In this article I argue against the arbitrariness of the concept of music and for an essentialist and naturalist framework, according to which music is a cross-cultural human phenomenon, defined by relational properties held together by uniform features of human nature. Building on Dickie’s classification of theories of art in natural kind theories and cultural-kind theories, I argue for an enhanced natural-kind theory (which explains the institutional element), and use some developments in social ontology to show the inadequacy of an (...) institutionalist approach to art and music. (shrink)

In this article I enquire into the notion of ‘political art’, by drawing on ideas from R. G. Collingwood’s often neglected Principles of Art. I show that his characterisation of ‘expression’ reveals what I call the ‘Narrow Aretaic Structure’ (NAS), distinguishable from a ‘Wide Aretaic Structure’ (WAS). Whatever satisfies NAS satisfies WAS, but not vice-versa. Though we have reasons to call ‘art’ anything satisfying WAS, Collingwoodian ‘art proper’ must also satisfy NAS. I then suggest that the distinction between WAS and (...) NAS is more interesting than the distinction between art and non-art and even as a criterion for ‘aesthetic’ (though this is not my main issue). The main issue is articulating a view of when the ‘politicalness’ of ‘political art’ is relevant in light of its being art, or, in Collingwoodian terms, ‘expression’ (under the NAS model). Collingwood allows us to give an alternative answer to these questions; one that does not appeal to ‘messages’ in art and their hypothesised effects on the audience. In other words, an answer that avoids the consequentialist ‘template’, which is restricted to the WAS model. As case studies, I use some of Aleksander Deineka’s ‘Socialist-Realist’ mosaics, as well as other examples of political artworks, and the recording of a work song. (shrink)

Some think politics and art should not mix. The problem with this view is that politics and art were always entwined. Human experience is structured politically, even if much of it is not. Here, I illustrate this with a series of artistic examples that take us from work songs in a Mississippi 1940s forced labour camp to a desolate dead forest landscape in a former Krasnoyarsk gulag, evocative of a Paul Nash World War I painting. Powerful artworks help us to (...) come to grips with human experience, more than merely “expressing emotion”. I treat songs as representations, looking for a way their political significance is part of their aesthetic value. To do this, I defend James Young’s (2001) concept of “illustrative representation” as bridging the gap between formalism and contextualism. But instead of Young’s “Wollheimian” (resemblance between experiences) approach to how such representation works I draw on Kulvicki’s (2020) notion of “syntactic parts”, combining it with Carroll’s (2016) concept of form as the “ensemble of artistic choices”, and Black’s (1954-55) frame-and-focus model of meaning in metaphor. Hopefully, in the end I will have clarified the ways in which (some) songs are both politically and aesthetically meaningful. (shrink)

This paper is about the dilemma raised against musical ontology by Roger Scruton, in his The Aesthetics of Music: either musical ontology is about certain mind-independent “things” and so music is left out of the picture, or it is about an “intentional object” and so its puzzles are susceptible of an arbitrary answer. I argue the dilemma is merely apparent and deny that musical works can be identified with sound structures, whether or not conceived as abstract entities. The general idea (...) is this: both Platonism and nominalism about musical works are a kind of fetishism: musical works are not “things”, in Danto’s sense of “mere real things”; they rather involve complex relationships between objects, events, and different kinds of functional properties. For this, I draw on Levinson and Howell’s notion of indication, combined with Searle’s approach to institutional reality... with a little twist of my own. (shrink)

The experience of beauty is no less mysterious for the aesthetician today than it was in the Middle Ages. Here I focus on the notion of ‘unseen beauty’ and how certain aspects of medieval philosophizing about the nature of beauty can still be of use for the contemporary aesthetician. I draw a comparison between some concepts that pervade the whole of the Medieval period – that there is a transcendent source of visible beauty, and that visible beauties function as images (...) of the invisible beauty – with a modern conception of aesthetic experience, as it is expressed in authors like Clive Bell. (shrink)

