In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 30-42 [Access article in PDF] How Can Music Seem to be Emotional? Kingsley Price Johns Hopkins University Preliminary Let me make some preliminary remarks about my question. First, the distinction employed in it, the distinction between seeming and reality, comes in two forms. The first is inclusive. A thing that really is so-and-so also seems to be so-and-so. The butler really (...) is guilty and seems guilty as well. The second is exclusive. A thing that is really not so-and-so seems to be so-and-so. The butler is really not guilty but seems to be guilty. The distinction that underlies my question is of the exclusive form.Second, the music I ask about is not music as read from scores on paper or held in memory. Nor is it music that contains linguistic elements-words or gestures as in song, opera, ballet, etc. Rather, it is purely instrumental music, and that as perceived or heard.Third, the emotions I refer to are not physiological conditions that may cause them, nor the behavior that may express them, but the conscious feelings we find in ourselves when we are undergoing emotion. [End Page 30] The Problem Persons (perhaps even the lower animals) can seem to be, without really being, emotional. They are pretending, or we perceive mistakenly. There is no difficulty, in principle, in explaining the situation. But there would be if they were sculptured persons only-that is, if they could not possibly be emotional. A sculpture cannot seem to be emotional by pretending it; nor can we perceive mistakenly that it is emotional when we know that it is a sculpture only.Much music is like sculpture. Not personal, we know that it cannot really be emotional. None-the-less, we hear the wedding march from Mendelssohn's music for A Midsummer Night's Dream as joyful, the second movement of Chopin's Sonata in B-flat Minor as sorrowful, "The Great Fugue" as grimly resigned, the first movement of the first Razumowski as hopeful, etc. How can this be so? How can music seem to be emotional?I look for an answer to this question, first, within the perception, the hearing of music, and then, without it in its meaning. If seeming emotionality is found in either place, I shall have answered the question. And now, for the first place. The Perception In sense perception there are two major constituents.1 One is awareness; the other is the object of awareness. Awareness occurs in all the kinds of consciousness-in remembering, imagining, dreaming, and thinking, for example, as well as in sense perception. In this last, it is brought about by operation of the senses; while in the others, that operation plays no direct part. But although it differs in its cause, awareness in sense perception is precisely the same, considered in itself, as it is in all the other kinds of consciousness, considered in themselves.What is awareness? It cannot be explained, as many notions can, by eliciting its parts. To understand what squareness is, for example, we need only bring forward the parts that constitute it: four straight lines equal in length, four right angles, and closed plane figure. But awareness has no parts and cannot be explained in this way. To call attention to its simplicity and its identity in all kinds of consciousness, indeed, is all that can be done to explain it though we might add the simile that likens awareness to the light that brings things before our minds out of the dark that conceals them in its absence.Now, hearing is a kind of sense perception-the kind that occurs by virtue of operation of the auditory organs; and music heard is one of the objects of auditory awareness. Can we understand how this object can seem to be emotional by appeal to the awareness of it? If that awareness seemed to exist and did not really do so, the answer would be that we cannot since the awareness of it... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 30-42 [Access article in PDF] How Can Music Seem to be Emotional? Kingsley Price Johns Hopkins University Preliminary Let me make some preliminary remarks about my question. First, the distinction employed in it, the distinction between seeming and reality, comes in two forms. The first is inclusive. A thing that really is so-and-so also seems to be so-and-so. The butler really (...) is guilty and seems guilty as well. The second is exclusive. A thing that is really not so-and-so seems to be so-and-so. The butler is really not guilty but seems to be guilty. The distinction that underlies my question is of the exclusive form.Second, the music I ask about is not music as read from scores on paper or held in memory. Nor is it music that contains linguistic elements-words or gestures as in song, opera, ballet, etc. Rather, it is purely instrumental music, and that as perceived or heard.Third, the emotions I refer to are not physiological conditions that may cause them, nor the behavior that may express them, but the conscious feelings we find in ourselves when we are undergoing emotion. [End Page 30] The Problem Persons (perhaps even the lower animals) can seem to be, without really being, emotional. They are pretending, or we perceive mistakenly. There is no difficulty, in principle, in explaining the situation. But there would be if they were sculptured persons only-that is, if they could not possibly be emotional. A sculpture cannot seem to be emotional by pretending it; nor can we perceive mistakenly that it is emotional when we know that it is a sculpture only.Much music is like sculpture. Not personal, we know that it cannot really be emotional. None-the-less, we hear the wedding march from Mendelssohn's music for A Midsummer Night's Dream as joyful, the second movement of Chopin's Sonata in B-flat Minor as sorrowful, "The Great Fugue" as grimly resigned, the first movement of the first Razumowski as hopeful, etc. How can this be so? How can music seem to be emotional?I look for an answer to this question, first, within the perception, the hearing of music, and then, without it in its meaning. If seeming emotionality is found in either place, I shall have answered the question. And now, for the first place. The Perception In sense perception there are two major constituents.1 One is awareness; the other is the object of awareness. Awareness occurs in all the kinds of consciousness-in remembering, imagining, dreaming, and thinking, for example, as well as in sense perception. In this last, it is brought about by operation of the senses; while in the others, that operation plays no direct part. But although it differs in its cause, awareness in sense perception is precisely the same, considered in itself, as it is in all the other kinds of consciousness, considered in themselves.What is awareness? It cannot be explained, as many notions can, by eliciting its parts. To understand what squareness is, for example, we need only bring forward the parts that constitute it: four straight lines equal in length, four right angles, and closed plane figure. But awareness has no parts and cannot be explained in this way. To call attention to its simplicity and its identity in all kinds of consciousness, indeed, is all that can be done to explain it though we might add the simile that likens awareness to the light that brings things before our minds out of the dark that conceals them in its absence.Now, hearing is a kind of sense perception-the kind that occurs by virtue of operation of the auditory organs; and music heard is one of the objects of auditory awareness. Can we understand how this object can seem to be emotional by appeal to the awareness of it? If that awareness seemed to exist and did not really do so, the answer would be that we cannot since the awareness of it... (shrink)

