This volume is a portfolio of eighty-four works by fifty-six artists have been acquired by George Rickey as part of his study of the 20th century non-objective art movement which he has discussed under the general heading of "Constructivism," a word invented by Russian artists during the First World War. Constructivism was an artistic and architectural philosophy that originated in Russia beginning 1919, which was a rejection of the idea of autonomous art in favor of art as a practice for social purposes. Constructivist work is, in general, geometrical and non-mimetic.
Psychotherapy has undergone major changes in recent years, with a variety of new approaches including cognitive-behavioural therapy joining the more traditional and widespread schools of thought. These new approaches all share the epistemological assumption of constructivism, which states that there are alternative ways of looking at events and that we interpret events according to how we see the world. Constructivist Psychotherapy reviews the constructivist trends in psychotherapy which link these new approaches, allowing the reader to enter an entirely new dialogue. The book traces constructivist thought, elaborating on Kelly’s personal construct theory and the implications for psychotherapeutic theory and practice. Areas of discussion include: the therapist’s understanding of the client’s narrative a constructivist understanding of the person psychological constructivism and constructivist trends in psychotherapy Setting constructivist psychotherapy within its therapeutic, social and philosophical context and using case studies throughout, the book revisits 'Kellian' ideas and theories, bringing them up to date, to explore what it is to be a constructivist psychotherapist today. As such this book will be of interest to all psychotherapists, as well as anyone with an interest in the psychotherapeutic field.
This work presents an approach to the study of comparative politics that builds on the assumption that political actors and institutions operate within constructed communities of meaning, which in turn interface with other such communities.
This work presents an approach to the study of comparative politics that builds on the assumption that political actors and institutions operate within constructed communities of meaning, which in turn interface with other such communities.
Rarely has the history or philosophy of mathematics been written about by mathematicians, and the analysis of mathematical texts themselves has been an area almost entirely unexplored. Figures of Thought looks at ways in which mathematical works can be read as texts, examines their textual strategies and demonstrates that such readings provide a rich source of philosophical issues regarding mathematics: issues which traditional approaches to the history and philosophy of mathematics have neglected. David Reed, a professional mathematician himself, offers the first sustained and critical attempt to find a consistent argument or narrative thread in mathematical texts. In doing so he develops new and fascinating interpretations of mathematicians' work throughout history, from an in-depth analysis of Euclid's Elements, to the mathematics of Descartes and right up to the work of contemporary mathematicians such as Grothendeick. He also traces the implications of this approach to the understanding of the history and development of mathematics.
Realism and constructivism, two key contemporary theoretical approaches to the study of international relations, are commonly taught as mutually exclusive ways of understanding the subject. Realist Constructivism explores the common ground between the two, and demonstrates that, rather than being in simple opposition, they have areas of both tension and overlap. There is indeed space to engage in a realist constructivism. But at the same time, there are important distinctions between them, and there remains a need for a constructivism that is not realist, and a realism that is not constructivist. Samuel Barkin argues more broadly for a different way of thinking about theories of international relations, that focuses on the corresponding elements within various approaches rather than on a small set of mutually exclusive paradigms. Realist Constructivism provides an interesting new way for scholars and students to think about international relations theory.
Representing a new generation of theorists reaffirming the radical dimensions of art, Gail Day launches a bold critique of late twentieth-century art theory and its often reductive analysis of cultural objects. Exploring core debates in discourses on art, from the New Left to theories of "critical postmodernism" and beyond, Day counters the belief that recent tendencies in art fail to be adequately critical. She also challenges the political inertia that results from these conclusions. Day organizes her defense around critics who have engaged substantively with emancipatory thought and social process: T. J. Clark, Manfredo Tafuri, Fredric Jameson, Benjamin H. D. Buchloh, and Hal Foster, among others. She maps the tension between radical dialectics and left nihilism and assesses the interpretation and internalization of negation in art theory. Chapters confront the claim that exchange and equivalence have subsumed the use value of cultural objects and with it critical distance and interrogate the proposition of completed nihilism and the metropolis put forward in the politics of Italian operaismo. Day covers the debates on symbol and allegory waged within the context of 1980s art and their relation to the writings of Walter Benjamin and Paul de Man. She also examines common conceptions of mediation, totality, negation, and the politics of anticipation. A necessary unsettling of received wisdoms, Dialectical Passions recasts emancipatory reflection in aesthetics, art, and architecture.
This book will address the discussion on online distance education, teacher education, and how the mathematics is transformed with the Internet, based on examples that illustrate the possibilities of different course models and on the theoretical construct humans-with-media.
The volume deals with historical ontology from several angles: the historicity of understanding (Françoise Dastur, Arbogast Schmitt, Samuel Weber), the limits of making (Emil Angehrn, Nicholas Davey, Jan-Ivar Lindén) and the future of memory (Jayne Svenungsson, Christoph Türcke, Bernhard Waldenfels).
This is a book about artistic modernism contending with the historical transfigurations of modernity. As a conscientious engagement with modernity's restructuring of the lifeworld, the modernist avant-garde raised the stakes of this engagement to programmatic explicitness. But even beyond the vanguard, the global phenomenon of jazz combined somatic assault with sensory tutelage. Jazz, like the new technologies of modernity, re-calibrated sensory ratios. The criterion of the new as self-making also extended to names: pseudonyms and heteronyms. The protocols of modernism solicited a pragmatic arousal of bodily sensation as artistic resource, validating an acrobatic sensibility ranging from slapstick and laughter to the pathos of bereavement. Expressivity trumped representation. The artwork was a diagram of perception, not a mimetic rendering. For artists, the historical pressures of altered perception provoked new models, and Ezra Pound's slogan 'Make It New' became the generic rallying cry of renovation. The paradigmatic stance of the avant-garde was established by Futurism, but the discovery of prehistoric art added another provocation to artists. Paleolithic caves validated the spirit of all-over composition, unframed and dynamic. Geometric abstraction, Constructivism and Purism, and Surrealism were all in quest of a new mythology. Making it new yielded a new pathos in the sensation of radical discrepancy between futurist striving and remotest antiquity. The Paleolithic cave and the USSR emitted comparable siren calls on behalf of the remote past and the desired future. As such, the present was suffused with the pathos of being neither, but subject to both.
