We cannot escape Indiana Jones! (Not that we would want to, of course.) Harrison Ford deserves credit for the character's popularity. His ability to subtly play up Indy's foibles while playing down the character's heroism, makes Indiana Jones relatable. Of course, Lucas and the screenwriters are also responsible, as they magnificently depict Indy battling antagonists seeking to possess mystical objects for world domination. But Indy is no mere action hero. He also struggles with unrequited love that lingers for (...) decades, an estrangement from his over-bearing father that lasts just as long, and a life-long obsession with regaining an important object unfairly taken from him. As we know, Indy doesn't always choose wisely, and if the Young Indiana Jones Chronicles are to be trusted, he made many missteps in his youth on the way to becoming the hero we know and love. Indy loses a fight as often as he wins, and when he wins, he doesn't always fight fairly. In fact, he stumbles so often, one might wonder why he persists decade after decade toward his goals. He's not getting any younger. What's the point? And, as he inexplicably trudges on, he-in the four films and various graphic novels-has many alleged encounters with the supernatural. He's not a religious person (at all), so what should he make of those? Should he take the leap of faith and become a believer? While we often see him conducting his highly unconventional fieldwork, spending an unusual amount of time in caves, he cannot completely ignore his "day job" teaching undergraduates and aiding their pursuit of knowledge. But why should archaeologists strive to put artifacts in a museum, or search for "fact," but not "truth" (and who is Dr. Tyree, anyway)? The Indiana Jones character is expressive of the human condition, vividly illuminating our struggles and issues on the big screen. True, we don't have John Williams's orchestra filling us with pride when we manage to do the right thing or play the part of the hero. Still, no one would blame you if you imagined Indy's theme blaring in the background while rising to meet a challenge! (shrink)

In Knowledge and Its Limits, Timothy Williamson argues that knowledge is a purely mental state, that is, that it is never a complex state or condition comprising mental factors and non-mental, environmental factors. Three of his arguments are evaluated: arguments from (1) the non-analyzability of the concept of knowledge, (2) the “primeness” of knowledge, and (3) the (alleged) inability to satisfactorily specify the “internal” element involved in knowledge. None of these arguments succeeds. Moreover, consideration of the third argument points the (...) way to a cogent argument that knowledge is not a purely mental state. (shrink)

The Indiana Court of Appeals, in JKB, Sr. v. Armour Pharmaceutical Co. ), held that the state's Blood Shield Act does not protect pharmaceutical companies that produce blood-derived products from product liability suits based on injuries attributable to tainted blood supplies. Blood shield statutes help to guarantee adequate blood supplies by limiting the liability of blood banks. This holding limits the defenses available to pharmaceutical companies sued under product liability theory.The defendant, Armour Pharmaceutical, produces and sells clotting factor agents, (...) which are derived through plasmapheresis. Plasmapheresis is a costly and complex donation process through which the plasma and red blood cells of a donor's blood are separated. After separation, the process returns the red blood cells to the donor but retains the plasma. (shrink)

What Indiana Jones can teach us about the ethics of practicing and teaching archeology.

Aleksandar Kandić, Plato’s Animals, Indiana University Press, Bloomington, 2015).

Vivian Liska, German-Jewish Thought and Its Afterlife: A Tenuous Legacy, Bloomington, University of Indiana Press, 2017 Lazar Atanasković.

Jelena Ćeriman, Rebellious Parents: Parental Movements in Central-Eastern Europe and Russia, Indiana University Press, Bloomington, 2017).

