In lieu of an abstract, here is a brief excerpt of the content:Learning Music:Embodied Experience in the Life-WorldEva Alerby and Cecilia FermIn the present age, which is often signified as post-modern or knowledge-intensive, the calls for learning echo loud. Discussions of learning, as well as teaching, permeate almost all levels and arenas of our society, and have a sure place in every-day conversation as well as scientific debate. The concept of learning can be understood and explained in many different (...) ways. Our intention in this article is to make visible and discuss how learning music can be understood and explained from a life-world approach.By life-world approach we mean that learning is constituted by the experiences that we are having in the world. From that perspective it can be seen as a process which leads to some kind of change, whose utmost purpose is—consciously or unconsciously—to create meaning and make managing the world possible. In addition, we stress that learning does not arise nor is formed in a vacuum, but instead is found in complex contexts. In turn this creates the necessity of making learning situated and contextualized.1How one understands how music is learned is consequently influenced not only by what fundamental assumptions one holds about learning but also by prevailing views of music. Furthermore, how musical ability is regarded and whether musicality is accepted as an emotional or cognitive phenomenon is also [End Page 177] important. Other assumptions that need to be considered are whether or not it is possible to divide musicality into smaller parts and if that is the case, what is the relationship between these parts. One further question that has to be illuminated is the question about biological and social influences on musicality.2 According to Sture Brändström,3 musicality is sometimes divided into two categories—absolute contra relativistic musicality. The first category implies that musicality is regarded as a native ability, already existing within the human being, an ability that some people have and others lack. The second category reflects an approach that assumes that musicality is something everybody can acquire, it can be learned and appropriated. We will return later to this issue.These questions reveal a dualistic approach, specifically: whether musicality is an emotional or a cognitive phenomenon, or absolute or relative, which in turn leads to the question of whether or not learning music is constituted within or outside the human being. To expose problems related to this dualistic approach in music education, we will examine musical learning using life-world phenomenology as a theoretical framework, a brief description of which follows.Phenomenology: A Way of ThinkingAt the turn into the twentieth century, the German philosopher, Edmund Husserl (1859-1938), named his philosophical approach phenomenology, and with that the development of modern phenomenology began. Phenomenology is both a method and a way of thought.4 He distinguished the fundamental principle of phenomenology as—'back to the things themselves.' According to Husserl it is through experiences that we gain access to things themselves. The concept of experience was essential to his formulation, and it became a key signature for the whole of phenomenology. His starting-point was how the world is experienced in a subjective way, and the aim was to find a way to describe the meaning of these subjective experiences. In other words, phenomenology has been summarized as a description of how the world is experienced by the person in the world.Various thinkers have interpreted phenomenology in different ways. Jan Bengtsson5 emphasized that phenomenological method should be named in the plural as methods. The phenomenology of the life-world, which was developed as an alternative to the so-called epoché, the special method of transcendental phenomenology, is a philosophy of the life-world without transcendental reduction. It is the life-world that constitutes the basis of our lives. It is the everyday world of our experiences, which we take for granted and where we live our lives. In other words it is the life-world that constitutes people's being-in-the-world.6 Through our existence we experience the concrete world in all its complexity, which is both historically and contextually dependent. Consequently... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning Music:Embodied Experience in the Life-WorldEva Alerby and Cecilia FermIn the present age, which is often signified as post-modern or knowledge-intensive, the calls for learning echo loud. Discussions of learning, as well as teaching, permeate almost all levels and arenas of our society, and have a sure place in every-day conversation as well as scientific debate. The concept of learning can be understood and explained in many different (...) ways. Our intention in this article is to make visible and discuss how learning music can be understood and explained from a life-world approach.By life-world approach we mean that learning is constituted by the experiences that we are having in the world. From that perspective it can be seen as a process which leads to some kind of change, whose utmost purpose is—consciously or unconsciously—to create meaning and make managing the world possible. In addition, we stress that learning does not arise nor is formed in a vacuum, but instead is found in complex contexts. In turn this creates the necessity of making learning situated and contextualized.1How one understands how music is learned is consequently influenced not only by what fundamental assumptions one holds about learning but also by prevailing views of music. Furthermore, how musical ability is regarded and whether musicality is accepted as an emotional or cognitive phenomenon is also [End Page 177] important. Other assumptions that need to be considered are whether or not it is possible to divide musicality into smaller parts and if that is the case, what is the relationship between these parts. One further question that has to be illuminated is the question about biological and social influences on musicality.2 According to Sture Brändström,3 musicality is sometimes divided into two categories—absolute contra relativistic musicality. The first category implies that musicality is regarded as a native ability, already existing within the human being, an ability that some people have and others lack. The second category reflects an approach that assumes that musicality is something everybody can acquire, it can be learned and appropriated. We will return later to this issue.These questions reveal a dualistic approach, specifically: whether musicality is an emotional or a cognitive phenomenon, or absolute or relative, which in turn leads to the question of whether or not learning music is constituted within or outside the human being. To expose problems related to this dualistic approach in music education, we will examine musical learning using life-world phenomenology as a theoretical framework, a brief description of which follows.Phenomenology: A Way of ThinkingAt the turn into the twentieth century, the German philosopher, Edmund Husserl (1859-1938), named his philosophical approach phenomenology, and with that the development of modern phenomenology began. Phenomenology is both a method and a way of thought.4 He distinguished the fundamental principle of phenomenology as—'back to the things themselves.' According to Husserl it is through experiences that we gain access to things themselves. The concept of experience was essential to his formulation, and it became a key signature for the whole of phenomenology. His starting-point was how the world is experienced in a subjective way, and the aim was to find a way to describe the meaning of these subjective experiences. In other words, phenomenology has been summarized as a description of how the world is experienced by the person in the world.Various thinkers have interpreted phenomenology in different ways. Jan Bengtsson5 emphasized that phenomenological method should be named in the plural as methods. The phenomenology of the life-world, which was developed as an alternative to the so-called epoché, the special method of transcendental phenomenology, is a philosophy of the life-world without transcendental reduction. It is the life-world that constitutes the basis of our lives. It is the everyday world of our experiences, which we take for granted and where we live our lives. In other words it is the life-world that constitutes people's being-in-the-world.6 Through our existence we experience the concrete world in all its complexity, which is both historically and contextually dependent. Consequently... (shrink)

