Cigarette smoking and other addictive behaviors are among the main preventable risk factors for several severe and potentially fatal diseases. It has been argued that addictive behavior is controlled by an automatic-implicit cognitive system and by a reflective-explicit cognitive system, that operate in parallel to jointly drive human behavior. The present study addresses the formation of implicit attitudes towards smoking in both smokers and non-smokers, using a Go/NoGo association task, and behavioral and electroencephalographic measures. The GNAT assesses, via quantifying participants’ (...) reaction times, the strength of association between a target category and either pole of an evaluative dimension. EEG analysis is performed to determine the temporal course of the event-related potential components underlying Go/NoGo decisions and implicit attitude formation. Both smokers and non-smokers showed prolonged reaction times to smoking-related pictures when the pictures were coupled with positive evaluative words. This indicates negative implicit attitudes towards smoking in both groups alike at the time point of the behavioral response. However, only the non-smokers, not the smokers, were found to show a delay of the N200 component in the incongruent condition. This is interpreted as reflecting ambivalent or even positive implicit attitudes towards smoking in the smoker group at the time point of the N200. Our study thus provides evidence for the hypothesis that implicit attitudes are subject to changes within several hundred milliseconds after stimulus presentation, and can be altered in the course of their formation. (shrink)

Prior knowledge structures (or schemas) confer multiple behavioral benefits. First, when we encounter information that fits with prior knowledge structures, this information is generally better learned and remembered. Second, prior knowledge can support prospective planning. In humans, memory enhancements related to prior knowledge have been suggested to be supported, in part, by computations in prefrontal and medial temporal lobe cortex. Moreover, animal studies further implicate a role for the hippocampus in schema-based facilitation and in the emergence of prospective planning signals (...) following new learning. To date, convergence across the schema-enhanced learning and memory literature may be constrained by the predominant use of hippocampally dependent spatial navigation paradigms in rodents, and non-spatial list-based learning paradigms in humans. Here, we targeted this missing link by examining the effects of prior knowledge on human navigational learning in a hippocampally dependent virtual navigation paradigm that closely relates to foundational studies in rodents. Outside the scanner, participants overlearned Old Paired Associates (OPA – item-location associations) in multiple spatial environments, and they subsequently learned New Paired Associates (NPA – new item-location associations) in the environments while undergoing fMRI. We hypothesized that greater OPA knowledge precision would positively affect NPA learning, and that the hippocampus would be instrumental in translating this new learning into prospective planning of navigational paths to NPA locations. Behavioral results revealed that OPA knowledge predicted one-shot learning of NPA locations, and neural results indicated that one-shot learning was predicted by the rapid emergence of performance-predictive prospective planning signals in hippocampus. Prospective memory relationships were not significant in parahippocampal cortex and were marginally dissociable from the primary hippocampal effect. Collectively, these results extend understanding of how schemas impact learning and performance, showing that the precision of prior spatial knowledge is important for future learning in humans, and that the hippocampus is involved in translating this knowledge into new goal-directed behaviors. (shrink)

United Nations (UN) leaders suggest that the world is not on track to meet the Sustainable Development Goals (SDGs) by 2030. The purpose of this paper is to explore whether the SDGs provide a valuable platform to call for a basic income (BI) globally. Adopting a critical historical studies approach, the article traces the evolution of ‘development’, including the UN decades of development, the Millennium Development Goals, and the SDGs. It subsequently describes the structural adjustment and poverty reduction efforts by (...) the World Bank and International Monetary Fund, and then outlines why the SDG framework may be helpful in advancing a BI. We argue that as climate-related disasters increase, a BI will be vital in providing a modicum of security in an increasingly unstable world. Calls for BI must be anchored to a broader change agenda that recognizes the causes of poverty and income inequality, and seeks their dismantling and redress. (shrink)

