The second half of the 20th century is the period that a lot of essential transformations occurred in
Transformation through travel is attracting scholarly attention due to its potential to trigger a radical transformation extending beyond the traveler's unique experience during the trip of a lifetime. As one of the most common ways of encountering the different, tourism can enable people to become aware of their hidden assumptions and make volitional decisions about them, resulting in a transformation. This study aims to understand how transformation takes place through touristic experience, based on Mezirow's learning theory. To do this, the movie The Way (Emilio Estevez, 2010), which depicts the relationship between touristic experience and the transformation of the individual in an artistically powerful manner, was utilized. To analyze the document that constitutes the data source of the research study, a narrative analysis, and a qualitative research design, was followed. The results of the narrative analysis demonstrated that the representations in the movie coincide strongly with the literature on transformation through travel. It showed that transformation begins with the traveler's questioning of self or the perceived world, and that the various difficulties experienced, encounters with the different, and going out of one's comfort zone and habits facilitate transformation through travel. It was also concluded that the authenticity of the touristic experience strengthens its transformative aspect. Thus, the study proposes that in order to strengthen the transformative aspect of the touristic experience, tourists should be offered touristic products and services that contain transformative experiences whose authenticity is preserved.
The epistemology that Wittgenstein"s late works seem to suggest has gradually attracted more attention in academic circles past 25 years. This is mainly because of the groundbreaking perspective, promised especially in On Certainty, concerning the debates of scepticism which play an essential role in shaping modern epistemology. What lies behind this promise is the existence of some basic commitments, put into work in every rational justification, while they are themselves somehow exempted from it. Wittgenstein calls these commitments, which are unusual in terms of traditional epistemology, hinge commitments. Based on these commitments, Wittgenstein not only offers an answer to the problem of skepticism, which is one of the fundamental problems of modern epistemology, but also lays original claims to deal with the issues largely debated in modern epistemology such as rational justification, certainty, and belief. The main purpose of this study is to determine the qualities of these commitments and to discuss the possibilities offered by hinge epistemology based on them. To this aim, I will first discuss why Wittgenstein talks about such assumptions, then the nature of these commitments and different ideas about them in contemporary literature will be put under scrutiny. Finally, hinge epistemology and its potential will be deliberated.
In this paper Wittgenstein's conception of grammar and autonomy of language which results from this conception will be explicated. To this end first the role of the concept of grammar in Wittgenstein's philosophy will be clarified and then on the basis of this what is meant by the autonomy of language will be explained.
The relationship between film and philosophy commonly appears as the reflection of philosophical problems on the silver screen or as a discussion of the aesthetic problems of cinema with the concepts of philosophy. Stanley Cavell's film ontology is significantly different with respect to the relationship between film and philosophy. He approaches film from an ontological point of view. In doing so, he refers to the theoretical framework that Wittgenstein presents in his late period. Cavell, with reference to Wittgenstein's theory of meaning, denies the distinction between appearence and reality, image is not an image of reality; on the contrary, it is the reality itself. For him, the attitude of modern philosophy that separates appearance from the reality is an illusion. Cavell bases this Wittgensteinian attitude on the ontology of the photographic image. According to this ontological position, photograph is not an image of a reality but an autonomous reality. Cavell then tries to understand cinema with this ontological structure that he attributes to the photographic image. The reality of the film world and the contactlessness of the audience's actual world with the film world create a dual ontological structure. Cavell makes an analogy between the effect of this ontological duality on the audience and philosophical skepticism. Hence, he calls the film the moving image of skepticism. For Cavell, the world of the film is a magical world in which the audience is in doubt between existence and non-existence.In this study, I aim to clarify the ontological status that Cavell attributes to the photographic image and the relationship between film and philosophical skepticism In addition, I will claim that the relationship Cavell established between film and philosophy, has an unusual quality because he uses the film as a philosophical scene.
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