What significance does the body have in the process of teaching and learning? In what way can the thoughts of a contemporary junior-level teacher in this regard be connected to the theory of the lived body formulated by the French phenomenologist philosopher Maurice Merleau-Ponty, and vice versa? The aim of this paper is to illuminate, enable understanding and discuss the meaning of the body in the learning process, with specific focus on the learning of writing as embodied experience. In the (...) process, the boundaries of learning are also explored. While understanding the significance both of learning as embodied experience and of the boundaries of learning is essential within the educational field, in this paper the discussion is limited to exploring how learning as embodied experience and the boundaries of learning can be viewed by taking Merleau-Ponty’s notions as theoretical starting points. In an attempt to answer the aim and connect the paper’s theoretical point of departure with a voice from a teacher, an interview with a junior-level teacher was conducted. The paper thus offers a theoretical contribution to the field of educational research, but one in which the theory is exemplified by, and connected to, a teacher’s voice. Accordingly, the paper concludes by summarising the common understandings of learning held theoretically by Merleau-Ponty and made real in the activities of the contemporary junior-level teacher. (shrink)

In this article, we distinguish between three approaches to ethics in school, each giving an interpretation of the expression ‘ethics in school’: the descriptive facts about ethics approach, roughly consisting of teaching empirical facts about moral matters to students; the moral fostering approach, consisting of mediating a set of given values to students; and the philosophical ethics (PE) approach, consisting of critically discussing and evaluating moral issues with students. Thereafter, three influential arguments for why there ought to be ethics in (...) school are discussed, and each argument is interpreted given each approach to ethics in school, respectively. Thereby, we evaluate which interpretation of ‘ethics in school’ produces the strongest arguments, and thus, which approach is best supported by these arguments. The conclusion is that there ought to be PE in school. (shrink)

The children of today live in a time when the images of themselves and their childhood, their needs, interests, and skills, are discussed, researched, challenged, and changed. Childhood, education and educational settings for young children are to a great extent governed by temporality. In this paper, temporality and temporal notions in education are explored and discussed. We especially illuminate two different ways of thinking about children in education and care for younger children in the West— the predominant biased notions of (...) the child as becoming or being. The child as becoming, is manifested primarily in classical developmental psychology while the notion of the child as being, has been highlighted mainly by sociological researchers in their critique of developmental psychology. This latter notion is also visible in a totally different manner in the philosophy of Rousseau, emphasizing the free and natural child. In addition, we explore an alternative way of thinking about temporality and children. Drawing upon the philosophy of Maurice Merleau-Ponty and Gilles Deleuze, we argue for a rethinking of temporality beyond linear views on time and biased notions of children as ‘either or’. A movement towards a perspective which not only combines notions, but where the whole is more than merely the sum of the parts, is proposed. This leads to an ambiguous, intertwined and ongoing connection between the temporal notions of have been, being and becoming, described by a novel concept—a chiasmic be(com)ing. We suggest that this alternative may be a fruitful way to overcome binary approaches and expand the discussion of temporality, and temporal notions of children, in education. Such an alternative could function as a counterweight to the predominant notions of education and teachers’ work. It may also be seen as a significant foundation for an ethical education since it is built upon ongoing and intertwined relationships, which appreciate openness and unpredictability. (shrink)

