Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others’ enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. Painters paint to feel. They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform the painter’s whole sense of being. Thus, painting is not only about producing art, communicating content, and so on, but also about setting up and inhabiting an experiential space wherein highly valued feelings are interactively enabled and supported. This book investigates how and why this happens by combining psychoanalytical theorization on creativity with philosophical thinking on affectivity. It focuses on creative experience itself, and illuminates the psychological mechanisms and dynamics that underlie the affects at stake. Painters’ own descriptions of how they feel at work are used throughout to give an accurate, true-to-life portrayal of the experience of painting. The strength of the book lies in its open-minded yet critical integration of contemporary psychoanalytic and philosophical thinking, and in its truthfulness to painters’ experiential descriptions of the painterly process. On the whole, it enriches our understanding of artistic creativity and sheds more light on how and why we come to feel the things we do. As such, the book will appeal to philosophers, psychoanalysts, and art researchers alike.
Derived from the renowned multi-volume International Encyclopaedia of Laws, this practical analysis of competition law and its interpretation in the Finland covers every aspect of the subject – the various forms of restrictive agreements and abuse of dominance prohibited by law and the rules on merger control; tests of illegality; filing obligations; administrative investigation and enforcement procedures; civil remedies and criminal penalties; and raising challenges to administrative decisions. Lawyers who handle transnational commercial transactions will appreciate the explanation of fundamental differences in procedure from one legal system to another, as well as the international aspects of competition law. Throughout the book, the treatment emphasizes enforcement, with relevant cases analysed where appropriate. An informative introductory chapter provides detailed information on the economic, legal, and historical background, including national and international sources, scope of application, an overview of substantive provisions and main notions, and a comprehensive description of the enforcement system including private enforcement. The book proceeds to a detailed analysis of substantive prohibitions, including cartels and other horizontal agreements, vertical restraints, the various types of abusive conduct by the dominant firms and the appraisal of concentrations, and then goes on to the administrative enforcement of competition law, with a focus on the antitrust authorities’ powers of investigation and the right of defence of suspected companies. This part also covers voluntary merger notifications and clearance decisions, as well as a description of the judicial review of administrative decisions. Its succinct yet scholarly nature, as well as the practical quality of the information it provides, make this book a valuable time-saving tool for business and legal professionals alike. Lawyers representing parties with interests in the Finland will welcome this very useful guide, and academics and researchers will appreciate its value in the study of international and comparative competition law.
This book unravels the origins, continuities, and discontinuities of Finnish higher education as part of European higher education from the Middle Ages to the 21st century. It describes the emergence of universities in the Middle Ages and the Finnish student, and moves on to the Reformation and the end of Swedish rule. It then discusses the founding of the Royal Academy of Turku, its professors and governing bodies, its role as a community, student numbers, the research and controversies. Travelling through the age of autonomy, the first decades of independence and the Second World War, the book examines the expansion of higher education, the development of the system, and the establishment of polytechnics. It concludes by analysing the multiple institutional and organisational layers of Finnish higher education. Altogether, the book offers an historical study that shows how and why education and higher education have been important in the process of making the Finnish nation and nation state. Translator: Dr. Inga Arffman
Katsaus vuoden 1966 tapahtumiin Suomessa ja maailmalla. Valtikka siirtyi Suomessa vasemmistolle, Kiinassa fundamentalistikommunisteille, Afrikassa Bokassalle ja jalkapallossa Englannille. 36 s.
This book aims to provide a detailed and systematic account of Conrad Summenhart’s (1455-1502) language of individual rights. This study analyses Summenhart’s theory in its historical context treating it as a culmination of late medieval discourse on individual rights, particularly useful to those interested in the origin of human rights language, modern political individualism, and late medieval and early modern political and moral philosophy.
Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others' enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. Painters paint to feel. They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform the painter's whole sense of being. Thus, painting is not only about producing art, communicating content, and so on, but also about setting up and inhabiting an experiential space wherein highly valued feelings are interactively enabled and supported. This book investigates how and why this happens by combining psychoanalytical theorization on creativity with philosophical thinking on affectivity. It focuses on creative experience itself, and illuminates the psychological mechanisms and dynamics that underlie the affects at stake. Painters' own descriptions of how they feel at work are used throughout to give an accurate, true-to-life portrayal of the experience of painting. The strength of the book lies in its open-minded yet critical integration of contemporary psychoanalytic and philosophical thinking, and in its truthfulness to painters' experiential descriptions of the painterly process. On the whole, it enriches our understanding of artistic creativity and sheds more light on how and why we come to feel the things we do. As such, the book will appeal to philosophers, psychoanalysts, and art researchers alike"--
Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others' enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. Painters paint to feel. They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform the painter's whole sense of being. Thus, painting is not only about producing art, communicating content, and so on, but also about setting up and inhabiting an experiential space wherein highly valued feelings are interactively enabled and supported. This book investigates how and why this happens by combining psychoanalytical theorization on creativity with philosophical thinking on affectivity. It focuses on creative experience itself, and illuminates the psychological mechanisms and dynamics that underlie the affects at stake. Painters' own descriptions of how they feel at work are used throughout to give an accurate, true-to-life portrayal of the experience of painting. The strength of the book lies in its open-minded yet critical integration of contemporary psychoanalytic and philosophical thinking, and in its truthfulness to painters' experiential descriptions of the painterly process. On the whole, it enriches our understanding of artistic creativity and sheds more light on how and why we come to feel the things we do. As such, the book will appeal to philosophers, psychoanalysts, and art researchers alike.
Winner of the 2014 Finlandia Prize A FAMILY UNDER THREAT. A FATHER'S WORST NIGHTMARE... On the surface, Joe Chayefski has it all. A great job, a beautiful wife and two perfect daughters. But when the lab he works in as a neuroscientist is attacked, Joe is forced to face the past and reconnect with the son he abandoned twenty years earlier. As Joe struggles to deal with the sudden collision of his two lives, he soon finds he needs to take drastic action to save the people he loves. Gripping and suspenseful, They Know Not What They Do skilfully weaves together the big issues of the day- the relationship between science and ethics, and people's increasing inability to communicate - into an ambitious page-turner of a novel.
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