Descriptions of subject matter material of ‘History of Korean Education’ and its' direction

2010 ◽  
Vol null (58) ◽  
pp. 1-32
Author(s):  
김철주 ◽  
ByoungchulKo
Keyword(s):  
Subject Matter ◽  
Korean Education ◽  
History Of

ПАТОЛОГИЯ ЛИЧНОСТИ В ТЕОРЕТИЧЕСКИХ ПОСТРОЕНИЯХ ПРЕДСТАВИТЕЛЕЙ ОТЕЧЕСТВЕННОЙ МЕТАФИЗИЧЕСКОЙ ТРАДИЦИИ В ПСИХОЛОГИИ

1970 ◽  
Vol 7 (1) ◽  
pp. 208-215
Author(s):  
Александр Бреусенко-Кузнецов
Keyword(s):  
Clinical Practice ◽  
Subject Matter ◽  
Clinical Psychology ◽  
History Of Psychology ◽  
History Of ◽  
Metaphysical Tradition ◽  
The Given

Статья посвящена проблеме восстановления искусственно прерванной метафизической традиции в отечественной персонологии. Данная проблема принадлежит областям истории психологии и психологии личности, но имеет выходы и в предметные области многих других психологических наук, в частности – клинической психологии. Указана важность соотнесения персонологических концептуализаций учёных-метафизиков с клинической практикой в процессе их опытной верификации. Проведена реконструкция и анализ взглядов на психопатологию и психотерапию представителей метафизической традиции в отечественной психологии личности. Согласно данным взглядам, суть патологии личности – в её уклонении от своего назначения, от подлинного бытия ради неподлинных, онтологически неоправданных форм жизнедеятельности. The article is devoted to the problem of restoration of artificialy interrupted metaphysical tradition in domestic personology. The given problem belongs to the areas of history of psychology and psychology of personality, but provides outcomes in subject matter of many other psychological sciences, in clinical psychology in particular. Importance of correlation between personological conceptualizations of scientists-metaphysicists and clinical practice in the process of their skilled verification is pointed out. The reconstruction and analysis of views at psychopathology and psychotherapy by representatives of metaphysical tradition in domestic psychology of personality have been made. According to the mentioned views, the essence of pathology of personality is in its evasion from the purpose, from original life for the sake of not original, ontologically unjustified forms of ability to live.

Toward an Islamic Framework for Worldview Studies

2007 ◽  
Vol 24 (2) ◽  
pp. 22-43
Author(s):  
Abdelaziz Berghout
Keyword(s):  
Subject Matter ◽  
Textual Analysis ◽  
Field Of Study ◽  
Inductive Approach ◽  
Islamic Thought ◽  
History Of ◽  
Field Of Inquiry ◽  
Muslim Scholars

The paper examines the importance of designing a framework for studying worldviews within the parameters of contemporary Islamic thought. It briefly reviews both selected western and Islamic stances on worldview studies. The literature reveals that research on this topic and its application to different spheres has become a topic of some interest to many intellectual circles, particularly in the western context. Hence, the possibility of forming an Islamic civilizational framework for an inquiry into people’s worldviews needs to be assessed. This article follows a textual analysis and inductive approach to analyze the prospects of formulating an Islamic framework for research on worldviews and its applications. It concludes that western scholars have made considerable efforts in treating people’s worldviews as a field of study, while Muslim scholars have not. In this respect, many western researchers have contributed to developing worldview studies as a separate field of inquiry, including the history of concept, subject matter, objectives, kinds, methods, and applications. Therefore, the need to enhance the Islamic input and research pertaining to this field by introducing an Islamic civilizational framework and approach of inquiry becomes apparent.

Reflections

2021 ◽  
Vol 33 (4) ◽  
pp. 557-576
Author(s):  
Laura Engel
Keyword(s):  
Eighteenth Century ◽  
Black Women ◽  
Subject Matter ◽  
History Of ◽  
Visual History ◽  
Contemporary Artists

Contemporary artists Elizabeth Colomba and Fabiola Jean-Louis employ eighteenth-century subject matter, iconography, and media to reimagine the visual history of Black women. Putting Colomba’s and Jean-Louis’s work in dialogue with my own, I return to the premises of my book Women, Performance, and the Material of Memory: The Archival Tourist (2019), to re-examine, interrogate, and acknowledge my position as a white scholar.

