In July 1809, E. T. A. Hoffmann received a copy of the score to Beethoven's Fifth Symphony and in July 1810, he published a review of the Fifth Symphony in the German journal for music criticism Allgemeine musikalische Zeitung. Hoffmann need not have actually heard a performance; in his review, the purely musical analysis could easily have been based entirely on his reading of the score. In its basic structure, the review follows the pattern of reviews published in (...) the AMZ. What is groundbreaking, however, is what Hoffmann has done with the introductory portion: Hoffmann serves up a full-blown theory of musical romanticism. His idea is to put Beethoven forward as the ultimate musical romantic. (shrink)

E.T.A. Hoffmann invente la notion de structure pour décrire la forme musicale, lorsque, dans la célèbre recension de la Cinquième symphonie de Beethoven, il l’emploie pour défendre le compositeur contre les accusations de fantaisie débridée et d’imagination désordonnée. Mais est-ce à dire que l’écrivain romantique est un précurseur du structuralisme? Le langage musical a selon lui un sens spirituel qui ne se laisse pas réduire à l’analyse structurelle. Nécessaire à la pensée de la musique, la notion de structure est (...) néanmoins insuffisante car elle ne relève précisément que de la pensée langagière. La structure est une échelle pour s’élever au-dessus d’une écoute chaotique, mais dont il faut se débarrasser si on veut retrouver la signification de la musique. La pensée de l’art, du point de vue du romantisme hoffmannien, est aussi une autocritique de la pensée face à l’art. (shrink)

E.T.A. Hoffmann invente la notion de structure pour décrire la forme musicale, lorsque, dans la célèbre recension de la Cinquième symphonie de Beethoven, il l’emploie pour défendre le compositeur contre les accusations de fantaisie débridée et d’imagination désordonnée. Mais est-ce à dire que l’écrivain romantique est un précurseur du structuralisme ? Le langage musical a selon lui un sens spirituel qui ne se laisse pas réduire à l’analyse structurelle. Nécessaire à la pensée de la musique, la notion de structure (...) est néanmoins insuffisante car elle ne relève précisément que de la pensée langagière. La structure est une échelle pour s’élever au-dessus d’une écoute chaotique, mais dont il faut se débarrasser si on veut retrouver la signification de la musique. La pensée de l’art, du point de vue du romantisme hoffmannien, est aussi une autocritique de la pensée face à l’art. (shrink)

What does it mean to say that music is deeply moving? Or that music's aesthetic value derives from its deep structure? This study traces the widely employed trope of musical depth to its origins in German-language music criticism and analysis. From the Romantic aesthetics of E. T. A. Hoffmann to the modernist theories of Arnold Schoenberg, metaphors of depth attest to the cross-pollination of music with discourses ranging from theology, geology and poetics to psychology, philosophy and economics. The book (...) demonstrates that the persistence of depth metaphors in musicology and music theory today is an outgrowth of their essential role in articulating and transmitting Germanic cultural values. While musical depth metaphors have historically served to communicate German nationalist sentiments, Watkins shows that an appreciation for the broad connotations of those metaphors opens up exciting new avenues for interpretation. (shrink)

The essay is devoted to an analysis of aesthetic views of one of the most distinguished German Romantics, which came through with particular fullness in his fiction. Hoffmann’s aesthetic views focus around his understanding of art. He is convinced that art has an anagagogical nature. It elevates the human being from everyday life to the sphere of the divine and thereby ennobles everyday life itself. Art draws the artist away from the world and manifests to the world his prophetic (...) gift, which is often perceived as “poetic madness.” The fantastic in art, as well as the terrible and the frightening, does not contradict artistic truth. The elements of the terrible give philosophical significance to the work of art and please the recipient. Art is cognitive to a high degree, because nature itself reveals its secrets to the artist and allows him to intuit the “truth of nature.” Hoffmann is convinced about the ontological status of art. It must “be something, and not mean it.” Artistic creativity takes place fully within the inner world of the artist as he aspires for his ideal. Hoffmann allows for a certain degree of vagueness in a concrete work of art, whose purpose is additional aesthetic effort on the part of the recipient, who must be internally ready for communication with art. Creative activity is based on imagination and reason. It is based on natural foundations and is inspired by the illuminating effect of divine energy. Hoffmann considers music as the highest form of art and the ideal for all the arts. According to Hoffmann, music is the truly Romantic form of art. He sees the meaning of music in its foundation in nature, its aspiration for the heavens, the fact that it includes the world of the spirits in its orbit, and that it incites a longing for the unattainable in the listener. Hoffmann paid much attention to irony as one of the features of Romantic art. (shrink)

