In lieu of an abstract, here is a brief excerpt of the content:Nomadic Turns:Epistemology, Experience, and Women University Band DirectorsElizabeth GouldMusic education occupations in the U.S. have been segregated by gender and race for decades. While women are most likely to teach young students in classroom settings, men are most likely to teach older students in all settings, but most particularly in wind/percussion ensembles.1 Despite gender-affirmative employment practices, men constitute a large majority among band directors at all levels.2 At the (...) postsecondary level in the U.S., women constitute less than 10%.3 In all cases and all levels, the vast majority of band directors are white. Occupational segregation inhibits the development of individuals' careers as well as the development of the profession as individuals choose or are hired for positions based on their gender and/or race rather than their abilities.In terms of women university band directors, researchers have investigated employment trends,4 personal and occupational characteristics,5 occupational role models, and professional identity.6 Their findings generally have supported the hypotheses that historical precedent, traditional socialization, discrimination, segregation, and lack of role models contribute to their persistently low percentage as band directors. Longitudinal studies7 demonstrate that the percentage of women band directors has not increased significantly, and may be actually [End Page 147] declining after thirty years of enforcing affirmative action laws, which would suggest that these interventions have not provided the basis for enacting change in the profession. Further, change does not seem possible if members of the profession do not understand what causes the situation to persist. For example, while the College Band Directors National Association has supported the Linda A. Hartley and Deborah A. Sheldon study,8 their concern seems to be in only identifying the extent of the situation with the intention of increasing the number of women and non-white individuals who are band directors within the profession as it currently is constructed. This empirical approach is inadequate because it addresses neither the values held by members of the profession, nor its structure, which as previous research indicates, is poorly understood and must change to make possible meaningful increases in the number of women and non-white people.The profession of conducting university bands exists within the profession of music education in general, which, of course, exists within the profession of music. Clearly, one cannot be adequately understood without placing it in the context of the others. What is needed, then, are richer, more substantive, and meaningful understandings of the professions in general and of specific questions within them in particular, as they may provide the basis on which change can be possible. In addition to addressing the issue of persistent occupational gender and racial segregation, questions that may be addressed include positionalities9 of bands in the music education profession, the relationship of performance/conducting to the music profession, and the role of the musician in society in general. In order to accomplish this, I propose an analytical method that is both postmodern and feminist, and in which the philosophical figuration of the nomad, as explicated by Rosi Braidotti,10 is central.Postmodern/Feminist AnalysisDescribed variously as a "philosophical perspective,"11 a "sensibility,"12 and a historical moment,13 postmodernism resists definition. It may be understood as a way of perceiving the world that accepts and even embraces contradictions and uncertainties while rejecting commonly accepted cultural beliefs and practices, including humanist understandings of identity, representation, and the subject. This is a "postmodernism of resistance"14 that interrogates cultural practices, focusing on what is unexpected, marginalized, and silenced, opening spaces for change. In contrast, analysis based on modernism is constrained by binary oppositions that inscribe the positionalities of social groups. These oppositions are exemplified by Subject/Other (for example, male/female, reason/emotion) and consist of asymmetrical power relations in which the former is privileged over the latter, and the latter is defined in terms of not-the former. Postmodern analysis [End Page 148] reveals what these dualisms exclude, distort, or obscure, and provides flexibility for research from a variety of perspectives. Braidotti describes it as a "new kind of theoretical style"15 in terms of thinking, design, and analysis of research, a style... (shrink)

Issues of desire in music education are integral and anathema to the profession. Constituted of and by desire, we bodily engage music emotionally and cognitively; yet references to the body are limited to how it may be better managed in order to produce more satisfactory (desired) sounds, thus disciplining desire as we focus on the content of teaching (music) to the virtual exclusion of its subjects (students)—and our selves. Developing embodied senses of learning and teaching where students’ and educators’ subject (...) formation may be understood in terms of their/our desire holds potentialities of fully engaging us in music education, even as it also implicates music education practices in the production of desire as positivity rather than lack, and requires political pedagogies locating us as mindful bodies in relationship with each other, music, and the social world. My discussion is framed by poststructural feminism and affirmative postmodernism, and I argue that desire as production is integral to socially grounded and responsible subject positions claimed in, through, and as performative music literacies. (shrink)

