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Handlung und System Handlungs- und Willensfreiheit in systemtheoretischer PerspektiveKönig, Tim January 2009 (has links)
Zugl.: Stuttgart, Univ., Diss., 2009
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Die Bedeutung von Art. 2 Abs. 1 Grundgesetz im VerwaltungsprozessKöpfler, Alexander January 2007 (has links)
Zugl.: Bayreuth, Univ., Diss., 2007
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Schicksal, Götter und Handlungsfreiheit in den Epen HomersSarischoulis, Efstratios January 2007 (has links)
Zugl.: Berlin, Freie Univ., Diss., 2007
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Willenssache die Infragestellung der Willensfreiheit durch moderne Hirnforschung als Herausforderung für Theologie und EthikHardegger, Judith January 2008 (has links)
Zugl.: Luzern, Univ., Diss., 2008
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Willenssache : die Infragestellung der Willensfreiheit durch moderne Hirnforschung als Herausforderung für Theologie und Ethik /Hardegger, Judith. January 2009 (has links)
Zugl.: Luzern, Universiẗat, Diss., 2008.
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Grenzen der Freiheit - Bedingungen des Handelns - Perspektive des Schuldprinzips : Konsequenzen neurowissenschaftlicher Forschung für das Strafrecht /Detlefsen, Grischa. January 1900 (has links) (PDF)
Univ., Diss.-2006--Rostock, 2005. / Literaturverz. S. [349] - 384.
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Objectivism, narrative agency, and the politics of choice in the video game BioShockSchubert, Stefan 06 July 2016 (has links) (PDF)
In this article, I investigate the video game BioShock for its political and cultural work and argue that it offers a popular platform to discuss the politically charged question of choice, both inside and outside the realm of video games. In a first section, I introduce the game’s basic plot and setting, propose a way to study how video games operate narratively, and briefly discuss the ‘political’ dimension of games in general. Afterwards, I look at how BioShock is influenced by Ayn Rand’s philosophy of objectivism, a philosophy that emphasizes the importance of individual choice and self-interest, and I trace this influence specifically in the
game’s main antagonist, Andrew Ryan, and its setting, the underwater
city of Rapture. With these elements as a basis, I analyze how BioShock engages with the politics of choice, focusing on a major twist scene in the game to demonstrate how BioShock deals with the question of choice on a metatextual level. Reading this scene in the context of the game’s overall narrative, specifically of moral choices in the game that lead to different endings, I argue that the game metatextually connects the political question of choice inherent in objectivism to the narrative and the playing of the game, pointing to the ambivalences inherent in questions of choice, agency, and free will.
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"Oft ist das Leben ein Tod [...] und der Tod ein besseres Leben" Selbstmord und Mord im Werk von J. M. R. LenzSchmidt, Simone Francesca January 2010 (has links)
Zugl.: Mainz, Univ., Diss., 2010
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Objectivism, narrative agency, and the politics of choice in the video game BioShockSchubert, Stefan January 2015 (has links)
In this article, I investigate the video game BioShock for its political and cultural work and argue that it offers a popular platform to discuss the politically charged question of choice, both inside and outside the realm of video games. In a first section, I introduce the game’s basic plot and setting, propose a way to study how video games operate narratively, and briefly discuss the ‘political’ dimension of games in general. Afterwards, I look at how BioShock is influenced by Ayn Rand’s philosophy of objectivism, a philosophy that emphasizes the importance of individual choice and self-interest, and I trace this influence specifically in the
game’s main antagonist, Andrew Ryan, and its setting, the underwater
city of Rapture. With these elements as a basis, I analyze how BioShock engages with the politics of choice, focusing on a major twist scene in the game to demonstrate how BioShock deals with the question of choice on a metatextual level. Reading this scene in the context of the game’s overall narrative, specifically of moral choices in the game that lead to different endings, I argue that the game metatextually connects the political question of choice inherent in objectivism to the narrative and the playing of the game, pointing to the ambivalences inherent in questions of choice, agency, and free will.
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