Bøger udgivet af Mimesis International

Choosing, deciding and changing constitute the common thread of everything that we want and that we do. The deep transformation of all social system, in all its dimensions has profoundly resented of the diverse possibility or in other respects, of the absence of possibility, precisely of choosing, deciding and changing.

The conservation of the working and living spaces of the faber, artists, designers and architects, have been receiving increasing attention in recent years. Starting from theoretical considerations and the analysis of international case studies, this book proposes a reflection on design-oriented strategies for the enhancement of these places.

This book provides a lucid and accurate analysis of European and American social contexts where the socio-political debate is dominated by neo-nationalist instances.

This is a book about how the worlds of design and activism (could) inspire each other.

Pop music meets the media... This issue is dedicated to a social and cultural phenomenon that we could call the ¿mediatization of pop music¿. With a particular focus on the 1960s and 1970s, it is our contention that these two decades significantly shaped our current mediatized culture both in its form and content. Since then, instead of political or confessional organisations, it was popular media and music that offered the contact point between public and private spheres, between the personal and the political, and this shift should be reconsidered as a focal trope in modern culture. We hope to widen the notion of mediatization by highlighting a range of historical processes that have had phenomenological after-effects: the experiential prototypes that were developed during this pivotal period later became persistent paradigms, and paved the way for the mediatized world we still live in.

Globalization Populism and the Six Contradictions Facing the European Union.

In every psychic experience, even in the production of a work of art, there exists a nucleus that is impossible to transform. It resists any and every action against itself. We are used to dealing with these irreducible and radical othernesses by adapting them to our own way of knowing and our experience. In reality, they make up the ugly material of our living and, hence, of our humanity. We can, however, transform them in some way, without altering their substance, but rather organizing them in different configurations, which generate new forms. Psychoanalysis can aid in this difficult and risky process, providing resilient equipment, much like a sophisticated spacesuit, allowing one to travel the cosmic spaces of psychic life and of human reality without bursting into flames. In the actual world, we find ourselves having to deal with problems never before encountered, which eradicate old certainties ¿ problems which feel uncanny compared to the known experiences of ourselves and others. We meet with disorganized and fragmentary conflict, to which psychoanalysis attempts to answer adopting an open, non-defensive procedure, aiming to widen the field of experience rather than reducing it, in accordance with the basis of its practice and theory.For this reason, the interweaving of various forms of knowledge is necessary in order to link the diverse aspects and levels of psychic and external reality. The author examines this theme through the psychoanalytic approach, as well as through philosophy, science and art, and using stories based on personal life and clinical experiences.

The 20th century witnessed the collapse of the traditional separation between the realm of 'official' culture and that of 'popular' entertainment. This event produced dramatic consequences at all levels of social life in the West, especially in the English-speaking context.

At the end of the last century, the so-called "new technologies" started to question the process of design, production, sales and consumption through a radical change, which today re-defines many concepts both in industry and every-day life. The notion of "size" ¿ a cross-cutting term in the cultural and creative sector ¿ has gone through a phase of crisis from which it is now re-emerging, enriched with new meanings and possibilities. To re-define this complex term, the authors of the book have observed the path of audiovisual products and social media, fashion, everyday objects, architectures and cities, and identified in each of these fields elements of continuity, breaking points with the past as well as future alternatives. In this collection of essays, the authors adopt an interdisciplinary approach overcoming the boundaries of their discipline. Through different perspectives this volume presents and develops new paradigms that explain the complexities of the contemporary era and its new "sizes".

In recent decades crime fiction has enjoyed a creative boom. Although, as Alison Young argues in her book Imagining Crime (1996), crime stories remain strongly identified with specific locations, the genre has acquired a global reach, illuminating different corners of the world for the delectation of international audiences. The recent fashion for Nordic noir has highlighted the process by which the crime story may be franchised, as it is transposed from one culture to another. Crime fiction has thus become a vehicle for cultural exchange in the broadest of senses; not only does it move with apparent ease from one country to the next, and in and out of different languages, but it is also reproduced through various cultural media. What is involved in these processes of transference? Do stories lose or gain value? Or are they transformed into something else altogether? How does the crime story that originates in a specific society or culture come to articulate aspects of very different societies and cultures? And what are the repercussions of this cultural permeability?

Since the middle of the twentieth century, visual art has displayed an ambivalent nature, torn between the poles of abstractionism and realism, conceptual and postmodern, classicist nostalgia and the violent provocation for its own sake. This essay builds an argument in favour of tracing a different path for the visual arts, in which art might be able to recover its fullness and universality. The artists analysed in this volume ¿ starting with Hopper and Balthus, singled out as precursors ¿ appear to be following this shared path, even though they belong to different generations. Perhaps for this reason, they have for the most part been misunderstood by their contemporary critics. As in the art of Ancient Greece or the Middle Ages abstract tensions that intensify the visual field can bring simple figures to life, radically changing their meaning. This is a ¿sunniness¿ that is akin to the Claritas with which Medieval scholastics indicated the splendour of the works of their times. We¿ll have to undertake a tireless process of exercising our perceptions, if we wish to be able to grasp its basic aesthetic quality.