This article argues that Kaminski’s concept of philosophy meets the requirements for being a Christian philosophy as articulated by John Paul II. In the encyclical letter Fides et Ratio, John Paul II affirmed the possibility, existence, meaning, and need for a Christian philosophy. He distinguished three stances of philosophy concerning the Christian faith. First, philosophy should be completely independent of the Biblical Revelation but implicitly open to the supernatural. A second stance adopted by philosophy is often designated as (...) Christian philosophy. Third, philosophy presents another stance that is closely related to theology. Kamiński constructed an understanding of philosophy that is original, universal, and autonomous. Such a notion of philosophy was based on the classical theory of being, which fulfils the demand for the autonomy of philosophy through its relationship with faith. Kamiński’s doctrinal standpoints in philosophy are rational, objective, and universal. According to him, philosophy is also compatible with the Christian faith. In this sense, one can speak of his philosophy as a Christian philosophy. --------------- Received: 22/04/2021. Reviewed: 06/09/2021. Accepted: 23/10/2021. (shrink)

After examining the ways in which Newman employed the tools of rhetoric in his Apologia pro Vita Sua in response to Charles Kingsley’s charges against him, this essay charts Newman’s use of his personal testimony to proclaim the Gospel and defend the Catholic Faith and concludes with an analysis of the strengths and potential weaknesses of his approach.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 194-199 [Access article in PDF] June Boyce-Tillman, Constructing Musical Healing. (London: Jessica Kingsley Publishers, 2000) June Boyce-Tillman has written a wonderfully stimulating book. Her writing style is eminently readable and the flow of ideas can be readily absorbed. Her forays across many different areas of musical ideation and the various oppositions that exist in and among different cultures reveal that we (...) still have much to learn about the true nature of music. We also have much to change to reach the necessary levels of enlightenment that would be universally beneficial to human life. This book offers some enlightenment. Enlightenment, as the Buddha says, is a process, not a thing, so my purpose here is to give enough of an overview so that you may experience reading the book, the author's cogent insights, posing your own questions about music as a human endeavor, and to consider some of my criticisms.Her primary thesis is spelled out succinctly: My aim in this book is to examine how these polarities are associated with the healing/therapeutic properties of music and how they are reflected in different musical traditions (32). [End Page 194]The emphasis on the healing/therapeutic properties of music is well taken and she pursues these to glorious ends. In examining these properties, one becomes completely engrossed in thinking about music per se, raising both answers and puzzles. Boyce-Tillman effectively plants the seeds for inquiry that remain long after the reading is complete.Chapter 1, "Setting the Scene," is insightful in laying the ground for examining several distinct areas: ways of knowing, notions of well-being, healing as process, models of health, creativity and well-being, and musical development. She then comes to the task prepared to battle with a difficult subject, difficult because of the elusive nature of the subject, by reporting on her own musical and contemplative experiences. It is important to know her own path so that we can examine her conclusions from a deeper perspective.Next she establishes the polarities on which the rest of the book rests, and the framework on which each chapter is built: community/individualism; containment/freedom; expression/confidentiality; unity/diversity; challenge/nurture; excitement/relaxation; and embodiment/transcendence. These are explored after setting forth "A model of the self" and "Music and the model of the self."Two features are helpful to understanding the thesis and keeping track of the narrative. One is the case studies she includes to further explain the specific polarity, and the other is the summary at the end of each chapter which assists greatly in retaining cogent contact with the discourse.Chapter 2, "Of Philosophers and Thinkers," an examination of the Western outlook, although viewed from Boyce-Tillman's healing-therapeutic perspective, is a worthwhile read for even the casual reader. It spans the philosophical/aesthetic area sufficiently so that I will assign the reading of this particular chapter to my graduate students where that subject is appropriate. Here again, the six polarities come into play through an explication of each from the point of view of philosophers, aestheticians, and other writers on music.Having dealt with the Western view, she turns to shamanistic practice in Chapter 3, "Of Shamans and Healers." Intentional or not, these two chapters form a metapolarity for this is where the contrasts are at their widest points. The various dimensions and uses of music as they exist in cultures based on metaphysical beliefs are detailed and revealed through extensive and representative examples.Chapter 4, "Of a New Consciousness," explores the New Age view. She states: [t]he New Age is a many-faceted collection of traditions that has drawn on a variety of sources—both ancient and modern—to balance contemporary trends such as elitism, commercialism, materialism, racism and sexism. It has produced a variety of musical practices, many of the syntheses of ancient traditions and contemporary ideas. Communal music making can represent healing at a personal, ecological and cosmic level. The interconnectedness of the cosmos can be accessed and expressed in music (199). [End Page... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In MemoriamForest HansenKingsley Blake Price, Professor of Philosophy at The Johns Hopkins University for more than three decades, died in Baltimore on October 27, 2009, at the age of 92. He had long served as an editorial consultant for PMER and participated in numerous PME international symposia. His personal and academic life drew admiration from his colleagues, students, and friends (overlapping classes).Kingsley was born in Salem, Indiana, where (...) his father was a Baptist minister. The family moved from there to California, and Kingsley grew up in Berkeley. He earned his B.A. with highest honors from University of California, Berkeley (1938) and went on there for his M.A. (1942) and Ph.D. (1946). His dissertation was on Locke’s theory of knowledge. Kingsley taught first at the University of Washington, then at the University of Nevada and Sarah Lawrence College (where he became a good friend of Susanne Langer) before becoming an assistant professor of philosophy and education at Hopkins in 1953. He retired from Hopkins in 1986. In the meantime he published books and articles, presented invited papers, and traveled extensively, especially to England, France, Italy, and Greece. In 1973–74 he was president of the Philosophy of Education Society.What is especially remarkable about this is that Kingsley became blind at the age of four, as a result of undiagnosed scarlet fever. For the rest of his life he was dependent upon others to read to him (he was never keen on taped readings, and was a consultant to the Library of Congress concerning recordings for the blind). He also needed others to help him with daily practical tasks. Yet he remained fiercely independent and lived alone until his death. He did not use a seeing-eye dog and only rarely a white cane.Besides his two books, Education and Philosophical Thought (1962) and On [End Page 194] Criticizing Music (1982), Kingsley published numerous articles and reviews in the Journal of Philosophy, the Review of Metaphysics, the Journal of Aesthetics and Art Criticism, Educational Theory, the British Journal of Aesthetics, the Philosophy of Music Education Review, and others. His publications were mostly on topics of art (especially music) and education. He had long been working on a manuscript of reflections upon the alleged emotional qualities of music. Kingsley criticized other theories as having inconsistent of otherwise insupportable claims. Some of his former students hope to bring this work to fruition as a book.Kingsley took piano lessons as a youngster and, typically, excelled. As a teenager he placed second in a Major Bowes Amateur Hour radio competition and considered a career as a concert pianist. When one former student asked why he had not pursued that, Kingsley replied that philosophy was more in need of an excellent philosopher than music was of an only good pianist.A February memorial for Kingsley was postponed because of a blizzard in the Baltimore area. On April 25, 2010, former graduate students, readers, colleagues, and friends—some from as far away as California, Wyoming, Hawaii, and Florida—gathered in Baltimore to honor Kingsley and share their remembrances. Besides their expressions of admiration for his philosophical acumen and his rigorous teaching, people noted Kingsley’s high moral principles, his wide range of interests in the humanities, his commitment to efforts promoting world peace, and his connoisseurship in gardening and antique furniture. Many graduate students rode with him on his tandem bicycle, and later invited him to give papers at their colleges. He was a meticulous dresser and was proud of his bow ties, his four-in-hands, and his beret. Besides such personal testimonies by those present, letters by family members, friends abroad, former graduate students, and other friends were read. Photographs were on display, and recordings of some of Kingsley’s favorites by Bach, Schubert, and Vaughan Williams were played.Above all, Kingsley was that rare professor who maintained friendship with many of his students. He is survived by an older brother, two sisters, and numerous nephews, nieces, and their offspring. And by his many friends for whom his life has made a lasting impact. [End Page 195]Forest HansenEaston, Maryland Professor Emeritus, Lake Forest College forestval2... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 194-199 [Access article in PDF] June Boyce-Tillman, Constructing Musical Healing. (London: Jessica Kingsley Publishers, 2000) June Boyce-Tillman has written a wonderfully stimulating book. Her writing style is eminently readable and the flow of ideas can be readily absorbed. Her forays across many different areas of musical ideation and the various oppositions that exist in and among different cultures reveal that we (...) still have much to learn about the true nature of music. We also have much to change to reach the necessary levels of enlightenment that would be universally beneficial to human life. This book offers some enlightenment. Enlightenment, as the Buddha says, is a process, not a thing, so my purpose here is to give enough of an overview so that you may experience reading the book, the author's cogent insights, posing your own questions about music as a human endeavor, and to consider some of my criticisms.Her primary thesis is spelled out succinctly: My aim in this book is to examine how these polarities are associated with the healing/therapeutic properties of music and how they are reflected in different musical traditions (32). [End Page 194]The emphasis on the healing/therapeutic properties of music is well taken and she pursues these to glorious ends. In examining these properties, one becomes completely engrossed in thinking about music per se, raising both answers and puzzles. Boyce-Tillman effectively plants the seeds for inquiry that remain long after the reading is complete.Chapter 1, "Setting the Scene," is insightful in laying the ground for examining several distinct areas: ways of knowing, notions of well-being, healing as process, models of health, creativity and well-being, and musical development. She then comes to the task prepared to battle with a difficult subject, difficult because of the elusive nature of the subject, by reporting on her own musical and contemplative experiences. It is important to know her own path so that we can examine her conclusions from a deeper perspective.Next she establishes the polarities on which the rest of the book rests, and the framework on which each chapter is built: community/individualism; containment/freedom; expression/confidentiality; unity/diversity; challenge/nurture; excitement/relaxation; and embodiment/transcendence. These are explored after setting forth "A model of the self" and "Music and the model of the self."Two features are helpful to understanding the thesis and keeping track of the narrative. One is the case studies she includes to further explain the specific polarity, and the other is the summary at the end of each chapter which assists greatly in retaining cogent contact with the discourse.Chapter 2, "Of Philosophers and Thinkers," an examination of the Western outlook, although viewed from Boyce-Tillman's healing-therapeutic perspective, is a worthwhile read for even the casual reader. It spans the philosophical/aesthetic area sufficiently so that I will assign the reading of this particular chapter to my graduate students where that subject is appropriate. Here again, the six polarities come into play through an explication of each from the point of view of philosophers, aestheticians, and other writers on music.Having dealt with the Western view, she turns to shamanistic practice in Chapter 3, "Of Shamans and Healers." Intentional or not, these two chapters form a metapolarity for this is where the contrasts are at their widest points. The various dimensions and uses of music as they exist in cultures based on metaphysical beliefs are detailed and revealed through extensive and representative examples.Chapter 4, "Of a New Consciousness," explores the New Age view. She states: [t]he New Age is a many-faceted collection of traditions that has drawn on a variety of sources—both ancient and modern—to balance contemporary trends such as elitism, commercialism, materialism, racism and sexism. It has produced a variety of musical practices, many of the syntheses of ancient traditions and contemporary ideas. Communal music making can represent healing at a personal, ecological and cosmic level. The interconnectedness of the cosmos can be accessed and expressed in music (199). [End Page... (shrink)

