The history of cosmology is often understood in terms of the development of modern science, but Asian cosmological thought and practice touched on many aspects of life, including mathematics, astronomy, politics, philosophy, religion, and art. Because of the deep pervasion of cosmology in culture, many opportunities arose for transmissions of cosmological ideas across borders and innovations of knowledge and application in new contexts. Taking a wider view, one finds that cosmological ideas traveled widely and intermingled freely, being frequently (...) reinterpreted by scholars, ritualists, and artists and transforming as they overlapped with ideas and practices from other traditions. This book brings together ten diverse scholars to present their views on these overlapping cosmologies in Asia. (shrink)

My discussion in previous chapters was limited to the origin of Chinese culture and its fundamental spirit exhibited in the process of historical development. In what follows, I am going to discuss the spirit of Chinese culture in specific areas such as philosophy of nature, theory of human nature, ideals of moral life, the world of daily living, the world of ideal personalities, and the spirit of art and religion. The center of discussion will be a comparison between Chinese and (...) Western philosophy and culture. Therefore, before discussing Chinese cosmologies, I am going to present the cosmologies in the West as a preparation for comparison. Nevertheless, the main task of this chapter is not a special treatise on the natural sciences and philosophies of China and the West. Instead, my focus is on the differences between ideas of nature, their values and fundamental spirit. I hope my readers understand this point first. (shrink)

Researchers tend to believe that bamboo "I" more concerned about practical, and more on the ruler the people rule the country road, or self-cultivation and the country contains only two types of content, rarely discussed cosmology and Dao. However, analysis of this article pointed out, Guodian bamboo "I", although incomplete because of missing, can not present a complete and systematic channel theory and cosmology, but such ideas are still very clear. Which show more about all things back to (...) the text attributed to road, but more the lack of road itself, and discussion of all things produced by the channel. However, in the nature of the road, bamboo so-called "independent non-hai" means nothing big road boundaries, more reasonable, if not more than this as a "stand-alone does not change," stressed the same channel and into the road easily and dynamic nature of the eternal confrontation between the problem. Bamboo "I" because of the Confucian interpretation of the impact of personnel or political considerations may intervene in the Road, or the textual representation of the universe, such as "WANG Yi-big", "there are four countries, Yan Wang Ju," and other statements, highlight the "King "The existence of taxonomic status, the personnel and the existence of confusion. Sometimes, however, the influence of Confucianism can also help some of the papers in this universe purification, such as bamboo, "I," a the "between heaven and earth, and its initiatives and abandoned Yue? True and unyielding moving, but more out." period, less the object of Confucian benevolence few words of text and teaching people's advice, but more simply to save the universe in which this paper, I highlighted more clearly Bing empty space on the dynamic. For the interpretation of Confucian bamboo "I" "Germany" and "view" a greater impact on the basic concepts. "German" in the other book is a cosmological concept of the Central Plains; but in the bamboo in the "virtue" is only for people. As for the "concept" in the rest of all this in view of all things can be reverted to, as well as view the body, view home, view of town and watch the state and watch the world, but in bamboo, "I", only for the personnel of various units of the view layer, without of the "body" and "things" concept. "Concept" became the method applies only to personnel, lost cosmological meaning. The earliest manuscripts date Guodian bamboo corporations, but neither is the only transcript, it is difficult to convince me to the nearest original. One kind of transcript is often a kind of interpretation of the text lead to ideas, and ideas for all of the text should be text data. Guodian bamboo "I" is only just a sympathizer of the transcript from the Confucian, in addition, there are other more dollars transcript "instead of allowing" close to the original "ideas that shape our interpretation of a text, it is better to keep" multiple text "idea , open minded, so that each text have encountered trigger contemplation, thinking of the rich gain. The Guodian Bamboo Texts of Lao Zi, discovered in 1993, though the earliest texts we now possess, do not give support to the idea of ​​a linear development from Kuodian Texts to Silk texts, then from Silk texts to other texts such as those of Wang Bi among others'. I contend the concept of "multiple texts", in which the copying of texts or the integration of one text in a collection of texts could be thought of as inevitably imbued with interpretations. The Guodian Bamboo Texts of Lao Zi were susceptible to Confucian or pro-Confucian interpretations, by which not only those critiques of Confucian basic concepts such as Ren and Yi were minimized, but also the Taoist ontology and cosmology were thereby affected. Many scholars sustain the position that Guodian Lao Zi were more pragmatically oriented or that they contained only two categories of thought, one about self-cultivation, another about the art of governing, whereas the discourse on Dao and cosmology were neglected. But I demonstrate in this paper that the Guodian texts, though incomplete in themselves, still gave us very clear ideas of a discourse on Tao and a cosmology. In general, the Guodian Lao Zi emphasized more the way by which all things return to Dao, rather than on Tao itself and its process of producing all things. Concerning the attributes of Dao, the emphasis on the "boundlessness" of Dao is more reasonable than other versions of texts such as Wang Bi's and the Silk text Lao Zi, in which we read that Dao is "changeless", creating thereby a contradictory situation between Dao's eternity and its dynamicity. On the one hand, the Confucian interpretation might put political and human considerations into ontological and cosmological considerations; on the other hand, it could also purify some cosmological texts by dropping some texts criticizing the Confucian concepts of Ren and the sage. The most evident Confucian intervention into The Guodian Lao Tzu could be found in the concepts of Virtue De) and Retracing View The concept of Virtue had lost its cosmological meaning and was reserved merely for describing human virtue. As to the concept of Guan, the retracing regard, which was applied to all things and even Dao itself in other texts, was limited to merely human social affairs and loses its cosmological meaning totally in Guodian's texts. (shrink)

As the poet T.S. Eliot said, 'Where is the wisdom lost in knowledge? Where is the knowledge lost in information?' Our postmodern 'information culture' forces us to be over-cerebral, but it doesn't teach us to think; consequently it becomes nearly impossible for us to imagine a knowledge that is beyond information, much less a Wisdom that is beyond knowledge. We all know what it is to uselessly 'spin our wheels' in barren thought and fantasy; certain valid contemplative disciplines even have (...) as their main goal the pacification of the 'monkey mind', the over-heated brain that prevents us from genuinely living our lives, from being fully present to the world, to each other, and to ourselves. But such pacification can also have a nihilistic side to it. It can subtly fool us into believing that the pursuit of meaning, the attainment of intellectual stability and certainty, is neither possible or desirable - a belief that is of great use to the political and economic Powers That Be in the emerging global society, who are always delighted to hear people express the opinion that there is no such thing as objective Truth, that we can't really know what is real, or if anything is real, beyond our own subjective experience. To the degree that the people start to believe that nothing can be known (our hidden masters reason), they will stop asking embarrassing and inconvenient questions. The notion of objective truth - not to mention Absolute truth - immediately suggests oppression, tyranny and fanaticism to the postmodern mind. Why? Because we have been systematically taught to see things this way by those Social Engineers who construct and impose the terms by which Reality is to be viewed. In order to break free from this socially-imposed subjectivism, we need to remember that Reality is not something determined by belief, but rather that belief is only true when it conforms itself to Reality. If we see nothing beyond this material/social world, we will be forced to take our own subjectivity as the only way to awaken from the social trance, and so fall even more deeply into that very trance, which is precisely a collective subjectivity. But if we know Objective Truth as metaphysical, beyond material nature and human society, then we have begun to catch a glimpse of the One Way Out. The traditional notion of Knowledge maintains that, 1) Truth can be known with certainty, and, 2) that the reason for knowing Truth is to transform our lives from a state of chaotic uncertainty, vulnerable to all the suffering that illusion and impermanence can produce, into one of eternal certainty and stability, where the knower becomes one with the Thing known - a state that goes by the name of bliss. To begin the path toward this bliss, however, we will need to know how to know; and this requires, as the necessary first step, that we know how to take knowledge seriously. As metaphysician Frithjof Schuon put it: 'Knowledge only saves us on condition that it enlists all that we are, only when it is a way and when it works and transforms and wounds our nature, even as the plough wounds the soil'. The shifting illusions of individual and collective subjectivity cannot protect us, and will always betray us. But if we are firmly rooted in that Truth which, in the words of Lew Welch, 'goes on whether we look at it or not', then we have a Protector - one Who is always there, upon Whom we can always rely, and to Whom we can always turn, when we can no longer remedy or deny or escape from the suffering and insecurity of conditional life. So let's begin. (shrink)

: Is Peirce's esthetic relevant for the philosophy of art—what is usually referred to today as aesthetics? At first glance Peirce's idiosyncratic esthetic seems quite unconcerned with issues of art. Yet a careful examination reveals that this is not the case. Thus, rather than attempt to "apply" Peirce's views to some aspect of the practice or the theory of art (e.g., creativity, historiography of art, style, genre), or even to a particular work of art, my intention is to examine how (...) art fits into Peirce's own conception of his esthetic theory. The argument is divided into two parts. In the first section I present Peirce's conception of esthetics in the context of the normative sciences. I argue that esthetics connects with various strands of Peirce's philosophy, most notably his cosmology, his agapasm and with the way that important aspects of them hang together around the principle of abduction and the corresponding notion insight. In the second section, I consider in what way art may be said to be admirable, to contribute to the summum bonum. I try to show that Peirce's esthetic suggests that what attracts us towards art is first and foremost a semeiotic quality qua quality of mind or quality of Thirdness. (shrink)

Cultures from around the world have long turned to the dome of the heavens to better understand the cosmos. This perceived curvature has manifested architecturally throughout the world, and domes have been used to enclose the most sacred environments of many cultures. In the 20th century, it became possible for the first time to radially extend mental images onto the dome screen using projections of light. The ability to completely immerse the visual field of audiences in a mediated environment, made (...) possible by advancements in engineering, mechanics, and electronics, was seized upon by numerous pioneers across a wide range of contexts. Like their historic predecessors, these modern multi-sensory sanctuaries continued to reflect the cosmologies and motivations of their creators, subtly affecting the evolutionary trajectory of the cultures from which they emerged. This paper is an attempt to shed light on the largely forgotten history, context, and motivations behind these early dome theaters. (shrink)

