Dating manuscripts is a difficult task – particularly when these are not expressly datemarked, but even when they are. Factors such as the existence of successive copies that continue and repeat established models and production methods make dating a challenging task. The present work forms part of a much broader, comprehensive, investigation on the material composition of dated and bound manuscripts from the School of arabic Studies– CSIC of Granada. By means of a study protocol, errors in the dating of (...) manuscripts ms6, ms10, ms26 and ms29 are successfully detected and corrected, and alternative dating proposed. (shrink)

El texto que presentamos recoge las principales conclusiones que han derivado de los estudios sobre la Colección de documentos árabes del Archivo Histórico Provincial de Granada. Compuesta principalmente por documentos de carácter jurídico, el análisis del contenido de cada uno de ellos en relación con la materialidad del soporte y las tintas así como la coincidencia en el diseño y planificación de la página revelan el uso de idénticos protocolos de ejecución. Esta investigación nos está permitiendo, además, establecer coincidencias relevantes (...) relacionadas con los procesos de elaboración del papel entre los últimos años de permanencia de los árabes en la Península Ibérica y los primeros tras la incorporación del territorio a la Corona de Castilla y, sobre todo, con el modo de ejecutar el documento de archivo en sus formas externa e interna. (shrink)

What are the different styles by which political theorists deal with intellectual problems? This question is important because if we do not answer it, we shall not know why methodological disagreements are so much more intense and heated than substantive disagreements. Nor shall we know why particular political theorists take the positions they do in methodological controversies. This paper argues that there are now five main styles by which political theorists deal with intellectual problems: the Classicist, the Mannerist, the Baroque, (...) the Romantic, and the Collectivist. Classicism solves the problem it poses, Mannerism presses it, the Baroque resolves it, Romanticism dissolves it, and Collectivism publicizes it. For each style, we give an account of its main features, give examples of how it has been applied to different problems in political theory, and then identify its strengths and weaknesses. (shrink)

This paper outlines and defends a processual theory of peoplehood. On our theory, a people is, roughly speaking, composed of two things. First, an unfolding series of events coordinated by the practices of constituting, governing, or changing a polity's authoritative institutions. Second, individual persons whose lives and interests are intensely affected by these events and institutions. We call this theory deep processualism. We outline the theory by showing how it would answer five questions: the questions of constituents, individuation, origination, termination, (...) and membership: What are the chief constituents of peoples? What individuates peoples? Under what conditions do peoples originate? Under what conditions do peoples cease to be? Under what conditions is a person a member of the people? We also consider alternative theories of the nature of peoples, theories due to Juergen Habermas, Bruce Ackerman, Philip Pettit, and James Fishkin. We defend our theory on the ground that it is not embarrassed by the difficulties that we pin on these alternative theories. (shrink)

El texto que presentamos recoge las principales conclusiones que han derivado de los estudios sobre la Colección de documentos árabes del Archivo Histórico Provincial de Granada. Compuesta principalmente por documentos de carácter jurídico, el análisis del contenido de cada uno de ellos en relación con la materialidad del soporte y las tintas así como la coincidencia en el diseño y planificación de la página revelan el uso de idénticos protocolos de ejecución. Esta investigación nos está permitiendo, además, establecer coincidencias relevantes (...) relacionadas con los procesos de elaboración del papel entre los últimos años de permanencia de los árabes en la Península Ibérica y los primeros tras la incorporación del territorio a la Corona de Castilla y, sobre todo, con el modo de ejecutar el documento de archivo en sus formas externa e interna. (shrink)

Monetary intelligence theory asserts that individuals apply their money attitude to frame critical concerns in the context and strategically select certain options to achieve financial goals and ultimate happiness. This study explores the dark side of monetary Intelligence and behavioral economics—dishonesty. Dishonesty, a risky prospect, involves cost–benefit analysis of self-interest. We frame good or bad barrels in the environmental context as a proxy of high or low probability of getting caught for dishonesty, respectively. We theorize: The magnitude and intensity of (...) the relationship between love of money and dishonest prospect may reveal how individuals frame dishonesty in the context of two levels of subjective norm—perceived corporate ethical values at the micro-level and Corruption Perceptions Index at the macro-level, collected from multiple sources. Based on 6382 managers in 31 geopolitical entities across six continents, our cross-level three-way interaction effect illustrates: As expected, managers in good barrels, mixed barrels, and bad barrels display low, medium, and high magnitude of dishonesty, respectively. With high CEV, the intensity is the same across cultures. With low CEV, the intensity of dishonesty is the highest in high CPI entities —the Enron Effect, but the lowest in low CPI entities. CPI has a strong impact on the magnitude of dishonesty, whereas CEV has a strong impact on the intensity of dishonesty. We demonstrate dishonesty in light of monetary values and two frames of social norm, revealing critical implications to the field of behavioral economics and business ethics. (shrink)