This essay examines the possibility that Charles Kingsley’s sermon “The True Gentleman” was in part a response to John Henry Newman’s classic definition of the gentleman in The Idea of a University, and explores the principal theological differences underlying the two texts.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:John Henry Newman and the Development of Doctrine: Encountering Change, Looking for Continuity by Stephen MorganReinhard HütterJohn Henry Newman and the Development of Doctrine: Encountering Change, Looking for Continuity by Stephen Morgan. Foreword by Ian Ker (Washington, DC: Catholic University of America Press, 2021), xvi + 315 pp.St. John Henry Newman was controversial during much of his lifetime—as an Anglican as well as a Catholic. Nothing (...) has changed since. There has been an eagerness to silence his voice, and with it the challenge of his theological insights then, and there is such an eagerness to do so also now—in ways more or less subtle. There are historians whose chosen object of study happens to be the Victorian Newman in the Victorian age and who take the immanent frame they tacitly presuppose as normative horizon and their assumed attitude of scientific detachment as indispensable precondition for historical objectivity, and who dismiss all interpretations of Newman that happen to display signs of substantive agreement with his insights and tenets as "Newman hagiographies" lacking the allegedly requisite scientific distance from their object of investigation. This principle of critical detachment would, of course, entail that Platonists are disqualified from investigating reliably Plato's thought, and the same would obtain presumably for Aristotelians regarding Aristotle, for Thomists regarding Thomas Aquinas, for Marxists regarding Karl Marx, for Foucaultians regarding Foucault, and so on and so forth—and last but not least, for historians committed to the immanent frame and historicist tenets regarding their interpretations of Troeltsch and Mannheim. Such an assumption, when consistently applied, carries itself, of course, sooner or later ad absurdum, but the derogatory denomination "Newman hagiography" survives and is conveniently attachable to whatever interpretation one likes to disqualify as scholarly serious and academically reputable work on Newman. Next to the "unmaskers" of "Newman hagiographies" there are those Newman scholars of a primarily evangelical and Anglican provenance eager to demonstrate that Newman's self-characterization, primarily [End Page 1335] in his Apologia Pro Vita Sua, is at best an ex post facto retro-projection, and hence an inherently unreliable, if not an intentional, re-composition of his intellectual past meant to be deceptive and hence bordering on the mendacious—in short, a renewal of Kingsley's charge. Things are not necessarily better on the Catholic side—since Orestes Brownson's attack, there continue notions, popular among Catholic traditionalists as well as Lefebvrists, that Newman's theory of the development of doctrine, if not outright modernist, is at best crypto-modernist, a view sadly encouraged by Catholic neo-modernists who instrumentalize Newman's account as a justification for interpreting "change" as an interminable but allegedly unavoidable sequence of ruptures and "development" as the intentional activity of progressive developers of doctrine establishing an ongoing praxis of pre-projected desired transmutations of faith, doctrine, and practice.It takes so-called "Newman hagiographers" to set the record straight and to save Newman's ongoingly pertinent and indeed salutary insights from multiple distortions and instrumentalizations, let alone attempts of effectively silencing Newman by way of a more or less subtle character assassination. It requires painstaking archival work and a close, careful, and comprehensive reading of Newman's published letters, diary entries, and works (in their original unrevised versions) as well as letters and works of his interlocutors and collaborators in the Oxford Movement to set the record straight, to unearth Newman's authentic voice, and first and foremost, to acquit him of the charge of systematic disingenuity, if not duplicity, in putting together his own account of the development of his religious opinions.John Henry Newman and the Development of Doctrine comprises, next to an introduction and a conclusion, four substantive chapters of about equal length: the first covering the years up to 1833, with a focus on Newman's first monograph, The Arians of the Fourth Century; the second considering the period from 1833 to 1838, with a focus on the Oxford Movement, the Tracts for the Times, and the Via Media; the third covering the period from 1839 to 1842, with a focus on Tract 90 and its aftermath; the fourth and final chapter advancing close... (shrink)