The word “romanticism” designates in German as in other European languages a broad movement in literature that originated at the beginning of the nineteenth century and has often been characterized as an opposition to the preceding age of rationalism and Enlightenment. Situated between the classicist schools of taste of the previous century and the realistic and naturalistic trends in literature of the later nineteenth century, Romanticism or romantic literature is the product of the creative power of the imagination; it appeals (...) to the emotions, has a preference for the mysterious aspects of nature, and shows a strong predilection for the past, the Middle Ages, and mythological traditions. With its strong affinity to the novel, romantic literature departs from the classical forms and the classicist canon of literature, but when these classical forms were nevertheless used by the authors of this movement, something new was created – the romantic tale, the romantic drama, and romantic poetry. The great romantic authors in Germany were E. T. A. Hoffmann, Eichendorff, Brentano, Arnim, and Fouqué. There is both a narrower and a broader notion of Romanticism in Germany, the broader also relating to painting (Friedrich, Runge) and music (Schumann, Schubert, Mendelssohn, Bartholdy, Wagner). Romanticism had a great impact on the general view of the world and was influential in the rise of the historical consciousness, the revival of a religious spirit, and the emergence of a conservative political attitude. As far as philosophy and the sciences are concerned, Romanticism is associated with figures such as Schelling and Schopenhauer, the development of a philosophy of art, of nature, and of the subconscious. On the whole, Romanticism is one of those movements that shaped an entire age and manifested itself down to the most particular features of popular belief and scientific interest. (shrink)

Women in Rock, Women in Romanticism is the first book-length work to explore the interrelationships between contemporary female musicians and eighteenth- and nineteenth-century art, music, and literature by women and men. The music and videos of contemporary musicians including Erykah Badu, Beyoncé, The Carters, Hélène Cixous, Missy Elliot, the Indigo Girls, Janet Jackson, Janis Joplin (and Big Brother and the Holding Company), Natalie Merchant, Joni Mitchell, Janelle Monáe, Alanis Morrisette, Siouxsie Sioux, Patti Smith, St. Vincent (Annie Clark), and Alice Walker (...) are explored through the lenses of pastoral and Afropresentism, Gothic, female Gothic, and the literature of William Blake, Beethoven, Arthur Schopenhauer, Samuel Taylor Coleridge, Charlotte Dacre, Ralph Waldo Emerson, E.T.A. Hoffmann, Ann Radcliffe, William Shakespeare, Mary Shelley, her husband Percy Shelley, Henry David Thoreau, Horace Walpole, Jane Williams, Mary Wollstonecraft, and William Wordsworth to explore how each sheds light on the other, and how women have appropriated, responded to, and been inspired by the work of authors from previous centuries. (shrink)

Hegel’s definition of music as Kunst des Gemüts do not refer to the simple expression of feelings, but to the fact that only the music is directed to the self, the self as such, absolutely. That music is not only expression of particular feelings, but of pure feeling or subjectivity itself, is based on the most decisive feature that share music and soul: the temporality. Music expresses the self in its radically temporal essence. It is not necessary to emphasize the (...) metaphysical function that follows from this conception of music. Far from the romantic origins of Wackenroder, E.T.A. Hoffmann or F. Schlegel, Hegel holds a romantic conception of music. (shrink)

Volume 20, Issue 7, July 2020, Page 150-152.

In the romantic tradition, music is consistently associated with madness, either as cause or cure. Writers as diverse as Kleist, Hoffmann, and Nietzsche articulated this theme, which in fact reaches back to classical antiquity and continues to resonate in the modern imagination. What John Hamilton investigates in this study is the way literary, philosophical, and psychological treatments of music and madness challenge the limits of representation and thereby create a crisis of language. Special focus is given to the decidedly (...) autobiographical impulse of the late eighteenth and early nineteenth centuries, where musical experience and mental disturbance disrupt the expression of referential thought, illuminating the irreducible aspects of the self before language can work them back into a discursive system. The study begins in the 1750s with Diderot's _Neveu de Rameau_, and situates that text in relation to Rousseau's reflections on the voice and the burgeoning discipline of musical aesthetics. Upon tracing the linkage of music and madness that courses through the work of Herder, Hegel, Wackenroder, and Kleist, Hamilton turns his attention to E. T. A. Hoffmann, whose writings of the first decades of the nineteenth century accumulate and qualify the preceding tradition. Throughout, Hamilton considers the particular representations that link music and madness, investigating the underlying motives, preconceptions, and ideological premises that facilitate the association of these two experiences. The gap between sensation and its verbal representation proved especially problematic for romantic writers concerned with the ineffability of selfhood. The author who chose to represent himself necessarily faced problems of language, which invariably compromised the uniqueness that the author wished to express. Music and madness, therefore, unworked the generalizing functions of language and marked a critical limit to linguistic capabilities. While the various conflicts among music, madness, and language questioned the viability of signification, they also raised the possibility of producing meaning beyond significance. (shrink)