Monetary Intelligence theory asserts that individuals apply their money attitude to frame critical concerns in the context and strategically select certain options to achieve financial goals and ultimate happiness. This study explores the bright side of Monetary Intelligence and behavioral economics, frames money attitude in the context of pay and life satisfaction, and controls money at the macro-level and micro-level. We theorize: Managers with low love of money motive but high stewardship behavior will have high subjective well-being: pay satisfaction and (...) quality of life. Data collected from 6586 managers in 32 cultures across six continents support our theory. Interestingly, GDP per capita is related to life satisfaction, but not to pay satisfaction. Individual income is related to both life and pay satisfaction. Neither GDP nor income is related to Happiness. Our theoretical model across three GDP groups offers new discoveries: In high GDP entities, “high income” not only reduces aspirations—“Rich, Motivator, and Power,” but also promotes stewardship behavior—“Budget, Give/Donate, and Contribute” and appreciation of “Achievement.” After controlling income, we demonstrate the bright side of Monetary Intelligence: Low love of money motive but high stewardship behavior define Monetary Intelligence. “Good apples enjoy good quality of life in good barrels.” This notion adds another explanation to managers’ low magnitude of dishonesty in entities with high Corruption Perceptions Index. In low GDP entities, high income is related to poor Budgeting skills and escalated Happiness. These managers experience equal satisfaction with pay and life. We add a new vocabulary to the conversation of monetary intelligence, income, GDP, happiness, subjective well-being, good and bad apples and barrels, corruption, and behavioral ethics. (shrink)

Corruption involves greed, money, and risky decision-making. We explore the love of money, pay satisfaction, probability of risk, and dishonesty across cultures. Avaricious monetary aspiration breeds unethicality. Prospect theory frames decisions in the gains-losses domain and high-low probability. Pay dissatisfaction (in the losses domain) incites dishonesty in the name of justice at the individual level. The Corruption Perceptions Index, CPI, signals a high-low probability of getting caught for dishonesty at the country level. We theorize that decision-makers adopt avaricious love-of-money aspiration (...) as a lens and frame dishonesty in the gains-losses domain (pay satisfaction-dissatisfaction, Level 1) and high-low probability (CPI, Level 2) to maximize expected utility and ultimate serenity. We challenge the myth: Pay satisfaction mitigates dishonesty across nations consistently. Based on 6500 managers in 32 countries, our cross-level three-dimensional visualization offers the following discoveries. Under high aspiration conditions, pay dissatisfaction excites the highest- (third-highest) avaricious justice-seeking dishonesty in high (medium) CPI nations, supporting the certainty effect. However, pay satisfaction provokes the second-highest avaricious opportunity-seizing dishonesty in low CPI entities, sustaining the possibility effect—maximizing expected utility. Under low aspiration conditions, high pay satisfaction consistently leads to low dishonesty, demonstrating risk aversion—achieving ultimate serenity. We expand prospect theory from a micro and individual-level theory to a cross-level theory of monetary wisdom across 32 nations. We enhance the S-shaped Curve to three 3-D corruption surfaces across three levels of the global economic pyramid, providing novel insights into behavioral economics, business ethics, the environment, and responsibility. (shrink)

This work analyzes the ideas developed by Arendt and Sartre regarding liberty and action. For Sartre, when we act, we modify the structure of the world, hoping for a fore seen result. The condition for the act is the liberty of the for-it self, as an absolute de parture point. The act projects t..

