Irony, one of the most basic, pervasive, and variegated of rhetorical tropes, is as fundamental to musical thought as it is to poetry, prose, and spoken language. In this wide-ranging study of musical irony, Michael Cherlin draws upon the rich history of irony as developed by rhetoricians, philosophers, literary scholars, poets, and novelists. With occasional reflections on film music and other contemporary works, the principal focus of the book is classical music, both instrumental and vocal, ranging from Mozart to (...) Mahler. The result is a surprising array of approaches toward the making and interpretation of irony in music. Including nearly ninety musical examples, the book is clearly structured and engagingly written. This interdisciplinary volume will appeal to those interested in the relationship between music and literature as well as to scholars of musical composition, technique, and style. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:MONADOLOGY OF 7HE BROTHERS KARAMAZOV by Michael Wreen THE WORLD AND THOUGHT of Dostoyevsky's The Brothers Karamazov are not easily entered into. There is something, some barrier, which seems to hinder, if not prevent, a feeling of belonging, a feeling of ease, citizenship, and camaraderie. What is it diat holds die reader back, what makes him feel particularly Ul-at-ease in the world of The Brothers Karamazov, and especially (...) in die presence of the Karamazovs? The answer is that the world of the novel resembles the world of Leibniz's Monadology, a world so different from the world of our everyday conceptions, and so different from the world of most novels, that the reader is left "freefloating," so to speak, until he, as a spirit, has been accommodated and then assimilated by it. To begin with, there is the matter of setting. There are practically no landscapes in The Brothers Karamazov and no extended descriptions of nature. Secondly, buildings, both their interiors and exteriors, are barely sketched, and when described at all, it is usually the psychological state that the human design excites ("It was an odd arrangement ofrooms") that is important, and not the design or structure itself. Objects existing in their own right and "pure surfaces" are not to be found. The one building (with grounds) that is described at length is the monastery, but even here description is used symbolically, as a reflection ofthe spiritual states ofthe monks and The Elder. Similarly, clothing exists only as a clue to the psychological or spiritual state of its wearer. Dmitri's rag with the 1,500 roubles is the analogue of his condition, just as Smerdyakov's hoped-for foppish apparel is of his. 318 Michael Wreen319 Still more unusual is the infrequent mention of two of the biological necessities of life, food and sleep. Food seems to be something that the characters can take or leave, but more often than not, simply forget about; the stomach does not seem to exist for any except one of them. Once or twice the characters do eat, but eating seems to be an accidental side-effect of spending time with, a spiritual infection caught from, the thoroughly carnal Fyodor. The monks, it must be admitted, are concerned with food — though it would be more accurate to say diat they are concerned with die lack of it, or even more strongly, widi maintaining the lack of it. As for sleep, collapse from complete exhaustion (from sustained physical exertion and/or emotional excitement, or from orgiastic debauchery), sickness, and brain fever seem to be preferred to normal sleep. Days are long— so long, in fact, that night is more like an extension of day dian night. Another descriptive element which warrants notice is the physical appearances and personal histories of die dramatic personae. The truth, as far as physical appearances are concerned, is clear and simple: everyone, with the exception ofIvan, is described once and briefly. In the first thirtyfive pages or so, most of the major personages are introduced, "outfitted" with noses, eyes, ears, bearings, statures, mannerisms, traits, etc., and — here we come to the second aspect noted above — then given summary histories. After that, diey are set in dramatic motion. The opening chapters are descriptive and expository, a report of what was and is the case as far as mise en scene and physical equipage are concerned; and except for brief moments when the never-named narrator indulges in short "sermons" about man or God, the mode of narration never returns to descriptive exposition, but remains dramatic and focused on the interplay and clash of personality. Characters do act and think for themselves, and we see diem directly in the acting out of dieir lives. A bit of background information having been provided, we don't have to be told anydiing more; we can observe for ourselves, from the inside. The catalogue offacts is discarded, and in its place is put the experience of events and feelings. The objective, external perspective yields to the internal, subjective perspective, and the reader crosses over from the familiar and cozy world of Dickensian externality to the strange and disconcerting world ofDostoyevskian intemality... (shrink)

This original and provocative study tells the story of American literary history from the perspective of its environmental context. Weaving together close readings of early American texts with ecological histories of tobacco, potatoes, apples and honey bees, Michael Ziser presents a method for literary criticism that explodes the conceptual distinction between the civilized and natural world. Beginning with the English exploration of Virginia in the sixteenth century, Ziser argues that the settlement of the 'New World' - and the cultivation (...) and exploitation of its bounty - dramatically altered how writers used language to describe the phenomena they encountered on the frontier. Examining the work of Harriot, Grainger, Cooper, Thoreau and others, Ziser reveals how these authors, whether consciously or not, transcribed the vibrant ecology of North America, and the ways that the environment helped codify a uniquely American literary aesthetic of lasting importance. (shrink)