A historically feminized profession, education in North America remains remarkably unaffected by feminism, with the notable exception of pedagogy and its impact on curriculum. The purpose of this paper is to describe characteristics of feminism that render it particularly useful and appropriate for developing potentialities in education and music education. As a set of flexible methodological tools informed by Gilles Deleuze's notions of philosophy and art, I argue feminism may contribute to education's becoming more efficacious, reflexive, and reflective of the (...) values of its participants. Its impetus involves ‘feminist imperative(s)’ to help in the sense articulated by Elizabeth Grosz: to provoke thought, challenge, and problematize. (shrink)

When women take up the work of music education, of the university, and become nomadic, engaging Deleuze and Guattari's war machine, all kinds of things happen. As nomads in music education, women traverse borders and boundaries that would otherwise limit and constrain them as they initiate alternative possibilities related to teaching and learning music. For women working at the university level, this is yearning, the necessity to engage in crucial, meaningful, intellectual work, to think and write work that stimulates and (...) inspires, as we are passionately and artistically engaged in everyday life. The nomadic war machine of women working in music education, embodied as yearning, looks for what more is there, what more in music education can be created and actualized. Conceiving music education as difference, in terms of its creative potential, women engage potentialities of experimentation, risk, and chance. (shrink)

A century after the advent of quantum mechanics and general relativity, both theories enjoy incredible empirical success, constituting the cornerstones of modern physics. Yet, paradoxically, they suffer from deep-rooted, so-far intractable, conflicts. Motivations for violations of the notion of relativistic locality include the Bell’s inequalities for hidden variable theories, the cosmological horizon problem, and Lorentz-violating approaches to quantum geometrodynamics, such as Horava–Lifshitz gravity. Here, we explore a recent proposal for a “real ensemble” non-local description of quantum mechanics, in which “particles” (...) can copy each others’ observable values AND phases, independent of their spatial separation. We first specify the exact theory, ensuring that it is consistent and has quantum mechanics as a fixed point, where all particles with the same values for a given observable have the same phases. We then study the stability of this fixed point numerically, and analytically, for simple models. We provide evidence that most systems are locally stable to small deviations from quantum mechanics, and furthermore, the phase variance per value of the observable, as well as systematic deviations from quantum mechanics, decay as \ time)\, where \. Interestingly, this convergence is controlled by the absolute value of energy, suggesting a possible connection to gravitational physics. Finally, we discuss different issues related to this theory, as well as potential novel applications for the spectrum of primordial cosmological perturbations and the cosmological constant problem. (shrink)

It is difficult to overstate music's persistent and uneasy relationship with homosexuality in Western society. Associated with femininity for centuries, particularly in North America, participation in music has been believed to emasculate and thus homosexualize men and boys. The linking of music to women and emotion (as opposed to men and reason) contributes to the conflation of misogyny and homophobia in North American society generally and music and music education particularly. One effect of music's conflicted relationship with and to homosexuality (...) for lesbians and gay men is to "disappear" them in both professions. As a function of disappeared positionalities, subject positions of homosexualities and potentialities of creating lives worth living are also disappeared. I explore ontological effects of disappeared in the world and music and music education, and reconceptualize "disappeared" in terms of Jacques Derrida's concept of "under erasure"—sous rature—in ways that may signal other ontological potentialities. (shrink)

It is shown that the 33 complex rays in three dimensions used by Penrose to prove the Bell-Kochen-Specker theorem have the same orthogonality relations as the 33 real rays of Peres, and therefore provide an isomorphic proof of the theorem. It is further shown that the Peres and Penrose rays are just two members of a continuous three-parameter family of unitarily inequivalent rays that prove the theorem.

North American music education is a commodity sold to pre-service and in-service music teachers. Like all mass-produced consumables, it is valuable to the extent that it is not creative, that is, to the extent that it is reproducible. This is demonstrated in curricular materials, notably general music series textbook and music scores available from a rapidly shrinking cadre of publishers, as well as rigid and pre-determined pedagogical practices. Distributing resources and techniques that produce predicable, consistent, and repeatable goods and services, (...) the economy of music teacher preparation and development must necessarily exclude creativity, which consequently must be viewed as not only inefficient but unprofitable. More than undesirable, however, creativity is constructed as dangerous as it injects difference in a system that relies on sameness. Because of its implications for music education discourse and practices, I focus my discussion on research in general and feminist critique in particular in music education. Reading through Monique Wittig's ‘The Trojan Horse’ as literary war machine, I argue that creative writing and academic research are not mutually exclusive, and that it is only through infusing the literary or creative in scholarly writing that interlocking systems of oppression may be altered and difference implicated in music education. My analysis of Roberta Lamb's (1995) research piece, ‘Tone Deaf/Symphonies Singing: Sketches for a Musicale’ depicts it as Trojan Horse, albeit one that Lamb herself, most likely as a function of editorial imperative, hobbles. (shrink)

