Bildung der Gefühle?

Gefühle beruhen auf spezifischen Kognitionen von Anlässen und stellen Bewertungen dieser dar. In Abhebung vom allgemeinen Streßkonzept wird die heuristische Fruchtbarkeit differenzierter kognitiver Modelle von Gefühlen für Forschung und Praxis an einigen Beispielen (Empörung, Wut, Haß, Angst, Eifersucht) illustriert. In Abhebung vom allgemeinen Stresskonzept wird die heuristische Fruchtbarkeit differenzierter Modelle von Gefühlen für Forschung und Praxis an einigen Beispielen illustriert: Empörung, Wut, Hass, Angst, Eifersucht. Bei einer Diskussion von Einwänden gegen kognitive Modelle wird deren Brauchbarkeit für folgende Bildungsziele erörtert: (1) Bildung von Gefühlsbegriffen zur Erleichterung der Kommunikation und des Verständnisses, (2) Klärung diffuser Gefühlszustände und von Gefühlsgemischen, (3) Nutzung des Informationsgehaltes von Gefühlen für Problemanalysen und -lösungen, Attributionsvoreingenommenheiten und Fehlattributionen von Emotionen. Auf der Grundlage kognitiver Modelle wird das Erkennen alternativer Sichtweisen und Optionen bezüglich gefühlsmäßiger Bewertungen als allgemeines Bildungsziel begründet.Examines the heuristic value of cognitive models of emotions for research and practice. Resentment, rage, hate, fear and jealousy are analyzed in some detail as examples. Following a discussion of various objections raised against cognitive models of emotions, advantages of these models for several educational and developmental goals are outlined: (1) facilitating communication and role-taking by developing conceptual schemes of emotions; (2) clarifying vague emotional states and mixtures of emotions; (3) using the informational content of emotions in identifying and solving problems; and (4) gaining control over emotions by acquiring knowledge of own perceptual and conceptual predispositions, attributional biases and emotional misattributions. The general developmental aim as suggested by cognitive models is to become aware of alternative views and options, thus allowing cognitive decisions to change the intensity or quality of emotions

A poetics of repetition - theory and practice in/of printmaking: what are the methodological, epistemological and practical questions that arise from the a particular aesthetic practice

Why 'A poetics of repetition'? At its most crude, 'poetics' suggests a rule book with fixed protocols. The conventional institutional requirements of the PhD format comply with this part of the definition. However, at its best, a 'poetics' may be understood as performing that which it contains or describes. This is how the different elements that make up the present submission are conceived.The second part of the title identifies this submission within the broader field of printmaking and also emphasizes the main thrust of its contribution to knowledge. It accentuates the input of this project to a critical topology of the discipline through a discussion and development of relevant terms and processes. Above all, the subtitle signals that this PhD is firmly based in practice.The epistemological assumption of an inextricable link between theory and practice is methodologically demonstrated through the format of the submission. It consists of six parts. These interweave the visual documentation on CD of the production and installation of two solo exhibitions at the start and towards the end of the PhD with written sections which relate to the artistic practice.'Printmaking' is understood in the particular sense of my own studio practice in addition to its significance as a discipline in the wider artistic and cultural context. In terms of the former, the theory- practice relationship is exemplified through the emphasis on printmaking in the two solo exhibitions. Moreover, five chapters in Parts Ill and V respectively, including a report on the second exhibition, put printmaking at the centre of the debate.Another strand of the submission engages with issues posed by research in art and design. The question of the interrelationship between theory and practice is highlighted in two chapters of the submission (111.2 and V.2) in addition to a general contextual chapter on this topic (111.1). The concept of 'post- production serves to illuminate the role of time, writing, documentation and interpretation in a research process that is primarily focussed on the production of visual art.A lead -in to the multiple strands of the research is the concept of repetition. At one level, this key word refers to my particular aesthetic programme of the repetition of 'original' hand drawn marks through printmaking and the reproductive nature of prints in general. At another, repetition is understood more broadly in a Deleuzian sense as 'difference' and helps to conceptualise both the format and ethos of the submission

Muḥammad ʻAbduh, la revolución de ʻUrâbî; dudas y certezas

Re-examination of the relationship between Muḥammad ʻAbduh and Colonel Aḥmad ʻUrâbî (Orabi), leader of the Egyptian revolution of September 9th, 1881. The article focuses on the common and diverging views of both personalities concerning the issue of political reform.Reexamen de la relación entre Muḥammad ʻAbduh y el coronel Aḥmad ʻUrâbî (Orabi), que encabezó la revolución de 9 septiembre 1881. El estudio se centra en los puntos de vista comunes y opuestos de ambas personalidades sobre la reforma política

Anotación sobre Vicente Galarza y Pérez-Castañeda

Sin resume

Ensayo sobre el pensamiento de Avempace y su repercusión en Averroes.

Sin resume

Hassan Hanafi’s new approach to the Koran

Dal 1980 sappiamo che Hasan Hanafi (1935-2021) aveva un progetto di vita che ha descritto come un triangolo. Il lato più lungo del triangolo è costituito dai suoi studi sull’eredità islamica e, in particolare, sul ʿIlm usūl al-fiqh, La scienza dei fondamenti della giurisprudenza. Un altro lato è costruito dalla sua analisi e critica del patrimonio occidentale. Il terzo lato riguarda la vera “realtà”, e per H. Hanafi la realtà è il Corano. L’articolo esamina il suo libro dedicato a questo tema: fu il suo ultimo libro. Since 1980 we knew that Hasan Hanafi (1935-2021) had a lifelong project that he described as a triangle. The longest side of the triangle is made by his studies on the Islamic heritage and, in particular, on the ʿIlm usūl al-fiqh, The science of the fundamentals of source law. Another side is built by his analysis and criticism of the Western Heritage. The third side concerns true “reality”, and for H. Hanafi reality is the Koran. The article examines his book devoted to this issue: it was his last book.Since 1980 we knew that Hasan Hanafi (1935-2021) had a lifelong project that he described as a triangle. The longest side of the triangle is made by his studies on the Islamic heritage and, in particular, on the ʿIlm usūl al-fiqh, The science of the fundamentals of source law. Another side is built by his analysis and criticism of the Western Heritage. The third side concerns true “reality”, and for H. Hanafi reality is the Koran. The article examines his book devoted to this issue: it was his last book