Results for 'theater'

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Bibliography: Theater in Arts and Humanities
  1. A Theater of Ideas: Performance and Performativity in Kierkegaard’s Repetition.Martijn Boven - 2018 - In Eric Jozef Ziolkowski (ed.), Kierkegaard, Literature, and the Arts. Evanston, IL, USA: pp. 115-130.
    In this essay, I argue that Søren Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between“performative writing strategies” and “categories of performativity.” As a second step, I will focus on Repetition: A Venture in Experimenting Psychology, by Constantin Constantius, one of the best examples of Kierkegaard’s innovative way (...)
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  2. Theater, Representation, Types and Interpretation.John Dilworth - 2002 - American Philosophical Quarterly 39 (2):197-209.
    In the performing arts, including music, theater, dance and so on, theoretical issues both about artworks and about performances of them must be dealt with, so that their theoretical analysis is inherently more complex and troublesome than that of nonperforming arts such as painting or film, in which primarily only artworks need to be discussed. Thus it is especially desirable in the case of the performing arts to look for defensible broad theoretical simplifications or generalizations that could serve to (...)
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  3. Showtime at the Cartesian Theater? Vehicle Externalism and Dynamical Explanations.Michael Madary - 2012 - In Fabio Paglieri (ed.), Consciousness in Interaction: The role of the natural and social context in shaping consciousness. John Benjamins.
    Vehicle externalists hold that the physical substrate of mental states can sometimes extend beyond the brain into the body and environment. In a particular variation on vehicle externalism, Susan Hurley (1998) and Alva Noë (2004) have argued that perceptual states, states with phenomenal qualities, are among the mental states that can sometimes spread beyond the brain. Their vehicle externalism about perceptual states will be the main topic of this article. In particular, I will address three strong objections to their vehicle (...)
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  4. Perceptual Justification and the Cartesian Theater.David James Barnett - forthcoming - Oxford Studies in Epistemology 6.
    According to a traditional Cartesian epistemology of perception, perception does not provide one with direct knowledge of the external world. Instead, when you look out to see a red wall, what you learn first is not a fact about the color of the wall—i.e., that it is red—but instead a fact about your own visual experience—i.e., that the wall looks red to you. If you are to justifiably believe that the wall is red, you must be in a position to (...)
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  5.  59
    Scrutinizing the Art of Theater.Aaron Meskin - 2009 - Journal of Aesthetic Education 43 (3):pp. 51-66.
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  6. Goffman: La realidad como expectativa autocumplida y el teatro de la interioridad (Goffman: Reality as self-fulfilling expectation and the theatre of interiority).José Angel García Landa - manuscript
    A critical exposition, in Spanish, of Erving Goffman's theories on the semiotic organization of social reality and on the structure of subjectivity and subjective experience (two sides of the same coin) through a detailed analysis of the conclusion to Frame Analysis (1974). Goffman's insights into the interactional nature of subjectivity are related to other theorists' conceptions of the role of reflexivity in perception, consciousness and the structuring of semiotic artifacts (language, narrative, art).
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  7.  39
    The Theatre of Privacy: Vision, Self, and Narrative in Nabokov's Russian Language Novels.Gregory Khasin - 1999 - Dissertation, The University of Chicago
    This dissertation is an attempt to find a single framework for understanding two seemingly conflicting aspects of Nabokov's Russian novels---the metaphysical and the existential. The metaphysical aspect is analyzed according to Leibniz's "Monadology," with its key concepts of the monad, pre-established harmony, the optimization of the universe, and sufficient reason. The existential aspect is examined according to Sartre's theory of the gaze from "Being and Nothingness"; its main notions are being-for-another, radical individuation and intersubjective struggle. Concern with the level of (...)
