Danto, A. The artworld.--Dickie, G. What is art?--Margolis, J. Works of art are physically embodied and culturally emergent entities.--Kjørup, S. Art broadly and wholly conceived.--Meyer, L. B. Forgery and the anthropology of art.--Brunius, T. Theory and ideologies in aesthetics.--Tilghman, B. R. Artistic puzzlement.--Binkley, T. Deciding about art.--Alexander, H. G. On defining in aesthetics.--Iseminger, G. Appreciation, the artworld, and the aesthetic.--Glickman, J. Creativity in the arts.--Sclafani, R. The theory of art.--Lyas, C. Danto and Dickie on art.--Beardsley, M. C. Is art (...) essentially institutional? (shrink)

A scholium in codex Vaticanus graecus 156 provides evidence that Cassius Dio's Roman History once contained an explicit reference to the ludi saeculares of a.d. 204, something that has been denied in recent scholarship.

Information theory and statistical mechanics.

Recoiling from the power that Athenian democracy placed in the hands of the poor, the founding fathers of the United States took Athens as primarily an anti-model, whereas nineteenth-century defenders of slavery found Athens a very congenial model indeed, seeming as it did to lend a mantle of legitimacy to an unspeakable practice. After a “honeymoon period” in which democracy was idealized as the only legitimate form of government, now at the outset of the twenty-first century the alliance of democracy (...) with a capitalism that often proves heartless to the less fortunate has raised some troubling questions about democracy itself. Despite its small size, classical Athens offers valuable guidance for tempering current difficulties in both the United States and elsewhere by adopting and adapting the selection of some officials by sortition, direct election by popular vote of elected officials, a rigorous system of accountability, and the fostering of civic and community values. (shrink)

In a time of increasing polarization, how can we address sensitive topics and ensure that university classrooms remain places of healthy discussions and ethical deliberations? This paper addresses this important question by drawing on unique qualitative data from our students’ accounts of their experience in an organizational ethics course. We developed the course using a novel pedagogical strategy centered around the creation of an artistic portfolio. We find that student engagement in an alternative individual space, such as the artistic portfolio, (...) supports them in developing (inter)personal skills in preparation for constructive participation in sensitive discussions and ethical deliberation in the classroom. Additionally, engagement with the artistic portfolio provides them with an alternative means for alleviating tension that arises from these discussions and a space for expressing their opinions. Our findings highlight the role of the portfolio as an individual safe haven that supports teachers in facilitating a positive classroom atmosphere and guides students through challenging discussions and deliberations intrinsic to responsible management education. Considering these new insights, we advocate for a shift from a collective to an individual perspective on safety in academia. This transition liberates the classroom from the constraints and limitations often associated with the establishment of collective safe spaces. (shrink)

Kat Williams and Scott R. Stroud’s essay is about televised debates, but it is also about the value of television in a democracy. In Amusing Ourselves to Death, Neil Postman argues that television is devoid of serious content, that it is superficial. But while the debates contain superficialities, they also reveal substantive issues about the candidates, the electorate, and the state of our democracy.

