesthetic considerations of Roman Ingarden. The point of departure of this Polish thinker’s philosophy is the controversy over the existence of the world. It is around this problem that he focuses the systemicity of his thoughts in combination with complex structuring and precise analysis of detailed philosophical issues. Yet it is ontology that is Ingarden’s first study, free of any assumptions or premises derived from other disciplines. The first part of the present article, devoted to ontological issues, constitutes an introduction to the individual chapters of this book on the topic of ontology. The second part of the article deals with aesthetic issues, which Ingarden also understood systemically, meaning that his aesthetics remained closely related to his ontology and epistemology. Aesthetic research was particularly important for this Polish philosopher, as it was aimed at the creation of an original systemic proposal concerning phenomenological aesthetics. A discussion of the most important aesthetic issues raised by Ingarden serves as an introduction to the second part of this book, which concerns new interpretations of Ingarden’s aesthetics and philosophy of art.

The extremely extensive philosophical legacy of Roman Witold Ingarden, a student of Edmund Husserl, including papers in the fields of ontology, epistemology, and aesthetics, has been consistently arousing the interest of researchers from around the world for several decades. The year 2020 marked the fiftieth anniversary of Ingarden’s death. The present book constitutes a unique contribution honoring the philosopher’s memory and academic legacy. An ambitious project that brings together the thoughts of many intellectuals, the book includes research problems, contemporary interpretations of Ingarden’s thought, and comparative studies, placing his philosophy in a broader historical and cultural context. This approach perfectly reflects the relevance, refinement, and depth of Ingarden’s theories. Although the essays presented in the book undoubtedly constitute a due tribute to an important figure in contemporary philosophy, this collection is not exclusively retrospective, but also shows the present and future development of philosophical thought inspired by Ingarden’s works. Including a substantial introduction by the editors, the book contains eight chapters from some of the most significant scholars in the field, covering the historical and comparative approach to Ingarden’s thought, as well as from young, ambitious scholars developing new interpretations of selected aspects of Ingarden’s theories. Specifically, the reader will find chapters on existential ontology (Peter Simons, Jan Woleński), Ingarden’s theory of questions (Giuditta Corbella), music ontology (Edward Świderski), empathy and aesthetic experience (Jeff Mitscherling), the aesthetics of computer games (Matthew Gladden), aesthetic attention (Harri Mäcklin), and Ingarden’s theory and aesthetics of time (Charlene Elsby).

The book, which constitutes part of the current feminist research as broadly understood, deals in particular with issues related to the philosophical approach to women’s experience. The main thrust of the research is to ask questions such as: What is women’s experience? Is it generally possible to speak of women’s typical experiences? Does it influence knowledge, and if so, how? Does it influence women’s perception and interpretation of art, and if so, how? And finally, taking a broader perspective: can women’s experience serve as a basis for distinguishing philosophical theories specific to women? Within the framework of feminist philosophy developed since the 1960s and 70s, researchers have employed the concept of women’s experience, but this concept has not yet been comprehensively elaborated and defined. Importantly, women’s experience also plays an essential role in the project of feminist esthetics, whose isolation from traditional esthetic reflection has been proposed by certain feminist authors. Therefore, the book also discusses the problem of the relationship of women’s experience in the feminist approach to the feminist esthetics postulated by researchers both male and female. The book takes the position that feminist philosophy is an integral part of traditional philosophical research, a part in which the feminist perspective is applied. This perspective is understood as a theoretical research tool, applied in the humanities and social sciences, in order to unmask the gender-related elements in traditional discourses and to determine their impact on the results of the conducted research, i.e., the knowledge obtained thereby. In this sense, the feminist perspective is of an evaluative and critical but also transformative nature, because the purpose of its application is to appreciate and highlight women and the phenomenon of womanhood as well as to incorporate gender-related categories within philosophical reflection and academic research. This goal is expressed in the practical demand for a transformation of sociopolitical practice and theory that takes women’s ways of experiencing reality into account. In this approach, the feminist perspective paradoxically brings us closer to the attainment of more universal, holistic, and gender-transcending knowledge. The order of the considerations presented in the book was dictated by their main objective: a philosophical approach to and description of women’s esthetic experiences. The first part comprises a reconstruction of the historical development of feminism, in which three waves of feminism―which, from the perspective of a contemporary researcher, constitute a historically complete field of research―are discussed in a synthetic manner. The first part of these considerations concludes the introduction to feminist philosophy, specifically through the reconstruction of selected critical arguments advanced by feminist researchers regarding the traditional theory of cognition. The second part of the book covers issues in the field of feminist philosophy. The considerations presented here are focused on the concept of women’s cognitive experience, of which women’s experience of an esthetic character constitutes a particular type. Hence, studies of feminist epistemology are presented first, followed by studies of feminist esthetics. Analysis of the esthetic experiences of women is carried out in two stages: first, through reference to a philosophical approach to women’s cognitive experiences, and second, on this basis, through indicating fundamental differences between feminist and androcentric understandings of esthetic experiences. Although critical references to feminist ideas and solutions appear in many places in the book, on the most general level the considerations presented here are consistent with the feminist ideal of merging theory and practice. Feminism, in essence, has grown from socio-political practice and evolved toward detailed philosophical and scientific theories. Importantly, these theories are continually being revised and creatively developed. Feminist researchers refer to women’s life practices because it is the latter that determines whether a given theory adequately addresses problems affecting women. Therefore, the research presented in the book is focused on women’s experiences, which, in the author’s opinion, constitute the reference point for any and all reflections taking the feminist perspective into account.