Desde un primer momento España pretendió justificar la conquista y ocupación de América. De todos los posibles títulos que se podían aducir en los albores del siglo XVI, los españoles optaron por poner en primer lugar la “donación pontificia” (bulas alejandrinas). De modo que en este artículo intentaremos exponer los fundamentos doctrinales de esta donación papal. En la práctica se generó una preocupación (controversia) por la situación material y espiritual en la que vivían los indios que desembocó en los planteamientos (...) del Maestro Francisco Vitoria que acertó a plantear en los términos exactos el problema de América. (shrink)

The Montessori Method is accepted as an alternative education model today. Although it was spread out in USA at the beginning of the 20th century, it is currently used and accepted all over the world. Although its application in pre-education is common, it has also been adopted and applied at different levels. The Montessori method differs from traditional education not only in terms of approach to students, teachers, discipline, and school environment, but also in the way it uses certain materials (...) in its education. According to Maria Montessori, kids should be at the center of education, and the duty of teacher is to observe and guide children. The Montessori method, which is mostly applied in general education, is also used in the education of religion, values, and morals. In this study, besides Maria Montessori's thoughts on general education, her thoughts on religious education are also discussed. This research focuses on Montessori schools in Indiana, United States -. In this study, the qualitative research method and the phenomenological approach are adopted. Observation, interview, and document analysis are used as data collection tools. The subject of the study is the discussion of the Montessori method in terms of research results in religion, values and moral education and Montessori’s point of view on the subject. All participants, who work as instructors in Montessori schools, determined by maximum diversity and snowball sampling, Observation in Montessori schools and the program of one of them is used as an aid in the interpretation of the research findings. (shrink)

Attempts to understand farmer conservation behavior based on quantitative socio-demographic, attitude, and awareness variables have been largely inconclusive. In order to understand fully how farmers are making conservation decisions, 32 in-depth interviews were conducted in the Eagle Creek watershed in central Indiana. Coding for environmental attitudes and practice adoption revealed several dominant themes, representing multi-dimensional aspects of environmental attitudes. Farmers who were motivated by off-farm environmental benefits and those who identified responsibilities to others (stewardship) were most likely to adopt (...) conservation practices. Those farmers who focused on the farm as business and were most concerned about profitability were less likely to adopt practices. The notion of environmental stewardship in particular was found to be much more complex than the way it is traditionally measured in quantitative studies. The interplay between on-farm and off-farm benefits to practice adoption is an issue that quantitative studies largely do not address. This study seeks to increase understanding of farmers’ environmental attitudes and the connections to conservation behavior. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Music, Education, and Religion: Intersections and Entanglements ed. by Alexis Kallio, Philip Alperson and Heidi WesterlundWilliam M. PerrineAlexis Kallio, Philip Alperson, and Heidi Westerlund, eds., Music, Education, and Religion: Intersections and Entanglements (Bloomington, IN: Indiana University Press, 2019)It is perhaps something of a truism–or at least a stereotype containing a grain of truth–that most academics, particularly in the United States, are notoriously bad when it comes to (...) a scholarly discussion of religion. In scholarship on education, this results in unfortunate omissions