Pastoral seems a fairly accessible literary concept; most critics and readers seem to know what they mean by it, and they often seem to have certain works in mind that count as pastorals. But when we look at what has been written about pastoral in the last decades -- when it has become one of the flourishing light industries of academic criticism -- we find nothing like a coherent account of either its nature or its history. We are told that (...) pastoral "is a double longing after innocence and happiness"; that its universal idea is the Golden Age; that it is based on the antithesis of Art and Nature; that its fundamental motive is hostility to urban life; that its "central tenet" is "the pathetic fallacy"; that it expresses the ideal of otium; that it is "the poetic expression par excellence of the cult of aesthetic Platonism" in the Renaissance or of Epicureanism in the Hellenistic world; that it is "that mode of viewing common experience through the medium of the rural world."1 It sometimes seems as if there are as many versions of pastoral as there are critics who write about it.[…]A definition of pastoral must first give a coherent account of its various features—formal, expressive, and thematic—and second, provide for historical continuity or change within the form. The basis of such a definition is provided by what Kenneth Burke calls a "representative anecdote":Men seek for vocabularies that will be faithful reflections of reality. To this end, they must develop vocabularies that are selections of reality. And any selection of reality must, in certain circumstances, function as a deflection of reality. Insofar as the vocabulary meets the needs of reflection, we can say that it has the necessary scope. In its selectivity, it is a reduction. Its scope and reduction become a deflection when the given terminology, or calculus, is not suited to the subject matter which it is designated to calculate.Dramatism suggests a procedure to be followed in the development of a given calculus, or terminology. It involves the search for a "representative anecdote," to be used as a form in conformity with which the vocabulary is constructed.6Burke uses "anecdote" and not a more philosophically respectable term in order to emphasize the contingencies inherent in all such intellectual choices. Anecdote implies that they are inseparable from the stuff of reality with which they deal and that of their selection does not escape the conditions of ordinary accounts of our lives. "Representative," as Burke uses it here, has a double meaning. An anecdote is representative in that it is a typical instance of an aspect of reality and by being typical it serves to generate specific depictions or representations of that reality.1. The allusions are to the following: "double longing" ; Golden Age ; Art and Nature ; hostility to urban life ; "pathetic fallacy" ; otium , "aesthetic Platonism" ; Epicureanism .6. Kenneth Burke, A Grammar of Motives , p. 59. This is the beginning of the section entitled "Scope and Reduction."Paul Alpers is professor of English at the University of California, Berkeley, and is the author of The Poetry of "The Faerie Queene" and The Singer of the Eclogues: A Study of Virgilian Pastoral. The present essay is part of a larger study entitled "Pastoral Poetics.". (shrink)

Depuis son avènement au début du XXe siècle, la phénoménologie a rallié, dans une fidélité plus ou moins grande à Husserl, son fondateur, des auteurs aussi différents que Heidegger, Scheler ou Fink – non sans que chacun ait d'abord pris la mesure de l'ambition d'un projet qui consistait à réaffirmer le sens de la philosophie en lui assignant pour objet un certain absolu, jugé comme tel « irréductible ». Les philosophes français, dont Sartre, Merleau-Ponty, Levinas, Derrida, Henry, Marion, ont tous (...) eu à cœur de renouveler à leur façon la phénoménologie, en interrogeant à nouveaux frais ses enjeux. En revenant sur l'histoire de ce courant, Paul Audi montre que la plupart de ces penseurs ont suivi un même ordre de mission – que Sartre formule ainsi dans son tout premier texte phénoménologique, en 1934 : « Soyons plus radicaux ». Pourquoi et comment ce devoir de radicalité a-t-il pris auprès d'eux le statut d'un mot d'ordre? Quels enseignements devrions-nous aujourd'hui en tirer? Une de ces leçons ne revient-elle pas à dire que si, en phénoménologie, la demande de radicalité a bien sa raison d'être, elle n'en révèle pas moins les limites de la discipline – des limites qui pourraient bien expliquer pour partie son essoufflement actuel? (shrink)

This book is about you. How does your brain work and where do your thoughts and dreams come from? How can you harness their creative power? Ableman posits a crucial relationship between language and memory and thus between language and self-awareness. Most startlingly he maintains that the human 'person' is essentially the language component of a large-brained animal. Ableman has researched his theory using existing data derived from the malfunctioning mind as manifested in schizophrenia, sleepwalking, autism, 'out of body' experiences (...) and nightmares. His revolutionary claims constitute an exciting and persuasive theory of mind which orthodox science could - and should - test. (shrink)

