In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 15.2 (2007) 150-160MuseSearchJournalsThis JournalContents[Access article in PDF]Songs to Teach a NationEstelle R. Jorgensen Indiana University, BloomingtonIn this symposium, I first briefly respond to Randall Allsup's piece, "Extraordinary Rendition: On Politics, Music, and Circular Meanings" with some general remarks on the distinctions between fundamentalism and liberalism, and internationalism, nationalism, and localism, and the importance of exercising judgment in order to find a middle ground (...) between extreme positions. Against this backdrop, I reflect on the songs we need to teach the nation to sing and, as a case in point, consider the National Anthem Project launched by the MENC—The National Association for Music Education. I suggest that at the very least the "Star-Spangled Banner" ought not be the only song to teach the nation at this time and it is important to carefully consider which songs we ought to teach the nation. And I propose that music teachers need to take a measured approach that eschews fundamentalism, rampant militarism, and excessive patriotism, embraces musically the tensions between internationalism, nationalism, and localism, and expresses a sensitive world-view through the choice of songs that cultivate and express liberal and democratic ideals and foster peace internationally.1Allsup's attention to the political character of research reminds us of the important consequences of any activity in the public and private spheres. Our endeavors as researchers are inherently ethical and have political consequences because as music teachers, we act on behalf of what John Dewey terms "the public."2 Dewey's "public" arises out of the need for social activities to be collectively organized, especially given the presence of the young, the poor, the ill, the elderly, the needy, and those who are otherwise dependent on others. Politics concerns the organization and governance of the public, that is the collective activities on behalf of society. For Dewey, educational activity cannot escape being ethical and political (construed positively) by the very fact of its undertaking on behalf of a public in the phenomenal world.3My understanding of fundamentalism is that it is, by definition, antithetical to liberalism. Whereas liberalism embraces surprise, entertains the possibility of doubt, and includes the "responsibility to choose,"4 fundamentalism is closed-minded and refuses to be surprised or to doubt the certainty of beliefs that have been accepted. Israel Scheffler notes that there is a safety in dogmatism in which one does not need to face the unsettlement of surprise that one might be wrong and one's beliefs mistaken.5 This quality of fallibility and openness to the possibility of surprise renders a liberal democracy fragile. Without cultivating [End Page 150] capacities and dispositions to open-mindedness and critical thought and action on the part of all the citizens of the democracy, it is open to being high-jacked by closed-mindedness and fundamentalism and thereby subject to dictatorial action on the part of those who seize political power.6 In difficult times, certainty may seem to be safer than open-mindedness that weighs possibilities and thinks through the complexities with which the public must deal. As Paul Woodford argues, if music education is to serve the interests of liberalism, it must likewise cultivate critical thinking and I add the caveat, as a means of defeating fundamentalism and literalism that would destroy liberal democracy.7Liberalism depends on the assertion of certain universal principles of ethical conduct. Seyla Benhabib's reconstruction of universals in what she terms her "post-Enlightenment project of interactive universalism" takes account of important postmodern, feminist, and communitarian insights and understands universals as "interactive not legislative, cognizant of gender difference not gender blind, contextually sensitive and not situation indifferent."8 In this frame, it is only possible to sustain liberalism on the assumption of action that takes for granted that others ought to agree with one and act in such-and-such ways. Whether these principles are referred to as "commonalities" or "universals" in the Benhabibian sense, one appeals to certain propositions on which ethical and political action should be predicated... (shrink)

In this article, I develop a higher-order interpretation of Leibniz's theory of consciousness according to which memory is constitutive of consciousness. I offer an account of Leibniz's theory of memory on which his theory of consciousness may be based, and I then show that Leibniz could have developed a coherent higher-order account. However, it is not clear whether Leibniz held (or should have held) such an account of consciousness; I sketch an alternative that has at least as many advantages as (...) the higher-order theory. This analysis provides an important antecedent to the contemporary discussions of higher-order theories of consciousness. (shrink)

Originally published in 1991, Origins and Species seeks to understand the historical origins of Darwinism. The book analyses the explanatory problem to which Darwinian theory was a response, while contrasting the Darwinian with two other traditions in the interpretation of organic diversity. The book looks in detail at both Charles Darwin's theories and Alfred Russell Wallace's theories of about plant and animal species and raises the question of the context of Darwinism and that of Plato's and Aristotle's understanding of species.