Public Health Policy and Ethics brings together philosophers and practitioners to address the foundations and principles upon which public health policy may be advanced – especially in the international arena. What is the basis that justifies public health in the first place? Why should individuals be disadvantaged for the sake of the group? How do policy concerns and clinical practice work together and work against each other? Can the boundaries of public health be extended to include social ills that are (...) amenable to group-dynamic solutions? What about political issues? How can international finance make an impact? These are some of the crucial questions that form the core of this volume of original essays sure to cause practitioners to engage in a critical re-evaluation of the role of ethics in public health policy. (shrink)

This essay is a critical investigation of Heidegger’s insistence on the absolute difference between philosophy, defined as fundamental ontology, and theology, understood as the “ontic” “science of faith.” Focusing primarily on two important works from 1927, “Phenomenology and Theology” and Being and Time, I argue that the distinction between the two disciplines begins to blur in light of the circular character of hermeneutical understanding as Heidegger himself describes it. Ontology, he concedes, has ontic roots in the authentic self-understanding of Dasein. (...) I maintain that this understanding involves an interpretive decision that, lacking the pure phenomenological rationality Heidegger attributes to it, looks much like the faith he would banish from philosophy. (shrink)

In this paper, I consider how we ought to read the aspect‐perception passages in the Tractatus Logico‐Philosophicus (TLP) in the light of its ethics. I engage with a recent proposal, of Genia Schönbaumsfeld's, that we should replace the TLP account of aspect‐perception with that which Wittgenstein puts forward in the Philosophical Investigations (PI). I show that, far from helping us to grasp the ethical vision contained in the TLP, this proposal obscures it. I go on to draw some conclusions from (...) this as to how to read the TLP in its relation to Wittgenstein's other work. (shrink)

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. In rehearsing the history of video in Latin America, this chapter focuses on the social rather than the individual, on video as a collective medium where audio and visual are placed in a new relationship of equal simultaneity, and thus where video functions more as a form of collective speech than individual expression. In the Latin American experience, which built on (...) the radical film movement of the preceding decades, community activists became aficionados of video, often under the most inimical circumstances, but by exploiting video’s potential for alternative, small scale, low profile, subcultural uses. Using examples from Chile in the 1980s, indigenous video in countries like Brazil and Bolivia, and the movement of video activism in Argentina in the early 2000s known as cine piquetero, the chapter sketches a concept of video speech as a form of audiovisual utterance answering to the socialized conditions of its production, in a dialogical relationship with its audience. (shrink)

Five purposive relations are investigated: endeavoring, endeavoring for a certain purpose, bringing something about in a certain endeavor, bringing something about for a certain purpose, and bringing something about intentionally. No satisfactory analysis of these terms has yet been proposed, either in mentalistic -- belief, desire, intending -- or in action terms. While bringing something about for a certain purpose may seem too obscure to be taken as a primitive, there are at least two arguments in favor of it. First, (...) no analyses in terms of other primitives has worked; second, the rather natural definitions of the other notions which it makes possible take us some way toward understanding the structure of intentional action. (shrink)

This volume studies a range of modernist works by writers such as Virginia Woolf, Oscar Wilde, Henry James, and James Joyce to explore what Modernism looks like when viewed through the lens of disability.

This paper explores some of the reasons why we, as a business ethics center housed at a state university, are transitioning from being a largely neutral platform on business ethics topics to becoming an advocate for specific perspectives. Comprising the topics of interest are issues such as climate change, capitalism, and certain medical and public health controversies. Presented here are four main reasons behind this move: pluralistic arguments, moral “switching,” existential crises, and combating disinformation. Two examples regarding capitalism and vaccine (...) mandates are used to demonstrate advocacy in practice. (shrink)

BLWith Latin text and English translation The epic poem the Thebaid was composed by Statius about AD 80 to 92 in twelve books. The subject is the expedition of the Seven against Thebes in support of the attempt by Oedipus' son Polyneices to recover the throne from his brother Eteocles. Book IX is set in the midst of the fighting before the eventual death of the two brothers. In this new edition of Book IX Dr Dewar accompanies the Latin text (...) with apparatus criticus, a translation, and an extensive introduction and commentary. The introduction contains sections on Statius' life and works, a summary of the epic, its themes and characters, and poetry, the textual tradition, and Statius' influence on later European literature. The commentary, the first on the ninth book to be published in Britain this century, is written in the light of recent scholarship. It examines in close detail Statius' style and language, use of models, and literary intentions. It is Dr Dewar's hope that this edition will help to explain the poem's great popularity in the Middle Ages, and even restore something of its lost prestige. (shrink)