In meetings between people in school our values are shown through, for example, our actions, our speech and body language. These meetings can be regarded as ethical situations, which can arouse strong emotional reactions that ordinary, everyday situations usually do not do. The aim of this paper is to illuminate, interpret and discuss students' lived experiences of ethical situations in their school. The participants in the study were students in a Swedish secondary school, and the empirical data consisted of written (...) reflections and interviews. The study is based on the lived experiences of students. The analysis of the empirical data resulted in two themes: response in speech and action , and power relations . The comprehensive understanding of the results is that healthy relationships play an important ethical role in the school. Finally, we discuss how ways of listening to students' voices and appreciating practice can develop an ethical school. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”Christine A. BrownI was recently asked to settle a friendly debate between two college graduates. The first, my daughter's boyfriend, argued that someone with talent and motivation could become as creative a composer without formal musical training as with it. The other, my daughter, vigorously countered that while someone might compose well on one's own, (...) the result would not be as versatile or thoughtfully developed as it could be with good formal instruction. I saw the musical educations of the debaters reflected in their arguments. My daughter had accumulated fourteen years of formal instruction in violin, cello, voice, and dance and took part in high school choral, theatrical, and orchestral performances. Her studies continued into college and from time to time she performs in community theater. Her boyfriend was the only musically trained member of his family. At his own request he studied piano for five years, later channeling his musical energies into a rock group. Though he did not study music in college, he continues to play keyboard and guitar. Both agree that the ongoing debate between them illustrates the strong connection between musical training and musical valuing. The life-world of their experiences shaped their judgments of musical quality and left imprints on their views of what matters more, talent or training. I will return to this scenario later.I find solid points of agreement with Eva Alerby and Cecilia Ferm starting with their premise that music learning is most effective when taught within a context. While some students prefer learning in a linear, rule-oriented setting, more often than not a musical concept will be comprehended best if it is first experienced within a variety of works. Regarding extra-musical contexts, furthermore, recent evidence supporting the integration of subject areas at the elementary level appears to extend the boundaries of musical learning in a positive direction. Additionally, the authors' description of embodied musical learning holds great interest. Their argument that musical learning must be appropriated within the body resonates strongly within me as I reflect upon performing and teaching piano. Experience with beginning level adult pianists suggests to me that once the awkwardness of newly-learned movements fades with time and effort, students often discover a close interaction between their physical and conceptual knowledge of music. Of related interest is the authors' definition of musicality as taking embodied musical knowledge and making it one's own. This surpasses physical mastery of an instrument and describes a personal [End Page 208] and emotional investment in music. It is at this point in the essay that the recognizable link between mind, body, and emotion in music is most clear.Alongside these engaging ideas, however, are statements throughout the essay that invite further questions or comments. First among these is the statement that the knowledge resulting from learning is not always what was intended or planned. While this is often the case, elaboration upon modes of knowledge in question would help clarify the authors' ideas. Since knowledge takes a variety of forms, as the authors imply, these forms should be explored, defined, and applied to the process of teaching and learning music.Related to that suggestion is my response to the statement that the aim of music education is to produce musical knowledge. I am assuming that musical knowledge includes an age-appropriate blend of performance skill, reading ability, ear training, historical and cultural connections, basic theoretical and stylistic understanding, and acquaintance with creative processes. In many regions of our country, public arts education has been de-valued to the extent that we must convince administrators, parents, and sometimes students, of its importance. Until this situation improves, I must personally consider the aim of music education as producing, alongside musical knowledge, the desire for music as a lifelong pursuit, be it active or passive. Without this desire, musical knowledge gained often goes unused. Referring to my opening anecdote, my daughter is not participating in music while her less extensively trained boyfriend is. I know of several students like her who gained expertise on an instrument and who have now stopped playing for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”Christine A. BrownI was recently asked to settle a friendly debate between two college graduates. The first, my daughter's boyfriend, argued that someone with talent and motivation could become as creative a composer without formal musical training as with it. The other, my daughter, vigorously countered that while someone might compose well on one's own, (...) the result would not be as versatile or thoughtfully developed as it could be with good formal instruction. I saw the musical educations of the debaters reflected in their arguments. My daughter had accumulated fourteen years of formal instruction in violin, cello, voice, and dance and took part in high school choral, theatrical, and orchestral performances. Her studies continued into college and from time to time she performs in community theater. Her boyfriend was the only musically trained member of his family. At his own request he studied piano for five years, later channeling his musical energies into a rock group. Though he did not study music in college, he continues to play keyboard and guitar. Both agree that the ongoing debate between them illustrates the strong connection between musical training and musical valuing. The life-world of their experiences shaped their judgments of musical quality and left imprints on their views of what matters more, talent or training. I will return to this scenario later.I find solid points of agreement with Eva Alerby and Cecilia Ferm starting with their premise that music learning is most effective when taught within a context. While some students prefer learning in a linear, rule-oriented setting, more often than not a musical concept will be comprehended best if it is first experienced within a variety of works. Regarding extra-musical contexts, furthermore, recent evidence supporting the integration of subject areas at the elementary level appears to extend the boundaries of musical learning in a positive direction. Additionally, the authors' description of embodied musical learning holds great interest. Their argument that musical learning must be appropriated within the body resonates strongly within me as I reflect upon performing and teaching piano. Experience with beginning level adult pianists suggests to me that once the awkwardness of newly-learned movements fades with time and effort, students often discover a close interaction between their physical and conceptual knowledge of music. Of related interest is the authors' definition of musicality as taking embodied musical knowledge and making it one's own. This surpasses physical mastery of an instrument and describes a personal [End Page 208] and emotional investment in music. It is at this point in the essay that the recognizable link between mind, body, and emotion in music is most clear.Alongside these engaging ideas, however, are statements throughout the essay that invite further questions or comments. First among these is the statement that the knowledge resulting from learning is not always what was intended or planned. While this is often the case, elaboration upon modes of knowledge in question would help clarify the authors' ideas. Since knowledge takes a variety of forms, as the authors imply, these forms should be explored, defined, and applied to the process of teaching and learning music.Related to that suggestion is my response to the statement that the aim of music education is to produce musical knowledge. I am assuming that musical knowledge includes an age-appropriate blend of performance skill, reading ability, ear training, historical and