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Relevant bibliographies by topics / Karen Warren

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Academic literature on the topic 'Karen Warren'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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Journal articles on the topic "Karen Warren"

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Goff-Yates, Amy L. "Karen Warren and the Logic of Domination." Environmental Ethics 22, no. 2 (2000): 169–81. http://dx.doi.org/10.5840/enviroethics200022233.

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Hanlon, Gail, and Helena Ragoné. "Woman the Hunter. Mary Zeiss StangeEcological Feminist Philosophies. Karen J. Warren." Signs: Journal of Women in Culture and Society 25, no. 3 (April 2000): 974–77. http://dx.doi.org/10.1086/495505.

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Rosendo, Daniela, and Tânia Aparecida Kuhnen. "A ética ecofeminista de Karen J. Warren: um modelo de ética ambiental genuína?" Revista Internacional Interdisciplinar INTERthesis 12, no. 1 (July 7, 2015): 16. http://dx.doi.org/10.5007/1807-1384.2015v12n1p16.

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Sagols, Lizbeth. "El ecofeminismo y su expresión en la filosofía de Karen Warren. Una perspectiva ética." Debate Feminista 49 (April 2014): 116–24. http://dx.doi.org/10.1016/s0188-9478(16)30006-8.

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Duerden, Mat D. "Theory and Practice of Experiential Education. Karen Warren, Denise Mitten, and T. A. Loeffler (Editors)." Journal of Leisure Research 42, no. 4 (December 2010): 653–54. http://dx.doi.org/10.1080/00222216.2010.11950223.

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Cole, Daniel. "Heidegger and Social Ecology." Stance: an international undergraduate philosophy journal 1, no. 1 (September 6, 2019): 32–37. http://dx.doi.org/10.33043/s.1.1.32-37.

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In this essay I defend Heidegger’s critique of technology against possible criticisms that he may be an anti-humanist and a mystic. This essay will show that Heidegger’s critique of technology is helpful in thinking about ecological questions; and his contributions to such questions is relevant and not radically separated from some of the work of other philosophers today including Karen Warren and Marilyn Frye.

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Rawson, Glenn. ""An Unconventional History of Western Philosophy: Conversations Between Men and Women Philosophers," ed. Karen J. Warren." Teaching Philosophy 37, no. 4 (2014): 559–63. http://dx.doi.org/10.5840/teachphil201437443.

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STRZALKOWSKI, JASON. "Ecofeminism: Women, Culture, Nature. Karen J. Warren (Ed.). Bloomington, IN: University of Indiana Press, 1997. 454 pp. $29.95 (paper)." Educational Studies 41, no. 2 (May 25, 2007): 175–78. http://dx.doi.org/10.1080/00131940701312637.

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Sagols, Lizbeth. "Repensar el patriarcado. ¿Más allá de la condición de víctima de la mujer?" Theoría. Revista del Colegio de Filosofía, no. 29 (December 31, 2015): 11–24. http://dx.doi.org/10.22201/ffyl.16656415p.2015.29.461.

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Rethinking patriarchy. Beyond victim condition of woman? In this article, I analyze Gerda Lerner’s common negative, on one hand, and of Elizabeth Badinter, on the other, to recognize the victim status of women in patriarchy. My analysis leans on the idea of patriarchy as social structure of two philosophers which, in spite of have elaborated two different systems, both agree in this point: Karen Warren and Catharine MacKinnon. At the same time, my analysis leans on the exposure of some overwhelming true facts and I wonder how far is favorable the refusal to see an evident reality that determines us and which, paradoxicaly, is necessary for the emerging of our liberty.

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Barlow, Sandra M. "Clinical skills in infant mental health. By Sarah Mares, Louise Newman, Beulah Warren, and Karen Cornish. ACER Press, 2005, 320 pp." Infant Mental Health Journal 28, no. 1 (January 2007): 97–98. http://dx.doi.org/10.1002/imhj.20118.

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Dissertations / Theses on the topic "Karen Warren"

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Pérez, Marina Daniel. "Anthropocentrism and Androcentrism : An Ecofeminist Connection." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-2817.

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Salisbury, Derek. "Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books." ScholarWorks @ UVM, 2013. http://scholarworks.uvm.edu/graddis/209.

