Space Effort: The Third Culture

Murray Smith’s proposal in Film, Art, and the Third Culture for a naturalized aesthetics is of interest to both film theorists and psychologists: for the former, it helps to elucidate how films work; for the latter, it provides concrete application cases of psychological theories. However, there are reasons for believing that the theory of emotions that Smith has adopted from psychology to ground his case studies—an extended version of basic emotions theory—is less well supported than he suggests. The available empirical evidence seems more compatible with the assumption that the different emotions are outputs of a single, integrated system.

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Putting the Culture into Bioculturalism

Projections ◽

10.3167/proj.2018.120213 ◽

2018 ◽

Vol 12 (2) ◽

pp. 101-110

Author(s):

Dominic Topp

Keyword(s):

Cultural Knowledge ◽

Cultural Dimensions ◽

Third Culture ◽

The Third

In Chapter 6 of Film, Art, and the Third Culture, Murray Smith argues for a biocultural account of the emotions, which treats them as an interaction between universal and cultural dimensions. He goes on to test this approach in relation to the representation of emotions in films by considering an example from the tradition of modernist filmmaking. This article suggests that, while Smith’s case is broadly convincing, there are several ways in which it could be presented more forcefully. In particular, his discussion of the challenge of modernism to a biocultural account could be strengthened by emphasizing rather than downplaying the role that various types of cultural knowledge play in our interaction with modernist works.

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The Third Culture: Beyond the Scientific Revolution

American Journal of Physics ◽

10.1119/1.18425 ◽

1996 ◽

Vol 64 (3) ◽

pp. 348-349 ◽

Cited By ~ 1

Author(s):

John Brockman ◽

Alwyn Scott

Keyword(s):

Scientific Revolution ◽

Third Culture ◽

The Third

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Questions about Aesthetic Experience

Projections ◽

10.3167/proj.2018.120209 ◽

2018 ◽

Vol 12 (2) ◽

pp. 71-75

Author(s):

Paisley Livingston

Keyword(s):

Aesthetic Experience ◽

Self Awareness ◽

Third Culture ◽

Aesthetic Experiences ◽

The Third

These brief comments raise some questions about Murray Smith’s remarks, in his new volume Film, Art, and the Third Culture: A Naturalized Aesthetics of Film, on the nature of aesthetic experience. My questions concern how we might best draw a viable distinction between aesthetic and non-aesthetic experiences and focus in particular on possible links between self-awareness and aesthetic experiences. In sum, I agree with Smith in holding that we should not give up on the notion of aesthetic experience, even though aestheticians continue to disagree regarding even the most basic questions pertaining to its nature.

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Men in the middle of the third culture

The International Executive ◽

10.1002/tie.5060060108 ◽

1964 ◽

Vol 6 (1) ◽

pp. 17-18 ◽

Cited By ~ 4

Author(s):

John ◽

Ruth Useem ◽

John Donoghue

Keyword(s):

Third Culture ◽

The Third

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A glossary as an explicative translation technique in the translation of the third culture elements

Germanica Wratislaviensia ◽

10.19195/0435-5865.145.12 ◽

2021 ◽

Vol 145 ◽

pp. 129-144

Author(s):

Michał Gąska

Keyword(s):

Literary Translation ◽

Cultural Barriers ◽

The Novel ◽

Third Culture ◽

Source Text ◽

Translation Process ◽

East Indies ◽

The Third ◽

Translation Technique ◽

Similarities And Differences

Utilising notes or glossaries in literary translation has both its opponents and supporters. While the former conceive it as a translator’s helplessness and failure, the latter defend it as a manner of overcoming cultural barriers. The present article aims to scrutinize glossaries used as an explicative translation technique with regard to the rendering of the third culture elements. The analysis is conducted on the basis of the novel by Dutch writer Hella S. Haasse: Sleuteloog, in which the action is set in the Dutch East Indies. For this reason, Indonesian culture occurs as the third culture in the translation process. The source text is juxtaposed with its translations into German and Polish in order to examine the similarities and differences in images of the third culture elements the glossaries evoke in the addressees of the target texts.

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Working towards the Third Reich

Challenging the Modern ◽

10.5871/bacad/9780197266137.003.0007 ◽

2017 ◽

Author(s):

Nicholas Attfield

Keyword(s):

Third Reich ◽

Nazi Party ◽

Third Culture ◽

National Library ◽

German Culture ◽

Musical Thought ◽

The Third ◽

Fast Fading ◽

The Third Reich

The epilogue contributes to efforts to map continuities in musical thought between the Weimar and Nazi eras, and deals with issues of advocacy. There was not the straightforward rise to influence that is sometimes implied. Walter Abendroth had to overcome Pfitzner’s cantankerousness and fast-fading relevance. Heuss’s work was paraded by Fritz Stege in both the Zeitschrift für Musik and Rosenberg’s Kampfbund für deutsche Kultur (‘Combat League for German Culture’). The Austrian musicologist Robert Haas encountered resistance against the project that, above all, symbolized his intended mediation of the Nazi party, the Austrian National Library, and the International Bruckner Society: the ‘complete edition’ of the composer’s scores. Gustav Wyneken transformed his image of Halm from the cosmopolitan socialist and impassioned music critic of the early 1920s and emphasized Halm’s place in the national pantheon of ignored symphonic composers. Halm became the latest composer-leader in a tradition of syntheses towards which his own work on the ‘third culture’ had pointed.

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The Third Culture

Advances in Media, Entertainment, and the Arts - Convergence of Contemporary Art, Visual Culture, and Global Civic Engagement ◽

10.4018/978-1-5225-1665-1.ch018 ◽

2017 ◽

pp. 318-330 ◽

Cited By ~ 1

Author(s):

Hsiao-Cheng (Sandrine) Han

Keyword(s):

Visual Culture ◽

Virtual Worlds ◽

Real World ◽

Virtual World ◽

Research Question ◽

Third Culture ◽

The Real ◽

Main Research ◽

The Third ◽

Culture Education

The purpose of this research is to improve the understanding of how users of online virtual worlds learn and/or relearn ‘culture' through the use of visual components. The goal of this research is to understand if culturally and historically authentic imagery is necessary for users to understand the virtual world; how virtual world residents form and reform their virtual culture; and whether the visual culture in the virtual world is imported from the real world, colonized by any dominate culture, or assimilated into a new culture. The main research question is: Is the authenticity of cultural imagery important to virtual world residents? This research investigates whether visual culture awareness can help students develop a better understanding of visual culture in the real world, and whether this awareness can help educators construct better curricula and pedagogy for visual culture education.

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