Originative apprehension often has been examined in recent decades in light of Aquinas’ reflections. Yet there has not always been agreement in regard to what constitutes such, often due to different emphases given by interpreters to aspects of St. Thomas’ analyses articulated in different contexts. Arguably, it is possible to reconcile certain seemingly divergent important interpretations by reflecting on an important, yet somewhat recessive, theme that Thomas adverted to sparingly throughout his career in utilizing analyses of predecessors to forge his (...) own synthesis to explain cognition in terms of being that is centered on the reciprocal priorities of judging and concomitant incomplex abstracting. (shrink)

Essays on a wide range of areas and topics in Asian studies for scholars looking to incorporate Asia into their worldview and teaching. Contributors give contemporary presence to Asian studies through a variety of themes and topics in this multidisciplined and interdisciplinary volume. In an era of globalization, scholars trained in Western traditions increasingly see the need to add materials and perspectives that have been lacking in the past. Accessibly written and void of jargon, this work provides an adaptable entrée (...) to Asia for the integration of topics into courses in the humanities, social sciences, cultural studies, and global studies. Guiding principles, developed at the East-West Center, include noting uncommon differences, the interplay among Asian societies and traditions, the erosion of authenticity and cultural tradition as an Asian phenomenon as well as a Western one, and the possibilities Asian concepts offer for conceiving culture outside Asian contexts. The work ranges from South to Southeast to East Asia. Essays deal with art, aesthetics, popular culture, religion, geopolitical realities, geography, history, and contemporary times. “This volume truly lies at the intersection of scholarship and teaching. Each essay has the potential to help rethink approaches to scholarly issues, and there is a great deal of material for classroom discussion and examples. The book’s breadth—covering India, China, Korea, the Sea of Malay, Bhutan, and other locations—is impressive.” — Robert André LaFleur, Beloit College. (shrink)

This article examines the role of the aesthetic in the criticism of Edward Said through a reading of two lesser-explored texts, Musical Elaborations and On Late Style. It explores how, by drawing upon ideas from Gramsci and Adorno, Said advocates a convergence of social and aesthetic approaches to musical analysis and criticism. Although critical of some of the tensions arising from Said's varying perspectives on music and society, the article suggests that we can nonetheless detect a distinctive ideology of the (...) aesthetic in Said's writings on music. It argues that Said's ideas on the temporal or narrative structure of certain musical works or performances function, within his wider thinking, as an aesthetic paradigm for undermining fixed identity and linear or totalizing narratives. Thus Said's reflections on music do not simply retreat from social and political concerns, but rather elaborate a utopian thinking regarding the interface between criticism and the aesthetic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Species Counterpoint:Darwin and the Evolution of FormsRandall Everett AllsupMy intention is to tell of bodies changed to different forms; the gods, who made the changes, will help me—or so I hope—with a poem that runs from the World's beginning to our own days.1I.A recent article in a progressive monthly magazine asked by way of a thesis, "Whose music is the blues?" Under the title, the tag line read, (...) "2003 is the 'Year of the Blues.' But as a music born of oppression becomes a feel-good soundtrack for white America, just what are we celebrating?"2 I recall feeling puzzled by this rather old-fashioned topic of investigation. Anyone with access to the Internet knows that music is not for one group or another. Global file sharing has made ownership as easy as, well, sharing a file. Furthermore, the tendency to depart from ancestral forms, whether as rebellious teenagers, rock guitarists, or both, seems genetically built into us. Life is a metamorphosis and music—like life—evolves.To advance the notion that music is made for one people and not another, that it has absolute or essential qualities, opens a terribly large can of worms. We know, for example, that identity and music are linked, but the relationship is not [End Page 159] mono-directional, causal, or fixed. My relationship to the blues or Broadway show tunes for that matter is defined somewhere within a dense web of group associations, educational opportunities, even closet desires. With regard to psychological research on identity, slippery and impermanent as identity is, this research is really about similarities.3 Conservative in this light, such studies look for commonalities: their goal is to identify "what is."4Fear is often the dominant response to the evolution of a cherished form. Change, however, holds equal parts fear and promise. The Chinese word for crisis, wei-ji, means "opportunity with danger." This essay will contextualize the latter, but focus on the former. It is worth asking, for example, what might result from an examination of anomalies? Rather than attempt to identify "what is," such an inquiry would be concerned with "what else" [the abnormality] as well as "what might be" [the opportunity]. Located, I think, within the anomalies and mutations that seem to fit so well our globally connected world are new codes, altered methods for self-understanding, and interaction in the arts.Charles Darwin and The Origins of Species will provide the conceptual framework for this discussion.5 To look for help in the work of Darwin will require a crossbreeding of scientific theory and metaphor, a cross-pollination of hypothesis and the hypothetical. We will look at how the production of new forms, particularly musical forms, is shaped. Speaking metaphorically, a work of art or entertainment can be seen as an adaptation to and of its environment. We know that cultural products, like all living species, are not permanent entities. Change, Darwin stressed, carries with it purpose. To that end, he looked for variation to help him understand how and why an organism or system developed the way it did. What might be revealed if we apply this procedure to the field of music and music education? We might see eco-systems in various stages of growth, health, and decline. A look at musical forms as mutable, living creations that spring from and reflect a particular condition raises interesting questions about place and purpose.II.Only a hundred and fifty years ago, a single event—a theory!—precipitated a cultural crisis that threw down two thousand years of scientific and philosophic thought. The popular revolt that Charles Darwin's The Origin of Species fueled (and continues to fuel) called into question fundamental beliefs about how the world is made. Darwin's theory that matter and energy are in steady flux, that life is in need of constant variation, implied that fixed or universal truths are nothing more than comforts created by the mind. The Origin of Species was therefore more than a scientific revolution.6 A core tenet of Western culture was challenged by its publication: the so-called immaterial spirit, whether viewed in the [End... (shrink)