Among the graphic peculiarities that the manuscript T 235 presents, the famous Alcoran in letter of the Christians kept in the Library of Castilla-La Mancha, it is noticeable the use of the abbreviation al̶h. to translate the term Allāh. Examined the different techniques used to that end in other manuscripts in Latin characters coming from the different Hispanic Islamic communities between the 16th and 17th centuries, ranging from non-translation to the equivalent coined and through the loan with different transcripts, we (...) propose an interpretation of the aforementioned abbreviation in terms of intersemiotic translation, i.e. as a reduction to a simple visual form that aims to keep in the Spanish version the fiction of retaining the term Allāh in its original form in Arabic spelling by means of Latin characters. (shrink)

Partiendo, de un lado, de la idea de que la especulación es, para el gnóstico, el espejo en el que se reflejan los misterios divinos, cuyo eco percibe a su vez la razón discursiva (que, por lo mismo, no puede quererse fuente ni de su método ni de su lenguaje), y partiendo, de otro, de la exploración intralingüística o gramatosófica emprendida (a partir de tales premisas) por el gnóstico andalusí Ibn al-'ArabÌ, ofrecemos al lector una traducción comentada de una (...) breve sección del penúltimo capítulo de Las Revelaciones de La Meca, su principal obra. Nos centraremos, a tal fin, en las diferentes modulaciones morfológicas y semánticas de la raíz árabe W-D-D, que da lugar al Nombre divino al-Wadñd y que permite una original comprensión de la realidad del amor, su génesis, sus diferentes estados, su carácter divino y sus funciones creadora, cosmológica y antropológica. (shrink)

La noción de interpretación desarrollada en el racionalismo crítico de Karl R. Popper muestra atributos específicos que la distinguen de modo sustancial de la interpretación constitutiva de la experiencia que tanto N. R. Hanson como Th. Kuhn defienden en sus respectivas propuestas. Se muestra que la interpretación del modelo popperiano queda atrapada en una epistemología de corte empirista que la separa de modo radical de toda hermenéutica filosófica. The notion of interpretation developed in the critical rationalism of Karl R. Popper (...) displays specific attributes that substantially distinguish it from the constituent interpretation of experience defended in both N. R. Hanson and T. Kuhn proposals. The article shows that the interpretation of Popper's model is trapped in an empiricist epistemology that radically separates it from all hermeneutic philosophy. (shrink)

Wenn es 'archetypische' Grund- und Tiefenstrukturen des menschlichen Denkens gibt, dann werden sie uns zugänglich durch ständige Bilder und Metaphern, wie z. B. die vier Grundelemente: Luft, Erde, Wasser, Feuer. Diese Elemente reichten für das Altertum zur Bildung der Welt aus. Diese Sicht der Dinge ist teilweise und in unterschiedlicher Art und Weise auch noch heute festzustellen. Ihre Spuren finden wir in den unzähligen Ausdrucksmodi der Modernität. So läßt sich kurz das Thema dieses Sammelbandes beschreiben, der die Ergebnisse einer Tagung (...) über 'Politische Metaphorik in historischer Perspektive' zusammenfaßt. Sie hat im Frühjahr 1993 in Verbania (Lago Maggiore) stattgefunden und ist vom Seminar für Politikwissenschaft der Georg-August-Universität Göttingen, vom italienisch-deutschen historischen Institut in Trento, vom Istituto italiano per gli studi filosofici di Napoli und von der Gemeinde Verbania organisiert worden. Über Metaphern, Bilder und die Zusammenhänge zwischen Bildern, die sich auf die vier Elemente zurückführen lassen, haben Forscher unterschiedlicher kultureller Herkunft diskutiert, Historiker, Philosophen, Linguisten, Literaten und Politologen. Sie alle verbindet das Bewußtsein, daß die Fragen nach den metaphorischen und symbolischen Bedeutungen nur schwer von einem einzigen Zweig der Humanwissenschaften aus und vielleicht sogar nicht einmal von den Humanwissenschaften allein beantwortet werden können. Insgesamt kann man sagen, daß die Stellung und die Identifizierung der Elemente, aus denen das Universum besteht, die durchgängigste Frage der philosophischen und wissenschaftlichen Forschung aller Zeiten gewesen ist. Die Aufgliederung des Universums auf der Grundlage der vier Elemente entspricht überdies in der traditionellen Vorstellungswelt der Struktur des menschlichen Körpers und kann wiederum durch zwei geteilt werden, entsprechend den gegensätzlichen Qualitäten warm und kalt, männlich und weiblich, gut und böse, oben und unten usw. E. (shrink)

Logic; Islamic philosophy; Islam--doctrines.

