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1
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0040314198
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Kierkegaard
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In Danish: '. . . naar man siger, at Livet er en Gjentagelse, saa siger man: Tilværelsen, som har været til, bliver nu til' (Kierkegaard, 1962, vol. 5, p. 131). Kierkegaard wrote this as an implicit critique of Hegel's idea of Bildung, and as an opening towards the future, yet he points to a salient feature in the experience of one's past: the truth of the moment of change.
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(1962)
. . . Naar Man Siger, at Livet Er en Gjentagelse, Saa Siger Man: Tilværelsen, Som Har Været Til, Bliver Nu Til
, vol.5
, pp. 131
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Danish1
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2
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0040314200
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In Danish: '. . . naar man siger, at Livet er en Gjentagelse, saa siger man: Tilværelsen, som har været til, bliver nu til' (Kierkegaard, 1962, vol. 5, p. 131). Kierkegaard wrote this as an implicit critique of Hegel's idea of Bildung, and as an opening towards the future, yet he points to a salient feature in the experience of one's past: the truth of the moment of change.
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Bildung
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Kierkegaard1
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3
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0004118495
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'Remediation' as the 'formal logic by which new media refashion prior media forms'
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Bolter and Grusin
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In their book Remediation. Understanding New Media, J. D. Bolter and R. Grusin define 'remediation' as the 'formal logic by which new media refashion prior media forms' (Bolter and Grusin, 1999, p. 273). shall use the word more informally to refer to the transformation or refashioning of Bildung in the new media.
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(1999)
Remediation. Understanding New Media
, pp. 273
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Bolter, J.D.1
Grusin, R.2
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4
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0039129990
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In their book Remediation. Understanding New Media, J. D. Bolter and R. Grusin define 'remediation' as the 'formal logic by which new media refashion prior media forms' (Bolter and Grusin, 1999, p. 273). shall use the word more informally to refer to the transformation or refashioning of Bildung in the new media.
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Bildung
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6
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34547846152
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Dufrenne
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In The Phenomenology of Aesthetic Experience, Mikel Dufrenne says the following about the 'affective a prori': 'Thus we may say that affectivity is not so much in me as in the object. To feel is to experience a feeling as a property of the object, not as a state of my being. The affective exists in me only as the response to a certain structure in the object' (Dufrenne, 1973, p. 442). I find it easy to agree to this provided that the relation is understood as an ongoing interplay, that is, as the uneasy and unstable Wechelswirkung between subject and object, as the affective and partly spontaneous movement between positions in space.
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(1973)
The Phenomenology of Aesthetic Experience
, pp. 442
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Dufrenne, M.1
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7
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0039722371
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Further references to this text are by page number
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Further references to this text are by page number.
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9
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0039129991
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For other explorations of the theme of the punctum and the gift, see Gert Biesta: 'Preparing for the incalculable. Deconstruction, justice and the question of education', and Michael Wimmer: 'The gift of Bildung. Reflections on the relationship between singularity and justice in the concept of Bildung' (in Biesta and Egéa-Kuehne, 2001). Wimmer's piece was originally published in German in Masschelein and Wimmer (1996).
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Preparing for the Incalculable. Deconstruction, Justice and the Question of Education
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Biesta, G.1
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10
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77951753682
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Biesta and Egéa-Kuehne, Wimmer's piece was originally published in German in Masschelein and Wimmer (1996)
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For other explorations of the theme of the punctum and the gift, see Gert Biesta: 'Preparing for the incalculable. Deconstruction, justice and the question of education', and Michael Wimmer: 'The gift of Bildung. Reflections on the relationship between singularity and justice in the concept of Bildung' (in Biesta and Egéa-Kuehne, 2001). Wimmer's piece was originally published in German in Masschelein and Wimmer (1996).
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(2001)
The Gift of Bildung. Reflections on the Relationship between Singularity and Justice in the Concept of Bildung
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Wimmer, M.1
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11
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0040908376
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The idea of the rhizome is described in Deleuze and Guattari (1983)
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The idea of the rhizome is described in Deleuze and Guattari (1983).
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12
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0040314199
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note
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I am grateful to Sven Erik Nordenbo for vital suggestions as to the final form of this essay, and to my niece Elisabeth Løvlie for a good measure of inspiration from her work on literary silence.
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