Sebastian Schmidt

Lexiographica. Series Maior features monographs and edited volumes on the topics of lexicography and meta-lexicography. Works from the broader domain of lexicology are also included, provided they strengthen the theoretical, methodological and empirical basis of lexicography and meta-lexicography. The almost 150 books published in the series since its founding in 1984 clearly reflect the main themes and developments of the field. The publications focus on aspects of lexicography such as micro- and macrostructure, typology, history of the discipline, and application-oriented lexicographical documentation.

This book develops the foundations of an ethics of mind by investigating the responsibility that is presupposed by the requirements of rationality that govern our attitudes. It thereby connects the most recent research on responsibility and rationality in a unifying dialectic. How can we be responsible for our attitudes if we cannot normally choose what we believe, desire, feel, and intend? This problem has received much attention during the last decades, both in epistemology and ethics. Yet, its connections to discussions about reasons and rationality have been largely overlooked. The book has five main goals. First, it reinterprets the problem of responsibility for attitudes as a problem about the normativity of rationality. Second, it connects substantive and structural rationality by drawing on debates about responsibility. Third, it supports recent accounts of the normativity of rationality by explicitly defending the view that epistemic reasons and other ‘right-kind’ reasons are genuine normative reasons, and it does so by drawing on recent discussions about epistemic blame. Fourth, it breaks the stalemate between rationalist and voluntarist accounts of mental responsibility by proposing a hybrid view. Finally, it argues that being irrational can warrant moral blame, thus revealing an unnoticed normative force of rational requirements. Responsibility for Rationality is an original and essential resource for scholars and advanced students interested in connecting strands of normative theory within epistemology, metaethics, and moral psychology. The Open Access version of this book was published with the support of the Swiss National Science Foundation.

This book develops the foundations of an ethics of mind by investigating the responsibility that is presupposed by the requirements of rationality that govern our attitudes. It thereby connects the most recent research on responsibility and rationality in a unifying dialectic.How can we be responsible for our attitudes if we cannot normally choose what we believe, desire, feel, and intend? This problem has received much attention during the last decades, both in epistemology and ethics. Yet, its connections to discussions about reasons and rationality have been largely overlooked. The book has five main goals. First, it reinterprets the problem of responsibility for attitudes as a problem about the normativity of rationality. Second, it connects substantive and structural rationality by drawing on debates about responsibility. Third, it supports recent accounts of the normativity of rationality by explicitly defending the view that epistemic reasons and other ‘right-kind’ reasons are genuine normative reasons, and it does so by drawing on recent discussions about epistemic blame. Fourth, it breaks the stalemate between rationalist and voluntarist accounts of mental responsibility by proposing a hybrid view. Finally, it argues that being irrational can warrant moral blame, thus revealing an unnoticed normative force of rational requirements.Responsibility for Rationality is an original and essential resource for scholars and advanced students interested in connecting strands of normative theory within epistemology, metaethics, and moral psychology.The Open Access version of this book was published with the support of the Swiss National Science Foundation.

In the wake of World War II, the United States and its allies developed a new type of security arrangement in which a state could maintain a long-term, peacetime military presence on the territory of another equally sovereign state that, unlike earlier practice, was not tied to occupational regimes or colonial rule. The impact of this development on international politics is hard to overstate, and it has become a constitutive feature of contemporary security dynamics. Despite its significance, the origins of this basing practice have remained largely understudied and unexplained. In Armed Guests, Sebastian Schmidt develops a theory to explain the emergence of this phenomenon, which he calls "sovereign basing," and in doing so, shows how its development fundamentally transformed state sovereignty and the very nature of security politics. He applies concepts derived from pragmatist thought to a historical study of the relations between the United States and its wartime allies to explain how sovereign basing originated through the efforts of policymakers to come to grips with the unique security environment of the postwar era. As he argues, the tools offered by pragmatism provide needed analytical leverage over the emergence of novelty and offer valuable insight into the dynamics of stability and change. Armed Guests is a wide-ranging account of the development of sovereign basing practices in the years before and after World War II. It is a book with significant implications for our understanding of contemporary security politics and the future of basing strategies as well as for broader issues in IR, including the sociological foundations of security strategies, the nature of norms, and the practice of sovereignty.

The present book proposes a systematic understanding about the conditions, mechanisms, influences, and processes evolving into a creative behavior in music, based on interdisciplinary perspectives of the cognitive sciences, In his research study, Sebastian Schmidt focuses on so-called musical extrapolations’ processes which bring the elusive quality of music into mental existence by creating extrapolations about possible future occurring events, their musical meanings, and the interrelations of their meanings. These processes, involved while music is being listened to and composed, are defined as the result of implicit and explicit problem-solving processes which are guided in tangible ways by factors of intrinsic activities and motivation, pre-disposed and experience-based structures, and environmental pressure.

Studienarbeit aus dem Jahr 2007 im Fachbereich P dagogik - Sonstiges, Note: 1,3, Johann Wolfgang Goethe-Universit t Frankfurt am Main (Institut f r P dagogik der Elementar- und Primarstufe), Veranstaltung: Theaterspielen als Erfahrung - Lehr- Lernprozesse im sthetischen Raum, Sprache: Deutsch, Abstract: "Theater ist die erste Erfindung des Menschen und zugleich die Erfindung, die den Weg zu allen weiteren menschlichen Entdeckungen geebnet hat." Dieses Zitat Augusto BOALS, des wohl bekanntesten Theatermacher Lateinamerikas, macht die Bedeutung des Theaters f r den Brecht Lateinamerikas gleich zu Beginn dieser Arbeit deutlich. Seinen Werdegang und sein Lebenswerk, das Theater der Unterdr ckten, vorzustellen ist das Hauptanliegen dieser Hausarbeit. Eigenes Interesse am Theaterspielen wie auch die M glichkeiten, die seine Methoden in der p dagogischen Praxis bieten k nnen, haben mich zur Wahl dieses Themas veranlasst. Zun chst werde ich den Werdegang und das Werk Augusto BOALS erl utern sowie auf die Urspr nge und die Entwicklung des Theaters der Unterdr ckten eingehen. Im darauffolgenden Kapitel wird zun chst BOALS Definition von Theater vorgestellt, um anhand seiner unterschiedlichen Perspektiven die Grunds tze und Ziele des Theaters der Unterdr ckten aufzuzeigen. Im vierten Kapitel dieser Arbeit werden die wichtigsten Techniken und Methoden des Theaters der Unterdr ckten vorgestellt und deren praktisches Umsetzungspotential erl utert. In Kapitel f nf gehe ich der Frage nach, in welcher Weise das Theater der Unterdr ckten hierzulande umgesetzt werden kann und wie sich das erweiterte Theaterkonzept BOALS vom therapeutischen Theater MORENOS abgrenzt.