In this paper we examine the concept of waiting from a phenomenological point of view. In order to do so, we start with a definition from Andreas Göttlich and contextualize it within the theoretical framework provided by Alfred Schutz, Thomas Luckmann and Peter L. Berger. Additionally, we discuss waiting on the basis of our previous research, specifically within the context of a field extract from an earlier life-world analytical ethnography on the parents of pre-adolescent, non-professional soccer players. The field vignette (...) depicts a mother who has problematic possibilities of conflicting preferences due to the apperception of her soccer playing child, who was injured during the match. This negotiation within projects of action will be outlined as a specific facet of waiting. (shrink)

Pour l'A., il n'existe aucune preuve tangible qui permette de relier la proskynèse et les segmenta. La description la plus complète de la proskynèse est disponible dans le traité de Constantin VII Porphyrogénète, le De cerimoniis, qui est un récit du cérémonial de la cour byzantine à son apogée. Andreas Alföldi a suggéré que l'introduction du rite du baiser du genou de l'empereur impliquait la présence de morceaux de tissus sur les vêtements de l'empereur au niveau du genou. Ces segmenta (...) n'apparaissent pas exclusivement sur les vêtements impériaux. (shrink)

Bu makale, Osmanlı siyaset düşünce geleneğinde fazilet temelli kendine has ılımlı bir siyasî realizmin var olduğunu savunmaktadır. Günümüz siyasî realizm literatürü ve Osmanlı fazilet ahlâkına dayalı karşılaş- tırmalı metotla, siyasetin mahiyeti ve insanın doğasına dair realist unsurları teşhis etmeden Osmanlı siyaset düşüncesinde ahlâkî argümanların siyaseti, devlet fikrini ve kurumları nasıl inşa ettiğini anlayamayacağı- mızı iddia ediyorum. Osmanlı fazilet ahlâkı geleneğinde ahlâkın her şeyi kapsadığına dair kanının aksine siyasetin mahiyeti itibariyle tekil, değişken, ahlâktan bir ölçüde bağımsız bir gerçeklik olarak anlaşıldığını gösteriyorum. (...) Bununla bağlantılı olarak Osmanlı siyaset düşünce geleneğinde fazilet ahlâkından gelen in- sanın acziyeti anlayışının, siyasî aktörleri ve eylemleri değerlendirmede onu realist yapan unsur olduğunu ifade ediyorum. Son olarak ahlâkın kapsamı ve siyasetin mahiyetini (gerek birbirleriyle olan ilişkileri açı- sından gerekse de birbirlerinden bağımsız olarak varlıklarını) açıklamada tümeller probleminin nasıl bir rol oynadığına işaret ediyorum. Tümeller probleminin siyaset ve ahlâk arasındaki karmaşık ilişkiye dair getirdiği analitik ayrımları ılımlı siyasî realizmin kaynağı olarak sunuyorum. (shrink)

This article presents a novel perspective, arguing for a virtue-based weak version of political realism in Ottoman political thought (OPT). By recognizing realist elements in human nature and poli- tics in OPT tradition, we can gain a deeper understanding of the place of morality in politics. Challeng- ing the common sense understanding of morality that pervades all areas of politics, this paper provides compelling evidence to show how the understanding of the nature of politics in OPT was ever-chang- ing, singular, (...) and, to a certain extent, free of morality. This unique framing of politics and human na- ture in the OPT tradition makes it a realist one. Finally, I delve into the role of universals in explaining the intricate relationship between politics and morality through various analytical distinctions. (shrink)

Music performance anxiety is a commonly present topic among musicians. Most studies on MPA investigated effects of a more general occurrence of MPA on performances. Less is known about individual variations of MPA within a performance, more specifically at the times before, during, and after the performance. This study used a questionnaire to investigate these performance times in order to find out if there occur different types in the variation of the perceived MPA across the performance. The study was performed (...) with 532 musicians; 27% of them being professional orchestra musicians, 45% non-professional orchestra musicians, and 28% non-professional choir singers. The musicians were asked to fill in the Performance-specific Questionnaire for Musicians immediately after a performance. The questionnaire contains three scales regarding symptoms of MPA, functional coping with MPA and performance-related self-efficacy. A cluster analysis was performed on the PQM scales to identify systematic variations. Findings indicate that there are three different types of MPA in the sample studied. Type 1 describes musicians who have few symptoms of MPA throughout the performance, show functional coping with MPA, and have a stable and well-developed self-efficacy. Type 2 describes musicians who begin their performance with rather high symptoms of MPA but can positively reduce these by the end of the performance and show high values in self-efficacy and in functional coping. Type 3 contains musicians who begin their performance with some symptoms of MPA, which increase to the end of the performance. The values of self-efficacy and functional coping in this type are rather low. Of the total sample, half of the musicians were assigned to Type 1 and approximately a quarter each to Type 2 and Type 3. In accordance with the literature, the results confirm the importance of self-efficacy and functional coping for a positive performance experience. (shrink)

It has long been the habit of philosophers, and is still a common failing of ordinary playgoers, to see tragedy through the coloured spectacles of an acquired philosophical or religious outlook, and to commend or condemn rather from the standpoint of partiality for a certain view about life in general than from that of one assessing the intrinsic merits of a work of art. Because we all, whether laymen or specialists, theorize about the nature and destiny of that mysterious universe (...) which, for a brief span, our minds illumine, and because the working hypothesis so engendered is inevitably tinged by our personal idiosyncrasies of temperament and taste, there have been—and, building on such a foundation, there must be—almost as many different theoretical explanations of the tragic as theoreticians speculating on this high theme. Besides introducing that personal equation which has always been anathema to science, the distorted vision for which philosophical preconceptions are responsible brings with it minor illusions that are scarcely less injurious; the reading into a play or a novel of notions that had never entered the poet's brain, or the interpolation of history with incidents that never really occurred, the discarding of much that is genuinely tragic because it happens not to fit into the mould shaped by our own ideas, and the acceptance of much that is not merely untragic, but actually inartistic—pacifist, or communist, or feminist, or religious propaganda—because it happens to display the native hue of our own convictions. (shrink)