: It is argued that in many cases surrogate mothers are exploited when they participate in altruistic surrogacy arrangements, since their altruistic personality structure is not in the relevant sense "their own." The question of whether paternalistic interference is justified in these cases is discussed. Such interference seems to be acceptable on condition that the person interfering is someone belonging to the woman's intimate sphere.

Leibniz viewed the principle of continuity, the principle that all natural changes are produced by degrees, as a useful heuristic for evaluating the truth of a theory. Since the Cartesian laws of motion entailed discontinuities in the natural order, Leibniz could safely reject it as a false theory. The principle of continuity has similar implications for analyses of Leibniz's theory of consciousness. I briefly survey the three main interpretations of Leibniz's theory of consciousness and argue that the standard account entails (...) a discontinuity that Leibniz could not allow. I argue that the principle of continuity and the textual data favor an interpretation according to which a conscious mental state just is a perception that is distinct to a sufficient degree. (shrink)

A study found that women participating in mammography screening were content with the programme and the paternalistic invitations that directly encourage participation and include a pre-specified time of appointment. We argue that this merely reflects that the information presented to the invited women is seriously biased in favour of participation. Women are not informed about the major harms of screening, and the decision to attend has already been made for them by a public authority. This short-circuits informed decision-making and the (...) legislation on informed consent, and violates the autonomy of the women. Screening invitations must present both benefits and harms in a balanced fashion, and should offer, not encourage, participation. It should be stated clearly that the choice not to participate is as sensible as the choice to do so. To allow this to happen, the responsibility for the screening programmes must be separated from the responsibility for the information material. (shrink)

Leibniz explains both activity and sensation in terms of the relative distinctness of perception. This paper argues that the systematic connection between activity and sensation is illuminated by Leibniz’s use of distinctness in analyzing each. Leibnizian sensation involves two levels of activity: on one level, the relative forcefulness of an expression enables certain expressions to stand out against the perceptual field, but in addition to this there is an activity of the mind that enables sensory experience. This connection of mental (...) activity and perceptual distinctness enables us to better appreciate the fundamental role perceptual distinctness plays in Leibniz’s theory of sensation. (shrink)

The point, for the 946,326th time is that people get elected to office by currying the favor of powerful interest groups. They don’t get elected for their excellence as political philosophers.Congress has consistently failed to solve some serious problems with the cost, effectiveness, and safety of pharmaceuticals. In part, this failure results from the pharmaceutical industry convincing legislators to define policy problems in ways that protect industry profits. By targeting campaign contributions to influential legislators and by providing them with selective (...) information, the industry manages to displace the public’s voice in developing pharmaceutical policy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 130-140 [Access article in PDF] Western Classical Music and General Education Estelle R. Jorgensen Indiana University Thinking about transforming music, I address issues relating to the role of musicians in higher education and Western classical music in general education. I am concerned about this music because it is marginalized in general education and the civic spaces of public life. Where once (...) it held a privileged place, it seems now to have acquired (in some quarters at least) a negative connotation as a bastion of elitism and privilege. Instead, popular musics (with a nod to musics of other cultures) have pride of place in much elementary and secondary music education and in many university and college offerings designed for students whose principal fields of study lie outside music. An all-too-common musical illiteracy or, at best, elementary level of musical literacy and aurality renders Western classical music inaccessible to the general public just as the pervasiveness of popular music renders it inaudible and invisible. Bridges to past, less accessible, and esoteric traditions are also too few or in disrepair. Julian Johnson laments the diminished stature of Western classical music and argues for its values in today's world. 1Music teachers of all stripes urgently need to address this marginalization of Western classical music as a matter of public policy. If caring for and fostering [End Page 130] diversity in the natural world is a good, then it is reasonable to expect that fostering diversity in the cultural world is likewise a good. If preventing the extinction of natural species is a matter of public policy, then surely preventing the extinction of musics among other cultural traditions is at least as important. Social transformation has within it the seeds of conservation, or the preserving of past traditions, just as it also suggests profound and ongoing planned and unintended change. When any music such as Western classical music is sidelined, music education policy makers need to ask, Is this multi-cultural, multi-ethnic, multi-faceted music important to keep, foster, and change? What does it have to contribute in the present world? Is it being cared for sufficiently? If it needs to change, how ought it be changed? What principles can be helpful to music teachers in caring for, fostering, and changing it? These are compelling public policy questions for our time. A Quarrel and Its Aftermath In 1963, participants in the Yale Seminar asked some of these very difficult questions of music education policy makers. MENC leaders took exception to the seminar and its conclusions; although some outstanding music teachers were participants, the organization had not been invited and the seminar was not its idea. 2 Instead of addressing directly some of the important criticisms of school music education and music teacher education raised in the seminar, the MENC mounted its own rival Tanglewood Symposium in 1967. Participants in this symposium faulted music in higher education for its failure to admit "talented and capable high school music students [to] the privilege of advanced study," the "[c]ompartmentalization and lack of communication between various segments of the music field," its lack of relation to "the musical heritage of American culture," and its failure to ensure arts courses in general education. 3 The symposium contributed to a populist stance focused on the myriad vernacular traditions of the world, thereby diminishing the role and presence of Western classical music and highlighting popular and vernacular musics at MENC conferences and in the elementary and secondary schools in the United States. Subsequent attempts to renew the Western classical tradition and raise the musical expectations of teachers and their students in the nation's schools exemplified in the Juilliard Repertory, Manhattanville Music Curriculum Project, and Comprehensive Musicianship Program seem not to have made a lasting impact. And the differing criticisms and visions of the Yale Seminar and Tanglewood Symposium have yet to be critically engaged.Summarizing criticisms made of school music repertoire in the report of the Yale Seminar to the Office of Education, U.S. Department of Health, Education, and... (shrink)