Peer review is a widely accepted instrument for raising the quality of science. Peer review limits the enormous unstructured influx of information and the sheer amount of dubious data, which in its absence would plunge science into chaos. In particular, peer review offers the benefit of eliminating papers that suffer from poor craftsmanship or methodological shortcomings, especially in the experimental sciences. However, we believe that peer review is not always appropriate for the evaluation of controversial hypothetical science. We argue that (...) the process of peer review can be prone to bias towards ideas that affirm the prior convictions of reviewers and against innovation and radical new ideas. Innovative hypotheses are thus highly vulnerable to being “filtered out” or made to accord with conventional wisdom by the peer review process. Consequently, having introduced peer review, the Elsevier journal Medical Hypotheses may be unable to continue its tradition as a radical journal allowing discussion of improbable or unconventional ideas. Hence we conclude by asking the publisher to consider re-introducing the system of editorial review to Medical Hypotheses. (shrink)

Widowhood is common in old age, can be accompanied by serious health consequences and is often linked to substantial changes in social network. Little is known about the impact of social isolation on the development of depressive symptoms over time taking widowhood into account. We provide results from the follow-up 5 to follow-up 9 from the longitudinal study AgeCoDe and its follow-up study AgeQualiDe. Depression was measured with GDS-15 and social isolation was assessed using the Lubben Social Network Scale (LSNS-6). (...) The group was aligned of married and widowed people in old age and education through entropy balancing. Linear mixed models were used to examine the frequency of occurrence of depressive symptoms for widowed and married elderly people depending on the risk of social isolation. Our study shows that widowhood alone does not lead to an increased occurrence of depressive symptoms. However, "widowed oldest old", who are also at risk of social isolation, have significantly more depressive symptoms than those without risk. In the group of "married oldest old", women have significantly more depressive symptoms than men, but isolated and non-isolated do not differ. Especially for people who have lost a spouse, the social network changes significantly and increases the risk for social isolation. This represents a risk factor for the occurrence of depressive symptoms. (shrink)

Richard Wagner (1813-1883) zählt zu den herausragendsten Komponisten der Welt überhaupt und gilt aufgrund seiner musikalischen Interpretationen als ein Erneuerer der europäischen Musiklandschaft. Er fühlte eine enge Verbindung zu Ludwig van Beethoven, da eben sein Werk für die Entscheidung verantwortlich war, sich der Musik zuzuwenden. Das vorliegende Werk ist eine Hommage an den deutschen Künstler und erschien zu seinem einhundersten Geburtsjahr 1870. Es handelt sich hierbei um die englische Übersetzung der deutschen Originalfassung.

Philosophy of Logic: 5 Questions is a collection of interviews with some of the world's most influential and prominent scholars working on philosophy of logic. The questions: Why were you initially drawn to the philosophy of logic? What are your main contributions to the philosophy of logic? What is the proper role of philosophy of logic in relation to other disciplines, and to other branches of philosophy? What have been the most significant advances in the philosophy of logic? What are (...) the most important open problems in philosophy of logic, and what are the prospects for progress? Interviews with JC Beall, John Lane Bell, Johan van Benthem, Patricia A. Blanchette, OtAvio Bueno, James Cargile, Mark Colyvan, Newton Carneiro Affonso da Costa, Pascal Engel, Susan Haack, Jaakko J. Hintikka, Dale Jacquette, Penelope Maddy, Lawrence S. Moss, Catarina Dutilh Novaes, Ahti-Veikko Pietarinen, Graham Priest, Stephen Read, Nicholas Rescher, Stewart Shapiro, Peter Simons, Timothy Williamson, Jan Wole ski ". (shrink)

It is shown that the admissible solutions of the continuity and Bernoulli or Burgers' equations of a perfect one-dimensional liquid are conditioned by a relation established in 1949–1950 by Pauli, Morette, and Van Hove, apparently, overlooked so far, which, in our case, stipulates that the mass density is proportional to the second derivative of the velocity potential. Positivity of the density implies convexity of the potential, i.e., smooth solutions, no shock. Non-elementary and symmetric solutions of the above equations are given (...) in analytical and numerical form. Analytically, these solutions are derived from the original Ansatz proposed in Ref. 1 and from the ensuing operations which show that they represent a particular case of the general implicit solutions of Burgers' equation. Numerically and with the help of an ad hoc computer program, these solutions are simulated for a variety of initial conditions called “compatible” if they satisfy the Morette–Van Hove formula and “anti-compatible” if the sign of the initial velocity field is reversed. In the latter case, singular behaviour is observed. Part of the theoretical development presented here is rephrased in the context of the Hopf–Lax formula whose domain of applicability for the solution of the Cauchy problem of the homogeneous Hamilton–Jacobi equation has recently been enlarged. (shrink)

