Charles Tilly (1929-2008), sociólogo, historiador y politólogo norteamericano, es un autor imprescindible para la comprensión de la contienda política y el conflicto social. Sus investigaciones muestran cómo las bases sociales organizadas en diversas formas de acción colectiva pueden influir y condicionar la marcha de la historia. Sus estudios sobre las revoluciones, la formación y evolución de los Estados y su teoría de la acción colectiva giran en torno a su gran preocupación: la defensa de derechos ciudadanos y la búsqueda de (...) sistemas políticos atentos a las condiciones de vida de los más débiles. Esta obra presenta la mayor recopilación de reflexiones sobre su trabajo publicada hasta la fecha. Cada capítulo analiza sus textos, sus teorías y diseños metodológicos, y algunos añaden investigación de casos. Este libro ayuda a comprender un tiempo marcado por intensas movilizaciones populares, algunas con consecuencias muy relevantes, como las protestas que se extienden en 2011 desde Túnez a Egipto, Yemen, Libia, Siria, etc.,la llamada "primavera árabe" y distintas movilizaciones en el occidente democrático reclamando más atención a las demandas ciudadanas, como el Movimiento 15 de Mayo (15 M) en España replicado en otros países, las protestas en Grecia, Reino Unido, etc. (shrink)

This book is not only an homage to Charles Tilly, but is a proposal of applying his thought. The authors examine his concepts, theories, and methodological contributions, providing a richer understanding of them. It is an essential guide for anyone interested on the analysis of political change and social conflict.

If Unamuno had been able to choose how to be remembered, he would have wanted him to be a poet. This book wants to do justice to that happy possibility. But above all because Unamuno was a poet in the highest sense: he was while writing the same essay as a novel, or theater, letter or verse, and he was also a poet when he passionately lived all the facets of his intense existence. His intellectual work was poetic and his (...) personal relationships, as well as his political activity, also responded to that peculiar Unamunian aesthetic in which the vital horizon is inescapably confused with the tasks of thought." --Translated from back cover. (shrink)

English summary: Marie-Odile Goulet-Caze examines the thesis of some Theologians following Q, that Jesus and his disciples where highly influence by cynic preachers in Galilee. Translated into German by Lena Seehausen. German description: Mit seiner Kritik an der Zivilisation, seiner Infragestellung von sozialen Hierarchien, seiner Verachtung von Reichtumern und seiner radikalen Askese bot der Kynismus dem fruhen Christentum der ersten Jahrhunderte diverse Beruhrungspunkte. Unter den Exegeten und Theologen des Neuen Testaments findet man sogar jene, namlich die Anhanger und Befurworter der (...) Cynic hypothesis, die glauben, dass Jesus selbst und seine Wegbegleiter Kyniker in Galilaa hatten kennen konnen, und dass sie folglich ganz entscheidend von der Moral und dem Verhalten dieser Wanderprediger hatten beeinflusst werden konnen. Ein kynischer Charakter der ursprunglichen Lehre Jesu sei besonders in der sogenannten Quelle "Q" der synoptischen Evangelien ersichtlich, sofern man sie im Lichte der griechischen, ja sogar kynischen, Chrien und durch das Raster der Moral des Diogenes liest. Das vorliegende Werk pruft die Gultigkeit der These. In den darauffolgenden Jahrhunderten ubernahmen die Christen, hin- und hergerissen zwischen der Bewunderung fur die Askese der ersten Kyniker und ihrer Abneigung gegenuber der Schamlosigkeit und dem Atheismus der Hunde ihrer Epoche, vielfaltige und manchmal gegensatzliche Haltungen; mal appellierten sie an das Beispiel der Kyniker, mal beschimpften und verleumdeten sie diese von eitlem Ruhm besessenen Menschen, die in ihren Augen die Affirmation eines menschlichen Willen reprasentierten, der im Gegensatz zur religiosen Unterwerfung des christlichen Glaubens stand. Die Herausforderung dieser Studie besteht darin, die Verbindungen zwischen Kynismus und Christentum zu untersuchen, ohne die Texte zu forcieren und ohne sich irgendeiner Ideologie zu unterwerfen. (shrink)

