Academic literature on the topic 'Reflection (Philosophy) Self-perception'

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Journal articles on the topic "Reflection (Philosophy) Self-perception"

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de Sá Pereira, Roberto Horácio. "A New Deflationary Account of the “Primitive Sense of Selfhood”." Grazer Philosophische Studien 95, no. 3 (2018): 309–28. http://dx.doi.org/10.1163/18756735-000043.

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This paper proposes a new deflationary reading of the metaphor of the “primitive sense of selfhood” in perception and proprioception, usually understood as an “experiential self-reference” that takes place before reflection and any use of concepts. As such, the paper is also a new defense of the old orthodox view that self-consciousness is a highly complex mental phenomenon that requires equally complex concepts. The author’s defense is a clear case of inference to the best explanation. He argues that postulating an “experiential self-reference” to explain the “primitive sense of selfhood” (ecological self, proprioception and the first-person perspective) is as explanatory overkill as attributing perceptions to bacteria to explain the remarkably sophisticated ways in which they adapt, attune, and respond to their environments. This is what the author calls trivialization of self-consciousness. The metaphor of the “primitive sense of selfhood” in perception and proprioception is far less extravagantly explained by what, based on Recanati, the author calls self-involvement without self-consciousness: there is no “experiential self-reference” because there is no self-reference in the first place. Rather than being articulated as a constituent of the contents of her/his perceptions or proprioception, the self/subject is the key element of the circumstance of evaluation of these selfless contents.
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Rumph, Stephen. "Fauré and the Effable: Theatricality, Reflection, and Semiosis in the mélodies." Journal of the American Musicological Society 68, no. 3 (2015): 497–558. http://dx.doi.org/10.1525/jams.2015.68.3.497.

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Gabriel Fauré plays a leading role in Vladimir Jankélévitch's influential critique of musical hermeneutics, La musique et l'ineffable (1961). For the French philosopher, Fauré's works epitomized music that resists verbal interpretation and demands absorption in temporal experience. Yet, like many French composers, Fauré drew upon theatrical song in his mélodies, introducing a performative element that encourages distance as well as absorption. These hybrid mélodies invite both singer and audience to listen critically, savoring the performance within the performance; indeed, these songs offer up music itself as an object of reflection. This article reassesses Jankélévitch's idea of ineffability in light of Fauré's use of diegetic song, questioning the apparent claim that musical experience is incompatible with critical reflection. An introductory analysis of La musique et l'ineffable explores the crucial role of Henri Bergson's philosophy of mind, especially his theory of perception, and demonstrates the inseparable role of both metaphysical cognition and representation in Bergsonian phenomenology. The following song analyses illustrate the need for both reflective and immersive listening. An examination of two settings from Théophile Gautier's La comédie de la mort reveals how Fauré responded to the poet's writerly play between lyric and performative modes, while a longer analysis of the song cycle La chanson d'Ève, based upon a stage ballad, demonstrates how Fauré exploited theatrical song to portray Eve's fall into self-consciousness. Finally, the conclusion proposes a musical hermeneutics compatible with Jankélévitch's idea of ineffability, one informed by the semiotic theory of Charles Sanders Peirce.
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Panov, S. V., and S. N. Ivashkin. "Tolstoy and the Idea of Revolution: Enlightenment Project and Prosopopoeia of Life." Russian Journal of Philosophical Sciences, no. 12 (February 14, 2019): 95–113. http://dx.doi.org/10.30727/0235-1188-2018-12-95-113.