The mid-twentieth century saw a change in paradigms of art history: iconology. The main claim of this novel trend in art history was that renown Renaissance artists created imaginative syntheses between their art and contemporary cosmology, philosophy, theology and magic. The Neo-Platonism in the books by Marsilio Ficino and Giovanni Pico della Mirandola became widely acknowledged for their lasting influence on art. It thus became common knowledge that Renaissance artists were not exclusively concerned with problems intrinsic to their work, (...) but that their artifacts encompassed a much larger intellectual and cultural horizon. This volume brings together historians - both those concerned with the history of their own discipline and also those whose research is on the art and culture of the Italian Renaissance itself - with historians from a wide variety of specialist fields, in order to engage with the contested field of iconology. The book will be of interest to scholars working in art history, Renaissance history, Renaissance studies, historiography, philosophy, theology, gender studies, and literature. (shrink)

The divisions that mark my subject are three. The first is that point where the world begins--where it appears from out of the mystery of non-being. The second lies somewhere between its progeny and its future--the times between beginnings and ends where we, the beneficiaries of our being-here, come together to sing a celebration of the wonder that it happened at all, and then intone the fear of its ending. The third division is a speculation on ends--our own and the (...) ending of the world. I use these divisions to locate a something that comes from nothing onto a historical tradition that imposes a value on the progression of that something, and so requires a judgment on all that has passed. I first discuss these through religious attempts to invest life and history with purpose--for they form the major explanatory traditions of Western culture and are a thematic source of much of its greatest art. I continue with an art-critical approach where themes of process and purpose are located in artworks through their stylistic histories and ambitions. I indicate how present art, when open to reconstitute such themes, could change the nature of today's efforts to give art polemical purposes, and so provide new reasons for its making. I conclude with some stories, unevenly biographical, partly fictional, which I offer as parables for the developed themes and their transformations. This last aim is to elucidate a view of art as providing specific symbols for a cosmology of beginning, living, and ending. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Guided Rapid Unconscious Reconfiguration in Poetry and ArtRoger SeamonThe idea that literary works are designed to give pleasure does not get much exercise these days. So I would like to take it out for a walk. We’ll see where it takes us, how much ground it covers, and what friends it makes along the way. Perhaps if we take it off the leash of theory, it will roam far (...) enough afield.... By this time you are bored with my metaphor, and thus have made a judgment about the use of a trope that is often said to be at the heart of poetry. 1 What I want to do is give an account of the principle that led to that judgment, for it is the same principle, I shall argue, that governs judgments about the aesthetic dimension of literary works.I first encountered the idea in F. W. Bateson’s English Poetry: An Introduction, where he labels it the “The Principle of the Semantic Gap.” Poetry, Bateson says, does not consist of the transference of feeling from poet to reader (the Romantic and expressive view which he opposes), but of “the successful collocation of contrasted or conflicting ‘meanings,’” 2 and he traces the theory back to Coleridge’s idea that poetry consists in the “balance or reconciliation of opposite or discordant qualities” (Biographia Literaria, chap. xiv). Contrasted meanings defeat normal expectations, so the reader is forced to bridge (apparent) gaps in order to make sense of the words, and it is that collaboration between author and reader that constitutes poetic activity. The theory is, though Bateson does not present it as such, a reworking of the ancient notion that in a successful work of art we perceive unity in variety. This essay is an effort to extend and defend that theory in its modern form, particularly as it relates to literary works.The modern theory came into being because of a change in the [End Page 412] object of aesthetic analysis from the work and what it imitated to the psychology of the audience:Up to the eighteenth century the theory of art in the Western world was dominated by ancient philosophy. It was most of all Plato’s metaphysics which, in a number of variations and even distortions, attributed to the artist the capacity of perceiving the divine ideals of beauty beyond the world of the senses and embodying them in his creations. The rejection of this mystical view of art in the course of the eighteenth century... was bound to make theorists turn to psychology. 3It is within this psychological tradition that the modern version of unity and variety has been developed.Re-castings of the ancient formula for aesthetic value have been done by (at least) five recent theorists. Given that one can probably trace the twentieth-century revival back to Gestalt psychology, it is not surprising that the earliest of the four is Rudolph Arnheim. In an essay on “Order and Complexity in Landscape Design” he defines order as “the degree and kind of lawfulness governing the relations among the parts of an entity,” and complexity as “the multiplicity of the relationships among the parts of an entity.” 4 Arnheim then psychologizes (rather than “cosmologizes”) these concepts by grounding them in the propensity to be perceptually satisfied by a balance between the two: “Complexity without order produces confusion; order without complexity produces boredom” (p. 124). Similarly, in The Act of Reading Wolfgang Iser says:The reader’s enjoyment begins when he himself becomes productive, i.e., when the text allows him to bring his own faculties into play. There are, of course, limits to the reader’s willingness to participate, and these will be exceeded if the text makes things too clear or, on the other hand, too obscure: boredom and overstrain represent the two poles of tolerance, and in either case the reader is likely to opt out of the game. 5In the same vein, Francis Sparshott asserts in The Theory of the Arts that “Beauty occupies the ground between cliché and chaos,” with variety protecting against the former, unity protecting against the latter, 6 and in The Sense of... (shrink)

The ancient Egyptians and Dogon conceive that all elements of the universe operate in harmony. Therefore, the manner in which the Egyptians and Dogon express and experience their cosmologies must agree with this harmony. Using an African-centered approach, this study examines three key factors that define both cosmologies and allow for the full expression of harmony. The first key is Maat. Maat is the Egyptian principle of balance, order, justice, and harmony and is the fundamental descriptive characteristic of the universe (...) for the Egyptians and Dogon. The second key is myth. Myth discloses the sacred world. To the Dogon, myth represents the ultimate revelation of knowledge. In Egypt, creation narratives are told as myths. The third key is Nature. Nature provides the symbols, forms, images, behaviors, and objects used to express the cosmology. This study describes the place where these three factors converge. To do this, a multidisciplinary approach from philosophy, art, myth, and culture is used to provide context, because all have greatly influenced the perception of myth in culture. The articulation of Egyptian and Dogon stories of the universe is a feast for the tactile senses, challenging the mind, and able to be experienced through the simple activities of daily living. This study brings this to light. (shrink)

In the faculty of arts at the University of Padua in the years around 1600 professors debated the reliability of astrology, the existence of occult celestial influences, and the idea that celestial heat is present in living bodies. From the 1570s to the 1620s many professors in the faculty of arts pushed back against astrology and Jean Fernel's theories surrounding astral body. Girolamo Mercuriale, Alessandro Massaria and Eustachio Rudio thought that some forms of astral causation and Fernel's ideas were incompatible (...) with their observations of disease, Aristotle's philosophy and Hippocratic theories. Later, Santorio Santorio and Cesare Cremonini, who were allied to the political circle of Paolo Sarpi, polemicized against astrology. Their writings show that at Padua medical theory was linked to Aristotelian cosmology, which emphasized the incommensurability between celestial and terrestrial elements. Their rejection of astrology, however, did not lead to the complete marginalization of astrology at Padua. By the middle of the 1620s, as the political climate changed in Venice, the University of Padua hired professors who promoted astrology and Fernel's theories about the celestial nature of innate heat. The diversity of opinions about astrology reflected Venice's divided politics and multiple approaches to interpreting Aristotle and other authorities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The New Physics and Cosmology: Dialogues with the Dalai LamaPaul O. IngramThe New Physics and Cosmology: Dialogues with the Dalai Lama. By Arthur Zajonic. Oxford: Oxford University Press, 2004. 245 pp.Over the years there have occurred several "Life and Mind Conferences" that seek to explore the intersection between the natural sciences and Buddhism, particularly, but not limited to, Tibetan Buddhist tradition. As far as I know, (...) this series of conferences represents the most systematic effort to dialogically engage Buddhist thought and practice with the natural sciences to date. The New Physics and Cosmology is one of a number of published Buddhist-science dialogues to emerge from the Life and Mind Conferences. Its focus is contemporary quantum physics and scientific cosmology in conversation with Buddhist cosmology and is based on a conference held in Dharmasala 27–31 October 1997.Along with the Dalai Lama, the major participants in this dialogue were David Ritz Finkelstein, who teaches physics at the Georgia Institute of Technology and edits the International Journal of Theoretical Physics; George Greenstein, Sidney Dillon Professor of Astronomy at Amherst College; Peter Hut, professor of physics and interdisciplinary studies at the Institute for Advanced Study at Princeton University; Thupten Jinpa, who has served as the Dalai Lama's principal English translator since 1985; B. Allan Wallace, who trained for many years in Buddhist monasteries in India and Switzerland and is one of the Buddhist pioneers of the Buddhist-science dialogue; Tu Wei-Ming, who directs the Harvard-Yenching Institute and is professor of Chinese History and Philosophy at Harvard; Arthur Zajonc, professor of physics at Amherst College, whose research focuses on the experimental foundations of quantum physics and the relation between science and the humanities; and Anton Zeilinger, director of the Institute for Experimental Physics in Austria and professor of physics at the University of Innsbruck from 1990 to 1999.One of the remarkable features in these dialogues is that in spite of the Dalai [End Page 180] Lama's rather limited knowledge of contemporary quantum physics and cosmology, his questions to the participating scientists go very quickly to the philosophical and religious issues and challenges all religious worldviews must take seriously to remain relevant in the twenty-first century. His explanations of Tibetan Buddhist cosmology and doctrine, especially the epistemology Nagarjuna and the doctrine of sunyata or "Emptiness" as possible correlations with what the natural sciences are revealing about nature, are among the clearest Buddhist discussions in this regard I have read. One might also say that the scientists were very adept in the art of upaya in the manner in which they related their knowledge of very abstract and theoretical scientific issues to the levels of experience of their nonscientific dialogue partners. In particular, the experimental foundations of quantum physics and relativity theory were presented very thoroughly, in ways nonscientist participants could comprehend.Finally, these dialogues are not merely a series of lengthy conversations about supposed parallels between contemporary science and Buddhist teaching and practice. There is no claim that "Buddhism" is a "scientific" religious tradition, as often assumed by writers, both Buddhist and non-Buddhist, who have a tendency to read Western Enlightenment assumptions into Buddhist history. Instead, these conversations are motivated by the search for an alternative epistemological foundation for developing physical theories that could also be relevant to social, philosophical, and religious issues that the natural sciences as such are unable to address. For example, B. Alan Wallace assumes what Ian Barbour describes as an "independence model" in his understanding of the relation between science and Buddhism. Thus for Wallace and the other Buddhist participants, the natural sciences give us objective knowledge about physical processes but do not give us knowledge of an objective world. He then concludes that the function of scientific theories is to make natural events intelligible for the purpose of developing technologies that improve the quality of life. But science has very little, if anything, to say about "absolute truth," which he as a Buddhist names "Emptiness."Clearly, Wallace's interpretation of the natural sciences is based on his appropriation of the "two truth" epistemology that originated with the second century Indian Buddhist logician Nagarjuna. Nagarjuna also... (shrink)