Process philosophy is said by some to be the future of American philosophy. This collection of essays, ranging from studies of Whitehead to Camus and Sir Muhammad Iqbal, extends the discussion far beyond the boundaries of North America. Several of the essays are of a more systematic character. Donald Hanks analyzes the category of process as a pre-conceptual principle used to organize experience into an intelligible pattern. Andrew Reck provides an analysis of the meaning and justification of what he considers (...) to be the ten ideas or categories requisite for a system of process philosophy. Charles Schmidtke argues that process philosophy faces a fundamental decision regarding whether the character of reality as process is given as an ultimate datum or whether process philosophy structures reality in accordance with the characteristic of creative becoming. Other essays in the volume are concerned with the concept of process in the work of a variety of philosophers, some of whom are less directly in the process tradition. Ramona Cormier analyzes the relationship of the process of experience to its unchanging aspect in connection with Camus’ concern for the meaningfulness of life and the limitations of rational inquiry. Bertrand P. Helm provides a study of James’ concept of time and Patrick S. Madigan a study of the concept of space in Leibniz and Whitehead. Whitehead’s understanding of the interaction of things provides the basis for R. Kirby Godsey’s study of the categories of substance and relation in Whitehead, and Robert C. Whittemore provides an introduction to the process philosophy of Sir Muhammad Iqbal, the little known poet-philosopher and sometime student of James Ward. James Leroy Smith’s article on Whitehead and Marx is a critical comparison of their political philosophies.—E.T.L. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume's Moral Sentiments and the Structure of the Treatise LOUIS E. LOEB ACCORDING TO NORMAN KEMP SMITH and Thomas Hearn, Hume classified moral sentiments as direct passions.' According to Pb.II A,rdal, Hume classified the basic moral sentiments of approval and disapproval of persons as indirect passions. if either of these interpretations is correct, there is an intimate connection between Books II and 111 of Hume's Treatise. This is because (...) the direct and indirect passions (together with the will) are the subject of Book 11 and moral sentiments are discussed in Book 111. So if moral sentiments are special cases of either direct or indirect passions, the treatment of passions in Book Ii is central to the understanding of Book 111. 1 contend, on the contrary, that Hume's moral sentiments are neither direct nor indirect passions. Consequently, the connection between Books 11 and 111 of the Treatise is much less intimate than A,rdal and Hearn have recently suggested.' i. Hume's Classification of the Impressions of Reflection In the four paragraphs of II, i, I Hume provides an exhaustive "Division of the Subject"--the "subject" being "all the perceptions of the mind. ''4 Nowhere else in the Treatise is a complete "division" to be found. As A,rdal points out, such introductory chapters "are likely to be written after the bulk of the book has been completed, or at least to be carefully revised in the light of the main arguments in the book. ''~ For these reasons, there is a strong presumption that the "division" in!I, i, 1should be taken as canonical. Hume's "division" is straightforward. In the first paragraph, perceptions are divided into ideas and impressions; in the first and second paragraphs, impressions are divided into those of sensation and those of reflection; in the third paragraph, impressions of reflection are divided into the calm and the violent; in the fourth (as I am indebted to Wdham Frankena, Ronald Glossop, and Peter Jones for their most helpful comments. ' Norman Kemp Smith, The Philosophy of David Hume (New York: St. Martm'~ Press, 1966), pp. 167-168; and Thomas K. Hearn, Jr., "Ardal on the Moral Sentiments in Hume's rreattse," Phtlosophy 48 (1973):290. z Passton and Value m Hume's "Treatise" (Edinburgh: Edinburgh University Press, 1966), pp. I 1, 109-133. For a discussion heavily influenced by Ardal, see Stewart R. Sutherland, "Hume on Morality and the Emotions," Phllosophwal Quarterly 26 (1976) : 14-19 especially. ' See Ardal, pp. I-5, 109-133; and Hearn, pp. 288, 292. 9 A Treatise of Human Nature, ed. L. A. Selby-Bigge (Oxford: Clarendon Press, 1888), p. 275; hereafter cited as T followed by page number. 9 Ardal, p. 94. 13951 396 HISTORY OF PHILOSOPHY indicated by the last sentence of the third), the violent impressions of reflection are divided into the direct and the indirect. The structure is of a genus-species sort, and none of the distinctions cut across each other: J calm i sense of beauty and deformity (T, 276), moral sentiments impressions of reflection = emotions (secondary impressions) violent = passions direct indirect desire, aversion, grief, joy, pride, humility, love, hope, fear (T, 277, 439) hatred (T, 276-277) This classification is based upon the only natural reading of paragraph three and the first sentence of paragraph four of II, i, I. I quote this material, adding my own emphasis and deleting Hume's: The reflective impressions may be divided into two kinds, viz. the calm and the violent. Of the first kind is the sense of beauty and deformity in action, composition, and external objects. Of the second are the passions of love and hatred, grief and joy, pride and humility. This division is far from being exact. The raptures of poetry and music frequently rise to the greatest height; while those other impressions, properly called passions, may decay into so soft an emotion, as to become, in a manner, imperceptible. But as in general the passions are more violent than the emotions arising from beauty and deformity, these impressions have been commonly distinguish'd from each other. The subject of the human mind being so copious and various, I shall here take... (shrink)