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The reasonable human nature appears in the Enlightenment’s philosophy as a reduction of the human being and its manifestations to a complex of natural impulses when all former norms of perception, reflections, inclinations, actions and the moral principles, which lie in their basis, are canceled in the free human self-experimenting. The monarchy idea depreciates when its citizens turn in the public good’s proponents on the basis of a blind republican consent about the egoism’s limitation (Robespierre) and a prosopo-peia of freedom that gives to a nation the self-government illusion. The reconsideration of the revolutionary moment as a self-affirmation of romantic spirit is connected for Tolstoy with the “world will” novel poetics opening evolutionary moment in the affective and reflexive dynamics of the hero’s consciousness, the limiting witness of the narrator and the author’s horizon of progressive movement to the historical process’s purpose that creates the belief in the need of coexistence with other participating consciousnesses. The revolutionary and evolutionary reflection of Tolstoy is related to the monoteis-tic prosopopoeia of divine kenosis. From an artistic representation of signifying articulations of the evolutionary world the teacher’s reflection of Tolstoy is born. For Tolstoy revolution is the moment of the senseless violence aiming to eliminate the common evil of the world. The conceptual basis of literary culture as an art and ideological formatting of reactive consciousnesses for Tolstoy is an infinite aspiration to the human self-limitation.
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Sytykh, Olga Leonidovna, and Lyudmila Konstantinovna Sintsova. "Problem of the meaning of life in Russian philosophy and its reflection in the worldview of modern student youth." Философия и культура, no. 9 (September 2020): 58–69. http://dx.doi.org/10.7256/2454-0757.2020.9.33986.

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The subject of this research is the problem of the meaning of life in Russian philosophy and in perception of modern students. Based on the analysis of essays on the topic “The problem of the meaning of life in Russian philosophy and personal perspective on the problem” written by the students of Altai State University, it was determined that the students understand the positions of Russian philosophers in this regard, accept or reject certain points of view described in their philosophical works. Main attention is given to the personal perspective of students on the meaning of life. The article compares the results of analysis of the essays with sociological research presented in the literature. The author revels the life-meaning orientations of modern student youth and their stance on one of the fundamental problems of Russian philosophy. Freedom in choosing the path of life, and right to seek their meaning in life, fulfilling of personal creative potential, good intentions – these are the ideas of Russian philosophers most affined to modern students. The students expressed both negative and positive opinions on the writings of Russian philosophers, which is an expected result of comprehension of a profound topic and attempt at self-determination in modern realties.
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Clark, Jonathan Owen. "Aesthetic Experience, Subjective Historical Experience and the Problem of Constructivism." Journal of the Philosophy of History 7, no. 1 (2013): 57–81. http://dx.doi.org/10.1163/18722636-12341244.

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Abstract This article takes as its starting point the recent work of Frank Ankersmit on subjective historical experience. Such an experience, which Ankersmit describes as a ‘sudden obliteration of the rift between present and past’ is connected strongly with the Deweyan theory of art as experiential, which contains an account of aesthetic experience as affording a similar breakdown in the polarization of the subject and object of experience. The article shows how other ideas deriving from the phenomenological tradition and the philosophy of perception can fruitfully be applied to the same terrain, and an account of aesthetic experience is built up that stresses embodied, differential and virtual aspects in the perception of aesthetic objects. The disruption and/or enhancement of these aisthetic aspects of perception, coupled with the self-conscious reflection thereby occasioned, is put forward as an account of aesthetic experience that links Ankersmit’s ideas with those of others, and a critical reading is made of a section of Ankersmit’s Sublime Historical Experience that centers on his experience of a painting by Francesco Guardi. The final section aims at strengthening aspects of Ankersmit’s ideas and renews his critique of the radical constructivism of Oakeshott.
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Troitskiy, V. P. "Preface to the Publication of A.F. Losev’s Unknown Text “The Subject of Psychology”." Cultural-Historical Psychology 14, no. 4 (2018): 64–66. http://dx.doi.org/10.17759/chp.2018140408.

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The paper presents a passage from the second, recently revealed part of A.F. Losev’s book “Philosophy of Name” devoted to the psychology of thinking. According to Losev’s initial plan, the first part of the book was to be the “General and phenomenological analysis of thought and word, or name” which eventually became the published book “Philosophy of Name”. In the second, unpublished part the author planned to interpret “On the dialectic nature of name”. A fragment of hand-written text that was found in A.F. Losev’s archive most probably belongs to this second part. Here, the author creates the phenomenological and dialectic model of the subject of perception and logically constructs its main characteristics and manifestations: stimulation, sensation, representation, self-reflection (intelligentsia). While describing and analyzing the “stage” of sensation, Losev focuses on the “subject of psychology”, all presented in this very paper. The author argues for the “phenomenological formula of mind”. The philosophical method used by A.F. Losev reminds one of E. Husserl’s descriptive (eidetic) phenomenology of the “Logical Investigations” period.
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Shapoval, Oksana. "Theory of communication in the space of philosophy and scientific thought as a determinant of the analysis of R. Wagner’s creative process." Aspects of Historical Musicology 16, no. 16 (2019): 52–76. http://dx.doi.org/10.34064/khnum2-16.03.

