scholarly journals Pedagogía Cultural: Paradigma crítico-creativo del saber-hacer referido a la educación

Author(s):  
José Ángel López Herrerías

The paradigm of the CULTURAL PEDAGOGYtries to offer an archievement and change the very important perspective into the pedagogical knowledge, as the science of education. We have then to revise the functionalist schedule of the formal, informal and no-formal education. For this, on the one hand, to involve the pedagogical science, concerning to the individual and social, in other model most comprenhensive and easy with the proposal alternatives in the pedagogical action. People musn't learn anything as an individual or social being, although we are willing and able to learn with a gramatical experience in a cultural way. On the other hand, we want to achieve the former purpose, we manage a radical and coherent relation between the educational projection and the global cultural context. The suggestion of learnings, pedagogically projected, is connected with the reading, the interpretation and the change of the cultural environment, as a context of signs, wich builds the whole reality of the world. The psychical development and maturity aren't all learnings of individual being, but they area the references in a constant appeal and inwardness of the whole bio-psycho-social-cultural being, that is an everybody experience, put inside the bio-psychical construction of each person {cultural reality) and put outside the environmental world of experiences and rules {cultural reality

Author(s):  
David L. Weddle

After Roman destruction of the Temple in Jerusalem in 70CE, Jewish tradition reimagined animal sacrifices as devotional acts, such as prayer, fasting, and study of Torah, as well as giving up individual desires to fulfil God’s will. Rabbis interpreted the story of Abraham’s binding Isaac for sacrifice (the Akedah) as the model of absolute obedience to divine commands (mitzvoth) and as the basis for the election of the Jewish people to bear witness to the one God. Their commentary, however, included the horrified reaction of Sarah’s scream to the news of Abraham’s act, ending in her death, indicating dissent from sacrifice as religious ideal. Rabbinic tradition transferred the site of sacrifice from temple to synagogue in rituals of High Holy Days, to the family table in Passover and Sabbath rituals, and to the individual will in submission to Torah. In the mystical teaching of Kabbalah, God sacrifices to create the world and Jews are called to sacrifice to redeem the world (tikkun olam). Such vocation of redemptive suffering was called into question by the Holocaust, and some contemporary Israeli poets refer to the Akedah in expressing misgivings about calls to sacrifice in defense of Israel.


AJS Review ◽  
2017 ◽  
Vol 41 (1) ◽  
pp. 67-88
Author(s):  
Dvir Tzur

The article discusses the image of Tel Aviv, the first Hebrew city, as it is described in the novelPreliminariesby S. Yizhar (Yizhar Smilansky), one of Israel's best-known authors. In this novel, which engages with the question of home and borders, borders function as a double-edged sword: on the one hand, they define home and create a circumscribed place for the protagonist and his family. On the other hand, the novel dwells on the urge to cross borders and shatter the distinction between home and the world. In this regard, Tel Aviv is sometimes described as a pleasant, “normal” city, yet at other times it is written as a perilous place—since it divides between Jews and Arabs. Tel Aviv is also the place where one can imagine a great future or see a concealed history. It is a total urban experience, encapsulating the individual.


2011 ◽  
Vol 3 (3) ◽  
pp. 200-213
Author(s):  
Vladimir Milenković

Contemporariness of architecture can be interpreted in diverse ways. Starting from a basically formulated modern context, which is even nowadays understood as such, in which the limits of stability of the architectural profession are examined, our concern is the designer's intention to research within a wider cultural context. We are actually considering the capacities of the profession for continuous development of its own critical apparatus. Through the question of the relation between the general and the individual, followed by the question of integrity and proportion of architectural effect, but also by the role of media and digitalization of the world, in the focus of this text projected are the scenes of reality filled with the values of architecture willing to develop, within itself, the analytical and synthetic concepts relying on the contextual, but also on the own indetermination and instability regarding the concept of the space and time.