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  8. Für ein Theater der Doppelsinnigkeit: Simone de Beauvoirs Entwurf einer existentialistischen Ethik in Die unnützen Mäuler.Esther Redolfi - manuscript
    Für Simone de Beauvoir ist der Existentialismus die einzige Philosophie, die der Aufgabe gewachsen ist, eine ethische Verhaltensweise, die sich auch unmittelbar in die Praxis umsetzen lässt, zu entwerfen. Die Werke, in denen Beauvoir eine existentialistische Ethik formuliert und deren Umsetzbarkeit veranschaulicht, sind allen voran ihr Essay Für eine Moral der Doppelsinnigkeit und ihr Theaterstück Die unnützen Mäuler. Mit der dramaturgischen Darstellung einer Grenzsituation ist es der Philosophin und Schriftstellerin gelungen, eine Synthese von Werten umrisshaft zu erläutern, aus denen sich (...)
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  9.  75
    Manifestation of the Kabuki Actors’ Gender in Woodblock Prints of the Edo Period.Beata Romanowicz - 2015 - Argument: Biannual Philosophical Journal 5 (1):127-134.
    The connection between Kabuki theatre and Japanese woodblock prints of the Edo period (1603–1868), especially in their portraits of actors called yakusha‑e, offers an exceptional opportunity to analyse perceptions of the sex of the actor: as the hero of the drama, as well as the character performed on the stage. Both phenomena flourished in the Edo period and had a crucial impact on the visual art of the time, inspiring pictures of the Floating World (Jap. Ukiyo‑e). The images on Ukiyo‑e (...)
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  10.  20
    Sztuka i przestrzeń. Pawła Florenskiego interpretacja kategorii przestrzenności.Paulina Sury - 2015 - Argument: Biannual Philosophical Journal 5 (1):229-242.
    This paper attempts to acquaint Polish readers with the Russian Orthodox philosopher Pavel Florensky’s (1882–1937) thinking on the category of space‑ness, which together with the categories of symbolism and light is one of the key‑words in his theory of aesthetics. The concept of space is, according to Florensky, a criterion for distinguishing art types, although for him it is only a model, which can be used to help form judgments about the world. It is also the basis of being for (...)
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  11.  82
    Performance Art Nach 1945 Aktionstheater und Intermedia.Thomas Dreher - 2001 - Munich, Germany: Wilhelm Fink.
    The outline of the development of Performance Art features happenings in New York and Vienna in the sixties as well as body art and performances with closed circuits in the seventies (among others). Action Art, Environmental Theater and Intermedia are the terms defining the main characteristics of the works discussed. The research method is mainly based on Intertextuality (Mikhail Mikhailovich Bakhtin) and Systems Theory (Niklas Luhmann).
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  12. Shakespeare's Hamlet: The Way I Visioned..Rituparna Ray Chaudhuri - forthcoming
    On A Complete Self Analysis; Let angels judge it..
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  13. Kierkegaard's Concepts: Psychological Experiment.Martijn Boven - 2015 - In Jon Stewart, Steven M. Emmanuel & William McDonald (eds.), Volume 15, Tome V. Kierkegaard's Concepts: Objectivity to Sacrifice. Ashgate. pp. 159-165.
    For Kierkegaard the ‘psychological experiment’ is a literary strategy. It enables him to dramatize an existential conflict in an experimental mode. Kierkegaard’s aim is to study the source of movement that animates the existing individual (this is the psychological part). However, he is not interested in the representation of historical individuals in actual situations, but in the construction of fictional characters that are placed in hypothetical situations; this allows him to set the categories in motion “in order to observe completely (...)
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  14. Social Mirrors and Shared Experiential Worlds.Charles Whitehead - 2001 - Journal of Consciousness Studies 8 (4):3-36.
    We humans have a formidable armamentarium of social display behaviours, including song-and-dance, the visual arts, and role-play. Of these, role-play is probably the crucial adaptation which makes us most different from other apes. Human childhood, a sheltered period of ‘extended irresponsibility’, allows us to develop our powers of make-believe and role-play, prerequisites for human cooperation, culture, and reflective consciousness. Social mirror theory, originating with Dilthey, Baldwin, Cooley and Mead, holds that there cannot be mirrors in the mind without mirrors in (...)
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  15.  21
    “Antigone’s Stance Amongst Slovenia’s Undead.”.Rachel Aumiller - 2017 - Studia Ethnologica Croatica 29:19-42.
