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This paper is an analysis of Thomas Metzinger’s self-model theory of subjectivity (SMT). Metzinger claims that beyond the biological organism and its properties, there is no individual and distinct entity that can be regarded as “self”. What really exists is the phenomenal sense of being self, which creates the illusion of the existence of something permanent. Taking the concepts of David Hume and certain early Buddhists thinkers as his starting point, Metzinger claims that during introspection, which is a type of phenomenal experience, we find nothing stable, but only impermanent impressions. As he argues, this hypothesis is supported by empirical neuroscience research, which should be considered when studying human subjectivity. Drawing extensively from the results of science and philosophy of mind, he proposes a concept of a phenomenal self-model (PSM). The PSM integrates information about the whole biological organism and makes it available from the first-person perspective.

The first part of the paper presents the key issues of the SMT and the four aspects of Metzinger’s critique of the concept of the substantial self. The paper also offers a critical analysis of some of Metzinger’s ideas. The second section discusses the common features as well as differences between the SMT and the Buddhist concept of non-self (s. anātman, p. anattā). It also aims to analyse certain problematic issues of the notion of anattā and demonstrate some of the challenges connected with the use of a comparative method.

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Technological change has impacted orchestral music for over a century, with the demise of orchestral concert audiences in their familiar form being considered by some at various times to be under threat. Access for classical music audiences however has increased over recent decades through radio, albums, and tapes/CDs/DVDs, thereby increasing the potential for large increases in classical music listener/viewer audiences. In the case of albums and tapes/CDs/DVDs, audiences have control over what and when they tune in, whereas in the case of radio, the schedule is fixed for them. Besides, in-hall audiences, adjusted for population, at orchestral concerts in Germany and Poland have been increasing, but a small number of orchestras in each country dominate. Technology has now made possible, through the live streaming of concerts, not just into cinemas and similar venues but also directly into homes, a potential substantial increase in live listening/viewing audiences; the Berliner Philharmoniker is leading the way in this regard.

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Polish filmmaker Andrzej Żuławski made Possession (1981) after his self-exile in France and the great success of The Most Important Thing: Love (L'important c'est d'aimer, 1975). Set in West Berlin, Possession explores Anna and Mark’s marriage dissolution into chaos, and, in that sense, it is a domestic drama, full of political connotations implanted by the constant depiction of the Wall. However, due to its puzzling story that includes violent fights, unexpected killings, inexplicable doppelgängers, hysterical performances, and a notorious miscarriage scene in a subway station, somehow explaining the presence of the film’s polymorphic monster, Possession is often limited to the genre of horror, and its complexity is overlooked. Indeed, the state of Possession is pandemonium, and Żuławski’s anarchic artistic mentality, attracted by a turbulent directorial approach, only intensifies the sense of disintegration, despair, and horror in the film. But chaos only rules in a well-designed form, as little seems incidental in Żuławski’s compositions. Taking a closer look, one can observe a solid geometry that divides the cinematic space while imprisoning the protagonists into two separate worlds that do not communicate. Division, therefore, becomes a kind of ‘leitmotif’ in Possession, present in Anna and Mark’s alienated relationship, in the characters’ contrast between themselves and their doppelgängers and, finally, in the partitioning of Berlin.

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Trzydzieści trzy opowiastki o Mulle Nasreddinie pochodzą z dwutomowego anonimowego zbioru Mollā Nasroddin wydanego w Teheranie w 1971 roku.

Mułła Nasreddin, znany także jako m.in.: Hodża Nasreddin, Nasreddin Efendi, Hodża ar-Rumi, to domorosły filozof, mistyk, najmądrzejszy wśród najgłupszych i najgłupszy wśród najmądrzejszych, przechera, szachraj, trefniś, żartowniś, innymi słowy, trickster, którego przygody krążą w postaci anegdot i opowiastek od Anatolii po Azję Środkową. Wiele nacji uznaje go za swojego przedstawiciela, a badacze wciąż poszukują pierwowzoru jego postaci. Polskim czytelnikom znany dobrze dzięki twórczości Zdzisława Nowaka (1930–1995), wieloletniego redaktora miesięcznika Świerszczyk, czy Idriesa Shaha (1924–1996), brytyjsko-afgańskiego propagatora muzułmańskiego mistycyzmu (sufizmu).