Many studies demonstrate that finding meaning in life reduces stress and promotes physical and psychological well-being. However, extant literature focuses on meaning in life among the general population in their daily lives. Thus, this study aimed to investigate the mechanisms of how individuals living in life-threatening and stressful situations obtain meaning in life, by investigating the mediating roles of leisure crafting and gratitude. A total of 465 Army soldiers from the Republic of Korea participated in two-wave surveys with a (...) 2-week interval. Structural equation modeling analyses indicated that the direct effects between the search for meaning, presence of meaning, leisure crafting, and gratitude were significant, except for the direct relationship between the search for meaning and the presence of meaning, and between leisure crafting and the presence of meaning. We tested indirect effects using a Monte Carlo approach and found that leisure crafting and gratitude sequentially mediated the relationship between the search for meaning and the presence of meaning. Our findings highlight the importance of the motivation behind searching for meaning, the proactive use of leisure time, and gratitude for individuals in stressful situations and controlled lifestyles. Finally, we discuss the implications and limitations of this research and future research directions. (shrink)

Against most social constructivist accounts of hunting this paper seeks to identify an embodied account of hunting and angling as a means of understanding its paradoxical popularity in late modernity. It evaluates the significance of two pro-hunting and angling discourses, those of Isaak Walton and Neo-Darwinian writers and argues that the appeal of hunting and angling, as evidenced through their copious literatures, descends from Walton rather than Neo-Darwinian sources. In particular it is the development of a highly sensual relation with (...) the natural world that the Waltonian discourse encourages, in contrast with the visualism of touristic encounters, that may account for its enduring popularity. (shrink)

What does it mean to be an individual and how can an individual exist within society? Serious Leisure and Individuality examines the circumstances in the modern world that make for individual distinctiveness, and the role of these conditions in personal and social life. "The individual," said Friedrich Nietzsche, "has always had to struggle to keep from being overwhelmed by the tribe. If you try it, you will be lonely often, and sometimes frightened. But no price is too high to (...) pay for the privilege of owning yourself." Elie Cohen-Gewerc and Robert Stebbins explore the road to finding that privilege. They approach individuality by examining its relationship to freedom and being free, and by defining and elaborating on the concept of leisure space. They also look at individuality's place in community, citizenship, and globalization. The complex relationship between individuality and alienation is put under the microscope to highlight the negative side of being distinctive, which has adverse consequences for the individual and society. There are many studies on the modern individual that centre almost entirely on the person facing his local community and broader society. What is missing in the literature - and what Serious Leisure and Individuality provides - is a broad, comprehensive examination of individuality, particularly as it is rooted in leisure and the leisure-like areas of work. (shrink)

Samizdat, the underground circulation of unofficial and forbidden literature in the Soviet Union, is an example of how censorship can backfire. Ideological restrictions produced walls of monotony in libraries and bookstores, propelling readers to search for more interesting fare. Sensitive texts on religion, philosophy, human rights, and current events, as well as literary works, passed from hand to hand clandestinely from around 1960 until censorship was abolished in the late 1980s. Von Zitzewitz's study is itself interesting fare, uncovering the workings (...) of samizdat as both a distribution network, comparable to that of print culture, and a social network that developed bonds between people who shared a defined purpose outside the public space. By no means did they all think of themselves as dissenters. For many people who lived ordinary Soviet lives, it was simply that “reading samizdat increased [their] individual feeling of freedom and represented a personal act of resistance.”One merit of this book is its point-by-point comparison of the samizdat distribution network to the print-culture production chain of author-publisher-printer-shipper-bookseller-reader. Samizdat had an analogous chain, in which a text made its way from author to reader through a network of people, each performing a specific function—procuring manuscripts, housing them, typing (or photographing) multiple copies, and delivering copies to readers. There were others who served as compilers, translators, collectors, and even editors and “librarians” (although accepting this designation requires abandoning the notion of a library as a stationary physical repository).Since all participants in the network strove to hide their traces from the prying eyes of the security police, samizdat researchers are hampered by a lack of records and evidence. To help fill the information gap, von Zitzewitz (in collaboration with Memorial's Gennadii Kuzovkin) designed a sixty-three-question survey targeting former samizdat participants and posted online in 2017. Tables display statistics (from the first 122 respondents) on demographics (respondents’ gender, place and decade of birth, and education level) as well as information on which authors, genres, and subject matter were most read. Other survey questions were designed to elicit recollections that help us understand what it felt like to participate in samizdat culture, whether as an author or reader, or in some aspect of acquisition or distribution. The many quotations from the survey responses bring to life the intensity of this activity. Receiving a sought-after text with an injunction to return it (or pass it on) the next day might mean reading all through the night to get through hundreds of pages. And while it is intuitive to think of samizdat as walled off from official culture, this study argues persuasively that they were intertwined. There were plenty of gray areas and fuzzy boundaries, too. One owner of samizdat books had several of them confiscated during a KGB search of his apartment, only to find them later for sale in a bookshop.Having begun as a clandestine, makeshift response to the institution of censorship, samizdat became more sophisticated over time, evolving into an institution itself. It arguably contributed to the perestroika reforms and became unnecessary when censorship was given the heave-ho. Subsequently, samizdat activists who had managed the covert production and circulation of entire journals published full accounts of their activity and the operation of their networks. Von Zitzewitz makes good use of these sources and shows admiration for the role these men played. She notes, though, that their detailed descriptions omit names of any of the typists who gave up their leisure hours and nightly sleep for the pleasure of hammering out multiple carbon copies of forbidden literature, usually for no pay. The word typist, given its lowly connotation in both Russian and English, is unfortunate. Typists were samizdat's printing press, and without their commitment and sacrifice the whole enterprise would have collapsed. Von Zitzewitz suggests that it may never have occurred to the samizdat heavyweights to acknowledge them by name. They were just... women. On the other hand, the menial typist designation had its upside. It seems to have resulted in a shorter prison sentence for at least one of them.Von Zitzewitz argues strenuously that samizdat was first and foremost a social network. If you wanted to get hold of, say, The Gulag Archipelago, you needed to know someone with the connections to help you get it. To call samizdat a social network is, of course, to wade into comparisons with today's online social media networks. Von Zitzewitz notes parallels, but she finds that the differences overwhelm the similarities. Samizdat was a social network, but one that depended on mutual trust. (shrink)

The Hiero is an account in Socratic conversational form of a meeting between Simonides the poet and Hiero the tyrant of Syracuse; it was written by Xenophon of Athens in the fourth century b.c., but is set in the fifth, when the historical Simonides and Hiero lived and met. The subject they are portrayed discussing is the relative happiness of the tyrant and private individual. Plato also makes this a topic of discussion in his Republic. However, whereas Plato writes a (...) regular Socratic dialogue, Xenophon does not, for though he represents his characters using Socratic conversation, Socrates himself does not appear; the characteros of the Hiero are Simonides and Hiero, poet and tyrant. This is the problem of the Hiero. It requires explanation. The action of the Hiero is initiated by Simonides and begins in the following way: Simonides the poet once came to the court of Hiero the tyrant. When they were both at leisure, Simonides said, ‘Would you be willing to tell me, Hiero, something you are likely to know better than I?’ And Hiero said, ‘What is it that I should know better than you, who are such a wise man?’ He replied, ‘I know that you were once a private individual and are now a tyrant. Since you have experienced both conditions, you are likely to know better than I how tyrannical life differs from private life in respect of men's pleasures and griefs’ . The identification of Simonides as a wise man who nevertheless seeks wisdom from others establishes his Socratic nature from the start. (shrink)