In Contesting Nietzsche, Christa Davis Acampora analyzes the significance for Nietzsche’s thought of the ancient Greek agon. She aims to show why the agon is important for understanding several philosophical themes prevalent in Nietzsche’s work, including naturalism, agency, and responsibility. Acampora also argues that we should understand Nietzsche’s own engagement with other philosophical contestants as part of his own agonistic enterprise, highlighting Homer, Socrates, Paul, and Wagner as four such competitors. Acampora’s analysis of the agon is helpful for understanding (...) how Nietzsche’s early interest in the ancient Greeks influenced the development of his thought, especially in... (shrink)

continent. 1.2 (2011): 129-135. Introduction Vincent W.J. van Gerven Oei Successions of words are so agreeable. It is about this. —Gertrude Stein Nachoem Wijnberg (1961) is a Dutch poet and novelist. He also a professor of cultural entrepreneurship and management at the Business School of the University of Amsterdam. Since 1989, he has published thirteen volumes of poetry and four novels, which, in my opinion mark a high point in Dutch contemporary literature. His novels even more than his poetry are (...) criticized for being inaccessible, which I generally take to be a compliment. It would be like saying that Fernando Pessoa is inaccessible, which he is not. Neither is Wijnberg. When we think of the combination economist-poet we are immediately reminded of the American poet Wallace Stevens, who, as the story goes, had two stacks of paper on his desk, one for contracts, one for poems. We also know that Stevens wrote on the economy and that questions of economy and insurance surface at multiple points in his poems. The following text is a very preliminary attempt to point at the intersections between poems, novels, business, and poetry in Wijnberg’s work. On the back cover of his novel De opvolging ( The Succession , 2005), Wijnberg states the following: “[This is] a novel for whomever is interested in the workings of a company as much as in the workings of a poem.” Wijnberg thus claims that the way in which a company “works” may be similar to the way in which a poem “works.” The question is the obvious one, what does this similarity consist in? De opvolging tells the story of company in which bosses and company doctors, secretaries, children, clowns, and beggars have tons of meetings, recite poems, perform plays, tell jokes, and succeed each other, climbing up and down in the company’s hierarchy. De opvolging is a novel in which the career of people follows the career of words. It resonates with Gertrude Stein's sentences, "Grammar. What is it. Who was it" (1975, 50). The words in Wijnberg's poems are like he characters in his novel. And if we keep in mind this allegorical reading of De opvolging , which is obviously only one of the possible readings, we may be able to understand some aspects of Wijnberg’s poetry. A repetition is already a pun. Look, that word is trying it again, as if it is afraid that by not doing it it would give up the hope that it will ever be able to do something. A pun is the opposite of the first word coming to the mind of someone who shouts it when he suddenly discovers something. (104) The repetition, the succession of the same word, is already a pun, a joke. The succession of the father by the son after the revolution is a joke. "Look he's trying it again!" The essence of a joke is a repetition. Archimedes’ “Eureka!” is its opposite. Poems can easily become jokes, depending on the way the words follow and repeat each other. In De opvolging , the careers of the bosses, good and bad secretaries, and company doctors easily become jokes, as they are “afraid that by not doing it [they] would give up the hope that [they] will ever be able to do something.” Not only the repetition, but also the distance and difference between the words in a poem, their cause and effect relations can be read as company relations. This becomes clear when we, for example, read the first lines of the poem “Cause, sign” from Het leven van ( The Life Of , 2009). A sign lets know what is going to happen, a cause lets it happen. If the sign also lets happen there is no reason to isolate it, because then I would isolate some- thing only because it’s different for me. If I didn’t have to write this myself, but would have secretaries to whom I could dictate it, I would be able to say more about it. (49) Upon reading the first two lines we can already conclude that any word may be cause or sign or both. If a sign is also a cause there is no reason to discriminate it, yet to the poet they are still different. This difference only becomes expressible the moment he would have a secretary. Just like in De opvolging , the secretary introduces a distance; not in a company but in a poem. Hence the difference between “good” and “bad” secretaries in a company, where the good secretary of one boss may be the bad secretary of another one. The more we can say about the bosses of the company, or signifiers of the poem, the greater the distance we introduce between them and us. We should take serious the relation between Wijnberg’s novels and poems. Although they operate on different scales, they explain and converse with each other. Another example may be the novel Politiek en liefde ( Politics and Love , 2002), which deals with the relation, precisely, between