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In: Curriculum inquiry: a journal from The Ontario Institute for Studies in Education of the University of Toronto, Band 7, Heft 2, S. 107-120
ISSN: 1467-873X
In: Curriculum Inquiry, Band 7, Heft 2, S. 107
In: Praxis international: a philosophical journal, Band 4, Heft 1, S. 1-14
ISSN: 0260-8448
Shierry Weber ("Aesthetic Experience and Self-Reflection as Emancipatory Processes: Two Complementary Aspects of Critical Theory" in O'Neill, John [Ed], On Critical Theory, New York, 1976) suggests that two concepts have been in tension throughout critical theory's development: aesthetic experience as prefiguring redemption, & rational self-reflection as a tool in the struggle for redemption. While Jurgen Habermas has clearly been committed to the second tendency, he has shown concern with aesthetic issues in recently published works. A reading of these works, however, leaves their success in incorporating an aesthetic rationality into the project of critical theory undemonstrated. W. H. Stoddard.
In: Telos, Heft 75, S. 103-123
ISSN: 0040-2842, 0090-6514
Examined are the aesthetic theories found in the work of Fredric Jameson (eg, see The Political Unconscious: Narrative as a Socially Symbolic Act, Ithaca: Cornell U Press, 1981) & Jurgen Habermas ("Modernity versus Postmodernity" [see SA 30:4/82M4714]). Both authors offer aesthetic theories that retreat from the dialectic in Theodor W. Adorno's interpretation of modern artworks (in Ashton, E. B. [Tr], Negative Dialects, New York: Seabury Press, 1979), which posits that modernist works of art are both autonomous & social. Jameson's analysis of the symbolic structure of aesthetic artifacts is found wanting, as is his reduction of aesthetic experience to ideology. Habermas defends an enlightened project of modernity against the threats of postmodernity, & denies the legitimacy of autonomous art for any rationally organized society. It is concluded that the two aesthetic theories are symptoms of the postmodern condition rather than diagnoses of the problems of art in postmodernity. W. Howard
In: Springer eBook Collection
I Introduction and Foundational Issues -- 1 An Introduction to Existential-Phenomenological Thought in Psychology -- 2 Psychology and the Attitude of Science -- 3 Phenomenological Research Methods -- II Classical Topics in Psychology -- 4 Brain, Body, and World: Body Image and the Psychology of the Body -- 5 Approaches to Perception in Phenomenological Psychology: The Alienation and Recovery of Perception in Modern Culture -- 6 Learning and Memory from the Perspective of Phenomenological Psychology -- III Development, Emotion, and Social Psychology -- 7 A Phenomenological Approach to Child Development -- 8 An Empirical-Phenomenological Investigation of Being Anxious: An Example of the Phenomenological Approach to Emotion -- 9 The Social Psychology of Person Perception and the Experience of Valued Relationships -- IV The Clinical Area -- 10 Personality and Assessment -- 11 Demystifying Psychopathology: Understanding Disturbed Persons -- 12 Psychotherapy and Human Experience -- V Explorations of Central Life Issues -- 13 Transformation of the Passions: Psychoanalytic and Phenomenological Perspectives -- 14 The Psychology of Forgiving Another: A Dialogai Research Approach -- 15 Aesthetic Consciousness -- VI Transpersonal Psychology -- 16 The Emergence of Transpersonal Psychology -- 17 Basic Postulates for a Transpersonal Psychotherapy -- 18 Transpersonal Psychology: Promise and Prospects -- 19 The Imagery in Movement Method: A Process Tool Bridging Psychotherapeutic and Transpersonal Inquiry -- 20 States of Consciousness and Transpersonal Psychology -- Name Index.