In the history of Chinese philosophy, Mozi calls music a “waste of resources,” considering it an aristocratic extravagance that does not benefit the everyday people. In its defense, Confucians highlight music’s moral and metaphysical qualities, arguing that music aids in moral cultivation and that music’s form mimics the structure of reality. The aim of this paper is to show that Korean philosophers provide yet another reason to think music is important. Music, and art in general, was used to express a (...) national identity at a time Korean philosophers were beginning to develop their own aesthetic consciousness in the seventeenth and eighteenth centuries. A cultural movement called Joseonpoong (조선풍), “Joseon wind”, marked a shift away from Sinocentrism and towards Korea’s own unique value and practices. The new attempt to justify art’s value apart from its relationship to morality or metaphysics set Joseon thinkers apart from their Chinese predecessors. Using art for identity expression allowed the Koreans to reconceive art’s value while Sinocentric cosmological and cultural views were being challenged with the introduction of western knowledge. Art also became a tool for reversing hermeneutic injustice as new artistic practices and standards allowed the Koreans to meaningfully engage with previously neglected aspects of their lived lives. (shrink)

In the present paper, the author looks at the political dimension of some trends in the visual arts within twentieth-century avant-garde groups (cubism, expressionism, fauvism, Dada, abstractionism, surrealism) through George Santayana’s idea of vital liberty. Santayana accused the avant-gardists of social and political escapism, and of becoming unintentionally involved in secondary issues. In his view, the emphasis they placed on the medium (or diverse media) and on treating it as an aim in itself, not, as it should be, as a (...) transmitter through which a stimulating relationship with the environment can be had, was accompanied by a focus on fragments of life and on parts of existence, and, on the other hand, by a de facto rejection of ontology and cosmology as being crucial to understanding life and the place of human beings in the universe. The avant-gardists became involved in political life by responding excessively to the events of the time, instead of to the everlasting problems that are the human lot. (shrink)

Cosmological ideas influenced every aspect of traditional Chinese culture, from science and medicine to art, philosophy, and religion. Although other premodern societies developed similar conceptions, in no other major civilization were such ideas so pervasive or powerful. In The Development and Decline of Chinese Cosmology, John Henderson traces the evolution of Chinese thought on cosmic order from the classical era to the nineteenth century. Unlike many standard studies of premodern cosmologies, this book analyzes the origins, development, and rejection of (...) these models, not just their structure. Moreover, while historians often limit their studies of cosmic order to specialized fields like the history of science, Henderson examines how the cosmological ideas formulated in late classical times permeated various facets of Chinese life, from high philosophy to popular culture. (shrink)

Informed by Gloria Anzaldúa's and José Carlos Mariátegui's work, as well as by Andean cosmology, Omar Rivera turns to Inka stonework and architecture as an example of a "Cosmological Aesthetics." He articulates ways of sensing, feeling and remembering that are attuned to an aesthetic of water, earth and light. On this basis, Rivera brings forth a corporeal orientation that can be inhabited by the oppressed, one that withdraws from predominant modern/Western conceptions of the human. By providing an aesthetic analysis (...) of cosmological sensing, Rivera sets the stage for exploring physical dimensions of anti-colonial resistance, and furthers the Latinx and Latin American tradition of anti-colonial and liberatory philosophy. Seeingaesthetic involvements with the cosmos as a source for embodied modes of resistance, Rivera turns to the work of María Lugones and Enrique Dussel in order to make explicit the aesthetic dimensions of their work. Andean Aesthetics and Anticolonial Resistance creates a new dialogue between art historians, artists, and philosophers working on Latin American thought, phenomenology, and hermeneutics. It weaves together a Latin American philosophy that connects pre-Columbian cosmologies with contemporary thinkers. Rivera's original approach introduces us to the living, evolving and aesthetic alternatives to coloniality of power and of knowledge, overhauling current understandings of decolonial theory and opening the tradition in transformative ways. (shrink)

This book is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...) philosophy of natural science, but also his arguments for the phenomenal validity of the metaphysical foundations, his teachings on the aesthetic human faculties of judgment and Anschauung, and the discernment of the transcendental philosophy from Platonic idealism carrying it to a cosmological level, i.e. Kant’s insertion of the concept of cosmotheoros. Since the process of transition is an aesthetic process based on human senses, intuitions and judgments, the argument will follow that in order to explicate Übergang, we need to reconcile cosmology, as the oldest branch of philosophy dealing with the interactions between the cosmic forces and the ways they affect human life, with aesthetics, as the youngest branch of philosophy dealing with how we sense, intuit and judge the form and motion of matter. Therefore, in the last analysis, Übergang becomes rather a cosmologic-aesthetic principle similar to the Heraclitean logos. Another building block of the book is the fruitful comparison between the Kantian sublime and Nietzschean Dionysian, which are going to be construed as the aesthetic theories on human understanding representing the transition from nature to art. For they are not only conceptual – aesthetic but also dynamic – cosmological theories due to their reference both to nature and to human nature. Finally, Cosmological Aesthetics employs the principles of transition and motion to analyze Van Gogh’s Starry Night in an excursus. (shrink)

This paper is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...) philosophy of natural science, but also his arguments for the phenomenal validity of the metaphysical foundations, his teachings on the aesthetic human faculties of judgment and Anschauung, and the discernment of the transcendental philosophy from Platonic idealism carrying it to a cosmological level, i.e. Kant’s insertion of the concept of cosmotheoros. Since the process of transition is an aesthetic process based on human senses, intuitions and judgments, the argument will follow that in order to explicate Übergang, we need to reconcile cosmology, as the oldest branch of philosophy dealing with the interactions between the cosmic forces and the ways they affect human life, with aesthetics, as the youngest branch of philosophy dealing with how we sense, intuit and judge the form and motion of matter. Therefore, in the last analysis, Übergang becomes rather a cosmologic-aesthetic principle similar to the Heraclitean logos. Another building block of the paper is the fruitful comparison between the Kantian sublime and Nietzschean Dionysian, which are going to be construed as the aesthetic theories on human understanding representing the transition from nature to art. For they are not only conceptual – aesthetic but also dynamic – cosmological theories due to their reference both to nature and to human nature. (shrink)

Antoni Tàpies’ essays and interviews display how his conception of art is impregnated with an Oriental nondualistic aesthetics.1 I argue that, among them, the Chinese aesthetics of qi 氣 plays the most pivotal role and leaves an indelible imprint in his corpus. Tàpies’ encounter with this Asian thinking probably came through the translated writings of Laozi 老子, Confucius 孔子, Mencius 孟子, Zhuangzi 莊子, Mozi 墨子, and Lin Yutang 林語堂, among others, thanks to the publications of different Western-based Sinologists.2 However, instead (...) of the term qi, Tàpies was prone to using the words “energy” or “spirit” to designate this element, which he understood as a cosmological principle and force, as was mentioned... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Can Creatures Cause Forms?Aquinas on Cosmology and EvolutionLucas PrietoThus formulated, the question may seem odd. It is enough to look at nature to see that many of the relations that are established between substances are causal relations that results in the production of a form. So, for example, the fire from a match in contact with a piece of paper produces fire, in such a way that the (...) agent causes a new form because it communicates its own actuality. In this sense, at the natural level, we can even say that all production involves the causation of a form. The question becomes meaningful, however, when we distinguish between being the cause of this form inasmuch as it actualizes a matter and being the cause of the form as such—that is, between causing a particular order in a matter and being the cause of the reason for this order.1 Continuing with the example: the fire of the match is specifically the same as the fire found in the paper, so that the former cannot be the cause per se of the fire of the latter—that is, the fire of the match is not that which gives reason for the formality of the fire—because in that case it would be the cause of its own formality. The argument leads us to postulate another agent that is the cause of fire as such.So, we can now ask: can creatures be ultimately responsible (at the created level) for this particular ontological configuration? That is, can creatures cause a natural form as such? Aquinas answers yes, and his answer is of particular importance in explaining the causal order among creatures [End Page 441] and the possibility of true specific novelty in the universe. In this article I will advance how Aquinas justifies ontological novelty by resorting to intra-mundane causes and then show how this causal model allows us to understand the transformism of species (evolution) in a Thomistic framework. To do so, we will formulate our argument in three steps: (1) first we will analyze the notion of form that Aquinas handles in order to understand also how it can be caused in an individual, (2) then we will study the various ways in which the causation of a form can occur, and (3) finally, we will apply these conclusions to the problem of evolution.Form and IndividualFor Aquinas, form is a fundamental ontological principle of the corporeal entity because it structures matter according to a determined order of perfection. By the form we can distinguish between different entities because a formal perfection supposes a certain term or limit of the act that implies the deprivation of the perfection of another form. A dog indicates a certain degree of perfection, but by the fact of being a dog it lacks the perfection of being a cat. Now, in the physical world, we find an innumerable diversity of entities that differ from each other not only in their form or essence, but also as individuals, which shows that, ultimately, the fundamental distinction is not between being a cat and being a dog, but between being this cat and being this dog, or more clearly, between this dog and that dog. Aquinas holds that this diversity and inequality, both specific and numerical, is something positively willed and caused by God as first agent.2 But does this mean that the diverse structuring of matter is produced by a special divine action? That is, is the formal difference the effect of a creative act of God?In the Summa theologiae, Thomas directly addresses this problem by asking whether creation is mixed in the works of nature and of the arts, which is equivalent, in the last analysis, to the question of the origin of novelty in the physical world.3 Indeed, when an entity is generated, a substance appears that is not absolutely contained in the preceding causes. The agent certainly communicates his actuality by resembling the effect to himself, but in the effect, there is always something else that escapes the essential principles. Therefore, how can this novelty of the effect be founded? Before answering this question... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Hypothesis Concerning the Character of Islamic ArtAsli GocerWhy Islamic art has the distinctive features it has continues to generate clashing explanations. The Islamic visual treasury has no figural images, for instance, and three-dimensional sculpture or large scale oil painting, but instead contains miniatures, vegetal ornaments, arabesque surface patterns, and complex geometrical designs. To account for the phenomena the following radically opposing theories have been offered: the influence of (...) Judaism, the Quranic prohibition against making images, 1 Islamic resentment of the glory of Byzantine icons, 2 logocentricism of classical Islam, 3 the spiritual dimension of Islam, 4 tacit Islamic assertion of “otherness,” 5 and contingency of history. 6 The merits of these theories have been roundly discussed in the literature, and so I will not repeat the task here. I will insist that none of these theories offer a coherent explanation for all arts, but my presumption is that such an explanation is possible. In nonvisual arts the Muslim prefers simple tunes over that of the symphony, for instance, whirling dervishes over the ballet, and lyric poetry over dramatic literature. In my view what explains the common characteristic of all these arts is a certain kind of Islamic attitude informed by a certain philosophical outlook. Although it would be hasty to suggest the existence of a monolithic [End Page 683] Islamic art, it would be equally rash to deny some striking commonalities among its diverse examples. 7The following observation by a Muslim scholar is notable in this regard: “Whether in the great courtyard of the Delhi Mosque or the Qarawiyyin in Fez, one feels oneself within the same artistic and spiritual universe despite all the local variations in material, structural techniques, and the like.” 8 Some cite geometry as what mediates that feeling to the observer despite the cultural divergences in style. 9 Even those who have given up the search for the universal or the spiritual in Islamic art cannot help but see in it the classical ideal of beauty. 10 It is this classical heritage that in fact holds one of the important keys to the puzzle at hand. In particular I shall claim that Islamic art is the living image of what Plato has in mind for art in a theocratic state. Clearly, to refer to Plato and art in the same breath invites trouble. As is well enough known, giving a general interpretation of Plato’s views on the nature of art is a very complex endeavor. 11 Even in the face of grave difficulties in textual exegesis, however, there is sufficient evidence that Plato has some settled views on art. Those pertinent to our discussion here involve two claims, that beauty and goodness are divine and that all human endeavor (including artistic creation) must imitate the divine. 12 Although Platonic strain in Islam has been noted in other areas, its persistent legacy has been overlooked in art. 13 I shall argue that the Platonic influence on Islamic thought can be traced not only to political philosophy 14 and geometry, 15 as it has been commonly accepted, but also aesthetics. 16 A philosophical explanation of the Islamic attitude toward art may therefore be derivable from the Platonic axiom that god is the paradigm of beauty, which is the cosmological principle of [End Page 684] order and harmony; and as all created things, art, too, must reflect the divine paradigm.Before defending this ahistorical hypothesis on the character of Islamic art so reviled in recent literature, a few caveats are in order. “Islamic art” contains redundant terms. Strictly speaking all art in Islam is “Islamic,” because for the Muslim art is a crucial point of contact with the divine. That art should direct the mind to the divine is also Plato’s view. 17 Second, the categories that have traditionally been used to describe Islamic art such as “aniconic” and “nonrepresentational” are unhelpful for the problem at hand. 18 When it comes to the issue of iconography in Islamic arts, there is no consensus, for Islamicists are notably divided on the semiotic dimension of the Islamic visual language. The question of whether the geometric surface pattern is essentially iconography, for instance, is yet... (shrink)