politics and love. In the novel, Nicolai, a lieutenant in the Dutch army, is sent to Africa on a military mission. Upon leaving a receives a letter from his father. Dear son, Don’t do anything stupid before your father has advised you to do so. Your mother asked me to write a wise letter. I have been looking for wisdom for half a day and haven’t found much. If you borrow a small amount from a bank you become the bank’s slave, but if you borrow a couple of millions and spend them as quickly as possible the bank becomes your slave. What I want to say is that you have to return from Africa in good health, and before you know it the world will be your slave [....] Signed with a kiss from your father. (88) The line, “If you borrow a small amount from a bank you become the bank’s slave, but if you borrow a couple of millions and spend them as quickly as possible the bank becomes your slave,” returns as the title of poem in Het leven van: “If I borrow enough money the bank becomes my slave” (12-3), which elaborates this theme. So both in the way that these poems are structured and in their subject matter, they refer to the structures of our economy, to the ever-continuing line of CEOs succeeding each other like words, to the distance between them introduced by bureaucracy, and giving and receiving as economical and poetical acts. Poem and economy map onto each other, as in another episode from De opvolging : Edward reads two of the beggar’s poems about presents. Of a holiday nothing remains, except for memories, and if some of them are bad I’d rather forget them all; if I get a present I’d rather get something that’s useful to me for a long time. If I may choose, I choose what I can use longest, long enough to partially forget that this was the present, because it feels bad when nothing is left of it. […] Giving away becomes destruction in the stock destruction economy [ voorraadvernie -tigings-economie ], that is a gift economy [ geschenkeneconomie ], encountering for the first time an economy in which there’s selling and buying on markets. Instead of destroying supplies someone can also quickly say that they aren’t worth anything anymore; if someone wants to take them I’d gladly give him something extra. In a stock destruction economy he is someone who each day wants to work more hours than his colleagues. If around a company there is a gift economy in which someone’s rank is determined and made visible by the gifts someone can give someone else, a company will be more often character- ized by an invisible or unclear system of ranks. (152) Two poems about gifts present two different economical models, described by Wijnberg with the terms “stock destruction economy” and “gift economy.” Here we immediately recall the opposition introduced by George Bataille’s work on the concept of expenditure in The Accursed Share , where a “general economy” would surpass the stock destruction economy based on scarcity (capitalism) and become a gift economy (potlatch) and an egalitarian (communist) society. These claims are made both on the level of the poems and in their discursive explanation. They follow each other and on each other. I would like to finish this introduction to Wijnberg’s writing with a translation from his novel De joden ( The Jews , 1999), which develops the story of Hitler abdicating as chancellor of the Third Reich, appointing philosopher Martin Heidegger as his successor. In a conversation with two Russian actor-spies, sent by Stalin to figure out the situation, philosopher Walter Benjamin describes the abdication scene. Maimon: You were there when Hitler resigned? Benjamin: In the room we’re right now. The desk and the chairs are new. After his resignation Hitler would like to take his furniture to his new house. Martin naturally agrees. It is a sunny day. Martin is very nervous and complains about the heat. Martin is wearing his best dark blue suit, not his professor’s robe. Hitler is wearing his uniform. We enter the room and Hitler gets up and embraces Martin. Martin is not very good at embracing. Hitler shakes his hand. Hitler’s cap is on the desk. The cap has a metal lining. Hitler has strong neck muscles. Hitler says: A man is unclean. He takes a bath. Does he make the bath water unclean? I say: a man is unclean. He steps into a river. A little further a man steps into the river; does he become unclean? Hitler nods. I say: a man is standing in music. Another man hears the music but also sees the first man moving on the beat of the music in a way that he is certain that the music would excite different feelings in him if he wouldn’t to see the first man. Hitler says: a man is clean, listens to music, is suddenly touched and he doesn’t know by what. The conversation ends in the way you know it ends. Hitler picks up his cap from the desk and puts it on Martin’s head. (73-4) Aware of the never ending debate on the question of Heidegger’s involvement in the Nazi regime, Wijnberg has the audacity to present the arguments of complicity in the religious terminology of cleanliness and uncleanliness, while at the same time recalling overtones of Hitler’s supposed love for Wagner, suggesting a relation between Benjamin and Hitler, and so on. The space of this introduction is to small to treat a novel like De joden , a reading of which together with passages from Philippe Lacoue-Labarthe's Heidegger, Art, and Politics: The Fiction of