Ben shu tan tao le Song Ming li xue yu Ming dai wen xue de guan xi, bing yi ren ge feng fan wei zhong dian shen ru yan jiu le Ming dai wen xue de chuang zuo yu liu bian, jian gou le Ming dai wen xue de chuang zuo yu liu bian jian gou le Ming dai wen xue de fa zhan ti xi, dui Ming dai zhong yao zuo jia, zuo pin ti chu le du dao (...) de kan fa. (shrink)

Enlivening the spirit without overwhelming the mind, the poem Hsin-Hsin Ming, or Song of Trusting the Heart, was written in the sixth century by the third Zen patriarch of China. It is perhaps the most encompassing and profound statement of Zen awareness we have. A beautiful daily meditation guide, the book will become a year-round fixture in readers' lives. These haunting lyrics inspire a peaceful awakening that helps one see through attachments, judgments, and illusions.

This is a series of reflections on the aesthetic dimensions of law (how it is presented and conveyed to its subjects) and justice (the ways in which justice can be aesthetically satisfying or dissatisfying).

The last twenty years or so have seen a surge of interest in the philosophy of music. However there is comparatively little philosophical literature devoted specifically to songs, singing and vocal music in general. This new collection of essays on the philosophical aspects of song and singing includes articles on the relationship between words and music in songs, the ontology of songs and recordings, meaning in songs, the metaphysics of vocal music in opera and the movies, and the ethical (...) challenges raised in song performance. The essays discuss a large range of examples, including rock, lieder, jazz songs, blues, doo wop, and rap. New essays by leading philosophers of art, including Peter Kivy (on "realistic song" in film), Jerrold Levinson (on jazz singing), Lee B. Brown (on the "minstrel hypothesis" in popular music), and Ted Gracyk (on linguistic pragmatics and song meaning). Papers that offer ground-breaking theories of the appreciation of rock recordings, the ethical implications of popular songs, the ontology of ephemeral artworks, the ontological status of cover versions, and of how a genre of popular music can both express and be a function of its social context papers that challenge existing accounts of much-debated topics, including operatic metaphysics and of the ontology of recorded music. Interdisciplinary essays that cut across aesthetics, philosophy of music, cultural music studies and musicology. Essays that are clearly written and engaging. (shrink)

Discusses songs by the troubadours, trouvères, and Guillaume de Machaut, performed live and on the page, in the context of antique, late antique, and medieval thought and poetic practice and in the light of later opera. Topics include cosmology, education, astronomy, breath, beasts, monsters, hybridity, imagination, life, and death.

An overview of Confucianism in the Song, Yuan, and Ming dynasties, which many regard as second only to the classical period in philosophical importance and influence. This piece canvasses the major thinkers and schools, competing views on the metaphysics of li (pattern, principle) and qi (vital stuff), criticisms of Buddhism and Daoism, and debates about the heartmind, virtue, knowledge, and governance.

Few words in both everyday parlance and theoretical discourse have been as rhapsodically defended or as fervently resisted as "experience." Yet, to date, there have been no comprehensive studies of how the concept of experience has evolved over time and why so many thinkers in so many different traditions have been compelled to understand it. _Songs of Experience _is a remarkable history of Western ideas about the nature of human experience written by one of our best-known intellectual historians. With its (...) sweeping historical reach and lucid comparative analysis—qualities that have made Martin Jay's previous books so distinctive and so successful—_Songs of Experience _explores Western discourse from the sixteenth century to the present, asking why the concept of experience has been such a magnet for controversy. Resisting any single overarching narrative, Jay discovers themes and patterns that transcend individuals and particular schools of thought and illuminate the entire spectrum of intellectual history. As he explores the manifold contexts for understanding experience—epistemological, religious, aesthetic, political, and historical—Jay engages an exceptionally broad range of European and American traditions and thinkers from the American pragmatists and British Marxist humanists to the Frankfurt School and the French poststructuralists, and he delves into the thought of individual philosophers as well, including Montaigne, Bacon, Locke, Hume and Kant, Oakeshott, Collingwood, and Ankersmit. Provocative, engaging, erudite, this key work will be an essential source for anyone who joins the ongoing debate about the material, linguistic, cultural, and theoretical meaning of "experience" in modern cultures. (shrink)

The article addresses the issue of using English songs to assist students of non-language departments master basic linguistic skills and communicative abilities. The authors offer a systematic and flexible approach to dealing with educational songs, demonstrate advantages of implementing numerous tasks to be varied and adapted to the needs of particular target audiences. The considered approach is intended to raise students’ motivation in learning foreign language.

