Results for 'Martina Orlandi'

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Martina Orlandi
Pennsylvania State University
  1. Ikonische Grenzverläufe, Ed. By Martina Sauer.Martina Sauer (ed.) - 07/2018 - Tuebingen, Germany: IMAGE, Zeitschrift für interdisziplinäre Bildwissenschaft, Themenheft, 28.
    The task of the congress of the German Society for Semiotics in Passau / Germany in September 2017 was to explore and describe "boundaries". A total of 12 sections of the society wrote a call for paper for this purpose. With the present anthology it has to be made evident, how concretely also the boundaries of the own, the other and the foreign can be negotiated via pictures. -/- -------------- Papers: -/- - Martina Sauer: Ikonische Grenzverläufe. Szenarien des Eigenen, (...)
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  2. Holistic Realism: A Response to Katz on Holism and Intuition.Michael D. Resnik & Nicoletta Orlandi - 2003 - Philosophical Forum 34 (3-4):301-315.
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  3. A Dualist Account of Phenomenal Concepts.Martina Fürst - 2014 - In Andrea Lavazza & Howard Robinson (eds.), Contemporary Dualism. A Defense. 112-135. Routledge. pp. 112-135.
    The phenomenal concept strategy is considered a powerful response to anti-physicalist arguments. This physicalist strategy aims to provide a satisfactory account of dualist intuitions without being committed to ontological dualist conclusions. In this paper I first argue that physicalist accounts of phenomenal concepts fail to explain their cognitive role. Second, I develop an encapsulation account of phenomenal concepts that best explains their particularities. Finally, I argue that the encapsulation account, which features self-representing experiences, implies non-physical referents. Therefore, the account of (...)
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  4. Embedded Seeing-As: Multi-Stable Visual Perception Without Interpretation.Nicoletta Orlandi - 2012 - Philosophical Psychology 25 (4):1-19.
    Standard models of visual perception hold that vision is an inferential or interpretative process. Such models are said to be superior to competing, non-inferential views in explanatory power. In particular, they are said to be capable of explaining a number of otherwise mysterious, visual phenomena such as multi-stable perception. Multi-stable perception paradigmatically occurs in the presence of ambiguous figures, single images that can give rise to two or more distinct percepts. Different interpretations are said to produce the different percepts. In (...)
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  5. Ambiguous Figures and Representationalism.Nicoletta Orlandi - 2011 - Phenomenology and the Cognitive Sciences 10 (3):307-323.
    Ambiguous figures pose a problem for representationalists, particularly for representationalists who believe that the content of perceptual experience is non-conceptual (MacPherson in Nous 40(1):82–117, 2006). This is because, in viewing ambiguous figures, subjects have perceptual experiences that differ in phenomenal properties without differing in non-conceptual content. In this paper, I argue that ambiguous figures pose no problem for non-conceptual representationalists. I argue that aspect shifts do not presuppose or require the possession of sophisticated conceptual resources and that, although viewing ambiguous (...)
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  6. Faszination - Schrecken. Zur Handlungsrelevanz ästhetischer Erfahrung anhand Anselm Kiefers Deutschlandbilder.Martina Sauer - 2018 - Heidelberg, Germany: arthistoricum.
    Special commendation from the Hans-und-Lea-Grundig Prize by the Rosa-Luxemburg-Foundation 2015 - - I - - How do we perceive the world and pictures? The book is based around the hypothesis that we initially perceive the world as well as pictures by feelings and that there is a direct connection between the two. By debating fascination and horror, such as can be triggered by Anselm Kiefer´s Deutschlandbilder, the author discusses their consequences and conclusions for our cultural self-perception. The author develops a (...)
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  7. Aesthetik Und Pragmatismus. Zur Funktionalen Relevanz Einer Nicht-Diskursiven Formauffassung Bei Cassirer, Langer Und Krois.Martina Sauer - 2014 - Image. Zeitschrift für Interdisziplinäre Bildwissenschaft 20 (2):49-69.
    To what extend is there a relevance of aesthetics for life? By postulating a non-discursive and emotional relevance of forms Cassirer, Langer and Krois open the door for this idea. -/- Inwieweit spielt die Ästhetik im Leben eine Rolle? Indem sowohl Cassirer, Langer und Krois eine nicht-diskursive und emotionale Relevanz von Formen unterstellen, öffnen sie die Türen für diese Idee.