    Memorialization in the form of the architectural statue can suggest that our stance towards the past is concrete while memorials in the form of repeated social activity represent reconciliation with the past as a continual process. Enacted memorials suggest that reconciliation with the past is not itself a thing of the past. Each generation must grapple with its inherited memories, guilt, and grief and self-consciously take its own stance towards that which came before it. This article considers Dominik Smole’s post (...)
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  16.  88
    Katherine’s Questionable Quest for Love and Happiness.Bo C. Klintberg - 2008 - Philosophical Plays 1 (1):1-98.
    CATEGORY: Philosophy play; historical fiction; comedy; social criticism. STORYLINE: Katherine, a slightly neurotic American lawyer, has tried very hard to find personal happiness in the form of friends and lovers. But she has not succeeded, and is therefore very unhappy. So she travels to London, hoping that Christianus — a well-known satisfactionist — may be able to help her. TOPICS: In the course of the play, Katherine and Christianus converse about many philosophical issues: the modern American military presence in Iraq; (...)
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  17. Roots Reloaded. Culture, Identity and Social Development in the Digital Age.Ayman Kole & Martin A. M. Gansinger (eds.) - 2016 - Anchor.
    This edited volume is designed to explore different perspectives of culture, identity and social development using the impact of the digital age as a common thread, aiming at interdisciplinary audiences. Cases of communities and individuals using new technology as a tool to preserve and explore their cultural heritage alongside new media as a source for social orientation ranging from language acquisition to health-related issues will be covered. Therefore, aspects such as Art and Cultural Studies, Media and Communication, Behavioral Science, Psychology, (...)
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  18.  24
    Театральность как путь к гармонизации самосознания.Anton Faalk - manuscript
    Современность, подарившая человеку свободу от диктата традиций, лишила его возможности определять цели внутри себя. В ХХ-ХХI вв. целью «Я» стало узнавание субъекта-во-мне исключительно в ложном объекте-во-мне, что загнало личность в порочный круг погони дурно сыгранного «Я» за дурно сыгранным «Я». Возникла острая необходимость в возврате к театральности в различных областях искусства, эстетике и обыденности в противопоставление театра одного Я. Вопрос лишь в том, как превратить театральность в практику души.
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  19.  22
    Antonin Artaud e la scrittura del reale. Glossolalie e disegni per un linguaggio analfabetico.Fabio Vergine - 2018 - Elephant and Castle. Laboratorio Dell'immaginario 1 (18).
    During the last ten years of his life, Antonin Artaud shows more and more intensively a multi-faceted and caustic refusal for traditional literature and the ordinary practice of writing. But above all, he shows a stylistic impatience for the alphabetic use of the word and the language. By the intention of creating an inhuman language, which could be understood also by the illiterate people, Artaud wants to undermine the significant use of the word, so that he can achieve a non-representative (...)
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  20. Here is Harold Pinter.Subhasis Chattopadhyay - 2005 - THE BULLETIN OF THE RAMAKRISHNA MISSION INSTITUTE OF CULTURE (December):561-66.
    This essay interrogates the philosophy of Pinter through analyses of his language, religious understanding of life and through passing references to Buddhism.
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  21.  36
    Les Thé'tres du Réel Pratiques de la Représentation Dans le Thé'tre Contemporain.Maryvonne Saison - 1998
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  22. Aesthetic Adjectives.Louise McNally & Isidora Stojanovic - 2014 - In James Young (ed.), The Semantics of Aesthetic Judgment. Oxford University Press.
    Among semanticists and philosophers of language, there has been a recent outburst of interest in predicates such as delicious, called predicates of personal taste (PPTs, e.g. Lasersohn 2005). Somewhat surprisingly, the question of whether or how we can distinguish aesthetic predicates from PPTs has hardly been addressed at all in this recent work. It is precisely this question that we address. We investigate linguistic criteria that we argue can be used to delineate the class of specifically aesthetic adjectives. We show (...)
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  23. What is It Like to Be Nonconscious? A Defense of Julian Jaynes.Gary Williams - 2011 - Phenomenology and the Cognitive Sciences 10 (2):217-239.