Socialization in childhood and at a young age is marked, not only by measurable factors such as age, sex, ethnic group, religion or parents¿ income, but also by variables such as depression, aggressiveness, inner calm or serenity. It makes all the difference whether a child experiences during their development an atmosphere of acceptance, gladness and emotional warmth, or one of depreciation, indifference and emotional coldness. The atmosphere in which a child is brought up shapes them as people, at least as much as the measurable factors of their social context. By discussing in detail how the atmosphere in the family, the kindergarten or at school can affect a child¿s well-being, this book calls for the importance of shaping such atmospheres so to produce a positive influence on children living and learning together.

The complex relationship between life and the arts has always been a crucial topic in philosophical discourse. The essays in this book discuss fundamental issues of modern and contemporary aesthetics, drawing upon the work of the French philosopher Jean- Pierre Cometti, a key figure in the studies of aesthetics, pragmatism, and Austrian philosophy. The volume covers a wide-range of topics, from the examination of fundamental principles of art and literary criticism to a new understanding of the Modernist notion of art. It proposes an anthropological aesthetics using Musil¿s The Man Without Qualities or the analysis of literary characters such as Tolstoj¿s Hadji Murat and Cervantes¿ Don Quixote as a tool to cast light on themes in Wittgenstein¿s philosophy. Editors Carla Carmona and Jerrold Levinson have brought together renowned voices in the field of philosophy to offer a window onto Cometti¿s philosophical work, as well as an in-depth analysis of contemporary artistic and aesthetic practices, in an effort to overcome what can sometimes appear as a gulf between art and life.

Atmospheres are omnipresent and they are frequently used in everyday language. Yet, when do we perceive atmospheres and how can we explore them? The concept of atmosphere extends aesthetics to aisthesis and comprehends perception as a relation bound to the present and with regard to others. In this context, the astonishing atmosphere is identified as a watershed moment when the object of perception becomes the object of discourse. Surveying Benjamin¿s definitions of aura, one becomes aware of two modes of perception, which are crucial for the understanding of atmospheres. The ¿atmospheric portfolio¿, therefore, provides for the possibility to explore the particular features of the phenomenon. It is a collection of studies and research methods, which, on the one hand, reflects on the terms and concepts, and, which, on the other, allows for exemplary experiments of the empirical approaches to the phenomenon.

The essays in this collection explore the construction and transformation of self image through the encounter between East and West from a variety of disciplinary approaches.

Philosophical News is the official publication of the European Society for Moral Philosophy. It is a semi-annual journal of philosophy born from the collaboration of a number of international scholars as well as an intense editorial effort. The aim of the journal is to promote research and reflection with special regard to the contemporary debate in all its different cultural manifestations.

The essays contained in this volume explore the historical trajectories along which the Mediterranean has been conceptualized as a cultural, religious and economical resource and how these various aspects are intertwined.

How can we restore fundamental values on a political and cultural level? Taking this question as a starting point, the book identifies the notion of sociological imagination as a suitable method to address the widespread disorientation within the human and social sciences. In particular, the three essays included in this volume focus on the role of sociology as a tool to achieve a constructive representation of reality. Through a sharp analysis of the current, growing dismissal of cultural structures and the lack of an ethical view in the interpretation of social phenomena, the author offers new perspectives in order to recover authentic human commitments that are able to re-establish meaningful relationships between people.

Intertwining will be the first architectural magazine to explore the intersections between the humanities and the empirical sciences, especially between the "art of building" (Baukunst) and cognitive neuroscience.

Montage, today, is a widespread procedure that doesn't concern just artistic production, but also our daily lives and the use everyone makes of that huge visual archive contemporary media places at our disposal.

This study is led by the overarching idea that a precise metalanguage should be required when intending to critically talk about translations as texts. Due to the lack of communication between the translation industry and academic research, on the one hand, the notions heralded by Translation Studies are regarded as ¿parochial,¿ ¿too technical¿ and ¿academic¿ by professionals (a category that includes editors, proof-readers, translation agencies and all the other figures working in the translation industry), who oftentimes prefer to rely exclusively on their own experience; on the other hand, scholars sometimes fail to make their findings accessible to whole community of practitioners. This book intends to provide a practical, flexible and accurate model to be used when discussing translations. The model will be tested against a case study, i.e. the translations of Joseph Conrad¿s The Secret Sharer into Italian, which also provides an interesting overview of translation practices in Italy from the 1940s onwards.