Nursing has evolved, yet media representation has arguably failed to keep up. This work explores why representation has been slow in accurately depicting nurses' responsibilities, impacts on public perceptions and professional identity. A critical realist review was employed as this method enables in-depth exploration into why something exists. A multidisciplinary approach was adopted, drawing from feminist, psychological and sociological theories to provide insightful understanding and recommendations. One main feminist lens has been implemented, using Laura Mulvey’s ‘Male-Gaze’ framework for content analysis (...) of three nurse-related advertisements to explore how the profession's female status influences representation, public perception and how this might impact nursing. Nurse representation has important real-world consequences. It is essential to improve unnecessary negative portrayals and contest ingrained stereotypes as there are costs to public opinion and nursing's self-identity. Nursing's female status has an impact within a male-dominated media industry, with a leisurely approach adopted toward changing representation. Media images become societally ingrained, this reiterates the significance of accurate/positive depictions. Social media is an instant method of communication with the public to combat stereotypes and maintain engagement to provide better understanding of what nurses do. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dining Posture in Ancient Rome: Bodies, Values, and StatusJeremy RossiterMatthew B. Roller. Dining Posture in Ancient Rome: Bodies, Values, and Status. Princeton: Princeton University Press, 2006. xvi + 219 pp. 8 color plates. 18 black-and-white figs. Cloth, $39.50.As the author of this volume is quick to point out, a book-length study focusing solely on how the Romans sat, or reclined, at table might not seem like the most (...) compelling reading, even for a specialist reader. Could something so abstruse really warrant such an extensive study? Clearly the author thinks so, and to support his view he starts with some bold claims of what the book promises to accomplish. One of the key aims of the book is to redefine our understanding of Roman dining practices; to challenge the orthodox views presented in the "handbooks" (by which the author seems to mean principally the second edition of Marquardt and Mau's Das Privatleben der Römer, Leipzig 1886) and to replace them with a more measured interpretation of the evidence, not just of the few familiar texts that are often cited in the handbooks but rather of the full range of texts, images, and other source material that contribute in one way or another to what we know about Roman dining. Why do this? Because, Roller argues, the orthodox view is wrong. It depends on too little information, it pays too little attention to the evidence of images, and it fails to see the important link between dining custom and social values. These are bold assertions, the credibility of which can only be judged by comparing the orthodox view of Roman dining practices with the "new" picture of Roman dining given by Roller and by evaluating the methodology he uses to reach his conclusions.What then is the orthodox view of Roman dining posture? Roller summarizes it as follows (4–5): free adult males reclined, free adult women sat (during the Republic) but later reclined (during the Empire), free children sat, and slaves stood. Fast forward to the end of the book (177) and we find a rather different assessment: "persons of any age, sex or status might actually assume, or be represented as assuming, various positions under different circumstances." What Roller does here is to deconstruct the simplistic assertions of the handbooks and replace them with a more nuanced interpretation of the evidence. However, his conclusions, although different from the standard view, are not an entirely radical departure. As he admits, "normal" dining practices can be detected: "certain postures attach persistently to certain categories of person" (178). Free adult males are "normally" represented as reclining, free adult women and children are "commonly" shown either sitting or reclining, and slaves "normally" stand. But the point Roller makes is that these dining postures are not rigid; they are not rules. Indeed there are so many exceptions to the norms, both in the texts and in the images, that one has to question the veracity of these so-called "normal" patterns of behavior. The more important question, as Roller is at pains to emphasize, is to determine the ideology that underlies the texts and images. Why do the sources show what they show? What is their intended message?One of the recurring arguments of this book is that reclining as a dining posture in Roman times always marked social privilege. It was a sign of otium. It [End Page 596] singled the diner out as a member of the elite, as someone with wealth, leisure, and access to "the good life." References in literature and art to reclining diners provide reinforcement of this privileged status. Elite males set the standard for everyone else. Those who did not belong to this class, particularly the subelites, the people just below the upper crust of Roman society, could express their aspirations to elite status by depicting themselves as reclining at dinner, regardless of whether they actually did so in practice.A large part of this book is devoted to the question of women at table. It is here that the evidence is the most convoluted; equally it is here that Roller offers some challenging new insights. He argues... (shrink)

In the two centuries covered by this volume, from about AD 250 to 450, the Roman Empire suffered a period of chaos followed by drastic administrative and military reorganization. Simultaneously Christianity emerged as a new religious force, to be first recognized by Constantine and then eventually to become the official religion of the Roman state. The old pagan culture continued to provide the basis for education and the staple literary diet of the leisured classes; but it now had perforce to (...) coexist and indeed to compete with a new, specifically Christian-oriented literature. These and associated developments are reflected in the Latin books of the period. Of the traditional forms and genres, some atrophied, some were transformed and invigorated; and yet others, such as autobiography in something like the modern sense, emerged in response to the pressures of the times. Professor Browning's masterly and comprehensive survey is mostly concerned with pagan literature, but takes into account Christian texts written in classical forms and directed at classically educated readers. The volume ends with a chapter on Apuleius by Professor Walsh, followed by a brief Epilogue from the same hand, sketching the part played by classical studies in the formation of the Latin literature of the Middle Ages. (shrink)

Citizenship has traditionally been equated with borders and boundaries and, in particular, membership of a nation-state. Motivated by recent interest in the crossing of boundaries and processes of inclusion which operate across a common basis such as the nation-state, this article explores the ways in which international relations were implicitly and explicitly embedded in constructions of British citizenship in the 1940s. Focusing on representations of English girls in literature relating to the education and leisure of girls, this article identifies (...) and explores four international aspects of citizenship. First, it addresses the ways in which British citizenship was defined through an implicit or explicit juxtaposition with the citizenship associated with other nation-states. This international dimension worked to delineate boundaries. Second, the article examines how British citizens were defined as members of a community which transcended the nation. Following this, it explores the expectation that girls required international knowledge in order to effectively fulfil their duties as British citizens. Finally, the article investigates some of the ways in which British citizenship involved international responsibilities. Although some aspects of girls’ citizenship challenged national parochialism, the duties and characteristics of apprentice female citizens were articulated in ways that restated hierarchies which assumed the distinctiveness and authority of Britain and the British. (shrink)

