Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Fashion: Seductive Play
In Germany, 1969, Eugen Fink's Fashion: Seductive Play was published. This first English language edition, updated with an introduction by Stefano Marino and Giovanni Matteucci, makes available Fink's philosophical investigation into fashion to an English-speaking audience. One of the greatest figures in the “phenomenological movement,” Fink here investigates fashion at various philosophical levels - aesthetic, ethical, social - and in relationship to other forms of human culture, especially contemporary culture. Although there have been many transformations and changes in the world of fashion since the late 1960s, from prêt-à-porter to fast fashion, fashion's connection to both high culture and popular culture, and the new relationship between fashion and the advent of social media, Fink's insights allow wide-ranging and far-reaching inquiries into fashion's philosophical essence. Fink's extraordinary lucidity and his unique conceptual capacities have made his work crucial to the study of the philosophy of fashion today. His work, like that of Simmel's, Veblen's or Benjamin's, is as essential and important now as when it was first published.
Philosophical Perspectives on Fashion
Machine generated contents note: -- 1. Introduction: The Concept of Fashion: -- - A Philosophical History of Fashion -- - Fashion as a Conceptual Constellation -- Giovanni Matteucci and Stefano Marino 2. Fashion Criticism, Lars Svendson 3. Embodying Style, Richard Shusterman 4. Charles Darwin and Aesthetics, Winfried Menninghaus 5. Anti-Fashion, Fashion as Opposed to What?, Nickolas Pappas 6. The Changing Face of Fashion, Elena Esposito 7. Thought Without Concept: Carol Christian Poell's Paradoxical Aesthetics, Christian Michel 8. Fashion for Fashion's Sake in an Age of Shallowness, César Moreno. Marquez.
Discipline Filosofiche (2016-2)
Sommario: Giovanni Matteucci, Stefano Marino, Presentazione • Stefano Marino, Giovanni Matteucci, The Dark Side of the Truth. Nature and Natural Beauty in Adorno • Josef Früchtl, Tell Me Lies, and Show Me Invisible Images! Adorno’s Criticism on Film – Revisited • Tom Huhn, The Enigma of Experience; Art and Truth Content • Giuseppe Di Giacomo, Form, Appearance, Testimony: Reflections On Adorno’s Aesthetics • Samir Gandesha, Adorno’s Reading of Endgame: Between Autonomy and Authenticity • Fabrizio Desideri, Ratio, Mimesis, Dialectics: On Some Motifs in Theodor W. Adorno • Giovanni Zanotti, Contingent Antagonism. A Key to Adorno’s Dialectic • Paolo A. Bolaños, The Promise of the Non-Identical: Adorno’s Revaluation of the Language of Philosophy • Filippo Costantini, Cosa mostra la dialettica? Contraddizione, negazione e non identità in Hegel e Adorno • Giacomo Fronzi, Dialettica negativa, metafisica e intersoggettività. Una lettura relazionale del pensiero di Th.W. Adorno • Pietro Terzi, Critica e decostruzione dell’immediato. Adorno e Derrida di fronte a Husserl
ZoneModa Journal 03
None
Landscape Aesthetics
The notion of landscape typically seems innocuous, associated with leisure and contemplation. Likewise, aesthetics is often seen as apolitical, a matter of subjective tastes and preferences. This book challenges the common understanding of these categories as disengaged and demonstrates how uniting landscape studies and philosophical aesthetics opens new ways of addressing both the environmental crisis and the crisis of the humanities. Alberto L. Siani argues that the concept of landscape helps us overcome deeply ingrained oppositions, such as nature and culture, spirit and flesh, or the environment and the human. Landscape represents the intersection of these categories and therefore provid...
The Extended Theory of Cognitive Creativity
This edited volume focuses on the hypothesis that performativity is not a property confined to certain specific human skills, or to certain specific acts of language, nor an accidental enrichment due to creative intelligence. Instead, the executive and motor component of cognitive behavior should be considered an intrinsic part of the physiological functioning of the mind, and as endowed with self-generative power. Performativity, in this theoretical context, can be defined as a constituent component of cognitive processes. The material action allowing us to interact with reality is both the means by which the subject knows the surrounding world and one through which he experiments with the ...
Discipline Filosofiche (2018-2)
Anna Bortolan, Alessandro Salice, Introduction • Matthew Ratcliffe, Depression, Self-Regulation, and Intersubjectivity Fredrik Svenaeus, Why Heideggerian Death Anxiety is not Truly Uncanny: Existential Feelings and Psychiatric Disorders • Mads Gram Henriksen, Borut Škodlar, Varieties of Emotions: A phenomenological Exploration of Guilt, Shame and Despair in Depression and Schizophrenia • Caterina Maurer, Esperienza affettiva e patologie dello spirito nell’Anthropologie hegeliana • Anastasia Philippa Scrutton, Depression and aesthetic experience: can people with depression appreciate beauty? • Matthew R. Broome, Lisa Bortolotti, Affective Instability and Paranoia • Juliette Vazard, Epistemic Anxiety, Adaptive Cognition, and Obsessive-Compulsive Disorder • Shaun Gallagher, Bruce Janz, Solitude, Self and Autonomy • Moujan Mirdamadi, A Phenomenological Account of Emotional Experiences in Depression among Iranian Patients • Mary Edwards, Acute Gendered Shame Demystified Joel Krueger, Giovanna Colombetti, Affective affordances and psychopathology