Author(s):  
Р.Г. ЦОПАНОВА

Целью данного исследования является определение ментального содержания лексики и фразеологии, вербализующей концепты женщина (сылгоймаг) и девушка (чызг) в произведениях осетинского писателя А.Б. Кайтукова. Научная новизна связана с тем, что впервые на языковом материале произведений А. Кайтукова выявлено ментальное содержание указанных концептов. Актуальность данного исследования в том, что, благодаря описанию языкового содержания концептов женщина (сылгоймаг) и девушка (чызг), читатель, с одной стороны, вводится в мир национальной лингвокультуры, содержащей информацию о менталитете народа, с другой стороны – дается характеристика индивидуальных особенностей языка писателя. В работе использованы следующие методы исследования: семантико-стилистический, методы концептуального и контекстуального анализа языковых единиц в художественном тексте. Поставлены следующие задачи: определить номинативную плотность концептов женщина и девушка; раскрыть ментальное содержание лексики и фразеологии, вербализующей названные концепты; указать когнитивные признаки исследуемых концептов; охарактеризовать лексику и фразеологию, объективирующие названные концепты как средство создания идиостиля писателя. В результате работы дана характеристика концептов женщина и девушка в произведениях А. Кайтукова в аспекте лингвокультуры и в рамках идиостиля писателя. The purpose of this study is to determine the mental contents of the vocabulary and phraseology that verbalize the concepts of woman (sylgoymag) and girl (chyzg) in the works of the Ossetian writer A. B. Kaitukov. The scientific novelty is connected with the fact that for the first time the mental content of these concepts will be revealed on the language material of A. Kaitukov's works. The relevance of this study is that due to the description of the linguistic content of the concepts woman (sylgoimag) and girl (chyzg), the reader, on the one hand, is introduced into the world of national linguoculture, containing information about the mentality of the people, on the other hand, a characteristic of the individual features of the writer’s language is given. The following research methods were used in the work: semantic and stylistic, methods of conceptual and contextual analysis of linguistic units in a literary text. The following tasks were set: to determine the nominative density of the concepts woman and girl; to reveal the mental content of lexis and phraseology, verbalizing the named concepts; indicate the cognitive features of the studied concepts; to characterize the vocabulary and phraseology that objectify the named concepts as a means of creating the idiostyle of the writer. As a result of the work, a description of the concepts of a woman and a girl in the works of A. Kaitukov is given in the aspect of linguoculture and within the framework of the writer's idiostyle.


2021 ◽  
Vol 5 (1) ◽  
pp. 83-104
Author(s):  
Humera Naz ◽  

There is no doubt that there is no corner of civilization in which Muslims have not made significant progress. But most of his accomplishments are reflected in the architecture and its supporting arts. The one and a half thousand year history of Islam is in fact the history of the rise of Islamic architecture. Muslims decorated a large part of the world with beautiful buildings in different periods of their rule. Thus, at different times, Islamic architecture took different forms. Among them, there is diversity due to the differences in the country and the buildings, which is due to the climate, environment and construction issues of this country. But despite this, there is unity and continuity in Islamic architecture. This is a feature of Islamic civilization. In spite of their diversity, Islamic civilization has allowed fusion in all of them, which we call Islamic colors. And the basic element of this unity was the Islamic faith which united the different nations in this one faith. Due to which, whatever religious buildings are built in any part of the world in the future, they are all the same, which was not affected by time and distance. Every building has its own uniqueness. These Islamic buildings have a deep Muslim imprint. This is due to the architectural style and decorative carvings of these buildings and these carvings have a spiritual aspect which has its own distinct identity of Islamic architecture. At the same time, it is a valuable asset that still reflects Islamic civilization. In our article, we have examined this unity of Islamic architecture in a cultural context.


2019 ◽  
Vol 11 (4) ◽  
pp. 34-42
Author(s):  
Anastasia Ryabokon’

The essay explores the artistic and expressive features of the world's first film adaptation of Dostoevsky's novel The Idiot, directed in 1910 by Pyotr Chardynin. The author substantiates the degree of influence of one of the most important philosophical concepts of the novel that of a split in the human personality on Russian national consciousness at the beginning of the 20th century. The analysis of the figurative system of the film shows that its semantics and the images of its characters were ahead of its time and, therefore, deserve closer critical attention.In the The Idiot the idea of Dostoevsky about a human beings separateness in the world is revealed in the four main characters Prince Myshkin, Parfyon Rogozhin, Nastasya Filippovna and Aglaya who are not complete, full-fledged personalities but separate components of a harmonious human personality. These characters, like puzzle pieces, possess mutually complementary qualities. Thus, Prince Myshkin, the bearer of the highest spirituality, is contrasted with the earthly and passionate Rogozhin. And the images of Nastasya Filippovna and Aglaya are connected, respectively, with the images of Heavenly Love and Earthly Love. If the characters of the novel could unite with each other in love and harmony, the world would get a complete harmonious person, like the one created by God for the Garden of Eden. However, such a merger seems impossible within the limits of earthly existence. In Dostoevsky's novel the individual parts of the soul could not unite into a harmonious whole. Egoism, passion, pride and imperfection of human nature do allow the protagonists to unite and lead them towards personal disintegration.In Russian national cinema, Dostoevskys idea of human beings separateness undergoes a number of transformations. The changes introduced by Pyotr Chardynin into the film adaptation of the novel mostly relate to the image of the films main protagonist Nastasya Filippovna, whom the filmmaker associates with a dying Russia. Chardynin also transforms other protagonists. Prince Myshkin is the only carrier of the highest spirituality, while Nastasya Filippovna, Aglaya and Rogozhin are earthly and passionate. At the end of the film, Nastasya Filippovnas murderer Rogozhin, dressed in a Russian folk costume, sobs at the bedside of the dead tsarina, while heavenly prince Myshkin who was not accepted by her in her lifetime, comforts the sinner. Chardynins film transforms the idea of a split in the human personality into the idea of the Russian separateness from God, the internal split within the Russian world and, as a consequence, that worlds inevitable death.