Some people live to work, others work to live, while still others prefer to live lives of leisure. Since the Puritans, American culture and literature have been dominated by individuals who have valued hard work. However, shortly after its founding, America managed to produce the leisurely Rip Van Winkle, who, over time, has been followed by kindred spirits such as, for instance, Walt Whitman, Henry David Thoreau, Twain’s Huck Finn, Melville’s Bartleby, Jack Kerouac, Diane di Prima, the Hippies, and (...) Christopher McCandless. With the rise of the Indie Film movement of the 1990s, so came the rise of the slacker film. Films such as Slacker, Singles, Wayne’s World, Reality Bites, Clerks, Kicking and Screaming, Mallrats, Chasing Amy, The Big Lebowski, and Office Space filled theatres over the decade with characters who take an unorthodox view of work and stress the importance of leisure in life. This essay discusses two slacker films, Richard Linklater’s Slacker and Kevin Smith’s Clerks, which defined the slacker phenomenon in the 1990s and constituted two important landmarks in American independent film. While many of us may find the slacker pathetic and annoying, this essay argues that there is much value to be found in this healthy counterculture. By offering their perspectives on issues such as the Puritan work ethic, work-incited self-importance, leisure versus idleness and human relationships, Linklater and Smith join the preceding generations of slackers, providing a much needed balance to the American obsession with work and success. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.3 (2001) 30-56 [Access article in PDF] The Priceless IntervalTheory in the Global Interstice Reingard Nethersole In a poignant scene in Goethe's Faust [1.2038-39] an eager student seeking what we would call curriculum advice today asks what subjects he should study. Counseled by Mephisto in the guise of the master, Faust, the student is admonished to read for anything but theory because: "Grey, my friend, is all theory, (...) / Green alone is life's golden tree." Uttered from within the epitome of an ivory tower image, a vaulted "gothic study," the advice gains rhetorical strength from alliterative, juxtaposed color metaphors which celebrate an organicist, holistic vision of life. Given current attitudes toward literary theory, many enthusiastic freshmen will receive similar guidance. Theoretical deliberation and mediation in the academy were not always popular, to be sure, but the resistance to theory was never as acute as it is now, when the very institutional space inhabited by thought is being curtailed largely because of financial considerations. Thus drawn into cost-benefit calculations that figure the student (in South Africa) as "client," the professor as "cost factor," and education as branded product, the University sees itself compelled, under the hegemony of the economic, to side with praxis in place of theory. "Doing" rather than thinking, action rather than reflection might have seemingly won the day, yet the controversy surrounding the relation between theory and literature on the one hand and theory and praxis on the other persists both inside and outside the academy.At the heart of a modern organization of knowledge, the dichotomy of theory and praxis is inscribed in Kant's Conflict of the Faculties. It will be remembered that Kant divided the domains of philosophy, theology, law, and medicine that constituted the University of his day into the "lower faculty," philosophy (lower from the point of view of government), and the "higher" faculties of theology, law, and medicine (higher because they are closer to government power). However, by granting philosophy (reason) implicit guardianship over the "higher faculties," lest these would revert to magical practices, Kant's Enlightenment philosophy placed a wedge between theory and praxis, a wedge that not only recast an ancient (Western) fissure between contemplation and action, a conscious I think and an active I do, but also opened a space for a troubled relationship between philosophy and the other faculties and between the faculties and state power—or as is the case today—economic power.Kant's university, of course, did not know the "humanities" of which history and literature were to become an integral part along with philosophy in the early nineteenth century, but by ranking reason below the utilitarian subjects or "faculties" while, at the same time, recognizing philosophy's preeminence as their imperative, Kant's positioning of thought/theory in relation to praxis 1 set up a tension between thinking and doing [End Page 30] that reverberates, for instance, in literary studies' perennial conflictual pairing between a "green" intuitive, untrammeled appreciation of literary texts and a "grey" theory. Moreover, supported by a particular modern, Western socioreligious structure (Protestantism) that values (bourgeois) industriousness or labor more than (aristocratic) leisure, the legacy of the "conflict of the faculties" implicates the connection between the university as institution of knowledge production in relation to the various domains of knowledge application and/or consumption.Concerned about the multiple changes that involve our being and acting in the world before an ever-expanding planetary horizon, which in turn profoundly alters the educational objective of institutions of higher learning in general and menaces such sites of thought as literary theory in particular, I shall, in the following, sketch the interval, a topos borrowed from musicological discourse, as a place for theory under global conditions. In addition I shall attempt to conjoin the disparate sides/sites of criticism and theory by cross-stitching Bill Readings's thoughts on the transformation of the university, descriptions of university "reform" currently under way in South Africa, and Goethe's text in order to illustrate the kind of subject/self produced by education or Bildung in contrast... (shrink)

Muße ist ein freies Verweilen in der Zeit jenseits von Zweckrationalismus. Die Eigenzeitlichkeit wird zum Freiraum simultaner Möglichkeiten unserer Lebensgestaltung. Muße zielt auf ästhetisch und räumlich inszenierte Lebensformen, die in der Zeit nicht der Herrschaft der Zeit unterliegen. Konzepte von Muße sind stets eingebettet in ihre historischen und kulturellen Kontexte. Der Band beleuchtet historische Paradigmen der Muße in ihren literarischen Inszenierungen, diskursiven Verflechtungen und performativen Effekten. Die Beiträge aus der Philosophie, Klassischen Philologie, Alten Kirchengeschichte, germanistischen Mediävistik, neueren deutschen Literatur, Anglistik, (...) Soziologie, Geschichtswissenschaft, Archäologie, Kunstgeschichte, Ethnologie und Sinologie untersuchen Muße als anthropologisches und kulturgeschichtlich distinktes Phänomen, das sich Zeitzwängen widersetzt und Freiräume eröffnet. Analysiert werden unterschiedliche Semantisierungen, Ähnlichkeiten und Umbesetzungen, wie beispielsweise 'Freizeit', die Überschneidungen, aber auch gravierende Abgrenzungen zur Muße aufweisen. (shrink)

This paper builds on prior critical scholarship on Agriculture 4.0—an umbrella term to reference the utilization of robotics and automation, AI, remote sensing, big data, and the like in agriculture—especially the literature focusing on issues relating to equity and social sustainability. Critical agrifood scholarship has spent considerable energy interrogating who gets what, how decisions get made, and who counts as a “stakeholder” in the context of decision making, questions relating to distributive justice, procedural justice, and representative justice, respectively. Less attention, (...) however, has been paid in this literature to the subject of recognition justice. Recognition justice asks the question, “Who are subjects of justice?” That query, however, is easily to oversimplify. As subjectivity is neither monolithic nor fixed, implied in these discussions are deeper questions having to do with the characteristics of one’s subjectivity that deserve moral recognition. This act of translation, from justice-in-theory to justice-in-practice, also complicates the evaluation of whether Agriculture 4.0 platforms are just, or not. These recognition justice tensions are explored by leveraging qualitative data collected through forty-two face-to-face interviews with individuals on farms located in the US states of Arizona, California, Colorado, New Mexico, and Wyoming who utilize these platforms. The study design intentionally oversampled for persons with disabilities, which highlights another distinguishing characteristic of the paper relative to critical Agriculture 4.0 scholarship. In addition to exposing certain ableist assumptions in these discussions, the sampling technique proved invaluable for interrogating how we think about labor, work, and leisure in agriculture. The paper specifically discusses how Agriculture 4.0, for example, shapes conceptions of what it means to be “able to work,” “willing to work,” “hard working,” etc. (shrink)

In this edited collection on Jewish and Arab childhood in Israel, contributors illuminate the experiences of the individual child with family and community, the formal education system, and informal leisure culture, and they explore representations of childhood and its perceptions in literature and culture.

Efforts to diffuse useful knowledge on the part of dedicated social reformers, enterprising publishers, and vigorous voluntary associations created new forms of popular literature in the urban centres of Paris and London during the middle decades of the nineteenth century. Popular science periodicals, especially, embodied the aims of the advocates of cheap literature, by providing ‘improving’ information at prices low enough to reach readers who might otherwise purchase potentially dangerous political tracts. Besides promoting social stability, popular science periodicals served to (...) answer the needs of diverse increasingly literate, leisured, and well paid social groups.From their inception, through their evolution over half a century, periodicals in London and Paris mirrored these similar commitments and concerns of their creators. Continuous imitation back and forth across the Channel indicated just how closely English and French editors shared common programmes. Yet despite the similar aspirations of their promoters, popular science periodicals in England and France revealed the outlines of two very different low scientific cultures, shaped by the dissimilar characteristics of their audiences, editors, and high scientific communities. (shrink)

"Of the making of many books there is no end" seems reasonable enough when the subject is infinity but after reading this well-organized study one is not so sure; a figure suggested by Zeno speaks of "a fog [which] the incessant labours of modern scholars often cause." Sweeney’s methodology is to use the ever-increasing body of modern critical discussions as a help in interpreting and assessing the presocratic fragments and their ancient commentators. For Anaximander a particularly detailed and nuanced coverage (...) of the literature between 1947 and 1970 is presented-over twenty major interpretations, with supplementary articles treated in an Appendix. Subsequent chapters treat in less detail the positions on infinity of the other Ionians, Pythagoras, the Eleatics, Empedocles, Anaxagoras, and the Atomists. Here the author relies heavily on existing surveys like those of Kirk and Raven and Guthrie. This raises a question about the kind of audience envisaged. To a sentence like "Let us now trace as simply and yet accurately as possible Raven’s views", Raven could be pardoned for reacting with the impression that he had already done just that himself. Much of the book is a perhaps over-leisurely doxography of work written in uncomplicated English, albeit in widely scattered journals; nonetheless Sweeney’s imposing, almost intimidating, coverage of bibliography will save even seasoned ancient philosophers many hours of L'année philologique-hunting and makes his work an important and eminently worthwhile contribution. Apart from some relatively minor misprints there is a serious confusion of Alcmaeon with the poet Alcman. Alcman deserves better treatment in the exegesis of Anaximander’s "rather poetical terms."—T. H. (shrink)

