scholarly journals Sympathetic World-making: Drawing-out Ecological-Empathy

IDEA JOURNAL ◽  
2020 ◽  
Vol 17 (02) ◽  
pp. 121-143
Author(s):  
Pia Ednie-Brown
Keyword(s):  
Conceptual Framework ◽  
First Person ◽  
Architectural Drawing ◽  
The Third ◽  
Projective Geometries ◽  
Opening Up

This article reflects on an experiment in drawing, titled Surrogate Drawing, in which an assemblage of people, materials and artefacts engaged in a live, improvisational process of co-production. The group was interested in how empathy might be cultivated through architectural drawing. The article develops an argument across three main parts. The first part offers a brief overview of the drawing experiment, situated relative to some key assumptions and conventions of architectural drawing, via the work of Robin Evans and others. In particular, this involved unsettling the idea of translation and its underlying premise of projection—a premise that resonates with the concept of empathy. The second part moves into a series of first-person accounts, one from each author. This experiential access reveals degrees of complexity that question the model of projection as a primary operative principle for either drawing or empathy, calling for an alternative conceptual framework. The third part offers such an alternative, via Jakob von Uexküll’s work concerning the Umwelt, or perceptual life-worlds. Via Uexküll we come to better understand drawing as less of a process of translation or transmission, and more of a process of creative world-making. Through Uexküll’s depiction of the Umwelt as a ‘bubble,’ the paper offers an alternative diagrammatic to that of projective geometries: that of a foaming. The manifestly collective world-making inherent in this drawing experiment leads us to conclude by opening up something we discuss as ‘ecological empathy’—or sympathy. It is proposed that drawing, if conceptually liberated from projective models, may be an important technique to cultivate ecological-empathy, or sympathy. This points toward a way that architecture might be reoriented toward sympathetic world-making.

Effects of Light-Hearted and Serious Entertainment on Enjoyment of the First and Third Person

2016 ◽  
Vol 28 (1) ◽  
pp. 42-48 ◽  
Author(s):  
Matthias Hofer
Keyword(s):  
Young People ◽  
Media Consumption ◽  
First Person ◽  
Online Experiment ◽  
Entertainment Media ◽  
Third Person Effect ◽  
The Third ◽  
Third Person ◽  
Perceived Enjoyment ◽  
The Third Person

Abstract. This was a study on the perceived enjoyment of different movie genres. In an online experiment, 176 students were randomly divided into two groups (n = 88) and asked to estimate how much they, their closest friends, and young people in general enjoyed either serious or light-hearted movies. These self–other differences in perceived enjoyment of serious or light-hearted movies were also assessed as a function of differing individual motivations underlying entertainment media consumption. The results showed a clear third-person effect for light-hearted movies and a first-person effect for serious movies. The third-person effect for light-hearted movies was moderated by level of hedonic motivation, as participants with high hedonic motivations did not perceive their own and others’ enjoyment of light-hearted films differently. However, eudaimonic motivations did not moderate first-person perceptions in the case of serious films.

scholarly journals Futures of sustainability: Perspectives on social imaginaries and social transformation. A comment on Frank Adloff and Sighard Neckel’s research program

2021 ◽  
pp. 053901842199956
Author(s):  
Gerard Delanty
Keyword(s):  
Conceptual Framework ◽  
Research Program ◽  
Social Transformation ◽  
Research Agenda ◽  
Social Imaginaries ◽  
The Third ◽  
The Future ◽  
And Control

This essay is a comment on the research program launched by Frank Adloff and Sighard Neckel. My comment is specifically focused on their research agenda as outlined in their trend-setting article, ‘Futures of sustainability as modernization, transformation, and control: A conceptual framework’. The comment is also addressed more generally to the research program of the Humanities Centre for Advanced Studies ‘Futures of Sustainability’. I raise three issues: the first relates to the very idea of the future; the second concerns the notion of social imaginaries and the third question is focused on the idea of social transformation.