A number of attempts have been made to construct a plausible ontology of rock music. Each of these ontologies identifies a single type of ontological entity as the “work” in rock music. Yet, all the suggestions advanced to date fail to capture some important considerations about how we engage with music of this tradition. This prompted Lee Brown to advocate a healthy skepticism of higher-order musical ontologies. I argue here that we should instead embrace a pluralist ontology of rock, an (...) ontology that recognizes more than one kind of entity as “the work” in rock music. I contend that this approach has a number of advantages over other ontologies of rock, including that of allowing us to make some comparisons across ontological kinds. (shrink)

In _Philosophy of Song and Singing: An Introduction_, Jeanette Bicknell explores key aesthetic, ethical, and other philosophical questions that have not yet been thoroughly researched by philosophers, musicologists, or scientists. Issues addressed include: The relationship between the meaning of a song’s words and its music The performer’s role and the ensuing gender complications, social ontology, and personal identity The performer’s ethical obligations to audiences, composers, lyricists, and those for whom the material holds particular significance The metaphysical status of (...) isolated solo performances compared to the continuous singing of opera or the interrupted singing of stage and screen musicals Each chapter focuses on one major musical example and includes several shorter discussions of other selections. All have been chosen for their illustrative power and their accessibility for any interested reader and are readily available. (shrink)

No single theory so far proposed gives a wholly satisfactory account of the origin and maintenance of bird-song dialects. This failure is the consequence of a weak comparative literature that precludes careful comparisons among species or studies, and of the complexity of the issues involved. Complexity arises because dialects seem to bear upon a wide range of features in the life history of bird species. We give an account of the principal issues in bird-song dialects: evolution of vocal (...) learning, experimental findings on song ontogeny, dialect descriptions, female and male reactions to differences in dialect, and population genetics and dispersal.We present a synthetic theory of the origin and maintenance of song dialects, one that accommodates most of the different systems reported in the literature. The few data available suggest that large, regional dialect populations are genetically differentiated; this pattern is correlated with reduced dispersal between dialects, assortative mating by females, and male-male exclusion. At the same time, “subdialects” may be formed within regional dialects. Subdialect clusters are usually small and may represent vocal mimicry among a few adjacent territorial males. The relative importance of genetic and social adaptation may contribute to the emergence of subdialects; their distinctiveness may be correlated with the degree of polygyny, for example. Thus, subdialect formation is linked to one theory of the evolution of repertoire size, but data are too fragmentary to examine this idea critically. (shrink)

本书共分八章,主要内容包括建构宇宙模式、初创中的分歧、本体论的完成、认知的主体性、顺应生命意题、情的普遍意义、意志主宰生命、历史性的总结。.

Critical study of selected portion of Yogavāsiṣṭha, treatise on Vedanta philosophy; includes translation of text and commentary.

"这是一本关于朱子学国际研讨会的论文集. 本书把 "朱子学" 放在宋代新儒学的精神世界中, 从各方面加以多方位的考察和探究.".

Le songe de Descartes.--Révélation de la science.--Déposition de la sagesse. Les preuves cartésiennes de Dieu.--L'héritage cartésien.

A number of philosophers of music have proved resistant to the idea that song should be considered as a hybrid art that combines language and music. Separately, Levinson in his influential account of hybrid art forms does not admit folk song, even though he does allow nineteenth-century lieder into the hybrid category. Folk songs are sometimes treated as if they are anterior to and therefore ontologically distinct from the more complex songs of Western art music, or even of (...) modern popular culture. In contrast, this article argues that in a historical perspective English-language folk songs constitute a category of considerable complexity, and that the combination of the two distinct media of language and music is fundamental to any consideration of such songs in an ontological perspective. (shrink)

