Información de la indexación
|
|
111 Documentos en la biblioteca con la clasificación 111.85 (53)
Crear una solicitud de compra Refinar búsqueda
TÃtulo : A Philosophical History of Documentary, 1895–1959 Tipo de documento: documento electrónico Autores: Geva, Dan, Mención de edición: 1 ed. Editorial: [s.l.] : Springer Fecha de publicación: 2021 Número de páginas: XIII, 393 p. ISBN/ISSN/DL: 978-3-030-79466-8 Nota general: Libro disponible en la plataforma SpringerLink. Descarga y lectura en formatos PDF, HTML y ePub. Descarga completa o por capítulos. Idioma : Inglés (eng) Palabras clave: Estética OntologÃa PelÃculas documentales Estudios Documentales Clasificación: 111.85 Resumen: In response to numerous assertions by filmmakers and scholars that documentary is past or beyond definition—as if it functioned as an aesthetic strait-jacket—Dan Geva offers an emphatic and compelling NO! Rather, he asserts that the issue of definition consistently hovers over both scholarship and production of documentary. In this volume, Geva opens up, through lucid philosophical investigations of filmmakers'' writings and films, the definitions that emerge in their work. By attending to both their cultural and historical particularity as well as their function as a single transhistorical enunciation, Geva speaks to the extraordinary range of practices and thought that existed between 1985-1959 while maintaining that there is such a thing as ''documentariness.''" —Joshua Malitsky, Associate Professor, Cinema and Media Studies/The Media School and Director, Indiana University Center for Documentary Research and Practice, Indiana University, USA "In an age when the concepts of ''fact'' and ''science'' have become focal points of political controversy, Dan Geva''s meticulous historical exploration of the ethical implications of the very idea of ''documentary'' film are especially useful for documentarians, film historians and media theoreticians alike." —Julia Leasage, Professor Emerita, English Department, University of Oregon, USA This book presents a chronology of thirty definitions attributed to the word, term, phrase, and concept of "documentary" between the years 1895 and 1959. The book dedicates one chapter to each of the thirty definitions, scrutinizing their idiosyncratic language games from close range while focusing on their historical roots and concealed philosophical sources of inspiration. Dan Geva''s principal argument is twofold: first, that each definition is an original ethical premise of documentary; and second, that only the structured assemblage of the entire set of definitions successfully depicts the true ethical nature of documentary insofar as we agree to consider its philosophical history as a reflective object of thought in a perpetual state of being-self-defined: an ethics sui generis. Dan Geva is an associate professor at Beit-Berl college, a research fellow at the University of Haifa, an award winning documentarian, and founder of "The Ethics Lab" (CILECT, 2017). Nota de contenido: Chapter 1: Introduction. Chapter 2: 1895; The Lumière Brothers -- Chapter 3: 1896; Georges Méliès -- Chapter 4: 1898; BolesÅ‚aw Matuszewski -- Chapter 5: 1908; Burton Holmes -- Chapter 6: 1912; Edward Curtis et al -- Chapter 7: 1917-1921; Blaise Cendrars -- Chapter 8: 1922; Dziga Vertov -- Chapter 9: 1924; Robert Flaherty -- Chapter 10: 1926; John Grierson -- Chapter 11: 1927; Esphir Shub -- Chapter 12: 1928; Alexie Gan -- Chapter 13: 1928; Dziga Vertov -- Chapter 14: 1930; Jean Vigo -- Chapter 15: 1930; Joris Ivens -- Chapter 16: 1932; John Grierson -- Chapter 17: 1933; Oswell Blakeston -- Chapter 18: 1933; John Griersonv -- Chapter 19: 1933; Harry Bruce Woolfe -- Chapter 20: 1934; Leo Hurwitz -- Chapter 21: 1934; The All-Union Congress of Soviet Writers of 1934 -- Chapter 22: 1935; Paul Rotha -- Chapter 23: 1939; Joris Ivens -- Chapter 24: 1941; Humphrey Jennings -- Chapter25: 1942; Frank Capra -- Chapter 26: 1948; Amos Vogel -- Chapter 27: 1948; The World Union of Documentary -- Chapter 28: 1951; A. Nicholas Vardac -- Chapter 29: 1952; Alberto Cavalcanti -- Chapter 30: 1957; Lindsay Anderson -- Chapter 31: 1959; John Grierson. Tipo de medio : Computadora Summary : "In response to numerous assertions by filmmakers and scholars that documentary is past or beyond definition—as if it functioned as an aesthetic strait-jacket—Dan Geva offers an emphatic and compelling NO! Rather, he asserts that the issue of definition consistently hovers over both scholarship and production of documentary. In this volume, Geva opens up, through lucid philosophical investigations of filmmakers' writings and films, the definitions that emerge in their work. By attending to both their cultural and historical particularity as well as their function as a single transhistorical enunciation, Geva speaks to the