Titlebook: An Old Melody in a New Song; Aesthetics and the A Luca Tateo Book 2018 Springer International Publishing AG, part of Springer Nature 2018 A

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chondromalacia

遺忘

Imaginative Processes and Culture: Some Philosophical Reflections from Cultural Psychology,ature of psychological processes, the aesthetic dimension of psychological processes, the role of personal agency, and the co-construction between mind and culture. Finally, I discuss the imaginative process as a higher psychological function that can illustrate the approach of cultural psychology.

arthrodesis

https://doi.org/10.1007/978-94-024-2120-0nts and addressing of actions undertaken in the narrative to the otherness; and the ambience/scenario of the story, constructed as metaphors and marked by the ambiguity of meanings, conflicts, and experiences evoked in the course of action.

Osmosis

https://doi.org/10.1007/978-981-19-6941-6words related to learning, teaching, school, or education. This fixed rule unlocked the creative power of the text and words began pouring out, (un)covering the topic of the theory–practice gap in educational practices. Consistent with arts-based research methods in education, this topic is addressed by means of artistic expression and metaphors.

怒目而視

秘傳

重疊

https://doi.org/10.1007/978-1-4684-0224-7ve”; the latter is a way of producing meaning that poses the process of experiencing itself as an object. However, I do not oppose “aesthetic” to “rational,” as I think the authors in this volume clearly demonstrate that aesthetics are a legitimate form of knowing.

habitat

Modeling Improvement Processes,world. Finally, I suggest that if we consider top–down processing as a means of interacting with a meaningful world (one where our perceptions are seen as opportunities for action), then our aesthetic experiences can be seen as opportunities for transformation.

無(wú)聊點(diǎn)好

Modeling of Dynamic Business Systems,d the reified universes (Moscovici) with, second, forms of sociation and socialisation (Simmel) through the tension between contextualisation and decontextualisation as the basis for understanding how social representations can have an aesthetic import.