Urban agriculture (UA) is spreading within the Global North, largely for food production, ranging from household individual gardens to community gardens that boost neighborhood regeneration. Additionally, UA is also being integrated into buildings, such as urban rooftop farming (URF). Some URF experiences succeed in North America both as private and community initiatives. To date, little attention has been paid to how stakeholders perceive UA and URF in the Mediterranean or to the role of food production in these initiatives. This study (...) examines the promotion and inclusion of new forms of UA through the practice of URF and contributes to the nascent literature on the stakeholder and public perceptions of UA. It seeks to understand how those perceptions shape the development of new urban agriculture practices and projects. Barcelona (Spain) was used as a Mediterranean case study where UA and URF projects are growing in popularity. Through semi-structured interviews with 25 core stakeholders, we show that UA is largely perceived as a social activity rather than a food production initiative, because the planning of urban gardens in Barcelona was traditionally done to achieve leisure and other social goals. However, several stakeholders highlighted the potential to increase urban fertility through URF by occupying currently unused spaces. As a result, the positive valuation of URF depends on the conceptualization of UA as a social or food production activity. In turn, such conceptualization shapes barriers and opportunities for the development of URF. While most UA-related stakeholders (e.g., food co-ops, NGOs) preferred soil-based UA, newer stakeholders (e.g., architects) highlighted the economic, social and environmental opportunities of local and efficient food production through innovative URF. (shrink)

Aestheticians have tended to focus their attention almost exclusively on high art, on museum painting and sculpture, classical music and literature, and architecture, leaving the popular arts to their colleagues in cultural studies. That seems a big mistake, for like it or not, popular movies and television attract enormous audiences everywhere, including very many people who take little interest in high art. This mass art creates stars, actors, and musicians who are so famous that everyone recognizes them. And celebrities such (...) as Princess Diana are also stars. Because stars straddle the boundary between politics and popular art, they deserve attention from our philosophers. Even if your favorite leisure reading.. (shrink)

While a large body of research has provided quantitative data on children’s levels of happiness, positive emotions and life satisfaction, the literature reflects a dearth of studies that analyze these dimensions from a narrative and qualitative point of view. Folk and fairy tales may serve as ideal tools for this purpose, since they are concerned with several concepts scientifically investigated by research in the field of positive psychology, such as resilience, self-realization, personal growth and meaning in life. The aim of (...) the present study was to explore children’s well-being and positive emotions using an innovative narrative approach, which involved interviews and group discussions, as well as the analysis of fairy tales written and discussed in a group context. The sample included 95 school children who were asked to report and discuss in a group setting situations or experiences which triggered positive emotions and happiness in them. Guided by their teachers and a school psychologist, they were then asked to write their own original fairy tale drawing on the positive emotions that had previously emerged. Positive emotions were found to be triggered mainly by interpersonal relationships with peers as well as with family members. Hobbies and leisure time were also strongly associated with happiness and hedonic well-being, while personal fulfilment, self-esteem and goal achievement emerged as highly significant for children. In sum, the findings suggest that this school psycho-educative intervention based on narrative strategies provided useful information on children’s well-being and yielded positive feedback, the implications and possible further applications of which are discussed. (shrink)