BackgroundA growing number of studies show the potential of loyalty card data for use in health research. However, research into public perceptions of using this data is limited. This study aimed to investigate public attitudes towards donating loyalty card data for academic health research, and the safeguards the public would want to see implemented. The way in which participant attitudes varied according to whether loyalty card data would be used for either cancer or COVID-19 research was also examined.MethodsParticipants were recruited (...) via Prolific Academic to take part in semi-structured telephone interviews, with questions focused on data sharing related to either COVID-19 or ovarian/bowel cancer as the proposed health condition to be researched. Content analysis was used to identify sub-themes corresponding to the two a priori themes, attitudes and safeguards.ResultsParticipant attitudes were found to fall into two categories, either rational or emotional. Under rational, most participants were in favour of sharing loyalty card data. Support of health research was seen as an important reason to donate such data, with loyalty card logs being considered as already within the public domain. With increased understanding of research purpose, participants expressed higher willingness to donate data. Within the emotional category, participants shared fears about revealing location information and of third parties obtaining their data. With regards to safeguards, participants described the importance of anonymisation and the level of data detail; the control, convenience and choice they desired in sharing data; and the need for transparency and data security. The change in hypothetical purpose of the data sharing, from Covid-19 to cancer research, had no impact on participants’ decision to donate, although did affect their understanding of how loyalty card data could be used.ConclusionsBased on interviews with the public, this study contributes recommendations for those researchers and the wider policy community seeking to obtain loyalty card data for health research. Whilst participants were largely in favour of donating loyalty card data for academic health research, information, choice and appropriate safeguards are all exposed as prerequisites upon which decisions are made. (shrink)

The twenty-seven contributors to this book are professors, teachers, and students representing all parts of Canada, as well as the USA, Brazil, Norway, Finland, and South Africa. They wrestle with the meaning and practice of social justice in and through music education.

A provocative account of pianist Glenn Gould's philosophy which argues that music is not only a reflection of social dynamics, but can also be a tool for a betterment of society.

A key question in disability studies, philosophy, and bioethics concerns the relationship between disability and well-being. The mere difference view, endorsed by Elizabeth Barnes, claims that physical and sensory disabilities by themselves do not make a person worse off overall—any negative impacts on welfare are due to social injustice. This article argues that Barnes’s Value Neutral Model does not extend to intellectual disability. Intellectual disability is (1) intrinsically bad—by itself it makes a person worse off, apart from a non-accommodating (...) environment; (2) universally bad—it lowers quality of life for every intellectually disabled person; and (3) globally bad—it reduces a person’s overall well-being. While people with intellectual disabilities are functionally disadvantaged, this does not imply that they are morally inferior—lower quality of life does not mean lesser moral status. No clinical implications concerning disability-based selective abortion, denial of life-saving treatment, or rationing of scarce resources follow from the claim that intellectual disability is bad difference. (shrink)

