126 research outputs found
La recepción de la obra de William Collins: “Ode to Evening”
Trabajo que se ocupa de uno de los poetas más relevantes del siglo XVIII en Inglaterra, William Collins, que ha estado durante muchos años considerado como un poeta menor, aunque ya él Doctor Jonson en su Lives of the English Poets llamara la atención sobre él (“He wrote now and then odes and other poems, and did something, however little”), del que posteriormente se ha reconocido la importancia de sus Odas, y en concreto la “Ode to Evening”, considerada como una de las mejores odas de la poesía inglesa.The present article focuses on one of the most relevant 18th century English poets, William Collins. Although he had been considered a minor poet for a long time, Doctor Johnson drew his contemporaries‟ attention to him in his Lives of the English Poets (“He wrote now and then odes and other poems, and did something, however little”). Later, he has been later recognised for his odes, especially the “Ode to Evening”, now considered one of the best English odes
Efecto de un protocolo grupal breve basado en Mindful Self Compassion (MSC) sobre la autocompasión, autocrítica, autoeficacia, estrés y rumiación en practicantes de psicología clínica.
137 Páginas : Tablas; Gráficas.The aim of this study was to analyze the effect of a short group protocol based on Mindful Self-Compassion (MSC). Measurements were obtained before and after the application of the protocol for variables such as Self-Compassion (SCS), Self-Criticism (FSCRS), Self-efficacy (EAG), Rumination (PTQ-CPT) and Emotional Symptoms (DASS-21). A pre and post design with control group was used. The total sample consisted of 10 clinical psychology practitioners over 18 years of age, which were randomly distributed in two groups, experimental group and control group. The results showed no significant effects associated with the interventions implemented, with the exception of the indicators of self-pity and self-efficacy. The limitations of the present study are discussed and recommendations are made on future directions for the implementation of short protocols based on this type of clinical models.El objetivo de este estudio fue analizar el efecto de un protocolo grupal breve basado en Mindful Self-Compassion (MSC). Se obtuvieron mediciones antes y después de la aplicación del protocolo para variables como Autocompasión (SCS), Autocrítica (FSCRS), Autoeficacia (EAG), rumiación (PTQ-CPT) y Síntomas emocionales (DASS-21). Se empleó un diseño pre y post con grupo control. La muestra total estuvo conformada por 10 practicantes de psicología clínica mayores de 18 años que fueron distribuidos aleatoriamente en dos grupos, grupo experimental y grupo control. Los resultados no mostraron efectos significativos asociados a las intervenciones implementadas, a excepción de los indicadores de autocompasión y autoeficacia. Se discuten las limitaciones del presente estudio y se realizan recomendaciones sobre futuras direcciones para la implementación de protocolos breves basados en este tipo de modelos clínicos.Magíster en Psicología ClínicaMaestrí
Self-concept in the biographical narratives of women visual art educators and artists
The purpose of this study is to examine the visual art education experiences of women art educators and women artists in the context of colleges and universities. The focus of the study is the relationship of the concept of self to the production of works of visual art and the development of ideologies concerning the teaching of visual art. The hypothesis of the study proposes that pedagogical practices which enhance or diminish the concept of self establish contexts and conditions for artistic production, and influence the development of teaching ideologies. The study uses a qualitative methodology based on autobiographical narratives to describe the visual art education experiences of the two groups of women. Transcripts of interviews with five women art educators and the published letters, journals, and other writings of six noted women artists provides two sets of narrative texts for analysis. A theory of artistic "self" development which consists of three conceptual models: the aesthetic, creative, and expressive is the organizing framework used to analyze the autobiographical narratives
In search of the subject: locating the shifting politics of women's performance art
From the late 1960s to the present, women have utilised performance art as a 'form' with which to resist, transgress, contest or reveal the position of women within wider society. However, as both the nature of feminist politics and the contexts within which the work has been produced have changed, the enactment of such oppositional strategies has also shifted. This thesis aims to locate and account for such shifts by mapping multiple subjects, including performance art, feminism(s), contemporary theory, performers and women's performance art.
In the late 1960s throughout the 1970s, the strategies most often utilised by women performance artists either offered alternative, supposedly more 'truthful' representations which drew on the real, material lives of women, or completely reimagined woman, locating her in a place before or outside of the patriarchal structure. From the 1980s onwards, however, the practice of women's performance art looks somewhat different. While performers continue to contest the material conditions and results of being positioned as female in Western society, such contestations are now often enacted from within what might be considered a 'deconstructive' or 'poststructuralist' frame. Acknowledging the impossibility of ever representing the 'real' woman, since 'woman' is always already a representation (and is always multiple), I suggest that the aim of this work is therefore not so much to reveal the 'real' woman behind the fiction, but to take apart the fiction itself, revealing the way in which the signifier 'woman' has been differentially constructed, for what purpose, and with what real effects. I have nominated this shift as a movement from a performance and politics of identity to a performance and politics of subjectivity
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Criticism in the absence of criticism
English abstract:
Criticism is defined as the examination and judgment about someone or something. This definition includes, at first, an analytical task -with a particular methodology related to it- and, at second, a synthetic activity, translated into a value judgment on what is previously analyzed. Criticism can be done in different ways and depths: from the basic critical thinking -essentially descriptive- to the most truthful one –the poetic criticism-, that transcends pure description or analysis and refers itself to the internal coherence of the object. Any criticism that seeks to reduce the distance to the truth will address both to the intrinsic object relationships -or own laws- and to the extrinsic ones. Furthermore, an objective criticism provides a knowledge of the object regardless of the observer or frame of reference. This provides an effective method and a guaranteed way to approach to the knowledge of the object.