Evert van der Zweerde’s book is the most recent result of the author’s long-time study of Russian philosophy and Russian philosophical culture. The latter concept has been one of Zweerde’s main con...

In the post-Soviet context, various cyclical models of recurrent Russian “Times of Troubles” have become increasingly popular. This perspective emerged first in Soviet dissident circles, who used it as a means to expose as mistaken the Soviet belief in continual historical progress on Russian soil. In post-Soviet Russia this critical approach has been continued by members of the “Akhezier circle,” the economist Egor Gaidar, and others. Meanwhile it was given an affirmative, conservative reinterpretation by Aleksandr Panarin, according to whom Russia (...) has always managed to overcome its phases of devastating Westernization and state collapse. This idea of Russian history has become influential; even Vladimir Putin has talked about Russia as a strong state able to survive various “Times of Troubles” from the early seventeenth century to the early post-Soviet period. It also figures prominently among members of the neoconservative Izborsk Club. This article analyzes different conceptions of Russian history as cyclical and their prominent place in the prevailing civilizational discourse of post-Soviet Russia. By means of postcolonial perspectives, this discourse is seen on the one hand as an attempt to question and reject Western hegemony, attempts that on the other hand nevertheless seem unable to liberate themselves from a normative dependence on the West. (shrink)

In 1710 G. W. Leibniz published Theodicy: Essays on the Goodness of God, the Freedom of Man, and the Origin of Evil. This book, the only one he published in his lifetime, established his reputation more than anything else he wrote. The Theodicy brings together many different strands of Leibniz's own philosophical system, and we get a rare snapshot of how he intended these disparate aspects of his philosophy to come together into a single, overarching account of divine justice in (...) the face of the world's evils. At the same time, the Theodicy is a fascinating window into the context of philosophical theology in the seventeenth century. Leibniz had his finger on the intellectual pulse of his time, and this comes out very clearly in the Theodicy. He engages with all of the major lines of theological dispute of that time, demonstrating the encyclopaedic breadth of his understanding of the issues. Leibniz's Theodicy remains one of the most abiding systematic accounts of how evil is compatible with divine goodness. Any treatment of the problem of evil must, at some point, come to grips with Leibniz's proposed solution. This volume refreshes and deepens our understanding of this great work. Leading scholars present original essays which critically evaluate the Theodicy, providing a window on its historical context and giving close attention to the subtle and enduring philosophical arguments. (shrink)