    I respond to Ned Block’s claim that it is ridiculous to suppose that consciousness is a cultural construction based on language and learned in childhood. Block is wrong to dismiss social constructivist theories of consciousness on account of it being ludicrous that conscious experience is anything but a biological feature of our animal heritage, characterized by sensory experience, evolved over millions of years. By defending social constructivism in terms of both Julian Jaynes’ behaviorism and J.J. Gibson’s ecological psychology, I draw (...)
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  24.  7
    An Improved Ontological Representation of Dendritic Cells as a Paradigm for All Cell Types.Masci Anna Maria, N. Arighi Cecilia, D. Diehl Alexander, E. Lieberman Anne, Mungall Chris, H. Scheuermann Richard, Barry Smith & G. Cowell Lindsay - 2009 - BMC Bioinformatics 10 (1):70.
    The Cell Ontology (CL) is designed to provide a standardized representation of cell types for data annotation. Currently, the CL employs multiple is_a relations, defining cell types in terms of histological, functional, and lineage properties, and the majority of definitions are written with sufficient generality to hold across multiple species. This approach limits the CL’s utility for cross-species data integration. To address this problem, we developed a method for the ontological representation of cells and applied this method to develop a (...)
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  25. The Common Vernacular of Power Relations in Heavy Metal and Christian Fundamentalist Performances.Christine James - 2010 - In Rosemary Hill Karl Spracklen (ed.), Heavy Fundametalisms: Music, Metal and Politics. Inter-Disciplinary Press.
    Wittgenstein’s comment that what can be shown cannot be said has a special resonance with visual representations of power in both Heavy Metal and Fundamentalist Christian communities. Performances at metal shows, and performances of ‘religious theatre’, share an emphasis on violence and destruction. For example, groups like GWAR and Cannibal Corpse feature violent scenes in stage shows and album covers, scenes that depict gory results of unrestrained sexuality that are strikingly like Halloween ‘Hell House’ show presented by neo-Conservative, Fundamentalist Christian (...)
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  26. The Myth of Scotland as Nowhere in Particular.John Marmysz - 2014 - International Journal of Scottish Theatre and Screen 7 (1):28-44.
    In a number of recent films, Scotland has served as the setting for dramas that could have taken place anywhere. This has occurred in two related ways: First, there are films such as Perfect Sense (2011) and Under the Skin (2013). These films involve storylines that, while they do take place in Scotland, do not require the country as a setting. Second, there are films such as Prometheus (2012),The Dark Knight Rises (2012), Cloud Atlas (2012), and World War Z (2013). (...)
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  27.  79
    Reasoning with Unconditional Intention in Advance.Jens Gillessen - forthcoming - Journal of Philosophical Research.
    Suppose that you intend to go to the theater. Are you therein intending the unconditional proposition that you go to the theater? That would seem to be deeply irrational; after all, you surely do not intend to go if, for instance, in the next instant an earthquake is going to devastate the city. What we intend we do not intend ‘no matter what,’ it is often said. But if so—how can anyone ever rationally intend simply to perform an (...)
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  28. Mirrors of the Soul and Mirrors of the Brain? The Expression of Emotions as the Subject of Art and Science.Machiel Keestra - 2014 - In Gary Schwartz (ed.), Emotions. Pain and pleasure in Dutch painting of the Golden Age. nai010 publishers. pp. 81-92.
    Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...)
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  29.  38
    Leibliches Üben als Teil einer philosophischen Lebenskunst: Die Verkörperung von Kata in den japanischen Wegkünsten.Leon Krings - 2017 - European Journal of Japanese Philosophy 2:179-197.
    In this paper, I try to show how Japanese practices of self-cultivation found in the so-called “ways” can be interpreted as embodied forms of “caring for oneself ” and, therefore, as part of a philosophical Lebenskunst or art of living. To this end, I refer to phenomenological accounts of the body as well as to a unique notion of practice found in the writings of Dōgen Kigen, a thirteenth-century Japanese Zen master. Central to this essay is a concern with embodying (...)
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  30. Toward a Realistic Science of Environments.Barry Smith - 2009 - Ecological Psychology 21 (2):121-130.