cultural connections, basic theoretical and stylistic understanding, and acquaintance with creative processes. In many regions of our country, public arts education has been de-valued to the extent that we must convince administrators, parents, and sometimes students, of its importance. Until this situation improves, I must personally consider the aim of music education as producing, alongside musical knowledge, the desire for music as a lifelong pursuit, be it active or passive. Without this desire, musical knowledge gained often goes unused. Referring to my opening anecdote, my daughter is not participating in music while her less extensively trained boyfriend is. I know of several students like her who gained expertise on an instrument and who have now stopped playing for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”C. Victor FungThe authors' choice of using phenomenology as a foundation of their inquiry is appropriate and appealing. They have, to a great extent, achieved their goal to explain music learning from a life-world approach. Descriptions of absolute musicality and relativistic musicality in the opening paragraphs remind me of the good old "nature versus nurture" (...) argument. Do the authors intend to relate musicality to musical ability or aptitude as defined by psychologists? If musicality is "the ability to make something of one's own," does it mean that the authors have taken on a relativistic view and believe that musicality can be acquired?At the onset of the essay, musicality is described as emotional or cognitive phenomena. I would be interested to know what role a psychomotor phenomenon plays in musicality. The authors later describe "motor knowledge" in the context of Merleau-Ponty's "maximum grip." Does it mean that "motor knowledge" or "maximum grip" in music is outside the realm of musicality?I have attempted to follow the authors' logic in answering the question: What is learning of music? The authors postulate that "knowledge does not always, and not in any way automatically, become exactly the same as the learning situation aimed for" and that "the aim of music education is to produce music knowledge." These propositions lead me to believe that the learning of music occurs in experiencing all types of musical activities, regardless of the musician's level of proficiency. In all types of musical activities, including different performances of the same repertoire by the same performer, the musician would find new knowledge that is being produced in his/her body. Therefore, I agree with the authors in that "bodily experience is the foundation for learning."I would like to respond to the issue of whether music learning occurs within [End Page 206] or outside of the human being. I enjoy reading how the authors borrow Merleau-Ponty's analogy of the blind man and his stick. They put it so beautifully that "the piano becomes an extension of the pianist's body, and the pianist can 'feel' its limitation." This leads me to ponder if there could be further extensions beyond the physical piano. We know that pianists make the strings in the piano vibrate through a lever mechanism. These vibrations travel through the air and arrive at the audience's ears. Then the vibrating energies are transmitted as electrical energies in the audience's nerve cells. The audience in turn may behave differently after such a complex transmission of energies at a performance. My question is: Is there an end to the "extension" of a musician's body? If so, where should it end? There is no doubt that the pianist relates to the world and learns about the world through the piano. Could the pianist learn about the world through the vibrations that the piano strings generate, through the air, and through the audience's hearing mechanism, brain cells, and behaviors? Is this what the authors meant by "the human ego is boundaryless and cannot be localized, and the ego is immanent in the whole system"? Regardless of how far the "extension" goes, how do we know if an "extension" has occurred? How can we validate an "extension" of a musician's ego"?It seems to me that the authors' discussions have focused on the tactile extension of the body. If the body can be extended like the stick for the blind man, would the air surrounding the blind man, including its smell, temperature, humidity, wind, and sound, be his extension too? When this question is transferred to a musician, would the total context of the musical event be the musician's extension of the body too? By "total context," I mean the cultural context, the environment (smell, temperature,...), and the people in the musical event.We are certain that music learning takes place when experiences and knowledge are incorporated in the body. We still have not solved the problem of whether music learning occurs within or outside of the human being, because the boundary of the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”C. Victor FungThe authors' choice of using phenomenology as a foundation of their inquiry is appropriate and appealing. They have, to a great extent, achieved their goal to explain music learning from a life-world approach. Descriptions of absolute musicality and relativistic musicality in the opening paragraphs remind me of the good old "nature versus nurture" (...) argument. Do the authors intend to relate musicality to musical ability or aptitude as defined by psychologists? If musicality is "the ability to make something of one's own," does it mean that the authors have taken on a relativistic view and believe that musicality can be acquired?At the onset of the essay, musicality is described as emotional or cognitive phenomena. I would be interested to know what role a psychomotor phenomenon plays in musicality. The authors later describe "motor knowledge" in the context of Merleau-Ponty's "maximum grip." Does it mean that "motor knowledge" or "maximum grip" in music is outside the realm of musicality?I have attempted to follow the authors' logic in answering the question: What is learning of music? The authors postulate that "knowledge does not always, and not in any way automatically, become exactly the same as the learning situation aimed for" and that "the aim of music education is to produce music knowledge." These propositions lead me to believe that the learning of music occurs in experiencing all types of musical activities, regardless of the musician's level of proficiency. In all types of musical activities, including different performances of the same repertoire by the same performer, the musician would find new knowledge that is being produced in his/her body. Therefore, I agree with the authors in that "bodily experience is the foundation for learning."I would like to respond to the issue of whether music learning occurs within [End Page 206] or outside of the human being. I enjoy reading how the authors borrow Merleau-Ponty's analogy of the blind man and his stick. They put it so beautifully that "the piano becomes an extension of the pianist's body, and the pianist can 'feel' its limitation." This leads me to ponder if there could be further extensions beyond the physical piano. We know that pianists make the strings in the piano vibrate through a lever mechanism. These vibrations travel through the air and arrive at the audience's ears. Then the vibrating energies are transmitted as electrical energies in the audience's nerve cells. The audience in turn may behave differently after such a complex transmission of energies at a performance. My question is: Is there an end to the "extension" of a musician's body? If so, where should it end? There is no doubt that the pianist relates to the world and learns about the world through the piano. Could the pianist learn about the world through the vibrations that the piano strings generate, through the air, and through the audience's hearing mechanism, brain cells, and behaviors? Is this what the authors meant by "the human ego is boundaryless and cannot be localized, and the ego is immanent in the whole system"? Regardless of how far the "extension" goes, how do we know if an "extension" has occurred? How can we validate an "extension" of a musician's ego"?It seems to me that the authors' discussions have focused on the tactile extension of the body. If the body can be extended like the stick for the blind man, would the air surrounding the blind man, including its smell, temperature, humidity, wind, and sound, be his extension too? When this question is transferred to a musician, would the total context of the musical event be the musician's extension of the body too? By "total context," I mean the cultural context, the environment (smell, temperature,...), and the people in the musical event.We are certain that music learning takes place when experiences and knowledge are incorporated in the body. We still have not solved the problem of whether music learning occurs within or outside of the human being, because the boundary of the... (shrink)