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Background. The knowledge about R. Wagner has now acquired the status of a significant component of not only music, but also philosophy, cultural studies, literary studies, and in studies the authors address to the intonation-conceptual and philosophical foundations of the artistic concepts of the German composer. Such universality has a basis in the substantial depths of Wagner’ works, which are the embodiment of myth-making, the conceptual ideas of Gesamtkunstwerk and Kunstreligion. Objectives. The purpose of the research is to determine the scientific basis for the implementation of the theory of communication as determinants of the analysis of the creative process by R. Wagner through the prism of the heuristic quest of the genius composer and the inclusion of his achievements in the continuum of culture. Methods. In knowledge about R. Wagner methodological importance have the works of the famous scientist M. Cherkashyna-Gubarenko. The researcher examines the conceptual foundations of R. Wagner’s work: finds the influence of the German composer on the artistic formation of S. Prokofiev, reveals in the works by R. Wagner evangelical motifs, the Faustian model, which is a reflection of the archetypes, the problem of the embodiment of his works in the Opera house of today. Significant representative of knowledge about R. Wagner, the author of the doctoral thesis, the focus of which is the Opera the «Flying Dutchman» is E. Roschenko. Analyzing the embodiment of mythology in the musical art, scientist addressed to the conceptual foundations of the artistic practice of the great mythmaker R. Wagner. Great importance in the understanding of cognitive and communicative activity of Wagner plays familiarization with his euristic quest, which was carried out through the study of the music and book editions. Materials about the libraries of Wagner transferred to the archive of the Kharkiv Wagner society by M. Eger in the form of manuscript. The results of his research contribute to the expansion of ideas about Wagner’s universalism, which, in turn, allows us to hunting the principle of the composer – Gesamtkunstwerk – as not only a union of music, poetry and dance, but comprehensive intellectual and spiritual synthesis. Results. In science, there are many approaches to the study of communication. This publication highlights the scientific provisions that are methodologically important in the study of the process of communicative and creative process of the artist. The roots of the theory of communication reach antiquity. Therefore, first of all addressing to them, correlating philosophical reflections of ancient Greek thinkers with scientific and philosophical thought regarding the understanding of these processes in subsequent eras from the perspective of the chosen discourse of the proposed research. The dialectical method of Socrates, justified by Plato, involves the acquisition of true knowledge through reasoning in the form of questions and answers that can be carried out in conversation with the interlocutor or with yourself, in the process of knowledge or self-knowledge. R. Wagner was reflectional artist, a sage who came to know themselves in unity with the being of the world, the idea is constantly addressing the question of the meaning of human existence and finding it on various options of response. The metaplot of his works delineates reflections on the imperfection of mortal existence, eternal desire for freedom and immortality. R. Wagner’s reflections are related to philosophical reasons of thinkers, but they are expressed in terms of the artistic concept of the work, where the composer reveals his own philosophical beliefs, placing the characters in the realities of ontological reality. Therefore, we can conclude that the infinite knowledge and self-knowledge of the German master is expressed in the form of artistic and philosophical reflection. Wagner’s creative work gradually reveals its depths through its inclusion in the public consciousness, where it finds a lot of interpretative readings; carried out by directors and performers, music lovers and opera audience, reviewers and researchers. The texts of the works of the German genius are in the focus of the interpreters active attention in the conditions of the modern Director’s Opera house, where they appear as an initial source, prompting the search and actualization of deep meanings, which is facilitated by the artistic and conceptual content of these works. Creativity of R. Wagner is included in the communicative and creative process, which is carried out in a dialogue in the big time (concept by M. Bakhtin). In turn, the German genius acted in this process not only as a communicator, but also as a comunicant, as evidenced, in particular, by the reflection recorded on the pages of his publications (an appeal to humanity and at the same time an imaginary conversation with outstanding personalities of the past and present). Conclusions. Consideration of R. Wagner’s creative work and thought through the prism of artistic and philosophical reflection, allows us to interpret dialogue as an endless search for truth, which takes its multiplicity, despite the composer’s desire to find episteme knowledge. Texts by R. Wagner are the embodiment of the author’s picture of the world, which reflects the conceptual ideas of the composer, included in the dialogue in the big time. The tracking of the semantic content of a literary text often generates new meanings, since this process is subjective, which bears the imprint of the interpretation’s perception. In the creative work of R. Wagner, there is an operation with symbols that means by composer as a «significant game», during which there is a comprehension of archetypal information and the generation on its basis of new meanings that arise as a result of knowledge through myth. The author sees the prospect of further research in the present consideration of R. Wagner’s creative work from the standpoint of the theory of communication, covering the level of social existence of the composer and onto-communication in his operas – display of ontological processes of the Universe.
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Pugin, Sergei Vladimirovich. "Soteriological problematic of personality in the Russian religious tradition." Социодинамика, no. 9 (September 2020): 1–11. http://dx.doi.org/10.25136/2409-7144.2020.9.33891.

