The European Union’s common agricultural policy (CAP), in addition to its primary production and farm income goals, is a large source of funding for environmentally friendly agricultural practices. However, its schemes have variable success and uptake across member states (MS) and regions. This study tries to explain these differences by demonstrating differences between policy levels in the understanding of the relationship between nature and farming. To compare constructs and values of the respective policy communities, their discursive construction as it appears (...) in the main strategic EU and MS agricultural policy documents is analysed. The theoretical framework integrates elements from existing frameworks of CAP and environmental discourse analysis; specific agri-environmental discourses, their elements and interplay, are identified. The six discourses suggested here are ‘Productivism’, ‘Classical neoliberal’, ‘Ecological modernisation’, ‘Administrative’, ‘Multifunctionality’ and ‘Radical green’. The discourse analysis of selected documents reveals that there are indeed differences in how farming and the environment are generally conceptualised at different levels of CAP decision-making. At EU level, farming is primarily understood as a sector whose main task is to produce food (‘Productivism’), and the environment is used as a justification for CAP payments (‘Multifunctionality’). At the national/regional level, Rural Development Programmes reflect different value systems: in England, environmental protection is mainly seen as sound management of natural capital (‘Classical neoliberal’); in Finland, a benefit for producers and conscious consumers (‘Ecological modernisation’); in Croatia, a necessity limiting productivity (‘Productivism’) and imposed by an external authority (‘Administrative’ discourse). This diversity shows that differences can visibly manifest despite the Commission constraining the discursive space, helping to explain the differential implementation and success of environmental measures. (shrink)

The objective of this paper is to present the research on how unlabeled advertorials are produced and interpreted by their key producers. The study uses ethnographic methods and reveals that advertorials are produced by news producers or agency practitioners and advertisers either independently or collectively. The production was based on paying for various expenses or services and making threats. Reasons for production were different within particular groups of producers. Responsibility belongs to all actors analyzed, but also to other media and (...) social actors who establish and maintain circumstances that enable this illegal and unethical practice. (shrink)

From the 1990s, during and after the post-communist transitions in Eastern Europe, different self-help texts advancing spiritual or personal well-being continue to be a highly popular discourse in Slovenia. In this article we examine the appropriation of self-help discourse in one of Slovenia's most influential management magazines, Manager. On the basis of a critical discourse analysis of Manager's articles, we argue that the magazine predominantly uses spiritual self-help vocabulary and accordingly transforms definitions of basic business vocabulary. It offers a spiritual (...) self-growth discourse as a solution to any current management or social problems and in doing so supports the liberal capitalism. This discourse attempts to advise managers as to how to adapt to the new competitive business environment. It furthermore promotes the belief that solely spiritual self-growth will help managers and their business partners to resist political and economic barriers and assure the business success in times of global corporate `survival'. (shrink)

The recent upsurge of national sentiments in the former socialist countries has also brought about the desire to create “national”philosophies. Such attempts are bound to be unsuccessful, partly because of the increasingly internationalized contexts of philosphical inquiry. What is possible instead and is actually taking place in many countries, cultures, and even cities are philosophical “schools” In smaller countries frequently the most productive position for philosophy is to be simultaneously national and international, facilitating in this way a critical discussion within (...) the limited national cultural space and simultaneously pursuing universal philosophical problems. (shrink)

The present paper argues that as basic schools become more pluralistic, it is important to (re)discuss the value base on which education should be built. Many see human rights as a universal principle of Western democratic societies and thus a universal value base of education. However, human rights seem to be insufficient – first, because many question their universality, and second, because they are understood mainly as legal rather than ethical principles. The concept that is known to ethically support human (...) rights is the global ethic. And from one of the main pillars of the global ethic we derive the universal value base of education – the responsibility for the other, understood as care for the other, being for the other, treating and approaching the other with respect. To this end, teachers should encourage social interactions, based on active listening and exotopy. (shrink)