Apesar de ter florescido no século XII, a tradição do Graal, remonta ao século VI, com a história da “Destruição e Conquista da Bretanha”, escrita pelo clérigo Gildas, que não parece querer retratar mais do que fatos da época envolvendo líderes locais com status de Rei, lutas pelo poder, batalhas e assassinatos em família, todavia, se alguma tradição subterrânea (prática comum entre os judeus) havia, envolvendo esses personagens, sobre isso, Gildas, nada falou. -/- A memória desses homens guerreiros volta à (...) tona em meados do ano 828, em “A História dos Britânicos”, de Nennius, e mais tarde na “História dos Reis da Grã-Bretanha”, de Geoffrey of Monmouth, entre os anos de 1138 -1139. A tradição ressurge entre os anos de 1181 e 1190, com Chrétien de Troyes, que escreve “Perceval, a História do Graal”, que fica inacabada com sua morte. Poucos anos depois, entre 1191 e 1202, Robert de Boron escreve a “História do Graal ou José de Arimatéia”, onde introduz elementos cristãos, como o cálice da Última Ceia que recolheu o sangue do Cristo. No mito, José é preso, Cristo o visita e explica os mistérios do cálice. Após deixar a prisão, José viaja com seus sogros e outros seguidores para oeste, fundando uma dinastia de guardiões do Graal, de quem o rei Artur é descendente. Quase em seguida, surge “Parzival”, de Wolfram Schenbach, escrito entre os anos de 1195 – 1215, que, sem dúvida, é a obra mais robusta em simbolismos e que maior interesse desperta; o autor, por exemplo, não se refere ao Graal como “cálice sagrado”, mas o designa como “pedra”, expurgando, por assim dizer, o simbolismo cristão posto no romance por Robert de Boron e introduzindo o simbolismo judaico. -/- Agora, a questão da literatura arturiana parece estar ligada a algum tipo de tradição marginal que remonta aos primórdios do cristianismo, similarmente à queda da Judeia, já que absorve ambos os elementos. Chrétien de Troyes, que iniciou este novo ciclo da tradição, deixa a entender que escreveu sua história a pedido de Philip I, Conde de Flandres, da Casa de Alsace, isso por que o prólogo da obra (316) é dedicada a seu patrono com altos elogios, apresentando-o como o mais bravo dos homens do Império de Roma, dedicatória similar feita a uma obra anterior, encomendada por Maria de Champagne. Outro dado que chama a atenção, é a possibilidade de Chrétien ter sido um judeu convertido, hipótese fundamentada no fato de a cidade de Troyes ter sido um grande centro de comércio e ensino judaicos, mas também pela assinatura em um de seus poemas, “Philomena”, onde se refere como “Crestien li Gois” e o termo “Goy” implicaria um judeu convertido (317). -/- Logo a seguir à obra de Chrétien, Robert de Boron retoma a tradição acrescentando motivos cristãos e, tal como seu antecessor, a serviço de um nobre, Gautier de Montbéliard (318), da Casa de Montfaucon. Apesar de a obra de Robert ter se popularizado pelos elementos novos que introduziu, não é aquela que mais desperta interesse entre os estudiosos, no entanto, a adição de símbolos cristãos em uma tradição a princípio não cristã, pode referir-se a desvio de foco, mais que a qualquer outro objetivo, ideia que é reforçada quando entendemos que os autores escrevem a pedido de determinadas famílias nobres. Quase ao mesmo tempo, surge a obra capital do romance do Graal, escrita pelo alemão Wolfram Schenbach, que, não fugindo à regra, liga sua história à Casa de Anjou, na época, a família mais poderosa na Europa Ocidental e na Terra Santa, onde seus membros se revezavam como reis de Jerusalém. Um dado curioso é que Philip I, Conde de