The Irish–British Dimension

2021 ◽  
pp. 106-126
Author(s):  
Paul Gillespie
Keyword(s):  
Northern Ireland ◽  
Interstate Relations ◽  
The Third ◽  
Ability To Act ◽  
Political Relations ◽  
Power Scale ◽  
Opening Up ◽  
Normal Relationship ◽  
Do So

Power, scale, and wealth have moulded relations between Ireland and Britain historically and will continue to do so in future. Political relations between them have been determined by these asymmetric factors, giving much greater strength to the larger and richer island. Nevertheless, both islands exist within a larger European and transatlantic setting, a geopolitical fact that can mitigate or counteract Britain’s ability to act exclusively in its own interests. The chapter first explores this history and structure of the Irish–British relationship and then examines current political relations between the two islands, as seen in the intense joint efforts to bring peace to Northern Ireland and to regularize their interstate relations. Brexit rudely interrupts that new more normal relationship, as the third section argues, opening up several scenarios for changing constitutional futures within and between the two islands explored in the final one.

scholarly journals Between Kantian Rationalism and Moral Mysticism: The Search for the Grounding of Morality in the Philosophy of A. Jokubaitis

Politologija ◽  
2020 ◽  
pp. 73-94
Author(s):  
Aistė Noreikaitė
Keyword(s):  
Political Philosophy ◽  
Moral Philosophy ◽  
Practical Reason ◽  
First Person ◽  
The Third ◽  
Person Perspective ◽  
Moral Subject ◽  
First Person Perspective ◽  
The One ◽  
Implicit Normativity

Although it is common to associate the thought of A. Jokubaitis with political philosophy, this article argues that his texts also allow us to talk about a specific moral philosophy of A. Jokubaitis. At the center of it we find an attempt to articulate and discuss the grounding ideas of morality. The article argues that the first two ideas – an idea of unconditional character of morality and an idea of ontological grounding – are related to Kant’s influence on A. Jokubaitis philosophy. These two ideas allow us to explain morality as an autonomous part of reality, which is different from the empirical one but nonetheless real. This part of reality is grounded in the first-person perspective of a moral subject and can be characterized by implicit normativity and unconditionality. The first-person perspective structures a radically different relation to our reality, which allows us to be agents, not simply spectators. Such an interpretation of Kant allows to associate A. Jokubaitis with his contemporary Kantians, such as Ch. Korsgaard, B. Herman, O. O’Neill, and A. Reath. However, the third idea, the one of a person, which becomes more visible in his book Politinis idiotas, transcends the Kantian conception of practical reason and encourages to perceive morality and its grounding in a much wider context. The concept of a person allows A. Jokubaitis to distance himself from Kantian rationalism and integrate social and mystical aspects of morality, which he has always found important.

scholarly journals PERANAN DAN BENTUK TORTOR PADA PEMENTASAN OPERA BATAK DI PUSAT LATIHAN OPERA BATAK PLOt)PEMATANG SIANTAR

2016 ◽  
Vol 5 (2) ◽  
Author(s):  
Devi Lasroha Sinaga
Keyword(s):  
Qualitative Research ◽  
Conceptual Framework ◽  
Research Methods ◽  
Theoretical Foundation ◽  
Qualitative Research Methods ◽  
Research Use ◽  
First Person ◽  
Shape Theory ◽  
Literature Study ◽  
Music Player

This study aims to determine the form of presentation of operas Batak, to describe a way of presenting opera Batak, to describe the form of presentation tortor, and to know the role tortor in staging opera Batak. The theoretical foundation of this research rests on several theories studied, namely the theory of presenting opera Batak, tortor presentation shape theory and theory of the role, with the conceptual framework as a translation problem contained therein. This research was conducted in the street Bah Bolon Kiri (Lorong IV) No. 96 Siantar, in December 2015 to February 2016. The method in this research use descriptive qualitative research methods. The population in this study were 1 informants who are knowledgeable about dance (tortor) in staging opera Batak, 1 director, 1 music player, and the first person who joins the cast in the opera Batak, the number of samples to be studied amounted to 4 people. Data collected through observation, interviews, documentation, and literature study. The results of this study indicate that the form of presentation of opera Batak has important elements, namely: a play (drama), dialog, music (gondang), song (ende) and dance (tortor). Tortor the form of presentation of operas Batak presented three times, at the beginning, middle and end of the scene. Tortor role in staging opera Batak serve to embellish what is dictated by the script becomes symbolic, ensuring variation in the opera  aesthetics, strengthening the scene / act story, become entertainment and become transition between scenes

