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Copyright of Con-textos Kantianos: International Journal of Philosophy is the property of Con-Textos Kantianos (CTK) 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 realization of the Self, although the absolute basis of Jungian psychology, has internal inconsistencies, is difficult to understand, and offers a promise of realization that cannot be fulfilled. This has weakened it, and its existence is now one of speculation. If this is the case, what is to be done with it in the consulting room? How should it be introduced and accounted for, if at all? This paper suggests some alternatives but concludes that the myth of the Self has gravitas in other established traditions, and it is those that offer a more coherent framework for the emergence of the Self. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Analytical Psychology is the property of Wiley-Blackwell 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 Forum: Qualitative Social Research / Qualitative Sozialforschung is the property of Forum Qualitative Social Research 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.)

Der vorliegende Beitrag behandelt einige verfahrensrechtliche Fragen zur Anfechtung von verwaltungsbehördlichen und -gerichtlichen Entscheidungen über einen Mandatsverlust gemäß Art 141 B-VG. Dabei wird insbesondere erläutert, dass derartige Verfahren parallel zu einem unmittelbaren Mandatsverlustantrag des Vertretungskörpers an den VfGH möglich sind und dass der Mandatsverlust erst durch eine Entscheidung des VfGH (also nicht ex lege) eintritt. [ABSTRACT FROM AUTHOR]

Damit durch Forschung Neues hervorgebracht wird, muss Gewohntes irritiert werden. Dabei stellt sich die Frage, wie Wissenschaftler*innen im Prozess der Forschung mit Irritationen umgehen und welche Bedeutung diesen im Erkenntnisprozess zukommt. Ausgangspunkt unseres Beitrages bildet die These, dass es in der empirischen Sozialforschung zwar laufend zu Irritationen kommt, sie jedoch in ihrer Bedeutung für den Erkenntnisgewinn noch zu wenig systematisch ausgeleuchtet sind. Deshalb widmen wir uns dem Umgang mit ihnen am Beispiel ethnografischer Forschungsstrategien, mit denen sie gesucht und erzeugt, aber auch vermieden werden können, um das Potenzial eines reflexiven Umgangs mit Irritationen für die Gewinnung wissenschaftlicher Erkenntnisse auszuloten. Als empirisches Material dienen uns hierfür ethnografische Studien im Feld der Erziehungswissenschaft, welchen wir uns im Modus einer reflexiven Sekundäranalyse nähern. Ziel des Beitrags ist eine systematisierende Darstellung von Momenten der Irritation in qualitativ-interpretativen Forschungsprozessen sowie die Diskussion ihrer Bedeutung, Potenziale und Grenzen.

Copyright of Linguistische Treffen in Wrocław is the property of Oficyna Wydawnicza ATUT 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.)

Literature and thus also historical poetry want “not only to convey factual truth and to exhort subjective truthfulness, but also to give orientation for the – in whatever respect – correct or appropriate world behavior” (Lamping 2013: 65f.). The question of this paper is to what extent and how the 9/11-poems of Thomas Kling and Durs Grünbein offer a specific counter historiography beyond the dichotomies of truth and falsehood, fact and fiction, in order to achieve a different level of knowledge. Due to the exhibited self-relatedness Grünbein presents not only in his essayistic pretext but also in his poem „September-Elegien“ mainly a subjective truthfulness rather than any certain orientation-knowledge. Kling’s historiographical-wrapped and complex instrumented poem „Manhattan Mundraum Zwei“ offers over-temporal, metaphysical-existential (counter-)truths and gives orientation beyond media-presented “facts” about 9/11.

How do Germanophone contemporary writers conceive of their poetry in relation to their proper lives and experiences? Comparing two cycles of poems from the beginning of the years 2000 dealing with invasive medical treatments their empirical authors supposedly have undergone themselves – Ulrike Draesner’s „bläuliche sphinx (metal)“ on a missed abortion and Thomas Kling’s „Gesang von der Bronchoskopie“ on a biopsy of the lungs –, this paper explores how poetic language is used to shape and to offer experiences that are staged as escaping entire translation into linguistic propositions, thus claiming a kind of ‘complementary knowledge’ that is conceived as exclusively conveyed, or rather generated, by poetry.

