Children who experience well-being are engaging more confidently and positively with their caregiver and peers, which helps them to profit more from available learning opportunities and support current and later life outcomes. The goodness-of-fit theory suggests that children’s well-being might be a result of the interplay between their temperament and the environment. However, there is a lack of studies that examined the association between children’s temperament and well-being in early childhood education and care, and whether this association is affected by (...) ECEC process quality. Using a multilevel random coefficient approach, this study examines the association between toddlers’ temperament and well-being in Norwegian ECEC and investigates whether process quality moderates this association. Results reveal an association between temperament and well-being. Staff-child conflict moderates the association between shyness and well-being, and between activity and well-being. Moreover, high emotional behavioral support moderates the association between activity and well-being. Extra attention should be paid by the staff to these children’s needs. (shrink)

Cet article s’intéresse aux similarités entre deux tableaux : la Jeune Fille à la perle de Johannes Vermeer, et le Portrait de Béatrice Cenci par Guido Reni, dit le Guide (selon l’attribution du XIX e siècle). L’expression du visage semble indéterminée, et c’est à ce titre que ces œuvres peintes ont provoqué l’imagination littéraire ; Russell Hoban et Tracy Chevalier se sont penchés sur le premier tableau et le mystère de son expression, P.B. Shelley et Hawthorne sur le deuxième. (...) Dans Le Faune de marbre, Hawthorne évoque le tableau du Guide pour écrire une théorie de l’art où la « suggestion » tient une part essentielle. Dans Les Cenci, Shelley met en scène Béatrice, et son visage devient l’objet de projections de la part de ses ennemis. Quel discours s’élabore lorsque le visage d’une femme devient signe ambivalent, écran où sont projetées l’innocence et la culpabilité, s’inscrivant contre la personne même et sa capacité à s’exprimer? (shrink)

Cet article s’intéresse aux similarités entre deux tableaux : la Jeune Fille à la perle de Johannes Vermeer, et le Portrait de Béatrice Cenci par Guido Reni, dit le Guide (selon l’attribution du XIX e siècle). L’expression du visage semble indéterminée, et c’est à ce titre que ces œuvres peintes ont provoqué l’imagination littéraire ; Russell Hoban et Tracy Chevalier se sont penchés sur le premier tableau et le mystère de son expression, P.B. Shelley et Hawthorne sur le deuxième. (...) Dans Le Faune de marbre, Hawthorne évoque le tableau du Guide pour écrire une théorie de l’art où la « suggestion » tient une part essentielle. Dans Les Cenci, Shelley met en scène Béatrice, et son visage devient l’objet de projections de la part de ses ennemis. Quel discours s’élabore lorsque le visage d’une femme devient signe ambivalent, écran où sont projetées l’innocence et la culpabilité, s’inscrivant contre la personne même et sa capacité à s’exprimer? (shrink)

Bu yazıda bir sanat yapıtının sahte olmasının ne anlama geldiği incelenmektedir. Bu amaçla iki tür sahtecilik türü olan yapıt kopyacılığı ve biçem kopyacılığı birbirinden ayırt edilmektedir. İlk tür kopyacılık ile ilgili temel tartışma bir yapıtın aslından ayırt edilemeyecek kadar iyi bir kopyası neden yine de sanatsal olarak aslından daha değersiz bulunur, sorusuyla ilgilidir. İkinci tür kopyacılıkta ise temel soru bir sanatçının biçemini taklit ederek "yeni" yapıtlar üretmenin sanatsal açıdan nasıl değerlendirilmesi gerektiğidir. Yazıda bu ikinci tür kopyacılık, Hollandalı ressam Van Meegeren'in (...) Vermeer'in biçemini taklit ederek yapıp Naziler'e sattığı tablolar üzerinden tartışılmaktadır. (shrink)