Explores various aspects of Plato’s cosmological writings.

The meaning of the noun 'creation', and the verb 'to create', range from the traditional theological idea of God creating ex nihilo to a more recent sense of the process of artistic conception. This collection of thirteen essays, written by scholars of music, literature, the visual arts, and theology, explores the complicated relationship between medieval rituals and theology, and the development of an idea of human artistic creation, which came to the fore in the sixteenth century. The volume concentrates on (...) the period from the Carolingians to the Counter-Reformation but also includes some twentieth-century musicians. Each essay is dedicated to a particular topic concerned with ritual or artistic beginnings, inventions, harmony and disharmony, as well as representations or celebrations of creation. Central themes include the interplay of the ideas of God as creator, of God acting and recreating in medieval liturgy, of God as artist - the deus artifex of the Pythagorean cosmology, which was occasionally referred to as recently as the early nineteenth century -and, finally, of the homo creator, a concept in which man reflected (and eventually replaced) God in his artistic creativity. This book therefore features new, significant, individual contributions from a range of scholarly disciplines, but, taken as a whole, it also constitutes a complex interdisciplinary study, with large-scale historical constructions. (shrink)

The big bang idea is not only a dominant idea in cosmology but also a very successfully idea out of cosmology. Although sometimes just in metaphorical sense, the big bang idea is present, since some decades, in a variety of domains such as natural sciences, humanities, social sciences, arts, and it also has a great acceptance by the general public. Furthermore, the term Big Bang has become increasingly popular and currently it is often used with very different purposes, (...) including commercial purposes, in contexts that have nothing to do with science, such as music, television, cinema, circus, house decoration, food, and other unexpected domains. Proposed by Gerald Holton, thematic analysis is a useful tool for studying cases like this, because it identifies and describes elements that cross and connect all areas of knowledge and culture in general and thus can help to understand the reception, appropriation and use of certain ideas in different but contemporary disciplinary and cultural contexts, which may be involved in intellectual fashions and in styles of thought of one particular time. (shrink)

It is obvious that the use of these various terms does not result in a miscellany of ideas such as it occurs in many New Age theories. In perennialists’ writings we have come to realize that this is not an attempt to mix traditions together, but is instead an attempt to utilize existing terminology when it is appropriate. The paper has focused at studying the anthropology of perfection in perennial philosophy. It has addressed issues such as the nature of ‘self (...) and the states of self-realization’, selfessness and selfi shness’, ‘the categories of man’, ‘the process of exaltation’, ‘attributes’, ‘qualities’, ‘rights and obligations of the superior man in traditional worldview. In various places of the paper we have resorted to artworks belonging to various traditions and different times to communicate the ideas and worldviews. They show how essential the role of artists and the art they produce is in keeping alive the reverence for perfection and continuity of tradition through their inspired imagination. The superior qualities are not necessarily those of rulers and conquerors. They are rather to be found in mythical heroes, prophets of God and sages of various traditions; those who, in Ghazali’s words, “possess inner vision”. Such individuals hold attributes of perfection; their bodies die, yet their characters live beyond time and space inspiring generations after generations. After all, to be a superior being means starting a never-ending journey of becoming. (shrink)

This work investigates how ancient philosophers understood productive knowledge or technê and used it to explain ethics, rhetoric, politics and cosmology. In eleven chapters leading scholars set out the ancient debates about technê from the Presocratic and Hippocratic writers, through Plato and Aristotle and the Hellenistic age, ending in the Neoplatonism of Plotinus and Proclus. Amongst the many themes that come into focus are: the model status of ancient medicine in defining the political art, the similarities between the Platonic (...) and Aristotelian conceptions of technê, the use of technê as a paradigm for virtue and practical rationality, technê´s determining role in Platonic conceptions of cosmology, technê´s relationship to experience and theoretical knowledge, virtue as an 'art of living', the adaptability of the criteria of technê to suit different skills, including philosophy itself, the use in productive knowledge of models, deliberation, conjecture and imagination. (shrink)

The stories we tell in our attempt to make sense of the world, our myths and religion, literature and philosophy, science and art, are the comforting vehicles we use to transmit ideas of order. But beneath the quest for order lies the uneasy dread of fundamental disorder. True chaos is hard to imagine and even harder to represent, especially without some recourse to the familiar coherency of order. In this book, Martin Meisel considers the long effort to conjure, depict, and (...) rationalize extreme disorder, with all the passions, excitements, and compromises the act has provoked. In seven chapters--"Shaping Chaos," "Nothing and Something," "Number," "Carnival," "War," "Energy," and "Entropy"--Meisel builds a rough history from major social, psychological, and cosmological turning points in the imagining of chaos. He uses examples from literature, philosophy, painting, graphic art, science, linguistics, music, and film, particularly exploring the remarkable shift in the eighteenth and nineteenth centuries from conceiving of chaos as disruptive to celebrating its liberating and energizing potential. Discussions of Sophocles, Plato, Lucretius, Calderon, Milton, Haydn, Blake, Faraday, Chekhov, Faulkner, Wells, and Beckett, among others, are matched with incisive readings of art by Brueghel, Rubens, Goya, Turner, Dix, Dada and the futurists. Meisel addresses the revolution in mapping energy and entropy and the manifold impact of thermodynamics. Known for his pathbreaking studies of literature, drama, and the visual arts, Meisel uses this chaotic frame to elaborate on larger concerns of purpose, mortality, meaning, and mind. (shrink)

ABSTRACTThis essay argues that retrieving insights from the ancient Stoic philosophers for Christian ethics is much more difficult than is often assumed and, further, that the “ethics of retrieval” is itself something worth prolonged reflection. The central problem is that in their ancient sense both Christianity and Stoicism are practically dense patterns of reasoning and mutually incompatible forms of life. Coming to see this clearly requires the realization that the encounter between Stoicism and Christianity is a conflict of lived traditions. (...) Precisely because we cannot simply extract Stoic insights from the lives in which they belong, the task of determining how Stoicism is useful for Christianity is exceptionally challenging. Indeed, doing justice to the Stoics has more to do with facing an alternative to Christianity than it does with appropriating insights for our own use. These points are developed in conversation with Elizabeth Agnew Cochran's recent article on the Stoic influence upon Jonathan Edwards. (shrink)