Can we learn something from poetry? Can poems convey to their readers insight, knowledge, orientation, understanding or even wisdom? The paper assumes that general answers to these questions are possible but often lacking in substance. Instead, it is worthwhile to consider (a) different types of cognitive achievements and (b) sub-genres of poetry to which specific cognitive achievements have been attributed in certain aesthetic traditions as well as in literary criticism. For this purpose, the paper introduces a modern descriptive vocabulary for various types of cognitive significance and advocates an orientation to the concept of “knowledge” instead of more vague terms like “insight” or “understanding”. In a second step, the paper deals with three sub-genres of lyric poetry, whose cognitive value has repeatedly been claimed in aesthetic traditions as well as in literary studies: “didactic poetry”, “philosophical poetry” (Germ. „Gedankenlyrik“) and “poetry of moods”. By means of concrete examples, the paper shows how each of the three sub-genres privileges a certain type of cognitive significance or a certain “mechanism” of knowledge communication. In a third step, the paper points out which basic features of poetry, such as fictionality, argumentativeness, and literariness, are essential and which are irrelevant to the different types of cognitive significance. Finally, the paper discusses (a) whether the three sub-genres of lyric poetry can be defined without reference to their cognitive functions and (b) whether it would be more appropriate to postulate corresponding practices of reading lyric poetry that are linked but not restricted to these sub-genres of lyric poetry and therefore can basically be applied to every poem.

This article examines the features of cognition gained through poetic creativity. First, three aspects of the theoretical considerations of Russian poet Olʼga Sedakova are considered: the attributes of the poetic state, the subject of poetical creation and of poetical reception, and the relationship of poetical creation and mystical experience. Second, parallels to her literary work are demonstrated in an overview, but also discussed in a concrete analysis of one of her poems («Vzgljad kota»). It is shown that Sedakova is entangled in contradictions in her theoretical work because she reproduces the openness and ambiguity of poetic writing in her theoretical texts. Finally, it is demonstrated that the poetic state can be characterized on the basis of her theoretical and poetical work as non-propositionally, founded in a pre-conscious mental structure, and can be qualified with Leibniz' concept of the cognitio clara et confusa.

This text examines various positions and opinions on the question of the relationship between lyric and knowledge. In this respect, we can, on the one hand, determine traditional positions which contend that poetry may be understood as a tool of thought or at least offer access to knowledge. On the other hand, there are positions that strongly advocate the view that knowledge depends on methodically secured insight (cognition) that cannot be realized in poetry. This article adopts Gabriel’s (2013) mediating position, which assumes that there are other forms of non-propositional knowledge besides propositional knowledge, such as ‘knowingwhat-it-is-like’ and others. Following the definition of lyric by Zymner (2009), the focus is then set on the issue of how lyric may convey nonpropositional knowledge. An analysis of a poem by Herta Müller will provide an example for an imparting of lyrical knowledge by showing (‚Aufweisen‘).

The relation between poetry and cognition has seldom been discussed theoretically due to the assumption that poetry has more to do with emotion than with cognition. The following article attempts to survey this field. It distinguishes between three types of cognition in poetry referring mostly to European and American poems of the 20th century: cognition that is caused by poems, cognition that is imparted in poems, and cognition that is formed in poems.

Walter Benjamin developed his concept of the “aura” on the basis of the poetry of Baudelaire and applied this term to objects of art, nature, and man. Georg Picht transformed Benjamin’s aura-concept into a method of pre-rational knowledge forms, whose mediums includes foremost music, but also poetry and art. In modern nature poetry the varieties of aura cognition can be determined and described with the help of Benjamin’s and Picht’s concepts: Gennadij Ajgi creates poetic equivalents for the experience of nature-aura; Keijiro Suga makes a diagnosis of aura of areas of natural sites or landscapes and their historical transformation through war and nuclear catastrophe (Fukushima); Christian Lehnert translates auratic communication with nature in poetic conversations.

The paper gives a survey on the German tradition of didactic poems and nature poems from the 18th century to the immediate present. The early modern pattern of nature as a peaceful Arcadia, the enlightenment pattern of nature reflecting God in every detail, and the romanticist pattern of nature that is impenetrable but nevertheless a permanent object of longing (“Sehnsucht”) are proved to be models of nature poetry that are the most important reference points up to now. The poems about nature written in the early 21st century refer to these models as well as to their destruction and deconstruction by the modernists and avantgardes of the 20th century. The most convincing poets devoting their attention to nature today play with these traditions with artistic perfection and in an ironic manner at the same time. Often, annotations, essays, and talks on nature are accompanying the lyrical texts. In the present, female writers are the authors of some of the best poems about nature. In several poems, the relationship between love and nature appears under new perspectives. Other important subjects are the landscapes of far-away countries.