Lord I'm Coming Home focuses on a small, white, rural fishing community on the southern reaches of the Great Dismal Swamp in North Carolina. By means of a new kind of anthropological fieldwork, John Forrest seeks to document the entire aesthetic experience of a group of people, showing the aesthetic to be an "everyday experience and not some rarefied and pure behavior reserved for an artistic elite." The opening chapter of the book is a vivid fictional narrative of a typical day in "Tidewater," presented from the perspective of one fisherman. In the following two chapters the author sets forth the philosophical and anthropological foundations of his book, paying particular attention to problems of defining "aesthetic," to methodological concerns, and to the natural landscape of his field site. Reviewing his own experience as both participant and observer, he then describes in scrupulous detail the aesthetic forms in four areas of Tidewater life: home, work, church, and leisure. People use these forms, Forrest shows, to establish personal and group identities, facilitate certain kinds of interactions while inhibiting others, and cue appropriate behavior. His concluding chapter deals with the different life cycles of men and women, insider-outsider relations, secular and sacred domains, the image and metaphor of "home," and the essential role that aesthetics plays in these spheres. The first ethnography to evoke the full aesthetic life of a community, Lord I'm Coming Home will be important reading not only for anthropologists but also for scholars and students in the fields of American studies, art, folklore, and sociology.
In: Cambridge studies in social and cultural anthropology 27
Anthropologists, in studying other cultures, are often tempted to offer their own explanations of strange customs when they feel that the people involved have not given a good enough reason for these customs. The question how the anthropologist can justify interpretations of customs which go beyond those offered by the people themselves runs through this book. The book focuses on the various interpretations that have been offered by anthropologists of ritual and symbolism. It offers a critical discussion of theories in this field in general, identifying their strengths and weaknesses when applied to the particular case of puberty rituals in a West Sepik village in Papua New Guinea. It then goes on to suggest an alternative approach, which draws on aesthetic as well as anthropological theory, and pays particular attention to the emotional and aesthetic experiences of people as they perform the rites
In: Cahiers du monde russe et soviétique, Band 32, Heft 2, S. 197-208
Larisa Volpert, The ludic aspects of Pushkin 's creative activity and the French literature.
The ludic aspects of Pushkin's creative activity are linked both to the specificity at the time of Russian literary life and the originality of the process of thought of the poet who assimilated the French literary traditions. These aspects constitute an important preliminary stage in the formation of Pushkin's creative genius. The various forms of assimilation of French literary psychological traditions (epistolary « puns », « masks » and literary ludic « roles », attitudes modelled on romantic structures, resort to literary pseudonyms, etc.) have contributed to the narrative objectivisation of the writer and helped him to master the plurality of « views », to orchestrate styles and enrich the psychological and aesthetic experience essential to the making of an « omniscient author ».
In: Analecta Husserliana, The Yearbook of Phenomenological Research 24