The present paper proposes a theoretical model of institutional quality of a higher education institution (HEI) which, in addition to the internal dimensions of quality, incorporates also the external dimension, i.e. the outcomes dimension. This dimension has been neglected by the quality standards and models examined in our paper. Furthermore, the standards and models analyzed consider stakeholders as one of the quality factors of a HEI. The stakeholders’ perspective is seen as a lens through which stakeholders define, control and assess (...) the quality of a HEI. The proposed model therefore gives stakeholders greater significance compared to the dimensions of institutional quality of a HEI. The model has been validated from the employers’ perspective. On the basis of 339 completed questionnaires or a 39.74 % response rate we concluded that outcomes constitute the most important dimension of institutional quality of a HEI from the perspective of employers in Slovenia. The outcomes dimension is followed, in descending order, by the non-financial resources and inputs, sustainable development, value chain, and, finally, the financial resources and inputs dimensions. The results of the study have shown that of the 44 quality factors of a HEI the following data are of key importance to employers: information on the participation of students in practical training, achievements of graduates at the workplace, implementation of a HEI’s research achievements in practice, graduate employability, and a HEI’s responsiveness to the demands and changes in the environment. (shrink)

This book offers an overview of the emerging SID research, discussing theories, methods, and practices, with a focus on the multisensory aspects of sonic experience.

From the grotesque pavilions hidden in sixteenth century Italian gardens to the temporary structures in public space in the 70s and recent digitally augmented environments, architectures of play have long been designed to engage explorative experiences. The uncertainty of play allows us to probe new behaviors, to poke into the boundaries of subjectivity and to interact with people, things and systems in unexpected and unfamiliar ways. In this essay, we explore how an interactive system, situated in public space, may foster (...) explorative activities and enable the transformative power of play. Through the analysis of several computer-augmented architectures, we examine what interactive qualities might enhance the transformative power of play. Beginning with the Fun Palace, an early attempt to use cybernetics in order to encourage visitors to experiment with their habits, we move to contemporary projects including some of the author’s own work. The latter takes the advantage of existing public locations in order to insert exploratory play into everyday life. Through analysis of these projects, we discuss whether such environments raise our responsibility toward others within our surroundings; whether they enable us to transform our own established behaviors; and whether they empower us to reclaim public space. (shrink)

Philosophers have long and skeptically viewed religion as a source of overeasy answers, with a singular, totalizing "God" and the comfort of an immortal soul being the greatest among them. But religious thought has always been more interesting--indeed, a rich source of endlessly unfolding questions. With questions from the 1885 Baltimore Catechism of the Catholic Church as the starting point for each chapter, Karmen MacKendrick offers postmodern reflections on many of the central doctrines of the Church: the oneness of (...) God, original sin, forgiveness, love and its connection to mortality, reverence for the relics of saints, and the doctrine of bodily resurrection. She maintains that we begin and end in questions and not in answers, in fragments and not in totalities--more precisely, in a fragmentation paradoxically integral to wholeness. Taking seriously Augustine's idea that we find the divine in memory, MacKendrick argues that memory does not lead us back in time to a tidy answer but opens onto a complicated and fragmented time in which we find that the one and the many, before and after and now, even sacred and profane are complexly entangled. Time becomes something lived, corporeal, and sacred, with fragments of eternity interspersed among the stretches of its duration. Our sense of ourselves is correspondingly complex, because theological considerations lead us not to the security of an everlasting, indivisible soul dwelling comfortably in the presence of a paternal deity but to a more complicated, perpetually peculiar, and paradoxical life in the flesh. Written out of MacKendrick's extensive background in both recent and late-ancient philosophy, this moving and poetic book can also be an inspiration to anyone, scholar or lay reader, seeking to find contemporary significance in these ancient theological doctrines. (shrink)

Introduction: from the presence to the sign -- Seductive epistemology: thinking with assent -- Reading rites: sacraments and the community of signs -- Because being here is so much: ethics as the artifice of attention -- Prayer: addressing the name -- Take and read: Scripture and the enticement of meaning -- In place of a conclusion: thoughts on a prior possible.