The present article uncovers a pervasive strand of Victorian critique of John Henry Newman’s religious apologetic. The exponents of this critique maintained that Newman defended a credulous adherence to Catholic doctrine on the basis of a sceptical approach to knowledge. The origins of this critical tradition are to be located in Tractarian Oxford, most notably in the disputes on religious epistemology between Newman and the Oriel Noetics, and the controversy over Newman’s Essay on Development. Later Victorian intellectuals continued this (...) critical interpretation of Newman’s apologetic. The present paper discusses its development among its most prominent religiously liberal and agnostic exponents, namely, James Anthony Froude, Charles Kingsley, James Fitzjames Stephen, his brother Leslie Stephen, and Thomas Henry Huxley. All of these critics were committed to epistemological standards that ultimately derived from John Locke and which they charged Newman with subverting. Accordingly, they regarded Newman’s apologetic as fundamentally dishonest. In addition, they argued that Newman’s sceptical rhetorical strategy was a major cause of the Victorian crisis of faith rather than a persuasive to belief. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:An Evangelical Adrift: The Making of John Henry Newman's Theology by Geertjan ZuijdwegtReinhard HütterAn Evangelical Adrift: The Making of John Henry Newman's Theology by Geertjan Zuijdwegt (Washington, DC: The Catholic University of America Press, 2022), xii + 365pp.What do we know of St. John Henry Newman's life, thought, and theological development before 1833, the year in which the Oxford Movement or Tractarian Movement was launched (...) by Newman, John Keble, and Richard Hurrell Froude? Newman, in his rightly famous and indispensable Apologia Pro Vita Sua, covers this period in one brief chapter offering at best a rough outline and some central signposts. A more nuanced and somewhat more expansive picture is emerging in Newman's Autobiographical Writings, published posthumously in 1956. Wilfrid Ward, in the two immense volumes of his 1912 Newman biography, dedicates one single chapter entitled "Life in the Church of England (1801–1845)" to the first forty-four years of Newman's life, and of those fifty-four pages, only thirty cover the time from Newman's birth in 1801 to the signal year 1833. Ian Ker, in his 1988 biography, arguably still the normative and unsurpassed scholarly Newman biography, acknowledged as such by admirers and critics alike, dedicates one chapter of fifty-three pages to the same time period. Finally, Geertjan Zuijdwegt, in his very well written and equally well-researched and well-argued monograph of 344 pages, offers a detailed and nuanced account of Newman's theological development from his teenage conversion to Calvinist Evangelicalism up to and including the beginnings of the Tractarian Movement from 1833 to 1835. One must go back to Maisie Ward's lovely portrait, Young Mr. Newman, from 1948, to find a book that covers roughly the same territory. Ward's captivating biographical portrait and Zuijdwegt's meticulously researched theological biography may be read with great benefit as mutually enlightening and complementary accounts—at least in the eyes of this reader. The latter's new work is, however, a commendable and indeed indispensable achievement of its own. For one, what lies between Ward's portrait of the young Newman and Zuijdwegt's reconstruction of Newman's [End Page 1097] early intellectual and theological development is Frank M. Turner's 2002 John Henry Newman: The Challenge to Evangelical Religion, a 750-page ad hominem attack on Newman's person and character, not only making Evangelicalism (and not theological and political liberalism) the alleged primary if not sole object of the post-Evangelical Newman's Tractarian and post-Tractarian, Catholic polemic, but also insinuating alongside in so many ways that Newman was dishonest about his work and thought, that he cared deeply for money or the security of a "living," that he was a closeted and repressed homosexual, and that he was lying about his conversion experiences—charges advanced by Charles Kingsley and other contemporaries of Newman's day and age and debunked—now warmed up und recycled under the guise of what pretended to be a massive scholarly study of intellectual history published by an Ivy League university press. Much ink has been spilled by Newman scholars in the years since Turner's book appeared to set the record straight, while others thought the time was ripe to form a "Turner school" of critical, iconoclastic Newman scholarship. Unsurprisingly, since 2002, there has been no dull moment in the small world of Newman scholarship, now divided between two well-defined camps, with "iconographers" (so called by the iconoclasts) on one side, and on the other those who aim at advancing a hard-nosed form of critical, detached historical Newman scholarship that at points has a hard time identifying the fine line between historical criticism and barely camouflaged detraction.Zuijdwegt's book is a considerable achievement first and foremost simply because he escapes to a commendably high degree, albeit not completely, the trench warfare between the warring camps of Newman scholarship. His unavoidable engagement with Turner's work is judicious, balanced, and overall, in a measured way, critical. He is far more frequently disagreeing with Turner's interpretation than agreeing with a limited number of interpretive points about Newman's early... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading the Mind:From George Eliot's Fiction to James Sully's PsychologyVanessa L. RyanWhat is the function and value of fiction? Debates over these questions involve considerations that range from aesthetics to ethics, from the intrinsic values of the genre to its moral effects. Recently, largely under the influence of the cognitive sciences, the question has taken on a new cast: might science give us a new answer to these long-standing (...) issues? Studies such as Lisa Zunshine's Why We Read Fiction (2006), John Carey's What Good Are the Arts? (2005), and Alan Palmer's Fictional Minds (2004) are part of a growing area of interdisciplinary work on the relationship between art and consciousness.1 This body of work asks not just how our theories of consciousness inform our understanding of the process and function of [End Page 615] reading fiction, but also whether fiction itself might provide a key to new theories about the nature of consciousness.The nineteenth-century novel is often considered the high point in the literary representation of mind. Indeed, the terms "psychology" and "novel" are explicitly yoked in the nineteenth-century with the simultaneous emergence of both as discrete forms of intellectual and artistic activity. Not surprisingly, George Eliot has come to be identified with the term "psychological novel": in fact, Nicholas Dames argues that she was the first to couple the words psychology and novel in this way in an 1855 review where she contrasted Charles Kingsley's historical romance Westward Ho! with "those 'psychological' novels."2 While George Eliot initially used the phrase in what Dames calls "mock disdain," by the end of the nineteenth century the term "psychological novel" had gained currency as a straightforward description of a type of Victorian novel: Wilbur Cross, in his summary The Development of the English Novel, for example, describes the form as "stressing an inner sequence of thought and feeling, which is brought into harmony with an ethical formula and accounted for in an analysis of motive." Along with Elizabeth Gaskell and George Meredith, Cross also cites George Eliot as one of his central examples of the "psychological novel."3It seems natural, then, when a critic asks, "what is the special distinguishing function of the modern art of fiction?" to turn for an answer to George Eliot's novels and their close connections with psychological science. It is perhaps surprising that this still-current question was posed by the nineteenth-century psychologist James Sully (1842–1923) in an 1881 article in the journal Mind on "George Eliot's Art."4 His essay offers us a Victorian contribution to questions about the relationship of literature and psychology that are being addressed today by critics such as Sally Shuttle-worth, Athena Vrettos, Kay Young, Nicholas Dames, or Rick Rylance, especially [End Page 616] with respect to George Eliot. James Sully's essay not only provides valuable insight into how the Victorians themselves understood the role of psychology in the novel, but also helps to place contemporary debates about fiction and consciousness into sharper relief.In the wake of important studies, such as Rylance's Victorian Psychology and British Culture (2000), that have brought renewed attention to nineteenth-century British psychology, recent scholarship has shown the central role of Victorian debates about the mind in shaping the fiction of the period.5 Nineteenth-century mental science provided material and inspiration for works of literature, with imaginative writers eager to exploit and develop the narrative and thematic potential of contemporary psychological discourse and probe the problems it raised. Novelists such as Wilkie Collins, George Eliot, and Henry James turned to some of the most current work in the science of the mind, which they saw as the most sophisticated and credible approach to psychological realism available. These and other novelists rapidly absorbed the central terms of the new science as it considered problems of consciousness, identity, and memory, and brought them to life by dramatizing and questioning them in their fiction. James Sully's interest in George Eliot reflects this fruitful mid- to late-nineteenth-century cross-pollination between philosophers, scientists, and novelists who were interested in the nature of consciousness, psychology... (shrink)