Foreground -- I / The Creative Act as the Point of Phenomenological Access to the Human Condition -- II / The Structure of the Present Work -- III / Man-The-Creator and His Triple Telos -- The First Panel of the Triptych the Eros and Logos of Life within the Creative Inwardness -- The Outlines of an Inquiry -- I / The Emergence of the Problem of Creation: The Poet-Creator Versus the Philosopher -- II / Creative Reality -- III / The Factors in the New Alliance Between Man and the World -- The Theoretical Results of Our Analyses and the Perspectives they Open the Creative Context -- Concluding by Way of Transition to the Central Panel of the Triptych -- The Central Panel of the Triptych (Panel Two) the Origin of Sense The Creative Orchestration of the Modalities of Beingness within the Human Condition -- One the Creative Context as Circumscribed by the Creative Process — its Roots "Below" and its Tentacles "Above" the Life-World: Uncovering the Primogenital Status of the Great Philosophical Issues -- I / Art and Nature: Creative Versus Constitutive Perception -- II / The Below and the Above of Creative Inwardness: The Human Life-World in its Essential New Perspective -- III / The Creative Process And The "Copernican Revolution" In Conceiving The Unity Of Beingness: The Creative Process As The Gathered Center and Operational Thread of Continuity among All Modalities of Being in the Constructive Unfolding of Man's Self-Interpretation-in-Existence -- Two the Trajectory of the Creative Ciphering of the Original Life Significance: The Resources and Architectonics of the Creative Process -- I / The Incipient Phase of the Creative Process -- II / The Creative Trajectory Between the Two Phases of the Life-World -- III / The Passage from the Creative Vision to the Idea of the Creative Work -- IV / Operational Architectonics of the Surging Creative Function in the Initial Creative Constructivism -- V / The Architectonic Logic in the Existential Passage from the Virtual to the Real — The Will -- VI / The Intergenerative Existential Interplay in the Transition Phase of Creativity -- Coda / Conclusive Insights into the Question of "Reality" as the Outcome of Our Foregoing Investigations -- Three the Creative Orchestration of Human Functioning: Constructive Faculties and Driving Forces -- I / The Surging of the Creative Orchestration within Man's Self-Interpretation-In-Existence: Passivity Versus Activity; The Spontaneous Differentiation of Constructive Faculties and Forces -- II / Imaginatio Creatrix: The "Creative" versus the "Constitutive" Function of Man, and the "Possible Worlds" -- Four the Human Person as the All-Embracing Functional Complex and the Transmutation Center of the Logos of Life -- I / The Notion of the "Human Person" at the Crossroads of the Understanding of Man within the Life-World Process -- II / The Moral Sense of Life as Constitutive of the Human Person -- III / The Poetic Sense: The Aesthetic Enjoyment which Carries the Lived Fullness of Conscious Acts -- IV / The Intelligible Sense in the Architectonic Work of the Intellect -- Notes -- Index of Names -- Index of Subjects -- Table of Contents to Book 2 (The Third Panel of the Triptych).
In: Analecta Husserliana, The Yearbook of Phenomenological Research 27
"Back to Man Himself": The Philosophical Inspiration of Zurab Kakabadze -- I Historical Origins Revisited -- The Phenomenological Ontology of the Göttingen Circle -- II Man Constituting His Life-World: The Origin of Sense, Meaning, Objectivity, Transcendental Consciousness and Actual Existence -- The Formation of Sense and Creative Experience -- The Interrogation of Perceptive Faith -- The Concept of Attitude in Edmund Husserl's Philosophy -- Delineation and Analysis of Objectivities in Edmund Husserl's Phenomenology -- Meaning as the Reality of the World -- III Constitutive Consciousness, Transcendendentalism, and the Problem of "Actual Existence" -- Controversy about Actual Existence: Anna-Teresa Tymieniecka's Contribution to the Study of Roman Ingarden's Philosophy -- An Attempt to Reconcile Intersubjectivity with Transcendental Idealism in Edmund Husserl's Works -- The Ingarden-Husserl Controversy: The Methodological Status of Consciousness in Phenomenology and the Limits of the Human Condition -- Husserl's Transcendental Paradox and an Attempt at Overcoming It -- On