Eva Picardi has been one of the most influential Italian analytic philosophers of her generation. She taught for forty years at the University of Bologna, raising three generations of students. This collection of selected writings honors her work, confirming Picardi's status as one of the most important Frege scholars of her generation and a leading authority on the philosophy of Donald Davidson. Bringing together Picardi's contributions to the history of analytic philosophy, it includes her papers on major 20th-century figures such (...) as Wittgenstein, Quine, Davidson, Rorty, and Brandom. She examines their work in comparison with the philosopher Michael Dummett's, illuminating contrasts between American Neo-pragmatism and Continental philosophy. By considering key contributions made by Gadamer and Adorno and contrasting them with Davidson and Rorty's proposals, Picardi is able to bridge the Analytic and Continental divide. Featuring an introduction by Annalisa Coliva and new translations of previously unpublished papers, this collection emphasizes the significance of Picardi's work for a new generation of readers. (shrink)

This book provides a philosophical theory explicating the cognitive contribution of metaphor. Metaphor effects a transference of meaning, not between two terms, but between two structured domains of content, or ‘semantic fields’. Semantic fields, construed as necessary to a theory of word-meaning, provide the contrastive and affinitive relations that govern a term’s literal use. In a metaphoric use, these relations are projected into a second domain which is thereby reordered with significant cognitive effects. The book provides a revision and refinement (...) of ‘the semantic theory of metaphor’. Taking into account pragmatic considerations and recent linguistic and psychological studies, the book aims to forge a new understanding of the relation between metaphoric and literal meaning. It illustrates the thesis with sensitive and systematic analyses of metaphors found in literature, philosophy, science, and everyday language. Keywords:,, . (shrink)

Ideas about heredity and evolution are undergoing a revolutionary change. New findings in molecular biology challenge the gene-centered version of Darwinian theory according to which adaptation occurs only through natural selection of chance DNA variations. In Evolution in Four Dimensions, Eva Jablonka and Marion Lamb argue that there is more to heredity than genes. They trace four "dimensions" in evolution -- four inheritance systems that play a role in evolution: genetic, epigenetic, behavioral, and symbolic. These systems, they argue, can all (...) provide variations on which natural selection can act. Evolution in Four Dimensions offers a richer, more complex view of evolution than the gene-based, one-dimensional view held by many today. The new synthesis advanced by Jablonka and Lamb makes clear that induced and acquired changes also play a role in evolution.After discussing each of the four inheritance systems in detail, Jablonka and Lamb "put Humpty Dumpty together again" by showing how all of these systems interact. They consider how each may have originated and guided evolutionary history and they discuss the social and philosophical implications of the four-dimensional view of evolution. Each chapter ends with a dialogue in which the authors engage the contrarieties of the fictional "I.M.," or Ifcha Mistabra -- Aramaic for "the opposite conjecture" -- refining their arguments against I.M.'s vigorous counterarguments. The lucid and accessible text is accompanied by artist-physician Anna Zeligowski's lively drawings, which humorously and effectively illustrate the authors' points. (shrink)

