История на философията

This study examines the shift in the prosecutorial strategy of Ernest Pinard in the cases against Gustave Flaubert (“Madame Bovary”) and Charles Baudelaire (“Les Fleurs du mal”), offering an interpretation that explores the ways in which legal professionals read literary works. Using examples such as the poet-detective Gabriel Syme, a character in G. K. Chesterton’s “The Man Who Was Thursday”, and the investigating monk William, a character in Umberto Eco’s “The Name of the Rose”, the article investigates potential connections between poetry and law. These connections create legal spaces where both laughter and music become possible. Particular attention is given to the relationship between text and music within the framework of court proceedings (the so-called “courtroom acoustics”) as well as in the formation of judicial practice (understood as a harmonious performance).

The article analyzes allegories and metaphors in Franz Kafka’s “Before the Law.” The literary text is interpreted through the philosophical lenses of Giorgio Agamben, Jacques Derrida, Hannah Arendt, Slavoj Žižek, and Gershom Scholem. The central motif of the “door” is explored as a symbol of access to law and as a dual phenomenon of transcendence and immanence. The ambivalence of law is examined as well. On the one hand, it is read as a sacred, inaccessible authority (in the eyes of the man from the country). On the other, the law is interpreted as an intrusive force in everyday life (as exemplified by the judge’s repeated incursions into the painter’s studio). The present analysis links Kafka’s vision of law to the structural ambiguities of the legal system and the tension between legality and justice.

The following text attempts to reconstruct the notion of the highest good in the first two parts of chapter “C. Morality” of Hegel’s “Phenomenology of Spirit” – “The Moral View of the World” and “Dissemblance.” The main argument of the present article is that Hegel does not reject or negate Kant’s propositions on the highest good or the notion itself, as many scholars claim, but instead – he realizes its Aufhebung by integrating it into the logic of the dialectic. The analysis presented here shows that, by means of the strong rhetorical language used in these most dramatic pages of his fundamental text, Hegel focuses on the contradictions, reached by his predecessor from Königsberg and finds a path beyond them. Closely following their logic, he presents a new level of their complexity. His aim is to track the developments of thought and to open new aspects and possibilities for further approximation to the maximum of the highest good, which is itself a moral experience of the philosophical thought.

This article presents a brief theoretical introduction to Michel Foucault’s concept of “transgression.” The primary focus of the research is to examine how Foucault reconceptualizes the notion of transgression, ranging from the fields of the sacred to the ones of philosophy of language and of the ontology of literature. This analysis proposes a hypothesis concerning the existence of a specific form of literary transgression that opens new perspectives on the questions of literature. The study is centred on two key-texts by Foucault, written in the 1960s: “A Preface to Transgression” and “The Thought from Outside.”