This very long book sets out to track and trace the working-class men and, less commonly, women who, against the limited expectations of their social position, learned Greek and Latin as an aspiration for personal change. The ideology of the book is clear and welcome: these figures “offer us a new ancestral backstory for a discipline sorely in need of a democratic makeover.” The book's twenty-five chapters explore how classics and class were linked in the educational system of Britain and (...) in its cultural performativity: Is he a gentleman? Does he have Greek? became the paradigmatic questions, as the study of classics became a sign of cultural attainment and social exclusion. This book sets out to explore the counterstory of the cobblers and shepherds who, like Jude the Obscure, fought against society's oppressiveness to access classical learning.The book's breadth is exemplary. It looks at the issue through genres and media, through different communities and national identities, through the prosopography of ragged-trousered philanthropists, beggar-lecturers, body-building performers, and through other institutions and people who helped, including adult-education teachers, kind bosses, supportive vicars, and fiery communists. This breadth, and the fascinating research that it encapsulates, will make this book a fantastic resource for future scholarship: it outlines the richness of a field that has been all too rarely explored properly. If you do not know Stephen Duck, “the thresher poet,” or Hawkie, the crutch-wielding beggar who performed from the books he sold on the streets of Glasgow, then this book is the place to the meet them. The cast list alone is worth the entrance ticket.Yet this very breadth is also the source of the book's limitations. The sheer number of cases listed, treated at similar length and depth, repeatedly conceals the complexity and even the interest of individual figures or events. So, the numerous representations of Vesuvius in shows around London in the first half of the nineteenth century—after the discoveries at Pompeii—are duly noted as a source of excitement and knowledge about antiquity, but against the recent treatment by Clare Pettitt in Serial Forms (which came out the same year) this mere noting looks desperately thin. There is little discussion of how the characters themselves talked about or negotiated class. This deficiency is particularly important for someone like Charles Kingsley, who was very active in the Chartist movement but also became Queen Victoria's chaplain and the professor of history at Cambridge. There are hilarious descriptions of Kingsley's stammering engagement with the working-class leaders he actively supported, which capture how awkward the interaction of classes could be even and especially when the participants shared a goal of transformation. (Ed Richardson's Classical Victorians: Scholars, Scoundrels and Generals in the Pursuit of Antiquity is good on these moments of awkwardness but is one of several books whose absence from the notes looks pointed.) The authors list cases of working men who were picked up by fashionable society as poets or scholars, many of whom were dropped almost as quickly back into penury—but the telling description of such a case in Kingsley's Alton Locke is passed over, although it reveals an acute self-consciousness about such narratives in a best-selling novel.The very structure of the book tends toward listing cases rather than analyzing them in depth. It is not clear why “Shoemaker classicists” should take up a chapter, bar there having been some. Nor is it clear why some figures are not included. John Brown was an uneducated Scottish shepherd who taught himself Greek, Latin, and Hebrew. He was discovered by a professor, one John Pringle, when he went into a shop to buy a secondhand Greek Testament (though his own church thought this newfound and inexplicable linguistic brilliance suspicious or even satanic). Brown went on to write the wonderfully titled The Self-Interpreting Bible, which remained in print and sold very widely for more than a century after its publication in 1778—especially after it was championed by the evangelical preacher Charles Simeon. It is a pity that Brown escaped the authors’ net, but religion, one of the main reasons to learn the classical languages, is downplayed throughout this study, although its imbrication with classics is everywhere in evidence. The book, significantly enough, leads rather toward a rosy-eyed depiction of posh classical communists like Geoffrey de Ste. Croix and George Thompson, and other such heroes of the authors.The authors are much more at home in the years of ardent republicanism in the decades on either side of the turn of the nineteenth century and in the beginning of the twentieth century, when socialism and communism became embedded in British life. The last half of the nineteenth century, when classics really established itself institutionally as a discipline, and its revolutionary potential moved away from the zeal of the Romantic philhellenists into the artistic idealism of a Richard Wagner or the sexual freedom of an Oscar Wilde, are less adequately explored. The huge attendance at art galleries and the Great Exhibition at Crystal Palace as a route to encountering the past of antiquity in material form are barely addressed (Kate Nichols's Greece and Rome at the Crystal Palace would have helped); nor do shows like Astley's Circus get air time (Rachel Bryant Davies's Troy, Carthage, and the Victorians is revealing). It is particularly noticeable in such a voluminous study that there is no discussion of how turning to Greek was a crucial route for the self-understanding of what was considered transgressive male sexuality—and for a particular engagement between the classes. To understand the social force of classics requires a deeper appreciation of the dynamics between conservatism and transformation, disciplinarity and self-discovery. The big picture of how classics matters is lost in the gems picked out by the authors. Gems they are, but their facets need more attention and their setting a broader perspective. (shrink)

