Suchergebnisse

Obwohl die Geschichte der qualitativen Forschung schon mehr als ein Jahrhundert umfasst, erschienen die ersten Texte zur Bestimmung ihrer Methodologie erst in den 1960er Jahren. Der Aufsatz erforscht die Gründe für diese lange Verzögerung und fragt danach, warum die Soziologie, die sich so lange mit qualitativen Methoden und Techniken beschäftigt hatte, sich so wenig um die Ausbildung der Methodologie kümmerte. Nachdem er die Entwicklung der qualitativen Methoden und ihres Einsatzes in den gegenwärtigen Sozialwissenschaften skizziert hat, entwirft der Autor ein Bild der Zukunft qualitativer Forschung. Bei aller Vorsicht, mit der man solche Zukunftsszenarien betrachten sollte, kann man doch fünf mögliche Richtungen identifizieren: (a) die Formulierung zentraler Methoden; (b) die Entwicklung der Datenanalyse; (c) die Verbindung zwischen Computer und qualitativer Forschung; (d) die Notwendigkeit qualitativen Forschung in der multikulturellen Gesellschaft und (e) Folgen für die angewandte Forschung.

Im ersten Teil seines Beitrags umreißt der Verfasser die politischen Beweggründe der Totalitarismus-Debatten und wirft die Frage auf, ob der "klassische" Stalinismus das Signum "totalitär" rechtfertigt. Im zweiten Teil benennt er einige Probleme, die das Wiederaufleben der Totalitarismus-Debatte seit 1989 begleiten. Abschließend diskutiert er die Frage nach einer möglichen Renaissance des Totalitarismus als Realphänomen. Der Verfasser plädiert für eine Begrenzung des Totalitarismus-Ansatzes auf die Periode des Nazismus und des Hochstalinismus. (ICE2)

Renaissance Papers collects the best scholarly essays submitted each year to the Southeastern Renaissance Conference. The 2014 volume opens and closes with essays on historically based explorations of identity: the first on the circle of Jane Scroop in Skelton's 'Philip Sparrow', and the last on dogs and horses as symbols of national identity in early modern England. The heart of this year's journal is English drama, especially Jonson and Marlowe: there are essays on Puritan logic in Jonson's 'Bartholomew Fair'; grotesque sex in Jonson's 'Volpone'; the role of anti-Catholicism in the creation of Marlowe's 'Dr. Faustus'; and the relationship between puppetry and the Faust legend. Marlowe and Jonson also surface in two reconsiderations of their non-dramatic works; first an essay on Ovidian resonances in Marlowe's 'Hero and Leander', and second a reflection on Spenserian echoes in Jonson's 'Epode'. The next essay shifts to the poetics of religious literature, arguing for clothing as an important metaphor for renewal in Herbert's 'The Temple', and the penultimate essay addresses imaginative resources in the Martin Marprelate pamphlets

Considering such witnesses of the time as Shakespeare, Dante, Petrarch, Michelangelo, Machiavelli, Montaigne, More and Bacon, Agnes Heller looks at both the concept and the image of a Renaissance man. The concept was generalised and accepted by all; its characteristic features were man as a dynamic being, creating and re-creating himself throughout his life. The images of man, however, were very different, having been formed through the ideas and imagination of artists, politicians, philosophers, scientists and theologians and viewed from the different aspects of work, love, fate, death, frien

Renaissance Man is a mechanised figure, with casts of the artist's face, hands and feet, assembled around an aluminium trough with moving limbs. Two versions were commissioned in 2017 by Greene Naftali gallery and Piper Keys (supported by Elephant Trust). The works were concerned with two main, related, research concerns. The first was to develop a 'compulsive' anti-aesthetic, one that would challenge a contemplative, and class bound mode of artistic spectatorship, and to eschew a professionally slick and conceptually refined type of contemporary art whose surfaces exclude material slippage. In this respect horror, humour and 'idiocy' (see Kenning, 'You Cannot Be Serious! Art, Politics, Idiocy') were employed to produce something weird, crude and unnerving. The second research concern was to undermine the idealized, humanist model of intellectual progress, represented by the male modern artist, with his technical prowess and creative assertion of selfhood, and in its place to assert something more abject, compulsive and machinic, closer to the decentred and sexually determined subject put forward by psychoanalysis. In the work Kenning imagines himself metamorphosed into a mechanised animal, on all fours, locked in a single repetitive movement. He is rendered into what Jacques Lacan has called, in a reversal of Cartesian ontology, a 'jammed machine' (Seminar II). The artistically debased genre of kinetic art enabled a method of production whereby Kenning relinquished control over an array of compositional effects, focusing on getting the mechanism moving rather than on formal concerns. The finished sculptures displayed a compulsive character, embodying a 'weird', unnerving, somewhat crude (anti) aesthetic through seesawing and hinging movements and accidental sounds. The effect of this was witnessed in audience reactions to the work, which ran from laughter to wonder, anxiety to offence (Dan Graham: 'it's the most offensive work in the show!')

Renaissance Man is a mechanised figure, with casts of the artist's face, hands and feet, assembled around an aluminium trough with moving limbs. Two versions were commissioned in 2017 by Greene Naftali gallery and Piper Keys (supported by Elephant Trust). The works were concerned with two main, related, research concerns. The first was to develop a 'compulsive' anti-aesthetic, one that would challenge a contemplative, and class bound mode of artistic spectatorship, and to eschew a professionally slick and conceptually refined type of contemporary art whose surfaces exclude material slippage. In this respect horror, humour and 'idiocy' (see Kenning, 'You Cannot Be Serious! Art, Politics, Idiocy') were employed to produce something weird, crude and unnerving. The second research concern was to undermine the idealized, humanist model of intellectual progress, represented by the male modern artist, with his technical prowess and creative assertion of selfhood, and in its place to assert something more abject, compulsive and machinic, closer to the decentred and sexually determined subject put forward by psychoanalysis. In the work Kenning imagines himself metamorphosed into a mechanised animal, on all fours, locked in a single repetitive movement. He is rendered into what Jacques Lacan has called, in a reversal of Cartesian ontology, a 'jammed machine' (Seminar II). The artistically debased genre of kinetic art enabled a method of production whereby Kenning relinquished control over an array of compositional effects, focusing on getting the mechanism moving rather than on formal concerns. The finished sculptures displayed a compulsive character, embodying a 'weird', unnerving, somewhat crude (anti) aesthetic through seesawing and hinging movements and accidental sounds. The effect of this was witnessed in audience reactions to the work, which ran from laughter to wonder, anxiety to offence (Dan Graham: 'it's the most offensive work in the show!')

Beginning with the chapters on warfare in the first three volumes of the New Cambridge Modern History, Sir John Hale's writings on the subject present an original and rich assessment of war's place in Renaissance life and thought. The first section of this collection constitutes a major contribution to the study of Renaissance fortifications, their design, planning and execution, and their political as well as their military significance. The second deals with the recruitment and training of officers and men. In the third, contemporary reactions to war are analysed in a variety of social and i