Relacionado con el surgimiento de un nuevo modo de religiosidad y vida espiritual, cuyo modelo había sido establecido con gran éxito en la Santa Cueva de Cádiz, se fundaron en Sevilla una serie de congregaciones similares en el primer tercio del siglo XIX. Tomando como base los escritos de la Madre María de la Antigua, se establecieron en distintas collaciones de la ciudad, fundándose en 1817 la Congregación de Jesús Crucificado y María Santísima de los Dolores en Triana. En el (...) presente artículo se analiza su breve historia, así como las sedes por las que pasaron en sus escasos veinte años de existencia. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 64-66 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Anne Sinclair Indiana University Mary Reichling's exploration of form, feeling, and isomorphism in the writings of Susanne Langer accomplishes its goal to examine and elucidate aspects of these concepts. I find several of the ideas presented very engaging. Musical form and feeling are (...) very real to me in my experience as a music and liturgy director in the Catholic Church. I wholeheartedly agree with the concept of the processual nature of both, which has been well articulated. In my life experience, the musical form, the feeling inherent in it, and its process of coming to life in a given moment, is a near-weekly event. The church continually solemnizes life events, and musical form is an integral part of that solemnization. My response centers on the following claim: "Feeling is not a product but a process, it follows that the feeling ends when the music stops"; and question, "How can it be educational?"The example of the drama, King Lear, is very interesting. Indeed, as we get caught up in the action of the production, we become connected to the feelings and lives of the characters. I agree that it might be easier to experience feeling in a drama or epic, rather than in the visual arts, or in our sonorous art. The drama connects us to the human condition and we "feel" for the characters. In my position [End Page 64] as a liturgist, I find myself in a situation similar to that of the director of a play. Indeed, at times there is a very fine line between drama and good liturgy. However, in the liturgy we are connecting with real lives, the lives of our assembly members, not the lives of fictitious characters. Good musician liturgists strive to give voice to the emotions of the assembly. While I admit this is not always accomplished in weekly Sunday liturgies, I think especially of funeral liturgies where the music strives to speak of the hope and promise of eternal life for the departed loved one and also of the feelings of grief experienced by the assembled family and friends.I take issue with the idea "that the feeling stops when the music does." Throughout the body of the paper, Reichling highlights Langer's ideas on music's "sonorous image of feeling in an imaginatively perceptible form" and her use of the terms "semblance," "illusion," and "virtual" in regard to feeling. However, in contemplating the points brought forth, I mentally wrestled with the idea of feeling stopping when the music did. Could this position be held because it was based on what might be referred to as a "virtual" experience (for example, a musical concert or show) rather than a "real-life" moment?During the process of this contemplation, I had the occasion to attend the funeral of a friend's husband. This funeral occurred in a faith tradition other than Catholicism and I participated in the service as a member of the congregation. My friend is a music educator, her husband had been a musician, and both had been active in the music ministry of their church for nearly thirty years. As one might imagine, music was a central element in the solemnization of this man's life. The music was brought to life by an extraordinary group of musicians, including many graduate students and faculty members of the Indiana University School of Music. The music was superb and each piece had relevance to the life being celebrated as well as to the moment at hand, saying goodbye. The choir was wonderful, sharing movements from both the Brahms and Fauré Requiems, which were very moving. The soloist was renowned soprano, Sylvia McNair, an "adopted" member of the family since her days years ago as an Indiana University graduate student. Musical form and feeling came together in a powerful way for me during her singing of Fauré's Pie Jesu as she... (shrink)

This chapter contains sections titled: Metaphysics and Epistemology Ethics and Politics Aesthetic Worldviews References Further Reading.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 64-66 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Anne Sinclair Indiana University Mary Reichling's exploration of form, feeling, and isomorphism in the writings of Susanne Langer accomplishes its goal to examine and elucidate aspects of these concepts. I find several of the ideas presented very engaging. Musical form and feeling are (...) very real to me in my experience as a music and liturgy director in the Catholic Church. I wholeheartedly agree with the concept of the processual nature of both, which has been well articulated. In my life experience, the musical form, the feeling inherent in it, and its process of coming to life in a given moment, is a near-weekly event. The church continually solemnizes life events, and musical form is an integral part of that solemnization. My response centers on the following claim: "Feeling is not a product but a process, it follows that the feeling ends when the music stops"; and question, "How can it be educational?"The example of the drama, King Lear, is very interesting. Indeed, as we get caught up in the action of the production, we become connected to the feelings and lives of the characters. I agree that it might be easier to experience feeling in a drama or epic, rather than in the visual arts, or in our sonorous art. The drama connects us to the human condition and we "feel" for the characters. In my position [End Page 64] as a liturgist, I find myself in a situation similar to that of the director of a play. Indeed, at times there is a very fine line between drama and good liturgy. However, in the liturgy we are connecting with real lives, the lives of our assembly members, not the lives of fictitious characters. Good musician liturgists strive to give voice to the emotions of the assembly. While I admit this is not always accomplished in weekly Sunday liturgies, I think especially of funeral liturgies where the music strives to speak of the hope and promise of eternal life for the departed loved one and also of the feelings of grief experienced by the assembled family and friends.I take issue with the idea "that the feeling stops when the music does." Throughout the body of the paper, Reichling highlights Langer's ideas on music's "sonorous image of feeling in an imaginatively perceptible form" and her use of the terms "semblance," "illusion," and "virtual" in regard to feeling. However, in contemplating the points brought forth, I mentally wrestled with the idea of feeling stopping when the music did. Could this position be held because it was based on what might be referred to as a "virtual" experience (for example, a musical concert or show) rather than a "real-life" moment?During the process of this contemplation, I had the occasion to attend the funeral of a friend's husband. This funeral occurred in a faith tradition other than Catholicism and I participated in the service as a member of the congregation. My friend is a music educator, her husband had been a musician, and both had been active in the music ministry of their church for nearly thirty years. As one might imagine, music was a central element in the solemnization of this man's life. The music was brought to life by an extraordinary group of musicians, including many graduate students and faculty members of the Indiana University School of Music. The music was superb and each piece had relevance to the life being celebrated as well as to the moment at hand, saying goodbye. The choir was wonderful, sharing movements from both the Brahms and Fauré Requiems, which were very moving. The soloist was renowned soprano, Sylvia McNair, an "adopted" member of the family since her days years ago as an Indiana University graduate student. Musical form and feeling came together in a powerful way for me during her singing of Fauré's Pie Jesu as she... (shrink)