KÜLÖNBSÉG ◽  
2013 ◽  
Vol 13 (1) ◽  
Author(s):  
Erzsébet Lamár

Nietzsche criticized the tradition of Western metaphysics (based on the principle of representation, the duality of subject and object of representation, the metaphysics of presence as Derrida puts it) and its language use. In place of this he presents a world view he calls Dionysian: it is a possibility of cognition in which the individual disappears and the tragic subject is merged with archaic substance in an experience that eliminates the dualism of appearance and reality. Nietzsche claims there is a basic tension between life and cognition in Western metaphysics, but this is a symptom of the ascetic ideal which manifests itself in illness and in wanting nothing. Instead the ascetic ideal a new kind of sensibility is necessary which affirms life and gives rise to a new view of the world and to new values. Deleuze claims Nietzsche’s philosophy has three basic tenets: evaluation, affirmation, and the superman as a new way of life. He adds that “Nietzsche attributes such importance to art because art has already achieved the whole program.” The paper shows that Nietzsche’s aesthetics is a creative aesthetic, a selective ontology based on the principle of double affirmation. The paper argues that Dionysus is the one who returns to Nietzsche eternally, and together with him haunts the idea of creative aesthetics, a key element of the idea of eternal return.


2021 ◽  
Vol 3 ◽  
pp. 2-4
Author(s):  
Ragnild Lome ◽  
Johan Fredrikzon ◽  
Jakob Lien ◽  
Solveig Daugaard ◽  
Per Israelson ◽  
...  

It started with curiosity: The name of the French philosopher seemed to pop up here and there, while we were working on dissertations and postdoc-projects. Not just, as we already knew, in the works of the French philosophers Gilles Deleuze, Bernard Stiegler and German media historians like Bernhard Siegert and Erich Hörl, but also in books and articles by John Durham Peters, Elisabeth Grosz and Yuk Hui. Simondon seemed to be relevant when discussing the question of technology in the Anthropocene, digging into neo-cybernetic trends within critical theory, understanding New Materialism and challenging AI-philosophy. What was it about this French philosopher that could inspire so many different thinkers and fields of thoughts? We soon realized that we did not know very many people who had worked with the ideas of Simondon, and thus, set forth to produce some texts on him. With this issue, we do not intend to give a comprehensive introduction to Simondon’s philosophy. What we hope to do, is to offer a handful of reflections upon how to use Simondon today. We do this by publishing an article on the politics of problems in the thinking of Simondon and Gilles Deleuze, written by Stefano Daechsel and a three-part interview on Simondon’s oeuvre with Yale-professors Gary Tomlinson, John Durham Peters and Paul North, conducted by Johan Fredrikzon. In addition, we have pieced together a few editorial texts: An overview of interesting articles and books on Simondon that we came across as we edited this volume, and a brief vocabulary of Simondonian thought. The article and interview provide several answers to the question why Simondon is a relevant thinker today. Gary Tomlinson argues that Simondon offers key insights to evolutionary studies: He is able to bridge the gap between cultural and evolutionary biology. This is due to the Simondonian understanding of culture, Tomlinson argues, as something that arises in evolution and also shapes it. ”We were toolmakers before we were human”, as Tomlinson writes in the article ”Semiotic Epicycles and Emergent Thresholds in Human Evolution” (Glass-bead.org, 2017), which he quotes in the interview. Furthermore, Simondon flirts with what John Durham Peters calls neo-Thomism, a view of the history of technology that is not transcendental, nor teleologically determined or based on an idea of progress, but that is nevertheless intelligible. As John Durham Peters says in his interview: ”Thomism gives you a potential of the world as an intelligible totality, much like James Joyce in Finnegan's Wake: a vision of the world as a knowable whole.” Simondon’s philosophy according to Durham Peters is ”Aristotelian in the sense that nature has a structure which in some ways corresponds to the structure of understanding (…), the processes by which nature works and the processes by which technology works are analogous”. Most importantly, Simondon identifies possible strategies for resistance. Studying technology is necessary for us to act as political individuals, Stefano Daechsel argues in his article on Simondon and Deleuze. ”[T]here is an urgency to Simondon’s call for a technical culture that would foster a ‘genuine awareness of technical realities (…)’, such an awareness of technology ‘possesses political and social value’.” We need to delve into the technical realities, not in order to liberate ourselves from technology, but in order to modify and gain some kind of agency as technological beings. With reference to Robert de Niro’s character in Terry Gilliam’s film Brazil (1985), Paul North also reflects upon the agency of the individual through the figure of the tinkerer: ”The kind of freedom where you can do anything, like ex nihilo creation. Simondon wants nothing to do with that. It is the middle person, the one who can take an invention and actually make it into a form of life, bring it in line with the milieu and allow each to change the other, that is interesting for Simondon.” Toward the end of the interview, North claims philosophy of technology today is looking for new resources in order to comprehend the world we live in. Mazzilli-Daechsel begins his article by stating that we need a way out of our politics of defeatism today. Simondon is a useful source to go to, in both regards. We hope this volume demonstrates that. In addition to the section on Simondon, this issue of Sensorium Journal features two reviews, on the recent complete transcript of the Macy Conferences edited by Claus Pias and two books in the series “Understanding Media Ecology”. We hope you enjoy your reading!