Self-harm is a potentially lethal symptom of borderline personality disorder (BPD) that often improves with dialectical behavior therapy (DBT). While DBT is effective for reducing self-harm in many patients with BPD, a small but significant number of patients either does not improve in treatment or ends treatment prematurely. Accordingly, it is crucial to identify factors that may prospectively predict which patients are most likely to benefit from and remain in treatment. In the present preliminary study, twenty-nine actively self-harming patients with (...) BPD completed brain-imaging procedures probing activation of the prefrontal cortex during impulse control prior to beginning DBT and after seven months of treatment. Patients that reduced their frequency of self-harm the most over treatment displayed lower levels of neural activation in the bilateral dorsolateral prefrontal cortex prior to beginning treatment, and they showed the greatest increases in activity within this region after seven months of treatment. Prior to starting DBT, treatment non-completers demonstrated greater activation than treatment-completers in the medial prefrontal cortex and right inferior frontal gyrus. Reductions in self-harm over the treatment period were associated with increases in activity in right dorsolateral prefrontal cortex even after accounting for improvements in depression, mania, and BPD symptom severity. These findings suggest that pre-treatment patterns of activation in the prefrontal cortex underlying impulse control may be prospectively associated with improvements in self-harm and treatment attrition for patients with BPD treated with DBT. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Elizabeth Gould, “Nomadic Turns:Epistemology, Experience, and Women University Band Directors” Epistemology, Experience, and Women University Band Directors”Julia Eklund KozaClimate and its impact on women in instrumental music education is a tremendously important subject, and I thank Liz Gould for her thoughtful analysis. Rather than offering a critique of her work, I will respond as one might answer in a call and response. (...) class='Hi'>Gould has sung a call that articulates a definition of feminism and invites us to explore climate in the professions, specifically in instrumental music education; I will answer in affirmation, confirmation, and extension. The nomadic metaphor, which is central to her paper, has been appropriated by a number of postmodern [End Page 187] theoreticians, including, among others, Baudrillard, Grisoni, Deleuze and Guattari, and of course, Braidotti.1 I have decided not to talk about this metaphor, however, principally because the complexities of any analysis of Western constructions of nomadism—constructions that are rife with exoticism, fascination, revulsion, and fear—are multiplied at this moment, as my country wages war against Iraq, a land of nomadic and semi-nomadic peoples, after having recently engaged in military action in Afghanistan, which is similarly home to nomads. An incisive discussion of postmodern use of nomadic metaphors appears in Caren Kaplan's book Questions of Travel, which I recommend to anyone interested in the subject.2My response has two goals: first, to forward another, not necessarily competing, postmodern understanding of feminism and power; and second, keeping this understanding in mind, to expand Gould's project of examining professional climate. According to my working postmodern definition, feminism is a constellation of dynamic political positions, which address and attempt to change the unequal power relations and material conditions that are produced and supported by a normative regulatory ideal called sex. In speaking of a constellation of political positions, I acknowledge the existence of a multiplicity of modern and post-modern feminisms, and by calling these positions dynamic I acknowledge their fluidity. In asserting that sex is a regulatory ideal, I rely on the work of feminist theorist Judith Butler, who posits that sex and sexual difference are discursively constructed; distinguishing herself from feminists who draw a distinction between gender, which is assumed to be socially constructed, and sex, which is theorized as a pre-social given or surface, Butler not only questions such a distinction by arguing that both sex and gender are culturally produced, but also theorizes about how materializations of bodies are accomplished. Drawing on the work of philosopher Michel Foucault, she maintains that sex is a regulatory norm, "part of a regulatory practice that produces the bodies it governs,"3 and she claims that this materialization is accomplished through a reiterative process called performativity. A performative, according to Butler, is a "discursive practice that enacts or produces that which it names."4 Butler claims that "the regulatory norms of 'sex' work in a performative fashion to constitute the materiality of bodies and, more specifically, to materialize the body's sex, to materialize sexual difference in the service of the consolidation of the heterosexual imperative."5 She provides an example of how this reiterative process works: when a particular child is born, the child is cited as a girl at birth and many times afterward; each citation helps to constitute that child as a girl and also to reinforce the discursive formation "girl."6 To summarize, Butler asserts that sex is "a cultural norm which governs the materialization of bodies,"7 and she posits that materiality is a productive effect of power.8She also theorizes that subject formation necessitates both an "identification with the normative phantasm of 'sex,'" and the creation of a zone of abjection.9 Bodies relegated to this abject zone, according to Butler, can be a valuable and "critical resource in the struggle to rearticulate the very terms of symbolic legitimacy and intelligibility."10 She maintains that disidentification can be a fruitful way to mobilize feminist and queer politics.11 Collective disidentifications, Butler states, can facilitate a "reconceptualization of which bodies matter," which bodies count.12 [End Page 188]Finally, my definition of feminism relies on several Foucauldian assumptions about... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Elizabeth Gould, “The Nomadic Turn: Epistemology, Experience, and Women College Band Directors”Stephen Franklin ZdzinskiI want to thank Elizabeth Gould for providing us with a thought-provoking paper examining the journeys of women university band directors through a post-modernist and feminist perspective. As a music education professor who deals with students from undergraduate through doctoral levels, I have the opportunity to provide professional guidance (...) to many students, both female and male. A number of my female instrumental music education students ask me about becoming high school and university band directors. I want to be honest with them about the realities of the profession, but I want also to encourage them to pursue their [End Page 195] professional dreams and goals despite any potential structural limitations. I found this paper to provide me with very good insights that I can use to advise my students.According to Gould, there are a number of factors that contribute to the under-representation of women in the field of college band directing. For example, we can see that historically the first band directors and instrumental music educators came either from military or professional performance backgrounds and as a result, most instrumental music teachers were initially male. In addition, early college band