II. Without mentioning what most of the article is about, Fish plucks out some remarks from a small part of it and condemns me as being antiblack, antifeminist, and so forth. It seems to me that Fish, after removing a few sentences from context , then does three other things: he summarizes or rephrases these remarks in such a way as to turn them into a polemical statement; he makes an inference—all his own; and he then attacks the inference he (...) has made. In his second paragraph, speaking unfavorably of the old-fashioned hope of finding universal values, he states: “It follows, then, … that works which advocate or have their origin in particular attitudes, strategies, sectarian projects, or political programs do not qualify as literature and should not be treated as such by literary scholars” . It by no means ”follows,” except perhaps in Fish’s mind. It follows merely that some of these concerns—if pursued in isolation from other contexts and in a spirit of propaganda—are not, by themselves, an adequate substitute, or replacement, for approaches that may provide a center from which to move to the subjects Fish mentions. I certainly have no wish to exclude these subjects from the curriculum. In fact, I have probably devoted as much of my teaching to some of them, especially political writing, as has Fish. I realize that for Fish himself our reactions in reading are inevitably subjective and that no text can be viewed as a settled thing. But I must plead that the reader, before condemning me because of Fish’s remarks, judge me by what I said rather than by what he inferred or magnified. I said only that, facing a decline in numbers of students, English departments found it more tempting than ever to provide courses on subjects often removed from larger contexts and treated in comparative isolation rather than to require more general study of history, philosophy, sociology, or psychology. I should like to repeat that I was not condemning departments for doing this. I felt it was rather sad that what Fish calls the “market,” and the fondness of so many students now for propagandistic approaches, should force us to jettison much that was more rigorous and demanding therefore less popular. Walter Jackson Bate is the Kingsley Porter University Professor of English at Harvard University. Among his many books are John Keats and Samuel Johnson , both of which were awarded the Pulitzer Prize. (shrink)

From the cutting edge of science and living spirituality: a guide to understanding our identity and purpose in the world • Outlines the new understanding of matter and mind coming to light at the cutting edge of physics and consciousness research • Explains how we can evolve consciously, become connected with each other, and flourish on this planet • Includes contributions from Maria Sagi, Kingsley L. Dennis, Emanuel Kuntzelman, Dawna Jones, Shamik Desai, Garry Jacobs, and John R. Audette (...) For the outdated mainstream paradigm the world is a giant mechanism functioning in accordance with known and knowable laws and regularities. The new paradigm emerging in science offers a different concept: The world is an interconnected, coherent whole, and it is informed by a cosmic intelligence. This is not a finite, mechanistic-material world. It is a consciousness-infused whole-system world. We are conscious beings who emerge and co-evolve as complex, cosmic-intelligence in-formed vibrations in the Akashic Field of the universe. Ervin Laszlo and his collaborators from the forefront of science, cosmology, and spirituality show how the re-discovery of who we are and why we are here integrates seamlessly with the wisdom traditions as well as with the new emerging worldview in the sciences, revealing a way forward for humanity on this planet. They explain how we have reached a point of critical incoherence and tell us that to save ourselves, our environment, and society, we need a critical mass of people to consciously evolve a new thinking. Offering a guidepost to orient this evolution, Laszlo examines the nature of consciousness in the universe, showing how our bodies and minds act as transmitters of consciousness from the intelligence of the cosmos and how understanding science’s new concept of the world enables us to re-discover our identity and our purpose in our world. With bold vision and forward thinking, Laszlo and his contributors Maria Sagi, Kingsley L. Dennis, Emanuel Kuntzelman, Dawna Jones, Shamik Desai, Garry Jacobs, and John R. Audette outline the new idea of the world and of ourselves in the world. They help us discover how we can overcome these divisive times and blossom into a new era of peace, coherence, connection, and global wellbeing. (shrink)