This essay offers a theoretical analysis of the changes which are taking place in the musical consciousness of listeners in the present phase of society. The author seeks rather to deduce the conditions of musical reception from the present stage of musical production. The first part of the article deals with changes in production as they affect the general consciousness of listeners. Light music is discussed as well as serious music insofar as it reaches the consumer. Changes in reception are (...) revealed in certain characteristics like the cult of the melody, of the voice, of the master violin, and they are tied up with specific economic concepts. Success plays a particularly important role in this connection.The second part is devoted to the retrogression in listening, analyzed psychologically. Docile passivity, imitation of pre-given patterns, and bitter resentment of the „abnormal“ have become characteristic for the listener. The author shows how this retrogression has become concretized in the formation of a „musical child’s language.“Many listeners seek to overcome passivity by a pseudo-activity. The social function of certain types like the jitter-bug, the radio amateur, or the man with a knack for jazz, are discussed.L’article entreprend d’interpréter sous forme d’une esquisse théorique les transformations qu’a subies la conscience musicale des auditeurs dans la phase actuelle de l’évolution sociale.On n’analyse pas psychologiquement les réactions des auditeurs ; mais on prend pour point de départ Tétât de la production, et de celui-ci on déduit celui de la réception.La première partie traite de la transformation de la production dans la mesure où celle-ci atteint la conscience commune des auditeurs. L’auteur considère aussi bien la musique légère que la soi-disant musique sérieuse et les modifications que connaît celle-ci pour parvenir à la consommation.Ces modifications font de la musique un fétiche. On en prend pour exemple le culte des „idées“ musicales, de la voix et des „violons de maître“. Le caractère fétiche de la musique se mesure au succès accumulé.Ensuite, on développe quelques catégories du fétichisme musical : dépravation, arrangement, „divertissement élevé“, idolâtrie de la perfection.Au fétichisme de la musique correspond du côté de l’auditeur une régression de la faculté d’entendre — phénomène qui fait l’objet de la deuxième partie de l’étude. On l’interprète comme l’attitude auditive caractéristique des „régressifs“. Soumission passive, imitation de l’antérieurement donné, fureur contre ce qui sort de la norme — définissent cette attitude, qui s’objective en un langage musical puéril en formation et dont quelques éléments sont esquissés.A cette passivité, de larges groupes d’auditeurs cherchent vainement à échapper par une pseudo-activité. Quelques types de pseudo-activité sont décrits : l’enthousiaste, le bricoleur et le „chic type“. On montre la fonction sociale de ces types.Enfin, on traite des possibilités dialectiques de l’audition du régressif. Une confrontation de l’expérience fondamentale de la musique radicalement neuve avec le mode régressif d’entendre termine l’article. (shrink)

This book defends a comprehensive new vision of what addiction is and how people with addictions should be treated. The author argues that, in addition to physical and intellectual disabilities, there are volitional disabilities – disabilities of the will – and that addiction is best understood as a species of volitional disability. -/- This theory serves to illuminate long-standing philosophical and psychological perplexities about addiction and addictive motivation. It articulates a normative framework within which to understand prohibition, harm reduction, and (...) other strategies that aim to address addiction. The argument of this book is that these should ultimately be evaluated in terms of reasonable accommodations for addicted people and that the priority of addiction policy should be the provision of such accommodations. What makes this book distinctive is that it understands addiction as a fundamentally political problem, an understanding that is suggested by standard legal approaches to addiction, but which has not received a sustained defense in the previous philosophical or psychological literature. -/- This text marks a significant advance in the theory of addiction, one which should reshape our understanding of addiction policy and its proper aims. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:354 BOOK REVIEWS (continuously) revisable character, he falls back on an account of theology as rhetoric so as to make the best of a bad job. For persuasion is what we use when we know demonstration is hopeless. As a result, Professor Cunningham's study, which could most usefully have "placed" a variety of theologies of past, present, and, prospectively, future on the spectrum of (onto-) logic, poetic, and rhetoric, (...) concludes instead that theology must regard itself as rhetorical or perish! This inevitably narrows the several services theologies of different kinds can perform for the Church. Imagine how biblical studies would be reduced were the exegete only to treat his text as paraenesis, and never as history or as a symbolic world. Nonetheless, on the way from its (as I find) unsatisfactory startingpoint and to its depressing conclusion, Faithful Persuasion has worthwhile points to make about a number of authors (of various periods) and topics, though it might have made them more persuasively (its author's key term) had the intended audience (middle-brow or academic?) been more clearly viewed in advance. AIDAN NICHOLS, O.P. Blackfriars Cambridge, England Church and Culture: German Catholic Theology, 1860-1914. By THOMAS FRANKLIN O'MEARA, O.P. Notre Dame/London: University of Notre Dame Press, 1991. Pp. x + 260. $35.95 (cloth). " In 1925, Baden's Kultusminister, a Protestant, began an address to the Gorresgesellschaft in Heidelberg by describing this era: ' Brave men like Hertling, Schell, Julius Bachem, and Carl Muth, shook the German Catholic world in order to lead it out of its fortress, to lead it again into the midst of the life and activity of the entire people, even when this seemed at first strange and uncomfortable ' " (pp. 159f.). Even to many theologians, the era in question-the last four decades of the nineteenth century through the outbreak of the "Great War"is comparatively unknown. There has been, of course, renewed interest in prominent theological figures like John Henry Newman, but his German-speaking contemporaries are for the most part strangers to the English-speaking world. And this is the first reason why this book is important: it describes a forgotten world of a century or so ago, yet one whose theological problematic was strikingly similar to our own. The " contours " of this period, deftly described in the first part of this book, were both varied and complex. Politically speaking, during the nineteenth century, " Germany " changed from an assortment of BOOK REVIEWS 355 geographically contiguous minor and medium-sized states to an Empire dominated by Prussia. Such a political re.arrangement had ecclesiastical implications: Roman Catholics, who previously had been the majority in places like Bavaria found themselves a persecuted minority during the Kulturkampf under Bismarck. And like many other victims of persecution, Roman Catholics adopted a "fortress mentality"fearful of Berlin, which was influenced by both the Lutheran Reformation and the Enlightenment, and mesmerized by Rome, which was coming under the increasing influence of neoscholasticism in doctrine and ultramontanism in discipline. German Catholic theologians found themselves in a quandary: what direction should they take? Many, like Joseph Kleutgen, took refuge in Rome; a few, like Joseph Schnitzer, found the appeal of Berlin more attractive; still others, however, tried to steer an independent course in dialogue with the culture of their day. The second and major part of this book focuses on five such theologians: Matthias Joseph Scheeben, Alois Schmid, Paul Schanz, Herman Schell, and Carl Braig. Scheeben (1835-88), "the best known and the most read in the first half of the twentieth century " (p. 53), pursued an independent route in seeking a " transcendent synthesis " incorporating both patristic and idealist thought; indeed, his lengthy Mysteries of Christ"ianity continued to enjoy a certain popularity up till the time of Vatican II, though more as a resource for spiritual reading than as a work of systematic theology. Like Newman, Scheeben's thought was sui generis, "and inspired the most divergent evaluations " (p. 65) ; unlike Newman, Scheeben has few disciples today. In contrast to Scheeben, the other four theologians attempted to emerge from the " fortress " of Roman Catholic defensiveness and to engage the historical and philosophical currents of their age. The... (shrink)