Is musical practice 'real' - and how is it connected with everyday life? Eva-Maria Houben shows that making music changes as soon as its meaning is not sought in a purpose-oriented production of results, but in performing music as an activity - indeed, as play. Musical practice, Eva-Maria Houben contends, should be understood as open and never finished. Such an emphasis on repetition can free us from perfection, productivity, and purpose, allowing meaning to unfold in specific situations, places, and relationships. (...) Thus understood, musical practice can become a form of life and a reality in its own right. (shrink)

Georg Wilhelm Friedrich Hegel und die Weiter- und Höherenentwicklung seiner Ideen, von A. Abusch.-G.W.F. Hegel und seine Zeit (1770-1831). Eine Chronik.-G.W.F. Hegels Werke in Erstausgaben.-Aus Werken Hegels.-Marx, Engels, Lenin über Hegel.-Hegel Literatur in der DDR 1949-1969.-Hegel Literatur zum Hegel Jahr 1970.-Veranstaltungen aus Anlass des 200. Geburtstages von G.W.F. Hegel am 27. August 1970.

The question of whether global democracy requires a world state has with few exceptions been answered with an unequivocal ‘No’. A world state, it is typically argued, is neither feasible nor desirable. Instead, different forms of global governance arrangements have been suggested, involving non-hierarchical and multilayered models with dispersed authority. The overall aim of this paper is to addresses the question of whether global democracy requires a world state, adopting a so-called ‘function-sensitive’ approach. It is shown that such an approach (...) is equipped to resist the predominant binary view of a world state and offer a more differentiated and nuanced answer to this question. In brief, a basic presumption of a function-sensitive approach is that the content, justification and status of principles of democracy are dependent on the aim they are set out to achieve, what functions they are intended to regulate (e.g., decision-making, implementation, enforce... (shrink)

With regard to current debates on the ethical implementation of AI, especially two demands are linked: the call for explainability and for ultimate human responsibility. In the medical field, both are condensed into the role of one person: It is the physician to whom AI output should be explainable and who should thus bear ultimate responsibility for diagnostic or treatment decisions that are based on such AI output. In this article, we argue that a black box AI indeed creates a (...) rationally irresolvable epistemic situation for the physician involved. Specifically, strange errors that are occasionally made by AI sometimes detach its output from human reasoning. Within this article it is further argued that such an epistemic situation is problematic in the context of ultimate human responsibility. Since said strange errors limit the promises of explainability and the concept of explainability frequently appears irrelevant or insignificant when applied to a diverse set of medical applications, we deem it worthwhile to reconsider the call for ultimate human responsibility. (shrink)

What significance does the body have in the process of teaching and learning? In what way can the thoughts of a contemporary junior-level teacher in this regard be connected to the theory of the lived body formulated by the French phenomenologist philosopher Maurice Merleau-Ponty (1908-1961), and vice versa? The aim of this paper is to illuminate, enable understanding and discuss the meaning of the body in the learning process, with specific focus on the learning of writing as embodied experience. In (...) the process, the boundaries of learning are also explored. While understanding the significance both of learning as embodied experience and of the boundaries of learning is essential within the educational field, in this paper the discussion is limited to exploring how learning as embodied experience and the boundaries of learning can be viewed by taking Merleau-Ponty's notions as theoretical starting points. In an attempt to answer the aim and connect the paper's theoretical point of departure with a voice from a teacher, an interview with a junior-level teacher was conducted. The paper thus offers a theoretical contribution to the field of educational research, but one in which the theory is exemplified by, and connected to, a teacher's voice. Accordingly, the paper concludes by summarising the common understandings of learning held theoretically by Merleau-Ponty and made real in the activities of the contemporary junior-level teacher. (shrink)

In der Öffentlichkeit häufig als Auswanderungsland wahrgenommen, unternahm China in den letzten Jahren verstärkt Bemühungen, qualifizierte Fachkräfte aus dem Ausland für den chinesischen Arbeitsmarkt zu gewinnen. Die Einführung eines Fachkräfteeinwanderungssystem mit abgestuften Rechten für Arbeitsmigrant:innen sollte diese Entwicklung fördern. Die vorliegende Analyse zeigt, dass diese Reform des Einwanderungssystems die Gerichtspraxis nicht verändert hat. Abseits der politischen Diskurse um die Anwerbung von internationalen Talenten und der Propagierung Chinas als Wissenssupermacht, bleibt China aufgrund der existierenden Probleme im bestehenden Rechtssystems für Arbeitsmigrant:innen unattraktiv.