1 Introduction1 In the 1980s, hermeneutics was often incorporated into deconstructionism and literary theory. Rather than focus on authorial intentions, the nature of writing itself including codes used to construct meaning, socio-economic contexts and inequalities of power,2 Gadamer introduced a different perspective; the interplay between effects of history on a reader’s understanding and the tradition(s) handed down in writing. This interplay in which a reader’s prejudices are called into question and modified by the text in a fusion of understanding and (...) topic revitalized the study of the printed word. Gadamer’s turn to language for understanding the meaning of Being also appealed to the post-modern antipathy toward modernity and metaphysics.3 If the truth and validity of interpretations are limited to communities of language, then our mode of being in history cannot but be historical. This point of view rendered Gadamer’s phenomenological hermeneutics vulnerable to the critique of moral and epistemological relativism. However, Gadamer’s theory of interpretation also stems from re-examination of the beginning of knowledge in the Pre-Socratics and Plato, and on this basis, is receptive to another dimension of inquiry than that which was trending in North America. -/- At the East-West Center, University of Hawai’i at Manoa in 1982, Chung-ying Cheng for the first time introduced onto-hermeneutics to an audience of esteemed philosophers including Li Zehou, Ren Jiyu, Feng Youlan, and Zhang Liwen.4 In contrast to schools of deconstruction and literary theory that had disengaged the interpreter from trans-historical sources of meaning and truth, Cheng explained that interpreters exist within a cosmological order inextricable from responsibility to harmonize Heaven and Earth in creative acts of interpretation. By integrating Chinese cosmology into hermeneutics through ontology, he tacitly challenged philosophers in the West to re-examine assumptions about humanity’s place in nature and by implication, Gadamer’s recovery of the beginnings of knowledge in Western philosophy. -/- Cheng’s Neo-Confucianism is inspired by the method and goals of Thomé H. Fang. The following words by Fang seem to prefigure, although in an indistinct and bundled way, aspects of Cheng’s philosophy including a Mencian theory of human nature, comprehensive observation, and creativity: “In the very process of living in concord with creative Nature, Man is charged with an ideal to be fully realized in the light of the principle of comprehensive harmony.”5 Like Fang, Cheng reinvigorates Chinese culture and language, but not solely in order to vindicate the insights of Neo-Confucianism. He has studied Western thought, from pragmatism and the analytic school to German idealism and phenomenology, to unlock and clarify philosophical concepts within the Yijing tradition and thereby render them intelligible to Anglophones. The result has been an awakening of Western scholars to the moral and cultural consequences of decoupling their thought from metaphysical foundations that are neither dogmatic nor doctrinal. -/- Not unlike the dialectic of Gadamer’s dialogue form, onto-generative hermeneutics integrates contrary positions on the same topic in order to blend both sides into a world philosophy, or as Cheng says, a “totalizing or integrative theory,”6 not to be confused with a theoretical rewording of a theory. On the contrary, the universal scope and relevance of hermeneutics stems from personal experience. Just as Gadamer, in response to faction and strife, immersed himself in Plato during the war years, and developed a method with which to harmonize opposites, so too, according to On-cho Ng, was Cheng moved by faction, strife and political persecution to develop a path toward unity.7 Gadamer taught at McMaster University in Hamilton, Ontario, and Cheng at the University of Hawai’i at Manoa among other institutions in North America. They facilitated trans-continental educational and cultural ties. Similar experiences yield similar insights irrespective of differences of time and place. Hence, authors in this issue who reside in Europe, China and North America, delineate the differences between Gadamer and Cheng, yet also, in light of Cheng’s onto-generative method and cosmology, develop integrative theories. Due to the page-budget restriction of the publisher, certain articles of this special theme will be subsequently published in the next issue. -/- 2 Integrative Theory This special issue of The Journal of Chinese Philosophy confirms a dimension of hermeneutics that Cheng has both motivated and inspired. The contributors do not abide by the conviction that since thought is mediated by language, interpretations cannot transcend culture. On the contrary, their research exemplifies the fruits of trans-historical onto-dialogical hermeneutics within limits defined by their field inquiry, organized into Parts I and II, around three themes: language, the philosophy of history and ethics. -/- Andrew Fuyarchuk introduces the theme of ontology in relation to Gadamer’s turn to language. Fuyarchuk argues that Chung-ying Cheng’s criticism of Gadamer’s hermeneutics is informed by Heidegger’s concept of Dasein and thereby overlooks how Gadamer’s Platonic-Pythagorean problem of the division between the One and Many is harmonized in the event of language, which in turn positions Gadamer in proximity to the presupposed grounds of receptivity in Cheng’s onto-generative hermeneutics. Lauren Pfister’s contributing article addresses the year 2000 meeting between Cheng and Gadamer in Heidelberg and expands the transhistorical grounds of meaning in Gadamer to matters of theology. Pfister’s summary of the written Chinese record of their conversation indicates that Cheng does not address the role of Christian philosophy and hence, the role of the inner word in Gadamer’s hermeneutics. This is important not only for detecting changes in Cheng’s philosophical development, but also for modifying his hermeneutics along the lines of a living conversation, possibilities explored by Pfister in a sequel to the article submitted to this issue. Nevertheless, by raising the issue of how Gadamer’s turn to language for understanding the meaning of Being extends possibilities in Cheng’s thought, Pfister anticipates the article by Katarina Gajdosova. She returns to the roots of Chinese thought during the Warring States period and broadens the meaning of names in recently excavated texts. Contrary to the conventions about how to understand terms, she appeals to both Heidegger’s ontology and Cheng’s notion of receptivity and creativity to reinterpret naming in relation to cosmology. Along the same lines, insofar as the event of Being is lingual, Jay Goulding captures its emergent structure in an evolving community of scholars and scholarship. He recalls his philosophical journey toward Cheng’s philosophy that begins in conversations with Gadamer at McMaster University in Hamilton, leads to Heidegger and Asian thought, expands into turning points with teachers and colleagues from various backgrounds that by increments contributed to Goulding’s formulation of “Daoist phenomenology.” -/- Although differing traditions guide their inquiries and research, Cheng and Gadamer recall the wisdom of the past to ameliorate the fragmentation in contemporary life. This leads them to re-examine the origins of philosophy; historical roots and thus sources of creative re-interpretations East and West whose affinities are developed in contributions by Hyun Höchsmann and Friederike Assandri. Höchsmann assesses convergences and divergences in the origins of Chinese and Western philosophy (Confucius and Socrates, the Yijing and Pre-Socratics) that culminates in pairing Gadamer’s understanding of paideia in the context of Plato’s political cosmology in the Timaeus with moral and social cultivation in The Western Inscription. She delineates the limits of this comparison which in turn justifies introducing Vattimo’s notion of locality. Assandri’s comparative analysis moves between India and China, Buddhism and Tang Daoism. Based on Gadamer’s argument that writing detaches concepts from their cultural moorings, she defines and applies three levels of understanding in onto-generative hermeneutics to Buddhist terms that were assimilated into the Benji Jing and in so doing clarifies essential dimensions of Daoism. -/- Contributions by Stephen Palmquist and Nicholas Brasovan position Cheng in relation to Kant and Gadamer by way of Aristotle’s ethics respectively. On the one hand, Palmquist plots Cheng’s evolving criticism of Kant’s moral philosophy and draws on crucial dimensions of Gadamer’s hermeneutics to reposition that criticism in a constructive relation to Kant’s emphasis on the philosophical conditions of morality while also indicating how religious dimensions of his thought answer Cheng’s concerns for lived moral action. For Palmquist, Gadamer enables a constructive criticism of Cheng. On the other hand, Brasovan compares Cheng’s Yijing-based account of moral deliberation with Gadamer’s Aristotelian-based ethics and reasons that in contrast to Cheng, Gadamer’s hermeneutical consciousness is disengaged from practical knowledge. For Brasovan, Cheng is a constructive critic of Gadamer. Palmquist and Brasovan’s divergent angles on Gadamer and Cheng map onto a dialectic of contrast and complementarity that constitutes the inner logic of Cheng’s philosophy. In other words, Gadamer and Cheng ought to be read alongside one another for the sake of removing discrepancies and contradictions, which constitutes the organic structure of their thinking. -/- 3 Our Mode of Being in History Is Not Historical The conversations between Cheng and Gadamer in this issue of The Journal of Chinese Philosophy pivot on language, philosophy of history and ethics within a comparative framework of analysis, but also explore the grounds that make the comparisons possible. Those grounds are informed by Chinese cosmology, and function to wrest Gadamer from the shadow of Heideggerian facticity and reposition him within the range of Cheng’s ideas about our place in nature that is embedded in his question about how mind emerges from inorganic matter.8 -/- For Gadamer scholars of Heidegger, human finitude, our ownmost individuating death ensures that hermeneutics is always open to the other as other, always on the way toward understanding the meaning of Being. To arrest the process in a concept of “the Absolute” cannot but represent someone’s point of view, and thereby render hermeneutics indistinguishable from ideology. However, insofar as finitude is defined by them in terms of an onto-theological concept of immorality, finitude is a metaphysical concept consistent with epistemologies and confuse beings with the meaning of Being. As a result, the celebrated political value of hermeneutics to always be on the way toward an understanding of the meaning of Being admits subtle variations on the same worldview that are insufficiently self-critical. -/- Gadamer scholars of Heidegger are right. A transformation in ethos and opening to the meaning of Being depends on awareness of finitude. Yet this awareness does not yield openness to more of the same, i.e., discourse structurally incapable of coming to unity but instead, for both Gadamer and Cheng, openness to a distinctly different ontological dimension of reality. As Sandra Wawrytko and So-Seong Park indicate,9 this ontological dimension is prefigured in the experience of being-as-a-whole or the totality of all possible relations in both Chinese totemic shamanistic rituals,10 and Greek Dionysian festivals.11 Through these religious experiences human ethos and therefore consciousness is expanded and elevated from being centered on one’s ownmost concerns toward an affinity with all sentient beings from insects and plants to animals. The channel for this affinity is an auditory disposition and hence, the emotions, compassion, and feeling response. -/- The capacity for an auditory disposition, or as Gadamer calls it, listening consciousness to respond to the inter-relationality and therefore inherent balance of nature is developed through music, song and dance of the religious rituals and festivals. They facilitate the unity of mind with nature. This use of music, that transforms ordinary consciousness, explains Cheng’s emphasis on the receptivity of feeling response in comprehensive observation, and Gadamer’s emphasis on openness to the other in attunement. However, an auditory disposition characteristic of pre-literate oral cultures that reveals the “All” need not rely on religion. As theorists about the evolution of language have explained,12 modern languages preserve their pre-historical past in music or prosody. That is to say, the song and dance that revealed the totality of inter-related beings to an ethos of comprehensive observation and attunement toward beings in classical civilizations is retained in the back-and-forth movement or rhythm of the dialogue form. Our mode of being in history is a mode of being in nature – through the music of language. -/- While alerting the reader to the limits of a nominalist interpretation, Gadamer expresses the inner law of the nature as follows: “in perishing there is always becoming, and in becoming there is always perishing.”13 Considered in process, opposites generate and blend into each other. This law of nature applies to everything.14 Hence, in a manner comparable to Pfister’s concluding insights, onto-dialogical hermeneutics is not only open to discrete events of otherness but moreover, to the moving structure of reality expressed, as Gajdosova suggests, in the existential moment of naming. Considered as interplay of tension and resolution with a life of its own, the dialectic of a dialogue is self-similar to the way in which an organism grows (by instinct). There is, therefore, a sense in which the art of interpretation extends the human mind into the eternal cycles of nature such that we participate in the articulation of the inner telos/homeostasis toward which all beings strive and importantly for Gadamer scholars of Heidegger, within the material limits of energy to which our embodied minds are self-evidently subject. In mortality there is always immortality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Destruction and Transcendence in W. G. SebaldMark R. McCullohIFor all the Saturnine pessimism of W. G. Sebald's application of Walter Benjamin's view of historical process (an attitude toward history expounded upon at length in an influential work by Susan Sontag), the author's sense of irony about the human predicament is irrepressible. 1 Human beings seem destined to remain prisoners of various paradoxes—they both create and destroy, they are capable (...) of acts of love as well as bitterness and hate, they make efforts to document and communicate, but at the same time they tend to forget and are given to suppressing the truth, they are driven by ideals, yet remain hobbled by imperfection. Art and music, passed on from generation to generation, seem to be the most common way that human beings transcend the strictures of their imperfections, inadequacies, and their finitude. And to the extent that art indeed survives over time, and continues to be perceived and appreciated by beholders, the aesthetic enterprise succeeds. However, ultimately, as the Book of Ecclesiastes and Shelley's "Ozymandias" remind us, all human endeavor is in vain, and, to assume the perspective of physical cosmology for a moment—and in this regard Benjamin's cosmic vision appears painfully accurate—our speck of earth, dwarfed by a vast universe the true immensity of which has been revealed by the Hubble Telescope, will one day be ground to dust and debris like the rings of Saturn, and our sun will exist only as a burned-out hulk. But such a future world, devoid of beholders, and devoid of creators and their artifacts, is not Sebald's primary subject, even though it clearly forms the teleological backdrop for his third novel, The Rings of Saturn (1995, English version 1998). Rather, Sebald pursues his art in spite of a terminal prospect that will ultimately confront our [End Page 395] planet and solar system. His primary subject, the effect of trauma on individual and collective experience, is instead closely linked with the passing of Europe as a tradition, as an idea—as an idiosyncratic and innovative, but inherently corrupt contributor to cultural history. In the course of his narratives he also addresses the redemptive role of art in memorializing the past and attempting to capture the passing present. In both respects he attends to the humane and the sublime as well as the tragic and the grotesque.Paraphrasing the art historian Svetlana Alpers, one early reviewer of Sebald's novel Austerlitz (2001) points out the self-contradictory nature of preserving the transient moment in art:Why create visual art at all when everything on earth must be represented in its inexorable transitoriness; why paint earthly scenes with such incredible care and precision as if they were permanent? 2The care and precision of the painter's craft (in this case, the Dutch still-life painter David Bailly) are devoted to the representation of a scene that is by its very nature transient and even tenuous—like the scenes of sublime beauty in Sebald's fiction, the artist's depiction "courts and admits" its own fragility. What Bailly does visually, Sebald attempts in words. Take, for instance, the following passage from Vertigo, Sebald's first novel, which was titled in German (with considerably more irony) Schwindel. Gefühle 3 :At a hairpin bend I looked out of the turning bus down into the depths below and could see the turquoise surfaces of the Ferstein and Smaranger lakes, which, even when I was a child, on our first excursions into the Tyrol, had seemed to me the essence of all conceivable beauty.(p. 176)The author has already prepared the reader for this moment of awe by remarking on the otherworldly "slow-motion quality" of the waterfalls descending from the mountain cliffs and on the boulders in their screes spreading downwards into the wooded hillsides, "screes which reached from the mountains down into the forests like pale fingers into dark hair..." (p. 176). Examined closely, the passage in question suggests both the enduring power of natural beauty and, especially with its precise reference to an automobile long since out of production and unfamiliar to... (shrink)