Contemporary or traditional? Blended or seeker? Pop or "classical"? Chorus or hymn? Combo or organ? Questions concerning music in worship abound these days. Is there a practical way to deal with these issues? In Music and Ministry: A Biblical Counterpoint, Calvin Johansson looks to God's Word for principles foundational to music ministry. Weaving together great scriptural truths, he establishes the need for a "directional balance" between pastoral contextualization and prophetic purity. In a time of facile musical accommodation of the (...) gospel to culture, Dr. Johansson suggests that a heightened concern for musical style and quality is in order-not for the sake of music, but for the sake of the gospel. (shrink)

The idea of economic peace is a “counterpoint” to a warlike view of the economy. Viewing things in terms of economic peace makes it possible to develop a different economic anthropology. The idea of economic peace is used to think about a fundamental revision of the relationships to self and between actors. It sits at the intersection of peace studies, social and cognitive psychology, institutional conventionalist approaches, postmodernist philosophy and sinology. By employing the inchoate concept of economic peace, this (...) article explores the opportunity to extend and deepen the relationship between individual and collective responsibility. The article describes individual and collective practices or avenues which could be useful when reacting to complex situations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Private Bioethics Forums:Counterpoint to Government BodiesCynthia B. Cohen (bio) and Elizabeth Leibold McCloskey (bio)Ethical issues associated with reproductive technologies quickly gain public attention. The front pages of newspapers have featured stories about grandmothers giving birth to their own grandchildren, couples "renting" wombs from surrogates, and researchers prepared to transplant fetal ovaries into women unable to produce viable eggs. With each new and bolder foray into reproductive realms, the (...) question of whether to set limits on the use of such technologies surfaces. An ancillary debate inevitably ensues about the proper forum for discussing and deciding such limits. The recent announcement of human embryo splitting or cloning research is no exception to this pattern. Articles in both the popular press and academic circles in the wake of the reported research contain lamentations about the absence of a national ethics body that could address the ethical issues raised by the cloning experiment. This research also breathed new life into congressional calls to create a government bioethics commission.1At times, it appears that the substantive questions raised by a procedure like cloning are subsumed under the debate about whether this ethics group or that should be convened to study the matter. But the forum in which options are discussed is as crucial to the development of sound ethical thought and public policy as are the conclusions themselves. Thus, we address the question of whether a private, as opposed to a public, bioethics body provides a distinctively useful forum for reaching an understanding of issues such as cloning that have significant ethical and public policy implications.A 1993 Office of Technology Assessment report, in which the authors suggest that a new federal bioethics commission might be useful, has helped to frame recent discussions about the value of government-sponsored bioethics bodies (Office of Technology Assessment 1993). To most people, the question of whether a national forum for bioethics is needed is synonymous with the question of whether a new federal body should be convened. Yet the existence of the National Advisory Board on Ethics in Reproduction (NABER) suggests that the scope of the question should be broadened. [End Page 283]NABER was born in 1992, in part as a response to an Institute of Medicine report on infertility. That document endorsed the formation of a nongovernment body to develop guidelines for assisted reproductive measures and fetal research in the event that a government body was not forthcoming (Institute of Medicine 1989). NABER, which was founded by the American College of Obstetricians and Gynecologists and the American Fertility Society, now functions wholly independently of those groups and is supported by private foundations including the Ford, Greenwall, and Josiah Macy, Jr., Foundations and the Walter and Elise Haas Fund. NABER has issued a report on ethical issues related to the use of fetal tissue (Cohen and Jonsen 1993), is about to publish a report and background papers on oocyte donation, and presents a report on human cloning in this issue of the Kennedy Institute of Ethics Journal. In addition, it has developed a protocol for NABER review of research proposals from federal agencies subject to federal guidelines on the use of human subjects in research.Thus, in function and form, NABER was envisioned as a substitute for a government body, and it now functions in a manner similar to several types of government bioethics groups. Like the National Commission for the Protection of Human Subjects of Biomedical and Behavioral Research (National Commission) and the President's Commission for the Study of Ethical Problems in Medicine and Biomedical and Behavioral Research (President's Commission), NABER functions primarily through the publication of reports intended for a broad audience of practitioners, patients, policymakers, and the general public. Just as the Ethics Advisory Board of the late 1970s examined ethical issues related to specific protocols or types of research as they arose, NABER's purposes include scrutinizing the ethics of various research efforts in the reproductive area.NABER also parallels past government bodies in form. Like these groups, NABER is a multidisciplinary board that meets regularly and is supplemented by consultants and staff who provide research and writing for the board. Its members are nationally recognized in... (shrink)

