Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 4

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  COSMOPOLITAN
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

KANT A ANTROPOLÓGIA AKO VADEMECUM SVETOOBČANA

100%
Čengeri M.
Filozofia (Philosophy)
|
2016
|
vol. 71
|
issue 6
514 – 524
EN
Kant’s way of developing anthropology differs from that characteristic of the scientific spirit of the 18th century. Besides omitting the natural determination of humans he composes anthropology as a doctrine with practical intentions. He defines pragmatic anthropology as a reflected self-formation, whose objective is not a theory of a human being (“school anthropology” in Kant’s terminology), but rather a set of practical instructions for approaching oneself as well as the others. Thus, drawing to some extent on Michel Foucault, Kant’s anthropology can be understood as a modern conception of the art of living. Kant’s Anthropology from a pragmatic point of view is not just a purposeless summary of his numerous lectures on anthropology; it is rather a sort of vade-mecum or a prescriptive writing focused on purposeful practice.
2

ZUR FACHLEXIK IN FRAUENZEITSCHRIFTEN AM BEISPIEL DER ZEITSCHRIFT COSMOPOLITAN

88%
Pelikánová E.
Motus in verbo: časopis mladej vedeckej generácie
|
2017
|
vol. 6
|
issue 2
14 – 23
EN
The article explores the occurrence of the language for special purposes in women’s magazines, specifically the March 2014 German edition of Cosmopolitan. The Cosmopolitan is in the first place not a popular science magazine but a lifestyle magazine. Nevertheless there can be find articles with a scientific base. The article for the analysis describes a medical theme – the focus of the analysis belongs to the occurrence of the technical terms in the Cosmopolitan article “blutjung”, how the author uses this terms – the usage of synonym, explanation or definitions, the usage of examples.
3
Publication available in full text mode
Content available

Transnational Dimensions of Iranian Cinema: “accented films” by Mohsen Makhmalbaf

75%
Wiącek E.
Studia Migracyjne - Przegląd Polonijny
|
2020
|
vol. 46
|
issue 3 (177)
61–84
EN
Iranian film director Mohsen Makhmalbaf left Iran in 2005 shortly after the election of Mahmoud Ahmadinejad. The artist underwent a multiphase evolution away from the supporter of Islamic regime in the early 1980s to cosmopolitan internationally acclaimed auteur. Finally, he became not only a dissident filmmaker but also a political dissident in the aftermath of 2009 presidential election. As exile wears on, Makhmalbaf became postnational filmmaker, making a variety of “accented films”. Not all the consequences of internationalization are positive – to be successful in transnational environment he has to face much larger competition and the capitalist market. Having in mind the categories of displaced Iranian directors distinguished by Hamid Naficy – exilic, diasporic, émigré, ethnic, cosmopolitan – I would like to find out which one of them applies to Mohsen Makhmalbaf’s life and work. I also will focus on the following questions: To what extent the censorship of Makhmalbaf’s artistic activity was a reason for his migration? how are migratory experiences expressed in his movies? What features of “the accented cinema” his movies are manifesting? I would argue that the experience of migration and the transnationality was the characteristic feature of Makhmalbaf’s his work long before leaving the home country. It can be said that regardless this stylistic diversity, all of Makhmalbaf’s movies made abroad can be described as the example of “accented cinema” which comprises different types of cinema made by exilic and diasporic filmmakers who live and work in countries other than their country of origin.
4

PATHS AND STRATEGIES IN THE HISTORIOGRAPHY OF ART IN CENTRAL EUROPE

63%
Ján B.
ARS
|
2010
|
vol. 43
|
issue 1
85-118
EN
The thematization of topic of the history of art in Central Europe as a specific art historical phenomenon is a fascinating and at the same time quite dramatic story. The paper presents an attempt to outline the main trends, which shaped research into the history of art in the region: e.g. national history of art, cosmopolitanism as scientism, global history of art as racialism, nationalists versus cosmopolitans, from modernism to nationalism, from internationalism to expansionism, from nationalism to etatisme, from etatisme to the trans-national history of art, the idea of macro-regions (from Eastern to Central Europe), national history as a multi-cultural communication, and 'Kulturtransfer' and East-Central Europe.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.