Images and Power: Rock Art and Ethics addresses the distinctive ways in which ethical considerations pertain to rock art research within the larger context of the archaeological ethical debate. Marks on stone, with their social and religious implications, give rise to distinctive ethical concerns within the scholarly enterprise as different perceptions between scholars and Native Americans are encountered in regard to worldviews, concepts of space, time, and in the interpretation of the imagery itself. This discourse addresses issues such as the (...) conflicting paradigms of oral traditions and archaeological veracity, differing ideas about landscapes in which rock art occurs, the intrusion of "desired knowledge", and how the past may be robbed by changing interpretations and values on both sides. Case studies are presented in regard to shamanism and war-related imagery. Also addressed are issues surrounding questions of art, aesthetics, and appropriation of imagery by outsiders. Overall, this discourse attempts to clarify points of contention between Euro-American scholars and Native Americans so that we can better recognize the origins of differences and thus promote better mutual understanding in these endeavors."--Publisher's website. (shrink)

My thesis is that there is an aesthetic dimension of nature that is metaphysically significant, qualitatively pluralistic, and artistically creative, and that this accounts for the sensuous complexity of experience, as well as the possibility of discovering new qualitative features about the world and expressing them in novel forms, as exemplified in art. I call the philosophy that endorses the reality of this dimension Transcendentalist Aesthetics. The term "Transcendentalist" recalls the philosophy of New England Transcendentalism with its core in Ralph (...) Waldo Emerson, and which influenced the philosophical writings of Charles S. Peirce and the art of the nineteenth-century American landscape painters of the Hudson River School and Luminism. The primary overall goal is to present and argue for a Transcendentalist Aesthetics by making use of the philosophy of Emerson and Peirce, together with the writings and landscapes of the painters. More specifically, Emerson's claims about nature and art and the painters' representations of nature provide various poetic observations of nature that provide an empirical starting point concerning the rich aesthetic complexity of the world. This complexity finds a theoretical ground in Peirce's metaphysical cosmology, which presents a rationally coherent account of the greater structures and processes of the universe while possessing important aesthetic consequences for lived experience and art. The landscape paintings also have a role in that they are expressive of the Transcendentalist philosophy itself, serve as case studies for theoretical interpretation, and are concrete evidence that new qualitative features about the world may be discovered and realized in novel artistic ways. (shrink)

The notion of a harmonious universe was taught by Pythagoras as early as the sixth century BC, and remained a basic premise in Western philosophy, science, and art almost to our own day. In Touches of Sweet Harmony, S. K. Heninger first recounts the legendary life of Pythagoras, describes his school at Croton, and discusses the materials from which the Renaissance drew its information about Pythagorean doctrine. The second section of the book reconstructs the many facets of this doctrine, and (...) the final section shows its influence on Renaissance poetics. Professor Heninger's magisterial work introduces the reader not only to Pythagoras but to a host of other classical, medieval, and Renaissance figures as well--from Plato and Aristotle through St. Augustine and Macrobius down to Sidney and Spenser. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Techniques of the Self:Nourishing Life as Art of LivingLi Manhua (bio)Daoism and Environmental Philosophy: Nourishing Life. By Eric S. Nelson. London and New York: Routledge, 2021.This essay proposes an account of the techniques of the self in early Daoism in light of Eric S. Nelson's Daoism and Environmental Philosophy: Nourishing Life (Routledge, 2021). It argues that the techniques of the self involved in nourishing life (yangsheng 養生) are indispensable (...) to the creation of the interdependent human-nature rapport that Nelson considers. Such interdependence does not require a moralistic stance that negates the self or forsakes individual desires in the cause of the environment—as in some of the existing Western ecological discourse—but a new form of self-relation involving the practice of a set of techniques of the self that relates the human to the non-human. The present contribution begins by arguing that the practice of nourishing life entails a series of bodily and spiritual techniques (shu 術) of the self, with the example of Cook Ding. This is followed by my exposition of different categories of such techniques, and why the techniques of nourishing the spirit (shen 神) are prioritized over those of the preservation of the bodily form (xing 形). Finally, I extend my discussion on the specific techniques of nourishing the spirit with regard to his chapter "Emptying Ecology," where Nelson argues that undoing fixations of the self and being responsive (ying 應) to things are attainable through deconstructive, skeptical, and paradoxical communicative strategies (p. 80).To start with, Nelson regards nourishing life as a way of living and speaking that goes beyond the binary opposition or a hierarchical relation between the human and other forms of life in some Western ecological philosophies:In the current crisis conditions, it appears that humans need every motivating ecology available whether it be light or dark green, anthro- or bio-centric, shallow or deep. All of these contending discourses are equalized in a Daoist ecology of shifting perspectives and ways of speaking. A benefit of dao-centric models—that as inflections of the "way" encompass and extend beyond notions of "bios" (specific life) and "zōe" (life in general)—is that they contest the binary oppositions and stratified hierarchies that have dominated recent Western environmental discourses: anthropocentrism/biocentrism, and humanism/posthumanism [End Page 762] (although the latter finds biocentrism still too anthropocentric in positing the very distinction between them).(p. 31, my emphasis)In other words, a non-hierarchical and non-opposing rapport between the human and the non-human lies in a practice of changing perspectives and, more concretely and importantly, adjusting communicative ways. Such a way of perceiving and speaking beyond boundaries between the individual and the general forms of life (sheng 生) is epitomized by the practice of nourishing life of Cook Ding in the third chapter of the Zhuangzi 庄子, titled "The Master of Nourishing Life" (Yangsheng zhu 養生主). When Ding—Lord Wenhui's chef—cuts up an ox, he avoids violent and forced slaughter, slitting through the tender parts of the animal without touching any bone. As such, by concentrating only on the intestines of the ox, his movement is so agile that the knife produces a musical rhythm.More precisely, Nelson regards the example of Ding as "a cultivated and practiced process in which nature can come to be itself" (p. 36). In the context of the Zhuangzi, nature (tian 天) as an extension of the Dao goes beyond the "one-and-many" anthropocentric paradigm wherein humans have exclusive knowledge of the One, namely the unifying principle of reality (Chai 2018, p. 265). In this sense, specific life forms, bios, are undifferentiated from the wholeness of the One in the generic life, zōe. In other words, as the root of all life lies in Dao in terms of the onto-cosmological attunement of nothingness (wuwei 無為), our bodies (shen 身) mirror Heaven or Nature (tian 天) and the Earth (di 地) in the way they attune to the flow of vital energetic dynamics, responding to the myriad things and Heaven and Earth in an organic totality. This is manifest in Ding, as he nourishes life by turning his daily activity into a practice of encountering non-human life forms... (shrink)

