scholarly journals Putting the Culture into Bioculturalism

Projections ◽  
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.

Editorial

2018 ◽  
Vol 6 (1) ◽  
pp. 1-2
Author(s):  
Ibrahim Sirkeci
Keyword(s):  
Qualitative Study ◽  
Cultural Dimensions ◽  
Mobile Marketing ◽  
Negative Attitudes ◽  
The Third ◽  
Cross Border ◽  
Local Characteristics ◽  
Critical Account

Transnational Marketing Journal is dedicated to disseminate scholarship on cross-border phenomena in marketing by acknowledging the importance of local and global or in other words, underlining the transnational practices marked by national and local characteristics in a fluid fashion spreading over more than one national territory. The first article by Paulette Schuster looks into “falafel” and “shwarma” in Mexico and discusses the perception of Israeli food in Mexico. The second article is a case study illustrating a critical account of cultural dimensions formulated by Schwarz using the value surveys data. The third article in the issue is a qualitative study of the negative attitudes of millennials torwards mobile marketing. 

Space Effort: The Third Culture

Science ◽  
1963 ◽  
Vol 141 (3578) ◽  
pp. 390-390
Author(s):  
T. Page
Keyword(s):  
Third Culture ◽  
The Third

Naturalized Aesthetics and Emotion Theory

Projections ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 76-85 ◽  
Author(s):  
Rainer Reisenzein
Keyword(s):  
Empirical Evidence ◽  
Case Studies ◽  
Integrated System ◽  
Third Culture ◽  
Extended Version ◽  
Basic Emotions ◽  
The Third ◽  
Psychological Theories ◽  
Concrete Application ◽  
Emotion Theory

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.

The Third Culture: Beyond the Scientific Revolution

1996 ◽  
Vol 64 (3) ◽  
pp. 348-349 ◽  
Author(s):  
John Brockman ◽  
Alwyn Scott
Keyword(s):  
Scientific Revolution ◽  
Third Culture ◽  
The Third

Questions about Aesthetic Experience

Projections ◽  
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.

Men in the middle of the third culture

1964 ◽  
Vol 6 (1) ◽  
pp. 17-18 ◽  
Author(s):  
John ◽  
Ruth Useem ◽  
John Donoghue
Keyword(s):  
Third Culture ◽  
The Third

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

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.

Working towards the Third Reich

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.

Sign in / Sign up

Export Citation Format

Share Document