Theology usually appears to us to be dogmatic, judgmental, condescending, maybe therapeutic, or perhaps downright fantastical--but seldom enticing. Divine Enticement takes as its starting point that the meanings of theological concepts are not so much logical, truth-valued propositions--affirmative or negative--as they are provocations and evocations. Thus it argues for the seductiveness of both theology and its subject--for, in fact, infinite seduction and enticement as the very sense of theological query. The divine name is one by which we are drawn toward (...) the limits of thought, language, and flesh. The use of language in such conceptualization calls more than it designates. This is not a flaw or a result of vagueness or imprecision in theological language but rather marks the correspondence of such language to its subject: that which, outside of or at the limit of our thought, draws us as an enticement to desire, not least to intellectual desire. Central to the text is the strange semiotics of divine naming, as a call on that for which there cannot be a standard referent. The entanglement of sign and body, not least in interpretations of the Christian incarnation, both grounds and complicates the theological abstractions. A number of traditional notions in Christian theology are reconceived here as enticements, modes of drawing the desires of both body and mind: faith as "thinking with assent"; sacraments as "visible words" read in community; ethics as responsiveness to beauty; prayer as the language of address; scripture as the story of meaning-making. All of these culminate in a sense of a call to and from the purely possible, the open space into which we can be enticed, within which we can be divinely enticing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Thou Art Translated! The Pull of Flesh and MeaningKarmen MacKendrickIn A Midsummer Night’s Dream, William Shakespeare offers us a particularly comic instance of translation. In the first scene of the third act, the mischievous fairy Puck has set into motion all manner of havoc, including the substitution of a donkey’s head for the ordinary head of poor Nick Bottom, a weaver who had been innocently engaged in rehearsing a (...) play that he and other “rustics” intended to perform for visiting royalty. Bottom is, understandably, a little cranky and confused about this buffoonish substitution—he had offered to play the far nobler part of a lion (Shakespeare 2004, Act 1, scene 2, 68–70)—and he does not react happily to the responses that it generates among other members of his company. The first to see him is the tinker Tom Snout, who declares, “O Bottom, thou art changed! what do I see on thee?” (Act 3, scene 1, 114). And Snout is followed by Peter Quince, a carpenter and the author of the ill-fated play that had been in rehearsals, who will give us our relevant line, as he exclaims in surprise, “Bless thee, Bottom! bless thee! thou art translated” (Act 3, scene 1, 118).Indeed he is. Bottom, when he declares the events a dream, proposes that Quince shall write a ballad of this transformation (Act 4, scene 1, 224–26).1 This ballad might be seen as a further translation, of the sort Umberto Eco calls “intersemiotic”—a translation across forms, rather like that of interpretive dance, which is sort of famous for translating badly. What is not quite clear, though, is how layered this translation may already be just in Nick Bottom’s appearance. The use of “ass” for buttocks—that is, for the bottom—is first attested only in 1860,2 more than two and a half centuries after A Midsummer [End Page 36] Night’s Dream was written (sometime in the 1590s). But there is some speculation that the pun may already have been current, even if cutting-edge, when Shakespeare translated Bottom to ass, and certainly such a pun would not have been out of character for the author—after all, we also find a snout among the would-be actors, and Shakespearean brilliance is hardly incompatible with crude punning. The translation of the flesh is in this instance also a translation of the word, not just in parallel but somehow of one another, and the visible head of the indignant ass betrays the indignity of the rustic weaver sporting the name of Bottom.We don’t so often think of bodies being translated, but before turning to more abstract considerations here, let me offer one further instance, one a little closer to the main current of my own research. The translation of relics (that is, of pieces or close possessions of saints) is their movement from one location—specifically, from one church congregation—to another. This sounds markedly unexciting, I grant, but that’s only if you don’t know that throughout the Middle Ages the relics were sometimes said to have translated themselves, moved of their own volition. This was held to demonstrate the desire of the relevant saints for the newly privileged location—which means their desire to patronize and to bless the new church or congregation. This happened especially often when those of us with less devotion would more likely say that the relics had been stolen by members of their new communities.In the translation of relics, an original—a whole, unified original in the form of an intact body—is the very source of meaning. The relic matters because it belonged to the body of a saint, and each fragment is held to contain, somehow, the wholeness of saintly power and sancitity (for more detail on this very complex subject, see MacKendrick 2008, 102–31). But as a rule, that original is impossible to find; the meaningful pieces are only ever fragments. (In fact, studies of older relics often show that they are not even fragments of humans.) Now the relic means what it is translated to mean: the saint’s blessing upon... (shrink)