Flandres da Casa de Alsace, patrono da Chrétien de troyes era primo em primeiro grau do Rei Balduíno, de Jerusalém, da Casa de Anjou. -/- Wolfram Schenbach cita Kyot de Provence, identificado como Guiot de Provins, como sendo sua fonte (319). Historicamente, Guiot foi um autor renomado e popular em sua época, monge e porta voz dos Templários, que escreveu, desde canções de amor, a críticas à Igreja e também canções de adoração ao Templo, o que parece indicar uma origem judaica. Segundo Wolfram, kyot encontrou na cidade de Toledo (320) um antigo manuscrito escrito por Flegetanis, um judeu forçado ao batismo cristão, contendo a história “daquilo que era chamado Graal”, esse é um ponto importante quando entendemos que estamos lidando com uma tradição judaica e não cristã. Depois de ler o manuscrito, Kyot passa a investigar alguns dados nele contido, em vários centros da Europa, buscando principalmente as obras de escrita latina, encontrando finalmente, na França, nos anais da Casa de Anjou (321) ; a história de Mazadan e o registro de sua família (322). -/- O que essa informação quer nos dizer, nas entrelinhas, é que os registros familiares de Mazadan, foram reconhecidos como sendo os mesmos dos manuscritos de Flegetanis, no entanto, alguns estudiosos de “Parzival” dão como não confiável a referência ao personagem Kyot de Provence, não o identificando a Guiot de Provins (323), talvez porque Wolfram não faz qualquer referência ao poeta até o livro oito, para, abruptamente, citá-lo no livro nove, onde explica toda a história. Quero dizer que a referência feita no livro nove e não antes, como seria habitual, denota um antigo simbolismo judaico de utilizar o algarismo “nove” como expressão da verdade (324), veja, por exemplo, a fundação da Ordem do Templo por simbólicos “nove” cavaleiros, não mais, não menos. Das obras, portanto, sobre o romance do Graal, aquela que merece estudo e investigação é Parzival, se quisermos um motivo dentre tantos, a “coisa” que os outros autores chamam Graal, Wolfram não denomina “cálice”, mas “pedra”. -/- William: Lancio; pensei ter entendido quando você falou sobre o simbolismo do cálice associado ao romance do Graal. Mas agora estou confuso, quando diz que o cálice foi um motivo cristão adaptado a essa tradição e a que merece estudo e investigação é aquela em que o Graal não é simbolizado pelo cálice e sim por uma pedra. -/- Lancio: William, quando falamos ou escrevemos sobre simbolismo, o discurso ganha muitas e diferentes interpretações e todas estarão sempre em conformidade com a capacidade daqueles ou daquelas que nos ouvem ou nos leem, mas, todos aqueles que forem além da leitura ou do simples ouvir, questionarão e esses saberão mais. Quando me referi ao cálice como símbolo, associando-o à tradição do Graal, o fiz como ilustração simbólica a uma ritualística, nesse caso; o cálice é aquele que toma variadas formas, que é maleável a diversas leituras e interpretações, que é histórico e é judeu, não é fábula e por isso é também pedra. -/- William: desculpe, Lancio, eu continuo sem entender. A que cálice que também é pedra você se refere? -/- Lancio: o mesmo símbolo que sempre representou a tradição do Graal, não em Robert de Boron, mas em Wolfram Schenbach. Novamente, William, o cálice, antes de ser um símbolo cristão pela fábula de José de Arimatéia, é um símbolo judaico e quando discorri sobre esse simbolismo, era o cálice judaico ou o que se designou chamar de cálice, que Wolfram chamou de “pedra”, o símbolo em questão. -/- William: por maior esforço de memória, eu não consigo compreender a substituição