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The aim of this paper is to analyze the concept of body developed by Luhmann's systems theory. Privileged places where one can look for the body will be the interpenetration between human beings and the concept of socialization. Another fundamental problem is the relationship between semantics and body, although the most explicit presence of the body in this theory comes with the concept of symbiotic mechanisms or symbols. The last place where this enquiry will look for a bodily reference are emotions, which were highly ignored by Luhmann. Alternative approaches explored in the paper are treating the body as a structure, as a medium or as an internal environment.
In recent years, there have been prominent calls for a new social contract that accords a more central role to citizens in health research. Typically, this has been understood as citizens and patients having a greater voice and role within the standard research enterprise. Beyond this, however, it is important that the renegotiated contract specifically addresses the oversight of a new, path-breaking approach to health research: participant-led research. In light of the momentum behind participant-led research and its potential to advance health knowledge by challenging and complementing traditional research, it is vital for all stakeholders to work together in securing the conditions that will enable it to flourish.
Im Anschluss an die globale Finanzkrise von 2008 lässt sich in vielen deutschen Städten eine neue Welle der Gentrifizierung beobachten. Am Beispiel des traditionellen Arbeiterviertels Gallus in Frankfurt am Main zielt der Beitrag darauf ab, die gegenwärtigen Verdrängungsprozesse aus dem spezifischen Zusammenspiel von stadtpolitischen Aufwertungsbestrebungen und immobilienwirtschaftlichen Verwertungsstrategien zu erklären. Vertreten wird dabei die These, dass die Frankfurter Stadtpolitik, entsprechend ihrer neoliberalen Ausrichtung, im Gallus jahrelang Gentrifizierungsprozesse und die Entstehung einer Ertragslücke zwischen gegenwärtiger und potenzieller Verwertung aktiv gefördert hat – letztere aber erst jetzt im Zuge der Krise an Relevanz gewinnt. Nahezu idealtypisch kann man daher anhand des Gallus zeigen, dass Gentrifizierung wesentlich von lokalen politischen Kräfteverhältnissen abhängt, wobei der Rhythmus jedoch von immobilienwirtschaftlichen Verwertungszyklen diktiert wird.
Adorno’s negative dialectics wants to free the thought from the dictates of the system, taking position against the illusion to grasp the essence of reality by logic. Against that false idea of totality, Adorno devises a philosophy of fragment, a logic of disgregation that presupposes a different concept of totality: a fragmented, scattered and conflicting wholeness. The anti systematic thinking of Adorno is configured, however, as a systematic rejection of any systematic formulation: philosophy can at most claiming a pretension to truth by the practice of interpretation. A dialectic configuration of fragments of totality is at stake here: so, the arrangement of such fragments can both produce an image of reality endowed with meaning and also unfold through heterogeneous combinations that are not definitive, but always renewable from time to time. In Adorno’s reflection are so expressed two different instances which are complementary at the same time: on the one hand it represents the critical and negative element against the system and its hybris, on the other hand it expresses the need of the thought to go beyond and overcome that fragmentation, showing how the need of unity of the system is a need of the thought in itself.
Il saggio propone una ricostruzione critica della concezione di impegno e di politicità della letteratura formulate da Brecht e da Adorno. Concezioni opposte che possono essere considerate le formulazioni più efficaci delle due posizioni predominanti nel dibattito estetico del Novecento.
Adorno fonda la politicità della letteratura sulla sua autonomia e sulla liberazione della forma. La politicità dell’arte scaturisce per lui dal rifiuto della discorsività, dalla aggressiva sottrazione del senso, dalla esposizione del negativo. La sua è una concezione dell’impegno elitaria che subordina il discorso artistico a quello filosofico. Brecht fonda la possibilità politiche della letteratura sulla consapevolezza della medialità dell’esperienza. Può essere rivoluzionario solo l’autore che ha riflettuto sulle mediali condizioni della propria produzione e produce opere che non sono espressione di una soggettività ma lavoro alla trasformazione e al cambiamento di funzione dei dispositivi mediali e delle istituzioni in cui agisce.