Machiavelli, Niccolò, 1469-1527-Criticism and interpretation ; Political science-Translating.

Byzantine Empire; economic and social conditions; history.

En el siguiente estudio se evalúa un panorama con respecto al comportamiento sociológico en un preámbulo tanto antes durante y después de esta crisis social que se está viviendo debido a la pandemia de hoy en día. Por ello para sustentar dicha investigación se realizó un censo en el cuál, mediante el uso de herramientas estadísticas, se pudo realizar una comparación entre un antes y un durante de la pandemia, lo cual facilitaría intrínsicamente a la predicción de una denominada post (...) pandemia. En este texto se pretende detallar el proceso y forma de la encuesta, al igual que los resultados obtenidos de la misma. Se proveen, además, posibles explicaciones para estos resultados, guiándose por las restricciones de salud nacionales como posibles razones para el cambio de comportamiento actual. Palabras Clave: coronavirus, pandemia, frecuencia de salida. Referencias [1]P. Byass, «Eco-epidemiological assessment of the COVID-19 epidemic in China, January-February 2020,» Web Of Science, vol. 13, nº 1, 2020. [2]P. Stefanoni, «Brasil: pandemia, guerra cultural y precariedad,» Nueva Sociedad, pp. 49-59, 2020. [3]M. J. Báguena Cervellera, «La pandemia de COVID-19 a la luz de la historia de la medicina,» Investigación y Ciencia, 2020. [4]A. Levy, «La pandemia de COVID-19 podr{ia ayudar a resolver una gran incógnita climática,» Investigación y Ciencia, 2020. [5]T. Marcel Ariel, «Relaciones en tiempos de pandemia: COVID-19 y bienestar animal, ambiental y humano,» Revista Facultad Nacional De Agronomia Medellin, vol. 2, 2020. [6]F. Manrique-Abril, «Modelo SIR de la pandemia de Covid-19 en Colombia/SIR model of the COVID-19 pandemic in Colombia,» Revista De Salúd Publica, vol. 22, pp. 1-6, 2020. [7]D. Arango-Londoño, «Predicciones de un modelo SEIR para casos de COVID-19 en Cali, Colombia/Predictions of a SEIR model for COVID-19 cases in Cali-Colombia,» Revista De Salúd Publica, vol. 22, nº 2, pp. 1-9, 2020. [8]J. Gonzales-Castillo, «Pandemia de la COVID-19 y las Políticas de Salud Pública en el Perú: marzo-mayo 2020/COVID-19 pandemic and Public Health Policies in Peru: March-May 2020,» Revista De Salúd Publica, vol. 22, nº2, pp. 1-9, 2020. [9]A. Valenzuela-Cazés y L. Becerra-Ostos, «Práctica clínica, ámbito laboral y riesgos de la fisioterapia ante el COVID-19/Clinical practice, work and risks of physical therapy in the face of COVID-19,» Revista De Salúd Publica, vol. 22, nº 2, pp. 1-4, 2020. [10]P. Montes-Alarcón y A. Campo-Arias, «Los médicos generales y la salud mental en la pandemia por COVID-19,» Duazary, vol. 17, nº 3, pp. 4-6, 2020. (shrink)

The vicious person may have considerable enjoyment – much of their life may be, to use a notion that Don Giovanni draws on in one of his arias, diverting. But happiness has to be assessed not in terms of particular pleasurable episodes, but in more holistic terms, over a life taken as a whole. And many moral philosophers, including the atheist Scottish philosopher David Hume in the eighteenth century, have argued that vice can’t make you happy in the long (...) run. (shrink)