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  8. Are Sensory Properties Represented in Perceptual Experience?Nicoletta Orlandi - 2010 - Philosophical Psychology 23 (6):721-740.
    Philosophers of perception widely agree that sensory properties, like color, are represented in perceptual experience. Arguments are usually needed to establish that something other than sensory properties, for example three-dimensional objects or kind properties, are part of perceptual content. Call the idea that sensory properties are represented in perceptual experience the Sensation View (SV). Given its widespread acceptance, we may expect to find strong reasons for holding SV. In this paper, I argue that we lack such reasons: SV is largely (...)
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  9. Visualität Und Geschichte. Bilder Als Historische Akteure Im Anschluss an Verkörperungstheorien.Martina Sauer - 2015 - In Claus Oberhauser Niels Grüne (ed.), Jenseits des Illustrativen : visuelle Medien und Strategien politischer Kommunikation. Göttingen, Germany: V&R uni press Göttingen. pp. 39-60.
    Special commendation from the Hans-und-Lea-Grundig Prize by the Rosa-Luxemburg-Foundation 2015 -- I -- Do have pictures an impact on future? Yes, say theories of embodiment by making perceptual foundations in place of representational arrangements responsible for it. -- I -- Wirken sich Bildern auf die Zukunft aus? Ja sagen Verkörperungstheorien und machen dafür weniger Repräsentationsmodelle als Wahrnehmungsweisen verantwortlich.
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  10. Visual Switching: The Illusion of Instantaneity and Visual Search.Nicoletta Orlandi - 2012 - Review of Philosophy and Psychology 3 (4):469-480.
    This paper questions two prima facie plausible claims concerning switching in the presence of ambiguous figures. The first is the claim that reversing is an instantaneous process. The second is the claim that the ability to reverse demonstrates the interpretive, inferential and constructive nature of visual processing. Empirical studies show that optical and cerebral events related to switching protract in time in a way that clashes with its perceived instantaneity. The studies further suggest an alternative theory of reversing: according to (...)
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  11. The Innocent Eye: Why Vision Is Not a Cognitive Process By Nico Orlandi[REVIEW]Thomas Polger - 2015 - Analysis 75 (2):343-345.
    In The Innocent Eye, Nico Orlandi argues that vision is not a cognitive process. In particular, she argues that forming subject-level visual representations that are available for reasoning should not itself be understood as a process of inference. This comes to the claim that vision (properly so-called) is a process that produces representations but is not best understood as a process that uses representations.
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  12. Visualität und Geschichte. Bilder als historische Akteure im Anschluss an Verkörperungstheorien.Martina Sauer - 2015 - In Grüne Niels & Oberhauser Claus (eds.), Jenseits des Illustrativen. Visuelle Medien und Strategien politischer Kommunikation. V&R uni press. pp. 39-60.
    Do have pictures an impact on future? Yes, say theories of embodiment by making perceptual foundations in place of representational arrangements responsible for it. -/- Wirken sich Bildern auf die Zukunft aus? Ja sagen Verkörperungstheorien und machen dafür weniger Repräsentationsmodelle als Wahrnehmungsweisen verantwortlich.
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  13. [REVIEW]Martina Sauer - 2016 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 16 (2).
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  14. [REVIEW]Martina Sauer - 2016 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 16 (2).
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  15. [REVIEW]Martina Sauer - 2016 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 16 (2).
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  16. [REVIEW]Martina Sauer - 2016 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 16 (2).
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  17.  90
    Dr. M.A. [REVIEW]Sauer Martina - 1914 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 14 (3):1-3.
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  18. Iconology and Formal Aesthetics: A New Harmony. A Contribution to the Current Debate in Art Theory and Philosophy of Arts on the (Picture-)Action-Theories of Susanne K. Langer and John M. Krois.Sauer Martina - 2016 - Sztuka I Filozofia (Art and Philosophy), Warschau 48:12-29.
    Since the beginning of the 20th Century to the present day, it has rarely been doubted that whenever formal aesthetic methods meet their iconological counterparts, the two approaches appear to be mutually exclusive. In reality, though, an ahistorical concept is challenging a historical analysis of art. It is especially Susanne K. Langer´s long-overlooked system of analogies between perceptions of the world and of artistic creations that are dependent on feelings which today allows a rapprochement of these positions. Krois’s insistence on (...)