A NARRATIVE; OR AN HISTORICAL ACCOUNT OF THE MOST MATERIALL PASSAGES IN THE LIFE OF JOHN RASTRICK

2010 ◽  
Vol 36 ◽  
pp. 26-202
Keyword(s):  
First Person ◽  
Historical Account ◽  
The Third ◽  
Third Person ◽  
The Third Person

Although I desire that each of my children should have one Narrative of the passages of my Life, yet I desire and charge you that it be not wrote as you find it here in my Name or first person singular; but that, you compose a Narrative out of it your Self in the third person, As ex. gr. He (John Rastrick) was born – &c. when he left such a place He removed to such a place – &c. which is easily done by this Account And do not put in the Prayers and Devotions suited to my age or Troubles or Letter to my Aunt; or whatsoever may be thought indecent, and of no use.

GENRE OF IN MODERN TATAR LITERATURE: FEATURES OF FUNCTIONING (BASED ON THE MATERIAL OF R. GABDULKHAKOVA'S "SMALL" PROSE)

2021 ◽  
pp. 83-90
Author(s):  
В.Р. Аминева
Keyword(s):  
Space Time ◽  
Moral Truth ◽  
First Person ◽  
The Third ◽  
Third Person ◽  
The Subject ◽  
Lyrical Subject ◽  
The Individual ◽  
The Relationship ◽  
The Third Person

На материале произведений современной татарской писательницы Р. Габдулхаковой выявляются конститутивные черты жанра парча в современной татарской литературе. Охарактеризованы жанровые разновидности парчи в творчестве Р. Габдулхаковой, которые соответствуют двум направлениям сюжетного движения: от внешнего к внутреннему или от единичного к универсальному и двум типам повествования - от 1-го или от 3-го лица. Художественное завершение в парчах первого типа определяется постижением некой нравственной истины, вытекающей из лично пережитой лирическим субъектом ситуации, в парчах второго типа оно создается переходом от отдельных явлений к их суммирующему итогу. Сделан вывод о том, что внутреннюю меру жанра определяет характер соотношения повествовательной фабулы и обобщающей ее «концовки». Описаны свойственные этому жанру пространственно-временные отношения и принципы организации субъектной сферы. Структурообразующая роль в парчах Р. Габдулхаковой отводится субъективно-лирическому началу в повествовании. В произведениях писательницы проявились как особенности ее творческой индивидуальности, так и типологические черты женской прозы в целом с ее повышенной эмоциональностью, автобиографичностью и проникновенностью. Большинство миниатюр Р. Габдулхаковой написаны от первого лица и представляют сознание женщины, сосредоточенной на переживании своего одиночества и «холода жизни», безответной любви и позднего раскаяния, боли утраты, преследующей каждого человека после ухода матери. Парчи, написанные от третьего лица, раскрывают сознание человека, знающего о существовании объективных закономерностей и пытающегося найти личный выход из безнадежных ситуаций. В творчестве Р. Габдулхаковой парча функционирует как синтетический жанр, вбирающий в себя элементы других жанровых форм. On the material of works of the modern Tatar writer R. Gabdulhakova the constitutive features of the genre of the parcha are revealed. Genre varieties of parcha in the work of R. Gabdulkhakova are characterized, which correspond to two directions of plot movement: from the external to the internal or from the individual to the universal, and two types of narrative-from 1 or 3 persons. Artistic completion in the parcha of the first type is determined by the realization of a certain moral truth arising from the situation personally experienced by the lyrical subject, in the parcha of the second type it is created by the transition from individual phenomena to their summing result. It is concluded that the internal measure of the genre determines the nature of the relationship between the narrative plot and its generalizing "ending". Space-time relations and principles of organization of the subject sphere peculiar to this genre are described. The structure-forming role in the parcha of R. Gabdulkhakova is assigned to the subjective-lyrical beginning in the narrative. The works of the writer manifested both the features of her creative individuality and the typological features of female prose in general with its increased emotionality, autobiography and penetration. Most of R. Gabdulhakova’s miniatures are written in the first person and represent the consciousness of a woman focused on experiencing her loneliness and “cold life”, unrequited love and late repentance, the pain of loss that haunts every person after leaving her mother. Рarcha written in the third person reveal the consciousness of a person who knows about the existence of objective laws and tries to find a personal way out of hopeless situations. Allegorical or symbolic imagery at the same time turns a personal scenario - into a typical, universal human one. In the work of R. Gabdulhakova parcha functions as a synthetic genre, incorporating elements of other genre forms.