The vicious person may have considerable enjoyment – much of their life may be, to use a notion that Don Giovanni draws on in one of his arias, diverting. But happiness has to be assessed not in terms of particular pleasurable episodes, but in more holistic terms, over a life taken as a whole. And many moral philosophers, including the atheist Scottish philosopher David Hume in the eighteenth century, have argued that vice can’t make you happy in the long (...) run. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Stiva's Idiotic GrinStewart JustmanIRecall if you will the stunning opening chapter of Anna Karenina. After laying down the principle that "Happy families are all alike; every unhappy family is unhappy in its own way,"1 the narrative introduces us to one of the latter. The Oblonsky household is in turmoil. Having found out that her spouse is philandering with a former governess, Dolly has kept to her room for three (...) days. For the first time since the discovery Stiva, the husband, now sleeps at home—on a leather sofa in the study. Turning "as though he would sink into a long sleep again," he suddenly awakens, sits up, and tries to recover the delights of wine, women, and song that were his in a tantalizing dream. "Yes, Alabin was giving a dinner on glass tables, and the tables sang Il mio tesoro—not Il mio tesoro, though, but something better, and there were some sort of little decanters on the table, and they were women, too." A man who has been playing Don Juan plays in a dream with an aria from Don Giovanni.Incongruously for one whose household is in open revolt and whose wife flees the sight of him, as he recollects his dream Stiva's eyes "twinkled gaily, and he pondered with a smile." Awakening itself seems to be an act of escapism for Stiva. "Cheerfully" he feels about for the slippers embroidered for him by his wife. (It was when his attention was arrested by some beautiful embroidery on his robe and he fell to thinking "about how people get the idea in their heads to invent all these patterns and [End Page 427] ornaments of embroidery" that Tolstoy got the idea for Anna Karenina.)2 Only when he reaches for his dressing gown in the usual place and doesn't find it does Stiva return to reality, and as he does so, the smile disappears from his face. "'Ah, ah, ah! Oo!...' he groaned, recalling everything that had happened. And as he recalled every detail of his quarrel with his wife, he realized the hopelessness of his situation, and, most tormenting thought of all, that it was his own fault." But as if contriving an escape from a situation that permits none, he maintains that even though the crisis in his marriage and his household is undoubtedly his own doing, still he is not to blame. "And the most awful thing about it [he tells himself] is that it's all my fault—all my fault, though I'm not to blame." Like a lawyer producing an argument, Stiva invents a saving distinction between being at fault and being really at fault—in effect claiming that although he does engage in adultery, he can't be condemned for it as his wife has lost her charms and he was just following his nature. As Stiva clings to fantasy and reverie in this scene, so his belief that he isn't really to blame for his own deeds implies a defect in his sense of reality. (In Part Three of the novel we are told that despite Stiva's "efforts to be an attentive father and husband, he never could keep in his mind that he had a wife and children," p. 297.)At this point in his musings Stiva thinks back to the terrible moment when he returned "from the theater" to find his wife brandishing an incriminating letter (whether from him to the governess or the governess to him), and demanding an explanation.And at this recollection, Stepan Arkadyevich, as is so often the case, was not so much annoyed at the fact itself as at the way in which he had reacted to his wife's words.There happened to him at that instant what happens to people when they are unexpectedly caught in something very disgraceful. He did not succeed in assuming an expression suitable to the position in which he was placed by his wife's discovery of his guilt. Instead of acting hurt, denying, defending himself, begging forgiveness, instead of remaining indifferent... his face utterly involuntarily (reflex action of the brain, reflected Stepan Arkadyevich, who was... (shrink)