de cálice por pedra dentro do mesmo simbolismo. Quando você deu o exemplo do coração como cálice, sim, é passível de entendimento, mas substituir o coração por pedra e manter o mesmo significado simbólico? -/- Lancio: a dúvida corajosa é a boa dúvida e isso em qualquer disciplina, por ser ela capaz de provocar perguntas capitais. Em poucas palavras, com o que já ouviu; você será capaz de entender o simbolismo do cálice. Primeiro devemos buscar, nas tradições judaicas, um ato ritualístico em que o cálice participe e não é difícil encontrá-lo, pois há no seio do judaísmo uma tradição em que o cálice ou vaso de ouro, como também é chamado, participa, refere-se ao sacrifício das frutas frescas, (omer), contudo, esse simbolismo em que está inscrito o cálice, nada diz à nossa investigação, é uma tradição judaica e nela se encerra, mas não podemos dizer o mesmo da sua representação nas moedas cunhadas pelos seguidores de Judas, o Galileu, quando estes tomaram Jerusalém e o Templo em 66 DC, dando início à primeira revolta contra Roma, proporcionando ao reino judeu, um breve período independência (326). Assim, torna-se ele, o cálice, símbolo daquela revolta e mais do que isso, torna-se o cálice um símbolo em si mesmo, capaz de servir à lembrança e à memória. Quando fiz referência ao simbolismo do cálice, era a esse simbolismo que me reportava e quanto à sua metamorfose em pedra, falarei agora. -/- Wolfram chama aquilo que representa o Graal, não de “cálice”, mas de “lapsit exiliis”, cuja tradução, apesar dos esforços de pesquisa e imaginação, definitivamente não está resolvida. -/- O nome “lapsit exillis” reúne assim como o nome “Lazalies”, “Mazadan” ou “Terdelaschoye”, um sentido propositadamente ambíguo, por isso há sempre dificuldade quanto a seu estudo (337), se é possível encontrar um tímido consenso sobre o significado da palavra lapsit, como sendo “pedra”, no que se refere à palavra composta, entretanto, não há consenso algum quanto ao significado, sendo muitas e corajosas, as interpretações que se tem buscado dar, inclusive com o sentido de “pedra do exílio” ou “pedra exilada”(338), que embora esteja no cesto das interpretações fantasiosas, devo dizer que não deveria, porque “pedra” é uma palavra largamente utilizada nos escritos judaicos com sentido além do literal, significando família, isso é possível devido a composição das palavras na língua hebraica, constituídas em sua maioria por duas ou mais palavras menores, assim pedra, “even”, soletrado, alef, beit, nun, é um acrônimo para av - ben, que significa “pai e filho”, representando a palavra pedra, esse conceito. -/- Esse simbolismo permeia toda a literatura judaica cristã (339). Quando, por exemplo, se diz em determinado versículo que Jacob pegou “pedras” e colocou sob sua cabeça como travesseiro e em outro versículo que Jacob ao acordar tirou a “pedra”, no singular, que tinha posto anteriormente sob sua cabeça; isso revela uma aparente discrepância, no entanto, isso significa, à luz dos intérpretes da Lei, que as “pedras”,no plural, significam os 12 filhos de Jacob, as 12 tribos de Israel que se fundiram em um só povo, uma só nação, uma só “pedra.”(340) Portanto, chamar o Graal por “lapsit exiliis” ou “pedra exilada” ou “pedra do exílio” ou ainda “pedra no exílio”, pelo simbolismo hebreu, significa o mesmo que dizer; família exilada, família do exílio ou família no exílio, termo aplicável ao povo judeu em geral e às famílias judias em particular, mas por ser o romance do Graal uma tradição relacionada a uma família específica, é a essa família que devemos buscar. (shrink)

