The constitutions of many countries guarantee the right to vote for all citizens. However, in reality, voters who are outside their home country when elections take place are often disenfranchised because of a lack of procedures enabling them to exercise that right. Voting from Abroad: The International IDEA Handbook examines the theoretical and practical issues surrounding external voting. It provides an overview of external voting provisions in 115 countries and territories around the world, including a map illustrating the regional spread.
Nadja Bieletzki explores how university presidents lead universities. She provides insights into the upper echelons of higher education management and focuses especially on university presidents in Germany. Special attention is given to the career background of university presidents and the way they conduct reform projects. Based on the results from semi-structured expert interviews and their qualitative analysis, the author shows that university presidents do not use all their formal power although their position has been strengthened by law. This can be explained by the collegial characteristics of universities, which drive and restrict presidential actions Nadja Bieletzki was awarded the Ulrich Teichler Prize for Excellent Dissertations 2016.
How does perceptual experience make us knowledgeable about the world? In this book Nadja El Kassar argues that an informed answer requires a novel theory of perception: perceptual experience involves conceptual capacities and consists in a relation between a perceiver and the world. Contemporary theories of perception disagree about the role of content and conceptual capacities in perceptual experience. In her analysis El Kassar scrutinizes the arguments of conceptualist and relationist theories, thereby exposing their limitations for explaining the epistemic role of perceptual experience. Against this background she develops her novel theory of epistemically significant perception. Her theory improves on current accounts by encompassing both the epistemic role of perceptual experiences and its perceptual character. Central claims of her theory receive additional support from work in vision science, making this book an original contribution to the philosophy of perception.
This book addresses two questions that are highly relevant for epistemology and for society: What is ignorance and how should we rationally deal with it? It proposes a new way of thinking about ignorance based on contemporary and historical philosophical theories. In the first part of the book, the author shows that epistemological definitions of ignorance are quite heterogeneous and often address different phenomena under the label "ignorance." She then develops an integrated conception of ignorance that recognizes doxastic, attitudinal, and structural constituents of ignorance. Based on this new conception, she carves out suggestions for dealing with ignorance from the history of philosophy that have largely been overlooked: virtue-theoretic approaches based on Aristotle and Socrates, consequentialist approaches derived from James, and deontological approaches based on Locke, Clifford, and Kant. None of these approaches individually provide a satisfying approach to the task of rationally dealing with ignorance, and so the author develops an alternative maxim-based answer that extends Kant’s maxims of the sensus communis to the issue of ignorance. The last part of the book applies this maxim-based answer to different contexts in medicine and democracies. How Should We Rationally Deal with Ignorance? will appeal to scholars and advanced students working in epistemology, political philosophy, feminist philosophy, and the social sciences.
Digital Theatre is a rich and varied art form evolving between performing bodies gathered together in shared space and the ever-expanding flexible reach of the digital technology that shapes our world. This book explores live theatre performances which incorporate video projection, animation, motion capture and triggering, telematics and multisite performance, robotics, VR, and AR. Through examples from practitioners like George Coates, the Gertrude Stein Repertory Theatre, Troika Ranch, David Saltz, Mark Reaney, The Builder’s Association, and ArtGrid, a picture emerges of how and why digital technology can be used to effectively create theatre productions matching the storytelling and expressive needs of today’s artists and audiences. It also examines how theatre roles such as director, actor, playwright, costumes, and set are altered, and how ideas of body, place, and community are expanded.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.