Ong, Caroline Whilst the reason and purpose of suffering may never be fully understood, there are ways of enduring, transcending and growing resilience to how it affects us. Our experience of suffering lies in the web of perceptions that involve our physical, spiritual and cosmological beliefs. Referencing Pain Seeking Understanding: Suffering, Medicine and Faith, edited by Margaret E. Mohrmann and Mark J. Hanson, this article gives a brief exploration of some propositions as to why an all-powerful, good God would allow (...) suffering to exist. From these various perspectives and using examples cited in the book, the article proposes that the healing art of medicine, honed through years of experience, knowledge and wisdom, can help individual patients endure and transcend suffering, and be whole once again. (shrink)

Edgar Wind was one of the most distinguished art historians and philosophers of the twentieth century. He made crucial contributions to debates on aesthetics and on the interdisciplinary nature of cultural history involving such other leading figures as Ernst Cassirer and Erwin Panofsky. It is not always realised, however, that his early thinking was moulded by a concern with the German philosophical tradition, culminating in the analysis of the meaning and function of scientific experimentation and proof. This first edition in (...) English of Edgar Wind's important work Das Experiment und die Metaphysik: Zur Auflosung der kosmologischen Antinomien (1934) also carries a new introduction by Matthew Rampley, placing Wind's philosophical thinking in context. The work is being published to coincide with the opening in 2000 of the Sackler Library at Oxford, which will include a Wind Reading Room. (shrink)

Understanding Ukrainian sacred art is impossible without understanding how ancient Ukrainians felt space and time, transformed and materialized this understanding in signs, the most ancient among which is the circle, square and cross. These symbols are universal spatial and temporal signs that play the role of archetypes and have deep pre-Christian roots and origins. Their original, cosmological essence of the understanding of nature, the desire to convey the divine essence through comprehension of space and time converges the sacred art of (...) the Christian, Hindu and Islamic worlds. (shrink)

The project ‘Te Kore Rongo Hungaora’/‘Uncontainable Second Nature’ is predicated on a bridge between Māori and European cultures. Based on this view, works from art and science were re-contextualized as cultural texts symbolic of belief systems. The project was conceived and curated for exhibitions in Istanbul and Rio de Janeiro. Discipline was not viewed as fixed, but fluid in a transformational environment. Five themes were selected from within European and Māori world-views: cosmological context, all is energy, life emerged from water, (...) anthropic principle and integrated systems. The selected works addressed more than one of these thematic regions. While aspects of thinking might be shared across a cultural boundary, the agreement is only at the level of summary of view, rather than at the level of detail. This distinction is important in moving human thinking forward to an integrated condition particularly where negotiating hybridity is concerned. Certainly knowledge is advanced in a sense, and cultural bridging can be observed in practice at several New Zealand organizations such as the National Institute of Water and Atmospheric Research, the Institute of Geological and Nuclear Sciences and the Department of Conservation which all employ staff whose position entails observance and care of Māori perspectives on subjects under investigation and study. The connection between the work of Kaumatua (elder) Dr Te Huirangi Waikerepuru and Zoologist Mike Paulin in the exhibitions was semantic rather than computational. Here the function of metaphor in uniting what were previously considered divergent world-views becomes apparent. Myth is often reported as distinctive to a specific culture, however, considering interconnections ignites a more expansive view of culture and consciousness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.1 (2005) 37-75 [Access article in PDF] The Nature of Paradigms and Paradigm Shifts in Music Education Elvira Panaiotidi North Ossetian State Pedagogical Institute, Russia The advent of the praxial philosophy of music education in the mid-1990s and its systematic development in David Elliott's Music Matters: A New Philosophy of Music Education1 created an unprecedented situation in music education in North America. Having brought (...) to an end the monopoly of one theoretical approach, that of music education as aesthetic education (MEAE), it challenged the music education community with a choice. While Elliott tried to convince music educators of the falsity of MEAE and of the advantages of his own conception, Bennett Reimer and his proponents defended their position. The polemic between "aestheticians" and "praxialists," represented by the exchange between Reimer and Elliott in the Bulletin of the Council for Research in Music Education, 2 brought to light a methodological deficiency in music education theory, namely, its inability to provide tenacious theoretical footing which could help settle the dispute. How do changes in the theory and practice [End Page 37] of music education occur? What are the rational standards by which to judge theories? What is the nature and logic of a dynamic development in music education theory and practice? These and similar questions have remained largely unapproached by music educators.The present paper is an attempt to initiate a discussion on these issues by exposing one possible metatheoretical strategy. As the title suggests, the strategy I am going to employ is based on the concept of paradigm. This Greek term which was once used to describe Platonic ideas, nowadays broadly circulates in descriptions of transformative processes in nearly every domain of life: we hear about paradigm shifts in musicology, the job market and tax policy, genetics, and so on. It is usually used as a kind of unproblematic category with a precisely defined and commonly accepted meaning, so that no indication of the origin of its usage in a given context is provided. In most cases, however, it turns out that "paradigm shift" is equivalent to and stands for "change" of whatever type, scope, or depth and is preferred because it is a mode or perhaps because it sounds more pretentious. In contrast to this tendency, both "paradigm" and "paradigm shift" are taken here most seriously and their usage is intimately related to the tradition in philosophy of science established by Thomas S. Kuhn's The Structure of Scientific Revolutions.3 This may appear dubious after we have been recently told that the impact of this book and the very concept of paradigm have "been largely, but not entirely, for the worse," namely, "to dull the critical sensibility of the academy" and "to kill the historicist impulse."4 "Kuhnification," it has been argued, is responsible for the suppression of free inquiry and bringing about "paradigmitis," a syndrome characterized by "a collective sense of historical amnesia and political inertia."5 Nonetheless, it is my contention that the paradigm approach per se is not dismissed by the criticism of Kuhn's conception and can be modified in such a way as to be made fruitful for structuring music education discourse and the explication of theory development in music education. To show how this is possible is the task before me.Underlying this project is the idea that theory development in music education can be adequately grasped and appraised in terms of more general units than specific theories which I shall call paradigms. That I am giving preference to this term and not choosing another from the group of providers of the conceptual framework that have been suggested throughout the history—"research tradition" (Laudan), "research programme"(Lakatos), "comprehensive cosmological point of view" (Feyerabend)—is that I find it more pertinent: it is neutral enough and allows for modifications which are necessary in view of the specific nature of music education discourse.In what follows, I will begin with an examination of Peter Abbs' account of paradigms and paradigm shifts in arts education. I... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.1 (2005) 37-75 [Access article in PDF] The Nature of Paradigms and Paradigm Shifts in Music Education Elvira Panaiotidi North Ossetian State Pedagogical Institute, Russia The advent of the praxial philosophy of music education in the mid-1990s and its systematic development in David Elliott's Music Matters: A New Philosophy of Music Education1 created an unprecedented situation in music education in North America. Having brought (...) to an end the monopoly of one theoretical approach, that of music education as aesthetic education (MEAE), it challenged the music education community with a choice. While Elliott tried to convince music educators of the falsity of MEAE and of the advantages of his own conception, Bennett Reimer and his proponents defended their position. The polemic between "aestheticians" and "praxialists," represented by the exchange between Reimer and Elliott in the Bulletin of the Council for Research in Music Education, 2 brought to light a methodological deficiency in music education theory, namely, its inability to provide tenacious theoretical footing which could help settle the dispute. How do changes in the theory and practice [End Page 37] of music education occur? What are the rational standards by which to judge theories? What is the nature and logic of a dynamic development in music education theory and practice? These and similar questions have remained largely unapproached by music educators.The present paper is an attempt to initiate a discussion on these issues by exposing one possible metatheoretical strategy. As the title suggests, the strategy I am going to employ is based on the concept of paradigm. This Greek term which was once used to describe Platonic ideas, nowadays broadly circulates in descriptions of transformative processes in nearly every domain of life: we hear about paradigm shifts in musicology, the job market and tax policy, genetics, and so on. It is usually used as a kind of unproblematic category with a precisely defined and commonly accepted meaning, so that no indication of the origin of its usage in a given context is provided. In most cases, however, it turns out that "paradigm shift" is equivalent to and stands for "change" of whatever type, scope, or depth and is preferred because it is a mode or perhaps because it sounds more pretentious. In contrast to this tendency, both "paradigm" and "paradigm shift" are taken here most seriously and their usage is intimately related to the tradition in philosophy of science established by Thomas S. Kuhn's The Structure of Scientific Revolutions.3 This may appear dubious after we have been recently told that the impact of this book and the very concept of paradigm have "been largely, but not entirely, for the worse," namely, "to dull the critical sensibility of the academy" and "to kill the historicist impulse."4 "Kuhnification," it has been argued, is responsible for the suppression of free inquiry and bringing about "paradigmitis," a syndrome characterized by "a collective sense of historical amnesia and political inertia."5 Nonetheless, it is my contention that the paradigm approach per se is not dismissed by the criticism of Kuhn's conception and can be modified in such a way as to be made fruitful for structuring music education discourse and the explication of theory development in music education. To show how this is possible is the task before me.Underlying this project is the idea that theory development in music education can be adequately grasped and appraised in terms of more general units than specific theories which I shall call paradigms. That I am giving preference to this term and not choosing another from the group of providers of the conceptual framework that have been suggested throughout the history—"research tradition" (Laudan), "research programme"(Lakatos), "comprehensive cosmological point of view" (Feyerabend)—is that I find it more pertinent: it is neutral enough and allows for modifications which are necessary in view of the specific nature of music education discourse.In what follows, I will begin with an examination of Peter Abbs' account of paradigms and paradigm shifts in arts education. I... (shrink)