Some Presuppositions of Husserl's "Presuppositionless" Philosophy -- IV Human Existence in its Moral Significance: The Origins of Morality, Values, Foundations -- Man's Existence in the Realm of Values -- The Ontology of Values: From Neo-Kantianism to Phenomenology -- Ontological Bases of Morality: Moral Realism and Phenomenological Praxeology -- Meaning in the Social World: A-T. Tymieniecka's Theory of the Moral Sense -- On Responsibility -- V The Aesthetic Significance of Life: Ontology, Aesthetic Perception, Hermeneutics, and the Life of the Work of Art Reflecting the Deepest Concerns of a Culture -- "What Is Our Life?" Cultural History and Aesthetic Experience in Literary Reception -- The Aesthetic Core of the Work of Art: The Boundaries of Its Phenomenological Description -- Victor Iancu's Phenomenology of Art -- The Ontology of Objects in Ingarden's Aesthetics -- De Interpretatione: New Creative and Existential Dimensions of Hermeneutics in Post-Modernism -- The Reception in Polish Literature of Roman Ingarden's Theory of Painting -- Common Humanity and the Present-Day Romanian Novel (Reflection and Refraction) -- VI Thought and Language -- Literary Semantics and the Concepts of Meaning and Sense -- The Limit and Reaching Beyond a Philosophico-Philological Investigation -- No Thinking Without Words -- On Roman Ingarden's Semiotic Views: A Contribution to the History of Polish Semiotics -- VII Prospects for an Adequate Phenomenological Anthropology: The Search for a "Method", the Natural World, Man's Self-Understanding -- Phenomenology and Self-Understanding in the Modern World: The Crisis of Modernity and the Possibility of a New and Critical Anthropology -- Un philosophe du monde naturel: Jan Pato?ka (1907–1977) -- The Creative Explosion of the Life-World in Schizophrenic Psychosis: Its Import for Psychotherapy -- Phenomenology as the Method of Contemporary Philosophical Anthropology -- VIII Man's Historical Existence and the Life of the Spirit: Teleology, the Other, Freedom -- The Teleological Structure of Historical Being (The Analysis of the Problem Made in Husserl's Work, Crisis in European Science and Transcendental Phenomenology) -- Husserl and Heidegger: Phenomenology and Ontology -- On the Paths of Cartesian Freedom: Sartre and Levinas -- Bibliographies -- Bibliography of Phenomenology in Poland -- Bibliography of Phenomenology in Yugoslavia -- Supplementary Bibliography of Phenomenology in Yugoslavia -- Index of Names.
In: Springer eBook Collection
I. Irony -- A. Irony and the Concept in The Concept of Irony -- B. Irony as a Measurement and Tool in the Analysis of the Aesthetic Life-View -- II. Anxiety -- A. Anxiety in The Concept of Anxiety -- B. The Concept of Anxiety in Kierkegaard's Other Writings -- C. The Idea of Anxiety. The Experience and Structure of Anxiety -- D. Attitudes toward Anxiety -- E. Anxiety and the Aesthetic Life-View -- III. Melancholy -- A. The Term "Melancholy" -- B. Melancholy in Either/Or -- C. Melancholy in Repetition and Stages -- D. Towards a Concept of Melancholy -- IV. Despair -- A. Preliminary Considerations -- B. Despair in Either/Or -- C. Despair in The Sickness Unto Death -- D. The Idea of Despair -- E. Despair and the Aesthetic Life-View -- V. The Moods and Subjectivity of the Young Aesthete Johannes -- A. Johannes' Irony -- B. His Anxiety -- C. His Melancholy -- D. His Despair -- E. Dialetic of Moods in Johannes -- VI. The Dialectic of Moods -- A. Defining "Mood" -- B. The Crisis-Sequence -- C. Interrelationships -- D. Function of Moods in Emerging Religious Subjectivity -- E. Moods and Life-Views -- VII. From Victim to Master of Moods: Towards the Christian Life-View -- A. Preliminary Considerations -- B. Life-View in From the Papers of One Still Living -- C. Life-View in The Book on Adler -- D. Life-View in Either/Or, Stages and the Postscript -- E. Life-View in the Papirer -- F. The Meaning of Life-View -- G. The Aesthetic Life-View Exposed -- Conclusion -- Selected Bibliography.