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The subject of this research is the problem of personality in the context of Russian religious thought. The study of such phenomenon as personality, which resembles a person’s unique individuality has been actively pursued in Western European philosophy. However, the history of Russian philosophy indicates other storylines related to personality that take roots in the religious tradition of Orthodoxy. One of the fundamental grounds is the Trinitarian problematic in perception of the doctrine on personality by the Russian philosophers. Application of historical-philosophical material allows comparing the reflection of the phenomenon of personality in Western European and Russian thought. Works of the modern authors on the topic are also attracted. In the course of studying the phenomenon of personality in Russian culture, the author formulate the following conclusions: the original concept of personality, which emerged in the pre-Peter tradition, was not only an intrinsic part of folk culture, but also played an important role as an anthropological marker of “friend and alien” on the level of behavioral or ethical practice. The personal marker is a holy, although such role model is an unachievable goal of self-impersonation. The essence of such devotion is revealed only through personal faith inherent to a group of people who share similar views and affiliate themselves with Orthodox Christians. Impersonation of a holy as a spiritualized person becomes a significant ethical and pedagogical dominant, and personality of a human is understood in relation to the personality of God, which manifests as spiritual marker for each person and simultaneously goal the purpose of earthly life. Namely through this, the phenomenon of Sobornost (Spiritual community of many jointly living people) obtains its transcendent meaning.
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Kovtoniuk, Valeriya. "A performing musician’s oeuvre through the prism of phenomenology." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 8–16. http://dx.doi.org/10.34064/khnum1-50.01.