Law-enforcement agencies are increasingly able to leverage crime statistics to make risk predictions for particular individuals, employing a form of inference that some condemn as violating the right to be “treated as an individual.” I suggest that the right encodes agents’ entitlement to a fair distribution of the burdens and benefits of the rule of law. Rather than precluding statistical prediction, it requires that citizens be able to anticipate which variables will be used as predictors and act intentionally to avoid (...) them. Furthermore, it condemns reliance on various indexes of distributive injustice, or unchosen properties, as evidence of law-breaking. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 1-20 MuseSearchJournalsThis JournalContents[Access article in PDF]"This-with-That": A Dialectical Approach to Teaching for Musical ImaginationEstelle R. JorgensenAmong the various approaches to music education, my dialectical and epistemological view offers a way of thinking about music and education and deciding how to go forward in teaching and learning music. 1 In this article I show how this particular philosophical perspective can play out in (...) teaching for the development of musical imagination in a particular musical piece, in particular, Johannes Brahms's Intermezzo, op. 118, no. 2. Three questions lie at the center of this analysis: What is meant by my dialectical approach? 2 How is musical imagination implicated, for example, in a performer's reading of this Intermezzo? How ought one to teach for the development of musical imagination?My response to the first of this trio of questions is predicated on my previous writing, most recently in Transforming Music Education and an essay, "Four Philosophical Models of the Relationship of Theory and Practice." 3 My response to the second applies Mary Reichling's model of images of imagination to a reflection on my approach to this Brahms Intermezzo—a piece I have played over a musical lifetime—with reference to a few of its more obvious features. 4 And my response to the third builds on my extension of Vernon Howard's analysis of learning in Transforming Music Education by drawing on Alfred North Whitehead's elegant model of teaching and learning formulated almost a century ago in his The Aims of Education and Other Essays, again with reference to the self-same piece. 5 In addressing these questions, I show how my dialectical approach can work practically and how the various tensions between aspects of imagination can play out in opposite, even paradoxical, modes of teaching for musical imagination. [End Page 1]What Is Meant by My Dialectical Approach?In choosing a "this-with-that" approach rather than a both/and synthesis or either/or approach to the choices between alternatives in music education, I recognize that in the phenomenal world, educational decisions (as with decisions in other areas of life) are often difficult to arrive at and problematic in their outcomes. I see dialectics as seepages and tensions that arise between alternatives viewed comparatively. 6 These alternatives are not always logically compatible, equally feasible, or easily reconcilable. Rather, resolutions are made on the basis of incomplete information, consequences that flow from decisions are often unexpected, some things are easier to meld than others, and constituent value judgments are sometimes dissonant, even impossible, to reconcile logically and practically. My interest is in describing the epistemological quandaries in which musician-teachers and their students sometimes find themselves practically speaking. I do not seek a "one-size-fits-all" approach because it is impossible to realize practically even if it could be shown to be desirable. Music instruction takes place in the phenomenal world—a world of sometimes messy or fuzzy categories in which the teacher's and student's interests often lie at the margins, where one thing seems to become another 7 —and I seek to describe my own approach to tackling the sorts of practical dilemmas in which I find myself as teacher and student. As such, I am preoccupied with the question, How does one decide what to do as a music teacher or learner?For me, the best angle from which to address this question has been from a dialectical perspective. I came to this position as I reflected on my experience as a music teacher. 8 Things in the phenomenal world were never as simple as the theoretical models upon which I drew supposed. I was often faced with choices, and these choices were sometimes easily made and sometimes not. This practical experience resonated with that of others on a similar journey. For example, I. A. Richards remarks that Socrates enjoyed the friendship of those who were able to see both the "one-and-the-many... (shrink)

Holistic accounts of meaning normally incorporate a subjective dimension that invites the criticism that they make communication impossible, for speakers are bound to differ in ways the accounts take to be relevant to meaning, and holism generalises any difference over some words to a difference about all, and this seems incompatible with the idea that successful communication requires mutual understanding. I defend holism about meaning from this criticism. I argue that the same combination of properties (subjective origins of value, holism (...) among values, and ultimate publicity of value) is exhibited by monetary value and take the emergence of equilibrium prices as a model for the emergence of public meanings. (shrink)

