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Ästhetik

Meiner, F (2009)

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  1. Reflective interventions: Enactivism and phenomenology on ways of bringing the body into intellectual engagement.Iris Laner - 2020 - Phenomenology and the Cognitive Sciences 20 (3):443-461.
    When it comes to the body, the professional pedagogical field shows a paradoxical attitude: With regard to sense-oriented school subjects, educational policies tend to underline a close relatedness of body and mind. However, where learning is primarily connected with mental activities and intellectual engagement, the body is rarely assigned an integral role. Discussing the grounding ideologies of this paradox, I will consult phenomenological and enactivist perspectives in order to develop an approach to embodied learning which takes into account both sense-oriented (...)
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  • Was heißt Fortschritt im Wissen? Gnoseoto­pi­sche Überlegungen zur Auf­klä­rung und ihren Folgen.Hans Adler - 2018 - Kantian Journal 37 (1):40-61.
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  • Disinterested Pleasure and Beauty: Perspectives from Kantian and Contemporary Aesthetics.Larissa Berger (ed.) - 2023 - Boston: De Gruyter.
    The conception of disinterested pleasure is not only central to Kant’s theory of beauty but also highly influential in contemporary philosophical discourse about beauty. However, it remains unclear, what exactly disinterested pleasure is and what role it plays in experiences of beauty. This volume sheds new light on the conception of disinterested pleasure from the perspectives of both Kant scholarship and contemporary aesthetics. In the first part, the focus is on Kant’s theory of beauty as grounded on the conception of (...)
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  • Educational potentials of embodied art reflection.Agnes Bube - 2020 - Phenomenology and the Cognitive Sciences 20 (3):423-441.
    With reference to a standard work on embodied cognition – The Embodied Mind: Cognitive Science and Human Experience by Francisco Varela, Evan Thompson und Eleanor Rosch – in this article I theorize art reception that connects reflexive processes with concrete perceptual experiences as embodied art reflection. Analogously to Varela et al’s citation of meditation practice as a transformation of immediate experience into an open, embodied reflection, one can also understand focussed awareness of experience in reflected, perceptually-oriented reception of art as (...)
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  • The Faculty of Feeling.Ken-Ichi Sasaki - 2012 - Diogenes 59 (1-2):21-31.
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  • New (Post-?) Textualities and the Autonomy Claim: Rethinking Law’s Quest for Normative Convergence in Dialogue with Law and Aesthetics’ Heterodoxy.Brisa Paim Duarte - 2021 - International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 35 (1):231-258.
    Beginning by offering an overview on legal aesthetic humanisms as a specific embodiment of critical discourse, and discussing the ways the recreation of juridical experience, rationality, and culture underpinning such a criticism, leaving behind monolithic views on textuality, judgment, and subjectivity, positively contributes to unsettling the main assumptions underlying typical understandings of law’s autonomy—mostly those of formal specification of juridical “sources” and “scientific” isolation of legal thought—, this paper argues that simply reproducing aesthetic heterodoxy as the epitome of a humanist (...)
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  • Las aporías de la apariencia Modernidad y estética en el pensamiento de Kant.Verónica Galfione - 2020 - Con-Textos Kantianos 1 (12):429-453.
    El objetivo de este trabajo es demostrar, en primer lugar, que el problema de la verdad no se encuentra completamente ausente en la estética kantiana y que no lo está, en segundo lugar, porque la autonomización de la dimensión estética es pensada a partir de una experiencia de la unidad de la subjetividad. A los fines de demostrar estos dos puntos, procuro reconstruir, en primer lugar, el contexto epistémico de la KU. En un segundo momento, me remito a la delimitación (...)
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  • Ideia Sensível e Imagem Pictórica: A Articulação dos Gêneros Artísticos na Estética Alemã do Começo do Século XVIII.Oliver Tolle - 2014 - Dois Pontos 11 (1).
    A analogia entre pintura e poesia, tal qual sugerida na Carta aos Pisões de Horácio, não foi interpretada de modo homogêneo pela estética alemã do começo do século XVIII. Como tentaremos mostrar, em alguns autores essa analogia está muito mais atrelada ao caráter sensível como um todo da arte do que propriamente a uma referência imagética. Por um lado, isso pode ser constatado na obra crítica de Gottsched, que procura atenuar a importância do aspecto descritivo na poesia. Encontramos, por outro (...)
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  • Um “secreto procedimento da alma dos homens”: Kant sobre o problema das representações obscuras.Fernando Manuek Ferrera da Silva - 2017 - Con-Textos Kantianos 5:190-215.
    O presente ensaio tem por objectivo ajudar a discernir o novo prisma, e o novo curso de pensamento por Kant inaugurado sobre o mais originário dos tópicos da faculdade de representação humana: as representações obscuras; um tópico até então quase completamente negligenciado, ou então expressamente negado, em razão da sua ligação à sensibilidade, mas um tópico que, no entender do filósofo, não só era um tópico de grande relevância filosófica, como antes encerrava novas, até então impensadas potencialidades, que Kant traz (...)
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  • Correspondencia o armonía. La literatura en la distinción kantiana de las bellas artes.Germán Garrido Miñambres - 2015 - Con-Textos Kantianos 2:100-114.
    La Crítica del Juicio concede a la poesía una distinción entre las bellas artes que no encuentra fundamento en la crítica del juicio estético: si la Analítica vincula el sentimiento de placer propio de lo bello al reconocimiento de una relación armónica entre las facultades del conocimiento, la literatura se distingue por la afinidad que mantiene su medio representativo con la facultad del entendimiento. El primado de la poesía en la CJ obedece pues necesariamente a una teoría estética previa que (...)
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