This article aims to explore the complex issue of the emotive effect of Christian songs. It is based mainly on a literature survey, using sources both from Christian hymnology and musicology. It also uses illustrative examples from three informal surveys in congregations on the reasons particular songs are favourites. The point is made that exploring this issue scientifically is very complex as there are so many variables in people’s appreciation of songs. Some of these elements are discussed, such as the (...) effect of the external setting in which people experience a song, factors important in the appreciation of a text, such as poetic quality and knowledge of the author’s background. Other factors are the emotive quality and level of difficulty of a tune and in what time this style was popular. Then there are the internal factors, such as the link of a song with group identity and special memories. Some of the survey results corroborate the pointers in the literature for what makes certain songs particularly emotionally appealing. Some of these were a preference for musical styles popular in one’s youth, the importance of relationships with significant others for forming favourites and the important element of memory in the emotional impact of songs. Concluding pointers for worship include motivating for different styles of music in worship and carefully finding those songs in each new musical genre, which have the potential for sustaining today’s youth into the future.Contribution: This article makes a contribution in what is a complex and often emotionally charged issue in congregations: Worship styles and musical preferences. It argues for the importance of using different musical styles and bringing the generations together. (shrink)

Adapted by Guy Wyndham-JonesLike A Casting of Light, this little book presents a number of passages from Proclus arranged in verse form: the effect is both striking and inspiring. The voice is our native instrument of music, whether the vocal or the written word; both, when genuine, are the song of soul, and together they voice the soul's music. The numerous offerings in this little book will present you with a flavour of both the nature and scope of the (...) beautiful vision of Proclus, the extraordinary lover of wisdom; and they will illustrate the music of philosophy, to be found within the prose of the philosophers of the Platonic tradition. Together they represent the Song of Proclus; and each piece is a meditation in itself. (shrink)

The Bird Song Diamond project is a series of multifaceted and multidisciplinary installations with the aim of bringing contemporary research on bird communication to a large public audience. Using art and technology to create immersive experiences, BSD allows large audiences to embody bird communication rather than passively observe. In particular, BSD Mimic, a system for mimicking bird song, asks participants to grapple with both audition and vocalization of birdsong. The use of interactive installations for public outreach provides unique (...) experiences to a diverse audience, while providing direct feedback for artists and researchers interested in the success of such outreach. By following an iterative design process, both artists and researchers have been able to evaluate the effectiveness of each installation for promoting audience engagement with the subject matter. The execution and evaluation of each iteration of BSD is described throughout the paper. In addition, the process of interdisciplinary collaboration in our project has led to a more defined role of the artist as a facilitator of specialists. BSD Mimic has also led to further questions about the nature of audience collaboration for an engaged experience. (shrink)

Markosian presents an argument against certain theories of time based on the aesthetic value of music. He argues that turning a piece of music sideways in time destroys its intrinsic value, which would not be possible if the Spacetime Thesis were true. In this paper I show that sideways music poses no problems for any theory of time by demonstrating that turning a piece of music sideways does not affect its intrinsic value. I do this by appealing to spatial analogies (...) that highlight the similarities between spatial and temporal rotations. (shrink)

The paper analyses the place of the End in Mary Shelley’s 1826 science fiction novel The Last Man, in which the image of a world devoid of humanity, as portrayed by the last man writing the last book, is drawn before the reader through a conceptual rethinking of notions such as the loss of the world, prophecy of the future, and oblivion of the past, as well as the return of the irretrievable through the siren song.

In _Philosophy of Song and Singing: An Introduction_, Jeanette Bicknell explores key aesthetic, ethical, and other philosophical questions that have not yet been thoroughly researched by philosophers, musicologists, or scientists. Issues addressed include: The relationship between the meaning of a song’s words and its music The performer’s role and the ensuing gender complications, social ontology, and personal identity The performer’s ethical obligations to audiences, composers, lyricists, and those for whom the material holds particular significance The metaphysical status of (...) isolated solo performances compared to the continuous singing of opera or the interrupted singing of stage and screen musicals Each chapter focuses on one major musical example and includes several shorter discussions of other selections. All have been chosen for their illustrative power and their accessibility for any interested reader and are readily available. (shrink)

Through the close analysis of musical performance and tradition, the scholarly contributiors to Island Songs provide a global review of how island songs, their lyrics, and their singers engage with the challenges of modernity, migration, and social change uncovering common patterns despite the diversity and local character of their subjects"--Cover p. [4].