within debates regarding the philosophical aims of curriculum. Religion, after all, is an inescapable part of everyday life for billions of human beings around the globe. To ignore religion is to ignore an important part of the human experience. Part of the problem in discussing religion is undoubtedly the conventions of academic discourse itself. To qualify as “research,” academic writing has generally been expected to place a degree of distance between the author and the content matter at hand. In the case of religion, this has involved a state of remove to an ostensibly neutral vantage point, typically a perspective grounded in a philosophical naturalism. This tendency is compounded by the pressure, particularly acute within secular institutions, to compartmentalize religious belief as a private matter that should not overtly inform one’s public professional practice. Thus, while a researcher in music or music education might have an active religious life in private, an open [End Page 117] integration of personal faith and teaching practice might be considered extraordinarily unprofessional—at least if the faith in question is socially déclassé. The obvious problem inherent in this framework for understanding the relationship between religion and professional life is that, particularly when it comes to questions of philosophy, religious faith is rarely a strictly personal matter. As Charles Taylor notes, religious faith as a lived human practice traditionally involves strong evaluations: determinations of right and wrong that supersede personal choice or preference.1 These evaluations often take the form of hypergoods, positions by which moral or truth claims must be weighed. Strong evaluations and hyper-goods by nature cannot be limited to the personal; they inform all areas of our intellectual, social, and professional lives. Such commitments tend to inform and precede other philosophical commitments, rather than vice versa. Pressure to minimize the importance of hypergoods can be a profound source of frustration for religious believers within the secular academy, particularly as the assumption that deep religious commitment is incompatible with a spirit of critical inquiry runs very deep. When the academic literature touches on matters of religious concern, either directly or indirectly, it seems to either minimize the complexity or concerns of traditional religious belief as lived experience, or privilege progressive forms of religious practice. At worst, academic discourse on religion is condescending, often coupled with class-based and socio-geographic prejudice against particular religious groups and beliefs.With this framework in mind, I approached Music, Education, and Religion: Intersections and Entanglements with a degree of apprehension. Fortunately, editors Alexis Kallio, Philip Alperson, and Heidi Westerlund have put together an impressive volume that treats the complex relationship between music education and religious practice with the respect and sensitivity that the topic deserves. As the editors note in their introduction, music as a human practice cannot be artificially separated from religious beliefs. These domains are, as the volume’s subtitle makes clear, entangled through a multiplicity of intersections. The book itself consists of eighteen essays representing a wide array of viewpoints, case studies, and contextualized problems from around the world. The diversity of topics prohibits drawing any generalizable conclusions beyond the obvious observation that interaction with religion presents entanglements that cannot be ignored under an artificial banner of secular neutrality. As the first edited collection of essays in our discipline to tackle these problems in a substantive manner, however, the book is unquestionably successful in opening a space for critical discussion. With this in mind, rather than attempting to summarize each of the included chapters within this review, I will instead attempt to engage in conversation with some of the themes that emerge from the book from my own vantage point as a scholar... (shrink)