Master Sun's _The Art of War_ is by no means the only ancient Chinese treatise on military affairs. One chapter in the _Huainanzi_, an important compendium of philosophy and political theory written in the second century B.C.E., synthesizes the entire corpus of military literature inherited from the Chinese classical era. Drawing on all major, existing military writings, as well as other lost sources, it assesses tactics and strategy, logistics, organization, and political economy, as well as cosmology and the fundamental (...) morality of warfare. This powerful work set out to become the last word on military matters, subsuming and replacing all preceding literature. Written under the sponsorship of Liu An, king of Huainan, the _Huainanzi_'s "military methods" emphasize the preservation of peace as the ultimate value to be served by the military, insisting that the army can be effectively and rightly used only when defending the sacred hereditary position of the emperor and his vassals. This position stands in stark contrast to that of _The Art of War_, which prioritizes the enrichment and empowerment of the state. Liu An's philosophy also argues that military success depends on the personal cultivation of the commander and that deception is not enough to secure victory. Only a commander with the exceptional qualities of insight and cognition, developed through a program of meditative practice and yogic refinement, can effectively control and interpret the strategic situation. Andrew Seth Meyer offers both a full translation of this text and an extensive analysis of its historical context. His thorough treatment relates Liu An's teachings to issues in Chinese philosophy, culture, religion, and history, helping to interpret their uncommon message. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Role of the Heavens in the Thought of Philip MelanchthonCharlotte MethuenPhilip Melanchthon has long been recognized as one of the central figures in the German Lutheran Reformation. His theological contribution to the Reformation may be found in his codifying of Lutheran theology in the Confessio Augustana and in the Loci Communes, the first major Lutheran theological textbook, which long remained a central text for the teaching of theology (...) in Lutheran schools and universities. A teacher at the University of Wittenberg from 1518 until his death, Melanchthon was also involved in the reform of universities and the establishment of school systems throughout Lutheran Germany. These reforms facilitated the spread of the Reformation by encouraging the development of Lutheran educational principles and the establishing of Humanist education as the basis for the schools and universities of Lutheran Germany, and Melanchthon’s role in this process has led to his being accorded the title Praeceptor Germaniae. 1 More recently, Melanchthon has also been hailed as the initiator of a new “Lutheran” approach to natural philosophy. 2 It is my contention in this article that Melanchthon’s interest in natural philosophy is integrally connected to his educational interest and that these hang upon a particular theological and cosmological [End Page 385] understanding of the universe, particularly the heavens, as becomes clear from his defense of astronomy.I. Despite his theological interests and his commitment to the dissemination of Lutheran theology, Melanchthon was reluctant to teach theology and remained primarily concerned with the teaching of the subjects which made up the curriculum of the arts faculty in a sixteenth-century university. It was as Professor of Greek that he was originally appointed to the University of Wittenberg, and he had a deep interest in the teaching of ancient languages, especially Greek, and in the study of ancient texts in their original form rather than through later commentators. His promotion of the trivium (grammar, logic, and rhetoric) led him to write a textbook in each of these areas; and these works continued to be used as prescribed works in many German universities into the seventeenth century. 3 As an educator Melanchthon was thus firmly in the humanist mold. However, Melanchthon’s interests did not only take in the teaching of languages; he also promoted the teaching of both moral and natural philosophy. 4 Moreover, he was a strong advocate of the teaching of the mathematical sciences, particularly arithmetic, geometry, and astronomy. These, together with music, made up the quadrivium, which complemented the linguistic arts.In Melanchthon’s day the mathematical sciences had long been accepted as part of the arts curriculum, 5 even if in practice minimal attention had been paid them at many universities. 6 Their ambiguous status is reflected by the attitude taken by many humanist reformers, who did not regard arithmetic, geometry, astronomy, and music as an essential part of the curriculum. Thus Erasmus believed that music, arithmetic, and geography should be taught only to pupils who had a particular interest in these subjects 7 and that knowledge of nature, astrology, architecture, and other related subjects would come from reading the ancient authors. 8 In a similar vein Juan Luis [End Page 386] Vives argued that mathematics tended to divorce the mind from the practical concerns of life and that its study was not, therefore, to be recommended. 9 In contrast Melanchthon seems to have recognized the value of the study of the mathematical sciences from the beginning of his scholarly career. Perhaps he was inspired by his professor of mathematics at Tübingen, Johannes Stöffler, a gifted mathematician who wrote his own Arithmetic and was also fluent in the praise of his subject. 10 In an early oration, De artibus liberalis, delivered in Tübingen in 1517, Melanchthon praises arithmetic as a principal part of philosophy; geometry for its role in producing the wonderful machines of war and the beautiful ornaments of cities; music for its elegance and harmony; and astronomy (very briefly) for its applications in medicine. 11This oration should almost certainly be read as part of the tradition of orations and odes which extolled each of the liberal arts for its practical (and often also... (shrink)

In this essay, Russell G. Moses argues that Charles S. Peirce’s article “Evolutionary Love” establishes a general normative framework for a logic of evolutionary, progressive imagination that can be used to elucidate an evolutionary continuity between the normative works of Jane Addams, John Dewey, and Alain Locke. This exercise contributes to an understanding of pragmatism as a philosophy that seizes insights from evolution in order to normatively reconstruct dynamic meanings of truth, reality, ethics, politics, and art. In a dynamic model (...) of progressive evolution — one homologous to the Golden Rule of “love your neighbor” — we find a normative cosmology that animates the moral imagination of philosophy toward what Addams called “democracy and social ethics.” Moses concludes that in the Peircean model, together with subsequent developments, we may ultimately apprehend that evolution suggests a general form of development that may be hypothesized as a worthy normative guide for universal progressive education. (shrink)

This book explores interdisciplinary approaches to animal-focused curriculum and pedagogy in environmental education, with an emphasis on integrating methods from the arts, humanities, and natural and social sciences. Each chapter, whether addressing curriculum, pedagogy, or both, engages with the extant literature in environmental education and other relevant fields to consider how interdisciplinary curricular and pedagogical practices shed new light on our understandings of and ethical/moral obligations to animals. Embracing theories like intersectionality, posthumanism, Indigenous cosmologies, and significant life experiences, and considering (...) topics such as equine training, meat consumption and production, urban human-animal relationships, and zoos and aquariums, the chapters collectively contribute to the field by foregrounding the lives of animals. The volume purposefully steps forward from the historical marginalization of animals in educational research and practice. (shrink)

In this strikingly original contribution to our understanding of Chinese philosophy,Françle;ois Julien, a French sinologist whose work has not yet appeared in English usesthe Chinese concept of shi - meaning disposition or circumstance, power or potential - as atouchstone to explore Chinese culture and to uncover the intricate and coherent structure underlyingChinese modes of thinking.A Hegelian prejudice still haunts studies of ancient Chinese civilization:Chinese thought, never able to evolve beyond a cosmological point of view, with an indifference toany notion of (...) telos, sought to interpret reality solely on the basis of itself. In thisgroundbreaking study, prejudices toward the simplicity and "naiveté" of Chinese thought, Hegelianand otherwise, are dismantled one by one to reveal the intricate and coherent structure underlyingChinese modes of thinking and representing reality.Jullien begins with a single Chinese term, shi,whose very ambivalence and disconcerting polysemy, on the one hand, and simple efficacy, on theother, defy the order of a concept. Yet shi insinuates itself into the ordering and conditioning ofreality in all its manifold and complex representations. Because shi neither gave rise to anycoherent, general analysis nor figured as one of the major concepts among Chinese thinkers, Jullienfollows its appearance from one field to another: from military strategy to politics; from theaesthetics of calligraphy and painting to the theory of literature; and from reflection on historyto "first philosophy."At the point where these various domains intersect, a fundamental intuitionassumed self-evident for centuries emerges, namely, that reality - every kind of reality - may beperceived as a particular deployment or arrangement of things to be relied upon and worked to one'sadvantage. Art or wisdom, as conceived by the Chinese, lies in strategically exploiting thepropensity that emanates from this particular configuration of reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 64.2 (2003) 149-157 [Access article in PDF] Introduction:The Uses of Historical Evidence in Early Modern Europe Jacob Soll A leading figure at Cambridge University after World War II, Herbert Butterfield seems an unlikely forerunner of the kind of cultural history that is practiced today. Yet Butterfield was a pioneer. He saw the origins of modern historical consciousness in the scholarly practices of the (...) Renaissance. These practices, he maintained, were a significant part of the slow shift to rationalist thinking that occurred between the fifteenth and eighteenth centuries. In his remarkable work, The Statecraft of Machiavelli (1940), Butterfield sought to show that Machiavelli's inductive use of historical examples was part of a larger empirical movement that slowly replaced religious and classical authority with the new authority of observation and deduction. Like Ernst Cassirer, he saw Machiavelli as an historical counterpart to Bacon, Descartes, Vesalius, and even Copernicus: The significance of the "experimental method" itself was not fully realized or clearly established until after the emergence in the seventeenth century of new scientific apparatus—the telescope, the microscope, and more accurate measuring-instruments for example; and even Bacon and Descartes, whose names have closely been associated with the scientific revolution, can hardly be said to have realized the implications of the new method. There is a transition then, but it is slower than many people have imagined and someone has rightly said that the middle ages do not come to an end until the seventeenth century. Machiavelli, as we shall see, has a place in the transition, for in the political and human sciences as well as the natural sciences a change did occur. Machiavelli is interesting not because he is a modern man [End Page 149] born out of due time, but because he illustrates one of the mediations by which the transition was accomplished. 1Butterfield turned to Emile Durkheim's sociological study of Renaissance education to understand the relationship between traditions of learning and the cosmological shift of the seventeenth century. 2 Durkheim had used Rabelais's portrait of Pantagruel's education to illustrate how the study of ancient language and the rise of historical erudition were not only instruments of aesthetic culture, but also constituted "a mine of positivist knowledge." Citing Erasmus, Durkheim himself maintained that linguistic philology was a preparation for higher disciplines—graviores disciplinæ. 3 The English historian agreed with the French sociologist: traditions of humanist learning were essential elements of a larger ethos of natural and practical studies that differentiated post-humanist Europe from the Middle Ages.Although his later work concentrated on questions of historiography, Butterfield never studied the full effect of historical practices on the learned culture of early modern Europe. 4 These papers seek to pick up where Butterfield left off, to understand the effect that humanist historical consciousness had on educated Europe at large. They will show that questions of historical accuracy and verification were the common link among diverse disciplines between 1400 and 1800. Rather than looking for theories of history and historical method solely in the works of historians, they will examine how non-historians discussed history in terms of their own fields of study. They will show how thinkers in the domains of architecture, art, astrology, education, law, medicine, natural philosophy, politics, and theology saw the importance of historical understanding and how they used it to shape their own particular forms of knowledge. By sketching an overview of the different applications of historical knowledge, we will begin to have a clearer view of the process by which humanism historicized the world of knowledge.Learned culture at the beginning of the seventeenth century is commonly associated with the rise of scientific authority. Church dogma and the Aristotelian logical tradition no longer sufficed to explain natural phenomena and to [End Page 150] quell the curiosity of the learned. 5 As Galileo so recklessly exclaimed, look into the telescope and witness with your own eyes that Aristotle was wrong about the moon. 6 For Galileo's colleague, the great Paduan Aristotelian... (shrink)