44) For these reasons, Gadamer thinks that
objectivistic social and historical sciences as well as historical understanding are epistemological failures.
These two aspects are the
objectivistic and the subjectivistic.
For this reason, the term 'neutrality' might carry lingering overtones of
objectivistic positivism.
The ontological philosophy was perceived through
objectivistic and subjectivistic approaches.
Although some methodologists maintain that
objectivistic and naturalistic research philosophies are contradictory and mutually exclusive paradigms (Smith & Heshusius, 1986), other methodologists insist that qualitative (QUAL) and quantitative (QUAN) research methods can be used interchangeably, and thus the "paradigm wars" are largely irrelevant (Tashakkori & Teddlie, 1998).
Following an
objectivistic approach, learning designers analyze a task, break it down into smaller steps or chunks, and move the instruction process from simple to complex.
If, indeed, Heidegger's critique of
objectivistic metaphysics cannot be carried forward by replacing the latter with a more adequate conception of Being.
Her explicit treatment of the intrinsic human cultural character of science can help in rejecting positivistic and
objectivistic views.
The
objectivistic mode relies totally on facts and scientific, objective interpretation, an approach Nietzsche deplores, in his interpretation of history: "we cannot establish any fact in itself: perhaps it is folly to want to do such a thing" (Will to Power 267).
The first principle known as the
objectivistic principle, assumes that meanings are mappings from syntactic structures onto objective features of a real world.
In line with their
objectivistic metaphysics, the early Greek Stoics (Chrysippus in particular) maintained that only material bodies--things that, as Plato would say, can be touched or squeezed in one's hands--exist and that meanings and ideal objects, as such, do not (they have only a "non-existent" mode of being as "sayables" or lekta).
16) See for example the passage on Stifter, also noted by Peter Uwe Hohendahl 141-42, as a prime example of Adorno's essentially historicist approach to the artwork: "Not only the conservative-restorative choice of thematic material and the fabula docet are ideological, but so is the
objectivistic deportment of the form, which suggests a micrologically tender world, a meaningfully correct life that lends itself to narration [.
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