This article analyses the depiction of school as a place of knowledge in contemporary poetry in English. In dealing with the poetry of Jean Breeze (Jamaica/GB), Gillian Clarke (Wales/GB), Carol Ann Duffy (England/GB), Thabo Jijana (South Africa), Meena Kandasamy (Tamil Nadu/India), Claudia Rankine (USA) and Edwin Thumboo (Singapore), it does not only enable the reader to draw pedagogical conclusions from poetic evidence. The article differentiates further between a poem’s potential of knowledge and its process of knowledge developed during its reception; taking, additionally, into account how its reception might interfere with the poem’s potential of knowledge and even with its author’s intention. Eventually, each poem highlights an important anglophone region ranging from the United States, the Caribbean, India and South Africa to the British Isles and Singapore. Hence, each poem is also interpreted in its cultural and historical context. Last but not least, the article tries to undertake a comparative analysis of the role of contemporary German-language poetry within educational contexts in Germany.

The problem of this volume is not so much ‚Lyrik‘ but rather ‚Erkenntnis‘ (knowledge, cognition). This paper, therefore, discusses a revision of the notion of ‚erkennen‘ (knowing, realizing, understanding), explaining it as a way of transforming our way of thinking things at the same time as understanding ourselves and other cognizant beings. In this way, the notion of knowledge / understanding is to be freed from the narrow restrictions of science, by which most of us have acquired the habit of limiting understanding to specific scientific methods. Beyond the bounds of established scientific standards, the practice of philosophical thinking reveals analogies to the practice of lyrical thinking. Both try to explore new ways of thinking beyond the limits of established methodological guidelines. Which characteristics do they share, which differences remain? But most of all, how can these nonscientific ways of searching for knowledge be protected from confusion and disorientation? How may their ways of thinking be legitimized? Where do they lead? A major thesis of the paper argues that both ways of searching for knowledge, poetry and philosophy, question the generally accepted distinction of analytical and synthetic judgements. This distinction is a constitutive element of any scientific discourse manifesting itself in the importance of the introductory definitions of its specific basic terms. They start from the common experience that seemingly evident words and notions, by being used in unaccustomed ways, may change their meanings, i.e. their relations to other words and notions. Both in their own traditions, experimental practices of thinking poetry as well as philosophy, may succeed in opening up new ways of perceiving of things as well as realizing the thinkers’ own position in the world while attempting to convince others to join them in doing so.

On account of its constitution as a temporally organized sequence of verbal utterances, typically presented from a speaker’s subjective perspective, lyric poetry is particularly suited to simulate mental processes and thereby mediate forms of cognition and insight. Indeed, the presentation of cognitive phenomena can be considered one of the prime functions of lyric poems throughout the history of poetry. For the analysis of such processes in poems a transgeneric narratological approach is here proposed, which is ultimately based on the anthropological fact that human existence is inescapably subject to temporality and change and that individuals are therefore permanently concerned with understanding, structuring, planning or preventing change. For this purpose, they employ the basic operation of narration in their communication both with others and themselves as well as in the production and reception of the various artistic genres, not only in fiction, drama and film, but also in lyric poetry. Poems employ narrative elements in a variety of modes which are specific to poetry, such as psycho-narration, mini-narratives, condensed, implicit or metaphorical narratives. A central device for structuring and interpreting a narrative sequence is the event, a transformation or decisive turn in the chain of changes, which then constitutes the moment of cognition or insight in the poem. The presentation of such a mental transformation from the speaker’s limited subjective perspective allows for a critical assessment of status and motivation of the process of cognition on the part of the reader. This transgeneric narratological approach to the cognitive dimension of lyric poetry will first be demonstrated with the analysis of an older prototypical example, W. B. Yeats’s “The Second Coming”, and then applied to three recent, complex British-Irish poems, Eavan Boland’s “The Making of an Irish Goddess”, Kathleen Jamie’s “The Way We Live” and Paul Muldoon’s “Why Brownlee Left”, exemplifying the range of variation in which lyric poetry can perform and mediate mental processes of cognition.

The ability of poetry – on the basis of its generic capability to bring together playfulness and awareness, an anticipated future (Ahnung) and the present – has had consequences for the history of German poetry insofar as poetry could function as a seismograph of tectonic shifts in times of societal crisis. Such was the case in the 1980s, when the East German state entered a phase of agony and there was ever more apparent disquiet in society. Multiple moments of consolidation shaped the poetry of the GDR which ought to be investigated for its epistemological potential: first, the return of political “poems for the times” (Zeitgedichte) in satirical diagnoses, second, poetic anticipation in accumulated collections of surreal visual constructs in poetry and the emphasis of grotesque effects, third, the exorbitant adventure to bring to life a space of thought and language beyond authoritarian surveillance – that is, the ambition to free the diffuse, the Proteus-esque, the marginalized, and the secretive from ossified discourse structures. A fourth tendency further resides in the historical-philosophically grounded self-determination of position and reassurance (Standortbestimmung und Vergewisserung) in poetry. Repeatedly these are bound to decided rejections of every kind of teleological progress, at times with apocalyptic scenarios. Premonition and anticipated knowledge intertwine when, for example, Volker Braun foresees the fall of the Berlin Wall in a poem written in 1988.