E. T. A. Hoffmann is one of the most famous representatives of early German horror literature. He has been both, inspired by its predecessors, as well as having influenced the work of many of his successors, and hence the development of the whole genre. The present article examines a story by E. T. A. Hoffmann, “Vampirismus” from the collection of short stories “Serapions Brüder”. Emphases are, on the one hand, on the mechanisms that cause readers’ fear and uncertainty (...) and, on the other hand, the peculiarity of the vampire or Nachzehrer figure and their function in the story. Firstly, it will be shown that the vampire depicted in the work is not actually a vampire. We find here a ghoul; that is a demon from Arab culture. However, the ghoul has more to do with the monster outlined by Antoine Galland in his translation of the “One Thousand and One Nights” than with traditional folk beliefs. Secondly, the author comes to the conclusion that Hoffmann has functionalized the Horrible. This element does not work by itself, but serves the author as the background of the action. And he is using this background to let the characters reveal all their weaknesses and dark sides. The violation of the order ruling in the world as it is represented engages the reader and at the same time raises his fear. The resulting excited feelings and general alienation are further reinforced for the figure of the Nachzehrer that occurs instead of a formerly innocent, graceful girl. The emergence of the supernatural – the final confirmation of the breach of order – is responsible for the effect just described. (shrink)

Our study presents an overview of the issues that were brought forward by participants of a moral case deliberation (MCD) project in two elderly care organizations. The overview was inductively derived from all case descriptions (N = 202) provided by participants of seven mixed MCD groups, consisting of care providers from various professional backgrounds, from nursing assistant to physician. The MCD groups were part of a larger MCD project within two care institutions (residential homes and nursing homes). Care providers are (...) confronted with a wide variety of largely everyday ethical issues. We distinguished three main categories: ‘resident’s behavior’, ‘divergent perspectives on good care’ and ‘organizational context’. The overview can be used for agendasetting when institutions wish to stimulate reflection and deliberation. It is important that an agenda is constructed from the bottom-up and open to a variety of issues. In addition, organizing reflection and deliberation requires effort to identify moral questions in practice whilst at the same time maintaining the connection with the organizational context and existing communication structures. Once care providers are used to dealing with divergent perspectives, inviting different perspectives (e.g. family members) to take part in the deliberation, might help to identify and address ethical ‘blind spots’. (shrink)

The model provided by the organismic point of view is quite different. Without having recourse to any transcendent vital force or immanent teleology, it nevertheless rejects the basic ideas of mechanism. More specifically, it replaces the analytical- summative conception by the idea of biological organisms as wholes or systems which have unique system-properties and obey irreducible system-laws. The machine-theoretical conception is replaced by a dynamic interpretation of living things, wherein organic structures are due to a continuous flow of processes combining (...) to produce patterns of immense intricacy. The reaction-theoretical conception is jettisoned in favour of the view that the organism is primarily a center of activity which is autonomous and not a mere response to external stimuli. Finally, the organismic model considers that biological systems are stratified, so that, e.g., viruses, genes, chromosomes, cells, multicellular individuals, supra-individual aggregates, etc., form a hierarchy of "levels" exhibiting an increasing degree of complexity. The whole of nature, indeed, contains "a tremendous architecture, in which subordinate systems are united at successive levels into ever higher and larger systems.". (shrink)

In a single richly suggestive word, "song," Sessions sums up all the factors—melodic, harmonic, rhythmic, textural, dynamic, articulative—that contribute to what I have called musical line: "Each one of these various aspects derives its functions from the total and indivisible musical flow - the song. . . . [M]usic can be genuinely organized only on this integral basis, and . . . an attempt to organize its so-called elements as separate factors is, at the very best, to pursue abstraction, and, (...) at the worst, to confuse genuine order with something which is essentially chaotic."1 Analysis, whose functions as a valuable tool for the training of composer and performer Sessions has so well explicated and demonstrated, is now all too often called on to justify and to further this essentially unmusical, or at best nonmusical, pursuit of abstraction. Herein lies the explanation for the increasing doubt of the general usefulness of the discipline that Sessions has lately evidenced.2 For the creation and analysis of art are two distinct activities, confused at the artist's peril. ". . . [A]nalysis cannot reveal anything whatever except the structural aspects of a completed work . . . Discoveries after the fact are necessarily verbalized in terms of preexistent contexts; it hears forward, as it were, in terms of the contexts.3 · 1. "Song and Pattern in Music Today," The Score 17 : 77-78.· 2. See, e.g., "Song and Pattern," p. 78, and "To the Editor," Perspectives of New Music 5 : 92-93.· 3. Questions about Music , pp. 109-110. Edward T. Cone, composer and professor of music at Princeton University, has written Musical Form and Musical Performance and The Composer's Voice, edited Berlioz's Fantastic Symphony, and coedited Perspectives on American Composers and Perspectives on Schoenberg and Stravinsky. In a slightly different form, this essay was delivered as an address at Amherst College on the occasion of a music festival honoring Roger Sessions. (shrink)