2019 ◽  
pp. 358-368
Author(s):  
Lyudmyla Tarnashinska

The article focuses on various aspects and peculiarities of Ukrainian literary emigration – from the need to surround other people’s space with the whole complex of psychological, socio-cultural, creative problems – to the re-accentu- ation of the notions of motherland / stranger, center / periphery, etc. In this context, various individual views on the notion of a homeland as a territory and a homeland as a spiritual, metaphysical substance are considered. It is noted that under the conditions of a closed system of totalitarianism, this was perhaps the only opportunity to perceive the intellectual, philosophical, artistic-style impulses of the world not only through the mediation of Russian and Polish translation, but also directly within other cultures. Writers outside Ukraine produced other models of world perception – hence the explanation of a broad map of scattering of Ukrainian emigrants. The emigre writers integrated into a strange world, the world of the Other is not as Alien, where, accordingly, there is a dominant, “central” or dominant culture and culture marginal, peripheral, brought from other ethnic territories and communities. On the one hand, they got the freedom of creativity, and on the other hand, they were limited by harsh conditions of survival (most of them had to work for a long time on different jobs). Open to change, they were guided by the guideline to maintain a certain balance between their / stranger to balance the images of their homeland / stranger. The received “gift of freedom” tried to convey creativity, “liberating” itself from traditional aesthetics, instead seeking the new, “unburied aesthetics”. Different models of “absent presence” of diasporic writers in mainland Ukrainian literature (B. Boychuk, B. Rubchak, I. Koshelevets, Emma Andievskaya, Vera Vovk, Anna-Galya Gorbach, Martha and Ostap Tarnavsky, etc.) are analyzed in the article. Some of them tried to legalize their presence in the Ukrainian socio-cultural space still far from gaining independence from Ukraine; others have proven active in the Ukrainian cultural environment since the 1990’s. The author stresses the need to study the holistic image of Ukrainian literature, including the study of mentality, psychological peculiarities of emigration writers.


2017 ◽  
Vol 7 (1) ◽  
pp. 5-15
Author(s):  
Георгій Балл

У статті окреслено теоретико-методологічні засади дослідження взаємодії обдарованої людини із соціокультурним середовищем, виокремлено характеристики цієї взаємодії, від яких залежить успішність людини. Обґрунтовано тезу, за якою об’єктивним критерієм такої успішності має бути внесок людини у буття, до якого вона залучена. На першочергову увагу заслуговують внески до культури як до системи носіїв соціальної пам’яті та соціально значущої творчості. Показано можливості, що їх надає для аналізу досліджуваної взаємодії поняття адаптації, трактованої за П’яже як єдність процесів акомодації й асиміляції. Наголошено на тому, що для збагачення культури мотиваційні та інструментальні ресурси обдарованих людей мають бути зосередженні не лише на створенні культурних продуктів, але й на такій комунікації з середовищем, яка забезпечить їх реальне впровадження у культурний простір. Обдарований творець культурного продукту має уникнути двох небезпек: нехтування комунікацією із середовищем, з одного боку, та підпорядкування звуженим і збоченим моделям адаптації, з іншого. The article outlines theoretical and methodological foundations of studying the interaction of a gifted person with his/her socio-cultural environment. The characteristics of this interaction which influence a person’s successfulness are specified. The author argues that a person’s contribution to the world to which that person is attached should be an objective criterion of such successfulness. Primary attention should be paid to a person’s contributions to the culture as to the system of carriers of social memory and socially significant creativity. The author shows possibilities which are offered for the analysis of the investigated interaction by the concept of adaptation interpreted, according to J.Piaget, as the unity of processes of accommodation and assimilation. The author insists that, for enriching the culture, motivational and instrumental resources of gifted people should be focused not only on the creation of cultural products, but on the communication with the environment as well, such communication providing them with a real presence in the cultural space. A gifted creator of a cultural product should avoid two dangers, that are: neglecting the communication with the environment, on the one hand, and subordinating to narrowed and perverted models of adaptation, on the other hand.


Sign in / Sign up

Export Citation Format

Share Document