This paper characterizes several ways of transferring knowledge via lyric poetry. It is argued that conveying information via schemata is a prevalent mode of that kind. But there are also others like employing a concise use of language or pointing at other texts using intertextual references. Besides, many poetry books establish some sort of a lyric sequence to further elaborate a certain topic. As information in lyric poetry is not only schematized, but also sketchy, from a critical reception point of view it may also be highlighted that recipients can make use of it as some kind of a template that enables them to gain new insights related to their own living environment. The important role of schemata as well as the other kinds of knowledge transfer specified in this paper are exemplified with reference to the contemporary poetry of ageing and with a special focus on several poems by Harald Hartung. As ageing is a process that becomes more and more important to western societies due to demographic development, the poetry of ageing and of old age in particular may serve as a tool for gaining knowledge and especially knowledge of what-it-is-like regarding that topic. This adds even more authority to the question of how knowledge is transferred via literature and lyric poetry in particular.

Evaluation in lyrical poetry is mostly uncharted territory, although subgenres such as panegyric or elegy suggest that it has a rich tradition. This contribution proposes a definition of evaluation in lyrical poetry and explores possible forms and functions of such evaluations in selected examples. The analyses suggest that con- temporary poetry, although it may be full of evaluative expressions, provides few clues to the actual object of evaluation or the axiology of evaluation, which makes evaluation in poetry appear vague, incomplete or enigmatic. Despite this tendency towards vagueness, evaluation in poetry may help to convey knowledge to its recipients. Among others, poems by Erika Burkart, Daniela Danz and Wulf Kirsten will demonstrate that evaluation may serve as an enhancement of represented experiences, in particular by tapping into a phenomenological knowledge of ‘what-it-feels-like’ to be in such and such a situation.

The article considers the question whether poets lie against the background of the possible difference between poetical and discursive knowledge. Starting from Plato’s thesis, namely that poets lie, the article refers to Rorty, who, in contrast to Plato and with the example of Nabokov, recognizes in poetry a special kind of knowledge. It is opposed to discursive knowledge, which is closely related to prose. In the second part Parmenides’ didactic poem “On Nature” is seen as an example of proposing discursive truth in poetic words. Heidegger read Parmenides’ poem as a case for the evidence of truth in non-ambiguous poetical words (cf. the example “a-letheia” – un-concealedness, truth). Popper, however, interpreted the same text very differently, namely as a critical reference to the principal ambi- guity of the word in human language and as the first known instance of the presentation of the deductive method. In this context the works of Nietzsche and Solov’ev are seen as opposed to each other, as Nietzsche in “Zarathustra” identi- fied philosophical and poetical knowledge, whereas Solov’ev in his main work kept them separate from each other. The last part of the article studies the relation of poetical and discursive knowledge in poems of Gennadij Ajgi with their closeness to the dream, of Vera Stepanova with the intriguing opening to the co- presence of the Poetical I and the Other in one and the same word and of Durs Grünbein, who exposes the ambiguity of poetical language as a means to show that even untruth can open a way to come to truth. Then the lie of poetical words can be their way to say the truth.

According to the “Ältestes Systemprogramm des deutschen Idealismus” philosophy resolves itself into poetics at the end. Hölderlin elaborates this idea in his poetic fragments. The article describes the systematic impact of Hölderlin’s concept of „Wechsel der Töne“ on the act of composing poems. On the example of the seven keywords of an unwritten poem „Ovids Rükkehr nach Rom“, the article focusses on a specific metamorphosis: the one from a pure intellectual and pre-lingual realm into the lingual sphere of a concrete poem. Thereby it becomes clear that the way of thinking (in its pre-lingual sense) is poetic; the process of thinking transforms itself into a genuine poetic progress, and vice versa the structure of a poem turns out to be part of a creative development of thinking. By contrast, the described transformative process elucidates an impact of contemporary poetics, because transformation as a core issue is mostly only referred to linguistic, social, or cultural aspects.