extraordinary range of practices and thought that existed between 1985-1959 while maintaining that there is such a thing as 'documentariness.'" —Joshua Malitsky, Associate Professor, Cinema and Media Studies/The Media School and Director, Indiana University Center for Documentary Research and Practice, Indiana University, USA "In an age when the concepts of 'fact' and 'science' have become focal points of political controversy, Dan Geva's meticulous historical exploration of the ethical implications of the very idea of 'documentary' film are especially useful for documentarians, film historians and media theoreticians alike." —Julia Leasage, Professor Emerita, English Department, University of Oregon, USA This book presents a chronology of thirty definitions attributed to the word, term, phrase, and concept of "documentary" between the years 1895 and 1959. The book dedicates one chapter to each of the thirty definitions, scrutinizing their idiosyncratic language games from close range while focusing on their historical roots and concealed philosophical sources of inspiration. Dan Geva's principal argument is twofold: first, that each definition is an original ethical premise of documentary; and second, that only the structured assemblage of the entire set of definitions successfully depicts the true ethical nature of documentary insofar as we agree to consider its philosophical history as a reflective object of thought in a perpetual state of being-self-defined: an ethics sui generis. Dan Geva is an associate professor at Beit-Berl college, a research fellow at the University of Haifa, an award winning documentarian, and founder of "The Ethics Lab" (CILECT, 2017). Enlace de acceso : https://link-springer-com.biblioproxy.umanizales.edu.co/referencework/10.1007/97 [...] A Philosophical History of Documentary, 1895–1959 [documento electrónico] / Geva, Dan, . - 1 ed. . - [s.l.] : Springer, 2021 . - XIII, 393 p.
ISBN : 978-3-030-79466-8
Libro disponible en la plataforma SpringerLink. Descarga y lectura en formatos PDF, HTML y ePub. Descarga completa o por capítulos.
Idioma : Inglés (eng)
Palabras clave: Estética OntologÃa PelÃculas documentales Estudios Documentales Clasificación: 111.85 Resumen: In response to numerous assertions by filmmakers and scholars that documentary is past or beyond definition—as if it functioned as an aesthetic strait-jacket—Dan Geva offers an emphatic and compelling NO! Rather, he asserts that the issue of definition consistently hovers over both scholarship and production of documentary. In this volume, Geva opens up, through lucid philosophical investigations of filmmakers'' writings and films, the definitions that emerge in their work. By attending to both their cultural and historical particularity as well as their function as a single transhistorical enunciation, Geva speaks to the extraordinary range of practices and thought that existed between 1985-1959 while maintaining that there is such a thing as ''documentariness.''" —Joshua Malitsky, Associate Professor, Cinema and Media Studies/The Media School and Director, Indiana University Center for Documentary Research and Practice, Indiana University, USA "In an age when the concepts of ''fact'' and ''science'' have become focal points of political controversy, Dan Geva''s meticulous historical exploration of the ethical implications of the very idea of ''documentary'' film are especially useful for documentarians, film historians and media theoreticians alike." —Julia Leasage, Professor Emerita, English Department, University of Oregon, USA This book presents a chronology of thirty definitions attributed to the word, term, phrase, and concept of "documentary" between the years 1895 and 1959. The book dedicates one chapter to each of the thirty definitions, scrutinizing their idiosyncratic language games from close range while focusing on their historical roots and concealed philosophical sources of inspiration. Dan Geva''s principal argument is twofold: first, that each definition is an original ethical premise of documentary; and second, that only the structured assemblage of the entire set of definitions successfully depicts the true ethical nature of documentary insofar as we agree to consider its philosophical history as a reflective object of thought in a perpetual state of being-self-defined: an ethics sui generis. Dan Geva is an associate professor at Beit-Berl college, a research fellow at the University of Haifa, an award winning documentarian, and founder of "The Ethics Lab" (CILECT, 2017). Nota de contenido: Chapter 1: Introduction. Chapter 2: 1895; The Lumière Brothers -- Chapter 3: 1896; Georges Méliès -- Chapter 4: 1898; BolesÅ‚aw Matuszewski -- Chapter 5: 1908; Burton Holmes -- Chapter 6: 1912; Edward Curtis et al -- Chapter 7: 1917-1921; Blaise Cendrars -- Chapter 8: 1922; Dziga