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  19.  29
    Responsibility: The Charge of Meaning in Art and Language.Sauer Martina - 2021 - Art Style International 8:153-167.
    This article starts from the assumption that there is a connection between art and language and responsibility. What is it based on? It follows on from the research of the Hamburg Circle in the 1920s by Ernst Cassirer and Aby M. Warburg, and was strengthened in the 2000s by Hartmut Böhme. Their joint starting point is the emotional life of human beings. Thus, they assume that already the perception is shaped by it and can be increased in rituals. Comparably hardly (...)
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  20.  74
    On the Conceivability of a Cognitive Phenomenology Zombie.Martina Fürst - 2019 - Dialectica 73 (1-2):105-127.
    The cognitive phenomenology thesis has it that conscious cognitive states essentially exhibit a phenomenal character. Defenders of ‘conservatism’ about cognitive phenomenology think that the phenomenology of thought is reducible to sensory phenomenology. In contrast, proponents of ‘liberalism’ hold that there is a proprietary, sui generis cognitive phenomenology. Horgan develops a morph-sequence argument to argue for liberalism. The argument is based on the conceivability of a cognitive phenomenology zombie, i.e. a man who does not understand Chinese but shares the behavior and (...)
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  21. Phenomenal Concepts and Wittgenstein's Private Language Argument.Martina Prinz & François-Igor Pris - manuscript
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  22. Phenomenal Concepts Are Consistent With Wittgenstein's Private Language Argument (Short Version).Martina Prinz & Francois-Igor Pris - 2013 - AL-Mukhatabat (06):98-105.
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  23. Phenomenal Concepts and Wittgenstein's Private Language Argument.Martina Prinz & Francois-Igor Pris - 2013 - In Papers of 36th Wittgenstein Symposium. pp. 326-328.
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  24. Kwestia języka w filozofii Martina Heideggera.Marcin Lubecki - 2013 - Argument: Biannual Philosophical Journal 3 (2):357-372.
    Kwestia języka w filozofii Martina Heideggera pojawia się zarówno we wczesnym projekcie ontologii fundamentalnej, jak i w tak zwanym myśleniu po zwrocie. Problematyczność tego zagadnienia wyraża się choćby w mnogości stosowanych terminów. Bycie i czas to w wybranych fragmentach wyczerpujące studium „mowy” (Rede) jako swoistego ekstatycznego, a zatem otwartego i transcendującego bycia jestestwa, które buduje i potwierdza poprzez ów modus bycia przestrzeń wspólnotowości. Późny Heidegger podejmuje kwestię języka w kontekście metafory czwórni świata, wiążąc ją ściśle z tzw. myśleniem poetyckim (...)
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  25. Perceptual Consciousness, Short-Term Memory, and Overflow: Replies to Beck, Orlandi and Franklin, and Phillips.Steven Gross & Jonathan Flombaum - 2017 - The Brains Blog.
    A reply to commentators -- Jake Beck, Nico Orlandi and Aaron Franklin, and Ian Phillips -- on our paper "Does perceptual consciousness overflow cognitive access?".
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  26. Kunst Und Handlung. Ästhetische Und Handlungstheoretische Perspektiven, Hg. Von Daniel M. Feige, Judith Siegmund. [REVIEW]Martina Sauer - 2016 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 16 (2).
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  27.  95
    Daniel M. Feige, Judith Siegmund (Eds.), Kunst und Handlung. Ästhetische und handlungstheoretische Perspektiven. [REVIEW]Martina Sauer - 2016 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 16 (2).
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  28. Abstrakt - Affektiv - Multimodal. Zur Verarbeitung von Bewegtbildern Im Anschluss an Cassirer, Langer Und Krois.Martina Sauer - 2016 - In Lars Christian Grabbe, Patrick Rupert-Kruse & Norbert M. Schmitz (eds.), Bildkörper. Zum Verhältnis von Bildtechnologien und Embodiment. Kiel, Germany: Büchner-Verlag. pp. 46-71.
    Is it true that there is an analogy between modes of creation and such of perception? Respective to the cultural anthropological research of Ernst Cassirer, Susanne K. Langer and John M. Krois and by the analysis of a tape of the Swiss video-artist Pipilotti Rist this initial thesis of Formal Aesthetics shall be supported. - I - -/- Lässt sich die Behauptung stützen, dass zwischen Gestaltungsweisen und Wahrnehmungsweisen eine Analogie besteht? Aufbauend auf den kulturanthropologischen Forschungen von Ernst Cassirer, Susanne K. (...)