Preface: Knowing how people eat-their foods, preparation styles, and dining customs-helps us understand style of food preparation, a cuisine profile of a culture, the physical how they live. Not merely a is the culinary and gastronomic and behavioral expression of a culture's social and aesthetic values. A cuisine has a dynamic relationship with its time, and historical cuisines also relate to our own time: an understanding of food in history better enables us to interpret and even influence current food styles and patterns. Yet the researcher interested in historical cuisines faces a dilemma: how to conduct historical studies of the subject. Although we have methods for studying the chemical, nutritional, economic, and social aspects of food, we lack methods for studying historical cuisines or for defining the aesthetic and stylistic aspects of a cuisine. Most historical research centered on food has employed agricultural economics in relating food production data to a general nutritional status, while most research on food in culture has studied food habits with the objective of improving nutritional status. American food seems to have been especially neglected in the al ready scanty store of historical food studies, and almost all of the American studies have examined folk or ethnic food. Because so few studies of food history or of cookery styles have been conducted, we lack what might be termed a "body of knowledge." Food history has no orderly scholarly arena, no discipline. One reason for the lack of systematic studies of food in history is an aversion among many scholars in food and nutrition to "cuisines," to the stylistic and aesthetic aspects which might seem merely decorative aspects of man's diet. Another reason is a lack of training among those professionals in humanistic disciplines. But an overriding reason for the absence of scholarly histories of cuisines is the temporal, transitory nature of a cuisine. If we compare cuisines with related popular arts such as costume, textiles, and home furnishings, a distinction quickly emerges: costumes, textiles, but food does not. and furnishings may survive as extant artifacts, However humble or grand, a meal is prepared to be consumed. In no way can we study a meal of the past firsthand; in no way can we know with certainty what tastes, textures, and smells met our ancestors at the dinner table. Descriptions and pictures of a meal reveal no more about a dining experience than descriptions and pictures of a musical event bring us the sounds or the experience of listening. Food in seventeenth-century Virginia serves well as a test subject for a historical method. Historians traditionally have neglected daily life and common people in studies of that period, concentrating instead on politics and the elite. More recently, historical archaeologists and scholars in material culture have begun investigating the realm of daily experience in which food figures importantly, but they have discovered little about the stylistic and aesthetic aspects of the cuisine. This study begins to address those two problems: the need for a method for studying historical cuisines, and the unanswered questions about Virginia's early cuisine. Although the method developed and tested in this study proved complex and demanding, it also brought rewards. Working across disciplines and using three categories of research sources-artifacts, documents, and iconographic records-proved especially helpful in uncovering and sifting data. Much was revealed about the physical context of Virginia's seventeenth-century cuisine: the available foods, the cooking and dining equipage. Aesthetic values were explained to some extent, as were dining customs. But the absence of primary recipe books, the dearth of information about seventeenth-century women, and our general ignorance of daily life during that century hindered discovery of the activities relating to food-the techniques and procedures for preparing, cooking, storing, and serving food. Additional studies, new sources, and refined methods may begin to unlock even those mysteries. ; Ph. D.
BASE
In: Modern Asian studies, Band 24, Heft 2, S. 209-224
ISSN: 1469-8099
This paper is about the emergence of new political idioms in the late eighteenth and early nineteenth centuries in Britain, and how this was closely involved with the complexities of British imperial experience in India. In particular, I shall concentrate on the radical rhetoric of Utilitarianism expressed by Jeremy Bentham, and especially by James Mill. This rhetoric was an attack on the revitalized conservatism of the early nineteenth century, which had emerged in response to the threat of the French revolution; but the arena for the struggle between this conservatism and Utilitarianism increasingly became defined in relation to a set of conflicting attitudes towards British involvement in India. These new political languages also involved the formulation of aesthetic attitudes, which were an important component of British views on India. I shall try to show how these attitudes, or what we might call the politics of the imagination, had a lot to do with the defining of cultural identities, with which both political languages were preoccupied.
In: Water and environment journal, Band 5, Heft 3, S. 283-292
ISSN: 1747-6593
AbstractThe paper describes the background for, and the magnitude of, the unusual peak water demand (during the Haj season) in Muna and the Holy Environs of Makkah. It then summarizes the various conceptual designs of storage alternatives, which led to the selection of the 'bulk storage'concept at high elevations in the surrounding hills, commanding the project area by gravity.The objectives of the scheme were (a) elimination of operational and maintenance requirements during the peak demand season, (b) reduction of construction costs, and (c) aesthetic harmony with the surrounding environment.A detailed description of the design of all the components of the two reservoirs covers: location, shape, dam section, flood protection, pipeworks, roof structure, and waterproofing, as well as the mode of operation.Finally, the paper describes the experience associated with the first commissioning of bulk storage reservoir No. 2, and the measures that were introduced to improve the performance of the water‐proofing membrane utilized in the reservoirs.