Cursory review of the reception of Adorno's unfinished Aesthetic Theory up to the present suggests that an introduction to the book's major concerns, its structure (or lack thereof), and its concepts is missing to this date. Going back to Fredric Jameson's watershed contribution Late Marxism: Adorno, Or, the Persistence of the Dialectic (1990), the article attempts to provide the introduction missing to date. It is organized around key concepts of Adorno's Aesthetic Theory, beginning with the guiding juxtaposition of Kant's formalist (...) aesthetics vs. Hegel's content aesthetics and the various notions of the End of Art, followed by two sections on art and its respective others (from the culture industry and art appreciation to nature and natural beauty), and concluding with the axiom of suffering and its impact on the key notions of semblance, expression, and mimesis. (shrink)

'...a challenging and useful book, both because it provokes a careful scrutiny of one's own basic ideas regarding evolutionary theory, and because it cuts across so many biological disciplines.' -The Quarterly Review of Biology 'In my view, this work exemplifies Theoretical Biology at its best...here is rampant speculation that is consistently based on cautious reasoning from the available data. Even more refreshing is the absence of sloganeering, grandstanding, and 'isms'.' -Biology and Philosophy 'Epigenetics is fundamental to understanding both development and (...) gene expression, and not surprisingly, evolutionary biologists have long been fascinated with its proper place in evolutionary theory...Enter Jablonka and Lamb, who provide a thoughtful review of the recent molecular literature and suggest a number of potential consequences.' -EvolutionSince first publication of this controversial book, much of the initial opposition to the ideas it contained has been replaced by a general, although often grudging, acceptance of them. Advances in knowledge, especially at the molecular level, have enhanced general awareness and interest in epigenetics and the evolution of systems that store and transmit information and put any of the authors' speculations on a more solid basis. This paperback edition contains a new Preface that sets out the major changes in the scientific world and in the authors' own thinking that have occurred since the book was published. A new Appendix provides a selected bibliography of the many books and articles about epigenetic inheritance and its role in evolution that have appeared since first publication. (shrink)

En este artículo mostraremos, en primer lugar, la inadecuación de las críticas esgrimidas contra la filosofía heideggeriana en términos de «antropocentrismo», para en segundo lugar, defender que en el pensamiento heideggeriano existen evidencias que permiten introducir a los entes vivos y la naturaleza en la reflexión moral. Dialogaremos con las aludidas críticas y detectaremos que se hallan atravesadas por una confusión entre el plano ontológico y el moral. Para enmendar tal confusión, clarificaremos el único término que permitió al filósofo vincular (...) la reflexión ontológica con la moral: la mismidad [Selbstheit] del Dasein entendida como por-mor-de-sí [worumwillen]. Acudiremos a Los conceptos fundamentales de la metafísica, donde Heidegger advierte de los riesgos de entender a los entes vivos como útiles, y les reconoce una forma de mismidad: la peculiaridad [Eigentümlichkeit]. En virtud de tal reconocimiento, concluiremos que la filosofía heideggeriana, lejos de legitimar la instrumentalización de los entes vivos o la naturaleza, posibilita su consideración moral. (shrink)

Time and the body -- Time and the mind -- Time and culture -- Time in our time.

В сборнике представлены работы, посвященные опыту истории государственно-конфессиональных отношений в России, а также проблемам свободомыслия в истории религиозной и общественно-политической жизни, теории и практике марксистско-ленинского атеизма.

A Volume in Cognition, Equity & Society: International Perspectives formally known as International Perspectives on Mathematics Education - Cognition, Equity & Society Series Editor Bharath Sriraman, The University of Montana and Lyn English, Queensland University of Technology The diversity of research in mathematics education has been addressed as both, a problem and a strength. When manifested through adherence to different intellectual roots and theoretical orientations, diversions constitute 'refractions' of mathematics education. The collection and analysis of empirical data in a study (...) are by necessity refracted through the specific analytical lens employed, as well as the aim of the study itself. Refractions can also refer to looking at old phenomena through new lenses. The chapters in this book are refracted through philosophical, political, mathematical and personal lenses by distinguished authors in the field, addressing issues about the elusive experience of doing mathematics, purification of texts, refractions, mathematics and ethnomathematics, political messages in textbook tasks, mathematics education policy debate, the political in mathematics education research, philosophy and mathematics, meanings and representations, identity of mathematical modeling, and dilemmas in the teaching of calculus. An ancient Sanskrit adage states that Knowledge is something that grows when shared, but shrinks when hoarded. Academics engaged in the generation of new Knowledge are blessed with both the time and the freedom to engage in pursuits that allow for intellectual pleasure. As a phenomenon of the Zeitgeist many have succumbed to the increased corporatization of academic work, engaging in activities for monetary and self advancement purposes. Are there any real intellectuals left in academia, a l Adorno, Bourdieu, Chomsky, Foucault, among others? This Festschrift is dedicated to academics that don't bother with self promotion or aggrandizement of themselves or their ideas in simplistic terms. (shrink)

The scientific study of consciousness or subjective experiencing is a rapidly expanding research program engaging philosophers of mind, psychologists, cognitive scientists, neurobiologists, evolutionary biologists and biosemioticians. Here we outline an evolutionary approach that we have developed over the last two decades, focusing on the evolutionary transition from non-conscious to minimally conscious, subjectively experiencing organisms. We propose that the evolution of subjective experiencing was driven by the evolution of learning and we identify an open-ended, representational, generative and recursive form of associative (...) learning, which we call Unlimited Associative Learning (UAL), as an evolutionary transition marker of minimal consciousness. This evolutionary marker provides evidence that the evolutionary transition to consciousness has gone to completion and allows reverse-engineering from this learning capacity to the system that enables it – making possible the construction of a toy model of UAL. The model allows us to identify some of the key processes and structures that constitute minimal consciousness, points its taxonomic distribution and the ecological context in which it first emerged, highlights its function and suggests a framework for exploring developmental and evolutionary modifications of consciousness. We point to ways of experimentally testing the relationship between UAL and consciousness in human and in non-human animals and discuss the theoretical and ethical implications of our approach. The framework we offer allows the exploration of the evolutionary changes in agency, value systems, selective processes and goals that were involved in the transition to subjective experiencing from a perspective that resonates with the approaches of bio-semioticians. (shrink)