A good exposition of the parallels and differences between K. Burke's and Aristotle's theories of rhetoric. The first four chapters are devoted exclusively to Burke. In the following chapters Burke and Aristotle are compared as to the function, scope and methodology of rhetoric. Holland concludes that Burke is an Aristotelian except in some details.--M. G.

In ancient times, authors such as Plutarch and Proclus questioned Parmenides’ abilities as a poet considering his Poem to be ‘prose in disguise’. Harsh judgments concerning Parmenides’ style are pervasive even in modern scholarship (Diels 1897, Wilamowitz 1912, Tarán 1977, Kirk & Raven 1977). This paper focuses on specific metrical and rhythmic devices used consistently in the composition of the Poem, that I will refer to, collectively, as ‘poetic dislocation’. This term encompasses the blurring and cancellation of the central caesura, (...) the tendency to break Hermann’s bridge with varying degrees of intensity, the accumulation of enjambment in groups of verses, the use of non-traditional lexicon of the epic genre and the placement of Homeric lexicon in non-Homeric hexameter collocations. My attempt is to prove that these procedures are an integral part of Parmenides’ poetic style. I will also present an analysis of Parmenides’ versification focusing on the rhythmic patterns and the organization of caesura, especially in fr. B8. (shrink)

This article applies Russon's principles of reading Plato's dialogues to solve a problem arising from both the dramatic and philosophical aspects of Plato's Republic: persuasive speech seems effective only when its audience is already willing to listen and be convinced. Yet if so, then either persuasive speech is powerless to persuade anybody truly, or it is unclear how it differs from simple manipulation or brainwashing. This article resolves this dilemma by using Russon’s insights about the kind of rationality Plato invites (...) us to assume, namely a “concrete rationality,” and by analyzing the first three interlocutors of Socrates in the Republic: Polemarchus, Cephalus, and, of course, Thrasymachus. This approach enables us to differentiate these three interlocutors, explain Thrasymachus’s persistence in listening to the conversation until the end despite his unwillingness to listen, as well as the therapeutic function of theōria for providing him some momentary relief from his “hatred of speech” (misologia). (shrink)