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Background. Continuing trends dated back in the second part of XIX century music culture concentrate on a figure of performing musician. Commercialization an academic art: popularity of performance awards, media supporting for new formats of concert performance, etc. facilitates this largely. Objectives. Public interest conditioned an appearance a lot of scientific research inscribed to problems of musical interpretation. However, a performing oeuvre learning the product, fixation of which even taking to account modern recording capabilities are relative, warrants specific methods. In particular, engaging the conception of values for settlement of a question why performing art products are different with their significance: something becomes a culture phenomenon but something stays at self-actualization level. Methods. For comprehensive study the performing as separate kind of activity it is necessary to involve adjacent humanitaristics areas – psychology and philosophy, which problems of art and it’s osmosis are considered in. In particular, in philosophy art is understood as a kind of human activity aimed at creating new-look material and culture valuables. However, in our perspective more interesting and capacious definition is seem N. Berdyaev’s one: «Art is a human ability to create a new reality from valid material». That picturesque vision of the author’s work, which springs up during an interpretation, often has a wide public interest that let assign to interpretator a status of the creator. Such an understanding of performing musician’s figure significant we can find in foreign philosophers’ works (R. Ingarden, B. Croce) and native music scientists (B. Moskalenko, I. Sukhlenko). Such an understanding of performing musician’s figure significant we can find in foreign philosophers’ works (R. Ingarden, B. Croce) and native music scientists (B. Moskalenko, I. Suchlenko). Results. E. Husserl’s phenomenological conception had a great impact not only on XX th century philosophy but on many humanities science especially art history. It led to the fact that there are many definitions of phenomenon concept, which is interpreted as a reflection of world of ideas, an object that is accessible to the senses, a basic holistic unit of what can be isolated from consciousness, external properties and subject concern revealing its essence, etc. A unite part all of definitions is a sensorial perception as a base of human knowledge based on individual experience and ability of consciousness to self observation and reflection. Stickling example of this is a field of artistry, which individual sensorial perception takes such a big part in that identity of the creator, his feelings often become the centerpiece of work. In musical oeuvre, an outward subjectivization is an acoustic convergent thinking. However, musical thesaurus is enough for power of imagining wakening enabling reproducing and combination the phenomenal stored in composer-performer-hearer’s memory. Performing art based on searching the new acoustic and dramatic source material characteristics. Thereat performer’s work algorithm depends largely on personal intention based on world and mental outlook. The scale of performer identity, his internal conviction power whereby he creates the new acoustic reality is able to notably change all the elements of composer’s intention and affect our perception of musical composition. In that understanding, the special aspects of composer’s activities, its interconnection and correlation with his oeuvre are opened in other view. Brilliant performance reformatting an art space composer’s work frequently appropriates him «double authorship». As a result is a phenomenon of identification with the name of great composer: L. Beethoven’s 5th Symphony – G. Von Karajan / L. Stokowski; J. S. Bach’s Goldberg Variations – G. Gould / R. Tureck; F. Сhopin’s works – V. Sofronitsky / V. Horowitz; P. Tchaikovsky – M. Pletnev. Exactly this influence aspect of performing art on the musical culture interested B. Croce who confirmed that musical composition only exists at the time of execution. However, choice the pair «composer-performer» depends up our perception, our readiness to acceptance an alternative artistic concept. Herewith prescription, forming «set» of value orientation of some shared identity: from group of like-minded persons to mass convictions, has a great impact here. The latter’s impact differs under studying a creativity of famous musicians and soi-disant «second place» musicians who fall under external influence easier than others do. Even in the light of constant changes of public conscience, one can highlight some hard values in it that characterize certain social stratums. However, and these value systems undergo a review for a time and modern society reject what was topically a couple decades ago. The result is that fashion phenomenon on performers or performing style appears. Accordingly, to continue to be relevant performing musician needs to have a gust of latest tendencies in art and to able to save value bases of personal mental outlook. Conclusions. The phenomenological approach to the study of the creative activity of a musician-performer allows one to go beyond the theoretic analysis that is traditional for musicology. Acceptance that the product of performing creativity can be defined as a phenomenon, reflecting several vectors of personal communication (dialogue with oneself, with a composer, public, historical epoch), can help not only in understanding the “musical work of the performer”, but also in understanding the phenomenal significance of performers in modern musical culture.
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Zarif, Tayyaba, and Safia Urooj. "HUMAN RIGHTS AND EDUCATION: CONCEPT AND PRACTICES." Journal of Social Sciences and Humanities 56, no. 2 (2017): 167–81. http://dx.doi.org/10.46568/jssh.v56i2.54.

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Human values and core principles of societies like self-respect, dignity, fairness, equality, dignity, non-discrimination and sharing have long been discussed and valued all over different societies and communities around the globe. These universal core principles are a reflection of the human rights; so the common skeleton of framework, philosophy and concept of human rights should be worldwide or universal. This implies that the recognition of human rights is supposed to be the goal of every state. Other than this central point, can we actually know the concept and dimensions of human rights? This basic question brings out the subject of education of human rights & human rights in education. Keeping in view this context the main objective of author is to study the perception/concept & practices of Teacher Educators about Human Right Education (HRE) & Human Right in Education. The population in this study comprised of Teacher Educators of Department of Education & teacher education of public universities of Sindh, where target population was Department of Education / teacher education of three randomly selected public universities. The target sample was sixty percent Teacher Educators from each department which were selected by random sampling. The research was descriptive in nature & qualitative & quantitative by method. A questionnaire with open and close ended questions was used to collect data and the data was analyzed with the help of percentages& theme analysis to inquire the concept & practices. Visualized findings sum-up the concept and practices about the theme with a few recommendations for practitioners and policy makers.
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Dissertations / Theses on the topic "Reflection (Philosophy) Self-perception"

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張溢明 and Yat-ming Ryan Cheung. "Reflected appraisals in the development of self concept in high-functioning children with autism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B41716437.

