A note on phi-contractions in probabilistic and fuzzy metric spaces

[EN] In a recent paper Fang (2015) [1], J.X. Fang generalized a crucial fixed point theorem for probabilistic phi-contractions on complete Menger spaces due to Jachymski (2010) [3]. In this note we show that actually Fang s theorem is an easy consequence of Jachymski s theorem. We also observe that the proof of a fixed point theorem for complete metric spaces deduced by Fang from his main result is not correct and present a new proof of it.Alegre Gil, MC.; Romaguera Bonilla, S. (2017). A note on phi-contractions in probabilistic and fuzzy metric spaces. Fuzzy Sets and Systems. 313:119-121. https://doi.org/10.1016/j.fss.2016.06.014S11912131

Remenadors de fang

Quina és la unitat de gestió

Diffeomorphisms of the circle and Brownian motions on an infinite-dimensional symplectic group

An embedding of the group \Diff(S^{1}) of orientation preserving diffeomorphims of the unit circle $S^1$ into an infinite-dimensional symplectic group, \Sp(\infty), is studied. The authors prove that this embedding is not surjective. A Brownian motion is constructed on \Sp(\infty). This study is motivated by recent work of H. Airault, S. Fang and P. Malliavin

Drugačni pristopi v obravnavi kitajske estetike: Fang Dongmei in Xu Fuguan

The article introduces Fang Dongmei’s and Xu Fuguan’s ideas about aesthetics and examines their different methodological approaches. Fang Dongmei and Xu Fuguan are both representatives of the second generation of Modern Taiwanese Confucianism. The fundamental goal of this significant movement is to re-evaluate and re-examine the profound contents of Chinese thought in contemporary socio-political conditions through a dialogue with Western philosophy. The representatives of Modern Confucianism of the 20th century hoped that the encounter with the Western intellectual tradition would serve as a platform for modernization of Chinese culture on the one hand, and as a way to achieve the recognition of the West for the profound value of the Chinese intellectual tradition on the other. Fang Dongmei was one of the first representatives of this movement who was trained in Western and Chinese philosophy, and hence built his own philosophical theory on the encounter of both, while Xu Fuguan was one of the first who engaged in a dialogue with the West in the field of Chinese aesthetics. The present article illuminates the profound differences in their basic methods: while Fang Dongmei’s elaboration upon Chinese art and aesthetics is based on philosophical and poetic approaches, Xu Fuguan’s comprehension is grounded on philological, historical and cultural analyses. The author argues that such mutual differences between their ideas show their reciprocal complementarity, which in turn provides a more profound and clear understanding of the specific spirit of Chinese art.Članek predstavi Fang Dongmeijevo in Xu Fuguanovo estetsko misel ter razišče njune različne metodološke pristope. Fang Dongmei in Xu Fuguan sta bila predstavnika druge generacije tajvanskega modernega konfucijanstva. Temeljni cilj tega pomembnega gibanja je bil na podlagi dialoga z zahodno filozofijo ponovno ovrednotiti in preučiti globoke vsebine kitajske misli v sodobnih družbeno-političnih razmerah. Predstavniki modernega konfucianizma 20. stoletja so upali, da bo srečanje z zahodno intelektualno tradicijo na eni strani služilo kot platforma za modernizacijo kitajske kulture, na drugi strani pa kot način doseganja prepoznanja vrednosti in vsebin kitajske intelektualne tradicije s strani Zahoda. Fang Dongmei je bil eden prvih predstavnikov tega gibanja, ki je bil izobražen v zahodni in kitajski filozofiji in ki je na podlagi sinteze med njima zgradil lastno filozofsko teorijo. Xu Fuguan pa je bil eden prvih, ki je vzpostavil dialog z Zahodom na področju kitajske estetike. Članek osvetli razlike v njunih osnovnih metodah: medtem ko je Fang Dongmeijevo proučevanje kitajske umetnosti in estetike temeljilo na filozofskih in poetičnih pristopih, Xu Fuguanovo temelji na filoloških, zgodovinskih in kulturnih analizah. Članek pokaže, da se razlike med njunimi idejami dopolnjujejo, kar posledično omogoča bolj poglobljeno in jasno razumevanje posebnosti duha kitajske umetnosti