In the article I discuss Roger Scruton’s opposition between utopian optimism and anti- -utopian pessimism. I show how it connects with the concepts of politics of faith and politics of skepticism introduced by Michael Oakeshott. Then I explain the relationship between the attitude of skeptical moderation and philosophical realism.

The social and political transformations Russia underwent in the 20th century were also reflected in the sphere of imagery. This also refers to the imagery of movement and means of transport. The process of linking the imagery of means of transportation with the political doctrine in force is mostly visible in the period of Soviet rule, in particular in the interwar period when the foundations of this rule were laid. Then, aviation was to become one of the strongly ideologized means of transport. The ideologization process occurred at various levels, starting from onomastic procedures through advertising and linking aviation and Soviet rule within artistic and literary conceptualisations. In Soviet culture, an aeroplane or a rocket were not merely means of transport but the means by which the expansion of communist ideology globally was supposed to be facilitated.

This article is a review of Ethan Kleinberg’s Haunting History. For a Deconstructive Approach to the Past (Stanford, 2017). I focus on three issues related to that work. These are: historians’ attitude towards the deconstruction; the idea of ontological realism and its critique; the role of young historians in modern academia. This text is based not only on the book reviewed but also on its different analyses and ways it was used in other research. In the conclusion, I present how Haunting History can be used as an emancipatory tool by scholars who are starting their academic careers now.

The paper tries to defend the thesis that it is impossible to decide upon moral issues without any references to the ontology of the world we live in. An illustrative example of the main argumentation line is the choice made by Cypher—a second plan character in the movie Matrix. Cypher decides to betray human rebels fighting against machines for freedom and, as a reward, accepts affluent life in the virtual reality. His choice seems to be superficially reprehensible because of the abandonment of the real world and authentic life. However, one can argue that the dichotomy between the real and virtual world is seeming. By choosing the virtual reality Cypher decided to act in a world which, like the real world, makes it possible to be a moral subject and enables authentic experience. The difference between both the worlds lies in the type of determination limiting any conscious subject. Cypher prefers to live in a world determined by the algorithm of Matrix more than in a world where his behaviour is determined by genes and other biological factors.

While working on the oeuvre of P.F. Strawson (1919–2006), and especially on his metaphysics, I had a unique opportunity to exchange ideas with this eminent exponent of Oxford philosophy. Those exchanges, of which some have been reflected in private correspondence and in a published reply to one of my papers, were focussed on various interpretative questions. Three threads of those discussions seem especially pertinent for grasping the gist of Strawson’s philosophy and its general orientation. The first one concerned the nature of philosophical analysis, or to be more precise, the connective model of it, favoured by Strawson, and its relationship with the idea of concept presupposition. The second thread had to do with the position taken by the Oxford philosopher in the realism debate on three levels: semantic, epistemological, and metaphysical. Strawson made every effort to take a realist stand in this debate and avoid antirealism in any of its forms; however, his realism is in many respects very moderate and not so distant from antirealism. Similarly moderate was his stand in the traditional debate about universals, constituting the topic of the third thread of the exchanges with Strawson. He claimed that universals exist, but at the same time emphasized that they are objects of pure thought alone and as such do not form a part of the spatiotemporal world in which we live. One cannot also say much about the relation of exemplification in virtue of which universals manifest themselves in the world as particular instances. Presentation and elaboration of these three threads has led to the conclusion that although Strawson was a deeply systematic thinker, he avoided wide-ranging and ambitious statements and radical views. In characteristically minimalist way he dispelled some questions, and the ultimate resolution of many crucial and fundamental issues were for him choice and taking a particular attitude or stance.

The article focuses on the term “train situation” created by Vyacheslav Kuricin, which is considered a metaphor of the work of the contemporary Russian writer Elena Dolgopyat. The proper analysis of Dolgopyat’s works is preceded by an introduction in which the definition of magical realism and its history in Russia is briefl y presented. The attitude of the Russian literary scholars to this phenomenon is presented as well. Next, the meanings of the figure of train in the writer’s stories are discussed. It is noteworthy that the features of magical realism (specific space-time construction, polyphonic narrative, fantastic elements perceived as something natural) are realized in her texts often through the image of a train. In works in which this picture does not exist, we deal with the „train situation”, which boils down to the combination in the presented world of various aspects of reality, unlimited by matter. The heroes live between different dimensions of reality, and combining into one cohesive whole of various space-times, ways of existence, realistic and fantastic elements allows to see the term of Kuricin also as a metaphor of all magical realism.

This article examines Bolesław Prus's use of futurology and utopia in his short story Phantoms (Widziadła). A closer look at the story's images and their sequence not only gives us an insight into the author's philosophy of history but also reveals a utopian vision which can hardly be squared with the realism of his previous work. Thus ‘Widziadła’, written in 1911, can be seen as an important piece of evidence of a change in the writer's beliefs and worldview. It was at that late stage of his life that Prus, a hard-nosed realist and critic of the Romantics, turned into an impassioned idealist who, disillusioned with the world around him, sought refuge in literature. It was to be, however, a fiction like ‘Widziadła’, looking beyond the conventions of realism, unashamedly eclectic and visionary.

In France, as well as in other countries of the French language, the relationship between the Bible and literature mirrors the dilemma facing the European culture, a culture founded on the Greek and Roman civilization, when it was becoming Christianized. The Christians in the French speaking Europe confront the problem of 'double-fidelity': either to the Bible as the Truth, or to the Greek and Roman culture representing Art. Two trends can be observed. Some would try to prove the artistic superiority of the Bible over pagan literature. Others would attempt to show that even in that kind of non-Christian literature it is possible to observe the presence of supernatural truth. The dilemma abates and loses its importance starting with the XVIII century when literature as such emancipates and becomes an autonomous reality of esthetic character.

Unsurprisingly, in the Middle Ages, the Bible constitutes the crucial source of inspiration for French literature. Authors compose paraphrases and long poems based on Biblical motifs. There appear mystery plays, with their performance often spread over a number of days. In the XVI century, both Catholics and Protestants produce a number of translations of the Holy Scriptures. There appear poetic pa- raphrases of psalms, and also extensive epic poems adopting various Biblical threads. In the XVII century, the genre of poetic meditation appears in addition to the genres already mentioned. On the other hand, the kind of drama based on Biblical themes is in retreat; it finds refuge in the academic theater, when it becomes superseded by works of the classicist character. In the beginning of the XVIII cen- tury, some scholars try to demonstrate the religious character of the works of Antiquity.

Together with the rationalism of Enlightenment, there appears a new attitude towards the Bible. In Voltaire, the Bible is an object of attacks and of ridicule. In Rousseau, it is a paradigm for the kind of discourse that is supposed to take its place. In Romanticism, we can observe the influence of the Bible over both Christian and non-Christian writers. In the works of the latter, the poet becomes a mystagogue interpreting the old myths. The Bible influences poetry; it serves as a stylistic and esthetic model, as a source of themes and motifs, and also as a point of reference for poems in the philosophy of history with the pantheistic or else progressist and utopic message, and for non-Christian apocrypha. In Symbolism, the Bible becomes completely despoiled of its religious value. It is being used in entirely atheistic and subjectivist ways. By the end of the XIX century, and in the first half of the XX century, we observe in France some kind of Catholic renaissance. The Bible is present in the prophetic works of Le'on Bloy. It becomes the object of the exegetical work of Claudel, of the poetry of Jouve and P. Emmanuel. In non-Christian writers in loses its function of the book of faith and becomes a book of myths.