The article deals with the problem of the philosophy of interdisciplinarity, set forth in the work of the same name by J.K. Schmidt. The main goal the author sets for himself is to define the inner meaning of the concepts and goals of interdisciplinarity. In accordance with this, the tasks performed by the respective fields of work, divided into intrascientific and extrascientific. The first ones are related to fundamental research, rethinking the forms of scientific knowledge, methodologies, the relationship between man (...) and nature. The latter, embedded in social reality, are related to analysis of the problems of technoscience, knowledge production and science policy. Prof. Schmidt considers two approaches to interdisciplinarity: instrumental or strategic and critical-reflexive or communicative. The first of them is presented as a limited tool for solving actual problems of interdisciplinarity due to its proximity to soluchionism and its predominant focus on organizational and managerial problems of science. The critical-reflexive approach is, on the contrary, associated with a fundamental rethinking of the concept of knowledge. Interdisciplinarity is characteristic of the field of scientific research, while transdisciplinarity and its particular forms – object- and problem-oriented approaches – are associated with solving problems of the real world. The author conducts a comprehensive analysis of the problem of interdisciplinarity, analyzing the historical roots of technoscientific issues, assesses the current state of science, and proposes a paradigmatic ProTA program related to the realization of the predictive potential of the critical-reflexive approach to interdisciplinarity. (shrink)

This is the text of The Lindley Lecture for 1996, given by T.M. Scanlon, an American philosopher.

The Art of Randomness teaches readers to harness the power of randomness (and Python code) to solve real-world problems in programming, science, and art through hands-on experiments-from simulating evolution to encrypting messages to making machine-learning algorithms. Each chapter describes how randomness plays into the given topic area, then proceeds to demonstrate its problem-solving role with hands-on experiments to work through using Python code.

Philosophy textbook for Mongolian undergraduate and post-graduate students.