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  29.  70
    Affordance as a Method in Visual Cultural Studies. Based on Theory and Tools of Vitality Semiotics.Martina Sauer - 2021 - Art Style International 2 (7):11-37.
    In a historiographical and methodological comparison of Formal Aesthetics and Iconology with the method of Affordance, the latter is to be introduced as a new method in Visual Cultural Studies. In extension ofepistemologically relevant aspects relatedtostyle and history of the artefacts, communicative and furthermoreaction and decisionrelevant aspects of artefacts become important. In this respect, it is the share of artefacts in life that the new method aims to uncover. The basis for this concern is the theory and methodological tools of (...)
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  30. (2015). Bildkraft und Tatkraft: Zum Verhältnis von ästhetischer Erfahrung und Technik im Anschluss an Cassirer, Langer und Krois.Martina Sauer - 2015 - Kongress-Akten, Deutsche Gesellschaft Für Ästhetik, Bd. 3.
    The ability to form „images“ of our experiences with the world (imaging effect) and to adjust our drive and determination in accordance with those images (action effect) is what characterises men, as stipulated by Cassirer and subsequently confirmed by Langer and Krois. Special techniques are required to communicate to others the images of life and how we interpret them. The art as a technique does this masterly by presenting us the views of others on their experiences and wishes through aesthetic (...)
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  31. Cézanne - Van Gogh - Monet. Genese der Abstraktion, second editon of PhD thesis from 1999/2000.Martina Sauer - 2014 - Heidelberg: ART-Dok.
    Do abstract paintings still make sense and if so what do they mean? By reducing the paintings to simple square blots as by Cézanne, to lines as by van Gogh and color traces as by Monet their meaning is fundamentally questioned. But by interpreting these compositions as effective forces or rather affective stimuli a new and different meaning becomes apparent. Landscapes are no longer introduced but made real in the aesthetic experience. Therefore aesthetics or rather aisthetics (perception) can be defined (...)
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  32. Das Bild Als Eigenständiges Semiotisches System.Martina Sauer - 2016 - In Natalia Igl Julia Menzel (ed.), Illustrierte Zeitschriften um 1900. Mediale Eigenlogik, Multimodalität und Metaisierung. transcript. pp. 137-165.
    Do we communicate with pictures? If so, the text asks, what about their complex, dynamic appearances? Are they part of the communication process? By analysing a cover image of the journal Jugend from 1896 and by consulting the research on the logic of pictures (“Eigenlogik”) in Bildwissenschaft, Iconology and Cultural Anthropology these questions shall be persued. The analysis suggests, that instead of consenting the results of epistemological aesthetic research a new understanding of pictures shall be implemented: They can be considered (...)
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  33. Daniel Martin Feige / Judith Siegmund (Eds.): Kunst Und Handlung. Ästhetische Und Handlungstheoretische Perspektiven. Transcript: Bielefeld 2015. [REVIEW]Martina Sauer - 2016 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 16 (2).
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  34.  80
    Emmanuel Alloa (Ed.): Erscheinung und Ereignis. Zur Zeitlichkeit des Bildes, München 2013. [REVIEW]Martina Sauer - 2015 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 15 (1).
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  35.  42
    From Aesthetics to Vitality Semiotics - From L´Art Pour L´Art to Responsibility. Historical Change of Perspective Exemplified on Josef Albers.Martina Sauer - 2020 - In Grabbe, Lars Christian ; Rupert-Kruse, Patrick ; Schmitz, Norbert M. (Hrsgg.): Bildgestalten : Topographien medialer Visualität. Marburg: Büchner. Büchner Verlag. pp. 194-213.
    The paper follows the thesis, that the perception of real or virtual media shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The prerequisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable “abstract representations” or their formal logical structures. In contrast to aesthetic (...)
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  36. Framing Emotional Perception: Affect and Effect of Aesthetic Experience, or Extensions of Aesthetic Theory Towards Semiotics.Martina Sauer - 2019 - Art Style: Art and Culture International Magazine 4 (4):73-87.