In his interpretation of Scheler’s Wesen und Formen der Sympathie, Luther argues that although Scheler begins his analysis with an investigation of the phenomenon, sympathy, it is in fact the love phenomenon which is shown to be the more fundamental, and further, that Scheler’s clarification of the love phenomenon reveals a dynamic structure of Being. Scheler’s investigation is a phenomenological one, one intended not so much to demonstrate a thesis as to evoke a way of looking at the phenomena of (...) sympathy and love in order that one may understand descriptively what is being lived or experienced. According to Scheler man discovers himself as already in the world in relation to persons and things and thus sympathy and love are relational structures. Given this relatedness each term of a relation is meaningful only as a reference to the other and an analysis of one term independently of the other is an abstraction. Personal being is also within this relational unity and the most significant structure of this unity is said to be love or more concretely, "persons in love." According to Scheler a person is only in relatedness and while there are various levels at which this relatedness may be described Scheler is primarily concerned in Wesen und Formen to describe it at a metaphysical level where Being is said to disclose itself. (shrink)

Moral case deliberation (MCD) is a form of clinical ethics support in which the ethicist as facilitator aims at supporting professionals with a structured moral inquiry into their moral issues from practice. Cases often affect clients, however, their inclusion in MCD is not common. Client participation often raises questions concerning conditions for equal collaboration and good dialogue. Despite these questions, there is little empirical research regarding client participation in clinical ethics support in general and in MCD in particular. This article (...) aims at describing the experiences and processes of two MCD groups with client participation in a mental healthcare institution. A responsive evaluation was conducted examining stakeholders’ issues concerning client participation. Findings demonstrate that participation initially creates uneasiness. As routine builds up and client participants meet certain criteria, both clients and professionals start thinking beyond ‘us-them’ distinctions, and become more equal partners in dialogue. Still, sentiments of distrust and feelings of not being safe may reoccur. Client participation in MCD thus requires continuous reflection and alertness on relational dynamics and the quality of and conditions for dialogue. Participation puts the essentials of MCD (i.e., dialogue) to the test. Yet, the methodology and features of MCD offer an appropriate platform to introduce client participation in healthcare institutions. (shrink)

Several lines of evidence suggest that children born via Cesarean section are at greater risk for adverse health outcomes including allergies, asthma and obesity. Vaginal seeding is a medical procedure in which infants born by C-section are swabbed immediately after birth with vaginal secretions from the mother. This procedure has been proposed as a way to transfer the mother's vaginal microbiome to the child, thereby restoring the natural exposure that occurs during vaginal birth that is interrupted in the case of (...) babies born via C-section. Preliminary evidence indicates partial restoration of microbes. However, there is insufficient evidence to determine the health benefits of the procedure. Several studies, including trial, are currently underway. At the same time, in the clinic setting, doctors are increasingly being asked to by expectant mothers to have their babies seeded. This article reports on the current research on this procedure and the issues it raises for regulators, researchers, physicians, and patients. (shrink)

This article disputes Freud's reading of “The Sandman,” in which he seeks to explain the text's uncanniness primarily with reference to his theory of the castration complex. Rather than abandon Freud altogether, however, I demonstrate how the uncanny effects of Hoffmann's tale are best understood with reference to Freud's concept of “total narcissism.” Specifically, I argue that the ambiguities surrounding this notion are profoundly interwoven with the uncanniness of “The Sandman's” “doubles.” Finally, using these analyses as a foundation, I (...) present my own interpretation of “The Sandman's” subtextual narrative, arguing that the tale effectively dramatizes the self-destructive tendencies of the individual dominated by total narcissism. (shrink)