the Political , Jacques Derrida's Of Spirit , Christopher Fynsk's Heidegger: Thought and Historicity , and Avital Ronell's The Telephone Book would be extremely elucidating and potentially open new avenues in thinking Heidegger's emphasis on poetry after the fall of the Nazi empire. But at this point we will have to curb our curiosity and follow the poet himself. The themes of the relation between business and poetry, but also Chinese landscape painting, love, Indian and Japanese poetry, and Western philosophy are analyzed and assimilated in Wijnberg’s work without ever losing the clarity of expression. It may be that, according to Alain Badiou, the “Age of the Poets” is over, but its end (Paul Celan) has exactly brought a new balance between philosophy and poetry, and it is this playful, but nonetheless serious balance that makes one hope that one day Wijnberg’s complete oeuvre might become available to readers across the planet. Tiranë, Albania February 15, 2011 English translations (all of them translated by David Colmer, who is preparing an English collection of Wijnberg’s poems entitled Advanced Payment ): Poetry International Words Without Borders Green Integer Review from Het leven van ( The Life of ) THE LIFE OF KANT, OF HEGEL As if every day he takes a decision that is as good as when he’d been able to think about it all his life. The life of Kant, of Hegel, the days of the life of, select three or four of them. Tell what he has discovered during those days as if he were the last one who knew so little. Give me something that I can cancel against then I can prepare myself for it. The reward is that I may continue with what I’m doing, it doesn’t matter how long it takes. This has nothing to do with everything remaining the same if I say that I no longer want anything else. I wouldn’t be able to say in which one and the other occur in a way that I if I knew something to cancel that one against it wouldn’t be possible now. The stars above my head and being able to say what belongs to what if I’ve let them in. FOLLOWING MY HEART WITHOUT BREAKING THE RULES Observing the rules without observing the rules by going where the rules no longer apply. I could also observe the rules there by applying them to what at great distance may resemble what the rules are about. But why would I do that, not to confuse someone who is seeing me from a great distance? Behind this morning the morning prepares itself when the rules are everything I have. IF I BORROW ENOUGH MONEY THE BANK BECOMES MY SLAVE A bank lends me money, if I don’t pay it back they tell my boss that he has to pay them my salary. But they have to leave me enough to eat and sleep and an umbrella when it’s raining. They can also empty my house, the furniture isn’t worth a lot, but every little helps. Each morning I leave for work, if I don’t start early they’ll soon get someone else, no bank will lend me money when the sun is shining. My boss has given me a cat to raise as a dog. Of course I know that it won’t work out, but I’ve asked for a week—maybe the cat gets lucky, maybe I get lucky. My hands around a cup of coffee, before I leave for work, warm-empty, cold-empty, as if hidden in the mist over a lawn. What I make when there’s no work left for me, I’m ashamed to say how little it is. Once I’m outside I check it, if they watch out of the window they can see me doing it. Suppose it is so much that I’d stay counting for hours, it’s getting dark and I’m still there. They stay watching for a while once they’ve finished their work, but have to go home, I get that, sure, I could also go home and continue counting there. If it’s too little running back immediately won’t help, because nobody’s there anymore, and if I come back tomorrow I may have spent what’s missing tonight. Going somewhere where it’s warm enough to walk around without clothes during daytime, it helps me to know that something’s more there than here. For someone like me there’s work anywhere, it shouldn’t take a week to find work for me there. Three times work and a home close to work, I may choose one and try for a week whether I want to stay there. If at the end of the week I don’t want to stay I’m back on the next day, then it was a week’s holiday. RULES If that’s against a rule, it’s yet another one that I cannot observe, or only so briefly that I cannot re- member it later. Anyways the rules are only there to help me remember what I need in order to do better what I do. In that respect there’s no difference between the rules that I find in a book and the rules that I think of early in the morning. I know that because I’ve made a rule just now nothing has yet to observe it. CAUSE, SIGN A sign lets know what is going to happen, a cause lets it happen. If the sign also lets happen there is no reason to isolate it, because then I would isolate something only because it’s different for me. If I didn’t have to write this down myself, but would have secretaries to whom I could dictate it, I could to say more about it. If something is taken away from me I consider how it would be if the opposite had been taken from me. That is what causes or signifies what is farthest away from what is caused or signified by what has been taken away from me. note: For the translations of “The life of Kant, of Hegel” and “If I borrow enough money the bank becomes my slave” I was able to consult David Colmer’s wonderful translations. (shrink)