organizations, particularly marching musical organizations, were entirely male in composition. While these conditions have not continued to the present day, they set the stage for what was to follow.Socialization and Women University Band DirectorsThe different socialization of girls and boys may also be found to play a role in the under-representation of women as university band directors. A number of researchers have found gender differences in instrument selection,1 and other research points to additional familial socialization differences by gender.2According to Paul Woodford,3 the primary socialization of music education majors and the formation of a music teacher's identity occur during their own pre-collegiate schooling. Several researchers have suggested that precollegiate teaching experiences may be influential in decisions to choose music teaching as a career.4 Through countless hours of observation in their own programs, female and male students may be socialized to professional expectations of band directing before they ever enter a university-based instrumental music education program. Sylvia Tibbets, Winifred Shepard and David Hess, Stan Albrecht, Philip Griswold, and Denise Chroback all found that instrumental music teaching was viewed by both children and adults as a masculine profession.5 Woodford found that many of our current teacher education programs merely recreate existing practices, thus replicating inequitable situations in regards to opportunities for women in the profession of high school and college band directing.6After graduation, the outcome of a gender-influenced instrument choice may be inhibiting the career aspirations of future women band directors. Research by Barry Kopetz examined the influences of gender, school type, and instrument on instrumental music teacher selection by school principals.7 While significant gender differences in favor of males were found, they accounted for only 3% of the variance in teacher selection. Also important was the type of school being attended (performance versus music education institution), also accounting for 3% of the variance. Instrument, on the other hand, accounted for 10% of the variance in teacher selection, with teachers being selected in the following order: [End Page 196] trumpet, clarinet, oboe, and violin. If one examines the instruments commonly played by female instrumentalists, the research by Kopetz may suggest that gender discrimination in band hiring may in fact be exaggerated by playing the "wrong" instrument. If the student in addition comes from a performance-oriented school, that is considered by hiring officials as another negative factor that reduces their job possibilities.Structural Difficulties and Woman University Band DirectorsGould makes an interesting point when she states that while it is useful to know about the reasons for a lack of women in the band directing profession, this information by itself is not going to change things until we actually understand the structural underpinnings of the problem. The use of the metaphor of the nomad is helpful in attempting to explain the structural difficulties inherent in women becoming university band directors. In fact, I... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Susan Laird, “Musical Hunger: A Philosophical Testimonial of Miseducation”Estelle R. JorgensenSusan Laird’s lament of her “musical under-education,” her youthful lack of opportunity for the sorts of experiences for which she hungered and its life-long after-effects, and her invocation of hunger as a metaphor for music education raise compelling questions. In a feminized field such as music, particularly piano playing, her hunger is particularly poignant. Also, the (...) notion of “musical taste” takes on new meaning, and the musical, educational, and ethical questions this metaphor evokes reveal its richness as a means of thinking about music education. This metaphor joins others such as Barbara Thayer Bacon’s metaphor of the quilt, Jane Roland Martin’s metaphor of the home, Iris Yob’s metaphor of pilgrimage, Elizabeth Gould’s metaphor of the nomad, Virginia Richardson’s metaphor of the steward, and Randall Allsup’s metaphor of the garage band, each of which illumines music education differently.1 Without one, we miss important insights into the thought and practice of music education; when taken together, they offer a richer view than were we to see music education in terms of one alone. [End Page 75]Although metaphor evokes imaginative thought and practice in music education, it is also limited. As Nelson Goodman aptly puts it, metaphor is a “matter of teaching an old word new tricks” and an “expedition abroad in which associations with one realm are applied in another.”2 Its power lies in its evocative and imaginative quality as it startles and surprises, challenges familiar ways of thinking and doing, and opens new possibilities for how we might think, act, and be differently. Although Laird would not want to literalize musical hunger or equate it with physical hunger—physical and spiritual realms intersect but they are not equivalent—it is possible to freeze a metaphor or literalize the vitality out of it. Testing it systematically, we enter the ground between metaphor and model, or what Iris Yob thinks of as the metaphorical model.3 While metaphor may prompt an intellectual journey, it cannot take us the entire way. In its particularistic and imaginative appeal, it opens reflection though it cannot suffice. A metaphor may also have a dark side. For example, envisaging the teacher’s role as salvific in providing bread for the hungry or preventing gluttony or food addictions may foster a paternalistic view that substitutes the teacher’s view of a student’s long term interests for the student’s directly-known and immediately perceived needs and interests, thereby subverting Laird’s expressed interest in the student’s desires. The educational “sin” of addiction may also be “redeemed” in Schefflerian fashion by pointing to important contributions of musicians who were doubtless excessive in their musical engagements.4 These possibilities suggest that we shall need to examine critically the metaphor and what it means for music education and move beyond the metaphor to its related models of music education.One of the interesting questions that Laird’s metaphor of hunger raises is the possibility of spiritual hunger, especially in a pervasively materialistic world. Matters related to spirituality have been addressed variously by writers in music education, whether it be the “healing” and ecologically-oriented approach of June Boyce-Tillman, the evolutionary and anthropologically grounded holistic approach of Anthony Palmer, the ethically-based approach of David Carr, the introspective and politically-charged writing of Cathy Benedict and Randall Allsup, the feminist perspectives of Elizabeth Gould, Charlene Morton, Roberta Lamb, and Deanne Bogdan, or the religiously grounded work of Iris Yob.5 Notions of spiritual hunger might be seen differently within the various lenses that these writers bring to music education but they all underscore the importance of knowing that goes beyond the literal, utilitarian, generalizable, and vocational to address the life of mind and body that Susanne Langer terms “feeling” and with which the arts, myths, rituals, and religions have to do.6 As such, they rebuke general education that is limited to reading, writing, and arithmetic, and driven by tests, standards, and mandates that often give short shrift to matters of human spirituality. Still, as the recent unanimous resolution in favor of... (shrink)