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Cheung, Yat-ming Ryan. "Reflected appraisals in the development of self concept in high-functioning children with autism." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B41716437.

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Mastrokalou, Effrosyni Efrosini. "Exploring 'optimal' states of consciousness in Michael Chekhov's psychological gesture : towards a new phenomenological paradigm." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/29894.

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This thesis examines key concepts from philosophers Nishida Kitaro, Maurice Merleau-Ponty and Fredriche Nietzsche and applies them to elements of Michael Chekhov’s practice of acting. The three philosophers, in different ways, suggest an ‘optimal’ state, beyond a dualistic separation of the fictive from the real and the visible from the invisible, that challenges seemingly unbridgeable dualisms between inner and outer, subject and object, being and becoming and experiencer and experienced. The purpose of this thesis is to analyze and understand these selected ‘optimal’ modes of consciousness in performance and, therefore, open up new ways of thinking about Michael Chekhov’s acting processes; in particular the ‘Psychological Gesture’. The thesis asks the following questions: 1. How can the application of selected philosophical paradigms to the Psychological Gesture through theory and practice further our understanding of Michael Chekhov’s work? 2. How do selected aspects of the fields of phenomenology, post-phenomenology, cognitive sciences, consciousness studies and philosophy of mind, aid in developing an articulation and understanding of an ‘optimal’ state of consciousness as a necessary aspect of the actor’s performance in Michael Chekhov’s work and theatre practice? 3. How can this project develop the way we are able to talk about Michael Chekhov’s work and wider acting processes?
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Rasmus-Vorrath, Jack Kendrick. "The honesty of thinking : reflections on critical thinking in Nietzsche's middle period and the later Heidegger." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:effe66e1-235d-46a9-a570-b42dceb7e92f.

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This dissertation engages with contemporary interpretations of Nietzsche and Heidegger on the issue of self-knowing with respect to the notions of honesty and authenticity. Accounting for the two philosophers' developing conceptions of these notions allows a response to interpreters who conceive the activity of self-knowing as a primarily personal problem. The alternative accounts proposed take as a point of departure transitional texts that reveal both thinkers to be engaged in processes of revision. The reading of honesty in Chapters 1 and 2 revolves around Nietzsche's groundwork on prejudice in Morgenröthe (1880-81), where he first problematizes the moral-historical forces entailed in actuating the 'will to truth'. The reading of authenticity in Chapters 3 and 4 revolves around Heidegger's lectures on what motivates one's thinking in Was heißt Denken? (1951-52). The lectures call into question his previous formal suppositions on what calls forth one's 'will-to-have-a-conscience', in an interpretation of Parmenides on the issue of thought's linguistic determination, discussed further in the context of Unterwegs zur Sprache (1950-59). Chapter 5 shows how Heidegger's confrontation with Nietzsche contributed to his ongoing revisions to the notion of authenticity, and to the attending conceptions of critique and its authority. Particular attention is given to the specific purposes to which distinct Nietzschean foils are put near the confrontation's beginning--in Heidegger's lectures on Nietzsche's second Unzeitgemässe Betrachtung (1938), and in the monograph entitled Besinnung (1939) which they prepare--and near its end, in the interpretation of Also Sprach Zarathustra (1883-85) presented in the first half of Was heißt Denken? Chapter 6 recapitulates the developments traced from the vantage point of the retrospective texts Die Zollikoner Seminare (1959-72) and the fifth Book of Die fröhliche Wissenschaft (1887). Closing remarks are made in relation to recent empirical research on the socio-environmental structures involved in determining self-identity.
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Hoffman, Leslie Ann. "An exploration of reflective writing and self-assessments to explain professionalism lapses among medical students." Thesis, 2014. http://hdl.handle.net/1805/5931.