Maria Gołaszewska (1926–2015), a Polish philosopher, was associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the postwar and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for the perspective of gender, and in this sense should be acknowledged as an important contribution to contemporary gender-sensitive/feminist philosophy. In the article, I present Gołaszewska’s life, academic career, and philosophy as a cognitively valuable response to feminist philosophy’s search for a suitable description of women’s experiences related to art and aesthetic perception.

The article presents the evolution of the language of advertising from the 1960s to the present, presenting various images of women in advertising. Simultaneously a theoretical analysis has been carried out of the demands of second-wave feminism, which exerted significant influence on the creation of images of women in the mass media. The objective of our comparison of feminist theory with advertising practice is an attempt to answer the question of whether the present media image of women liberated from the binary sexual order and weighted towards the genderqueer and/or transgender phenomena is the desired realization of the feminist demands for emancipation of and equality for women announced in the second half of the twentieth century.

The article deals with the philosophical problem of the objectivity of knowledge in relation to the ideas and postulates advanced by feminist critics from the 1960s on. To this end, I take the historical perspective into account and present successively selected threads of feminist criticism of the traditional theory of knowledge, followed by selected positive aspects of feminist epistemology. First of all, I discuss feminist criticism of the androcentric research model, which is based on the doctrine of the disembodied, detached objectivity of the subject and object of research as well as of knowledge itself. Next, I present selected feminist approaches to knowledge which constitute cognitively valuable proposals for the transformation of the traditional theory of knowledge through the application in philosophical reflection and research of the feminist research perspective.

In the paper, I pose the question of how, on artistic, aesthetic, and philosophical levels, decoration and domestic handicrafts as subversive strategies enable the undermining and breakdown of class-based and patriarchal divisions into high and low, objective and subjective, public and private, masculine and feminine. I explore whether handicrafts, in accordance with feminist postulates, are transgressive, transformative, and inclusive. I link handicrafts with the feminist perspective, since, in the second half of the twentieth century, it was precisely the feminist movement that initiated significant changes in the social and cultural perception of women, femininity, and gender relations. Thus I apply this perspective in the first place to the analysis of selected works of contemporary art in which handicrafts is used not only as a means of artistic expression but also as a subversive aesthetic strategy. I also demonstrate how the world of fashion transforms and aesthetizes handicrafts, whose presence in fashion makes it an area in which, in addition to imperatives and aesthetic values, social attitudes, ethical values, and world views are shaped. Finally, referring to the works of selected feminist authors (Mary Field Belenky, Mary Daly, Evelyn Fox-Keller, Donna Haraway), I show how these researchers have metaphorically interpreted handicrafts as specifically feminine ways of creating and developing knowledge.