Vertov -- Chapter 9: 1924; Robert Flaherty -- Chapter 10: 1926; John Grierson -- Chapter 11: 1927; Esphir Shub -- Chapter 12: 1928; Alexie Gan -- Chapter 13: 1928; Dziga Vertov -- Chapter 14: 1930; Jean Vigo -- Chapter 15: 1930; Joris Ivens -- Chapter 16: 1932; John Grierson -- Chapter 17: 1933; Oswell Blakeston -- Chapter 18: 1933; John Griersonv -- Chapter 19: 1933; Harry Bruce Woolfe -- Chapter 20: 1934; Leo Hurwitz -- Chapter 21: 1934; The All-Union Congress of Soviet Writers of 1934 -- Chapter 22: 1935; Paul Rotha -- Chapter 23: 1939; Joris Ivens -- Chapter 24: 1941; Humphrey Jennings -- Chapter25: 1942; Frank Capra -- Chapter 26: 1948; Amos Vogel -- Chapter 27: 1948; The World Union of Documentary -- Chapter 28: 1951; A. Nicholas Vardac -- Chapter 29: 1952; Alberto Cavalcanti -- Chapter 30: 1957; Lindsay Anderson -- Chapter 31: 1959; John Grierson. Tipo de medio : Computadora Summary : "In response to numerous assertions by filmmakers and scholars that documentary is past or beyond definition—as if it functioned as an aesthetic strait-jacket—Dan Geva offers an emphatic and compelling NO! Rather, he asserts that the issue of definition consistently hovers over both scholarship and production of documentary. In this volume, Geva opens up, through lucid philosophical investigations of filmmakers' writings and films, the definitions that emerge in their work. By attending to both their cultural and historical particularity as well as their function as a single transhistorical enunciation, Geva speaks to the extraordinary range of practices and thought that existed between 1985-1959 while maintaining that there is such a thing as 'documentariness.'" —Joshua Malitsky, Associate Professor, Cinema and Media Studies/The Media School and Director, Indiana University Center for Documentary Research and Practice, Indiana University, USA "In an age when the concepts of 'fact' and 'science' have become focal points of political controversy, Dan Geva's meticulous historical exploration of the ethical implications of the very idea of 'documentary' film are especially useful for documentarians, film historians and media theoreticians alike." —Julia Leasage, Professor Emerita, English Department, University of Oregon, USA This book presents a chronology of thirty definitions attributed to the word, term, phrase, and concept of "documentary" between the years 1895 and 1959. The book dedicates one chapter to each of the thirty definitions, scrutinizing their idiosyncratic language games from close range while focusing on their historical roots and concealed philosophical sources of inspiration. Dan Geva's principal argument is twofold: first, that each definition is an original ethical premise of documentary; and second, that only the structured assemblage of the entire set of definitions successfully depicts the true ethical nature of documentary insofar as we agree to consider its philosophical history as a reflective object of thought in a perpetual state of being-self-defined: an ethics sui generis. Dan Geva is an associate professor at Beit-Berl college, a research fellow at the University of Haifa, an award winning documentarian, and founder of "The Ethics Lab" (CILECT, 2017). Enlace de acceso : https://link-springer-com.biblioproxy.umanizales.edu.co/referencework/10.1007/97 [...]
TÃtulo : Abjection and Abandonment : Melancholy in Philosophy and Art Tipo de documento: documento electrónico Autores: Das, Saitya Brata, Mención de edición: 1 ed. Editorial: Singapore [Malasia] : Springer Fecha de publicación: 2019 Número de páginas: XII, 130 p. 16 ilustraciones, 10 ilustraciones en color. ISBN/ISSN/DL: 978-981-1510298-- Nota general: Libro disponible en la plataforma SpringerLink. Descarga y lectura en formatos PDF, HTML y ePub. Descarga completa o por capítulos. Idioma : Inglés (eng) Palabras clave: Estética Emociones Psicoanálisis Emoción Clasificación: 111.85 Resumen: Este libro ofrece un examen exhaustivo y profundo de la melancolÃa en la filosofÃa y el arte. Desde la llegada de la "filosofÃa", la cuestión de la melancolÃa ha estado Ãntimamente relacionada con la creatividad. Además, la melancolÃa ha adquirido una nueva importancia en los discursos contemporáneos. En consecuencia, este libro retoma la fascinante cuestión de cómo se vinculan la melancolÃa y la creatividad a la luz del pensamiento contemporáneo, y reúne estudios de diversas disciplinas, como las teorÃas estéticas, el psicoanálisis, la teorÃa cultural, los estudios médicos y los estudios sociológicos. Todas las contribuciones son de naturaleza transdisciplinaria y ampliarán la comprensión de los lectores sobre diversas cuestiones derivadas de la cuestión de la melancolÃa. Este libro será una lectura indispensable para académicos, investigadores y profesionales de la psicologÃa, el psicoanálisis, la filosofÃa y campos relacionados. Nota de contenido: Chapter 1. Melancholy Philosophy: Praxis-Politics-Phronesis and the Slave's Know-How Anup Dhar -- Chapter 2. Reimagining the 'Loss' and Reinventing the Space: The Dialectics of European Melancholy Krishnan Unni P -- Chapter 3. Melancholy and the World: The Genesis of a Modern Concept Soumick Dey -- Chapter 4. Being, Melancholy Huzaifa Omair Siddiqi -- Chapter 5. Aporetic Melancholies: Reading Paul Celan's 'Melancholy Poems' Sneha Chowdhury -- Chapter 6. 