    The perceptual psychologist J. J. Gibson embraces a radically externalistic view of mind and action. We have, for Gibson, not a Cartesian mind or soul, with its interior theater of contents and the consequent problem of explaining how this mind or soul and its psychological environment can succeed in grasping physical objects external to itself. Rather, we have a perceiving, acting organism, whose perceptions and actions are always already tuned to the parts and moments, the things and surfaces, of (...)
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  31. The Myth and the Meaning of Science as a Vocation.Adam J. Liska - 2005 - Ultimate Reality and Meaning 28 (2):149-164.
    Many natural scientists of the past and the present have imagined that they pursued their activity according to its own inherent rules in a realm distinctly separate from the business world, or at least in a realm where business tended to interfere with science from time to time, but was not ultimately an essential component, ‘because one thought that in science one possessed and loved something unselfish, harmless, self-sufficient, and truly innocent, in which man’s evil impulses had no part whatever’, (...)
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  32.  61
    Disciplinary Power and Testimonial Narrative in Schindler's List.Eugene Arva - 2004 - Film and Philosophy 8:51-62.
    Steven Spielberg‘s filmed representation of the Holocaust dares its viewers to experience, as secondary witnesses, atrocities committed by the Nazis in Poland. The film is yet another form of testimonial narrative (audio-visual but lacking a full historical context, except for a few on-screen titles) which aligns the survivors, who have come to be known as the Schindler Jews, and their descendants, on the one hand, and Spielberg‘s cameraman (comparable to an internalized narrator), Spielberg the film director (an external, omniscient narrator), (...)
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  33. The Critical Aesthetics of Disney World.Arnold Berleant - 1994 - Journal of Applied Philosophy 11 (2):171-180.
    It might seem strange to propose an aesthetic consideration of the theme park, that artificial bloom in the garden of popular culture.1 The aesthetic is often considered a minority interest in the modern world, yet it offers a distinctive perspective, even on an activity that has mass appeal, and can provide insights that would otherwise remain undiscovered. Aesthetic description and interpretation can illuminate the theme park in many directions: as architecture, design, theater, landscape architecture, environment. I shall choose the (...)
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  34.  43
    Reflections on the Presence of Play in University Arts and Athletics.Aaron Harper - 2016 - Reason Papers 38 (1):38-50.
    Recent work has explored the extent to which intercollegiate athletics even belong at the university or meet the university’s mission. Just as play seems evident in athletics, it is also present in music, art, and theater. While these programs are popular targets when discussing possible cuts, few question their legitimacy at the university. In this article I argue that the justification for retaining the extracurricular status of intercollegiate sports should be based on their being especially playful. Indeed, on the (...)
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  35.  71
    Zur Metaphysik der Kunst. Eine logisch-ontologische Untersuchung des Werkbegriffs.Maria E. Reicher - 1998 - dbv-Verlag für die Technische Universität Graz.
    Thema der Arbeit ist der ontologische Status von Werken sowie die Beziehung zwischen Werken einerseits und Aufführungen, Manuskripten, Partituren, Schallplatten, Gemälden, Gebäuden, Drucken etc. andererseits. Es wird angeknüpft an den phänomenologischen Ansatz von Roman Ingarden (aber auch an den von Alexius Meinung). Diese Ansätze werden unter Verwendung moderner logischer Hilfsmittel weiterentwickelt und, wo notwendig, revidiert. Im ersten Kapitel wird ausführlich begründet, warum Werke (und zwar Werke aller Gattungen) abstrakte, typenartige Gegenstände sein müssen, die in konkreten Einzeldingen (z. B. Aufführungen) realisiert (...)
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  36.  52
    Peut-on jouir du capitalisme? Lacan avec Heidegger et Marx.Luis De Miranda (ed.) - 2008 - Paris: Max Milo.
    « Voici un livre vif, intelligent, nullement béni-oui-oui. Avec Lacan, il démontre que le capitalisme est une machine à faire jouir massivement. Ce qui s'obtient n'est pas pour autant une jouissance toute, mais seulement des lichettes. La jouissance demeurera toujours tonneau des Danaïdes. » Hervé Castanet, professeur des universités, psychanalyste, membre de l'école de la Cause freudienne. -/- Partout la qualité de vie prend la forme d'une quantité d'envies. Le nouveau monde oscille entre deux versants d'une même pièce de théâtre (...)