Teil I »Psychologische Ästhetik für transdisziplinäres Design« -/- Kapitel I »Empirische Ästhetik – Der Konflikt zwischen leichter Verarbeitbarkeit, sparsamer Codierung und neuronaler Aktivierung im Beobachtersystem. Eine Untersuchung über das Wesen der ästhetischen Erfahrung. -/- Jede Designpraxis verlangt täglich eine Vielzahl von Entscheidungen, welche die Wahl von „Etwas vor dem Hintergrund anderer Möglichkeiten“ darstellen. Diese lassen sich als Probleme einer Präferenz-Ästhetik interpretieren, wobei innerhalb eines Repertoires von Alternativen die attraktivste gewählt wird. Eine empirische Ästhetik ist somit ein notwendiger Bestandteil von Designtheorie. (...) Die Überlegung, wer in welcher Situation warum was bevorzugt, führt zur Forschungsfrage: »Was ist der elementare Mechanismus für eine ästhetische Erfahrung?« In der Literatur zur empirischen Ästhetik finden sich vier wesentliche Theorie-Gruppen: (1.) Es wird eine Präferenz für einfach zu verarbeitende Stimuli behauptet und z.B. mit der Processing Fluency begründet. (2.) Andere Ansätze erklären eine maximale Stimulation des Beobachters durch komplexe Objekte zum Ideal, was auch die ästhetische Erfahrung maximieren soll. (3.) Eine dritte Gruppe vermeidet die Probleme der ersten beiden, indem eine mittlere Komplexität als Präferenz behauptet wird. (4.) Und schließlich gibt es Ansätze, die auf eine integrierende Theorie letztlich verzichten und einzelne Phänomene bzw. Effekte katalogisieren. Eine Liste ungelöster Probleme formuliert die Minimal-Anforderungen an eine integrierende Theorie. Hiermit wird geprüft, ob bzw. inwieweit die Integrative Ästhetik von Schwarzfischer (2008 und 2014) jene Probleme lösen kann. Dieser Ansatz schlägt spezifische Re-Codierungs-Prozesse als basalen Mechanismus jeder ästhetischen Erfahrung vor. Hierzu wird ein Prozess-Modell entwickelt, welches die Integrative Ästhetik überprüfbar macht. Bei der Modellbildung werden manche Konzepte der Integrativen Ästhetik erweitert und andere präzisiert. Auch die Anwendungsmöglichkeiten werden durch das Modell vielfältiger, da es nicht nur als Erklärungsmodell, sondern zudem als Gestaltungsmodell einsetzbar ist. Insgesamt zeigt die Überprüfung der Integrativen Ästhetik und des Modells, dass die Gütekriterien in einem vielversprechenden Maß erfüllt werden. Die grundsätzliche Quantifizierbarkeit wird aufgezeigt sowie die Relevanz und die Anwendbarkeit für das Design nachgewiesen. Die Forschungsfrage kann somit als hinreichend beantwortet gelten: »Der elementare Mechanismus für eine ästhetische Erfahrung scheint ein Re-Codierungs-Prozess zu sein (der auf der Nutzung von In­varianzen basiert), welcher extensionale Daten zu intensionalen Gestalten transformiert, wobei eine Ressourcen-Entlastung stattfindet und der Gültigkeitsbereich der Codierung erweitert wird (was nach Jean Piaget als Dezentrierung bezeichnet wird) – was jeweils durch eine ‚Beobachtung zweiter Ordnung‘ festgestellt wird.« -/- Teil II »Transdisziplinäre Ästhetik im Dialog« -/- Kapitel II.A »Profane und heroische Beobachtungs-Experimente: Kunst-Ästhetik als methodisches Artefakt.« -/- Es reicht nicht, eine Liste mit vorgeblich ‚schönen Dingen‘ zu erstellen, um ‚das Schöne‘ zu verstehen. Piaget & Garcia (1989) unterscheiden drei Stufen in jedem Erkenntnis-Prozess: 1. isolierte Fakten, die unabhängig von einander analysiert werden; 2. konkrete Transformationen, durch welche diese Fakten mit einander verbunden sind; 3. eine Struktur, die alle denkbaren Fälle konstruierbar macht. Sie nannten diese drei Stufen ‚intra‘, ‚inter‘ und ‚trans‘. Dies kann auf das ‚höhere Erkenntnisvermögen‘ angewandt werden wie auf das ‚niedere‘. Wissenschaftlichkeit setzt nach Popper die Falsifizierbarkeit einer Theorie voraus – und damit Prognosefähigkeit. Prognosen müssen über den Bereich der bereits bekannten Fälle hinausgehen, und finden sich folglich primär in der Piaget-Phase ‚trans‘. Diese ist davon gekennzeichnet, dass es über die Gegenstände hinausgeht (‚trans-objekt‘). Zu häufig werden Artefakte nur beschrieben (‚intra-objekt‘) oder einzelne, zufällig bekannte Transformationen von Material in Artefakte bzw. von Artefakt in Verständnis aufgezählt (‚inter-objekt‘). Erst eine ‚Integrative Ästhetik‘ jenseits von zufälligen Semantiken, jenseits von sozialen Exklusions-Rhetoriken der Künstler und der ‚Leisure-Class-Eliten‘ (nach Veblen) und jenseits der Hierarchisierung von Wahrnehmungs-Modi kann den Anspruch einlösen (‚trans-objekt‘). Daraus folgen u.a. separierbare Semantiken spezifischem Maßstabs, die sich überhaupt erst dann z.B. als ‚konventionelle Kunst-Auffassung‘ beobachten lassen. Zentrierungen auf solche Semantiken können demnach „als Kunst missverstanden werden“ – obwohl sie keineswegs das allgemeine Prinzip repräsentieren, sondern stets nur Spezial­fall bleiben. -/- Kapitel II.B »Das Gehirn als Hypothesenmaschine – Ästhetische Prozesse als Selbst-Test im Beobachter-System.« -/- Die historische Trennung zwischen Techne, Poiesis und Aisthesis scheint nach der „konstruktivistischen Wende“ obsolet geworden zu sein. Jede Beobachtung kann als Handlung betrachtet werden und setzt adaptive Aspekte schon voraus. Jedoch fehlte bislang eine tragfähige konstruktivistische Ästhetik, deren Gültigkeitsbereich hinreichend groß ist: So ist die Beschränkung auf Kunst ebenso unnötig wie jene auf Kommunikation in sozialen Systemen (also auf „Kunst-Diskurse“) oder auf eine Produktions-, Werk- bzw. Rezeptions-Ästhetik. Die definitorische Auflösung des Kunst-Begriffes (z.B. bei Gernot Böhme) löst diese Schwierigkeiten nicht. Im Wesentlichen bleibt die resultierende phänomenologische Ästhetik eine Rezeptions-Ästhetik. Ähnlich begrenzt bleibt der Anwendungsbereich der Informations-Ästhetik mit kybernetischen Wurzeln. Auch die Einbettung in eine evolutionäre Ästhetik oder Neuroästhetik scheint problematisch. Daher muss eine „Integrative Ästhetik“ sehr unterschiedliche Sichtweisen in sich vereinigen. Inzwischen klassisch zu nennende kybernetische, systemtheoretische oder informations-ästhetische Ansätze verwenden meist die Logik einer Bottom-Up-Verarbeitung (Input-Processing-Output), wie sie auch die kognitive Psychologie der zweiten Hälfte des 20. Jahrhunderts dominierte. Dass laut Schlicht et al. (2013: S.475) selbst im visuellen Kortex nur ca. 5% der neuronalen Verknüpfungen bottom-up verschaltet sind (und der „Rest” von 95% top-down oder lateral arbeitet), stellt auch die empirische Ästhetik vor Probleme. Dieser Beitrag stellt jene Integrative Ästhetik vor, welche diese Antworten auf diese Fragen zu geben vermag – und den genannten Beschränkungen nicht unterliegt. Der elementare Prozess einer ästhetischen Erfahrung besteht hier in einer Re-Codierung von extensionalen Daten zu intensionalen Codierungen. Durch die sparsamere Codierung stellt dies eine erhebliche neuronale Entlastung dar und erhöht zudem beträchtlich den Gültigkeitsbereich des Codierten. Vom Beobachter-System wird dies subjektiv als Dezentrierung (nach Piaget) positiv erlebt. Zentral ist, dass es nun mit einem einheitlichen methodischen Rahmen möglich ist, entweder bottom-up die Wahrnehmung zu analysieren oder top-down die subjektive Motivation (z.B. die erlebte Autonomie oder die erlebte Entlastung) des Akteurs zu thematisieren. Die Richtung der Prozesse wird umkehrbar. Zudem wird die konstruktivistische Wahrnehmungs-Handlung zu einer Art von Selbst-Test des Wahrnehmungs-Systems: „Funktioniere ich sensorisch und kognitiv überhaupt? Funktioniere ich korrekt, also konsistent? Und, funktioniere ich effizient?“ -/- Kapitel II.C »Beobachtende Systeme – Dezentrierende Gestalt-Integration als Basis einer Ästhetik des Alltags.« -/- An der ästhetischen Erfahrung irritiert traditionell, dass der Effekt bekannt ist, nicht aber die Ursachen und der funktionale Mechanismus. Dies leistete Mystifikationen Vorschub, was zu diversen metaphysischen Kunst-Ästhetiken führte: Der Künstler als Schamane oder Magier. Dieser Beitrag möchte dagegen einen systemsemiotischen Ansatz für eine empirische Ästhetik vorstellen. Die aktive Rolle des Beobachters im Wirkungszusammenhang soll den Blinden Fleck erhellen, aufgrund dessen sich das Phantom eines passiven Rezipienten und „quasi-aktiver“ ästhetischer Objekte so hartnäckig halten konnte. Ausgehend von gestalttheoretischen Überlegungen wird Gestalt als implizite, algorithmische Codierung begriffen. Neuere empirische Ergebnisse der „Neuro-Ökonomie“ postulieren einen Effekt der „kortikalen Entlastung“ (bei der Forschung nach der Wirkung von Marken). Der hier vertretene Ansatz verknüpft nun beide Aspekte und glaubt, daraus eine konsistente Theorie für die empirische Ästhetik des Alltags entwickeln zu können. Es muss jedoch ein weiterer Aspekt hinzu genommen werden, den Piaget „Dezentrierung“ nennt. Ästhetische Erfahrung wird dann definierbar als das Erlebnis eines Umcodierungs-Prozesses – oder genauer: als das Erlebnis einer dezentrierenden Gestalt-Integration durch das beobachtende System. Sowohl beobachtende Systeme als auch Gestalt-Integrationen sind in unserem Ansatz als multiple zu denken. Eine semiotische Differenzierung ist nun entscheidend: Die herkömmliche Informations-Ästhetik thematisierte nur die syntaktischen Aspekte des Stimulus, ohne den Beobachter in seiner aktiven Rolle zu begreifen. Gestalt-Integrationen samt deren dezentrierender Wirkung sind jedoch auch in semantischer und pragmatischer Hinsicht zu finden. Diese werden im Beitrag dargelegt. Denn erst so kann die Vielschichtigkeit ästhetischer Erfahrungen erklärt werden, wo z.B. syntaktische und pragmatische Aspekte konkurrieren können. Auch vordergründig destruktive Akte und Artefakte sind dann als Gestalt-Integrationen anderer Dimensionen oder differierender Bezugssysteme begreifbar. (Dies streift etwa auch Fragen der Ressourcen-Allokation.) Zudem muss die Kontingenz von Beobachtungs-Maßstäben, Wahrnehmungs-Modi, Struktur-Determinanten (des beobachtenden Systems) und kultur-semiotischen Prägungen mit in Betracht gezogen werden. Erst hierdurch wird der Möglichkeitsraum potenzieller Gestalt-Integrationen (der eigentlich aus einem präsentationalen und einem repräsentationalen Raum besteht) prinzipiell beschreibbar. Wenn auch die Probleme bzw. Grenzen der praktischen Durchführbarkeit entsprechender Analysen nicht unterschlagen werden sollen: Die Möglichkeiten entsprechen gut den Erfordernissen zur ästhetischen Analyse des menschlichen Alltages – schließen die Lebenswelten von nicht-anthropozentrischen Seinsformen aber wohl methodisch aus. Dieser Beitrag möchte ich primär eine empirische Ästhetik zur Diskussion stellen, die mir als Rahmen für die weitere Forschung sehr leistungsfähig erscheint. Und doch ist nichts weniger als ein theoriebildender Ansatz das Vorhaben. Eine der Konsequenzen aus diesem Ansatz ist die These, dass es sich bei Kants Diktum vom „interesselosen Wohlgefallen“ zwar für das Individuum um ein Apriori handelt, bei der Gattung Mensch jedoch evolutionär um ein Aposteriori. (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

