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Copyright of Zeitschrift für Psychodrama und Soziometrie is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Adorno’s critique of Sartre in the Negative Dialectic (1966) may seem hasty, and mainly driven by his opposition towards Heidegger to whom Sartre is tied. The aim of this paper is to show that the Adornoian critique of Sartreanism nevertheless raises specific issues, such as the role played by the notion of “concrete” in philosophy, and a more accurate understanding of human historicity. Despite an undeniable thematic proximity with Sartre, Adorno prefers to highlight the more complex notion of “constellation” – his answer to what he considers as the overly central position of the human subject defined as freedom in the Sartrean notion of “situation”.

Abstract The early termination of educational measures is usually critically discussed as “drop-out”. The discontinuation of further education activities is considered a problem above all when existing interest in further education cannot be realized and/or when this initiates a categorical withdrawal from the system of further education. In educational research carried out in German-speaking countries (especially in research on university-, school-, and vocational education), the already wide-spread term “drop-out” is increasingly used as a synonym for the discontinuation of educational participation. In research on further education, however, this term is less common and, so far, no relevant studies have been conducted regarding the reasons for dropping out, the methods of dealing with this issue, or the importance of the drop-out phenomenon in continuing education. Against this background, the authors focus on the actual need for basic research and carry out a systematic categorization of the drop-out phenomenon in the context of further education. To this end, they first investigate which drop-out concept is most common in the field of adult education. They then link the present state of the art in research to perspectives formulated by eleven experts (representatives of education providers and continuing education associations) interviewed with regard to this topic. Findings are further substantiated through a reflection on the operationalization of early termination of further education in the National Educational Panel Study (NEPS). In a discussion summarizing the major lines of reasoning, the results thus gained are condensed against the theoretical and empirical background and guiding implications for future (empirical) research activities are outlined.

Copyright of Report: Zeitschrift für Weiterbildungsforschung is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zeitschrift für Psychodrama und Soziometrie is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zeitschrift für Psychodrama und Soziometrie is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In seeking to combine the concept of the ‘Feminine’ and ‘Aesthetics,’ the approach here is to carry out an initial examination of Walter Benjamin’s aesthetic theory, then delve into his texts on Eros, leading to his personal correspondence. These combined references will indicate his change of mind, moving from the feminine, as unique, towards its ‘constellation formation’. Montage is the medium of leading with quotation as a mosaic incorporating the image of constellation. The use of montage has parallels in certain avant-garde art movements, its purpose being to disrupt a purely linear approach, in order to cope with the reality of the fragmentation of experience. Although we have little evidence of Benjamin’s theory being connected to Gender Studies, we can take his theory on Eros as an example of how this philosopher foresaw some of the contemporary questions concerning women, amalgamating these with his Aesthetics theory.

The paper concentrates on selected passages from Uwe Johnsonʼs opus magnum, Jahrestage (Anniversaries), in which the Prague Spring and the events of 1968 play a key role, and develops some ideas on how narrations of history and critique of language can jointly (as a translation of sorts) be understood as a critical approach to what is taken to be the present and the reality of the past. It is argued that Hannah Arendtʼs notion of the unpredictability of the future and of the event variously influenced the modalities of narration as employed by Johnson. The central issue of Jacques Derridaʼs Prague lecture on how a city determines ‘our’ modes of (self-)preception and how a location can be grasped and ‘dated’ in writing is put to use in order to develop a singular perspective on some neglected aspects in Johnsonʼs work. Johnson’s novel and its commentaries form a diverse reflection on time, reality, and the media which can affirm its contemporaneity when understood as exemplary in contesting, by the voice of literature, the functionalization of history and its narrative.

Copyright of Zeitschrift für Psychodrama und Soziometrie is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper concentrates on selected passages from Uwe Johnson's opus magnum, Jahrestage (Anniversaries), in which the Prague Spring and the events of 1968 play a key role, and develops some ideas on how narrations of history and critique of language can jointly (as a translation of sorts) be understood as a critical approach to what is taken to be the present and the reality of the past. It is argued that Hannah Arendt's notion of the unpredictability of the future and of the event variously influenced the modalities of narration as employed by Johnson. The central issue of Jacques Derrida's Prague lecture on how a city determines 'our' modes of (self-)preception and how a location can be grasped and 'dated' in writing is put to use in order to develop a singular perspective on some neglected aspects in Johnson's work. Johnson's novel and its commentaries form a diverse reflection on time, reality, and the media which can affirm its contemporaneity when understood as exemplary in contesting, by the voice of literature, the functionalization of history and its narrative. [ABSTRACT FROM AUTHOR]