'Living Leaves Traces': Looking at Melancholy Through Sculptures Swarnika Ahuja -- Chapter 7. Domains of Private Melancholy: The Burden of Language Priyanka Das -- Chapter 8. The Melancholic Name Saitya Brata Das. Tipo de medio : Computadora Summary : This book provides a thorough and insightful examination of melancholy in philosophy and art. Since the advent of "philosophy," the question of melancholy has been intimately connected with creativity. In addition, melancholy has taken on a new importance in contemporary discourses. Accordingly, this book revisits the fascinating question of how melancholy and creativity are linked in light of contemporary thought, and gathers studies from diverse disciplines, such as aesthetic theories, psychoanalysis, cultural theory, medical studies and sociological studies. All the contributions are trans-disciplinary in nature and will broaden readers' understanding of various issues stemming from the question of melancholy. This book will be an indispensable read for scholars, researchers and practitioners in psychology, psychoanalysis, philosophy and related fields. Enlace de acceso : https://link-springer-com.biblioproxy.umanizales.edu.co/referencework/10.1007/97 [...] Abjection and Abandonment : Melancholy in Philosophy and Art [documento electrónico] / Das, Saitya Brata, . - 1 ed. . - Singapore [Malasia] : Springer, 2019 . - XII, 130 p. 16 ilustraciones, 10 ilustraciones en color.
ISBN : 978-981-1510298--
Libro disponible en la plataforma SpringerLink. Descarga y lectura en formatos PDF, HTML y ePub. Descarga completa o por capítulos.
Idioma : Inglés (eng)
Palabras clave: Estética Emociones Psicoanálisis Emoción Clasificación: 111.85 Resumen: Este libro ofrece un examen exhaustivo y profundo de la melancolÃa en la filosofÃa y el arte. Desde la llegada de la "filosofÃa", la cuestión de la melancolÃa ha estado Ãntimamente relacionada con la creatividad. Además, la melancolÃa ha adquirido una nueva importancia en los discursos contemporáneos. En consecuencia, este libro retoma la fascinante cuestión de cómo se vinculan la melancolÃa y la creatividad a la luz del pensamiento contemporáneo, y reúne estudios de diversas disciplinas, como las teorÃas estéticas, el psicoanálisis, la teorÃa cultural, los estudios médicos y los estudios sociológicos. Todas las contribuciones son de naturaleza transdisciplinaria y ampliarán la comprensión de los lectores sobre diversas cuestiones derivadas de la cuestión de la melancolÃa. Este libro será una lectura indispensable para académicos, investigadores y profesionales de la psicologÃa, el psicoanálisis, la filosofÃa y campos relacionados. Nota de contenido: Chapter 1. Melancholy Philosophy: Praxis-Politics-Phronesis and the Slave's Know-How Anup Dhar -- Chapter 2. Reimagining the 'Loss' and Reinventing the Space: The Dialectics of European Melancholy Krishnan Unni P -- Chapter 3. Melancholy and the World: The Genesis of a Modern Concept Soumick Dey -- Chapter 4. Being, Melancholy Huzaifa Omair Siddiqi -- Chapter 5. Aporetic Melancholies: Reading Paul Celan's 'Melancholy Poems' Sneha Chowdhury -- Chapter 6. 'Living Leaves Traces': Looking at Melancholy Through Sculptures Swarnika Ahuja -- Chapter 7. Domains of Private Melancholy: The Burden of Language Priyanka Das -- Chapter 8. The Melancholic Name Saitya Brata Das. Tipo de medio : Computadora Summary : This book provides a thorough and insightful examination of melancholy in philosophy and art. Since the advent of "philosophy," the question of melancholy has been intimately connected with creativity. In addition, melancholy has taken on a new importance in contemporary discourses. Accordingly, this book revisits the fascinating question of how melancholy and creativity are linked in light of contemporary thought, and gathers studies from diverse disciplines, such as aesthetic theories, psychoanalysis, cultural theory, medical studies and sociological studies. All the contributions are trans-disciplinary in nature and will broaden readers' understanding of various issues stemming from the question of melancholy. This book will be an indispensable read for scholars, researchers and practitioners in psychology, psychoanalysis, philosophy and related fields. Enlace de acceso : https://link-springer-com.biblioproxy.umanizales.edu.co/referencework/10.1007/97 [...]
