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Critique, and especially radical critique of reason, is under pressure from two opponents. Whereas the proponents of "post-critical" or "acritical" thinking denounce critique as an empty and self-righteous repetition of debunking, the decriers of "post-truth" accuse critique of having helped to bring about our current "post-truth" politics. Both advocate realism as a limit critique must respect, but Vogelmann defends the claim that we urgently need radical critiques of reason because they offer a more precise diagnosis of the untruths in politics the two opponents of critique are rightfully worried about. Radical critiques of reason are possible, he argues, if we turn our attention to the practices of criticizing, if we refrain from a sovereign epistemology, and if we pluralize reason without trivializing it. In order to demonstrate the diagnostic advantage of radical critiques of reason, he briefly analyzes the political and epistemic strategy at work in two exemplary untruths in politics.
In June 2016, the Norwegian Programme for Capacity Development in Higher Education and Research for Development (Norhed) hosted a conference on the theme of 'knowledge for development' in an attempt to shift the focus of the programme towards its academic content. This book follows up on that event. The conference highlighted the usefulness of presenting the value of Norhed's different projects to the world, showing how they improve knowledge and expand access to it through co-operation. A wish for more meta-knowledge was also expressed and this gives rise to the following questions: Is this way of co-operating contributing to the growth of independent post-colonial knowledge production in the South, based on analyses of local data and experiences in ways that are relevant to our shared future? Does the growth of academic independence, as well as greater equality, and the ability to develop theories different to those imposed by the better-off parts of the world, give rise to deeper understandings and better explanations? Does it, at least, spread the ability to translate existing methodologies in ways that add meaning to observations of local context and data, and thus enhance the relevance and influence of the academic profession locally and internationally? This book, in its varied contributions, does not provide definite answers to these questions but it does show that Norhed is a step in the right direction. Norhed is an attempt to fund collaboration within and between higher education institutions. We know that both the uniqueness of this programme, and ideas of how to better utilise the learning and experience emerging from it, call for more elaboration and broader dissemination before we can offer further guidance on how to do things better. This book is a first attempt.
Der Leiter des ethnografischen Bildarchivs und Mitherausgeber der Studien zur Kulturkunde Dr. Richard Kuba und die Kunsthistorikerin und Mitarbeiterin des Frobenius-Instituts Dr. Hélène Ivanoff sprechen mit Hadi Khatib Slgini, Student der Ethnologie an der Universität Frankfurt, über das von ANR und DFG geförderte „Anthropos-Projekt“.
Sind Meinungs- und Wissenschaftsfreiheit an den Universitäten gefährdet? Darf nicht mehr oder nur noch eingeschränkt über bestimmte Themen gesprochen werden? Präsidium und Studierende der Goethe-Universität hatten im Rahmen der Reihe »Diskursraum – Wissenschaft in Geschichte und Gesellschaft« einen Diskussionsabend im Bibliothekszentrum Geisteswissenschaften organisiert. Im so genannten »FishBowl«-Format war das Publikum eng eingebunden und konnte so die Möglichkeit nutzen, eigene Ideen und Anmerkungen einzubringen.
Gefährdung der Meinungsfreiheit? : Fragen an den Wissenschaftssoziologen Prof. David Kaldewey
(2019)
Nesse ensaio pretendemos apresentar aquilo que entendemos ser o estatuto teórico da Teoria Crítica e, a partir disso, explorar o diálogo que Jürgen Habermas faz com essa tradição. Através da apresentação das proposições de Max Horkheimer, Theodor Adorno e Herbert Marcuse, pretendemos evidencias como Habermas tem assumido o compromisso ético-político pela transformação social e pela emancipação humana que caracteriza o projeto frankfurtiano desde a primeira geração, assim como por meio da crítica aos antigos mestres elabora a ampliação do significado da racionalidade a partir de um novo marco de interpretação, para além da redução à razão instrumental. Finalmente, com essa discussão poderemos assinalar como sua proposta para a Teoria Crítica oferece elementos imprescindíveis para a contrução de uma Psicologia Social Crítica.
Neste artigo, propõe-se uma confrontação entre a teoria dos signos de Gotthold E. Lessing, tal como exposta em Laocoonte ou sobre as fronteiras da pintura e da poesia (1766), e os dois ensaios de Theodor W. Adorno sobre as relações entre música e pintura (de 1950 e 1965). Pretende-se, com isso, demonstrar a presença decisiva de elementos da estética clássica alemã no pensamento adorniano do pós-guerra; em particular, observa-se o modo pelo qual a teoria racionalista de Lessing atua na abordagem dialética adorniana a respeito da irredutibilidade formal dos meios artísticos e das possibilidades de sua convergência. À luz de tal confrontação, discutem-se, em um segundo momento do artigo, os temas da conferência de Adorno de 1966, A arte e as artes, que, em certa medida, consubstancia a discussão dos ensaios anteriores sobre música e pintura. Assinala-se, nesse contexto, a continuidade da posição teórica de Adorno e se apresentam as diferenças entre o processo de pseudomorfose e o de imbricação (Verfransung) dos meios artísticos, segundo o filósofo.
This article is an inquiry into the concept of metaphysical experience through a joint discussion of two authors and philosophers with different approaches that nevertheless converge in the reclamation of the concept and rely both on the experience of death as an example. In both cases, the authors are guided by the central problem of how not to relinquish metaphysical experience to unscrutinized immediacy or a powerful conversion which enjoins subjection, putting it in contact with aesthetics and ethics at once. Theodor Adorno situates metaphysical experience as a problem of philosophy of history and devotes attention to the contemporary possibility of experiences that evoke transcendence. The transformations he identifies in the concept also lead him to propose art as a domain where metaphysical experience is alive. The implicit personal investment Adorno makes is much more clear in Lacoue-Labarthe who, in a dialogue with Maurice Blanchot, shows the experience as deeply bound up with literature and its links to subjectivity. The article argues that the main difference between the two approaches is modal and temporal from the side of the object, aside from the different modes of interrogation recognized with the labels deconstruction and critical theory.
This essay focuses on the relationship between solipsism and aesthetic subjectivity, as outlined in Adorno’s Aesthetic Theory. As he mentions, according to dialectical materialism, solipsism gained actuality within (radical) modernism as general “standpoint”, realized in atomistic society through “reified division of labor”. This also applies to artistic production. At the same time, solipsism constitutes a long standing philosophical hypothesis, which concerns the truth value of perception, thus imitating the “subjective point of reference in art”. Therefore, Adorno’s brief statements on the relationship between epistemological solipsism and immanent artistic subjectivity designate different phenomena under the same heading; these concern sociological, cognitive and existential aspects of artistic creation and aesthetic experience, sedimented in the artwork’s content. However, he often undertakes abrupt conceptual transitions within them. In this essay, I mainly focus on the cognitive aspect, especially on the relationship between solipsism and art’s “subjective point of reference”. For this purpose, I reconstruct Adorno’s relevant ideas on the role of subjectivity within art and relate them to his elaborated analysis of the process of aesthetic experience. Finally, I scrutinize the value of this non-apodictic truth and its relationship to particular aspects of “truth-content” and to Adorno’s redemption of the artwork’s fragile ontological status, its semblance character.