The Ethics of Uncertainty asks what it means to live, act, decide, and respond responsibly, in the aporia of freedom itself - a freedom which on one hand opens us to the open space of possible possibilities, and on the other, leaves us no stable ground or measure for pre/determined decision making. The aporia of freedom is conditioned by the indeterminate space of knowing we must make decisions, and yet, at the same time, we cannot call on an absolute authority (...) or measure as a guide. Aporias open us to freedom, the place where, as Derrida has taught us, an ethical decision may occur. Allowing indeterminacy to exist in our becoming allows a continuous coming to be with others - a becoming always open to the "to come" (Derrida) of the future. Always drawing us toward the possibility of making a decision within the fabric of indecision, aporias give us the possibility of ethical becoming. Overall, this text points us to the possibility of living an ethical life in a world without absolute measure - an ethics, in other words, of uncertainty. (shrink)

The aim of this research project is to shed light on the fundamental nature and mode of being of institutions. Starting from the work of John Searle, the goal is to develop an ontology of institutions that is both better metaphysically grounded than Searle's, and more developed towards applications in the social sciences and social and political philosophy. It relies on a metaphysics of powers and dispositions, as developed in the recent literature in analytic metaphysics, in order to offer an (...) account of institutions as dispositional structures that are ontologically dependent on specific human powers. Specific applications in the social sciences and political philosophy include the ontology of money, banking, marriage, property and the state. (shrink)

Michel de Montaigne invented the literary term "essay" derived from the French word essai, meaning to put on trial. In his collection of essays he describes his life's work in testing his responses to different subjects and situations, using his ego and a.

In lieu of an abstract, here is a brief excerpt of the content:Reading BiographyMichael Benton (bio)Biographer, Biography, and the ReaderBiography is a hybrid. It is history crossed with narrative. The biographer has to present the available facts of the life yet shape their arbitrariness, untidiness, and incompleteness into an engaging whole. The readerly appeal lies in the prospect both of gaining documentary information, scrupulously researched and plausibly interpreted, and of experiencing the aesthetic pleasure of reading a well-made work of art (...) with a continuous life story and a satisfying closure. "In the family of literature," one of its most respected practitioners asserts, "biography seems to be the product of a strange coupling between old-fashioned history and the traditional novel."1 The invitation of biography is thus a dualistic one; the aesthetic experience it offers stems from the twofoldness of its nature and from the stance that this imposes upon the reader. Literary biographies of poets and novelists offer a particularly fruitful area of study since their subjects have a special concern for aesthetic experience and the biographers' main interest lies in the relationship between the life and the works. Though much of what follows has a wider application, the focus of this article is on biographies of writers. By triangulating the roles of the biographer, the biographee within the biographical text, and the reader we can conceptualize the elements that make up the invitation of the genre.First, the biographer. Richard Holmes characterizes the process he experiences with two keywords: it is a "pursuit" and it is a "haunting." They are two sides of the same phenomenon. The pursuit is a "tracking of the physical trail of someone's path through the past, a following of footsteps," an effort "to write about the pursuit of that fleeting figure in such a way as to bring it alive in the present."2 The haunting occurs when this revivification succeeds and the biographee is brought imaginatively alive. Then the biographer turns from pursuer to pursued. While the subject does not take [End Page 77] him over, as it might in some Gothic fantasy, it does exercise the power of the past upon the present and haunt the biographer's imagination. Holmes goes on to explain the two main elements as "closely entwined strands":The first is the gathering of factual materials, the assembling in chronological order of a man's "journey" through the world—the actions, the words, the recorded thoughts, the places and faces through which he moved: the "life and letters." The second is the creation of a fictional or imaginary relationship between the biographer and his subject; not merely a "point of view" or an "interpretation," but a continuous living dialogue between the two... It is fictional, imaginary, because of course the subject cannot really, literally, talk back; but the biographer must come to act and think of his subject as if he can.3Not every biographer would necessarily subscribe to this particular description, but there is ample evidence in the recent spate of books about the genre4 that the biographer's capacity for imaginative empathy is continuously interacting with the verifiable historical data. The present operates upon the past in other ways, too. Earlier biographers who are more or less contemporary with their subjects (for example, Boswell, Forster, Mrs. Gaskell)5 stand in different relationships with them and the available data about them compared with present-day biographers who may inherit a whole bibliography of "lives" laid down in stratified layers on top of the life they are trying to recover. The modern reader, like the modern biographer, has to be a literary archaeologist. Dickens's "lives," for example, are constructed on a bedrock of his friend Forster's biography and on the novelist's own writings, neither of which subsequent biographers can afford to ignore. Later "lives" also have to be sifted through: our inherited Dickens is compounded from a series of accounts from, among a host of others, the Victorian memoirs of his daughter6 and his reading manager,7 via Edwardian enthusiasts8 and 1930s revelations about Dickens's private life,9 to those of modern academics and writers in our own time.10 In such cases, bringing the subject... (shrink)