TÃtulo : Adorno's Aesthetics as a Literary Theory of Art Tipo de documento: documento electrónico Autores: Farina, Mario, Mención de edición: 1 ed. Editorial: [s.l.] : Springer Fecha de publicación: 2020 Número de páginas: XIX, 237 p. ISBN/ISSN/DL: 978-3-030-45281-0 Nota general: Libro disponible en la plataforma SpringerLink. Descarga y lectura en formatos PDF, HTML y ePub. Descarga completa o por capítulos. Idioma : Inglés (eng) Palabras clave: Estética La teorÃa crÃtica Clasificación: 111.85 Resumen: Este libro reexamina la estética de Adorno, desarrollando un nuevo enfoque literario que apunta a revelar elementos ocultos del pensamiento de Adorno. Farina propone leer la estética de Adorno como una teorÃa literaria del arte, mostrando su eficacia en la comprensión de las tendencias más avanzadas de la literatura contemporánea. Como resultado, este libro ofrece una imagen de la estética de Adorno como una filosofÃa de la literatura completa, satisfactoria y consistente, una teorÃa sólida que es capaz de mantenerse firme en el debate estético contemporáneo. Desafiando el prejuicio predominante que define el pensamiento de Adorno, y especialmente su estética, como "modernista", Farina sostiene que la filosofÃa de la literatura de Adorno muestra su valor precisamente en su aplicación y comprensión de la literatura posmoderna, como las obras de Thomas Pynchon, Don DeLillo y David Foster Wallace. Preciso y convincente, este libro proporciona un nuevo paradigma para comprender la teorÃa de la obra de arte de Adorno, y sirve como referencia esencial para las investigaciones que investigan la relación entre la teorÃa crÃtica clásica y el arte contemporáneo. Nota de contenido: 1. Construction of 'Aesthetics' as Construction of 'The Aesthetic' -- 2. The Philosophy of Music and the Dissolution of the Aesthetic -- 3. Literature and the Reconstruction of the Aesthetic -- 4. Adorno's Philosophy of Literature: A Theory of Literary Interpretation -- 5. Beyond Modernism: The American Postmodern Novel. Tipo de medio : Computadora Summary : This book re-examines Adorno's aesthetics, developing a new literary approach that aims to unveil hidden elements of Adorno's thought. Farina proposes to read Adorno's aesthetics as a literary theory of art, showing its efficacy in its comprehension of the most advanced trends of contemporary literature. As a result, this book provides an image of Adorno's aesthetics as a complete, satisfying and consistent philosophy of literature, a robust theory which is able to stand its ground in contemporary aesthetic debate. Challenging the prevalent prejudice that defines Adorno's thought, and especially his aesthetics, as 'modernist', Farina argues that Adorno's philosophy of literature shows its value precisely in its application to and comprehension of postmodern literature, such as the works of Thomas Pynchon, Don DeLillo and David Foster Wallace. Precise and compelling, this book provides a new paradigm for understanding Adorno's theory of artwork, serving as an essential reference for researches investigating the relation between classical critical theory and contemporary art. Enlace de acceso : https://link-springer-com.biblioproxy.umanizales.edu.co/referencework/10.1007/97 [...] Adorno's Aesthetics as a Literary Theory of Art [documento electrónico] / Farina, Mario, . - 1 ed. . - [s.l.] : Springer, 2020 . - XIX, 237 p.
ISBN : 978-3-030-45281-0
Libro disponible en la plataforma SpringerLink. Descarga y lectura en formatos PDF, HTML y ePub. Descarga completa o por capítulos.
Idioma : Inglés (eng)
Palabras clave: Estética La teorÃa crÃtica Clasificación: 111.85 Resumen: Este libro reexamina la estética de Adorno, desarrollando un nuevo enfoque literario que apunta a revelar elementos ocultos del pensamiento de Adorno. Farina propone leer la estética de Adorno como una teorÃa literaria del arte, mostrando su eficacia en la comprensión de las tendencias más avanzadas de la literatura contemporánea. Como resultado, este libro ofrece una imagen de la estética de Adorno como una filosofÃa de la literatura completa, satisfactoria y consistente, una teorÃa sólida que es capaz de mantenerse firme en el debate estético contemporáneo. Desafiando el prejuicio predominante que define el pensamiento de Adorno, y especialmente su estética, como "modernista", Farina sostiene que la filosofÃa de la literatura de Adorno muestra su valor precisamente en su aplicación y comprensión de la literatura posmoderna, como las obras de Thomas Pynchon, Don DeLillo y David Foster Wallace. Preciso y convincente, este libro proporciona un nuevo paradigma para comprender la teorÃa de la obra de arte de Adorno, y sirve como referencia esencial para las investigaciones que investigan la relación entre la teorÃa crÃtica clásica y el arte contemporáneo. Nota de contenido: 1. Construction of 'Aesthetics' as Construction of 'The Aesthetic' -- 2. The Philosophy of Music and the Dissolution of the Aesthetic -- 3. Literature and the Reconstruction of the Aesthetic -- 4. Adorno's Philosophy of Literature: A Theory of Literary Interpretation -- 5. Beyond Modernism: The American Postmodern Novel. Tipo de medio : Computadora Summary : This book re-examines Adorno's aesthetics, developing a new literary approach that aims to unveil hidden elements of Adorno's thought. Farina proposes to read Adorno's aesthetics as a literary theory of art, showing its efficacy in its comprehension of the most advanced trends of contemporary literature. As a result, this book provides an image of Adorno's aesthetics as a complete, satisfying and consistent philosophy of literature, a robust theory which is able to stand its ground in contemporary aesthetic debate. Challenging the prevalent prejudice that defines Adorno's thought, and especially his aesthetics, as 'modernist', Farina argues that Adorno's philosophy of literature shows its value precisely in its application to and comprehension of postmodern literature, such as the works of Thomas Pynchon, Don DeLillo and David Foster Wallace. Precise and compelling, this book provides a new paradigm for understanding Adorno's theory of artwork, serving as an essential reference for researches investigating the relation between classical critical theory and contemporary art. Enlace de acceso : https://link-springer-com.biblioproxy.umanizales.edu.co/referencework/10.1007/97 [...]
