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Introduction
(2021)
Public Character
(2021)
“Why,” Francisca Isidro wonders, “did we have to leave our families and move so far away, only to come back as cooks, waitresses, sales assistants, and the like?” And she recalls: “We came back from our time in East Germany with professions that were not held in particu-larly high regard in Mozambique. Nobody understood why we didn’t return as engineers, doctors and teachers. ‘A waitress?,’ they would wonder. ‘Why, they could have become a waitress in Mozambique. Nobody needs to spend so many years in school for that.’”2And with that, Ms. Isidro puts her fi nger right on a misapprehension at the heart of an ambitious state-led education migration program that saw 900 Mozambican children attend the School of Friendship (Schule der Freundschaft , SdF) in Staßfurt in the district of Magdeburg, in what today is Saxony-Anhalt, in the German Democratic Republic (GDR, or East Germany) from 1982 to 1988.3 Ms. Isidro returned to Mozambique as a trained salesperson for clothing, a profession she neither chose nor ever worked in again subsequently. Like her, these 900 children had to navigate the diverging values that particular environments bestowed upon knowledge. What they learned was interpreted diff erently in their home communities, at the SdF, and in their German host families
Dieser Beitrag erläutert, wie die im Teilprojekt entstandenen Selbstlernangebote (Schreibberatung, Vortragscoaching, Sprachtutorien) über die Laufzeit des Teilprojekts (weiter-)entwickelt wurden und wie Studierende durch die Einführung von neuen, flexibleren Lernformaten (z. B. Einzelberatungen) unterstützt werden. Zudem wird aufgezeigt, wie sich wissenschaftlichen Hilfskräften die Möglichkeit bietet, sich als Schreibberater/ in, Vortragscoach oder Sprachtutor/in weiterzubilden. Somit wird an der Universität Potsdam nicht nur das Selbstlernen, sondern auch Peer Learning gefördert.
Feuer und Flamme
(2020)
Il contributo prende in esame la poetizzazione dell’elemento ›fuoco‹ nell’aldilà dantesco. Nell’Inferno, l’universo metaforico associato al fuoco fa da contrappunto all’interiorizzazione e alla trascendenza che stanno alla base della concezione del fuoco nel Paradiso, dove esso, in senso astratto, viene trasformato in luce e rappresenta anche l’illuminazione spirituale. Dante mette in scena san Tommaso, presentando nelle varie figure il corpus spirituale, che tuttavia nell’Inferno era stato pervertito e caricato di una connotazione quasi parodistica, se confrontato alla solennità sacrale della luce spirituale nel Paradiso. Nella sua qualità di luce, l’elemento ›fuoco‹ diventa la componente più importante delle sfere del Paradiso. L’idea della permanenza di un regno di Dio è simbolicamente veicolata da un uso virtuosistico della gamma metaforica associata alla luce: la visualizzazione del principio supremo del Divino, come esso si costituisce nella dottrina cristiana, è affidata alla forza suggestiva della travolgente poesia.