The Philadelphia Association is always linked with the name of R. D. Laing, one of its founders, but very little is known about its unorthodox contribution to the development of psychoanalysis. Founded in 1965, it took as its aim the relief of mental illnesss of all desciptions, in particular schizophrenia. At its inception it was a focus for people, with a diversity of backgrounds and interests, concerned with 'mental illness' and how society defines it. Its members - who included psychoanalysis, (...) psychiatrists and artists - developed a philosophical critique of psychoanalysis grounded in phenomenology, and an 'anti-psychiatry' critique of the institutional treatment of the mentally ill. They favoured the setting up of therapeutic community households of which the best known was Kingsley Hall. The PA was then very much part of the counter culture - it staged, for example, the famous Dialectics of Liberation Congress at London's Roundhouse in 1967. The psychotherapists who currently belong to the Philadelphia Association continue to work with community households and to offer a psychotherapy training. Here the authors share their innovative and distinctive approach on a number of interrelated themes: the herapeutic community and differend ways it can be understood; work with deeply regresed patients; the concept of identity in a social context; the debate between Lacan and Derrida on Poe's 'The Purloined Letter'; the phenomenology of knowledge and transference and authority. Together, they offer a cogent critique of many psychiatric and psychonalaytic assumptions. The contributors are Robin Cooper, Joseph friedman, Steven Gans, John Heaton, Chris Oakley, Haya Oakley and Paul Zeal. They are all psychotherapists and members of the Philadelphia Association. (shrink)

Practical reasoning is a process of reasoning that concludes in an intention. One example is reasoning from intending an end to intending what you believe is a necessary means: 'I will leave the next buoy to port; in order to do that I must tack; so I'll tack', where the first and third sentences express intentions and the second sentence a belief. This sort of practical reasoning is supported by a valid logical derivation, and therefore seems uncontrovertible. A more contentious (...) example is normative practical reasoning of the form 'I ought to φ, so I'll φ', where 'I ought to φ' expresses a normative belief and 'I'll φ' an intention. This has at least some characteristics of reasoning, but there are also grounds for doubting that it is genuine reasoning. One objection is that it seems inappropriate to derive an intention to φ from a belief that you ought to φ, rather than a belief that you ought to intend to φ. Another is that you may not be able to go through this putative process of reasoning, and this inability might disqualify it from being reasoning. A third objection is that it violates the Humean doctrine that reason alone cannot motivate any action of the will. This paper investigates these objections. (shrink)

While previous studies of Dewey's work have taken either a historical or topical focus, Shook offers an innovative, organic approach to understanding Dewey and eloquently shows that Dewey's instrumentalism grew seamlessly out of his idealism. He argues that most current scholarship operates under a mistaken impression of Dewey's early philosophical positions.

The essays in this volume blend historical and philosophical reflection with concern for contemporary political problems. They show that the causes and motivations of civil religion are a permanent fixture of the human condition, though some of its manifestations and proximate causes have shifted in an age of multiculturalism, religious toleration, and secularization.

The Collected Works of John Stuart Mill was directed by an editorial committee appointed from the Faculty of Arts and Science of the University of Toronto and from the University of Toronto Press, and it was published from 1963 to 1991 in thirty-three hardcover volumes. The primary aim of the edition is to present fully collated, accurate texts of those works which exist in a number of versions, both printed and manuscript, and to provide accurate texts of those works (...) previously unpublished or which had become relatively inaccessible. Liberty Fund is pleased to make available in paperback eight volumes of Mill's writings that remain most relevant to liberty and responsibility in the twenty-first century. Mill's Autobiography gives a vivid account of his life, especially his unique education. The Principles of Political Economy, a compendium of economic theory and fact, was the leading economic textbook for decades. Primarily of interest to economists, his Essays on Economics and Society nevertheless contains material of interest to all students of the politics and society of nineteenth-century England. The most indispensable work in understanding his thought is A System of Logic, Ratiocinative and Inductive, which was the first serious attempt to methodize induction in relation to deduction. Essays on Ethics, Religion and Society, one of the most important volumes in the Collected Works, includes the major documents for an assessment of Mill's response to Benthamite utilitarianism and for understanding his development of an independent moral position. Book jacket. (shrink)

Practical wisdom and judgment, rather than seen as ‘things’ hidden inside the mind, are best talked of, we suggest, as emerging developmentally within an unceasing flow of activities, in which practitioners are inextricably immersed. Following a performative line of thinking, we argue that when practitioners (namely, individuals immersed in a practice, experiencing their tasks through the emotions, standards of excellence and moral values the practice engenders or enacts) face a bewildering situation in which they do not know, initially at least, (...) how to proceed, the judgment they exercise emerges out of seeking to establish a new orientation to their puzzling surroundings. They do so through actively trying to be in touch with their felt emotions and moral sensibilities, while attempting to articulate linguistically the feelings experienced in order to get a clearer view of relevant aspects of the situation at hand. Coming to a judgment involves moving around within a landscape of possibilities, and in so doing, being spontaneously responsive to the consequences of each move, and assessing which one (or combination of moves) seems best in resolving the initial tension aroused in one’s initial confusion. (shrink)

This chapter contains sections titled: Schiller's Humanism, Personalism, and Pragmatism Pragmatism and France Pragmatism in Italy Germany and Pragmatism Other European Philosophers and Pragmatism.

E. S. de Beer>'s eight-volume edition of the correspondence of John Locke is a classic of modern scholarship. The intellectual range of the correspondence is universal, covering philosophy, theology, medicine, history, geography, economics, law, politics, travel and botany. This first volume covers the years 1650 to 1679.