    How does an audience receive a work of art? Does the experience only affect the viewer or does it have an effect and thus influence his or her actions? It is the cultural philosopher Ernst Cassirer and his successors in philosophy and developmental psychology as well as in neuroscience to this day who postulate that perception in general and perception of art in particular are not neutral in their origins but alive and thus meaningful. They assume that both are based (...)
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  37. John Michael Krois. Bildkörper und Körperschema. Schriften zur Verkörperungstheorie ikonischer Formen. [REVIEW]Martina Sauer - 2013 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 13 (4).
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  38. (2014) Kunst als ästhetische Strategie. Differenz von Hingabe und Distanz als Bruch und Voraussetzung für eine neue Form des Dialogs.Martina Sauer - 2014 - In Stoellger Phillip & Gutjahr Marco (eds.), An den Grenzen des Bildes. Zur visuellen Anthropologie (Interpretation Interdisziplinär, 15). Würzburg: Könighausen & Neumann. pp. 115-130.
    By observing processes of art perception two contradicting phenomena come to the fore: a feeling of closeness and distance at the same time. The phenomenologists Martin Heidegger and Bernhard Waldenfels describe this connection as a matter of being ("Seinsweise") of images, that allows new views of the world whereas the two cultural anthropologists Ernst Cassirer and Hartmut Böhme note that the connection between both can be seen as the basis of experience ("Erlebnisweise") of images and therefore serves for communication. Here (...)
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  39. Lambert Wiesing, Sehen lassen. Die Praxis des Zeigens, Berlin 2013. [REVIEW]Martina Sauer - 2014 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 14 (3).
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  40. Panofsky - Warburg - Cassirer. From Iconology to Image Science.Martina Sauer - 2020 - In Homo Pictor. Image Studies and Archaeology in Dialogue [Freiburger Studien zur Archäologie & Visuellen Kultur 2], ed. by Jacobus Bracker, Heidelberg: Propylaeum. pp. 159-171.
    Neither the art historians Panofsky and Warburg nor the philosopher Cassirer had any interest with their cultural-historical research in fact-based, historical questions. An approach that had become common in the 19th century due to the loss of validity of the speculative aesthetics. On the contrary, instead of this substantial understanding as the documentary concept represents, these researchers focused on a functional understanding of art historical sources. Nevertheless, in contrast to this starting point, Panofsky invented a methodological procedure, the so-called iconological (...)
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  41. Anna-Maria C. Bartsch: Form Und Formalismus. Stationen der Ästhetik Bei Baumgarten, Kant Und Zimmermann, Würzburg 2017. [REVIEW]Martina Sauer - 2018 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 18 (7/8).
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  42.  95
    Marion Lauschke / Franz Engel / Johanna Schiffler (Eds.): Ikonische Formprozesse. Zur Philosophie des Unbestimmten in Bildern. De Gruyter: Berlin 2018. [REVIEW]Martina Sauer - 2019 - Sehepunkte. Rezensionsjournal für Geschichtswissenschaften 19 (4).
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  43. Ästhetik Versus Kunstgeschichte?: Ernst Cassirer Als Vermittler in Einer Bis Heute Offenen Kontroverse Zur Relevanz der Kunst Für Das Leben.Martina Sauer - 2018 - In Stefan Niklas & Thiemo Breyer (eds.), Ernst Cassirer in Systematischen Beziehungen: Zur Kritisch-Kommunikativen Bedeutung Seiner Kulturphilosophie. De Gruyter. pp. 239-260.
    Aesthetics versus Art History? Ernst Cassirer as Mediator in an ongoing Controversy on the Relevance of Art for Life. Against the background of Ernst Cassirer’s cultural philosophy, art studies are to be classified as cultural studies. Central to this is Cassirer’s philosophy as the basis for answering a question that has been posed by the methods of formal aesthetics and iconology since the 19th century but is still unanswered today, namely the question of the relevance of the arts for life. (...)
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  44. ´The Better Form´ - Josef Albers´s Idealistic Concept of Art Reveals its Socio-Cultural Function.Martina Sauer - 2019 - Art Style: Art and Culture International Magazine 2 (2):30-55.
    With the aim of teaching and practicing art for the good or moreover the better, Josef Albers proves to be an idealist. At the same time, he confirms with this conviction that art can also arouse the opposite. This conviction is already evident in the grammatical form of the term, which proves that art is functional or a technique for socio-cultural applications, whether good or bad. In the presentation of the political and philosophical background of this idea as well as (...)