Gilles Deleuze and Felix Guattari’s work has been mined by writers about music and music education such as Ian Buchanan, Marcel Swiboda, Marianne Kielian-Gilbert, and Elizabeth Gould, as they have reflected on how music and music education should be construed. 1 Our present task is to examine critically Deleuze and Guattari’s ideas in our reading of their book A Thousand Plateaus: Capitalism and Schizophrenia, with a view to determining the merits of their ideas as a basis for a (...) philosophy of music education. 2 As such, we ask three principal questions: What are Deleuze and Guattari asking us to believe? What is our assessment of their contributions and detractions? What are the implications of our analysis for.. (shrink)

This is the first feminist special issue of The Journal of Aesthetics and Art Criticism. Introduction written by Brand [Weiser] and Korsmeyer with essays by Hilde Hein, Paul Mattick, Jr., Timothy Gould, Joanne B. Waugh, Joseph Margolis, Mary Devereaux, Noel Carroll, Flo Leibowitz, Anita Silvers, Elizabeth Ann Dobie, Renee Cox, and Ellen Handler Spitz. A fuller publication from Indiana University Press followed in 1995 edited by Brand [Weiser] and Korsmeyer entitled, Feminism and Tradition in Aesthetics.

Khandro Rinpoche: A Needle Compassionately Sticking Out of a Cushion -- Dagmola Sakya: From the Palace to the Blood Bank -- Tenzin Palmo (Diane Perry): Sandpaper for the Ego -- Sangye Khandro (Nanci Gay Gustafson): Enlightenment Is a Full-time Job -- Pema Chödrön (Deirdre Blomfield-Brown): Relaxing into Groundlessness -- Elizabeth Mattis-Namgyel: A Wonder Woman Hermit -- Chagdud Khadro (Jane Dedman): Like Iron Filings Drawn to a Magnet -- Karma Lekshe Tsomo (Patricia Zenn): Surfing to Realization -- Thubten Chodron (...) (Cherry Greene): A Rebel in Robes -- Roshi Joan Halifax: Fearless, Fierce, and Fragile -- Tsultrim Allione (Joan Rousmanière Ewing): The Enlightened Feminist -- Khandro Tsering Chödron: The Queen of Dakinis. (shrink)

This chapter defends the account of metaphysical indeterminacy of Barnes and Williams against Eklund's objections.