In this paper we examine C. I. Lewis's view on the roleof coherence – what he calls ''congruence'' – in thejustification of beliefs based on memory ortestimony. Lewis has two main theses on the subject. His negativethesis states that coherence of independent items ofevidence has no impact on the probability of a conclusionunless each item has some credibility of its own. Thepositive thesis says, roughly speaking, that coherenceof independently obtained items of evidence – such asconverging memories or testimonies – raises (...) the probabilityof a conclusion to the extent sufficient for epistemicjustification, or, to use Lewis's expression, ''rationaland practical reliance''.It turns out that, while thenegative thesis is essentially correct, astrong positive connection between congruence andprobability – a connection of the kind Lewis ultimatelyneeds in his validation of memory – is contingent on thePrinciple of Indifference. In the final section we assess therepercussions of the latter fact for Lewis's theory in particularand for coherence justification in general. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Stiva's Idiotic GrinStewart JustmanIRecall if you will the stunning opening chapter of Anna Karenina. After laying down the principle that "Happy families are all alike; every unhappy family is unhappy in its own way,"1 the narrative introduces us to one of the latter. The Oblonsky household is in turmoil. Having found out that her spouse is philandering with a former governess, Dolly has kept to her room for three (...) days. For the first time since the discovery Stiva, the husband, now sleeps at home—on a leather sofa in the study. Turning "as though he would sink into a long sleep again," he suddenly awakens, sits up, and tries to recover the delights of wine, women, and song that were his in a tantalizing dream. "Yes, Alabin was giving a dinner on glass tables, and the tables sang Il mio tesoro—not Il mio tesoro, though, but something better, and there were some sort of little decanters on the table, and they were women, too." A man who has been playing Don Juan plays in a dream with an aria from Don Giovanni.Incongruously for one whose household is in open revolt and whose wife flees the sight of him, as he recollects his dream Stiva's eyes "twinkled gaily, and he pondered with a smile." Awakening itself seems to be an act of escapism for Stiva. "Cheerfully" he feels about for the slippers embroidered for him by his wife. (It was when his attention was arrested by some beautiful embroidery on his robe and he fell to thinking "about how people get the idea in their heads to invent all these patterns and [End Page 427] ornaments of embroidery" that Tolstoy got the idea for Anna Karenina.)2 Only when he reaches for his dressing gown in the usual place and doesn't find it does Stiva return to reality, and as he does so, the smile disappears from his face. "'Ah, ah, ah! Oo!...' he groaned, recalling everything that had happened. And as he recalled every detail of his quarrel with his wife, he realized the hopelessness of his situation, and, most tormenting thought of all, that it was his own fault." But as if contriving an escape from a situation that permits none, he maintains that even though the crisis in his marriage and his household is undoubtedly his own doing, still he is not to blame. "And the most awful thing about it [he tells himself] is that it's all my fault—all my fault, though I'm not to blame." Like a lawyer producing an argument, Stiva invents a saving distinction between being at fault and being really at fault—in effect claiming that although he does engage in adultery, he can't be condemned for it as his wife has lost her charms and he was just following his nature. As Stiva clings to fantasy and reverie in this scene, so his belief that he isn't really to blame for his own deeds implies a defect in his sense of reality. (In Part Three of the novel we are told that despite Stiva's "efforts to be an attentive father and husband, he never could keep in his mind that he had a wife and children," p. 297.)At this point in his musings Stiva thinks back to the terrible moment when he returned "from the theater" to find his wife brandishing an incriminating letter (whether from him to the governess or the governess to him), and demanding an explanation.And at this recollection, Stepan Arkadyevich, as is so often the case, was not so much annoyed at the fact itself as at the way in which he had reacted to his wife's words.There happened to him at that instant what happens to people when they are unexpectedly caught in something very disgraceful. He did not succeed in assuming an expression suitable to the position in which he was placed by his wife's discovery of his guilt. Instead of acting hurt, denying, defending himself, begging forgiveness, instead of remaining indifferent... his face utterly involuntarily (reflex action of the brain, reflected Stepan Arkadyevich, who was... (shrink)