In the author's opinion the current resurgence of national issues could be interpreted as an attempt of Second World countries to counter the effects of oncoming late capitalism. Under such conditions national culture is often perceived as a bastion of national identity. The insurmountable problem encountered by these national cultures attempting to play such a role, is that under the present conditions of global late capitalism national culture as well, if it wishes to achieve recognition, is forced to accept the (...) logic of postmodern culture which is simultaneously commodified and international. Hence national culture in the Second World countries, which in the past could integrate everything from avant-garde to folk art, is bound to increasingly resemble tradition culture in First World countries. (shrink)

Though the exact dating is contentious, philosophy at some point took a “linguistic turn,” or maybe a few of them. Certainly late in the twentieth century, influenced by literary theory, the discipline began to attend to language with nearly Talmudic care. “Everything is a text,”1 we read, and since, after all, we were reading it, the notion seemed persuasive. Soon enough, of course, critics perceived that those playing about in this approach to language were having entirely too much fun, getting (...) a little too literary for philosophical tastes. Whether ill tempered or simply tempering, insightful or sullen, criticism noted not only that some theorists seemed insufficiently attentive to historical context—a claim .. (shrink)

Treats time, eternity, language, and silence in an original way.

Today, body and language are prominent themes throughout philosophy. Each is strange enough on its own; this book asks what sense we might make of them together. Words reach out. Hands pick up books; eyes or fingertips scan text. But just where, if at all, do words and bodies touch? In a trio of paired chapters, each juxtaposing an illustrative story or case study to a theoretical exploration, MacKendrick examines three somatic figures of speech: the touch, the fold, and the (...) cut. In the first pairing, resurrection stories in the Gospel of John are set against a chapter on touch, which draws on the work of Jean-Luc Nancy to argue that touch is, paradoxically, the most lasting of the sensory modes in which the resurrected body is presented. T. S. Eliot's "Ash Wednesday" is then paired with a Deleuzean meditation on the fold. The final pair of chapters examines the sacred heart, an extraordinarily popular Catholic devotional image with an intriguing set of devotees-medieval mystics, sweet old ladies, and tattooed punks-in light of theoretical work of Foucault on the idea of inscribed bodies, of the cut. Theologically and philosophically sophisticated, indeed masterly, the book never loses its ground in real, specific bodily experience, performing both at the highest levels of abstraction and at the most quotidian levels of everyday life. (shrink)

Theodor Adorno's Aesthetic Theory offers one of the most powerful and comprehensive critiques of art and of the discipline of aesthetics ever written. The work offers a deeply critical engagement with the history and philosophy of aesthetics and with the traditions of European art through the middle of the 20th century. It is coupled with ambitious claims about what aesthetic theory ought to be. But the cultural horizon of Adorno's Aesthetic Theory was the world of high modernism, and much has (...) happened since then both in theory and in practice. Adorno's powerful vision of aesthetics calls for reconsideration in this light. Must his work be defended, updated, resisted, or simply left behind? This volume gathers new essays by leading philosophers, critics, and theorists writing in the wake of Adorno in order to address these questions. They hold in common a deep respect for the power of Adorno's aesthetic critique and a concern for the future of aesthetic theory in response to recent developments in aesthetics and its contexts. (shrink)