Mickiewicz. Poeta alternatyw

2021 ◽  
Author(s):  
Bogusław Dopart
Keyword(s):  
Subject Matter ◽  
Open Universe ◽  
Literary Life ◽  
History Of ◽  
The Subject ◽  
National Literatures ◽  
Adam Mickiewicz

The title of the present monograph refers to one of the most fundamental traits of the oeuvre and literary life of Adam Mickiewicz. While constantly occupied with invigorating and broadening the subject- -matter of his works, Mickiewicz is careful to follow a steady track of ideas, concepts, and truths. In constructing successive models of poetic worlds and varying them even within single works, he incessantly integrates them into a dynamic, open universe of the ‘man of transformations’ (in Wacław Borowy’s phrasing) in accordance with the ontic position and experience of a Romantic writer. Diversity and variance of poetic forms in Mickiewicz is counterbalanced by his leaning towards regularity and structural connectedness: cycles. As early as his first critical manifesto, he opposes a schematic labeling of his creative output; he presents the history of European poetry in terms of overlapping traditions and gradual differentiation of national literatures.

Science and common sense in the study of international politics

1984 ◽  
Vol 10 (1) ◽  
pp. 19-39
Author(s):  
Roger D. Spegele
Keyword(s):  
Social Sciences ◽  
Common Sense ◽  
Subject Matter ◽  
International Politics ◽  
Scientific Research ◽  
Natural Sciences ◽  
Mind And Body ◽  
History Of ◽  
The Subject ◽  
Humean View

The history of recent efforts to establish a science of international politics may be usefully viewed as elaborate glosses on David Hume's powerful philosophical programme for resolving, reconciling or dissolving a variety of perspicuous dualities: the external and the internal, mind and body, reason and experience. Philosophers and historians of ideas still dispute the extent to which Hume succeeded but if one is to judge by the two leading ‘scientific’ research programmes1 for international politics—inductivism and naive falsificationism —these dualities are as unresolved as ever, with fatal consequences for the thesis of the unity of the sciences. For the failure to reconcile or otherwise dissolve such divisions shows that, on the Humean view, there is at least one difference between the physical (or natural) sciences. and the moral (or social) sciences: namely, that while the latter bear on the internal and external, the former are concerned primarily with the external. How much this difference matters and how the issue is avoided by the proponents of inductivism and naïve falsification is the subject matter of this paper.

scholarly journals The History of Science and the History of Knowledge

2020 ◽  
Vol 30 (1) ◽  
pp. 63-90
Keyword(s):  
History Of Science ◽  
Subject Matter ◽  
Modern Science ◽  
Manhattan Project ◽  
Necessary Condition ◽  
Contemporary History ◽  
History Of Knowledge ◽  
Advantages And Disadvantages ◽  
History Of ◽  
High Level

The article examines the state of the history of science as a discipline and its objectives in the context of its origins and current transformations. The establishment of this discipline and its assumptions about the nature of science together with its goals and structure are briefly discussed. The history of science became a discipline only at the beginning of the second half of the 20th century, and its start is associated with the work of chemist James Conant, a high-level administrator in Manhattan project who was also president of Harvard University and a high-ranking bureaucrat. It was based also on the narrative developed by Alfred North Whitehead, Edwin Burtt, Alexandre Koyré and other historians of science, which claimed modern science was the creator of modernity and a necessary condition for the geopolitical domination of the West. In that understanding, modern science meant science since the time of Galileo and Newton. The author provides a critical analysis of this foundation narrative for the discipline and of its consequences while showing how contemporary history of science has overcome it. The contradiction between modernism and historicism has been resolved in favor of the latter. A key role in this was played by the book The Structure of Scientific Revolutions by Thomas Kuhn, which held the potential to undo the presumed monolithic unity of science by rejecting teleology and introducing incommensurability and discontinuities into the historical process. By rejecting explanation of the knowledge of other times and places in terms of modern science, the discipline faced a radical multiplication of independent types of knowledge. This was facilitated by the reorientation to the study of knowledge practices that took place in the 1980s. As a result, the subject matter of the history of science began to erode, and this launched discussion of the prospects for a transition to a history of knowledge based on the study of practices. The sweep of this change of vision is illustrated by the example of classifying sciences according to both their subject matter and the similarities in their research practices. Finally, the advantages and disadvantages of the new discipline along with its prospects and the challenges it faces are discussed.