Hermann Glockner, von W. Ritzel.--Hermann Glockners Ethikvorlesung, von M. Trapp.--Folgenreiche Begegnung mit einem Lexikon, von J. Günther.--Das Einzelne, das Allgemeine und das Individuelle, von E. Heintel.--Philosophisches und mathematisches Kontinuum, von F. Kaulbach.--Fall, Norm, Typus, von K. Larenz.--"... als allein ein guter Wille," von O. F. Bollnow.--Kants Begründung der Gemeinschaft durch die Idee der Menschheit, von D.-J. Löwisch.--Dilthey und das Problem der Geschichtlichkeit, von J. Derbolav.--Gleichzeitigkeit--oder: Platon übersetzen, von A. Hübscher.--Zur Theorie des menschlichen Spiels, von H. Zdarzil.-Anlässlich eines Stillebens von Kalff (...) und eines Figurenbildes von Vermeer, von H. Schrade.--Pessimismus und Fortschrittsglaube, von W. Hof.--Orwells dialektischer Roman "Nineteen Eighty-Four, von H.-J. Lang.--Reisen mit Goethes Auge, von M. Weinhandl.--Incipit vita nova, von J. Overhoff.--Verzeichnis sämtlicher Veröffentlichungen von Hermann Glockner (p. 375-388)--Anschriften der Mitarbeiter. (shrink)

Religion and the external world -- Projection, religion, and the external world -- The senses, reason and the imagination -- Realism, meaning and justification : the external world and religious belief -- Modality, projection and realism -- 'Our profound ignorance' : causal realism, and the failure to detect necessity -- Spreading the mind : projection, necessity and realism -- Into the labyrinth : persons, modality, and Hume's undoing -- Value, projection, and realism -- Gilding : projection, value and secondary qualities (...) -- The gold : good, evil, belief and desire -- The golden : relational values, realism and a moral sense. (shrink)

The conflict in Gaza and Israel that ignited on October 7, 2023 signals a catastrophic breakdown in the possibility of ethical dialogue in the region. The actions on both sides have revealed a dissolution of ethical restraints, with unimaginably cruel attacks on civilians, murder of children, destruction of health facilities, and denial of basic needs such as water, food, and shelter. There is a need both to understand the nature of the ethical singularity represented by this conflict and what, if (...) any, options are available to allow the reconstruction of communication between the warring parties. This article seeks to address these tasks by analysing the conflict as inherently an ethical one, in the sense that it exposes a rupture in the fabric of communicative relationships that has evolved systematically out of the deep cultural structures from which all protagonists have emerged. Drawing on the work of Levinas, Habermas, Arendt, and others, and referring to the specific circumstances in the region, it examines the ethical sources of the crisis and tries to identify conditions for its resolution. The possibility of reconciliation—that is, of refiguring relationships to open up a space for dialogue to create pathways to heal the ruptures—is examined. The dark legacy of the Holocaust is identified as an abiding cultural vulnerability for both societies. It is concluded, however, that the rich history of partnerships and collaborations between Jews and Palestinians provides a robust infrastructure on the basis of which a sustainable peace might be built, providing a much-needed source of hope. (shrink)

Do the ethical features of an artwork bear on its aesthetic value? This movie endorses misogyny, that song is a civil rights anthem, the clay constituting this statue was extracted with underpaid labor—are facts like these the proper bases for aesthetic evaluation? I argue that this debate has suffered from a false presupposition: that if the answer is yes (for at least some such ethical features), such considerations feature as pro tanto contributions to an artwork's overall aesthetic value, i.e., as (...) merits or flaws which make something have more or less overall aesthetic value. As the case of ethically laden, aesthetic evaluation makes clear, however, good aesthetic judgement is irreducibly multi-dimensional, e.g., "the movie has an engaging soundtrack, tasteful camera work, and takes a misogynistically prurient perspective on its female lead.'' Such a "non-summative" judgement refuses to reduce those various dimensions of aesthetic value to a single aggregate aesthetic evaluation, like "it's a 6/10" or "it's a pretty good movie!" I defend both the modest claim that such non-summative evaluations are not mistaken and the extremist claim that summative (i.e., unidimensional) aesthetic evaluation is defective by considering other domains of normative assessment in which summing seems inappropriate, notably including evaluations of people's character. (shrink)

A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead (...) us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work. (shrink)

It is the impression of neurologists who deal with cancer patients that the incidence of neurologic complications of cancer is increasing (Posner 1995). ...