Les astrologues étaient, au xviii e siècle, l’une des cibles satiriques des auteurs des Lumières, qui appelaient « superstition » ce qui ne rentrait pas dans le cadre de la science et de la religion instituées. Le traitement de ces personnages dans les œuvres de Walter Scott et d’E.T.A. Hoffmann indique toutefois qu’un tournant a eu lieu au début du xix e siècle : à partir notamment du modèle schillérien, cette figure à l’identité ambiguë a acquis une profondeur nouvelle (...) grâce à sa capacité à revêtir de nombreux masques. Scott et Hoffmann ne représentent pas l’astrologie comme une menace ou un objet de dérision qu’il convient de tourner en ridicule. Elle est devenue chez eux aussi bien un « moment » du passé qui possède une valeur d’exemplarité historique, qu’une des voies permettant la défense des pouvoirs de l’imagination et d’une vision enchantée du monde. Il est donc pertinent de remettre en question certaines idées que ces auteurs défendent à propos de leur œuvre : la prose de Walter Scott n’est pas aussi opposée à celle de Hoffmann qu’il l’a affirmé, et Hoffmann, en ce qui concerne du moins l’histoire des croyances, hérite lui aussi du rationalisme des Lumières qu’il entend dénoncer. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 535 eluded. Have Straussians proved that there is no higher human knowledge than philosophy? One hopes that they will meet their critics, because Stmussians are deeply serious men and women, and we can all learn from their mentor. Hillsdale, College Hillsdale, Michigan D. T. ASSELIN Philosophical Problems of Classical Film Theory. By NOEL CARROLL. Princeton, N.J.: Princeton University Press, 1988. Pp. 268. This book is a provocative, (...) clearly written, and carefully argued presentation of a philosophical critique of traditional film criticism. If film is taken as a serious art form, one which can stand alongside of music, painting, theatre, and literature, then Carroll's book is a good example of the type of philosophical study that is needed. Assistant professor of philosophy at Wesleyan University, Carroll knows the world of film well and attacks with vigor what he takes to be erroneous in traditional film criticism. His three targets are the film theories of Rudolf Arnheim, Andre Bazin, and V. F. Perkins. It would be difficult to overemphasize the influence of Arnheim and Bazin on the history of the aesthetics of film: each man is a giant in the history of theorizing about film. Though much less influential, Perkins does present an mteresting view of film. Philosophical Problems of Classical Film Theory consists of an introduction, three central chapters, and a conclusion. Each of the three chapters is devoted to one of the film theorists, and each chapter begins with an explanation of the theory being discussed. In trying to present the theory in its strongest form, Carroll includes a detailed discussion of its historical setting, and this makes its contextual importance clear. But most of each chapter is devoted to criticism of the theory iii question. Thinking of film theories as a series of answers to abstract questions, Carroll suggests that Arnheim, Bazin, and Perkins address the same central questions and expect the answers to these questions to be related logically in the same way. Carroll lists three questions that he thinks suggest a similar structure in the three theories he is studying: " What is the determinant or special feature of film? What is the value or role of cinema? What are the processes of articulation in film in relation to the previous two answers? " Concerning the answers to these questions Carroll writes 586 BOOK REVIEWS Most classical film theories-including those of Amheim, Bazin, and Perkins-relate answers to the three basic questions in the following way: the determinant characteristic stands to the role of cinema as a means to an end, while the articulatory processes are assessed as instances of the determinant characteristic of cinema (pp. 14-15). Arnheim represents an early type of film theorizing which Carroll names the silent-film paradigm. Those who embrace this approach, and Carroll would include the Soviet montagists of the twenties such as Sergei Eisenstein, insist that film is not merely a record of reality but rather manipulates reality expressively. Though Arnheim wrote after sound had entered film, he disdained talkies and looked back to silent film to discover the paradigm of film. Carroll's treatment of Arnheim relies on the latter's 1957 Film As Art, which is a condensed version of his 1933 book Film. The 1957 condensation can he considered the authoritative articulation of Arnheim's position. The prejudice against cinema in its early days derived from the fact that a major constituent of film was photography. Many felt that photography could not be an art form because it was merely a copying process. Arnheim's theory can be called creationist because he successfully showed how cinema could be creative in capturing and re-presenting reality. Arnheim showed that film transcends the simple viewpoint that simple recording implies. Carroll summarizes Arnheim's view: In summary, Arnheim holds that one role of filmmaking-the one that concerns him-is art. He also contends that the determinant characteristics of the medium-those relevant to the purpose of art makingare the various ways that the medium diverges from the mechanical duplication of reality, and finally, Arnheim spends the bulk of Film As Art on lengthy examinations of the various modes of cinematic articulalation, in order to demonstrate... (shrink)