В книгу вошли работы Т. П. Григорьевой разных лет в обновленном виде. Автор ставит перед собой задачу показать, как соотносятся западное и восточное знание, опиравшиеся на разные мировоззренческие постулаты. Для специалистов.

Цель данного издания - познакомить широкий круг читателей с основными вехами жизни ученого, организатора, ее научными трудами, литературой о ней.

Eva Picardi was one of the most influential Italian analytic philosophers of her generation. She taught for forty years at the University of Bologna, raising three generations of students. This volume presents a selection of Picardi's essays on Frege's philosophy of logic, language, and psychology. Together, these papers provide a close look at the milieu within which Frege operated, and serve to highlight the relevance of his work for contemporary debates, particularly in the philosophy of language. One strand in Picardi's (...) work on Frege concerns understanding and contextualizing Frege's anti-psychologism. Picardi contends that Frege was motivated by semantic considerations, much more so than by adherence to Kantian transcendentalism. Furthermore, Picardi draws on her deep knowledge of German, and the fact that she was a native speaker of Italian, to reconstruct the intricacies of Frege's relationship with other logicians of his time-both in Germany, like Kerry and Sigwart, and in Italy, like Peano and his school. Picardi's work shows how the historical and the theoretical, complement and enrich one another. (shrink)

Es ist ein zentrales Anliegen von Bildung, Sachverhalte aus verschiedenen Perspektiven zu sehen. Geht es um moralische Bildung, so ist der Wechsel der Perspektive speziell in der Goldenen Regel („Was du nicht willst, dass man dir tut, das füg auch keinem anderen zu“) das Mittel zur Erzeugung moralischer Sensibilität. Dieser Alltagsform der Erziehung steht nun die moderne Pädagogik gegenüber, die in institutionalisierter Form nicht allein mit alltagsmoralischen Formen des Appells arbeiten kann. Eva-Maria Kenngott analysiert die Verbindungslinien zwischen der Fähigkeit zur (...) Perspektivenübernahme und Moral. Klassische Methoden der Moralpädagogik und der interkulturellen Pädagogik werden auf ihren Umgang mit Perspektivenübernahme hin untersucht. (shrink)

A beautifully clear and accessible explanation of how to live a Taoist life--by reknowned Taoist master Eva Wong. Being Taoist is one of the most readable books on Taoist philosophy available. It shines a light on exactly what it takes to live a Taoist life. Taoist living rests on four pillars--the public, the domestic, the private, and the spirit lives. Not only do Taoists strive to live these four aspects fully and in a balanced way, they also believe there is (...) an outlook and an art to each of them. Eva Wong uses the teachings of Taoist masters (one for each pillar) to explain the essential concepts. She then gives voice to these texts--simplifying them, removing barriers to understanding, and making them completely accessible and relevant to the modern reader. Wong is a clear and enthusiastic guide to this intriguing spiritual Way, and she challenges us to stop, reflect, and ask ourselves: Do we balance the public, domestic, private, and spirit aspects in our lives? Do we emphasize some at the expense of the others? Do we ever think about unifying worldly and spiritual wisdom in our lives? (shrink)

Der Jesuit Erich Przywara (1889-1972) war in den 1920er Jahren ein gesuchter Redner und Autor. 1932 legte er die berühmte 'Analogia entis' vor. 1938-1940 erschien ein umfangreicher Kommentar der ignatianischen Exerzitien. Kommentierend wandte er sich auch biblischen Schriften zu. Die hier vorgelegte Studie wählt einen werkgenetischen Ansatz, um die tiefgreifenden Entwicklungen dieses facettenreichen Werkes zu analysieren. Im Fokus stehen Zusammenhänge und Umbrüche zwischen den religionsphilosophischen Perspektiven und dem theologischen Schrifttum unter Beachtung der ignatianischen Einflüsse. Zugleich erschliesst sich so das theologische (...) Schaffen Przywaras, das trotz seiner Originalität zu Unrecht wenig bekannt ist. Seine kreative Sprache schafft neue Zugänge zu wichtigen Themen ebenso wie zu biblischen Texten. Dargestellt werden andererseits die Grenzen seines typologisierenden Ansatzes, die nicht selten ungerechten Urteile über andere Positionen sowie das Problem einer sich apokalyptisch verdüsternden Geschichtsschau. Przywaras Denken ist - mit einem augustinischen Wort formuliert - unterwegs im 'Suchen, um zu finden, und finden, um zu suchen.'"-- Back cover. (shrink)