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Indiana University-Purdue University Indianapolis (IUPUI)<br>Background: Recent literature on medical professionalism claims that self-awareness and the ability to reflect upon one’s experiences is a critical component of professionalism; however there is a paucity of empirical evidence to support this claim. This study employed a mixed methods approach to explore the utility of reflective writing and self- and peer assessments in explaining professionalism lapses among medical students. Methods: A retrospective case-control study was conducted using students from Indiana University School of Medicine (IUSM) who had been disciplined for unprofessional behavior between 2006-2013 (case group; n=70). A randomly selected control group (n=230) was used for comparison. Reflective ability was assessed using a validated rubric to score students’ professionalism journals. Mean reflection scores and assessment scores were compared using t-tests. Logistic regression analysis was used to determine the impact of reflection scores and self- and peer assessment scores on the likelihood of having been disciplined for unprofessional behavior. Subsequent qualitative analysis further explored when and how students learned professionalism during their clinical experiences. Results: The study found that students in the case group exhibited lower reflective ability than control students. Furthermore, reflective ability was a significant factor in explaining the odds that a student had been cited for professionalism lapses. There were no differences in self-assessment scores between the two groups, but students in the case group had significantly lower peer assessment scores than control students. Peer assessment scores also had the greatest influence on the odds that a student had been cited for professionalism deficiencies during medical school. Qualitative analysis revealed that students learn professionalism from role models who demonstrated altruism and respect (or lack thereof). Conclusions: These findings suggest that students should be provided with guidance and feedback on their reflective writing to promote higher levels of reflection, which may reduce the number of students who are cited for professionalism lapses. These findings also indicate that peer assessments can be used to provide students with insightful feedback regarding their professional development. Finally, role models have a strong influence on students’ professional development, and therefore must be cognizant of the implicit messages their behaviors convey.
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Books on the topic "Reflection (Philosophy) Self-perception"

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Ri︠a︡bushkina, Tatʹi︠a︡na Mikhaĭlovna. Poznanie i refleksii︠a︡. Kanon+, 2014.

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Self-Reflection for the Opaque Mind: An Essay in Neo-Sellarsian Philosophy. Taylor & Francis Group, 2016.

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Leigh, Fiona, ed. Self-Knowledge in Ancient Philosophy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198786061.001.0001.

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In a tradition inspired by the Delphic injunction to ‘know thyself’, ancient philosophical works contain a variety of treatments of self-knowledge—of knowing the content of certain kinds of one’s own thought, or knowing one’s own status as a knower or moral agent. This book draws together contributions from an international collection of scholars working in ancient philosophy, and explores self-knowledge in ancient thought in Plato, Aristotle, Hellenistic thinkers, and Plotinus, noting continuities and discontinuities with its contemporary counterpart. The nature and structure of ancient self-knowledge is investigated in different thinkers—whether it is higher-order or a kind of self-presence, consists in a synoptic view or is diachronic, is arrived at directly via self-perception or some other kind of grasp, or mediated by dialogue or friendship with others. So too the book enquires into the relation of self-knowledge to virtue or tranquillity, either as a condition on attaining that state, or a result of the agent’s development, resulting from a process of effortful reflection.
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Pearce, Kenneth L. Referring to Spirits and Their Actions. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198790334.003.0008.

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According to Berkeley, we may genuinely refer only to things that resemble the objects of our immediate awareness. Immediate awareness is, however, of two types: perception and reflection. By perception we are aware of our ideas, and by reflection we are aware of ourselves and our actions. Although a spirit (self) or an action is neither an idea nor like an idea, our reflective awareness of ourselves and our actions allows words like ‘spirit’ and ‘action’ to be employed as genuine referring expressions. That Berkeley’s philosophy of language permits genuine reference to spirits is important because of the central role played by spirits—and particularly God—in Berkeley’s metaphysics.
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Devetak, Richard. Crisis and Critique. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198823568.003.0005.

