The paper explores the notion of communicative success as a match between the speaker's communicative intention and the audience's interpretation. The first part argues that it cannot be generalized to all kinds of communication. The second part characterizes various types of relations between the speaker's and the audience's beliefs on which this kind of communicative success can be based. It shows that the requirements concerning agreement between these beliefs are rather modest.

Analogy is taken into consideration by its didactive and heuristic functions. Analogic changes are analyzed in the form of syntactic-semantic graphs. Their recognizable structural similarity corresponds to the syntax or semantics in the analogy. The concept of analogy has subjective and objective aspects. The explanation in analogies is a dynamic transition from one concept structure to another. The possibility of analogy in the world is a statement about the disposition of the world. The possibility of analogy asserts something about the behaviour of the environment. Analogy is considered as a means of explanation and a dynamic method of cognition.

The paper endeavours to identify three fundamental approaches to the depiction of the urban space. The first is that of the chronicling traveller, for whom thespace is always identified with the aid of events and operations which transmute into performative markings. This approach was replaced at the beginning of the modern period by representation in the form of the map. The third approach is Barthes' perceptions of the city as the Argo and of the urban centre as the place of encounter. Here the urban space is determined through the active participant in play and by his body.

Traditionally, the picture has been the archetype of all signs, even the word. Contemporary philosophy is beginning to doubt the traditional understanding of the sign as present existence which represents absent existence. The sign ceases to be limited to reference and retreats in favour of inference -that which surrounds the sign; that is to say, other signs. This trend is most apparent in the deconstruction of Jacques Derrida and is also implicit in Gombrich's Art and Illusion. The aim of the present study is to present a comparison of the views of Derrida and Gombrich

The paper offers a new model of genre. The model employs Deleuze and Guattari's concepts of plane of immanence, chaos, and, in particular, concepts and approaches of cognitive science. Genre in general and the film genre in particular are modelled as a multidimensional space with a network of vector sequences, as a plane of immanence with individual works in the role of concepts, as a cluster category without a centre. That genre model provides more explanatory power than the recent semantic-syntactical one.

The paper analyses the model as an artefact sui generis establishing the role of semiosis, as a homomorphic representation, as an artefact securing the function of an interface between the author and the receiver. The receiver's ability of accepting the model and its interpretation possibility and/or quality depends on the receiver's competence including the linquistic competence, his knowledge of the represented sphere and the knowledge of the applied sign system and its rules.

The essay investigates the possibility of a closer connection of Husserlian phenomenology and that tradition in semiotics of art which originates mainly withSchelling and Goethe. The affinity between semiotically approached tropology and phenomenology is supported if a symbol is conceived not only as an analogy of the designated, but also as its direct grasping. This grasping shows some features of rational contemplation as understood by phenomenology. Modelling symbol as a synthetic trope enables us to proceed to the model of an "artistic situation" as a square generated by a decomposition of the triangle of reference. The complexity of the processes within the "square" results from a fusion of the effects of the linear, natural circuit and the feedback, culturally historical circuit.

We prove the following preservation theorem for the Horn fragment of Equality-free Logic:Theorem 0.1. For any sentence σ ϵ L, the following are equivalent:i ) σ is preserved under Hs , Hs -1 and PR .i i ) σ is logically equivalent to an equality-free Horn sentence.

Most philosophers of mind nowadays espouse two metaphysical views: Nonreductive Physicalism and the causal efficacy of the mental. Nevertheless, this position is threatened by a number of serious difficulties. In this paper, I propose a metaphysical account of functional properties and show how this proposal is able to overcome some of these difficulties, in particular, some recent arguments against the causal efficacy of multiply realized properties. However, in the second part of the paper an objection against this proposal is raised and, after a detailed discussion of it, the conclusion reached is that the prospects for a functionalist nonreductive metaphysics of the mind which affords causal powers to the mental seem certainly dim.

Mental causes are threatened from two directions: from below, since they would appear to be screened off by lower-order, e.g., neural states; and from within, since they would also appear to be screened off by intrinsic, e.g., syntactical states. A principle needed to parry the first threat -causes should be proportional to their effects- appears to leave us open to the second; for why should unneeded extrinsic detail be any less offensive to proportionality than excess microstructure? I say that the second threat relies on a perversion of proportionality that would lay waste to all causal relations.