The sixth and most recently published of the seven Heidegger manuscripts from his literary remains, The Event , is itself something of an event. If the Beiträge zur Philosophie was to set the stage for what has been received as an even more experimental Heidegger, then The Event in many ways might look back on that experimentation as yesterday’s news. The Event seems to begin where the Beiträge ended, as if there was no longer the need to justify its sentences (...) by means of an appeal to the historical tradition; in fact, such an appeal goes further towards confirming that tradition and its corresponding metaphysics than it does towards problematizing it. This is not to say that The Event progresses as if the historical tradition were no longer unfolding, but that it is much less concerned with trying to make sense of its own unfolding from out of some vaguely universal understanding of that tradition. In fact, while the Beiträge unceasingly attempted to make .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Complicating, Considering, and Connecting Music Education by Lauren Kapalka RichermeNasim NiknafsLauren Kapalka Richerme, Complicating, Considering, and Connecting Music Education (Bloomington, IN: Indiana University Press, 2020)Laurern Kapalka Richerme courageously engages with some of the significant concepts of Gilles Deleuze and Félix Guattari in a timely bounded volume, Complicating, Considering, and Connecting Music Education. Through this colossal endeavor, though not the first time a music education scholar deeply explores (...) Deleuzian concepts and theoretical analyses, Richerme provides a fresh perspective on his oeuvre within the field and paves the way for more engaged scholarly exploration on the roles and responsibilities of music education.1Considering the vanity in saying what one sees, as “what we see never resides in what we say,”2 any review of works related to Deleuzian concepts is more of an arborescent endeavor than a rhizomatic one. Consequently, the current review of Richerme’s book may also refute and go against Deleuze and Guattari’s most salient arguments. However, I would like to specifically elaborate on Richerme’s treatment of time; a much welcomed and overlooked aspect of education that Richerme has appositely and strongly delivered. “Music education is not a stagnant ‘what’ but a temporal ‘when’... While the question, ‘What is music education?’ solidifies music education into an immobile identity, asking ‘When is music education?’ emphasizes the differing, individually constructed nature of [End Page 202] educational experiences.”3 Not necessarily an original proposition to treat music education as a process rather than a product, a journey rather than a destination, a meandering rather than walking on a straight line, a desired path rather than a pre-constructed road, Richerme’s angle of this conversation takes on an entirely new path. Rather than solving the problem, as the problem is one’s music education, she elegantly modifies the question: “When is music education?”4 Richerme redirects the reader’s attention from the “spatial turn” in which the field has been engrossed to a temporal one, and from a totalizing music education to a totality of music education:5 “My voice cannot be ‘lost’ or ‘found,’ only silenced or embraced—restrained or encouraged to grow. It will always exist in an uncertain middle, differing day after day.”6Written in eight chapters with two bookending chapters with the same title, “Rhizomatic Journeying,” while the middle chapter re-considers considering and the penultimate chapter discusses the when in music education, Richerme demands the reader to attend to not only the book’s content but the poetic delivery of its prose. One could even recite the sentences and feel the elevation. Richerme’s unique voice is laudable for its humility of approach and candid pronouncements of mistakes made along the way of becoming-toward7 music educator. When reading, I felt I was a fellow traveler crossing paths with her while she shared some of her moments with me. She and I were the Nighthawks of Edward Hopper’s painting. Richerme was there to tell her story and I was there to silently listen; “the story is told and untold. Then retold.”8 And it is in this retelling that I would like to situate this review.This volume is first and foremost an ode to music education. Richerme has a command of the music education literature which manifests itself in the myriad examples she explores. She does not claim to portray novel ideas but crossing paths with other scholars in music education concerning not only Deleuzian concepts but ethical matters of education: “deeming something ‘good for’ is not the same as finding it ‘good’ in the ethical sense.”9 She does not disagree with scholars, perhaps following Deleuzian footsteps, but complements them; an exercise in nuance and scholarly practice not always historically prevalent in the field.However, this practical side of the book that attempts to situate Deleuzian concepts within music education are brought forth at the expense of a deeper level of theoretical analysis of and engagement with their comprehensively theorized concepts such as becoming, striated space, immanence, refrain, and deterritorialization. At times, it feels as though these concepts have been magiccarpeted rather than integrated within music education situations. This volume comes across, marvellously... (shrink)