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At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. The project consulted the major works of British comic scriptwriters, Alan Moore, Jamie Delano, Grant Morrison, Peter Milligan, Neil Gaiman, Warren Ellis, and Garth Ennis. These works include Watchmen, V for Vendetta, Shade: the Changing Man, Batman: Arkham Asylum, Animal Man, Sandman, Transmetropolitan, Preacher and several other important works. Following a chronological organization, the work tracks major changes taking place in the American comic book industry in the commercial, corporate, and creative sectors to show the processes through which the medium matured in this time period. This is accomplished by combining textual analysis of the comics with industry specific records and a focus on major cultural shifts in US society and culture

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Menke, Annika [Verfasser], Karin [Akademischer Betreuer] [Gutachter] Zachmann, and Jutta [Gutachter] Roosen. "Die „Digital Hand“ in der deutschen Konsumgüterwirtschaft: Die Digitalisierung der Waren- und Datenströme zwischen den Lebensmittelhändlern und -herstellern in der Bundesrepublik Deutschland im internationalen Kontext (1965 – 1989). Eine Untersuchung an der Schnittstelle von Technik- und Wirtschaftsgeschichte / Annika Menke. Betreuer: Karin Zachmann. Gutachter: Jutta Roosen ; Karin Zachmann." München : Universitätsbibliothek der TU München, 2016. http://d-nb.info/1103658409/34.

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Books on the topic "Karen Warren"

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Ullrich, Bernhard. Die Esthaler: Wer sie waren--, woher sie kamen-- : Ergebnisse von mehr als 15 Jahren Erforschung der Bevölkerungsgeschichte des Dorfes Esthal/Pfalz, mit einer Zusammenstellung aller Familien im Zeitraum vom 30jährigen Krieg bis 1850. Weinheim: Selbstverlag Bernhard Ullrich, 2001.

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Lang-Auinger, Claudia, and Elisabeth Trinkl, eds. Corpus Vasorum Antiquorum Österreich. Beiheft 3 - Griechische Vasen als Medium für Kommunikation. Ausgewählte Aspekte. Verlag der Österreichischen Akademie der Wissenschaften, 2021. http://dx.doi.org/10.1553/978oeaw84638.

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In dem vorliegenden Symposienband wird thematisiert, ob die Vasen, die eine wichtige Ware sowohl für den lokalen Handel als auch für den Export darstellten, darüber hinaus auch noch als Träger für spezifische Botschaften genutzt wurden und als Medium der Kommunikation zum Einsatz kamen. Der Vasenmaler spielte dabei eine bedeutende Rolle. Die Themen wurden mit Sorgfalt ausgewählt. Zeitlich und geographisch decken die Beiträge Beispiele der geometrischen Werkstätten, der archaischen und klassischen Produktionen von Athen, Korinth, Böotien, Euböa ab und widmen sich auch weiteren griechischen Landschaften sowie der Keramik Etruriens, der Magna Graecia und Siziliens. Fundorte der iberischen Halbinsel und des nördlichen Alpenraums werden ebenso besprochen.

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Book chapters on the topic "Karen Warren"

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Tumat, Antje. "Die Anfänge der Internationalen Ferienkurse für Neue Musik aus Gender-Perspektive." In Gender und Neue Musik, 17–42. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839447390-002.

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Eine der weltweit bedeutendsten Institutionen zeitgenössischer Musik, die Internationalen Ferienkurse für Neue Musik in Darmstadt, thematisiert seit 2016 erstmals in ihrer Geschichte Gender-Fragen und lenkt damit den Blick auf die gerade in den Anfangsjahren sehr geringe Anzahl der dort von Komponistinnen gespielten Werke. Die Musikgeschichtsschreibung geht gleichfalls von einem männlich dominierten musikästhetischen Diskurs in der Neuen Musik der 1950er und 1960er Jahre aus. Die wenigen Komponistinnen, deren Werke in den ersten zwei Jahrzehnten in Darmstadt gespielt wurden, fanden in diesem Zusammenhang bisher kaum Beachtung, dabei waren sie wichtige Trägerinnen von Kulturtransfer: Sie kamen aus allen Teilen der Welt ins Darmstadt der Nachkriegszeit, um ihre Neue Musik vorzustellen, am Puls der aktuellen Avantgarde zu studieren und ihre Erkenntnisse anschließend in ihrer Heimat weiterzugeben. Wird zudem ein kulturwissenschaftlich orientierter Blick in die Darmstädter Quellen gewählt, eröffnen sich neben den sichtbaren Werkpräsentationen der ersten Komponistinnen weitere Perspektiven auf Frauen in den Darmstädter Anfängen: Auf den Gebieten der Interpretation einerseits oder aber der Vernetzung und Verbreitung, andererseits, waren Frauen im frühen Darmstadt rege beteiligt. Werden die Ferienkurse als Debattenplattform verstanden, auf der historisch existenzielle Fragen in künstlerisches Schaffen übersetzt wurden, so gerät der dortige mündliche Austausch in den Fokus, auf den indirekt Rückschlüsse möglich sind.