Ever since, while continuing to develop his liguistic theories, he has been the most prominent US critic both of his country's foreign policy and of the intellectuals and media that give it overwhelming consensual support. "The Responsibility of Intellectuals" was followed by a series of ever more devastating attacks on American policy in Vietnam (collected in American Power and the New Mandarins and At War With Asia ): by 1970, he was far and away the best known intellectual opponent of (...) the US war effort. (shrink)

Cette édition numérique a été réalisée à partir d'un support physique, parfois ancien, conservé au sein du dépôt légal de la Bibliothèque nationale de France, conformément à la loi n° 2012-287 du 1er mars 2012 relative à l'exploitation des Livres indisponibles du XXe siècle. En s'appuyant sur des textes de Kierkegaard, cette étude entend montrer en quoi et comment l'autorité de l'auteur se trouve liée à toute forme de création, et pourquoi il convient de porter l'accent de l'analyse sur le (...) devenir-auteur, c'est-à-dire sur la manière subjective dont un auteur parvient, au travers de sa création, à prendre position au nom de soi. « Copyright Electre » Pages de début Exorde Prémisses 1 - Le don à l'origine 2 - Le Présent de la vie 3 - Créer 4 - Prendre position5 - Au nom de soi Conclusion Note complémentaire Index nominum Pages de fin. (shrink)

The volume includes Mark Twain's previously published philosophical writing. Fictional pieces are ordinarily excluded, as are other works appropriate to different volumes in this edition. However, "Letter from the Recording Angel," "The Five Boons of Life," and "Letters from the Earth," although they are in a strict sense fictional, have been judged more relevant to the present volume that to the volumes of short fiction. "Things a Scotsman Wants to Know," previously unpublished, is included by agreement with the editor of (...) The Mark Twain Papers, as being especially relevant to themes of this volume. Other unpublished items appear as supplements because of their close relation to What Is Man?, Christian Science, and " 'The Turning Point of My Life.' " The two works that break off with unfinished sentences, "Bible Teaching and Religious Practice" and the introductory section of "Letters from the Earth," were abandoned by the author or else their endings have been lost. The order of works in this volume is according to date of publication or, for those unpublished during the author's lifetime, date of composition. For works published during his lifetime, dates of first publication appear in roman type below titles; for works first published after his death, date are in italics and indicate time of composition. (shrink)

In developing his trademark use of “consonance” to prescribe a relationship between Christian faith and the natural sciences, Ernan McMullin drew on severaldistinctly Augustinian philosophical and theological themes during his fifty years of scholarship. Particularly prominent in McMullin’s work were an emphasis placed on Augustine’s biblical hermeneutic, which prioritized both literal and non-literal interpretive techniques, and Augustine’s epistemology of divine illumination. This paper examines several elements as part of an expository account of McMullin’s contribution toward the consonance between Christian faith (...) and the natural sciences. It also outlines McMullin’s theory of retroduction and his account of scientific realism, both of which are philosophical positions that provide additional support for consonance from an epistemological perspective. I conclude that for McMullin, consonance is a differentiated term that hints at underlying metaphysical claims without necessarily delineating the nature of those claims. (shrink)

Excerpt from Frömmigkeit und Sittlichkeit nach Evangelischer Auffassung Werde und somit eine in sich selbstständige, nach immanenten Gesetzen frei sich entfaltende sittliche Lebensgestaltung begründe. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the (...) original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

The paper compares use of willingness to pay values with multi-attribute utility as ways of modelling social choice problems in the environment. A number of reasons for moving away from willingness to pay are reviewed. The view proposed is that social choice is about the integration of competing claim types (utilities, rights, social contracts and beliefs about due process). However, willingness to pay is only indirectly related to the first of these and assumes an Arrovian approach, namely one in which (...) social choice is regarded as the aggregation of people's preferences. (shrink)

Constellations, Volume 28, Issue 3, Page 447-449, September 2021.

Reply to a commentary by Felicitas Holzer and Ignacio Mastroleoon “Models of Consent to Return of Incidental Findings in Genomic Research.”.