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This chapter provides an exposition of critical international theory as currently expressed and practised. It situates the discussion in perception of disciplinary and global crisis, arguing that crisis is a condition of theoretical critique and critical international theory itself. The chapter discusses the link between knowledge and interests, in which critical international theory’s engagement with the philosophical exercise of self-reflection is a fundamental process of Kantian Enlightenment. The chapter then elaborates the various ways critical international theorists have conceived emancipation and political transformation. The normative, sociological, and praxeological dimensions of critical international theory are considered in relation to the emancipatory rethinking and restructuring of international relations. As a form of reflexive social philosophy in which meta-theoretical imperatives to problematize the self are privileged, mastering dialectical philosophy was and remains essential to the formation of the critical persona in whom critique is both a theoretical attitude and a lived experience.
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Book chapters on the topic "Reflection (Philosophy) Self-perception"

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Jorgensen, Larry M. "Self-Reflection, Perception, and Conceptual Thought." In Leibniz's Naturalized Philosophy of Mind. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198714583.003.0012.

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This chapter argues that the two-fold representation of the self provides a basis for conceptual thought. Some argue that perception and conception are, for Leibniz, radically divided, as they are in Kant’s accounts of intuition and understanding. If this is right, then there is an apparent threat to continuity and therefore to the naturalness of Leibniz’s philosophy of mind. However, this chapter argues that Leibniz is not necessarily committed to a gap here. First, conception is grounded in and arises from perception. Second, insofar as there are primitive concepts, animals could very well have those primitives as well, lacking only the ability to develop those ideas into conscious conceptual cognition. And so the difference would be the presence of a certain kind of ability, which rational beings have that non-rational beings do not have. This difference can be conceived as on a continuum.
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Kjerschow, Peder Christian. "Det klingendes meningspotensial og dets slumrende klangbunn i lytteren: Utkast til en musikkinspirert livsanskuelse." In Musikkfilosofiske tekster. Tanker om musikk – og språk, tolkning, erfaring, tid, klang, stillhet m.m. Cappelen Damm Akademisk/NOASP, 2020. http://dx.doi.org/10.23865/noasp.115.ch16.

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In this essay I am aiming to sketch a context of my view of music, taking the form of a musically-inspired Weltanschauung [world view]. Confronted with “great” music of all types, I experience the particular ability of music to bring consciousness into a state of listening, attentive “passivity”, without the need for an explanation of what it is about. Afterwards, the thinking consciousness may rise to active reflection on the unique potential of meaning in music – so unlike anything else – and on the equally enigmatic resonant disposition in me that responds to music as an essential meaningful appeal. Although music has all the characteristics of its human origin and historical context, it may be considered as a spring welling from the very source of the world: Its potential of meaning is rooted deeper than human culture. Thus, music offers a confrontation with objective reality, not with something “staged” by our consciousness or, not to mention, by our brain. This musical confrontation with reality has led to my questioning the subjectivism of Kant and especially Fichte, and to an interest in Schelling’s philosophy of nature as a convincing refutation of subjectivistic epistemology. In the name of reality, I touch on the problematic interpretations and conclusions of neuroscience and brain research concerning self-perception. This sort of “philosophy”, where the very self (i.e. the “I” or the subject) is identified with the object studied, i.e. the brain itself. This view may also imply a reductionistic understanding of the experience of meaningful music as “staged” by the reward system of the brain.
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Duckworth, Douglas S. "Concepts and the Nonconceptual." In Tibetan Buddhist Philosophy of Mind and Nature. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190883959.003.0005.

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This chapter discusses two theories of Buddhist knowledge: one based in a Yogācāra tradition inspired by Dharmakīrti and one based in a Madhyamaka tradition stemming from the works of Nāgārjuna and Candrakīrti. In Dharmakīrti’s epistemology, rather than linguistic entities or objects of thought, perceptual experience is emphasized as the primary medium of undistorted truth. Inference also plays a key role, particularly as we see in Madhyamaka’s critical ontology—where analysis, not pre-reflective self-awareness, leads the way to liberating knowledge. In Yogācāra and Madhyamaka, both inference and perception have important roles to play, so we can see once again how both traditions interpenetrate, as each of them has phenomenological and ontological modalities or contexts where inference or perception is paramount.
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