Sider (Four-dimensionalism 2001; Philos Stud 114:135–146, 2003; Nous 43:557–567, 2009) has developed an influential argument against indeterminacy in existence. In what follows, I argue that the defender of metaphysical forms of indeterminate existence has a unique way of responding to Sider’s argument. The response I’ll offer is interesting not only for its applicability to Sider’s argument, but also for its broader implications; responding to Sider helps to show both how we should think about precisification in the context of metaphysical indeterminacy (...) and how we should understand commitment to metaphysically indeterminate existence. And if I’m right that metaphysical indeterminacy can allow for indeterminate existence in a way that semantic indeterminacy can’t, indeterminate existence might actually give us a reason to accept metaphysical indeterminacy (rather than a reason to reject it, as is commonly assumed). (shrink)

Two major clarifications have greatly abetted the understanding and fruitful expansion of the theory of natural selection in recent years: the acknowledgment that interactors, not replicators, constitute the causal unit of selection; and the recognition that interactors are Darwinian individuals, and that such individuals exist with potency at several levels of organization (genes, organisms, demes, and species in particular), thus engendering a rich hierarchical theory of selection in contrast with Darwin’s own emphasis on the organismic level. But a piece of (...) the argument has been missing, and individuals at levels distinct from organisms have been denied potency (although granted existence within the undeniable logic of the theory), because they do not achieve individuality with the same devices used by organisms and therefore seem weak by comparison. We show here that different features define Darwinian individuality across scales of size and time. In particular, species-individuals may develop few emergent features as direct adaptations. The interactor approach works with emergent fitnesses, not with emergent features; and species, as a consequence of their different mechanism for achieving individuality (reproductive exclusivity among subparts, that is, among organisms), express many effects from other levels. Organisms, by contrast, suppress upwardly cascading effects, because the organismic style of individuality (by functional integration of subparts) does not permit much competition or differential reproduction of parts from within. Species do not suppress the operation of lower levels; such effects therefore become available as exaptations conferring emergent fitness—a primary source of the different strength that species achieve as effective Darwinian individuals in evolution. (shrink)

In arguing about justice, different sides often accept common moral principles, but reach different conclusions about justice because they disagree about facts. I argue that motivated reasoning, epistemic injustice, and ideologies of injustice support unjust institutions by entrenching distorted representations of the world. Working from a naturalistic conception of justice as a kind of social contract, I suggest some strategies for discovering what justice demands by counteracting these biases. Moral sentiments offer vital resources to this end.

What is the proper role of politics in higher education? Many policies and reforms in the academy, from affirmative action and a multicultural curriculum to racial and sexual harassment codes and movements to change pedagogical styles, seek justice for oppressed groups in society. They understand justice to require a comprehensive equality of membership: individuals belonging to different groups should have equal access to educational opportunities; their interests and cultures should be taken equally seriously as worthy subjects of study, their persons (...) treated with equal respect and concern in communicative interaction. Conservative critics of these egalitarian movements represent them as dangerous political meddling into the disinterested pursuit of knowledge. They cast the pursuit of equality as a threat to freedom of speech and academic standards. In response, some radical advocates of such programs agree that the quest for equality clashes with free speech, but view this as an argument for sacrificing freedom of speech. (shrink)

This book is unique in its treatment of critical thinking not as a body of knowledge but instead as a subject for critical reflection. The purpose of the anthology is to turn critical thinking classes into invitations to philosophical conversations. The collection introduces students to difficult philosophical questions that surround critical thinking, moving away from dogmatism and towards philosophical dialogue. In developing these discussions, the anthology introduces students to issues in the philosophy of science, epistemology, and philosophy of religion. Selections (...) include works by Charles S. Peirce, Stephen Jay Gould, Elizabeth Anscombe, and Richard Dawkins. (shrink)

Hearing the words of Deuteronomy, the preacher is called to make clear what it means to be God's covenant community and to live according to his will rather than the dictates of the surrounding culture.

Behind every sermon lies an understanding of the nature of the Bible; by its contribution to that understanding, biblical studies can make a crucial difference for preaching.