This paper shows that philosophy and contemplation are integral parts of leisure and of a fully conscious educative experience. Through examination of the concepts of philosophy, the philosopher, and contemplation, it will be proposed that leisure is a necessary condition for philosophy and for education. To conceptually bring together philosophy and education with leisure, the act of teaching as “an overflow of contemplation,” following Yves Simon’s definition, will be considered. Supporting the philosophical view of education as constituting (...) an inward transformation of the individual, from which he or she can better regard the world and his or her place in it, a serious theory of education rooted on leisure is a timely and valuable idea to consider. (shrink)

Why do people read novels, go to the theater, or listen to beautiful music? Do we seek out aesthetic experiences simply because we enjoy them--or is there another, deeper, reason we spend our leisure time viewing or experiencing works of art? Aesthetics, the first short introduction to the contemporary philosophy of aesthetics, examines not just the nature of the aesthetic experience, but the definition of art, and its moral and intrinsic value in our lives. Anne Sheppard divides her work (...) into two parts: In the first, she summarizes the major theories defining art and beauty; in the second, she explores the nature of aesthetic evaluation and appreciation. As Sheppard explains, there are three main approaches to defining art, all focused on what art objects share. One proposes that all art imitates something in life, another that it expresses something (such as anger or ecstasy), still another suggests that all art has formal qualities. There is also a fourth which offers that all art shares the quality of beauty. In the second part, which concentrates on literary art, Sheppard explores such philosophic topics as critical judgment, meaning and truth in literature, and the relationship between art and morals. She raises such questions as whether there is one correct interpretation of a work of art and whether art has a moral effect on its audience and, citing specific examples, explores the views that have been put forth. A wide-ranging, intriguing book, which assumes no formal knowledge on the part of its readers, Aesthetics opens the door to a greater understanding and appreciation of art. (shrink)

The Texas borderlands have come to be increasingly important in the historical literature and in public opinion for the way that the region shapes national thought on race, borders, and ethnicity. With this increasing importance, it is pressing to examine the history of these issues in the region so that they may be accurately and insightfully deployed. This article contributes to the existing scholarship with a close discursive analysis of race in the booster materials, 1904-1941. The booster materials forge a (...) notion of race relations that borrows from tropes common across the West but is also informed by Jim Crow and the unique demands of the region. The booster materials forward a notion of race that is largely unique in Western boosterism, positing only two major characters, Mexicans and white Northerners. The figure of ‘the Mexican’ is drawn more as a part of nature than human society in that it shares the fundamental characteristics of the land, animals, and rivers of the region. Nature in the region is depicted as an adventitious, disorderly, and wasteful body that calls out for northern discipline. The ‘Northerners’ are figured as the ones who, through applying discipline to the natural resources of the area (land, water, and Mexicans) can bring reason, fertility, and profitable connection to the national economy. The consequences of this racial division are further explored in the article as they play out in schooling, religion, justice, beauty, leisure, and sport. (shrink)

In this paper, comparative philosophy from the point of view, accusing both the freedom of human existence is related to: human freedom is the freedom in the relationship, human relationship is the relationship in freedom. Today, however, are in a rapidly changing technology and globalization are shaping the technology products and among the diverse network of his freedom and development of their relationship. For me, if not free then there is no leisure at all, even the Bliss half a (...) day, lazy nothing, if not the hearts of freedom, can not be relaxed. This paper attempts to analyze the relationship between work and leisure, beyond the ancient Greek society and the modern discipline of social work and leisure are assumed binary opposition, and inquire for a more balanced point of view, to redefine humanity. I will be free, easy to create with pleasure and delight as the four leisure in the state of existence. Accordingly, we will discuss today are due to inhibition of the free course of commercialization and mechanization brought leisure life crisis. This will re-interpretation of Taoism into the spirit of art and technology in the Road and Freedom, by Taoist philosophy, some ideas to inspire today's humans, how the dynamic relationship among the ontology freedom to think and inquire, and practice the art of life through to achieve free life. From my philosophy of contrast, I understand human being today as both free and related, in the networks of multiple others and technical objects developed by science / technology and the process of globalization. For me, without freedom there is no leisure. By the mediation of technical objects today, human desire tends to develop in various networks of multiple others in order to gain its own freedom. This paper will analyse the relation between work and leisure, attempting to go beyond the presupposed dichotomy of work / leisure in both modern " disciplined society "and ancient Greek society, and to look for a more balanced view of their relation in redefining the nature of human being. This understanding will allow us to proceed to characterize the state of being in leisure as freedom, being-at-ease , creativity and joyfulness. An attempt will be made ​​to characterize the crisis of today's leisure life in reference to its commercialization and mechanicalization. Also, we will try to obtain some inspirations from Daoist philosophy as to the idea of freedom in the dynamic ontology of relationship with the Daoist art of life-praxis. (shrink)

This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

M'illumino/d'immenso - I'm lit/with immensity is Geoffrey Brock's translation of Giuseppe Ungaretti's poem Mattina. In the poem's minimalism, Ungaretti points to the maximal: the richness of poetry's expressive possibilities and the power of thinking in literature. This book addresses the fascination of readers to transcend the boundaries of their own in fiction, and literature's capacity, according to Kant, even to evoke, with the help of the development of aesthetic ideas, representations that exceed what is empirically and conceptually graspable - in (...) case studies about myths of creativity, images of death and the beyond after the 'death of God', of the soul, of melancholy as the dark ground of genius, of metamorphoses of both evil and good, of ecstasy, of the economy of self-sacrifice, of the art of resistance, and, among others, about figurations of biography and the portrait as approaches to singularity, what is particular and cannot be fully subsumed to any universality. (shrink)

Numinous spaces in British literature from William Wordsworth to Samuel Beckett -- Jesus figures in American literature from Ralph Waldo Emerson to Edward Albee -- Using Bakhtin's definitions to discover ethical voices in Solzhenitsyn and Tolstoy -- René Girard's categories of scapegoats in literature of the American South -- Hopkins's metaphysics of nature as sacred disclosure -- The book of job as mirrored in Hopkins's metaphysics -- Beckett's mythos of the absence of God.