The music of Christoph Willibald von Gluck was a revolution for Paris operagoers when his work premiered there in 1774. In a setting known for its restive and often rowdy spectators, Alceste, Iphigénie en Aulide, and Orpheé et Eurydice seized audiences with unprecedented force. They shed silent tears or sobbed openly, and some cried out in sympathy with the sufferers onstage. “Oh Mama! This is too painful!” three girls called out as Charon led Alcestis to the underworld, and a boy (...) pleaded with his father to take him home. A woman who watched the same performance described falling on her knees in her opera-box as the march of the priests of Apollo began, staying in this position “suppliant and with my hands clasped until the end of the piece.”Gluck's streamlined musical language was one reason for these emotional responses. He and his librettist Ranieri de’ Calzabigi simplified the conventions by eliminating extraneous subplots, abandoning the repetitive da capo form, and replacing trills and runs with simpler melodies meant to convey passion. Another reason was the widespread culture of sentimentalism, which equated virtue with sincerity and judged tears to be the natural sign of an open heart. Painters depicted tender and tumultuous family scenes, and friends pledged trembling vows of fidelity. Listeners were also readers, and many described similar tearful responses when they read the century's bestseller, Rousseau's novel Julie; or, The New Heloise.Everist, a musicologist, takes up the story of Gluck in France in the nineteenth century, when the German composer remained a presence in repertoires. No longer prone to tears, the public was often indifferent and sometimes hostile to his works. Conductors and composers nevertheless persisted in promoting Gluck's music. Between 1828 and 1870, operatic excerpts appeared roughly twice a year in performances of the prestigious Société des Concerts, and the charismatic conductor Jules Pasdeloup regularly programmed his music. Many listeners remained unconvinced. A writer in 1861 described the “sepulchral boredom that reigned the length of all five acts” of Alceste. The periodical Monde dramatique used the same language to characterize Gluck's music: it was “profoundly boring.” After a high point of performances in the middle of Napoleon III's reign, Gluck disappeared from the Paris opera and concert stage for some thirty years.Everist's aim in this slim book is to isolate the “agents” involved in the French reception of Gluck. Traditional reception histories might begin with Gluck and his aims, identifying musical features, particular responses of audiences, critics’ accounts, and perhaps the more elusive temper of the times. Everist focuses instead on less conspicuous networks of impresarios, theater directors, and publishers. In his telling, such agents also include journalists and writers of fiction. The avowed effort is to decenter the artist and his art to emphasize the limited role that composers and librettists play in the performance of an opera. A quoted passage in the book reminds us that without parking attendants, stagehands, and ticket sellers the show could not go on. True enough. Genealogies of Music and Memory therefore provides tables listing Gluck arias in anthologies, particular singers’ performances, works by composers other than Gluck who also drew themes from classical antiquity, and works by other foreign-born composers. A section on “material culture” lists paintings and sculptures of Gluck in Paris theaters and museums.As a “genealogy,” the book is a salutary reminder of the web of amateurs and professionals who discuss, promote, and perform works that others have created. Writers such as E. T. A. Hoffmann, Mme de Staël, and Hippolyte Taine held up Gluck as the embodiment of German music. Hector Berlioz wrote frequently and enthusiastically about Gluck, although he was less keen to program his music. The singers François Delsarte and Pauline Viardot aroused temporary interest in Gluck by regularly including his arias in their recitals. Musical anthologies for the bourgeois household included piano arrangements of his best-known arias. Some nineteenth-century adaptations of his works were scored for the military band.Genealogies of Music and Memory is musicology with very little music. Everist's reliance on networks of actors, agents, publishers, pedagogical practices, and archival environments leads him to assert that “multiple agency is endemic in the story told here.” Unfortunately, it is often unclear just what the story is. Carelessness in writing and editing throughout—including a subject-verb clash in the book's final sentence—has rendered key passages obscure. Everist describes Delsarte's voice as feeble, broken, veiled, and ready to be extinguished twice in the same paragraph, first as a paraphrase and again in a quotation (with a misplaced comma).Decentering artists and their work to elevate others responsible for its reception brings attention to the unseen and often unsung. In the absence of particular performance histories, musical analyses and description, or sustained accounts of shared tastes or critical responses, however, conclusions remain piecemeal. Everist claims to have revealed a “Geertzian web of culture” in his study. A more modest account would describe it as an enumeration of references, revivals, editions, excerpts, and arrangements. (shrink)

Our study presents an overview of the issues that were brought forward by participants of a moral case deliberation (MCD) project in two elderly care organizations. The overview was inductively derived from all case descriptions (N = 202) provided by participants of seven mixed MCD groups, consisting of care providers from various professional backgrounds, from nursing assistant to physician. The MCD groups were part of a larger MCD project within two care institutions (residential homes and nursing homes). Care providers are (...) confronted with a wide variety of largely everyday ethical issues. We distinguished three main categories: ‘resident’s behavior’, ‘divergent perspectives on good care’ and ‘organizational context’. The overview can be used for agendasetting when institutions wish to stimulate reflection and deliberation. It is important that an agenda is constructed from the bottom-up and open to a variety of issues. In addition, organizing reflection and deliberation requires effort to identify moral questions in practice whilst at the same time maintaining the connection with the organizational context and existing communication structures. Once care providers are used to dealing with divergent perspectives, inviting different perspectives (e.g. family members) to take part in the deliberation, might help to identify and address ethical ‘blind spots’. (shrink)