Analysing Territorial Politics and Constitutional Policy

2021 ◽  
pp. 35-68
Author(s):  
Jonathan Bradbury
Keyword(s):  
Comparative Literature ◽  
Conceptual Framework ◽  
Policy Process ◽  
The Third ◽  
Its Analysis ◽  
Territorial Management ◽  
Territorial Politics ◽  
Original Approach

This chapter outlines the realist neo-Bulpittian conceptual framework, which provides both the categories for analysis that will guide the book's narrative, and the theoretical propositions that guide its analysis. The chapter proceeds in three sections. The first deals with Bulpitt's original approach and theory of UK territorial politics and centre territorial management and how they could be applied to studying territorial politics and the centre's approach to devolution in the 1990s and 2000s. The second section readdresses Rokkan and Urwin (1982) and key themes in the comparative literature to construct a framework for analysing the periphery that is consistent with Bulpitt's approach; it also considers how this framework might be applied to UK territorial politics and territorial movements for change in relation to devolution. The third section then addresses the constitutional policy literature, picking out Benz (2016). He shares Bulpitt's pessimistic assumptions of how solvable state territorial problems really are, while also providing the most clearly elaborated framework for studying the territorial constitutional policy process that we currently have. The conclusion summarises the resulting overall framework and theoretical propositions that will guide the book's analysis.

Der Evidentia-Begriff in seinen rhetorisch-translatologischen Dimensionen. Ein Denkanstoß von Fritz Paepcke

2021 ◽  
pp. 429-452
Author(s):  
Alberto Gil
Keyword(s):  
Conceptual Framework ◽  
Translation Studies ◽  
Research Center ◽  
Classical Rhetoric ◽  
Conceptual Approach ◽  
Italian Translation ◽  
Gabriel Marcel ◽  
The Third

Evidentia is a concept passed on to us from rhetoric – more precisely from the third of the five canons of classical rhetoric, namely elocution. The goal of this canon is to achieve a stylistic quality that enables the listener to see what (s)he hears with his or her inner eye, i.e. to enable the listener to really visualize what is being said. Fritz Paepcke – whose one hundredth birthday we celebrated at this conference – applied the concept of evidentia to the field of translation studies. Within his conceptual framework, he portrayed it as a new experience – one which arises immediately, i.e., not through induction or deduction, but “as a result of the rule-governed and yet playful process of developing the most adequate wording of a translation” and from one’s interaction with the text. Paepcke did not, however, elaborate on this “intuition of intuition.” This article attempts to further develop the concept evidentia rhetorically and philosophically and to apply it to the field of translation studies. Two conceptions are particularly instrumental here: 1) The concept of fidélité créatrice as elucidated by the French philosopher Gabriel Marcel – to whom Paepcke often referred – as well as 2) the conceptual approach underlying and informing the research center Hermeneutik und Kreativität. In the latter, the processes of understanding and translating / translating and understanding are conceived of as being bi-directional and interdependent; this conception, which fuses understanding with empathy, is making new, significant inroads into translation studies. The notion of evidentia will be exemplified here using an empathetic Italian translation of a very young poet – Selma Meerbaum-Eisinger.

The Economic Integration of Italy

2019 ◽  
pp. 61-120
Author(s):  
Saskia T. Roselaar
Keyword(s):  
Economic Integration ◽  
Agricultural Production ◽  
Settlement Patterns ◽  
Economic Change ◽  
Economic Activities ◽  
New Markets ◽  
The Third ◽  
The Mediterranean ◽  
Economic Developments ◽  
Opening Up

Chapter 3 discusses economic change in Italy. It investigates economic activities carried out by the Italians independently from Roman interference. Many Italians were quick to take advantage of the possibilities offered by their association with Rome, such as the opening up of new markets for Italian products and safer sailing because of Roman control of the Mediterranean. These economic activities had important consequences for economic developments in Italy itself: many far-reaching changes took place in the third to first centuries, such as changes in settlement patterns and an increase in the scale of agricultural production. Nevertheless, not every change that occurred after the Roman conquest should be ascribed to the conquest itself. The second part of chapter 3 investigates the economic and cultural developments that occurred in four sample areas, in order to trace the level of economic integration as a result of macroeconomic developments in Italy.

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