Does this mean that without a regular critical method no criticism is undertaken? The proposal of this paper is to
explain how a critical thought can be undertaken in the
absence of criticism, in which there is no explicit value
judgment. Taking the hypothesis that there is criticism in the absence of criticism, an architectural work –either
being a building, a writing on architecture, etc.- that implies a tacit criticism could work on two levels: as a
practical result –built, literary, etc.- and as a critical thought. The hypothesis proposes that such duality, criticism and practice, may come together in a single work. Although not in any. The existence of criticism in the absence of criticism will depend on the nature of the object and, with no doubt, on the speaker and receiver. At first glance, the guarantees provided by this criticism in the absence of criticism seem less tan through the orthodox one, in which the subject is the weakest part of the chain. However, the absence of explicit value judgment can lead to a series of stimuli –coherency, aesthetic, recreational or other- that, in certain contexts, do more viable the approach to the knowledge than through the conventional method.
Spanish abstract:
La crítica se define como el examen y juicio acerca de alguien o algo. Esta definición comprende, por un lado,
una tarea analítica -con una determinada metodología
asociada- y, por otro, una actividad sintética, traducida en
un juicio de valor acerca de lo previamente analizado. La crítica puede hacerse de distinta forma y con distinto
grado de profundidad: desde la más básica –fundamentalmente, la crítica descriptiva- hasta la más veraz -la crítica poética-, que trasciende la descripción o el análi sis puro y se refiere a la coherencia interna del objeto de estudio. Toda crítica que pretenda reducir la distancia de aproximación a la verdad se ocupará tanto de las relaciones intrínsecas o leyes propias del objeto como de las eelaciones extrínsecas al mismo. Por otro lado, una crítica objetiva facilita el conocimiento del objeto de estudio independientemente del observador o del marco de referencia, lo que la convierte en un método eficaz y con garantías para la aproximación al conocimiento del objeto. Pero ¿significa esto que sin crítica ortodoxa no puede existir crítica?. La propuesta de esta comunicación es dilucidar hasta qué punto puede emprenderse una crítica en ausencia de crítica, es decir, una crítica en la que no sea explícito el juicio de valor. Tomando como hipótesis el hecho de que exista crítica
en ausencia de crítica, una obra arquitectónica –ya sea un edificio construido, un escrito sobre arquitectura, etc.- que implique una crítica tácita podría funcionar a dos niveles: como producto práctico -edificado, literario, etc.- y como reflexión crítica. La hipótesis planteada propone que tal dualidad, la crítica y la práctica, pueda confluir en una misma obra. Aunque no en cualquiera. La existencia de crítica en ausencia de crítica dependerá de la naturaleza de la obra y, sin lugar a dudas, del emisor y el receptor del mensaje crítico. A primera vista, las garantías que ofrece la crítica en ausencia de crítica parecen menores que mediante la crítica ortodoxa, para la que el sujeto es la parte más débil de la cadena. Sin embargo, la ausencia de juicio de valor explícito puede comportar una serie de estímulos – de coherencia, estéticos, lúdicos, prácticos o de otra índole- que, en determinados contextos, hagan más viable y clara la comprensión de la obra que a través del método convencional
Full Issue 2016 (Volume 10)
The collected papers presented at the 2016 Frances White Ewbank Colloquium
The influence of Heidegger in Latin-American philosophy
Thesis (Ph.D.)--Boston UniversityThe aim of Sein und Zeit (1927) is a universal phenomenological ontology, by means of a concrete elaboration of the problem of being. The method is a combination of phenomenological analysis and hermeneutical interpretation. Ontology, or the question about being, is approached through fundamental ontology, or the analysis of personal existence. This existential analysis shows man as being-in-the-world, being-with-others, and being-unto-death. Man's being is care, and the meaning of care is finite temporality. An important project sectio of Sein und Zeit has not been published.
In lesser works, Heidegger examines such themes as the nature of truth, the nature of ground (reason, cause), metaphysics, aesthetics, nothing, freedom, and interpretations of other philosophers. He attempts to go beyond conceptual though to truth, as the openness of personal what he calls Hegel's "Onto-Theo-Logical Conception of Metaphysics.
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