Fodor & Lepore (2001) and Williamson (2003) attack the inferentialist account of concept possession according to which possessing or understanding a concept requires endorsing the inference patterns constitutive of its content. I show that Fodor & Lepore's concern – that the conception places an exorbitant epistemological demands on possessors of a concept – is met by Brandom's tolerance of materially bad nonconservative inferences. Such inferences themselves, as Williamson argues, present difficulties for the 'understanding as endorsement' conception. I show that, properly (...) understood, Brandom's broad conception of inferential role, which encompasses social-perspectival inferential connections, has the resources to respond to Willianson's challenge. (shrink)

In this aricle, I argue that Descartes can be seen as a occupying a distinct middle ground between ancient music theory, which was being revived in the Renaissance, and eighteenth-century aestheticians. Descartes’ approach to music had its roots in humanist thought but, even from the start, it wasn’t simply another humanist theory of music. The views Descartes begins to develop in his early years, in the Compendium musicae (1618), is continuous with the views he articulates near the end of his (...) life in the Passions of the Soul (1649). And the position on the effects of music is an interesting and important one, bridging humanist thought with the new philosophy. Unlike the humanists, Descartes will be unwilling to identify particular musical proportions as intrinsically connected with pleasure or other affects, but he will nevertheless develop an objective account of aesthetic value. (shrink)

I argue that inferences from highly probabilifying racial generalizations are not solely objectionable because acting on such inferences would be problematic, or they violate a moral norm, but because they violate a distinctively epistemic norm. They involve accepting a proposition when, given the costs of a mistake, one is not adequately justified in doing so. First I sketch an account of the nature of adequate justification—practical adequacy with respect to eliminating the ~p possibilities from one’s epistemic statespace. Second, I argue (...) that inferences based on demographic generalizations tend to disproportionately expose group members to the risks associated with mistakenly assuming stereotypical propositions, and so magnify the wrong involved in relying on such inferences without adequate justification. (shrink)

A contribution to management philosophy is made here by the development of a postcolonial-storytelling theory, created by drawing together parallel developments in quantum physics and tribal peoples’ storytelling. We argue that these developments resituate the hegemonic relationship of discursive representationalism over material storytelling practices. Implications are two-fold. First, this dissolves inherent dualisms presumed in the concept of interactionamong entities like actor–structure, subject–object and discursive–nondiscursive in favour of a profound ontology of entanglement and intra-action of materiality and discourse, where storytelling is (...) a domain of this discourse. Second, postcolonial phenomena are understood as results of entangled genealogies in which plural voices are present. This implies an understanding and awareness of the intra-action of imperial narratives and material storytelling and antenarrative resistance, and thus the resistance and contestation to imperial and colonising monologic narratives of spatial and temporal alignment. (shrink)

Several authors have recently suggested that moral factors and norms `encroach' on the epistemic, and because of salient parallels to pragmatic encroachment views in epistemology, these suggestions have been dubbed `moral encroachment views'. This paper distinguishes between variants of the moral encroachment thesis, pointing out how they address different problems, are motivated by different considerations, and are not all subject to the same objections. It also explores how the family of moral encroachment views compare to classical pragmatic encroachment accounts.

I argue that the offense generation pattern of slurring terms parallels that of impoliteness behaviors, and is best explained by appeal to similar purely pragmatic mechanisms. In choosing to use a slurring term rather than its neutral counterpart, the speaker signals that she endorses the term. Such an endorsement warrants offense, and consequently slurs generate offense whenever a speaker's use demonstrates a contrastive preference for the slurring term. Since this explanation comes at low theoretical cost and imposes few constraints on (...) an account of the semantics of slurs, this suggests that we should not require semantic accounts to provide an independent explanation of the offense profile. (shrink)