TÃtulo : Adorno's Philosophy of the Nonidentical : Thinking as Resistance Tipo de documento: documento electrónico Autores: Silberbusch, Oshrat C., Mención de edición: 1 ed. Editorial: [s.l.] : Springer Fecha de publicación: 2018 Número de páginas: XII, 205 p. ISBN/ISSN/DL: 978-3-319-95627-5 Nota general: Libro disponible en la plataforma SpringerLink. Descarga y lectura en formatos PDF, HTML y ePub. Descarga completa o por capítulos. Idioma : Inglés (eng) Palabras clave: Estética Guerra Mundial 1939-1945 Literatura europea Historia de la Segunda Guerra Mundial y el Holocausto Clasificación: 111.85 Resumen: Este libro se centra en una noción central de Theodor. La filosofÃa de W. Adorno: lo no idéntico. Lo no idéntico es lo que nuestro marco conceptual no puede captar y, por lo tanto, debe silenciar: el otro no expresado de nuestro compromiso racional con el mundo. Este estudio presenta lo no idéntico como la pieza central multidimensional de las reflexiones de Adorno sobre la subjetividad, la verdad, el sufrimiento, la historia, el arte, la moralidad y la polÃtica, revelando la Ãntima relación entre cómo y qué pensamos. La obra de Adorno, escrita a la sombra de Auschwitz, es la búsqueda de una forma diferente de pensar, una que diera voz a lo no idéntico: lo somático en el razonamiento, lo efÃmero en la verdad, lo estético en la cognición, el otro en la sociedad. La filosofÃa de lo no idéntico de Adorno se revela no sólo como una poderosa hermenéutica del pasado, sino también como una herramienta importante para la comprensión de fenómenos modernos como la xenofobia, el populismo, la polarización polÃtica, las polÃticas de identidad y el racismo sistémico. Nota de contenido: Introduction -- The Fate of the Nonidentical: Auschwitz and the Dialectic of Enlightenment -- The Torturable Body: Adorno's Negative Dialectic -- Philosophy of Art, Art of Philosophy: Adorno's Aesthetic Utopia -- Epilogue. Tipo de medio : Computadora Summary : This book focuses on a central notion in Theodor. W. Adorno's philosophy: the nonidentical. The nonidentical is what our conceptual framework cannot grasp and must therefore silence, the unexpressed other of our rational engagement with the world. This study presents the nonidentical as the multidimensional centerpiece of Adorno's reflections on subjectivity, truth, suffering, history, art, morality and politics, revealing the intimate relationship between how and what we think. Adorno's work, written in the shadow of Auschwitz, is a quest for a different way of thinking, one that would give the nonidentical a voice – as the somatic in reasoning, the ephemeral in truth, the aesthetic in cognition, the other in society. Adorno's philosophy of the nonidentical reveals itself not only as a powerful hermeneutics of the past, but also as an important tool for the understanding of modern phenomena such as xenophobia, populism, political polarization, identity politics, and systemic racism. Enlace de acceso : https://link-springer-com.biblioproxy.umanizales.edu.co/referencework/10.1007/97 [...] Adorno's Philosophy of the Nonidentical : Thinking as Resistance [documento electrónico] / Silberbusch, Oshrat C., . - 1 ed. . - [s.l.] : Springer, 2018 . - XII, 205 p.
ISBN : 978-3-319-95627-5
Libro disponible en la plataforma SpringerLink. Descarga y lectura en formatos PDF, HTML y ePub. Descarga completa o por capítulos.
