In the history of philosophy, culture occupies
a special space, in addition to being
indispensable for the understanding of the
human being and the symbols that define his
existence. Understanding ...the cultural
universe means entering into the recognition
of human practices, customs and beliefs that
consolidate the identity and otherness of
individuals. However, these advance
processes have not been symmetrical; on the
contrary, they have been characterized by
violent outbursts, which resulted in
ontological, political and epistemic
impositions on inhabitants of different
latitudes. The emblematic case of this cultural
and colonial hegemony can be found in the
conquest of America, which led to denying
the entire symbolic universe of American
culture, creating a distance between man and
earth, and codifying a series of circumstances
that excluded them inhabitants of the region
of global culture.
En la historia de la filosofía, la cultura ocupa
un espacio especial, al ser indispensable para
la comprensión del ser humano y de los
símbolos que definen su existencia. Percibir
el universo cultural, significa adentrarse en el
reconocimiento de las prácticas humanas,
costumbres y creencias que consolidan la
identidad y la alteridad de los individuos. No
obstante, estos procesos de avances no han
sido simétricos; por el contrario, han estado
caracterizados por irrupciones violentas, que
derivaron en imposiciones ontológicas,
políticas y epistémicas sobre habitantes de
diversas latitudes. El caso emblemático de
esta hegemonía cultural y colonial puede
ubicarse en la conquista de América, hecho
que llevó a negar todo el universo simbólico
de la cultura americana, a crear un
distanciamiento del hombre con la tierra y a
codificar una serie de circunstancias que
excluían a los habitantes de la región de la
cultura global
GRIEF: A NARRATIVE ACCOUNT Goldie, Peter
Ratio (Oxford),
June 2011, Volume:
24, Issue:
2
Journal Article
Peer reviewed
Grief is not a kind of feeling, or a kind of judgement, or a kind of perception, or any kind of mental state or event the identity of which can be adequately captured at a moment in time. Instead, ...grief is a kind of process; more specifically, it is a complex pattern of activity and passivity, inner and outer, which unfolds over time, and the unfolding pattern over time is explanatorily prior to what is the case at any particular time. The pattern of a particular grieving is best understood and explained through a narrative account, and not merely through a causal account, for narrative accounts in such cases have powerful explanatory, revelatory, and expressive powers which causal accounts lack. Although I will not argue for it here, I believe that this view of grief can be generalised to other kinds of emotion. If this is so, then many philosophical accounts of emotion are at fault in identifying emotion with a kind of mental state or event.
Im transnationalen Migrationsmodell und seinen Nachfolgern manifestiert sich die kopernikanische Wende der Migrationsforschung: Migrant*innen und ihre Netzwerke sind nicht mehr Gegenstand (Objekt) ...der Sozialforschung, sondern werden als Träger*innen sozialer Welten (Subjekte) identifiziert und bilden den neuen analytischen Ausgangspunkt. Coretta Ehrenfeld lotet die philosophische Bedeutung dieser migrantischen Subjektivierung aus: Diese besteht unter anderem in der Kritik sozialtheoretischer Trägerschaft in nationalgesellschaftlicher Gestalt sowie infolgedessen in der begrifflichen Auflösung der Dichotomie zwischen sesshaft und migrantisch.
Chinese Communist monocultural policies, notably the re-education camps for the Uyghurs in Xinjiang, have recently been condemned for violating human rights. In response to critics, the Chinese ...Communist Party frequently replied that one should not impose Western concepts of democracy, liberty, and human rights on the Chinese people. Nevertheless, instead of introducing Western philosophies criticizing the current Chinese Communist monoculturalism; with the help of a modern reinterpretation of the Classic of Rites, this paper aims to construct a Confucian Multiculturalism and argues that: (1) the Classic of Rites explicitly warned against cultural assimilations of “barbarians” into the “civilized” Empire, (2) the Classic of Rites acknowledges cultural diversities, and (3) although the Classic of Rites does not explain clearly why the imperial court should tolerate cultural diversities, a Kantian reinterpretation of the Chinese concept of 敬 Jing implies the respects for minority rights. In doing so, this paper formulates Confucian Multiculturalism as a new model of the Chinese philosophy of culture which asserts cultural diversity.
Introduction.
The information society changes many familiar phenomena of traditional society. These include, first of all, culture, which acts as an indicator that civilization is moving to a new ...stage of development. In the information age, significant changes are taking place in the culture. In the works of scientists, a categorical apparatus is developed that allows describing and studying new phenomena. The category "information culture" is one of such innovations in the scientific literature. However, research shows that a unified approach to understanding the essence of this phenomenon has not yet developed.
In the study of information culture, the issues of its relationship with society and the individual are well developed, and the possible social consequences of its development and implementation in all spheres of human life and activity are presented. However, the weak point or "white spot" remains the study of its nature, essential, attribute, and substrate properties.
The purpose of this article is to substantiate the relevance of developing a substratum-attribute model of information culture within the framework of the philosophy of culture.
Materials and Methods.
The main research methods used were analytical review, analysis, grouping, generalization, comparison, and substrate approach.
Results:
the analysis of works devoted to the philosophical and cultural research of information culture has shown that researchers of the nature and essence of information culture as a category of cultural philosophy pay insufficient attention to the development of its substratum-attribute model. There are practically no complete system studies that result in the construction of a substratum-attribute model of information culture.
Discussion and Conclusions.
The studied models of information culture do not fully reflect its nature, essential features and qualities that allow us to understand the causes and mechanisms of its influence on the course of civilizational, social and anthropological changes. Therefore, the development of a substratum-attribute model of information culture is due to the need to identify the causes of possible changes in the generic qualities of a person that occur under its influence as a socio-cultural phenomenon.
What's Social About Social Emotions? HARELI, SHLOMO; PARKINSON, BRIAN
Journal for the theory of social behaviour,
June 2008, Volume:
38, Issue:
2
Journal Article
Peer reviewed
ABSTRACT
This paper presents a new approach to the demarcation of social emotions, based on their dependence on social appraisals that are designed to assess events bearing on social concerns. ...Previous theoretical attempts to characterize social emotions are compared, and their inconsistencies highlighted. Evidence for the present formulation is derived from theory and research into links between appraisals and emotions. Emotions identified as social using our criteria are also shown to bring more consistent consequences for social behavior than nonsocial emotions. We conclude by considering ways of validating and refining our classification.
Künste bilden einen genuinen Bereich der Produktion von Wissen. Künstlerisches Wissen steht dabei im Austausch mit anderen kulturellen, sozialen oder politischen Wissensbereichen, es ist zugleich mit ...Praktiken verbunden, die an die Ränder etablierter und konsolidierter Wissensformen führen können. Die Beiträger*innen des Bandes stellen transdisziplinäre Ansätze zum Verständnis künstlerischer Wissensgenerierung vor, die aus dem Graduiertenkolleg »Das Wissen der Künste« hervorgegangen sind.
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