Although the family is the safest environment for each member, sometimes violence and abuse can come from the family members. Violence causes family relationships to deteriorate as in all other relationships among people. Sibling violence, as a form of domestic violence, can sometimes have dire consequences that can result in family breakup, death or long-term loss of one of the siblings. In this study, sibling violence, which has the potential to harm family relations in such a way, will be discussed (...) in the context of two stories in the Qurʾān. It is aimed to contribute to other disciplines that study on this subject by examining the attitude of Islam against this violence, which affects the family, and the solutions of the Qur’ān to sibling violence. These stories in the Qur’ān are the story of Prophet Adam’s two sons who narrate an incident of violence that result in the brother killing his brother, and the story of Prophet Joseph and his brothers who narrate the sibling violence resulting in long-term loss. Both stories provide clues to the prevention of violence in the light of the causes of sibling violence and the behavior of the victim sibling in the development of events. In addition, because of the fact that these stories have taken place in the family of the prophets, they give people the message that sibling violence can happen in any family.Summary: Because of the social nature of the mankind, it must live in structured societies. Family is the medium for him where he is born, raised, socializes and prepares for his future life. It is normal sentiments of love, mercy and tolerance which dominate in a family. But despite this, it is possible for a family member to be a transgressor against another family member’s rights. Emotions like jealousy and hostility can cause violence between siblings. Psychologists generally attribute the source of this kind of violence to the parents’ failure to show equal love and affection to all children. While this is an important cause for violence among the siblings, craving for attention and acceptance from society, trying to achieve material and sensual superiority and desire for social success can incite feelings of envy among the siblings. While feelings of jealousy is unproblematic when its intensity can be considered normal, it can cause psychological imbalance if it increases to the level beyond manageable limits. If the latter case occurs, this produces a state of mind where a sibling becomes capable of committing every act of transgression to another sibling, which is the most important cause for the violence among siblings.Archetypical stories of Cain and Abel, and Prophet Joseph in the Qur’ān provide some clues pertaining to recognition and prevention of violence among the siblings. In these two parables, the real reason for envy does not lie in the other sibling. According to the Qur’ān, the true reason for this envy is attributed exclusively to the transgressor. In the parable of Cain and Abel, source of the problem between the siblings is the sacrificial offering to Allah. While the offering of Abel was accepted, Cain’s was not. Cain felt jealous and threatened his brother with death. Facing with his brother’s threat, Abel stayed firm and peaceful, said to his brother that if he were to attack him, he will not retaliate even for self-defence. He reminded Cain that his envy and anger was not due to him, Abel. Abel reminded Cain that the act that Cain was contemplating was a great sin in Allah’s eyes and that it is punishable by eternal hellfire. Cain, despite these warnings, went on to implement his intention of murder successfully.When we inspect the parable we can see that Abel was free from any guilt on his part for his brother’s envy which is the source of his transgression. His sacrifice was accepted because Abel was among the pious and this doesn’t harm or effect negatively Cain in anyway. Therefore the main cause for the jealousy of Cain is his unworthiness in the eyes of Allah, in reality, the reason is solely Cain himself. Therefore it is totally unfair when Cain put the blame on his brother Abel. By the way of this example, the Qur’ān reminds mankind not to blame others for his problems and to take responsibility. Envy, which is the main reason for violence among siblings, will cloud judgment and prevent clear thinking. In the parable of Cain and Abel, the Qur’ān recommends not to taunt the already jealous sibling by way of words and actions and instead, encourages warning against the grave consequences of evil intentions both in this world and in the hereafter. In the parable of Prophet Joseph, because of jealousy of their father from Joseph, bigger brothers of Joseph planned to kill him but they give up on the idea of killing him and instead they dumped him in a well. Later on in the parable, some merchant finds Joseph and brings him to Egypt. There, Joseph becomes a high ranking statesman and meets with his older brothers. Because of the famine, older brothers are in need of Joseph for food and asks him for it, without knowing that the person they are asking from is their little brother, Joseph. Although Joseph faces with his brothers on a superior position his behavior exemplifies the best course of action to end violence among the siblings. In order to remove animosity and callousness from his brothers’ heart, the gradual plan that Joseph had implemented is a great example for healing the wounds that violence among the siblings can cause. It is unreasonable to expect all the animosity and jealousy that brothers of Joseph held for years to go away completely in a moment. Prophet Joseph did not remind his brothers of their crime, on the contrary he was very generous to them. He brought their father and their brother Benjamin to Egypt and in front of them Prophet Joseph forgave his older brothers for the crimes they had committed against him. In this way, Prophet Joseph prevented his brothers potentially denying every transgression they did if he were to confront them in their first meeting, and made them ready to accept their evil deeds.Parables of Cain and Abel and Prophet Joseph are important for recognizing that envy can destroy the mercy that the siblings innately have for each other. It is understood from the parables that envy must be controlled and violence can’t be realized under any circumstances. It is clear from these parables that violence is never a solution for the jealousy among the siblings. A positive and viable solution would be for Cain to seek Allah’s approval instead of killing Abel and for brothers of Joseph this would be to earn their father’s love and respect. Introspection and analysis regarding possible reasons for jealousy and trying to resolve them and striving to be a better human, sibling, or child is a solution prescribed by the Qur’ān. Also, importance of speaking in a soft tone with the person who is experiencing intense jealousy, avoiding provocative language and behavior and trying every possible way to set this person straight is emphasized. The Qur’ān reminds us through these two parables that the human nature is prone to evil suggestions from the satan and for this reason humans need generous and benevolent help from others in order to clear themselves from these evil temptations. (shrink)