This article discusses the meanings of “creativity”—tvorchestvo—as we encounter it in Georges Florovsky’s thought, first and foremost in his magnum opus Ways of Russian Theology (1937). Tvorchestvo had by this time become a key concept in Russian pre-revolutionary and later émigré thought. It is associated above all with Nikolai Berdyaev’s philosophy, but it also plays an important role in Sergei Bulgakov’s philosophy of economy. In both cases, it stands for the human response to divine creation. Moreover, and somewhat less famously, (...) it was also an epistemological concept in the religious idealism of Vladimir Solovyov as well as in Russian neo-Kantianism (Fyodor Stepun), where it stood for the active, synthetic faculty of our minds. Florovsky, meanwhile, used it as a description of how we should relate to the patristic heritage, but also to history more generally: Our attitude should be “creative,” active, as well as both backward- and forward-looking. This “return to the Fathers” was a central component of Florovsky’s neopatristic program, but, interestingly, in order to conceptualize this return, Florovsky took over a concept from traditions that his own approach otherwise firmly criticized. By analyzing Florovsky’s use of tvorchestvo, this article addresses the broader question as to the differences and parallels between the neopatristic movement and the legacy of the Russian Renaissance (Silver Age). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Futures for Music Education PhilosophyEstelle R. JorgensenIn 1990, when I convened the first International Symposium for the Philosophy of Music Education at Bloomington, Indiana, there was one dominant philosophy of music education in the United States and another was about to make its appearance. The five succeeding symposia (Toronto, Canada, in 1994, led by David Elliott; Los Angeles, United States, in 1997, led by Anthony Palmer and (...) Frank Heuser; Birmingham, United Kingdom, in 2000, led by Mary Reichling and Forest Hansen; Lake Forest, Illinois, United States, in 2003, led by Iris Yob, Frank Heuser, and Forest Hansen; and Hamburg, Germany, in 2005, led by Charlene Morton, Paul Woodford, Frede Nielsen, and Jürgen Vogt) have promoted other philosophies. And this burgeoning of different voices and perspectives has greatly enriched the philosophical underpinnings of music education and moved us from relying on a narrow range of philosophical views towards a plethora of them.In our infant society, the International Society for Philosophy of Music Education (ISPME), we are creating and institutionalizing a forum that can nurture and critique ideas and practices and sustain the work of philosophical reflection in music education over the longer term. We have also benefited from long-term commitments by the Indiana University School of Music and Indiana University [End Page 15] Press to publishing the Philosophy of Music Education Review, now in its fourteenth volume (building on three years of publication of the Philosophy of Music Education Newsletter), and the Counterpoints: Music and Education series that provides an important venue for publishing cutting-edge scholarship in our field. And over the past two years, we have begun to build an international team of philosophers committed to establishing a strong philosophical society in music education.Beyond institutionalizing philosophical scholarship in music education, our society is committed to creating a genuinely international community that offers a global perspective. In the past, music education grew up within national borders and its work was often nationalistic in emphasis. Now, we face new challenges of thinking beyond these national commitments to a world of music education. This world might be seen as what Maxine Greene aptly terms "multiplicities and pluralities,"1 the many differing groups forged within language groups, religious perspectives, political ideologies, economic strictures, and familial obligations. And as philosophers, we work especially within our various linguistic and cultural traditions as we also seek to transcend these traditions in a common discourse.How shall we address philosophically the multiplicities and pluralities, commonalities and differences in music education internationally? Radical relativism and pluralism offer contrasting perspectives.2 Radical relativism sees the host of different music education beliefs and practices around the world as incommensurable and focuses on differences between them. For example, viewing Japanese and British music education within this stance would suggest that since Japanese and British music education reflect Japanese and British society and culture respectively, each cannot be understood in terms of the other, they are different and incommensurate with the other, and it is important to understand each in its own terms. Pluralism, however, sees differences as commensurable and focuses on shared attributes. Since human beings are the creators of culture and society, common threads amidst the differences emerge from this common humanity. For example, as a reflection of their different societies and cultures, although we expect to encounter differences between British and Japanese music education, we may also observe commonalities since they both bear the imprint of a shared humanity.Notwithstanding that musics and educational systems seem, upon first glance and when considered specifically, to be incommensurable, a deeper and more general examination turns up evidence supporting a pluralist perspective.3 Historically, cultures regularly borrow from different others as if there were common human threads. Maurice Ravel, Carl Orff, and Paul Simon are among twentieth-century composers to draw on cultures from the Far East and Africa. In music [End Page 16] education, Masafumi Ogawa's study of the introduction of Luther Whiting Mason's ideas into Japan in the nineteenth century,4 the dissemination of Shinichi Suzuki's ideas into the United States, the spread of Zoltán Kodály's, Émile Jaques-Dalcroze's, and Carl Orff's and Gunild... (shrink)