Idioma : Inglés (eng)
Palabras clave: Estética Guerra Mundial 1939-1945 Literatura europea Historia de la Segunda Guerra Mundial y el Holocausto Clasificación: 111.85 Resumen: Este libro se centra en una noción central de Theodor. La filosofÃa de W. Adorno: lo no idéntico. Lo no idéntico es lo que nuestro marco conceptual no puede captar y, por lo tanto, debe silenciar: el otro no expresado de nuestro compromiso racional con el mundo. Este estudio presenta lo no idéntico como la pieza central multidimensional de las reflexiones de Adorno sobre la subjetividad, la verdad, el sufrimiento, la historia, el arte, la moralidad y la polÃtica, revelando la Ãntima relación entre cómo y qué pensamos. La obra de Adorno, escrita a la sombra de Auschwitz, es la búsqueda de una forma diferente de pensar, una que diera voz a lo no idéntico: lo somático en el razonamiento, lo efÃmero en la verdad, lo estético en la cognición, el otro en la sociedad. La filosofÃa de lo no idéntico de Adorno se revela no sólo como una poderosa hermenéutica del pasado, sino también como una herramienta importante para la comprensión de fenómenos modernos como la xenofobia, el populismo, la polarización polÃtica, las polÃticas de identidad y el racismo sistémico. Nota de contenido: Introduction -- The Fate of the Nonidentical: Auschwitz and the Dialectic of Enlightenment -- The Torturable Body: Adorno's Negative Dialectic -- Philosophy of Art, Art of Philosophy: Adorno's Aesthetic Utopia -- Epilogue. Tipo de medio : Computadora Summary : This book focuses on a central notion in Theodor. W. Adorno's philosophy: the nonidentical. The nonidentical is what our conceptual framework cannot grasp and must therefore silence, the unexpressed other of our rational engagement with the world. This study presents the nonidentical as the multidimensional centerpiece of Adorno's reflections on subjectivity, truth, suffering, history, art, morality and politics, revealing the intimate relationship between how and what we think. Adorno's work, written in the shadow of Auschwitz, is a quest for a different way of thinking, one that would give the nonidentical a voice – as the somatic in reasoning, the ephemeral in truth, the aesthetic in cognition, the other in society. Adorno's philosophy of the nonidentical reveals itself not only as a powerful hermeneutics of the past, but also as an important tool for the understanding of modern phenomena such as xenophobia, populism, political polarization, identity politics, and systemic racism. Enlace de acceso : https://link-springer-com.biblioproxy.umanizales.edu.co/referencework/10.1007/97 [...]
TÃtulo : Aesthetic Experience and Moral Vision in Plato, Kant, and Murdoch : Looking Good/Being Good Tipo de documento: documento electrónico Autores: Drees, Meredith Trexler, Mención de edición: 1 ed. Editorial: [s.l.] : Springer Fecha de publicación: 2021 Número de páginas: X, 260 p. ISBN/ISSN/DL: 978-3-030-79088-2 Nota general: Libro disponible en la plataforma SpringerLink. Descarga y lectura en formatos PDF, HTML y ePub. Descarga completa o por capítulos. Idioma : Inglés (eng) Palabras clave: Estética Ética FilosofÃa moral y ética aplicada Clasificación: 111.85 Resumen: Este libro aborda cómo Platón, Kant e Iris Murdoch (cada uno de manera diferente) ven la conexión que tiene la experiencia estética con la moralidad. Al tiempo que ofrece un examen de la filosofÃa de Iris Murdoch, analiza en profundidad los vÃnculos sugerentes (asà como las distinciones esenciales) entre las filosofÃas de Platón y Kant. Meredith Trexler Drees considera no sólo el concepto de desinterés de Iris Murdoch, sino también su relación con la visión de Kant sobre Achtung y la visión de Platón sobre Eros. Además, Trexler Drees sugiere una versión ampliada y parcialmente modificada de la visión de Murdoch, argumentando que es más compatible con una forma de vida religiosa de lo que la propia Murdoch creÃa. Esto conduce a una ampliación del argumento general para incluir la afirmación de Kant de que la religión es un área de la vida que puede mejorarse a través de la visión de Platón y Murdoch de cómo ser bueno y ser bello pueden ser parte de la misma tarea de la vida. Meredith Trexler Drees es presidenta del Departamento de Religión y FilosofÃa y directora de Aprendizaje Experiencial de Kansas Wesleyan University, EE. UU. . Nota de contenido: Chapter 1: Introduction -- Chapter 2: Experiences Of Beauty Via Art And Erotic Experiences Of Beautiful People: The Connection Between Aesthetics And Ethics In Plato -- Chapter 3: Beauty, Art, And Sublimity, And The Symbolic Relationship Between Aesthetic Judgment And Moral Judgment In Kant -- Chapter 4: Aesthetic Experience, Moral Vision, And 'Unselfing' In Iris Murdoch -- Chapter 5: A Closer Look At The Connection Between Plato, Kant And Murdoch -- Chapter 6: Motivational Internalism About The Good And The Two-Tier Selfless Perspective -- Chapter 7: Morally Troubling Art -- Chapter 8: Moving Beyond Murdoch: Kantian Religion As Moral Empowerment. Tipo de medio : Computadora Summary : This book addresses how Plato, Kant, and Iris Murdoch (each in different ways) view the connection aesthetic experience has to morality. While offering an examination of Iris Murdoch's philosophy, it analyses deeply the suggestive links (as well as essential distinctions) between Plato's and Kant's philosophies. Meredith Trexler Drees considers not only Iris Murdoch's concept of unselfing, but also its relationship with Kant's view of Achtung and Plato's view of Eros. In addition, Trexler Drees suggests an extended, and partially amended, version of Murdoch's view, arguing that it is more compatible with a religious way of life than Murdoch herself realized. This leads to an expansion of the overall argument to include Kant's affirmation of religion as an area of life that can be improved through Plato's and Murdoch's vision of how being good and being beautiful can be part of the same life-task. Meredith Trexler Drees is the Chair of the Department of Religion andPhilosophy and the Director of Experiential Learning at Kansas Wesleyan University, USA. . Enlace de acceso : https://link-springer-com.biblioproxy.umanizales.edu.co/referencework/10.1007/97 [...] Aesthetic Experience and Moral Vision in Plato, Kant, and Murdoch : Looking Good/Being Good [documento electrónico] / Drees, Meredith Trexler, . - 1 ed. . - [s.l.] : Springer, 2021 . - X, 260 p.