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Feldman, Susan. "Some Problems With Ecofeminism." In The Paideia Archive: Twentieth World Congress of Philosophy, 16–20. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia199822391.

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Karen Warren presents and defends the ecofeminist position that people are wrong in dominating nature as a whole or in part (individual animals, species, ecosystems, mountains), for the same reason that subordinating women to the will and purposes of men is wrong. She claims that all feminists must object to both types of domination because both are expressions of the same "logic of domination." Yet, problems arise with her claim of twin dominations. The enlightenment tradition gave rise to influential versions of feminism and provided a framework which explains the wrongness of the domination of women by men as a form of injustice. Yet on this account, the domination of nature cannot be assimilated to the domination of women. Worse, on the enlightenment framework, the claim that the domination of nature is wrong in the same way that the domination of women is wrong makes no sense, since (according to this framework) domination can only be considered to be unjust when the object dominated has a will. While ecofeminism rejects the enlightenment view, it cannot simply write off enlightenment feminism as non-feminist. It must show that enlightenment feminism is either inauthentic or conceptually unstable.

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André, Naomi. "Winnie, Opera, and South African Artistic Nationhood." In Black Opera, 167–92. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041921.003.0006.

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This chapter places Winnie: The Opera (Bongani Ndodana-Breen, Warren Wilensky, and Mfundi Vundla, 2011) in a larger comparative framework that includes the Western opera tradition, opera in the United States, and the representation of blackness in opera more generally. With a reading of postcolonial and post-apartheid theorists (for example, Homi Bhabha and the “unhomely,” Karin Barber and entextualization, and Sarah Nuttal’s entanglement), this chapter also draws upon the Global South (and global studies) along with transnationalism. This chapter examines events from the opera in Winnie Mandela’s life (torture, the Mandela United Football Club, and the Truth and Reconciliation Commission) as they are characterized musically and in the drama.

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Keats, Jonathon. "Spime." In Virtual Words. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195398540.003.0035.

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The word robot first appeared in print in 1920, forty-one years before robotics became an industrial reality. Derived from the Czech term robota, meaning “forced labor,” the name was given to the automata in R.U.R., a play by Karel Čapek in which machines manufactured by humans eradicate their creators. When the play traveled to the United States in 1922, the New York Times called it “a Czecho-Slovak Frankenstein.” Isaac Asimov was somewhat less charitable in a 1979 essay: “Capek’s play is, in my own opinion, a terribly bad one, but it is immortal for that one word. It contributed the word ‘robot’ not only to English but, through English, to all the languages in which science fiction is now written.” Asimov was himself one of the foremost authors of this genre, coining the word robotics in a 1941 story, and nine years later formulating the Three Laws of Robotics, the first code of conduct for machines. Those laws have immeasurably influenced real-world engineers in the decades since the first working robot, the four-thousand-pound Unimate, was installed in a General Motors plant in 1961, just one example of how Čapek’s immortal word, freed of its trite theatrical frame, has profoundly impacted the evolution of technology. The fate of R.U.R. stimulates a provocative question: Can an effective work of science fiction be written in a single word? At least one seems worthy of consideration. That word is spime. Spime was coined by Bruce Sterling, a Hugo Award–winning author of numerous sci-fi novels that have helped to define cyberpunk. Many of those novels, such as Heavy Weather and Holy Fire, are set in the near future, presenting dystopic visions of what our world might become if we continue to behave as irresponsibly as we have in the past. Heavy Weather, for instance, is a story of a globally warmed environment ravaged by tornadoes, one of which threatens to devastate the planet unless “hacked” by a cyberpunk Storm Troupe.

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