900 resultados para Naval art and science


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Mode of access: Internet.

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"The following lectures were delivered at the Metropolitan museum of art in the spring of last year as a course for teachers."--Pref.

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National Science Foundation Grant no. MEA-8310520 and Office of Naval Research Grant no. N00014-83-G-0066.

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v. 1. The philosophy of evolution. On the application of evolutionary principles to art and literature. On some principles of criticism. The provinces of the several arts. On the relation of art to science and morality. Realism and idealism. The model. Beauty, composition, expression, characterisation. Caricature, the fantastic, the grotesque. Notes on style: History and usage of the word; National style.-v. 2. Notes on style: Personal style; The art of style. Democratic art, with special reference to Walt Whitman. Landscape. Nature myths and allegories. Is poetry at bottom a criticism of life? A review of Matthew Arnold's selection from Wordsworth. Is music the type or measure of all art? The pathos of the rose in poetry. A comparison of Elizabethan with Victorian poetry. Appendix.

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Mode of access: Internet.

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An extensive revision of the Art and practice of medical writing, by George H. Simmons and Morris Fishbein. cf. Pref.

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Translation of: Religione e arte figurata.

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This manuscript is a literary history of The Book of Covenant, an encyclopedic work of science, philosophy, and ethics written in the late-eighteenth century by Jewish philosopher and polymath Pinhas Hurwitz. Ruderman explores the reasons for the book's huge popularity--it has been republished in forty editions in the last century--as well as its lasting influence on Jewish and kabbalistic thought, and its important place in Jewish society's confrontation with modernity.

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This manuscript is a literary history of The Book of Covenant, an encyclopedic work of science, philosophy, and ethics written in the late-eighteenth century by Jewish philosopher and polymath Pinhas Hurwitz. Ruderman explores the reasons for the book's huge popularity--it has been republished in forty editions in the last century--as well as its lasting influence on Jewish and kabbalistic thought, and its important place in Jewish society's confrontation with modernity.

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In his important book on evolutionary theory, Darwin's Dangerous Idea, Daniel Dennett warns that Darwin's idea seeps through every area of human discourse like a "universal acid" (Dennett, 1995). Art and the aesthetic response cannot escape its influence. So my approach in this chapter is essentially naturalistic. Friedrich Nietzsche writes of observing the human comedy from afar, "like a cold angel...without anger, but without warmth" (Nietzsche, 1872, p. 164). Whether Nietzsche, of all people, could have done this is a matter of debate. But we know what he means. It describes a stance outside the human world as if looking down on human folly from Mount Olympus. From this stance, humans, their art and neurology are all part of the natural world, all part of the evolutionary process, the struggle for existence. The anthropologist David Dutton, in his contribution to the Routledge Companion to Aesthetics, says that all humans have an aesthetic sense (Dutton, 2001). It is a human universal. Biologists argue that such universals have an evolutionary basis. Furthermore, many have argued that not only humans but also animals, at least the higher mammals and birds, have an appreciation of the beautiful and the ugly (Eibl-Eibesfeldt, 1988).11Charles Darwin indeed writes "Birds appear to be the most aesthetic of all animals, excepting, of course, man, and they have nearly the same sense of the beautiful that we have" (1871, The Descent of Man and Selection in Relation to Sex, London: John Murray, vol.2, xiii, 39). This again suggests that aesthetics has an evolutionary origin. In parenthesis here, I should perhaps say that I am well aware of the criticism leveled at evolutionary psychology. I am well aware that it has been attacked as just so many "just-so" stories. This is neither the time nor the place to mount a defense but simply just to say that I believe that a defense is eminently feasible. © 2006 Elsevier Inc. All rights reserved.

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Objective: The debate surrounding the science/practice balance in the teaching of undergraduate pharmacy has been played out in the professional literature for years. The objective of this work was to explore the attitudes of pharmacy undergraduates on the practice-science debate. Setting: The study was undertaken as part of a national study of teaching, learning and assessment methods in United Kingdom (UK) schools of pharmacy. Method: Six focus groups were carried out. The sample was 44 volunteer students from nine UK schools of pharmacy, representing all 4 years of the MPharm programme. Groups were tape recorded and transcribed. Analysis of the transcripts was theme based by topic. Main Outcome Measure: Qualitative data on student attitudes and experiences. Results: Most students thought that there was too strong an emphasis placed on the science components of the course in the early part of their studies. Later in the course they realised that the majority of the science was necessary; it just had not been apparent to them at the time. There were strongly held attitudes across all 4 years that it would be beneficial to include more practice-related material at the beginning of their studies. This would be beneficial for three reasons: to make the course more interesting, to aid in the contextualisation of the science component and to assist the students in any early placement or vacational work. Conclusion: Internationally, changes to the role of the pharmacist from a traditional supply function to a more clinical role has resulted in differing educational needs for the pharmacist of the future. Pharmacy will remain a degree built on a strong scientific background, but students advise that the contextualisation and sequencing of material within the degree could make a considerable improvement to their learning. Consulting students helps us to understand the teaching, learning and assessment experience better by giving insights into ways of improving the delivery. In the case of the UK, there are legislative changes impending which may provide an opportunity to review the balance of practice-and science in the curriculum. © 2006 Springer Science+Business Media B.V.

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This thesis describes the history of the scientific Left beginning with the period of its most extensive influence in the mid-1940s as a movement for the planning of science and ending with the Labour Party's programme of 1964 claiming to harness science and socialism. Its central theme is the external and internal pressures involved in the project to align left-wing politics, trade unions and social responsibility in science. The problematic aspects of this project are examined in the evolution of the Association of Scientific Workers and the World Federation of Scientific Workers as organisations committed to trade union and science policy objectives. This is presented also in the broader context of the Association's attempts to influence the Trade Union Congress's policies for science and technology in a more radical direction. The thesis argues that the shift in the balance of political forces in the labour movement, in the scientific community and in the state brought about by the Cold War was crucial in frustrating these endeavours. This led to alternative, but largely unsuccessful attempts, in the form of the Engels Society and subsequently Science for Peace to create the new expressions of the left-wing politics of science. However, the period 1956-1964 was characterised by intensive interest within the Labour Party in science and technology which reopened informal channels of political influence for the scientific Left. This was not matched by any radical renewal within the Association or the Trade Union Congress and thus took place on a narrower basis and lacked the democratic aspects of the earlier generation of socialist science policy.