Relationalität und Selbstdiskursivierung in den lebens -- und Sozialwissenschaften -- Selbstreflexion und Relationalität in der literatur.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 28.2 (2004) 324-341 [Access article in PDF] Charles Lamb: Professor of Indifference Tim Milnes University of Edinburgh Nothing puzzles me more than time and space, and yet nothing puzzles me less, for I never think about them.1 I The name of Charles Lamb—essayist, poet, and notorious punster—does not loom large in studies of the philosophy of the English Romantics. The reasons for this initially unsurprising fact (...) range from the personal and obvious to the cultural and curious. Tied for most of his adult life to a clerk's desk at the East India Company, and to the care of his mentally ill sister at home, Lamb was rarely permitted the leisure even to dally in the expansive visionary landscapes explored in the epic works of consciousness of his friends Samuel Taylor Coleridge, William Wordsworth and Robert Southey. And yet, as the 1810 quip to Manning recorded above suggests, his reluctance to engage with philosophy is not merely attributable to the straitened life of the journeyman scribe. Such a remark is quite typical of Lamb's conscious attempt, in the face of a culture increasingly driven by the dissemination of knowledge, to cultivate an imaginative space the reverse of the knowing or "philosophical." It is this attitude that makes him more, not less, interesting alike for the intellectual historian and the philosopher.Lamb's avowed carelessness about matters philosophical is as familiar to his readers as the persona of "Elia" adopted for the essays he wrote for the London Magazine in the early 1820s. It is also just as beguiling and intriguing. Lamb's resistance to philosophy and his epistemic insouciance both trade on the suggestion that the desirable mind is the [End Page 324] ironic mind, reflecting—or, perhaps, refracting—a transitional and forever "imperfect" subjectivity. Correspondingly, his essays frequently invoke figures of liminality, of being in two or more states at once: whether between dreams and consciousness in "Witches, and other Night Fears" (1821); past and present in "Distant Correspondents" (1822); truth and lies in "Imperfect Sympathies" (1821); or literal and figurative selves in the imponderable relationship between "Lamb" of "On Christ's Hospital" (1813) and "Elia" of "Christ's Hospital Five and Thirty Years Ago" (1820).2 Moreover, this self-styled figure of the writer as always between alternate and often contrary conditions, beliefs and identities—what Lamb termed his "bi-parted nature"—has itself become a stock descriptor among Lamb's commentators.3 It is not difficult, for example, to detect its presence in Coleridge's portrayal of his friend as "one hovering between earth and heaven,"4 as well as De Quincey's depiction of a sleeping Lamb as "the image of repose midway between life and death, like the repose of a sculpture."5 More recently, it has shaped Jane Aaron's exploration of his proclaimed "double singleness"6 and Seamus Perry's characterisation of his "borderland," "serious-non-seriousness."7Understandably, critics of a certain bent have sought to link these features of Lamb's work, arguing that the centrifugal properties of his writing display an aversion to categorical "difference" that is directly related to his suspicion of the dualisms of systematic belief-systems. Gerald Monsman, for example, argues that insofar as Lamb's essays undermine "all transcendental reconciliations or definitive closures," they "appear to be sly critiques of the central dogmas of romanticism."8 However, to class Lamb's writing as radically decentred or self-deconstructing is to miss the profound nostalgia it evinces at critical moments for a neutral ground and a sense of belonging. Lamb's indifference to knowledge, and to philosophy as the pursuit of certain knowledge, is constantly challenged by his fear of imaginative dissolution. Correspondingly, Lamb/Elia's indifferent location between the real and the fictive never quite manages completely to repress the desire for truth. And yet, "indifference," quite apart from being a term that both fascinated and repelled Lamb himself, aptly characterises both his attitude to philosophy and knowledge on one hand, and the liminal properties of his prose on the other. Freud provides a... (shrink)

In a dialogue whose precedents include Oscar Wilde's “Critic as Artist,” two fictional professors of English take up the relationship between aestheticism and quietism. Their conversation begins with a debate on the necessity of treating sociopolitical contexts when teaching literature then moves to connections among aesthetic experience, political disengagement, inactivity, and contemplation explored by Wilde, Miguel de Molinos, Aristotle, Hannah Arendt, Walter Pater, Arthur Schopenhauer, Johann Winckelmann, and others. Having described the influence of nineteenth-century science and determinism on Wilde's gospel (...) of inaction, as well as Pater's adaptation of the Winckelmannian view that people and things express their nature most truly when still, one speaker wonders whether aesthetic experience gains some of its significance from its affiliation with leisure. The other resists the idea that repose might constitute one of life's key desiderata, but notes at the close how both his own view and his interlocutor's are adumbrated in the Wallace Stevens poem that furnishes the dialogue its title. (shrink)

(1996). Surprise in literature. Angelaki: Vol. 1, No. 1, pp. 58-68.

In large and small villages, regardless of tourist attraction, cultural life is faded; people's initiative is low as urban migration is extremely high. Many ethnographic villagers do not realize that they live in a significant for the state areas. The younger generation is embarrassed by local traditions, folklore. The low level of aesthetic education, and the poor possibilities of organizing artistic celebrations for the younger generation make them the users of the lowest level of urban culture. The relevance of the (...) research: employees of Lithuanian rural culture centers - a group uniting almost three thousand people, invited to make sense of rural people's leisure time, to create conditions for the development of amateurism in small villages. 882 country cultural centers in villages, towns and cities are institutions of universal use or specific activities. Their work varies, depending on what traditions have formed, the ambitions of the district or eldership that local cultural and sports departments seek. You will not find a cultural center where they would not sing, dance, play, perform, or celebrate. Also, exhibitions are regularly opened. Obviously, more intensive activity takes place in metropolitan areas, district centers, and in resorts during the summer. As here there is more space, more culture and more communities. Village and town culture institutions that are constantly communicating with schools, libraries, religious communities, neighborhoods, and sports clubs are also gaining significant results. However, it is appropriate to move to specific data from the theoretical point of view. Those members of rural communities who go in for sport individually face health supervision problems. Inadequate attention is paid to the development of personal responsibility for one's health and the promotion of a healthy life: proper nutrition, active rest, less health-hazardous environment, abandoning harmful habits and etc. in an environment contrary to life in the countryside. It is important to develop a physically active and healthy society, consciously aware of the importance of a healthy lifestyle, to create a favorable environment for leisure time and sport and for the improvement of health of rural population, moreover, to increase the development of physical education and sports services in rural districts of Lithuania, to increase the quality of sports services, giving rural residents wider opportunities to meet their needs. The problem of the research: the lack of cultural and sporting services in rural communities. The analysis of the problem is based on scientific data of Aleksandravičius and Žukovskis, Baršauskienė, Leliūgienė, Kroeber A., Kluckhohn, Nefas, Paulikas, Adomonis, Putnam, Biologur, documents regulating the activities of rural communities. Methodology of the research: In order to achieve the goal, the analysis and synthesis of scientific literature, legal documents and other information sources and statistical data are used. The aim of the research: to reveal the factors of cultural and sports development in rural communities. Research objectives: to describe the development of cultural and sports services in the context of rural communities' activities; to identify the most significant factors in the development of cultural and sporting services in rural communities. Conclusion. Activities carried out by organizations of rural communities include a wide range of community needs, including the organization of cultural and sporting events, improvement of environmental management assistance, and others. As the main problems of rural community activities, the poor condition of rural social infrastructure objects are mentioned, therefore the process of establishment of community centers for the establishment of universal multifunctional centers is one of the significant tools for the development of rural communities and thus the development of cultural and sports activities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 19-30 [Access article in PDF] Bugged Out:A Reflection on Art Experience Christopher Perricone I used to enjoy art. Not all the arts equally. Overall literature spoke to me most clearly. I am not sure exactly why. I guess some combination of inborn and learned dispositions. Whatever is the case, my enjoyment of literature always seemed natural to me, since literature was of (...) a medium I already knew, the vocabulary and grammar of my own language. But I enjoyed paintings and musical pieces as well, some of which I shall never forget even though they have virtually faded from my life, from what I have become.I cannot say that I ever had a favorite artwork. I have always thought the idea foolish, reminiscent of children who think often in terms of favorites, whether colors, candies, or friends. However, there are some works that do stand out in memory, even though, as I say, I cannot bring myself to enjoy them now. They are ghosts whose forms are discernible, but whose flesh is long gone.I had read lots of literature. I even enjoyed the act and the atmosphere of reading. I remember the chair I sat in, the lighting, the room. I also used to love to wake up on weekends, eat a leisurely breakfast, and then get back into bed and read until noon. Of course the setting itself of reading was ultimately not crucial, it was merely a pleasant means of facilitating one's excursion into another world. It was the other world that counted. So many worlds. Of course, I entered joyfully the worlds of Shakespeare and Dante, which Harold Bloom recently has judged at the center of the Western canon, but I entered also lesser but personally not less significant worlds to which I was drawn. 1 I needed some tutoring in Shakespeare and Dante because they did not quite speak my language, my twentieth-century American tongue. I had trouble negotiating their worlds. However, I had none whatsoever when it came to the worlds of James Joyce, Wallace Stevens, William Carlos Williams, Graham Greene, Walt Whitman, T.S.Eliot, Herman Melville, Emily Dickinson, or Joseph Conrad. I was at home in these worlds, different [End Page 19] worlds, but nonetheless home. I loved Conrad's the "Heart of Darkness." For me this was one of the truly haunting tales. After my first reading of the "Heart of Darkness," I can honestly say, my life was changed. I neither talked nor walked the same. I moved among and around people and things differently. I saw myself differently both among others and when I would stand before my mirror alone. And subsequent readings brought about further changes, changes of my comportment in the world. I imagined that I saw, heard, touched, tasted, and smelled the details from the beginning of that story to its very end. I sat on the deck of the Nellie with Marlow, Conrad's character narrator, and his listeners. I watched with them as the sun went down over the Thames. I followed Marlow as he told the story of how he had "set off for the center of the earth," up the Congo perhaps where in his mind all human life had its source; how as he came closer to the center facts became less straightforward, the greed for ivory, the "flavor of mortality in lies," the hollowness of Mr. Kurtz, the final horror of it all. I sweated in the heat of the "Heart of Darkness." Like any experience of a masterpiece, the "Heart of Darkness" was a visceral experience for me. After such experiences one feels emotionally and physically drained. One feels comfort in thinking, as with a dream, it was not real. And yet there is a lingering discomfort: as it were no mere fantasy at all.I often had feelings of the same intensity and profundity in respect to painting and music. They, too, were worlds for me. I enjoyed the varioustouches of the painters. In particular, I enjoyed the gold, the... (shrink)