Es una obra colegiada en homenaje al doctor Jorge Alberto Silva que reúne los trabajos de juristas que cultivan diversas ramas de la ciencia jurídica. Este libro, además de numeroso artículos dedicados al análisis y exposición de casos sobre derecho internacional, el lector encontrará que la filosofía del derecho, la teoría general del derecho, la teoría de la argumentación, así como la teoría de la constitución, convergen en los trabajos que componen este extenso volumen y dan como resultado un texto (...) transdisciplinario, complejo e integral de gran valor académico. (shrink)

Depuis 2001, les gouvernements successifs ont mis en place différents dispositifs de prévention et de résolution des risques de fragilisation précoce et de rupture ultérieure des parcours scolaires des enfants et des jeunes exposés à des difficultés sociales et/ou familiales. L’acceptation et l’efficacité de ces dispositifs supposent non seulement le remaniement des représentations que parents et professionnels ont acquises les uns des autres, mais aussi l’établissement entre eux d’un climat de confiance et de respect mutuels. Après avoir décrit les tenants (...) et les aboutissants de ces enjeux, une approche co-éducative est promue. Décrite comme une « utopie réaliste », elle n’en vise pas moins à favoriser les conditions de la coopération entre parents et professionnels pour mieux inciter les enfants et les jeunes à reconsidérer avec eux le sens et la pertinence d’une articulation apaisée de l’éducation familiale et de l’éducation scolaire qui leur sont dispensées. (shrink)

Historical and intellectual context -- The hidden root of being in the early writings -- Thematic approach: from the being of factual life to the meaning of being in general.

Sample quotes from emails sent by visitors to Mary Klages's successful literary theory web pages on which this book is based: 'Finding your course was a godsend ...

Some commentators have condemned Kant’s moral project from a feminist perspective based on Kant’s apparently dim view of women as being innately morally deficient. Here I will argue that although his remarks concerning women are unsettling at first glance, a more detailed and closer examination shows that Kant’s view of women is actually far more complex and less unsettling than that attributed to him by various feminist critics. My argument, then, undercuts the justification for the severe feminist critique of Kant’s (...) moral project. (shrink)

La obra recoge, desde una perspectiva interdisciplinar, las aportaciones de un grupo de investigadores españoles e italianos que han trabajado conjuntamente durante varios años en distintas cuestiones en torno a las posibilidades y riesgos de los avances biotecnológicos y su incidencia en el campo de los derechos humanos. Los estudios y debates se han realizado en el marco del programa de doctorado internacional sobre "Derechos humanos: Problemas actuales" encabezado por las Universidades de Valencia y Palermo. El Profesor Jesús Ballesteros, Catedrático (...) de Filosofía del Derecho en la Universidad de Valencia, ha sido el encargado de dirigir y coordinar este proyecto. (shrink)

Andrei A. Buckareff is Assistant Professor at Marist College, USA --.

In the Philippines, all transplant centers are mandated by the Department of Health (DOH) to have a Hospital Transplant Ethics Committee (HTEC) to ensure that donations are altruistic, voluntary and free of coercion/commercial transactions. This study was undertaken primarily to describe the organizational and functional profile of existing HTECs and identify areas for improvement. This is a descriptive cross‐sectional study. There was variation in their logistical arrangements (support from hospital, filing systems, office spaces), operations (length and frequency of meetings, number (...) of referrals) and membership (composition, qualifications, occupation, training). The approval rate for donor‐recipient pairs is high with the majority of cases made by living non‐related donors. Appropriate reasons were cited for rejection. The perception of HTECs is that they are competent and confident in their decision‐making. However, there is a need to standardize HTEC composition, provide operating procedures and additional training which can be done by the DOH. (shrink)