Os sistemas de cômputo do tempo na Índia são extremamente complexos, devido a dois factores: em primeiro lugar a coexistência não só de diversas teorias e tabelas astronómicas mas também de diferentes calendários, que em parte resulta de a Índia raramente ao longo da sua história ter constituído uma unidade política; em segundo lugar uma grande preocupação, quiçá de origem mágica, com a objectividade astronómica dos dados utilizados no cômputo do tempo. Do primeiro factor indicado resultam, por exemplo, a coexistência (...) de calendários solares, predominantes em certas regiões, com calendários luni-solares nas restantes, a contagem dos meses a partir da lua-nova ou da lua-cheia, consoante as zonas, etc. Do segundo resultam por exemplo: a adopção de estranhas unidades de tempo, como o tithi (que se pode definir como a trigésima parte de uma lunação, ou, em outros termos, o tempo que, após uma conjunção com o Sol ou seja uma lua-nova, a Lua demora a afastar-se deste 12° sobre o zodíaco); a entrada em conta da precessão dos equinócios para efeitos de determinação do início dos signos do zodíaco; etc. O presente artigo procura resumir e explicar essa diversidade de uma perspectiva histórica, pondo-a em relação com a evolução da astronomia indiana. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Art of Teaching MusicBetty Anne YounkerEstelle R. Jorgensen, The Art of Teaching Music(Bloomington, IN: Indiana University Press, 2008)I have had the pleasure of reading the book manuscript, The Art of Teaching Music, by Estelle Jorgensen. The content explores a variety of ideas that are covered in the myriad of courses experienced by undergraduate students and introduces new ones that are critical to the development of musicians (...) and prospective teachers. Some of these ideas might be alluded to or briefly discussed in methods classes, but not at the level of thoughtful detail as they are entertained and examined in the book. This level of depth would require students and teachers to discuss, dialogue, debate, and reflect over time within and across semesters and courses. I dare to suggest that some of the ideas might not be brought to students’ attention at all throughout the undergraduate experience, which is of a concern and suggests an even greater need for such a book.My overall impression of the book is that the content and the depth of writing would serve the undergraduate students throughout their undergraduate experience and the graduate population for similar and yet different reasons. In terms of the undergraduates, there are parts of the book that would be relevant during their first year in a foundations class, second year in technique classes, third year in methods (for lack of a better word) classes, and student teaching [End Page 109] seminar experiences as they prepare to enter the profession. Utilizing a book across an undergraduate’s experience could generate interesting conversation amongst faculty members as discussions about why, how, what, and when parts of the book would be relevant would need to evolve. Some chapters could be revisited while others visited for the first time at differing places and spaces across the four years. I cannot think of another book that could be utilized in this way and thus serve the undergraduate student throughout her four-year experience and this prospect I find exciting.The book is organized around fourteen chapters, all of which are followed by an afterward. The flow of the chapters invites the reader to examine aspects of becoming and being a music educator at various levels of growth and understanding.The first chapter is titled “Teacher” and requires the reader to think at broader and deeper levels when discussing the notions of role and identity, self-awareness, motivation to enter the profession, and reflective practice. While reading the text, I imagined conversations that would include a comparative analysis of students’ experiences, which could in turn provide larger contexts for the topics. Such a discussion is necessary when examining aspects of being and becoming a teacher in various contexts. The notion of situatedness is highlighted when individual cases are heard and examined and compared across other cases, carefully noting what might or might not be comparable and taking that bit of analysis into consideration. Having such discussions across the four years of undergraduate life allows students to re-visit what was and is, and to speculate about what is to come. Such reflection can be just as fruitful at the graduate level. Students enter graduate school with a variety of teaching experiences and time is needed to reflect on the transition from being a teacher to being a student again. Realization of the continuum on which they travel between learner and teacher becomes apparent in that the place on the continuum shifts regardless of their present position; that is, as a student or teacher. For doctoral students, this reflection is rich as they begin to engage with undergraduate students and forge a new path as budding teachers of teachers and researchers and continue to be musicians.Chapter Two took me to the writings of Dewey1 particularly as I read about a student-centered focus and the experience-based approach. So much of our profession has been driven by content and theories that the student has been removed from the center of the focus and thought of as peripheral. I welcome the idea of placing the students at the center of our thinking and conversations. These ideas have been articulated in... (shrink)

