Kosík’s work Dialectics of the Concrete (1963) attracted great attention both in Czechoslovakia and abroad. Jan Patočka was among those who responded to the book in 1960s. One of the reasons for his interest was the fact that Kosík used elements of Heidegger’s philosophy to overcome dogmatic Marxism. Patočka pointed out that Kosík had not adopted the ontological intention of Heidegger’s analyses of everydayness, which creates a certain tension in his work. Kosík’s dialectics of the concrete, which stems from an analysis of everyday practice, never became, in Patočka’s opinion, a dialectic of real life.

The author of the article contemplates about the selected works of the Slovak philosophers. She focuses on the reflection of their prevailing interest in the domain of art, precisely in the domain of literature. She points out the interconnection of philosophy and art, philosophy and literature; and also discusses the role of a creator and that of a recipient of philosophical and literary texts. The author remarks on the prospective character of uncovering new dimensions for a dialogue between an author and a reader.

The article deals with some problems that concern the reliability of scientific knowledge and the rationality of scientific theories’ acceptance. The central attention is paid to the discussion between realists and instrumentalists and the controversies over literally interpretation of theories and their ontological commitments. The author examines one famous argument for realism (no miracle argument). She engages in the problems to which the argument is exposed (the circularity and the pesimmistic induction) and considers the possibilities to avoid them. The author concludes by claiming that even though no offered strategy is able to withstand effectively the pessimism that arises fromthe history of science, there is no reason to reject the realistic thesis.

Love, universals, a new written source, deceit and treason – all of that can be seen in a play on the love affair between the philosopher Abélard and his conscientious student Heloise. A recently discovered letter of Abelard reveals that he actually never lost his manhood, but only pretended his bad luck to find peace and quiet for his philosophical contemplations on, among other things, universals.

A „dramatic humoresque“ – not exactly a truthful version of the clash of ideas of two major medieval Czech figures, John Huss and his philosophically more vigorous teacher Stanislav of Znoymo. In our version Huss invents the matches in order to set the world on fire and thus purify the church of evil – the audience and readers´ task is to find all historical and factual inaccuracies deliberately incorporated into the play.

The history of philosophy is dominated by men’s names – does that mean philosophy is inaccessible to women? Or could we even say that the woman is the philosopher’s enemy that hinders his intellectual efforts? Or is it the contrary, being the philosopher’s Muse, she helps promote philosophical thought? To answer these questions, the play offers four rather fictional stories about renowned philosophers and their significant others, drawing from Jiří Cetl’s work But they were philosophers... (Ale vždyť to byli filozofové..., Brno 2000). It introduces Socrates and his wife Xanthippa, Epicure and Athenian hetaerae, John Lock with a young French lady and finally Jean-Jacquesem Rousseau with his prospective wife and mother-in-law. The ultimate answer to the questions remains to be decided by the reader.

A detective story presenting a thought experiment from philosophy of mind that results in a hypothetical, extremely dangerous being – philosophical zombie – which looks and behaves just like any other person, but has no consciousness. The goal of the two detectives (René Descartes and Alan Turing) is to discover this mysterious and possibly undiscoverable creature before it dispatches the Swedish Queen.

This play offers a story from recent history, almost the present time (however a fictional one) as well as a serious, even tragic drama attempting to assess the rate of cooperation of the prominent German philosopher M. Heidegger with German war ideology and to suggest an adequate punishment.

This western-play introduces the clash between rationalism and empiricism of the Modern Period, embodied in the bloody battles between white settlers and Indians. As theplay is meant to be a tribute to E. Morricone´s film music, it is the music that wins the performed philosophical war.

Kamil, a not particularly reflective hero of this play, is just after his death faced with the question of what the good and the good life are. He gets the opportunity to do a good thing in one hour and thus avoid the Devil´s power. Kamil makes an effort using several personified ethical theories, but fails to find a clear and ultimate answer.

This children’s play attempts to show the audience the long and troublesome journey that the Platonist has to take to reach the genuine knowledge and find the goal of human life. All of the epistemic options offered by Plato are so uncertain that the happy ending of the journey to the true being (Platonic Forms) can only be ensured by one thing – a fairy tale.