In this article I show that although biological and neuropsychological factors enable and constrain the construction of music, culture is implicated on every level at which we can indicate an emotion-music connection. Nevertheless, music encourages an affective sense of human affiliation and security, facilitating feelings of transcultural solidarity.
Introducing Philosophy: A Text with Integrated Readings, Tenth Edition, is an exciting, accessible, and thorough introduction to the core problems of philosophy and the many ways in which they are, and have been, answered. The authors combine substantial selections from significant works in the history of philosophy with excerpts from current philosophy, clarifying the readings and providing context with their own detailed commentary and explanation. Spanning 2,500 years, the selections range from the oldest known fragments to cutting-edge contemporary essays. Organized (...) topically, the chapters present alternative perspectives--including analytic, continental, feminist, and non-Western viewpoints--alongside the historical works of major Western philosophers.PEDAGOGICAL FEATURES:* Discussion questions, a summary, and a bibliography with suggestions for further reading at the end of each chapter* Questions at the end of each subsection* Marginal quotations from the featured readings* Key philosophical terms, boldfaced in the text and collected at the end of each chapter* A glossary at the end of the book. (shrink)
Kathleen Higgins argues that the arguments that Plato used to defend the ethical value of music are still applicable today. Music encourages ethically valuable attitudes and behavior, provides practice in skills that are valuable in ethical life, and symbolizes ethical ideals.
I argue that the default interpretation of “aesthetics” should be global aesthetics, and that aestheticians should take as standard preparation for work in the field some basic knowledge of aesthetics in various cultural traditions. I consider some of the obstacles that interfere with a move in this direction and some of the steps that might encourage a more inclusive self-conception of the field.
The turn of the nineteenth century marked a rich and exciting explosion of philosophical energy and talent. The enormity of the revolution set off in philosophy by Immanuel Kant was comparable, in Kant's own estimation, with the Copernican Revolution that ended the Middle Ages. The movement he set in motion, the fast-moving and often cantankerous dialectic of "German Idealism," inspired some of the most creative philosophers in modern times: including G. W. F. Hegel and Arthur Schopenhauer as well as those (...) who reacted against Kant--Marx and Kierkegaard, for example. This volume traces the emergence of German Idealism from Kant and his predecessors through the first half of the nineteenth century, ending with the irrationalism of Kierkegaard. It provides a broad, scholarly introduction to this period for students of philosophy and related disciplines, as well as some original interpretations of these authors. Also included is a glossary of technical terms as well as a chronological table of philosophical, scientific and other important cultural events. (shrink)
In the second edition of this groundbreaking text in non-Western philosophy, sixteen experts introduce some of the great philosophical traditions in the world. The essays unveil exciting, sophisticated philosophical traditions that are too often neglected in the western world. The contributors include the leading scholars in their fields, but they write for students coming to these concepts for the first time. Building on revisions and updates to the original, this new edition also considers three philosophical traditions for the first time—Jewish, (...) Buddhist, and South Pacific philosophy. (shrink)
Krukowski sets out to examine the contemporary aesthetic scene by considering its roots. He begins by considering the shift in the last two centuries from the view that art has an epistemological mission to the quintessentially modernist view that art is autonomous. Krukowski seeks the origins of this shift in the aesthetic theories of Kant, Schopenhauer, and Hegel. Each proposed a grand ambition for philosophy and a prominent philosophical role for art. Kant saw the aesthetic stance of the cultivated taste (...) as a means of achieving the reconciliation of the orderly empirical realm with the autonomous freedom of the moral sphere. Schopenhauer considered the expressions of the artist of genius to communicate the essential structures of reality. Hegel saw the aesthetic dimension as a manifestation of the teleological progress of history, in which spirit comes increasingly to embody matter, thereby resolving the duality of thought and world. (shrink)
Robert C. Solomon saw spirituality and emotion as interpenetrating themes. I will summarize his views on spirituality and then introduce the articles in the special issue in his honor. Relating emotional integrity to spirituality, Bob argues that it is precisely through engagement - throwing ourselves into relationships and endeavors - that we come to recognize ourselves as part of something much larger than ourselves. Spirituality is an on-going adventure according to Bob, and it recommends itself in the way that all (...) adventures do. It is exciting and fun, a matter of an overflowing passionate life. (shrink)
Monique Roelofs’s The Cultural Promise of the Aesthetic is groundbreaking in its nuanced account of the potential and limitations of the aesthetic for creating a more just, humane world. Particularly timely are Roelofs’s analyses of the ways in which racial and gender stereotypes are reinforced and the operations of what she calls “racialized aesthetic nationalism,” the tendencies of aesthetic values to shore up schisms along racial, ethnic, and national lines. I raise questions, however, about the appropriateness of aesthetic criticism that (...) stresses sins of omission, the desirability of insisting that the broad nexus of social relations always be kept in view, and the danger that foregrounding minority group membership and gender will reduce individuals in marked categories to mere exemplifications of such status. (shrink)
Kathleen Marie Higgins - Nietzsche's Task: An Interpretation of "Beyond Good and Evil" - Journal of the History of Philosophy 40:2 Journal of the History of Philosophy 40.2 270-271 Book Review Laurence Lampert. Nietzsche's Task: An Interpretation of "Beyond Good and Evil." New Haven: Yale University Press, 2001. Pp. x + 320. Cloth, $40.00. Laurence Lampert's new book Nietzsche's Task offers a section-by-section commentary on one of Nietzsche's most influential works, Beyond Good and Evil. The challenge of such a project (...) is to unify the commentary while doing justice to the range of discussions in the original. Lampert answers this challenge by subsuming his interpretation of each section to an overall interpretation of this work and of Nietzsche's philosophical enterprise generally. Lampert argues that Beyond Good.. (shrink)
On first inspection, Diana Raffman’s Language, Music, and Mind appears to be focused quite narrowly on a rather obscure problem in the aesthetics of music, the problem of accounting for the alleged ineffability of musical experience. The case that Raffman builds in this clear, well-structured book, however, has far-reaching philosophical implications for philosophy of mind, epistemology, general aesthetics, philosophy of the emotions, ontology, and phenomenology.
The commentators collectively indicate a variety of further considerations that should factor into an account of musical emotion beyond those I consider. I agree that we should seek a more holistic account of musical experience and provide some of my own suggestions toward this end in light of their remarks.
Nietzsche's use of metaphor has been widely noted but rarely focused to explore specific images in great detail. A Nietzschean Bestiary gathers essays devoted to the most notorious and celebrated beasts in Nietzsche's work. The essays illustrate Nietzsche's ample use of animal imagery, and link it to the dual philosophical purposes of recovering and revivifying human animality, which plays a significant role in his call for de-deifying nature.
This book offers a lively and unorthodox analysis of Nietzsche by examining a neglected aspect of his scholarly personality--his sense of humor. While often thought of as ponderous and melancholy, the Nietzsche of Higgins's study is a surprisingly subtle and light-hearted writer. She presents a close reading of The Gay Science to show how the numerous literary risks that Nietzsche takes reveal humor to be central to his project. Higgins argues that his use of humor is intended to dislodge readers (...) from their usual, somber detachment and to incite imaginative thinking. (shrink)