In her Nobel speech in 2019, Olga Tokarczuk presented the category of tenderness as a new way of narrating the contemporary world. This article is a proposal for the analysis and interpretation of tenderness in ethical and aesthetic terms. (1) From an ethical perspective, tenderness is interpreted as an extension and complement of feminist relational ethics, i.e., the ethics of care. In the proposed approach, tenderness is a broader and more universal quality than care in the feminist understanding. This article opens with a brief discussion of feminist interventions in ethics, with particular emphasis on the ethics of care. Next, the differences between care and tenderness are enumerated and described, in order to show how tenderness can serve as an extension and complement of the feminist ethic of care. These considerations are guided by the question of why tenderness is a better—more appropriate and more responsive to contemporary challenges—moral guidepost than care. (2) From the aesthetic perspective, tenderness is the negation of a contemplative, distanced, impersonal, and rational view of reality. As an aesthetic imperative, tenderness implies engaged experience of the beauty of reality in all of its manifestations. Therefore, in the last part of the article, existential tender attunement is described in aesthetic terms, as a position serving to sensitize others to the beauty and complexity of the post-anthropocentric world.

The aim of the article is to analyse selected threads of Olga Tokarczuk’s literary work and selected artworks of Patricia Piccinini as a posthumanist critique of anthropocentrism. My analysis will be guided by the question of how art clarifies and helps us to understand a world in which boundaries between species are crossed and dualistic divisions – nature/culture, human/animal, human/machine – no longer apply. I will show that art is a space of expression in which the subjectivity of posthumanist hybrids is given the chance to infiltrate universal consciousness and break down the anthropocentric monolith of western European culture. The article will also cite the posthumanist postulate of decentralization of the human subject, as implemented artistically by Tokarczuk and Piccinini in their works. This postulate signifies the need to accept the new responsibility a human being bears as part of a larger, heterogeneous whole (Donna Haraway), as well as to develop a posthumanist ethics (Rosi Braidotti). With reference to one of Tokarczuk’s essays, I propose to describe this new ethics as ‘sensitive ethics’.

The papers collected in this volume vividly reflect the strikingly wide range of interests characterizing current research in phenomenology inspired by Roman Ingarden. One of Husserls closest and most devoted students, and at the same time one of his earliest and sharpest critics, Ingarden himself explored numerous fields of philosophy in considerable depth. While he remains best known for his groundbreaking work in aesthetics, ontology, and metaphysics, he also dealt extensively in ethics, epistemology, philosophical anthropology, and cognitive science, and his work was characterized throughout by a deep and abiding interest in the sciences and an unwavering respect for painstakingly thorough logical investigation. Issues from all of these areas of study provide the topics dealt with by the authors contributing to this volume. Several authors focus explicitly on historical matters, often casting surprising new light on the development of early phenomenology in general and of Ingardens own realist phenomenology in particular. Other authors have concentrated instead on specific areas or particular topics of long-standing interest, such as the aesthetic experience, the philosophy of music, and artistic creation, while others have explored the relevance of Ingarden's ontological and anthropological analyses to current research into everything from the interpretation of texts to the study of technological posthumanization. With contributions from both established experts and young scholars, this collection brings together three generations of researchers who share the same basic philosophical goals and methodology, yet exhibit noticeably distinct styles, making this collection not only accessible and topical but also unusually lively.