V Heteronomiji umetnosti in avantgard se Aleš Erjavec ukvarja zlasti z radikalnimi politiziranimi avantgardami, se pravi s futurizmom in s konstruktivizmom, in tako nadaljuje svoje delo z začetka osemdesetih let 20. stoletja, ko je pričel svojo "ekspedicijo na severni pol človeškega duha". V pričujoči študiji so tako posebne pozornosti deležne radikalne avantgarde ter politična in ideološka vloga novejše umetnosti, še zlasti one z vzhoda. Nekateri vidijo v teh avantgardah skrajno obliko modernizma, drugi jih obravnavajo kot specifični vzhodnoevropski pojav, tretji (...) pa jih preprosto zreducirajo na njihove zahodne ekvivalente. Podobna ali celo še bolj neustrezna podoba spremlja postsocialistične avantgarde oziroma avantgarde tretje generacije. Te so bile imenovane nekonformistična in neuradna umetnost, vzhodni modernizem, konceptualna umetnost itd. Erjavec dokazuje, da se estetsko krilo teh avantgard v resnici navezuje na estetske avantgarde z začetka 20. stoletja, s čemer so klasične avantagarde s postsocializmom doživele svojo postmoderno ponovitev. In kakor avantgarde nenehno reflektirajo svoj odnos do siceršnje umetnosti, tako tudi estetika kot del filozofije reflektira svoj odnos do umetnosti in avantgarde, pa če ju dojemamo kot avtonomni ali heteronomni. V nadaljevanju obravnava novejšo zgodovino umetnosti in kulture v Vzhodni Evropi. (shrink)

This interview is inspired the most important working-hypothesis presented in the volume Aesthetic Revolutions and the Twentieth-Century Avant-Garde Movements, edited by Aleš Erjavec, that questions the legitimacy of the distinction between aesthetic and artistic avant-gardes, supported by the relationship of each concept with the modern revolutionary politics. The relevance of this contrast for determining modernity both in its ideological shape and its continuity, in the terms of postmodernity will be criticized in our discussion with professor Erjavec, reflecting on (...) the manner in which the artistic communities representative for Surrealism, Russian constructivism, Situationist International, Dadaism, Italian Futurism, 1960s American Art, as well as for Slovenian, Mexican or Romanian artistic movements of the 20th century opened the path for different democratic or totalitarian political attitudes, practices and ambitions. (shrink)

In the 20th century Adorno and Heidegger put forth two different sets of arguments for the paramount importance of art. While the former offered a philosophy of modernist art and interpreted it as a negativity within the means-end rationality of everyday bourgeois existence, the latter praised poetry and art for being a rare modern instance of the disclosure of truth. Within a century exemplified by master narratives promoting collective agendas, they both denigrated the social function of art, thereby promoting the (...) ideals of modernism (the urban, new and transient) and its unreconciliated "other" (the rural, traditional and "eternal"). Are the early 21st century art and its appreciation different and in which ways? In brief, is Adorno's and Heidegger's "overvaluation" of art but a footnote to their philosophy or is it relevant for today's philosophy of art? The paper offers some possible answers to these questions. (edited). (shrink)

What often occurs in relation to contemporary culture are attempts to develop a philosophy which would be focused on culture which is gaining in importance and which would thus complement the extant philosophy of art. The author discusses two such attempts, namely those of Heinz Paetzold and Fredric Jameson. Nonetheless, in his view, in both cases the theories offered remain insufficient and in need of further development if they are to philosophically grasp the current changes in art and culture. (edited).

This collection categorizes aesthetic avant-garde art as art that seeks to politically transform society and argues that such art is essential for political revolution. It provides seven in-depth analyses of twentieth-century aesthetic avant-garde art movements and examines them in relation to revolutionary politics.

Knjiga vsebuje filozofske in estetiške študije, v katerih avtor obravnava nekatere osrednje sodobne probleme estetike, umetnosti in kulture.