From the point of view of a philosophy of literature the position of lyric poetry is specific. While epistemic approaches focus on fiction and its forms of cognition, lyric poetry is often reduced to conveying emotions or atmosphere. While arguing for the epistemic content of lyric poetry, the paper will focus on the concept of representation (‚Vergegenwärtigung‘). Emphasis will be placed on the non-propositional component of cognition as well as on a specific understanding of experience in the form of knowing, ‘what-it-islike’. While didactic poetry displays a propositional character, nonsense-poetry with its emphasis on analogy as well as the poetry of experience (‚Erlebnisdichtung‘) fall on the non-propositional side. The form of cognition that is central, here, resembles that of Bertrand Russell’s ‘knowledge by acquaintance’, albeit as one of indirect acquaintance. In contrast to phenomenal experience and an emotivistic reading of poetry the non propositional knowledge it conveys is based on cognitive procedures such as imagination and/or projection. In sum, then, the epistemic impact of literature is not restricted to fiction but can also be said to apply to lyric poetry.

Über die Bedeutung von Podcasts für die Wissenschaftskommunikation für ein breites Publikum hinaus stellt sich unter aktuellen medienevolutionären Bedingungen neu die Frage nach der Bedeutung von Stimme, Sprechen und Hören für die sinnlich-sinnhafte Genese wissenschaftlicher Erkenntnis und Wahrheit. In der dialektischen Entfaltung von Stimme, Hören und Sprechen nach der Schrift zeigt der Beitrag die Notwendigkeit und Möglichkeiten der erkenntnistheoretischen Reflexion von Darstellung und Durchführung von Wissenschaft im Medium Podcasting als Medium von Stimme, Sprechen und Hören. Anhand der Ansätze von Recording Culture (Makagon/Neumann), dem Format der Audio Papers (Groth/Samson) und dem Sprechenden Denken (Klenk) werden die Bedeutung der Sinne, des Körpers, des Sprechens und Hörens, der Praxis der Entwicklung sowie des Gesprächs und Selbstgesprächs für die Wissen- und Wahrheitsgenese skizziert.

Im Angesicht der wachsenden Entsubjektivierung und Depersonalisierung, die sich im Bereich der Erkenntnis und des Wissens durch den unbedingten Anspruch der Wissenschaft auf die Objektivität durchgesetzt haben, empfiehlt es sich, an den alten, neuerdings größtenteils zur Vergessenheit gesunkenen Begriff der Weisheit zu erinnern und ihn seiner philosophischen Tragweite nach zu prüfen. Hier wird das am Beispiel Schopenhauer gemacht. In seiner Philosophie spielt die Weisheit eine ganz zentrale Rolle, und zwar als eine nicht bloß theoretische, sondern auch praktische Vollkommenheit des Menschen. Um das Wesen der so hoch gesetzten Weisheit möglichst genau zu fassen, wird sie im Aufsatz zum einen mit Gadamers Begriff der hermeneutischen Erfahrung und zum anderen mit dem in altgriechischem Spruch „durch Leid gelehrt“ zum Ausdruck kommenden Weisheitsbegriff konfrontiert. Die Untersuchung führt zum Ergebnis, dass die Weisheit bei Schopenhauer, obwohl auf den ersten Blick den beiden erwähnten Weisheitsauffassungen ähnlich und teilweise sogar verwandt, von ihnen jedoch von Grund auf verschieden ist, da ihr Zweck nicht darin besteht, den Menschen über die unüberwindliche Grenzen seiner Sterblichkeit zu belehren und damit ihm seinen zugemessenen Platz im Leben zuzuweisen, sondern vielmehr ihm von dem Willen zum Leben überhaupt wegzuführen.

Copyright of Kommunikation@gesellschaft is the property of Kommunikation@gesellschaft 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 Filozofski Vestnik is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts 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.)

This article explores the significance of the image of the Chinese character for 'enlightenment'. The oracle bone script form for 'enlightenment' is comprised of the symbol for the 'true self' and the symbol for the 'heart'. In Chinese Taoist philosophy, the true self is close to Tao, a concept akin to that of the self in Analytical Psychology. The combination of the 'self' meeting with the 'heart' conveys both the aspect of inspiration and of profound meaning. The paper is composed of three parts in order to facilitate the analysis and interpretation of this Chinese character: 1) an exploration of the image and meaning of the character; 2) an exploration of the link between the self and enlightenment; and 3) reflections on the relationship between insight and enlightenment. The image of this Chinese character contains not only what enlightenment is, but also the way to enlightenment and the meaning of the way. [ABSTRACT FROM AUTHOR]