The relationship between literature and life can be construed as a counterpoint of fate and freewill. Rather than equating fate to the 'hand we are dealt' which is reducible to the social or familial environments into which we are born, this book explores the idea of fate through the books that shape our lives and under whose influence we write. Writing in this sense is seen as beyond its utility of making meaning. It is a way of recovering agency (...) in the face of overwhelming experiences. In juxtaposing factuality and fiction, the author makes a case for a radically empirical approach to human experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Randall Allsup, “Species Counterpoint: Darwin and the Evolution of Forms”Lauri VäkeväI was thrilled to be asked to respond to Randall Allsup's paper as his standpoint appears to be close to my own.1 I take it that his interest in Darwinian metaphors [End Page 220] reflects at least moderate interest in naturalism—an approach that should be taken seriously in our field. However, there are many varieties (...) of naturalism. In the following, I will deliberately interpret Allsup's ideas from the standpoint of the so-called 'soft' or 'cultural' naturalism favored by later Dewey and his followers.2As I see it, the most powerful precept of naturalism is its attack on essentialism—paradoxically the doctrine which focuses most deliberately on the nature of things. The essentialist, however, thinks of nature as something inherent in how things are, making them ultimately what they are. This kind of ultimate nature is something that a contemporary naturalist can never touch, for she only relies on empirical inquiry that departs from and returns to the contingent realm of lived experience. It is the latter that we attempt to make sense of as to try to live our life as fully as possible. At its best, philosophy can help us in this undertaking.To a naturalist, then, the essentialist's use of the term 'nature' is an anachronism, a remnant of an age when philosophers searched for the "really real," certain, absolute, and immutable. Were we to follow philosophical naturalism today, we should rather be looking at how things become empirically realized for cultural agents in their various life-practices. Culture is not seen as distinct from nature but as continuous with it: both can be understood through same means. This also covers the realm of value, which naturalism does not conceive as transcendental in any metaphysically binding sense, but rather as something that is realized in daily life and that thus has an empirical stand.Applied to the philosophy of music, naturalism states that it is futile to look for the essence of this art (or for that matter any art) through philosophical introspection or through logical analysis for the simple reason that we are always in the process of formulating it in our lives. The nature of music depends on the interpretative horizons of cultural agents living in a situation. 'Situation' (understood here in the sense that Dewey used the term) is the existential point of departure of our understanding and as situations vary, so do types of inquiry; therefore, we do not have to take as inclusive any particular claims about music, as they are merely particular answers to certain types of problems. Any path of musical inquiry may be worth taking, not because they all lead to the same destination, but because they can guide us through the rich thicket of possible experience that gives music its significance. This implies an open attitude towards all things musical, a theme which I find strong in Allsup's paper.One can also read another important naturalist point in his essay: "music—like life—evolves." Evolution is indeed a recurring theme in contemporary philosophical naturalism: what was previously considered as static or as perennial in nature and in culture can be now seen as being under continuous change. [End Page 221] Even mountains (and this is one of Dewey's favorite similes3 ) can be considered as events in the long run and even the most persistent of culture's beliefs may crumble someday.This awareness of all-encompassing change may not be very comforting: it might be mentally healthier to cling to rationalizations of how things that appear to change in fact do not. It may be more comforting to think that there must be a stable principle, a system of universally set rules, governing the randomness. For centuries, philosophy has been driven by this belief. In the philosophy of music, this is reflected in the problem of how the most ephemeral of the arts can be explained as having everlasting value. Mutatis mutandis, when music educators have argued over the pedagogical significance of music, one of the most pervasive ideas has been that music... (shrink)

The topic of the relationship between the organism and its environment runs through the theories of Uexküll, Goldstein and Canguilhem with equal importance. In this work a counterpoint will be established between their theories, in the attempt to assess at which points the melodies are concordant and at which points they are discordant. As fundamental basis to his theory, Uexküll relies on the concept of conformity to a plan, which allows him to account for the congruity and perfect adjustment (...) between organisms and their Umwelten. For Goldstein and Canguilhem, the relationship between an organism and its environment resembles instead a debate or coming to terms, in which the organism, as to ensure the continuity of the state of health, must constantly create norms to maintain a productive relationship with its environment. The pinpointing of these conceptual frameworks allows to lay emphasis on that each theory relies on specific assumptions regarding teleology and sense in organisms, as well as on specific definitions of the concept of life in general. Ultimately, the view that organisms and their environments have an original and common source, a principle, or plan, which must possess all the creative characteristics of life, will be seen as prevailing. (shrink)

Through a comparative reflection on the notions of compassion and selfishness, it will be revealed how in Schopenhauer’s philosophy human will becomes a conscious force that enables the awakening of compassion, considered the only ‘unselfish’ and ‘authentically moral’ motive. The way that this ‘transformation’ process differs so greatly from Mainländer’s thinking will be analyzed for contrast. As it occurs within the individuality of the volitional subject, compassion will be identified as a form of selfishness resting on a refined variant of (...) the supreme principle of its morality. (shrink)

When it became uncool to speak of beauty with respect to pieces of art, physicists started claiming that their results are beautiful. They say, for example, that a theory's beauty speaks in favour of its truth, and that they strive to perform beautiful experiments. What does that mean? The notion cannot be defined. (It cannot be defined in the arts either). Therefore, I elucidate it with examples of optical experimentation. Desaguliers' white synthesis, for example, is more beautiful than Newton's, and (...) the many colourful syntheses done by Viennese painter Ingo Nussbaumer exemplify even greater beauty. Here are some criteria (which, of course, do not implement a decision procedure concerning beauty in experiments): cleanliness, simplicity, intellectual clarity, symmetry. Similar criteria are relevant to our aesthetical judgements about some pieces of music. So we can assume that our notion of beauty conserning art is related to the one conserning scientific experiments. (shrink)

Inferentialism is explained as an attempt to provide an account of meaning that is more sensitive (than the tradition of truth-conditional theorizing deriving from Tarski and Davidson) to what is learned when one masters meanings.