This article uses Deleuze's three-part theory of the movement-image as a way to investigate the potential importance of his unexplored claim about the casting of Beckett's Film. In “The Greatest Irish Film” Deleuze writes that the starring role in Film “could only have been played by Buster Keaton” 23), but he does not explain why. Here, I return to the Bergsonian basis of Deleuze's film theory, as well as to early responses to Beckett's Film, in order to complicate our understanding (...) of Deleuze's perception-image, action-image, and especially his affection-image. (shrink)

China’s civil society has expanded recently, providing space for new players, although it remains small and controlled by the Communist Party. The mainland Chinese church is taking its place in the civil society, although it is unlikely that it will enjoy Western-style freedoms even in the medium term. Singapore is an Asian democracy where relations between church and civil society are different again; the country has long been culturally and religiously pluralist, and was never part of ‘Christendom’. Also, Singapore’s government (...) is more socially interventionist than its Western counterparts. I describe the West, Singapore and China as permissive, prescriptive and restrictive, respectively, and conclude that Singapore’s prescriptive approach to church and civil society may be a model for China. (shrink)

This paper reviews some of the social, historical, and political forces and events that influenced the development of Bennett Reimer’s early philosophy of music education in the late 1950s and continuing to his death in 2013. John Dewey’s ideas about the moral and political purposes of art education are employed as critical tools for understanding the political dynamics of Reimer’s career during the early Cold War as all education was conceived by government and prominent education reformers as social control rather (...) than liberation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Overtones:A CollagePaul Youngquist (bio)Mom leans against the keyboard of the old upright piano in the den. She puckers her lips and gently fingers the valves. A couple of times a month, she frees her trumpet from the purple velveteen lining its case—out of love or frustration I can never tell. She stares hard at the bell, pointed somewhere near my feet. She inhales deeply, pressing the silver mouthpiece to (...) her crumpled lips. A silent moment passes—torn by a noise pitched past the sun, a shrieking flare sound. Another follows and another, bright glissandos blinking out somewhere below middle C. They shatter everything I know about her. Everything I thought I knew. What sound was that, what cry? What aspiration to be free? After those initial stabs, she falls into familiar melodies: "Bugler's Holiday" by Leroy Anderson, maybe, or "When the Saints Go Marching In." I'm unsettled for the rest of the day.Trumpeter Don Cherry's sound unsettled me too. I was much older when I first encountered it on Ornette Coleman's The Shape of Jazz to Come. It took me back to Mom's cries. I heard her sound in his: bright, high, and transient: less pitch than smudge, transmitting unknowable overtones. On "Lonely Woman," for instance. Cherry states the plaintive melody in hazy unison with Coleman, blurs the third note, wavers and plays his peculiar temper, untimely and free to move beyond the platitudes of harmony until, after Coleman's baffled cry, he parts company to play a sixth above (if such language matters, and it doesn't), descending in half steps to resolve (not happily) on a minor third, Cherry now pitched below. Their unison breaks apart to reconverge, and the brief bridge feels like a heaving between sobs. This isn't music. It's too raw for the repartee of bebop or the sociability of swing. But everybody can feel it, which explains the scandal of Coleman and company's extended appearance in late 1959 at the Five Spot in New York's East Village. Writing in the New York Times Magazine years later, Joseph Hooper likened it to the furor erupting after Stravinsky's Paris premier of "The Rite of Spring" in 1913. In an interview with Terry Gross, Cherry remembers everyone who was musically anyone being there—from Leonard Bernstein to Thelonious Monk—to witness the sacrilege. The implacable trickster Charles Mingus appeared one [End Page 133] night with Phineas Newborn, a keyboard virtuoso famous for his perfect pitch. Newborn sat and stared at his cufflinks. He never played a note. After the set, Mingus barreled onto the stage and, with his long arms and big hands, crashed all the keys. "That's where it is," he bellowed. "It's all there." Everywhere and nowhere. Cherry and Ornette decentered intonation. They distempered tradition's scales. Afflicted with perfect pitch, Newborn couldn't follow their cries and whispers. They flew free from the comforting staff. Still you feel them, hear their immeasurable sound.Don Cherry: "I've always been on the outside, and that's a good quality for the music to have, like the wind in your face."Cherry's mother Daisy gave him his first horn when he was fourteen. It breathed life into him, offering a way to express sounds his body harbored. Born in Oklahoma City in 1936 to "Negro-Choctaw Indian parents" (his words—his mother's mother was half native), Cherry heard gospel, blues, and Indian songs from the start. The family's move to the Watts neighborhood of Los Angeles in 1940 only multiplied the sounds of diverse ethnicities mixed with the rumble of jazz from the Cherry Blossom, his father's club, where Don and his sister sometimes danced for dimes. His horn funneled all this sound—all the music he'd ever make—through a peculiarly powerful feeling: "that feeling to me, through as much music as I've learned, I still remember just that feeling when I first got that horn." What feeling exactly? "Infant happiness" (in-fant, not speaking). The feeling of life before language: "infant happiness, infant happiness, beautiful! That's what music is really... (shrink)