We are reviewing and summarizing evidence for the processes of acquisition of information outside of conscious awareness (processing information about covariations, nonconscious indirect and interactive inferences, self-perpetuation of procedural knowledge). A considerable amount of data indicates that as compared to consciously controlled cognition, the nonconscious information-acquisition processes are not only much faster but also structurally more sophisticated in the sense that they are capable of efficient processing of multidimensional and interactive relations between variables. Those mechanisms of nonconscious acquisition of information (...) provide a major channel for the development of procedural knowledge which is indispensable for such important aspects of cognitive functioning as encoding and interpretation of stimuli and the triggering emotional reactions. (shrink)

Beliefs are freely attributed to God nowadays in Anglo–American philosophical theology. This practice undoubtedly reflects the twentieth–century popularity of the view that knowledge consists of true justified belief . The connection is frequently made explicit. If knowledge is true justified belief then whatever God knows He believes. It would seem that much recent talk of divine beliefs stems from Nelson Pike's widely discussed article, ‘Divine Omniscience and Voluntary Action’. In this essay Pike develops a version of the classic argument for (...) the incompatibility of divine foreknowledge and free will in terms of divine forebelief. He introduces this shift by premising that ‘ A knows X ’ entails ‘A believes X ’. As a result of all this, philosophers have increasingly been using the concept of belief in defining ‘omniscience’. (shrink)

Throughout its long history metaphysics has been variously conceived. At its most sublime, it has been taken to be the study of the super‐sensible, in particular of the existence of a god, the nature of the soul, and the possibility of an afterlife. When the young Ludwig Wittgenstein entered the lists, it was entirely reasonable to conceive of metaphysics in this manner. Its subject matter was held to be the language‐independent and thought‐independent de re necessities of the world. The Tractatus (...) is dominated by three problems: first, the nature of logic and logical necessity; secondly, the essence of the proposition and hence the characterization of the general propositional form; and thirdly, the intentionality of the proposition. Logical propositions are combinations of elementary propositions by means of truth‐functional logical connectives. The metaphysics adumbrated in the Tractatus, Wittgenstein thought, was required for the possibility of representation and for the possibility of logic. (shrink)

This article examines the origin of experiential organization, especially whether it is salient or selective. Aron Gurwitsch believes it is salient and William James that it is selective. I argue that Gurwitsch is right, and recount his argument and his critique of James, but I also pose my own critique and critical questions on the issue. -/- Gurwitsch's argument attempts to show that the organization of consciousness is not arbitrary or merely selected in some way by the subject. He claims (...) that when consciousness is organized it is found as already organized. -/- This is important for Gurwitsch's philosophical system because if he can establish that consciousness is always originally organized, then his famous claim that the theme, thematic-field, margin structure of consciousness is an invariant patterning impervious to the subject's whim, mood, or possible noetic training, is protected at the very start. (shrink)

Institute of Theoretical Astronomy, University of Cambridge, Cambridge, UK 3fS. received 28th August 1970, in final revised form 1st July 1971..

Geared toward readers already acquainted with special relativity, this book transcends the view of theory as a working tool to answer natural questions: What is ...

Sijak hanŭn mal -- 1. T'ŭraemp'ŏllin wi ŭi saramdŭl -- 2. Ch'ŏrhak iranŭn chagŭn sae -- 3. Ch'ŏrhak ŭi sadari sai ro -- Mach'inŭn mal.