Eduard Hanslick Eduard Hanslick was a Prague-born Austrian aesthetic theorist, music critic, and the first professor of aesthetics and history of music at the University of Vienna, who is commonly considered the founder of musical formalism in aesthetics. His seminal treatise Vom Musikalisch-Schönen of 1854 is one of the most … Continue reading Hanslick, Eduard →.

The cultural turn in copyright law identified authorship as a rhetorical construct employed by economic interests to strengthen claims to property rights. Grassroots intellectual property political movements have been seen as both a means of countering these interests’ everexpanding proprietary control of knowledge and establishing a more public regarding copyright system. This Article examines one of the most notable intellectual property political movements, the emergence of late nineteenth-century agitation to provide copyright protection for foreign authors as a social movement. It (...) places this political and legal activism within the larger framework of Progressive Era reform. During this period, activists promoted the idea of the public — and not simply the author — as primary to the workings of American copyright. The framing of the purposes of copyright, the appeal to a broader public, and the complex negotiations surrounding the passage of an international copyright act after a long period of gestation was formative to the creation of modern United States copyright law. Ironically, the movement for international copyright also sharpened the identification of interest groups. The first modern American comprehensive copyright legislation, the 1909 Copyright Act, was drafted by gathering together these groups for negotiations remarkably similar in style to those which led to the protection of the rights of foreign authors — but which would strongly embrace a proprietary model. (shrink)

This Article addresses a different sort of legal transplant — one in which outside legal doctrines are imported in order to be cabined, treated as normative counterpoints, and identified as the legal other. Legal primitivism is a kind of anti-transplant. It heightens the persistent differences between a dominant legal system and its understanding of primitive rules. An often ignored legal literature depicting legal primitivism emerged in the second half of the nineteenth century and in the early twentieth century. Mapping the (...) differences between America’s modern legal system and its antecedents, this immense literature, which included works by OliverWendell Holmes, James Coolidge Carter, and John Henry Wigmore, described an archaic legalism which sometimes belonged to tribal societies, and sometimes was simply conjured out of thin air. Exploring the project of constructing geographies of legal knowledge assists in our understanding of American law in a period of significant change. What elements of primitive law were valorized? Which were seen as archaic or repugnant? And what was the purpose of constructing a legal doppelgänger? By examining these cultural negotiations, and holding legal primitivism up as a mirror to modern law, it is possible to uncover the anxieties of legal modernism. (shrink)

Die Forschung zu Eduard Hanslicks Vom Musikalisch-Schönen (1854) ist in der deutschsprachigen Diskussion auf die historischen Hintergründe von Hanslicks Argument fokussiert. Während die frühesten Deutungen von Hanslicks Standpunkt seine systematischen Berührungspunkte mit dem ahistorischen Formalismus von Johann Friedrich Herbart konstatierten, akzentuierte die deutsche Forschung der 1970er und 1980er seinen starken Konnex mit Georg Wilhelm Friedrich Hegel. Dahlhaus betonte speziell, dass Hanslicks Argument eine Bekanntschaft mit dem Hegelianismus als der »herrschenden Philosophie der 1830er und 1840er« nötig mache. Dahlhaus’ Hypothese wird bei (...) der gewissenhaften Rekonstruktion der österreichischen Hegelrezeption jedoch schwierig. Habsburgische Bildungsplaner befanden dagegen den Deutschen Idealismus für politisch untragbar, was die Entlassung von mehreren Professoren nach sich zog, die den ›gefährlichen‹ Hegelianismus propagierten. Diese Lage wird von uns als geeigneter Ansatzpunkt für die detailgetreue Untersuchung der hegelianischen Theorieelemente von Hanslicks Abhandlung benutzt, welche vor dem Hintergrund der ablehnenden Grundhaltung ›Österreichs‹ zum Deutschen Idealismus sorgsam erfolgen muss. Hanslicks VMSTraktat umfasst dennoch mehrere wichtige Elemente der hegelianischen Ästhetik-diskussion, die nicht einzig Hegels System, sondern ebenso hegelianische Kunsttheoretiker (Kahlert, Krüger, Vischer etc.) umfänglich einbeziehen muss. Hanslicks Standpunkt, der die ahistorische Ausrichtung des Herbart’schen Formalismus niemals aufgriff, ist vor allem durch Vischers Annahme zur historischen Entwicklung des musikalischen Grundmaterials geprägt worden. Wir sehen somit Hanslicks VMS-Traktat als die ›eklektische‹ Verschmelzung von heterogenen theoretischen Diskursfeldern, womit dieser Herbartianismus und Hegelianismus als ästhetische Gegenpole des neunzehnten Jahrhunderts miteinander ausgleichen konnte. German-speaking scholarship on Eduard Hanslick’s aesthetic treatise »On the Musically- Beautiful« (1854) is primarily concerned with the historical background of Hanslick’s argument. Whereas contemporary investigations into Hanslick’s aesthetics emphasised theoretical overlaps with Johann Friedrich Herbart’s ahistorical formalism, German scholars of the 1970s and 1980s highlighted similarities to Georg Wilhelm Friedrich Hegel. In this respect, Dahlhaus specifically accentuated that Hanslick’s doctrine implies an exposure to Hegelianism as the »reigning philosophy of the 1830s and 1840s«. By reconstructing the historical reception of Hegel’s system in Austria, however, Dahlhaus’s premise becomes thoroughly problematic. Habsburg authorities considered German Idealism to be politically intolerable, thereby prompting numerous sackings of Austrian university lecturers on account of ›dangerous‹ Hegelianism. We take this historical framework as a suitable starting point for a comprehensive investigation of Hanslick’s Hegelian leanings that have to be carefully explored in the light of ›Austria’s‹ critical attitude towards speculative philosophy. »On the Musically-Beautiful«, however, comprises important elements of Hegelian aesthetics that are not limited to Hegel’s system but rather extend to Hegelian aesthetics in general (Kahlert, Krüger, Vischer etc.). Vischer’s hypothesis regarding the historical development of musical material particularly influenced Hanslick’s aesthetic outlook, who did not share the ahistorical conception of Herbartian formalism. Thus, we interpret Hanslick’s aesthetic treatise as an ›eclectic‹ fusion of diverse theoretical frameworks, ultimately reconciling Herbart and Vischer as the opposing extremes of mid-19th century aesthetics. (shrink)

This volume constitutes the thoroughly refereed post-workshop proceedings of the 5th International Workshop on Fuzzy Logic and Applications held in Naples, Italy, in October 2003. The 40 revised full papers presented have gone through two rounds of reviewing and revision. All current issues of theoretical, experimental and applied fuzzy logic and related techniques are addressed with special attention to rough set theory, neural networks, genetic algorithms and soft computing. The papers are organized in topical section on fuzzy sets and systems, (...) fuzzy control, neuro-fuzzy systems, fuzzy decision theory and application, and soft computing in image processing. (shrink)