This volume contains a selection of nine essays with an interdisciplinary perspective. They were originally presented at the Sixth International Conference on Word and Music Studies, which was held at Edinburgh University in June 2007 and was organized by the International Association for Word and Music Studies (WMA). The contributions to this volume focus on self-reference in various systematic, historical and intermedial ways. Self-reference - including, as a special case, metareference (the self-conscious reflection on music, literature and other medial concerns) (...) - is explored, among others, in instrumental music by Mozart, Mahler and Satie, in the structure and performance of (meta-)operas, in operatic adaptations of drama and filmic adaptations of opera, as well as in intermedial novelistic references to music. The essays cover a historical range from the 18th century to the present and are of interest to literary and opera scholars and students, musicologists as well as all readers generally interested in medial self-reference and intermediality studies. (shrink)

Time allocation, whether considered at the level of the individual or of the society, is a major focus of public concern. Are our lives more congested with work than they used to be? Is society polarizing into groups which, on one side, have too much work and too little leisure time to spend their money in, and on the other have no paid work, and hence no money to pay for the goods and services they might wish to use (...) during their leisure? Has the recent convergence in men's and women's labour market roles led to an unfair distribution of the totals of paid plus unpaid work? These issues, and others similar, once the preserve of a few specialist sociologists and economists, now appear daily and prominently across the news and entertainment media.Yet there is surprisingly little substantive evidence of how individuals and societies spend their time, and of how this has changed in the developed world over the recent past. This book brings together, for the first time, data gathered in some forty national scale 'time-diary' studies, from twenty countries, and covering the last third of the twentieth century. It examines the newly emerging political economy of time, in the light of new estimates of how time is actually spent, and of how this has changed, in the developed world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 216-223 [Access article in PDF] Notes and Fragments Genre Fiction and "The Origin of the Work of Art" Nancy J. Holland I FIRST, A CONFESSION. Like, I suspect, many of my readers, I am an unpublished fiction writer. Unlike most of the closet fiction writers in academia, however, I write genre fiction. The question that immediately follows is how that writing is related to (...) the intellectual work I do in philosophy.This question, of course, is open to a broad range of answers, from the possibility that the two aren't related at all, to potential Freudian answers it might take years of therapy to unearth. Teaching informs one's life, however, as much as the reverse, and in teaching Martin Heidegger's "The Origin of the Work of Art" to my Metaphysics class last year, I began to understand at least one dimension of the appeal that writing genre fiction has for me as a philosopher.But first, let me explain what I mean by genre fiction. In what follows, I will be referring primarily to four forms of genre fiction that have clear roots in the nineteenth century in Western Europe and North America: two gender-segregated genres, the western and the romance, and two gender-marked genres, science fiction and detective novels. I will be comparing these to two other forms of "popular culture" that also developed in the nineteenth century and have, I would argue, similar relationships to the older, more "legitimate," more elite art forms which they closely resemble: photography 1 and popular music, [End Page 216] especially those forms of popular music such as ragtime, blues, jazz, and rock that are informed by the African-American experience in the United States. 2These "low brow" art forms all appear to have arisen out of the growth of the middle class in developing parts of the world during the nineteenth century and the correlative confluence of greater leisure, greater aggregate prosperity, and higher levels of education across a broader spectrum of society. Further, these art forms all combine the surface appearance of their respective "high brow" correlate arts with the reassurance of repetition that is the cornerstone of the folk arts with which they are also correlated. Each of these forms of popular culture balances itself, then, between a demand for more and more "works of art" (and/or class aspirations based on the appearance of such) and a demand for the familiar in a rapidly changing, materially challenging world.Thus, photography gives us a frozen and thereby purified visual reality, an icon of memory to which we can return at will. The truth it reveals is most often starker than that of folk painting and portraiture, but also gives the appearance of being free from the subjectivity of the artist. Great iconic photographs such as the kiss on V-E day, I have heard it said, become more real than the reality they encapsulated.Popular music similarly combines often amazing musical complexity (which is not unknown, although rarer, in western folk music) with the reassurance of a form that not only repeats itself within a song, but also between songs of the same genre. Thus, blues can be recognized by both the minor chords in its melodies and the characteristic rhyme pattern of its lyrics. Moreover, most western popular music, even to some extent free-form jazz, has a familiar and reassuring beginning-middle-end structure, both melodically and dynamically, that locates a listener immediately within the song's "story-arc." 3This same beginning-middle-end structure is one clear hallmark of genre fiction. Another is repetition. We all immediately know the plot of a detective novel or science fiction adventure: where it will begin, what the key stages of the story will be, and how it will end—not just happily, but with a specific form of reassuring outcome, be it the victory of well-intentioned intelligence over cunning evil or humanity's ability to survive even the most alien (and so most familiar) of threats. At... (shrink)

The article is based upon the following starting position. In this post-modern time, it seems that no scholar in Europe supports what is called “Enlightenment Project” with its naïve objectivism and Correspondence Theory of Truth1, - though not being really hostile, just strongly skeptical about it. No old-fasioned “classical” academical texts; only His Majesty Discourse as chain of interpretations and reinterpretations. What was called objectivity “proved to be” intersubjectivity; what was called Object (in Latin and German and Russian tradition) now (...) is related to as a phenomenon; what was called Subject either is looked upon as Cartesian “cogito” or disappeares at all; what was called Truth turned to be either method of demonstration (by positivists) or the author’s sincerity (by existentialists); what was called Essence is now merely a joke. Alternatively, we speak about Sense, Meaning, and Value. (shrink)