„Weltanschauung“ ist ein Schlüsselbegriff philosophischer Diskurse der Zeit um 1900, der weit über den Bereich der Philosophie hinausreicht und beansprucht, umfassende kulturelle Phänomene beschreiben und analysieren zu können. Simmel verwendet insbesondere den eng verwandten Begriff der „Lebensanschauung“, und behandelt unter diesem Begriff immer wieder die für ihn zentralen Bezugsfiguren Kant und Goethe. Simmels eigene Perspektive auf diese Begriffe wird deutlich, wenn er die Einheitsfunktion einer Welt- bzw. Lebensanschauung verbindet mit einer spannungsvollen Komplexität der hiermit bezeichneten kulturell-philosophischen Produkte und Haltungen. Insbesondere (...) bieten ihm diese Begriffe die Möglichkeit, ein nicht-hierarchisierendes Nebeneinanderstehen unterschiedlicher Positionen und Bedeutungselemente methodologisch zu unterbauen und hiermit seinen Wahrheitsbegriff, angesichts relativistischer Herausforderungen, präziser zu fassen. (shrink)

Although various sections of this work have been published separately in various journals and volumes their separate publication is wholly attributable to the exigencies of life in academia: the work was devised as and is supposed to constitute something of an organic unity. Part II of 'The Cow with the Subtile Nose' was published under the title 'A Creative Use of Language' in New Literary History (Autumn, 1972), pp. 108-18. 'The Cow on the Roof' appeared in The Journal oj Philosophy (...) LXX, No. 19 (November 8, 1973), pp. 713-23. 'A Fine Forehand' appeared in the Journal oj the Philosophy oj Sport, Vol. 1 (September, 1974), pp. 92-109. 'Quote: Judgements from Our Brain' appeared in Perspectives on the Philosophy oj Wittgenstein, ed. by I. Block (Oxford: Basil Blackwell, 1981), pp. 201-211. 'Art and Sociobiology' appeared in Mind (1981), Vol. XC, pp. 505-520. 'Anything Viewed'appeared in Essays in Honour oj Jaakko Hintikka, ed. by Esa Saarinen, Risto Hilpinen, Illkka Niiniluoto and Merrill Provence Hintikka (Dordrecht, Holland and Boston, Massachusetts: D. Reidel Publishing Co., 1979), pp. 285-293. 'How I See Philosophy' appeared in The Owl oj Minerva, ed. by C. J. Bontempo and S. Jack Odell (New York: McGraw-Hill Book Co., 1975), pp. 223-5. All the remaining parts are also forthcoming in various journals and volumes. I am grateful to Bradley E. Wilson for the preparation of the index. (shrink)

An internationally renowned philoso­pher propounds a way to advance be­yond appearance to ultimate realities and a final ideal. “One of philosophy’s main functions is to arouse thought, to awaken and redirect. It asks others to think through, to assess, and at the same time to be flexible and steady. Author and reader must, despite the printed page, despite differences in age and experience, training and knowl­edge, philosophize together,” writes Paul Weiss in his brilliant new book. And this is exactly (...) what the reader will find himself doing as the eminent speculative philosopher directs his attention to that which is beyond appearance—beyond daily living and, ultimately, beyond life itself. In this perhaps richest and finest of Mr. Weiss’s books, the average reader who daily confronts the various aspects of our complicated lives will find an enlivening answer to persisting fundamental questions. Mr. Weiss’s searching analysis of matter and his thought-provoking answers to questions raised provide a thoroughly enlightened examination of the realities of man’s inalienable rights, his identity over the course of a changing career, and his possible immortality. (shrink)

An important artistic topic of Italian Renaissance painting was the rendering of the human figure. As leading actors in a painted narrative, figures had to convince beholders of the reality of the matter depicted with appropriated attitudes and gestures. This article is about two ways of drawing or rather constructing the human figure artists developed to achieve this goal. The first was only an adaptation to an old method: because of the rather simple and coarse elements used, constructions often resulted (...) in faulty pictures and were for that matter often criticized. As this article will show, the second method involved a new and very successful drawing skill, which not just required a different kind of knowledge of visual forms but of procedures of moving the hand, too. (shrink)