This paper discusses the results of a survey of medical and paramedical opinion relating to various difficult ethical issues in clinical genetics. These include the confidentiality of the doctor-patient relationship, prenatal diagnosis and termination, and Huntington's chorea. It is suggested that this method provides a useful means of assessing what is ethically acceptable in contemporary society.

A variant of the notion of symmetric constructive realizability is introduced where the information about the symmetric constructive truth or falsity of an arithmetical formula is expressed by a single natural number. The methods of transformations of such a realization to the realizations of known kinds and those of reverse transformations are given. The formal arithmetical system based on such a realizability is investigated.

The paper interprets Nietzsche’s description of authentic human person.Based on the works of Nietzsche, commentaries and philosophical interpretationsof various authors, authentic human person evolves into a superman by usingthe principles of discipline and mastery of oneself. His authenticity, however,requires persistence, courage and strength to endure many forms of sufferingsand to overcome alienation brought about by his environment. Otherwise,man would become slave of his desires or alien to his own powers, talents andcapacities. Thus, Nietzsche’s thought of superman is an invitation to (...) overcomeoneself, the self that is influenced by the non-self or factors outside one self. Itis only possible by using the will to power. The will to power of man overcomesthe influences of the world’s modernization and industrialization that alienateshim to his true self, and this true self is best expressed by his will to power. Onthis note, the author suggests that the readers must use their potentials to face up to challenges of this new era. Keywords: Philosophy, language and literature, emergence, authentic human person,philosophy of the superman, authenticity, alienation, morality, descriptivedesign, Philippines. (shrink)

Книга рассчитана на обществоведов, историков, гуманитариев широкого профиля, студентов, аспирантов, практических работников в сферах социологии, политологии и этнологии.

This article aims to analyze the tiger-hunting scene on Yeh Pulu relief, located in Bedulu Village, Gianyar, Bali. This relief is estimated to have been created by Balinese artists of the end of the era of Ancient Bali Kingdom in about the 14th century AD. There are only few in-depth studies conducted on this monumental relief in the context of iconology by visual art researchers. Therefore, the author has conducted intensive field research and studies since a year ago based on (...) Panofsky's iconology theory. Tiger-hunting is part of a series of scenes on the relief which in general tends to tell about everyday routines. The tiger-hunting scene carries an unusual theme amidst a wide range of Balinese cultural artifacts which tend to revolve around mythology and epics such as Mahabrata and Ramayana. Based on the theory of iconology which consists of a sequence of analyses starting from the pre-iconographic analysis, the relief characters were found in the form of rough sculptures on the surface of a rocky soil wall located near the Petanu watershed in Gianyar. The iconography aspects revealed that the characters on the relief figuration tend to be naturalistic; and iconologically, they tend to relate to the meaning of narratives on the romanticism of everyday heroism. Heroism nurtures the Balinese people's proletariat side in facing challenges in their life and the political power in the era of the Ancient Bali Kingdom. (shrink)

We have evaluated analytically the vacuum polarization in a Coulomb field using the relativistic Dirac-Coulomb wave functions by a new method. The result is made finite by an appropriate choice of contour integrations and gives the standard result in the lowest order of iteration. We used the formalism of self-field quantum electrodynamics in the evaluation of the vacuum polarization which needs neither field quantization nor renormalization. There are no infrared or ultraviolet divergences.

Introduction : La philosophie en Égypte -- La philosophie chretienne arabe contemporaine : Kanawati et Youssef Karam -- Le discours éthique en Égypte -- Naguib Mahfouz et la philosophie -- La philosophie et la revolution en Égypte.