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  45. Verantwortung - Vom Aufladen mit Bedeutung in Kunst und Sprache. Zu den Konsequenzen aus den kulturanthropologischen Ansätzen von Cassirer, Warburg und Böhme.Martina Sauer - 2013 - In Oxen Kathrin & Sagert Dietrich (eds.), Mitteilungen - zur Erneuerung evangelischer Predigtkultur, Leipzig 2013 (Kirche im Aufbruch ; 5). Leipzig, Germany: Evangelische Verlagsanstalt. pp. 15-33.
    So many things have a meaning for us. How is it possible and how can we deal with it? In "gestures of attention" (rituals) we understand it, Hartmut Böhme says, and we produce it ourselves, Aby M. Warburg and Ernst Cassirer are suggesting. That means the producer and the recipient are responsible for their doing. -/- So vieles in unserem Leben hat für uns eine Bedeutung. Wie kommt das und wie können wir damit umgehen? In "Gesten der Zuwendung" (Rituale), so (...)
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  46. What is Reality? Walter Benjamin, Roland Barthes, Jacques Derrida, Judith Butler, and the Artist Karin Kneffel on the Deconstruction of the Familiar as Liberation From Determination.Martina Sauer - 2020 - Art Style, Art and Culture International Magazine, Special Issue_6, On the Postmodern Age, Ed. By Martina Sauer 6 (6):101-120.
    What is reality? It is postmodern or poststructuralist philosophers like Roland Barthes, who realized that it only seems that the media present reality in the form of facts, because they actually spread myths. Accordingly, Jacques Derrida made it clear that communication via media is not based on logic, but is characterized by a significant “différance” between a “marque” (trace) of the past and the expectations of the future. Both agreed, that the initial misunderstanding of the concept of reality must be (...)
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  47. Warburg Und Die Natur(-Wissenschaft): Affektpsychologische Fundierung von Kultur Im Hamburger Kreis Um Warburg, Cassirer Und Werner Und Deren Nachwirkungen.Martina Sauer - 2020 - Visual Past, 5/2018, Special Issue: Image Senses.
    What distinguishes humans form animals? Acknowledging that humans are part of nature, that can process psychologically their affective-vital reactions to nature, and thus be held responsible for cultural processes, is the result of art historical, cultural-philosophical and life science research over the past two centuries. This line of argumentation led to the consideration that there must also be a connection between affective-psychological reactions and formal, a-historical mechanisms that are usually used by the arts. However, influenced by classical aesthetic theory, no (...)
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  48. In Memoriam Martina Stemich.Rafael Ferber - 2005 - In .
    This is an obituary notice in memoriam Martina Stemich.
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  49.  8
    Current Shopping Trends In Slovakia.Jana Mitríková, Martina Marchevská, Irina Kozárová, Maksym Bezpartochnyi, Igor Britchenko & Radostin Vazov - 2021 - Young Science 9 (3):1-18.
    Understanding the buying and shopping behaviour of current and potential consumers is essential in formulating a successful marketing strategy. It is no longer sufficient for companies to merely produce goods or provide services; companies must know who their consumers are, why they buy, when, where and at what price they buy, and what benefits they expect to gain from the purchase. Companies also need to identify how far consumers are willing to travel to make their purchases and whether the size (...)
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  50. Wybrane aspekty wielorakiego znaczenia bytu i intencjonalności w ujęciu Franza Brentana i Martina Heideggera.Sonia KAMIŃSKA - 2013 - Argument: Biannual Philosophical Journal 3 (2):253-272.
    Tekst ma na celu bliższe zapoznanie Czytelnika z otwierającą cykl Aristotelica pracą doktorską Franza Brentano Von der mannigfachen Bedeutung des Seienden nach Aristoteles (1862), która znana jest głównie z tego, że miała zainspirować młodego Martina Heideggera i sprawić, że zajął się filozofią. Tekst bada naturę i siłę tej inspiracji. Część pierwsza opowiada historię powstania Von der mannigfachen … oraz przedstawia szerszy kontekst zetknięcia się Heideggera z filozofią Brentana, a także stara się przedstawić Heideggera na tle jego pozostałych uczniów (Kazimierz (...)
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