In early visits to Lothlorien—which is a loosely Pagan community of environmentalists in Indiana—I was confounded by attempts to categorize either the place or the people. As one of the founders said, “I tend to run from labels so I don't know what I am. It's safer that way.” In this paper I explore four members’ narratives about the emotional high points in their lives, where they often cross the usual boundaries of self and other. At the same time (...) the subjectivity at the core of these experiences is something that is felt and that cannot be dismissed as a discursive construct. Through these narratives I attempt to understand selfhood as a process—experientially inescapable but essentially in flux. I see a strong case for anthropologists moving beyond an overly neat, overly dichotomized view of “Western” and “non-Western” senses of self. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Susanne Langer in Focus: The Symbolic MindMary J. ReichlingRobert E. Innis, Susanne Langer in Focus: The Symbolic Mind (Indiana University Press: Indianapolis, 2009)The very first sentence of this book establishes the author's goal: "to bring as clearly as possible the total range of Susanne Langer's work 'into focus'" (p. xi). Such an aim strains credulity when one is familiar with the depth, breadth, and complexity of Langer's (...) philosophy as it encompasses her complete works. Yet, Innis manages to trace the development of Langer's thought from its roots in her earliest work, The Practice of Philosophy, through the intervening books, and concluding with her theory of mind and the three volumes of Mind: An Essay on Human Feeling. Susanne Langer in Focus is the most comprehensive analysis of the progression of Langer's thought I have found to date. It is a project of Herculean proportion and one which Innis accomplishes quite well in a lucid and scholarly, though sometimes pedantic, manner despite some matters that I wish to pursue more fully.However it is important to note at the outset that Innis sharply limits his use of secondary sources and prefers to restrict involvement with "scholarly quarrels" thus choosing not to engage with Langer's detractors (p. xi). This was a disappointment for me because I share Innis's advocacy with respect to Langer's aesthetic theory and would appreciate a voice as knowledgeable and well grounded [End Page 213] as his taking on some of these arguments. Nevertheless, Langer has long been popular among musicians and music educators who will find here a sensitive and penetrating presentation of Langer's aesthetic theory and an analysis of music specifically as a paradigm for that theory.The text is divided into nine chapters preceded by an interesting biographical sketch of Langer. It appears to me that these chapters group nicely into three sections, my division, not Innis's. The first includes chapters one and two concerned with the origins of Langer's philosophy and symbol theory as found in The Practice of Philosophy, Introduction to Symbolic Logic, and to some extent, Philosophy in a New Key. The second embraces chapters three, four, and five giving primary consideration to her non-discursive or presentational symbolism, symbolic transformation, ritual, myth, and art as found in Philosophy in a New Key and Feeling and Form. The third section, chapter six, seven, and eight, is devoted to Langer's trilogy, the three volumes of Mind. A short ninth chapter concludes the book with Innes's perspective on the dimensions and position of Langer's philosophical undertaking in the broader context of philosophy in general.That said, I now wish to offer my take on some of the fruits of Innes's harvest examining each of the orchards (sections) in turn. At the outset, Innis stresses Langer's view of the position and purpose of philosophy stating that it embraces all the rational sciences in a systematic study of meaning. In fact for Langer, the logical analysis is to philosophy what observation is to science, a first step. This relation, as a kind of dialectical tension between philosophy and science, especially with respect to method, is one of Langer's major contributions as Innis points out much later in his concluding chapter. What I find quite helpful, though, is Innis's explanation of Langer's concept of a type of understanding that is non-discursive. This provides an epistemological basis for the nature of myth and art, so critical, in my opinion, to grasping Langer's theory of music as a symbol of feeling. (But I am ahead of Innis.)Innis shows that Langer's theory is grounded empirically in the psychology of perception and imagination because these allow the perceiver to abstract meaning from the form that embodies it. He continues illuminating and clarifying several terms such as abstraction, projection, semblance, virtual image, imagination, illusion, and more. His discussion of metaphor, primarily as it relates to Langer's theory of presentational symbolism, is extremely well done. His emphasis on metaphor as more than a mode of inquiry is particularly significant. Few, if any, writers about Langer... (shrink)

A intervenção histórica de Jung constitui, em nossa opinião, uma proposta de revitalização, na modernidade, de uma filosofia soteriológica que se ancora, estrategicamente, no contexto disciplinar de uma “psicologia científica”. Enquanto “clínica da meia-idade” ou “clínica da individuação”, o modelo que mais diretamente inspira a psicologia analítica de Jung é o athanasius pharmakon dos antigos - a “medicina da imortalidade”. Seu arcabouço conceitual, ao invés de uma teoria científica de pretensões universalizantes, consagra-se como linguagem-força que estrutura e sustenta, no Ocidente (...) moderno, uma reflexão dialógica e conversacional analista-analisando, comprometida com a eliminação sistemática dos “invólucros falsos” que encobrem o Si-Mesmo e com a realização de uma verdade existencialmente transformadora que promove, em definitivo, a plenitude existencial. Para sustentar essa linha interpretativa, fazemos recurso à doutrina indiana dos Puruṣārthas, em especial ao processo de transição entre dharma e mokṣa. (shrink)