The theory of recognition is now a well-established and mature research paradigm in philosophy, and it is both influential in and influenced by developments in other fields of the humanities and social sciences. From debates in moral philosophy about the fundamental roots of obligation, to debates in political philosophy about the character of multicultural societies, to debates in legal theory about the structure and justification of rights, to debates in social theory about the prospects and proper objects of critical theory, to debates in ontology, philosophical anthropology and psychology about the structure of personal and group identities, theories based on the concept of intersubjective recognition have staked out central positions. At the same time, contemporary theories of recognition are strongly, perhaps indissociably, connected to themes in the history of philosophy, especially as treated in German idealism. This volume compromises a collection of original papers by eminent international scholars working at the forefront of recognition theory and provides an unparalleled view of the depth and diversity of philosophical research on the topic. Its particular strength is in exploring connections between the history of philosophy and contemporary research by combining in one volume full treatments of classical authors on recognition Rousseau, Kant, Fichte, Hegel, Marx, Freud with cutting edge work by leading contemporary philosophers of recognition, including Fraser, Honneth, and others."

Studienarbeit aus dem Jahr 2004 im Fachbereich Filmwissenschaft, Note: 1,3, Freie Universitat Berlin (Institut fur Filmwissenschaft), Veranstaltung: Einfuhrung in die Filmanalyse, 6 Quellen im Literaturverzeichnis, Sprache: Deutsch, Anmerkungen: Arbeit im Querformat, Abstract: Memento," der zweite abendfullende Film des jungen Regisseurs Christopher Nolan wurde mit einem relativ kleinen Budget von 5 Millionen Dollar in nur 25 Drehtagen fertiggestellt. Dank Mundpropaganda und durchweg guter Kritiken, wurde er der erfolgreichste Independent Film des Jahres 2000 in Amerika und spielte uber 24 Millionen Dollar ein. Das Drehbuch erhielt auf dem Sundance Filmfestival mit dem Waldo Salt Award. 1 Als Vorlage fur den Film diente Nolan die Kurzgeschichte Memento Mori" geschrieben von seinem Bruder Jonathan. Es war ihr erstes gemeinsames Projekt und Nolan erinnert sich: He was in the process of writing this story as we were driving cross-country from Chicago to L.A. ...]. He told me the bare bones, and I immediately responded, told him what I felt I coud do with it. We scribled away at the same time, so we had an interesting parallel development of the same themes." 2 Nolans Interesse an der Umsetzung der Geschichte in einen Film war es, den Zuschauer in die Position des Protagonisten zu versetzen, sie aus einer extrem subjektiven Weltsicht zu erzahlen. The protagonist has this condition whereby his mind cant make new memories, so I was interested in that: if we apply it to ourselves, we see how fragile our systems are for placing ourselves, in the world, in time and in space. How do we know people can be trusted? I wanted to put the audience in his head, make them think that way, question things he does."3 Die These dieser Arbeit ist, dass Nolan dieses Vorhaben, den Zuschauer dazu zu bringen, sich in die Lage der Hauptfigur einzufuhlen, durch seinen effektvollen dramaturgischen Trick, die Geschichte nicht linear, sondern in verschiedenen Richtungen zu erzahlen, gelu

Studienarbeit aus dem Jahr 2003 im Fachbereich Filmwissenschaft, Note: 1,0, Freie Universitat Berlin (Institut fur Filmwissenschaft), Veranstaltung: Einfuhrung in die Geschichte des Films, 17 Quellen im Literaturverzeichnis, Sprache: Deutsch, Abstract: Im Vergleich zwischen Pudowskins Film die Mutter und Sergej Eisensteins Streik werden die verschiedenen Montagekonszepte der Zeit miteinander verglichen.