Enlightenment - both the phenomenon specific to the eighteenth century and the continuing trend in Western thought - is an attempt to dispel ignorance, achieve mastery of a potentially hostile environment, and contain fear of the unknown by promoting science and rationality. Enlightenment is often accompanied and challenged by countercultures such as German Romanticism, which explored the nature of fear and deployed it as a corrective to the excesses of rationalism. The Aesthetics of Fear in German Romanticism uncovers the formative (...) role this movement played in the development of dark or negative aesthetics. Recovering a missing chapter in the history of the aesthetics of fear, Paola Mayer illustrates that Romanticism was a crucial transitional phase between the eighteenth-century sublime and the early twentieth-century uncanny. Mayer puts literature and philosophy in dialogue, examining how German Romantic literature employed narratives of fear to radicalize and then subvert the status quo in society, culture, and science. She traces the development of this aesthetic from its inception with pre-Romantics such as Jean Paul Richter to its end in Joseph von Eichendorff's critical retrospective, and juxtaposes canonical authors such as E.T.A. Hoffmann - the father of the modern fantastic - with writers who have previously been ignored. Today, when the dark side of science looms in the foreground, The Aesthetics of Fear in German Romanticism points to the power of a literary movement to construct competing currents of thought. (shrink)

In the latter part of the eigthteenth century, philosophers faced a problem with respect to moral freedom. They were concerned not only with an account of how one could be free in the Newtonian system of nature but also with how it might be possible to represent that freedom. The imagination provided an answer. The imagination, thought to have limitless potential through aesthetic experiences and judgments, provided the bridge between our abstract, intellectual understanding of the world and the conditions of (...) our morality. In constructing a system of knowledge, the possibility of moral freedom set the rational limit to our abstract, intellectual understanding of the world.1 For Immanuel Kant, this possibility of... (shrink)

Moral case deliberation (MCD) is a specific form of clinical ethics, aiming to stimulate ethical reflection in daily practice in order to improve the quality of care. This article focuses on the implementation of MCD in nursing homes and the questions how and where to organize MCD. The purpose of this study was to evaluate one way of organizing MCD in two Dutch nursing homes. In both of these nursing homes the MCD groups had a heterogeneous composition and were organized (...) apart from existing institutional communication structures. As part of a naturalistic evaluation, systematic observations, interviews and focus groups were completed. The findings indicate that the heterogeneous composition and MCD meetings separate from existing structures have benefits. However, the participants also reported negative experiences. This gives rise to the question whether a mixed MCD group which meets separately is an effective way to embed MCD as an instrument for reflection on moral issues in daily practice. We conclude that there is no single answer to that question. In the end, the two implementation strategies (i.e. within existing communication structures and a mixed MCD group) can be complementary to each other. (shrink)

Moral case deliberation (MCD) is a specific form of clinical ethics, aiming to stimulate ethical reflection in daily practice in order to improve the quality of care. This article focuses on the implementation of MCD in nursing homes and the questions how and where to organize MCD. The purpose of this study was to evaluate one way of organizing MCD in two Dutch nursing homes. In both of these nursing homes the MCD groups had a heterogeneous composition and were organized (...) apart from existing institutional communication structures. As part of a naturalistic evaluation, systematic observations, interviews and focus groups were completed. The findings indicate that the heterogeneous composition and MCD meetings separate from existing structures have benefits. However, the participants also reported negative experiences. This gives rise to the question whether a mixed MCD group which meets separately is an effective way to embed MCD as an instrument for reflection on moral issues in daily practice. We conclude that there is no single answer to that question. In the end, the two implementation strategies (i.e. within existing communication structures and a mixed MCD group) can be complementary to each other. (shrink)

The song of the northern mockingbird, Mimus polyglottos, is notable for its extensive length and inclusion of numerous imitations of several common North American bird species. Because of its complexity, it is not widely studied by birdsong scientists. When they do study it, the specific imitations are often noted, and the total number of varying phrases. What is rarely noted is the systematic way the bird changes from one syllable to the next, often with a subtle transition where one sound (...) is gradually transformed into a related sound, revealing an audible and specific compositional mode. It resembles a common strategy in human composing, which can be described as variation of a theme. In this paper, we present our initial attempts to describe the specific compositional rules behind the mockingbird song, focusing on the way the bird transitions from one syllable type to the next. We find that more often than chance, syllables before and after the transition are spectrally related, i.e., transitions are gradual, which we describe as morphing. In our paper, we categorize four common modes of morphing: timbre change, pitch change, squeeze, and stretch. This is the first time such transition rules in any complex birdsong have been specifically articulated. (shrink)

Emotional states are thought to influence athletic performance. Emotions characterized by high arousal enhance exercise performance. Extant research has focused on the valence and arousal dimensions of emotions, but not whether the motivational dimension (the extent to which the emotion engenders approach or avoidance behaviors) influences exercise performance. Two studies aimed to determine whether films and music chosen to induce approach- (i.e., anger), avoidance- (i.e., fear), and neutral-oriented emotions would successfully induce their intended emotional states (Study 1) and whether anger (...) and fear emotion inductions would influence 2-mile time trial performance (Study 2). In Study 1, the films and music successfully induced their intended emotions. In Study 2, run time and perceived level of exertion did not differ between emotions across all participants or among faster running participants per a median split. However, among slower running participants, the anger induction increased the 2-mile running speed relative to the neutral induction. These findings suggest that emotions eliciting approach-related motivational states may improve exercise performance, particularly in slower runners. (shrink)