The eighteenth‑century English writer Matthew Gregory Lewis wrote one of the most dramatic Gothic novels, The Monk; over 200 years later, a film of the same name appeared, based on the novel and directed by Dominik Moll. The film, a free adaptation of the book, presenting the story of the moral downfall of the monk Ambrosio, has inspired us to philosophical reflections on sexuality, sensuality, and physical desire. We have attempted to analyze and interpret this cinematic work of art in the context of these issues. The method we have adopted is based on a thorough discussion of the topics developed in the film and related issues. This method, while not pretending to be scientific objective, enables us to outline an interesting field of research as well as to identify a number of theoretical problems and questions that remain open. The formula we have adopted is to quote lines from the film The Monk which permits the analysis of selected issues related to sexuality, sensuality, and physical desire. Moreover, these quotes serve to order the text and enable the precise identification of interpretive trains of thought

Nakładem wydawnictwa Uniwersytetu w Walencji ukazała się w 2008 roku książka brytyjskiego profesora Iana Ground’a, zatytułowana ¿Arte o chorrada? (tytuł oryginału: ang. Art or bunk?). Ian Ground jest wykładowcą Uniwersytetów w Edynburgu oraz Newcastle, przedmiotem jego zainteresowań filozoficznych jest estetyka oraz zagadnienia sztuki współczesnej. Długoletnie doświadczenie w pracy ze studentami stało się dla niego inspiracją do podjęcia próby przybliżenia odbiorcy idei sztuki współczesnej. Celem autora nie jest jednak podanie bezpośredniej odpowiedzi na pytanie: jak poradzić sobie w świecie sztuki współczesnej, ale dostarczenie określonych narzędzi, pomocnych w zetknięciu z tego rodzaju sztuką. W zamyśle autora, narzędzia te pozwolą odbiorcy dokonać fundamentalnego osądu: czy ma do czynienia z dziełem sztuki, czy też ze zwykłym „śmieciem” i pospolitą „bzdurą” (ang. bunk, hiszp. chorrada). ¿Arte o chorrada? to próba stworzenia elementarnego podręcznika, prezentującego metodę analizy dzieła, które stało się dla nas wyzwaniem oraz zawierającego propozycję pewnych rozwiązań, nie zawsze będących gwarancją osiągnięcia sukcesu. Podobnie jak wiele innych prac związanych z tematem sztuki XX wieku, książka Iana Ground’a nie jest niezawodnym remedium na wszelkie bolączki odbiorcy sztuki współczesnej. Możemy ją raczej potraktować jako solidne zestawienie tez, na których autor opiera swoją propozycję rozumienia dzieł sztuki i w konsekwencji, konstruktywne podejście do omawianego problemu.

Artykuł stanowi próbę artystycznej i estetycznej analizy dzieła Chrystus św. Jana od Krzyża Salvadora Dalego jako obrazu realizującego główne postulaty estetyki postmodernizmu. Zastosowana perspektywa badawcza ma na celu wyjście poza tradycyjną zależność polegającą na wskazywaniu tego, co postmodernizm przejął od wcześniejszych nurtów awangardowych, w szczególności od surrealizmu. Proponowana odwrócona perspektywa odsyła do innej, wzbogacającej relacji: wskazuje bezpośrednio na to, co surrealizm odkrył i w artystyczny sposób wykorzystał na długo przed nastaniem estetyki postmodernizmu.

Problem kobiecej tożsamości jest zagadnieniem żywym we współczesnym dyskursie feministycznym. Szczególne miejsce zajmuje on zwłaszcza we francuskiej myśli feministycznej, reprezentowanej między innymi przez liberalną feministkę Élisabeth Badinter. Najnowsza książka filozofki, zatytułowana Konflikt: kobieta i matka, stanowi szczegółowe opracowanie obowiązujących obecnie poglądów na naturę kobiety jako matki, która pragnie także realizować swoje własne, indywidualne potrzeby. Stąd tytułowy konflikt wartości, będący podłożem współczesnego kryzysu kobiecej tożsamości. Początki tożsamościowego myślenia kobiet przypisuje się matce europejskiego feminizmu, Simone de Beauvoir. Badinter, kontynuując tożsamościowe rozważanie de Beauvoir, analizuje wpływ myślenia naturalistycznego i maternalistycznego na obowiązujący obecnie status kobiet. Filozofka zajmuje się także wyjątkowym przypadkiem Francuzek, które ze względu na historyczną specyfikę realiów życia we Francji jako jedyne realizują współcześnie model spełnionej kobiety i zaangażowanej matki