The question is not whether women should enjoy equal status but how that God-given freedom is to be gained-or perhaps better, regained-in a Christian community that needs to be faithful to the liberating message proclaimed by and in Jesus Christ.

Understanding the form and content of the Bible's hymns allows the sermon to share their principal characteristic: praise to the honor and glory of God.

This book is about what exceeds or resists calculation--in life and in death. Its two parts and nine chapters highlight, in their coupling of Freud and Derrida, the accidents both in and of psychoanalytic writing, and the philosophical question of what limits the openness of our horizon.

Alexander wept at the height of his triumphs because he had no new worlds to conquer. Whitehead declared that all of philosophy had been a footnote to Plato. The Preacher exclaimed (Ecclesiastes 1:10): "Is there any thing whereof it may be said, See, this is new? It hath been already of old time, which was..

Abstract: The emergence of cross-border communities and transnational associations requires new ways of thinking about the norms involved in democracy in a globalized world. Given the significance of human rights fulfillment, including social and economic rights, I argue here for giving weight to the claims of political communities while also recognizing the need for input by distant others into the decisions of global governance institutions that affect them. I develop two criteria for addressing the scope of democratization in transnational contexts— (...) common activities and impact on basic human rights —and argue for their compatibility. I then consider some practical implications for institutional transformation and design, including new forms of transnational representation. (shrink)

This article has four aims. First, it will consider explicitly, and polemically, the hierarchical relationship between conversation analysis and membership categorization analysis. Whilst the CA ‘juggernaut’ flourishes, the MCA ‘milk float’ is in danger of being run off the road. For MCA to survive either as a separate discipline, or within CA as a focus equivalent to other ‘generic orders of conversation’, I suggest it must generate new types of systematic studies and reveal fundamental categorial practices. With such a goal (...) in mind, the second aim of the article is to provide a set of clear analytic steps and procedures for conducting MCA, which are grounded in basic categorial and sequential concerns. Third, the article aims to demonstrate how order can be found in the intuitively ‘messy’ discourse phenomenon of membership categories, and how to approach their analysis systematically as a robust feature of particular action-oriented environments. Through the exemplar analyses, the final aim of the article is to promote MCA as a method for interrogating culture, reality and society, without recourse to its reputed ‘wild and promiscuous’ analytic approach. (shrink)

I begin by examining the answer to a traditional puzzle concerning supererogatory acts: if they are good to do, why are they not required? The answer often given is that they are optional acts because they cost the agent too much. This view has parallels with the traditional view of religious sacrifice, which involves offering up something or someone valuable as a gift or victim and experiencing a ‘cost’ as part of the ritual. There are problems with the idea that (...) costs justify the optional nature of supererogatory acts, however, and I suggest that these problems mirror the tensions that are found in Christian theology when a traditional view of sacrifice is adopted. (shrink)

n one of the numerous movie versions of A Christmas Carol , Ebenezer Scrooge, mounting the steps to visit his dying partner, Jacob Marley, encounters a dignified gentleman sitting on a landing. "Are you the doctor?" Scrooge inquires. "No," replies the man, "I'm the undertaker; ours is a very competitive business." The cutthrought world of intellectuals must rank a close second, and few events attract more notice than a proclamation that popular ideas have died. Darwin's theory of natural selection has (...) been a perennial candidate for burial. (shrink)

Amartya Sen’s ethical theorizing helps feminists resolve the tensions between the claims of women’s particular perspectives and moral objectivity. His concept of ‘‘positional objectivity’’ highlights the epistemological significance of value judgments made from particular social positions, while holding that certain values may become widely shared. He shows how acknowledging positionality is consistent with affirming the universal value of democracy. This article builds on Sen’s work by proposing an analysis of democracy as a set of institutions that aims to intelligently utilize (...) positional information for shared ends. This epistemological analysis of democracy offers a way to understand the rationale for reserving political offices for women. From a political point of view, gendered positions are better thought of as an epistemological resource than as a ground of identity politics – that is, of parochial identification and solidarity. (shrink)

teach a course at Harvard with philosopher Robert Nozick and lawyer Alan Dershowitz. We take major issues engaged by each of our professions—from abortion to racism to right-to-die—and we try to explore and integrate our various approaches. We raise many questions and reach no solutions.

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)