It is most tempting to think of Fredric Jameson’s Archaeologies of the Future in utopian terms, as a contribution to the history of utopian philosophy represented by Theodor Adorno, Louis Marin and Herbert Mar- cuse, if not Hegel, Marx and Jameson himself. To trace the line of utopian ideas in their works is to be seduced by Jameson’s own project, which has, 1 since Marxism and Form , mapped the utopian continuities that exist between an assortment of Marxist writers. Marxism (...) and Form stands as a seminal beginning to Jameson’s utopian project, introducing the work of un- 2 translated German writers, including Walter Benjamin and Herbert Marcuse, to a generation of Anglophonic scholars. One reviewer went so far as to recommend the book to English-speaking Germans to clear up the muddy phrases of Gyorgy LukÆcs and Ernst Bloch, claiming that Jameson presented a much more articulate version of their ideas! There is no better demonstration of the recognition effected upon the Marxist corpus by 3 Jameson’s intellectual clarity than the conclusion to Aesthetics and Politics , in which the hostility between LukÆcs and Bloch is transformed into two sides of the same politics. Indeed, the very meaning of Jameson’s Marxism comes about from just such theoretical sublimations as these, as 4 disparate European projects are unified both intellectually and politically. The sheer synthetic power of Jameson’s writing makes it difficult to think about his writing in terms that aren’t Jamesonian, the range of his project transforming Marxist literary criticism into a totality. (shrink)

In this essay, a quintet of values in doing philosophy of music education are examined: the need for a broad view, a personal perspective, a constructive vision, a relevant plan, and the courage to speak about important issues in music education. The following questions frame the analysis of each, in turn: What do these values mean? What importance do they hold today? How can they be expressed practically in the life and work of philosophers and those interested in the philosophy (...) of music education? (shrink)

The article discusses the notion of culture as it appears and is conceptualized in the works of G.P. Fedotov. The analysis focuses on two articles by Fedotov published in Russian migr journals, "The Holy Spirit in Nature and Culture" of 1932 and "Eschatology and culture" of 1938, and in his magnum opus in a Western context, The Russian Religious Mind of 1946. The author proposes to analyze Fedotov's ideas as a theology of culture due to the profoundly religious meaning the (...) Russian migr thinker attributed to cultural products and production, regardless of their religious intention. By implication, Fedotov understood culture in a religious framework as the human experience of and response to the divine, though not necessarily as dependent on firm belief. Viewing Fedotov as a theologian of culture enables us, furthermore, to compare him with other thinkers across the West-East cultural gradient, most notably Paul Tillich. This approach contextualizes Fedotov in a post-Schellingian pan-European idealist tradition, to which Russian thinkers' analyses of religious experience and imagination have made seminal contributions, in particular from Vladimir Solov'ev on. The article discusses these issues within the framework of the perspectives of global intellectual history, entangled history, and transnationalized Russian studies. (shrink)

Using the idea of community as a metaphor for and metaphorical model of music education, aspects of the notions of community as place, in time, as process, and as end are explored and implications for music education are discussed.

The account of vagueness Bertrand Russell provided in his 1923 paper, entitled simply “Vagueness” (see Russell [1923]1997), has been thought by some to be inconsistent. One main objection, raised by Timothy Williamson (1994), is that Russell’s attempt early in the paper to distinguish vagueness from generality is at odds with the definition of vagueness he presents later in the same paper. It is as if, as Williamson puts it, Russell “backslides” from his previous distinction (1994, 60), resulting in a conflation (...) of generality and vagueness that is at best problematic for a rigorous account of the phenomenon of vagueness. In this paper, I will defend Russell from this particular objection. While his 1923 paper may not be as clear at various points as one might hope, I do believe it is possible to construct a single theory of vagueness that can be applied equally well to his earlier and later discussions. Thus, Russell’s view is not ultimately inconsistent. In this paper, I will first present the interpretation of Russell’s concept of vagueness that falls prey to the charge of conflating vagueness and generality. Once the problem is clear, I will present an alternative interpretation, one that arises from certain reflections on G. W. Leibniz’s theory of perception. This Leibnizian interpretation of Russell, I will argue, resolves the apparent contradiction in Russell’s account of vagueness. (shrink)