ISBN : 978-3-030-79088-2
Libro disponible en la plataforma SpringerLink. Descarga y lectura en formatos PDF, HTML y ePub. Descarga completa o por capítulos.
Idioma : Inglés (eng)
Palabras clave: Estética Ética FilosofÃa moral y ética aplicada Clasificación: 111.85 Resumen: Este libro aborda cómo Platón, Kant e Iris Murdoch (cada uno de manera diferente) ven la conexión que tiene la experiencia estética con la moralidad. Al tiempo que ofrece un examen de la filosofÃa de Iris Murdoch, analiza en profundidad los vÃnculos sugerentes (asà como las distinciones esenciales) entre las filosofÃas de Platón y Kant. Meredith Trexler Drees considera no sólo el concepto de desinterés de Iris Murdoch, sino también su relación con la visión de Kant sobre Achtung y la visión de Platón sobre Eros. Además, Trexler Drees sugiere una versión ampliada y parcialmente modificada de la visión de Murdoch, argumentando que es más compatible con una forma de vida religiosa de lo que la propia Murdoch creÃa. Esto conduce a una ampliación del argumento general para incluir la afirmación de Kant de que la religión es un área de la vida que puede mejorarse a través de la visión de Platón y Murdoch de cómo ser bueno y ser bello pueden ser parte de la misma tarea de la vida. Meredith Trexler Drees es presidenta del Departamento de Religión y FilosofÃa y directora de Aprendizaje Experiencial de Kansas Wesleyan University, EE. UU. . Nota de contenido: Chapter 1: Introduction -- Chapter 2: Experiences Of Beauty Via Art And Erotic Experiences Of Beautiful People: The Connection Between Aesthetics And Ethics In Plato -- Chapter 3: Beauty, Art, And Sublimity, And The Symbolic Relationship Between Aesthetic Judgment And Moral Judgment In Kant -- Chapter 4: Aesthetic Experience, Moral Vision, And 'Unselfing' In Iris Murdoch -- Chapter 5: A Closer Look At The Connection Between Plato, Kant And Murdoch -- Chapter 6: Motivational Internalism About The Good And The Two-Tier Selfless Perspective -- Chapter 7: Morally Troubling Art -- Chapter 8: Moving Beyond Murdoch: Kantian Religion As Moral Empowerment. Tipo de medio : Computadora Summary : This book addresses how Plato, Kant, and Iris Murdoch (each in different ways) view the connection aesthetic experience has to morality. While offering an examination of Iris Murdoch's philosophy, it analyses deeply the suggestive links (as well as essential distinctions) between Plato's and Kant's philosophies. Meredith Trexler Drees considers not only Iris Murdoch's concept of unselfing, but also its relationship with Kant's view of Achtung and Plato's view of Eros. In addition, Trexler Drees suggests an extended, and partially amended, version of Murdoch's view, arguing that it is more compatible with a religious way of life than Murdoch herself realized. This leads to an expansion of the overall argument to include Kant's affirmation of religion as an area of life that can be improved through Plato's and Murdoch's vision of how being good and being beautiful can be part of the same life-task. Meredith Trexler Drees is the Chair of the Department of Religion andPhilosophy and the Director of Experiential Learning at Kansas Wesleyan University, USA. . Enlace de acceso : https://link-springer-com.biblioproxy.umanizales.edu.co/referencework/10.1007/97 [...] Cross-Cultural Reflections on Chinese Aesthetics, Gender, Embodiment and Learning / Man, Eva Kit Wah
Permalink
