Typing knowledge is capable to resolve Fitch’s knowability paradox. As I have argued elsewhere, Russellian typing knowledge is immune to the recently raised criticism of the typing approach. This paper focuses on a special form of the criticism proposing a revenge problem raised by Williamson, Hart and also Carrara with Fassio. The basic idea of the revenge Fitch’s paradox employs quantification over type levels. However, the formalism used by the critics is ambivalent. I concentrate only on its two most probable readings, explaining also quantification over types and quantification over orders. As I show in details, if such readings went through, they would violate the typing rules in a direct manner. Hence, there is no revenge for the Russellian typing approach to Fitch’s knowability paradox., Znalost psaní je schopna řešit paradox paradigmatu Fitch. Jak jsem se dohadoval jinde, znalosti ruského psaní jsou imunní vůči nedávno vznesené kritice přístupu k psaní. Tato práce se zaměřuje na speciální formu kritiky, která navrhuje, aby se Williamson, Hart a Carrara s Fassiem pokusili o pomstu. Základní myšlenka pomsty Fitchova paradoxu využívá kvantifikaci nad úrovněmi typu. Formalizmus použitý kritiky je však dvojznačný. Soustředím se pouze na dvě nejpravděpodobnější hodnoty, vysvětlující také kvantifikaci nad typy a kvantifikaci nad zakázkami. Jak ukážu podrobně, pokud by takové čtení proběhlo, porušily by pravidla psaní přímo. Není tedy pomsta za Russellianský typizační přístup k paradoxu znalostí Fitch., and Jiří Raclavský
The main aim of this article is to present a new interpretation of the decoration of the lateral facade of the Augustinian Church of St Thomas in the Lesser Town of Prague, which was created during the reconstruction of the church by its architect Kilián Ignác Dientzenhofer in the first third of the 18th century. Drawing on recently discovered sources, it provides a new interpretation of the emblematic decoration of the portal of the lateral facade, both in the context of the painted decoration of the church interior and in relation to the social and theological conditions of the time. In particular, it proposes an interpretation of the four metopes in the entablature of the Doric order, for which the author or commissioner of the Baroque rebuilding of the church probably found inspiration in the emblematic album Devises et Emblèmes Anciennes & Modernes by the late 17th-century French writer and emblematist Daniel de La Feuille, on the basis of which the symbolism of these four metopes can be interpreted. The meaning of these four metopes is then related in the context of the entire decoration of the lateral facade of the temple also within the symbolism of the columnar orders, in this particular case the use of the Doric order. As it appears, the entire decoration of the lateral facade was systematically and purposefully chosen by the architect and contains extraordinary Christological symbolism that may be hidden to the modern observer at first glance.
Cílem příspěvku je prokázání nesprávného vysvětlení počátků Trutnova, které bylo v minulém roce podáno v Archeologických rozhledech v článku „Nad počátky Trutnova a jeho pivovarnictví“. Spor o patronátní právo ke kostelu ve Starém Trutnově mezi panovníkem a zderazským klášterem, který se odehrál v letech 1358–1360, je klíčem k pochopení písemností, kterými klášter hájil svá práva. Rozbor jejich obsahu dává možnost zpětně rekonstruovat vývoj církevní správy na Trutnovsku a s ní i objasnit počátky staré Úpy a založení Nového Trutnova. and The aim of the work is to demonstrate the inaccuracy of the explanation regarding the beginnings of Trutnov presented last year in Archeologické rozhledy. The dispute over the patronal right to the church in Old Trutnov between the king and the Zderaz monastery in 1358–1360 is the key to understanding the documents with which the monastery defended its rights. An analysis of the documents enables a reconstruction of the development of Church administration in the Trutnov region and helps clarify the beginnings of the town of Trutnov itself.