scholarly journals Ironia i nihilizm. Figura bibliotekarza w Posłuchaniu u Lucypera Józefa Sękowskiego

2019 ◽  
pp. 83-94
Author(s):  
Jarosław Ławski
Keyword(s):  
National Identity ◽  
Present Article ◽  
Short Story ◽  
Subject Matter ◽  
Russian Literature ◽  
Absolute Power ◽  
Polish Literature ◽  
The World ◽  
History Of ◽  
The Subject

The subject matter of the present article is the image of library and librarian in a forgotten short story by a Polish-Russian writer Józef Julian Sękowski (1800−1858). Sękowski is known in Polish literature as a multi-talented orientalist and polyglot, who changed his national identity in 1832 and began to write only in Russian. In the history of Russian literature he is famous for Library for Reading and Fantastic Voyages of Baron Brambeus, an ironic-grotesque work, which was precursory in Russian prose. Until 1832 Sękowski was, however, a Polish writer. His last significant work was An Audience with Lucypher published in a Polish magazine Bałamut Petersburski (Petersburgian Philanderer) in 1832 and immediately translated into Russian by Sękowski himself under the title Bolszoj wychod u Satany (1833). The library and librarian presented by the author in this piece are a caricature illustration proving his nihilistic worldview. Sękowski is a master of irony and grotesquery, yet the world he creates is deprived of freedom and justice and a book in this world is merely a threat to absolute power.

The Artist as Reader of the Bible. Visual Exegesis and the Adoration of the Magi

2005 ◽  
Vol 13 (4) ◽  
pp. 337-373 ◽  
Author(s):  
Martin O'Kane
Keyword(s):  
Subject Matter ◽  
Biblical Narrative ◽  
Biblical Story ◽  
Image Viewer ◽  
The Bible ◽  
History Of ◽  
Entire History ◽  
Visual Exegesis ◽  
Textual Meaning

AbstractThe article explores the processes at work in a painting's engagement of its viewer in biblical subject matter. It accentuates the role of the artist as an active reader of the Bible and not merely an illustrator of biblical scenes, the dynamic that occurs in the text-reader process as paradigmatic for the image-viewer relationship and the important role of the developing tradition that felt the need to change or rewrite the biblical story. The processes are explored in terms of hermeneutics and exegesis: hermeneutics defined as 'the interweaving of language and life within the horizon of the text and within the horizons of traditions and the modern reader' (Gadamer) and exegesis as 'the dialectic between textual meaning and the reader's existence' (Berdini). Applied to the visualization of biblical subject matter, the approaches of Gadamer and Berdini illumine the key role given to the viewer in the visual hermeneutical process. The biblical story of the adoration of the Magi (Matt. 2: 1-12), the first public and universal seeing of Christ and one of the most frequently depicted themes in the entire history of biblical art, is used to illustrate their approach. The emphasis in the biblical narrative on revealing the Christ child to the reader parallels a key concept in Gadamer's hermeneutical aesthetics, namely Darstellung, the way in which a painting facilitates its subject matter in coming forth, in becoming an existential event in the life of the viewer.

Santa y Andrés: A dossier

2020 ◽  
Vol 17 (3) ◽  
pp. 377-382
Author(s):  
Dunja Fehimović ◽  
Ruth Goldberg
Keyword(s):  
Subject Matter ◽  
Film Industry ◽  
Cuban Revolution ◽  
Original Essays ◽  
Starting Point ◽  
Online Archive ◽  
History Of ◽  
The Subject ◽  
Cuban Cinema

Carlos Lechuga’s film Santa y Andrés (2016) has enjoyed worldwide acclaim as an intimate, dramatic portrayal of the unlikely friendship that develops in rural Cuba between Andrés, a gay dissident writer, and Santa, the militant citizen who has been sent to surveil him. Declared to be extreme and/or inaccurate in its historical depictions, the film was censored in Cuba and was the subject of intense controversy and public polemics surrounding its release in 2016. Debates about the film’s subject matter and its censorship extend ongoing disagreement over the role of art within the Cuban Revolution, and the changing nature of the Cuban film industry itself. This dossier brings together new scholarship on Santa y Andrés and is linked to an online archive of some of the original essays that have been written about the film by Cuban critics and filmmakers since 2016. The aim of this project is to create a starting point for researchers who wish to investigate Santa y Andrés, evaluating the film both for its contentious initial reception, and in terms of its enduring contribution to the history of Cuban cinema.

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