Designed to fill a large gap in American philosophy scholarship, this bibliography covers the first four decades of the pragmatic movement. It references most of the philosophical works by the twelve major figures of pragmatism: Charles S. Peirce, William James, John Dewey, George H. Mead, F.C.S. Schiller, Giovanni Papini, Giovanni Vailati, Guiseppe Prezzolini, Mario Calderoni, A.W. Moore, John E. Boodin, and C.I. Lewis. It also includes writings of dozens of minor pragmatic writers, along with those by commentators and (...) critics of pragmatism. It encompasses literature not only concerning pragmatism as an alliance of philosophical theories of meaning, inquiry, belief, knowledge, logic, truth, ontology, value, and morality, but also as an intellectual and cultural force impacting art, literature, education, the social and natural sciences, religion, and politics. This bibliography contains 2,794 main entries and more than 2,000 additional references, organized by year of publication. 2,101 of the references include annotation. Its international scope is focused on writings in English, French, German, and Italian, though many other languages are also represented. Peter H. Hare contributed the Guest Preface. The introduction contains an historical orientation to pragmatism and guides to recent studies of pragmatic figures. This work is extensively cross-referenced, and it has exhaustive and lengthy author and subject indexes. (shrink)

Moral Absolutes sets forth a vigorous but careful critique of much recent work in moral theology. It is illustrated with examples from the most controversial aspects of Christian moral doctrine, and a frank account is given of the roots of the upheaval in Roman Catholic moral theology in and after the 1960s.

Empires and nation-states are not opposed or distinct forms of polity but closely linked forms. Pre-modern empire existed without any contrasting form of polity we might call a nation-state. Rather, they contrasted with non-national state forms such as city-states, small kingdoms and mobile, nomadic polities. These in turn were in constant interaction with any neighbouring empire or empires, perhaps becoming the core of an empire themselves, perhaps taking over all or part of an existing empire, perhaps maintaining some autonomy by (...) virtue of remoteness or lack of attractiveness, perhaps by balancing opposed empires against each other. Empires did not have a national core, and non-empires were not national. By contrast, modern empires have always had a clearly designated nation-state core and a physically separate set of non-national peripheries. This has been crucial to ensuring that when formal empire is ended, both the imperial core and the former colonies are defined as nation-states. But ex-imperial nation-states and ex-colonial nation-states are really two kinds of states. Much contemporary confusion about the prospect for a world order of nation-states revolves round the failure to make that basic distinction. (shrink)

Using his intimate knowledge of John Locke's writings, John W. Yolton shows that Locke comprehends 'human understanding' as a subset of a larger understanding ...

The Foundations of Pragmatism in American Thought Series offers two sets of volumes containing the most significant defenses and critiques of pragmatism written before World War I: the Early Defenders of Pragmatism and Early Critics of Pragmatism. This, the first collection, Early Defenders, provides key texts for understanding the context of pragmatism's years of greatest vitality. The early defenders were products of pragmatism's three cradles. H. Heath Bawden was a graduate of the Chicago philosophy department, having studied with John (...) Dewey and George Mead. John E. Boodin and Horace M. Kallen earned their Ph.Ds with William James and Josiah Royce at Harvard. D. L. Murray and Howard V. Knox were independent scholars and writers inspired by F. C. S. Schiller's humanistic pragmatism at Oxford. This collection brings together the central texts of the movement along with a representative selection of the secondary texts, reviews and responses, they elicited. Each volume features a newly-commissioned introduction by a leading scholar of American pragmatism. --five central texts reproduced in facsimile, accompanied by the main responses and replies, reset in new typography --scattered and scarce works available together for the first time --new introductions to each volume by leading scholars of American pragmatism. (shrink)

I criticize Carpendale and Lewis's attempt to produce a Wittgensteinian theory, as an alternative to work in the “theory of mind” tradition, not because I disagree with it as theory, but because Wittgenstein would be critical of any attempt to make such a use of his work. Theories are concerned with discovering rules, principles, of lawful regularities hidden behind appearances. Wittgenstein's whole latter philosophy is inimical to such an aim. His concern is not with theories but with descriptions—which can be (...) explanatory, but in a relational or orientational rather than a causal fashion. Below, I give some initial examples to show what Wittgensteinian investigations in developmental psychology might look like. (shrink)

As human beings, we share many historically developed, language-game interwoven, public forms of life. Due to the joint, dialogically responsive nature of all social life within such forms, we cannot as individuals just act as we please; our forms of life exert a normative influence on what we can say and do. They act as a backdrop against which all our claims to knowledge are judged as acceptable or not. As a result, it is not easy to articulate their inadequacies (...) in a clear and forceful manner. However, within most of our forms of life, we have a first-person right to express how our individual circumstances seem to us. And by the use of special forms of poetic, gestural talk—talk that can originate new language-games—we can offer to make our own ‘inner lives’ public. In this paper, I want to claim that this is just what Wittgenstein is attempting to do in his later philosophy: by use of the self-same methods that anyone might use to express aspects of their own world picture, he is offering us his attempts to make the background ‘landscape’ of our lives more visible to us. These methods are explored below. (shrink)

As Herrera-Ferrá et al. (2023) carefully explain, the contentious legacy of human rights should not prevent the re-crafting of particular ethico-legal responsibilities and obligations focal to the...

For scholars working on almost any aspect of American thought, The Bloomsbury Encyclopedia to Philosophers in America presents an indispensable reference work. Selecting over 700 figures from the Dictionary of Early American Philosophers and the Dictionary of Modern American Philosophers, this condensed edition includes key contributors to philosophical thought. From 1600 to the present day, entries cover psychology, pedagogy, sociology, anthropology, education, theology and political science, before these disciplines came to be considered distinct from philosophy. Clear and accessible, each entry (...) contains a short biography of the writer, an exposition and analysis of his or her doctrines and ideas, a bibliography of writings and suggestions for further reading. Featuring a new preface by the editor and a comprehensive introduction, The Bloomsbury Encyclopedia to Philosophers in America includes 30 new entries on twenty-first century thinkers including Martha Nussbaum and Patricia Churchland. With in-depth overviews of Waldo Emerson, Margaret Fuller, Noah Porter, Frederick Rauch, Benjamin Franklin, Thomas Paine and Thomas Jefferson, this is an invaluable one-stop research volume to understanding leading figures in American thought and the development of American intellectual history. (shrink)

Bentham.--Coleridge.--M. de Tocqueville on democracy in America.--On liberty.--Utilitarianism.--From Considerations on representative government.--From An examination of Sir William Hamilton's philosophy, volume 1.--From Three essays on religion.--John Stuart Mill, a select bibliography (p. [525]-530).

Talks collected from lectures given by Bennett with Gurdjieff's approval, to help people understand All and Everything: Beelzebub's Tales to His Grandson. Bennett regarded Gurdjieff's All and Everything as a work of superhuman genius.