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  37.  52
    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, Anderen (...)
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  38.  88
    The Role of Mental Accounting in Everyday Economic Decision Making.Tommy Gärling, Niklas Karlsson & Marcus Selart - 1999 - In Peter Juslin & Henry Montgomery (eds.), Judgment and decision making. Erlbaum. pp. 199-218.
    Mental accounting is a concept associated with the work of Richard Thaler. According to Thaler, people think of value in relative rather than absolute terms. They derive pleasure not just from an object’s value, but also the quality of the deal – its transaction utility (Thaler, 1985). In addition, humans often fail to fully consider opportunity costs (tradeoffs) and are susceptible to the sunk cost fallacy. Why are people willing to spend more when they pay with a credit card than (...)
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  39. Experiment in Cartesian Courses: The Case of Professor Burchard de Volder.Tammy Nyden - 2010 - The Circulation of Science and Technology.
    In 1675, Burchard de Volder became the first university physics professor to introduce the demonstration of experiments into his lectures and to create a special university classroom, The Leiden Physics Theatre, for this specific purpose. This is surprising for two reasons: first, early pre-Newtonian experiment is commonly associated with Italy and England, and second, de Volder is committed to Cartesian philosophy, including the view that knowledge gathered through the senses is subject to doubt, while that deducted from first principles is (...)
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  40.  49
    Critical Evaluation of Shelagh Delaney’s A Taste of Honey.Jasvant Rathod - manuscript
    1950s witnessed a drastic change in the history of British drama. The publication of John Osborne’s masterpiece, Look Back in Anger in 1956 radicalised the British theatre. The play was a blow against establishment. Osborne portrayed Jimmy Porter, the anti-hero of the play. He is frustrated and malcontent. He attacks the establishment in every sense. Following the success of this play, a generation of writers emerged who are labelled as “angry young men”, though they were not a unified group. This (...)
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  41.  65
    On Diffident and Dissident Practices: A Picture of Romania at the End of the 19th Century.Roxana Patraș - 2015 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 2 (1):35-51.
    The present paper explores diffident and dissident practices reflected by the political talk at the end of the 19th-century in Romania. Relying on Jacques Rancière’s theories on the ‘aesthetic regime of politics,’ the introduction sketches a historical frame and proposes a focus change: the relation between ‘politics’ and ‘aesthetics’ does not stand on a set of literary cases, but on political scripts as such. Thus, the hypotheses investigated by the next three parts can be formulated as follows: 1. though determined (...)
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  42.  89
    Inscenizacje dramatów Gerharta Hauptmana na scenach Wrocławia w latach 1933-1944.Tomasz Majewski - 2002 - Acta Universitatis Lodziensis 3:145-162.
    Die Breslauer Sprechbühnen wiesen in der Zeit des Nationalsozialismus Tendenzen auf, die für das gesamte Theaterleben Deutschlands charakteristisch waren. Die politische Instrumentalisierung der dramatischen Kunst, wie des ganzen literarischen Lebens, resultierte aus dem zentralen, von dem Reichsministerium für Volksaufklärung und Propaganda postulierten Programm, das den Theatern außcrästhetische Propaganda- und F.rziehungsaufgabcn zuschrieb. Die Hauptfrage - nach der Spielplangestaltung - traf auch für die wichtigsten Verfasser der damaligen Literatur zu, zu denen sicher der eng mit der schlesischen Provinz verbundene Gerhart Hauptmann gehörte. (...)
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  43.  33
    Forms Open to Life.Federico Pianzola & Darko Suvin - 2014 - Enthymema (11):44-57.
    This is the revised transcript of a conversation between Darko Suvin [DS] and Federico Pianzola [FP]. The topics discussed are many and the focus keeps zooming back and forth from the historical context of humanities vs. resurgent fascism to formal remarks on literature, theatre, utopia, narrative, and other themes. Particular emphasis is given to a reflection on the dialectical and constructivist approach deployed by Suvin in his works.
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