The music of Christoph Willibald von Gluck was a revolution for Paris operagoers when his work premiered there in 1774. In a setting known for its restive and often rowdy spectators, Alceste, Iphigénie en Aulide, and Orpheé et Eurydice seized audiences with unprecedented force. They shed silent tears or sobbed openly, and some cried out in sympathy with the sufferers onstage. “Oh Mama! This is too painful!” three girls called out as Charon led Alcestis to the underworld, and a boy (...) pleaded with his father to take him home. A woman who watched the same performance described falling on her knees in her opera-box as the march of the priests of Apollo began, staying in this position “suppliant and with my hands clasped until the end of the piece.”Gluck's streamlined musical language was one reason for these emotional responses. He and his librettist Ranieri de’ Calzabigi simplified the conventions by eliminating extraneous subplots, abandoning the repetitive da capo form, and replacing trills and runs with simpler melodies meant to convey passion. Another reason was the widespread culture of sentimentalism, which equated virtue with sincerity and judged tears to be the natural sign of an open heart. Painters depicted tender and tumultuous family scenes, and friends pledged trembling vows of fidelity. Listeners were also readers, and many described similar tearful responses when they read the century's bestseller, Rousseau's novel Julie; or, The New Heloise.Everist, a musicologist, takes up the story of Gluck in France in the nineteenth century, when the German composer remained a presence in repertoires. No longer prone to tears, the public was often indifferent and sometimes hostile to his works. Conductors and composers nevertheless persisted in promoting Gluck's music. Between 1828 and 1870, operatic excerpts appeared roughly twice a year in performances of the prestigious Société des Concerts, and the charismatic conductor Jules Pasdeloup regularly programmed his music. Many listeners remained unconvinced. A writer in 1861 described the “sepulchral boredom that reigned the length of all five acts” of Alceste. The periodical Monde dramatique used the same language to characterize Gluck's music: it was “profoundly boring.” After a high point of performances in the middle of Napoleon III's reign, Gluck disappeared from the Paris opera and concert stage for some thirty years.Everist's aim in this slim book is to isolate the “agents” involved in the French reception of Gluck. Traditional reception histories might begin with Gluck and his aims, identifying musical features, particular responses of audiences, critics’ accounts, and perhaps the more elusive temper of the times. Everist focuses instead on less conspicuous networks of impresarios, theater directors, and publishers. In his telling, such agents also include journalists and writers of fiction. The avowed effort is to decenter the artist and his art to emphasize the limited role that composers and librettists play in the performance of an opera. A quoted passage in the book reminds us that without parking attendants, stagehands, and ticket sellers the show could not go on. True enough. Genealogies of Music and Memory therefore provides tables listing Gluck arias in anthologies, particular singers’ performances, works by composers other than Gluck who also drew themes from classical antiquity, and works by other foreign-born composers. A section on “material culture” lists paintings and sculptures of Gluck in Paris theaters and museums.As a “genealogy,” the book is a salutary reminder of the web of amateurs and professionals who discuss, promote, and perform works that others have created. Writers such as E. T. A. Hoffmann, Mme de Staël, and Hippolyte Taine held up Gluck as the embodiment of German music. Hector Berlioz wrote frequently and enthusiastically about Gluck, although he was less keen to program his music. The singers François Delsarte and Pauline Viardot aroused temporary interest in Gluck by regularly including his arias in their recitals. Musical anthologies for the bourgeois household included piano arrangements of his best-known arias. Some nineteenth-century adaptations of his works were scored for the military band.Genealogies of Music and Memory is musicology with very little music. Everist's reliance on networks of actors, agents, publishers, pedagogical practices, and archival environments leads him to assert that “multiple agency is endemic in the story told here.” Unfortunately, it is often unclear just what the story is. Carelessness in writing and editing throughout—including a subject-verb clash in the book's final sentence—has rendered key passages obscure. Everist describes Delsarte's voice as feeble, broken, veiled, and ready to be extinguished twice in the same paragraph, first as a paraphrase and again in a quotation (with a misplaced comma).Decentering artists and their work to elevate others responsible for its reception brings attention to the unseen and often unsung. In the absence of particular performance histories, musical analyses and description, or sustained accounts of shared tastes or critical responses, however, conclusions remain piecemeal. Everist claims to have revealed a “Geertzian web of culture” in his study. A more modest account would describe it as an enumeration of references, revivals, editions, excerpts, and arrangements. (shrink)

Though it enjoys widespread support, the claim that perceptual experiences possess nonconceptual content has been vigorously disputed in the recent literature by those who argue that the content of perceptual experience must be conceptual content. Nonconceptualism and conceptualism are often assumed to be well-defined theoretical approaches that each constitute unitary claims about the contents of experience. In this paper I try to show that this implicit assumption is mistaken, and what consequences this has for the debate about perceptual experience. I (...) distinguish between two different ways that nonconceptualist (and conceptualist) proposals about perceptual content can be understood: as claims about the constituents that compose perceptual contents or as claims about whether a subject. (shrink)

Peirce earned his keep making measurements, mainly of gravity but also astronomical, and he made several contributions to the science of measurement. It has been said that his experience measuring had philosophical consequences: his adoption of fallibilism, his argument against necessitarianism, and his conception of inquiry as converging on the truth have all been mentioned. But not much attention has been paid to the curious episode of his making “the study of great men” part of a course in logic: students (...) were asked to rank a long list of men by order of greatness. That was at Johns Hopkins in 1883. I shall argue that that study, together with his reflections on pre-instrumental estimates of stars’ brightness, bears directly on the method of phaneroscopy formulated nearly two decades later. In each case, the problem is to show how objectivity is possible under conditions in which it must seem that objectivity is impossible. (shrink)

ch. 1. Istorii︠a︡ sot︠s︡iologicheskikh ucheniĭ -- ch. 2. Nauchnai︠a︡ teorii︠a︡ obshchestva.