The triangular desire and the scapegoat mechanism are the key issues of René Girard’s mimetic theory. The imitative desire to have what the other has conceals the ‘meta-physical’ desire to be the Other. The ‘inter-dividual’ human being does not recognize in his model/rival or in the idol/scapegoat the mimetic ‘counter-part’ of himself. How can Nietzsche’s reading of the ancient Greek agonal or competitive culture be re-interpreted in the context of his ambivalent relationship with Richard Wagner? What is the correlation (...) of Nietzsche’s mental illness and his choice in favour of the violence by Dionysus against the Judaeo-Christian truth of the innocent victim? Nietzsche’s attitude of resentment – from a 'thwarted and traumatized desire' – is put in a wider cultural-psychological and ‘anthropo-ethical’ context. The tripartite division of the soul according to Plato, Aristotle’s rhetoric ‘patho-etho-logy’ and the trifunctional hypothesis of Georges Dumézil make up the interpretative framework. Nietzsche’s ‘patho-logy’ – self-knowledge alienated from desire – and the destruction of his moral resilience typify an ‘autoimmune crisis’. (shrink)

Wagner heeft uit de ideeën en opvattingen, die in zijn tijd gangbaar waren, een zeer extreme keuze gemaakt, die ook als zodanig werd gezien. Dit geldt zowel voor zijn antisemitisme als voor zijn Duitse nationalisme. Dit bemoeilijkt de hedendaagse benadering van zijn werk. Door het feit dat Wagner literatuur en muziek wil versmelten, waardoor sommige van zijn werken op onware premissen zijn gebouwd, blijft iedere hedendaagse poging om zijn werk uit te voeren in ideologische compromissen steken.

De wortels van de vijandschap jegens Wagner liggen in de politieke ontwikkeling van de twintigste eeuw, waarin de linkse critici van Wagner de misdaden van Hitler hebben teruggelezen in zijn opera's. Scruton ziet in de werken van Wagner een grootse poging om de onttovering van het moderne leven een halt toe te roepen en voor de mens een deur te openen naar een bovenmenselijke kosmische orde.

Aan de hand van voorbeelden uit de literatuurkritiek van de oudheid tot heden wordt een pleidooi geconstrueerd voor kritische openheid bij het ondergaan van kunstwerken met anti-democratische en racistische lading, zoals bijvoorbeeld de muziek van Wagner.

Een kenner op het gebied van de klassieke muziek - wie wil dat nou niet zijn? In dit boek legt André Klukhuhn de filosofie en oorsprong van de westerse klassieke muziek op een toegankelijke manier bloot. Hij geeft op even komische als boeiende wijze een overzicht van de belangrijkste stromingen en tijdperken en de bijbehorende westerse componisten: van rococo en romantiek tot postmodernisme, en van Keppler en Händel tot Wagner en Orff. De betekenis van de 'kosmische harmonie', het raakvlak (...) tussen muziek en wiskunde, loopt als een rode draad door het verhaal heen. Door het lezen van dit eerste Nederlandse overzichtswerk van de westerse klassieke muziek zal het luisteren ernaar nog boeiender - of troostrijker, verheffender of ontspannener - worden dan het altijd al was. (shrink)

During the years preceding the composition of Tristan and Isolde, Wagner's aesthetics underwent a momentous turnaround, principally as a result of his discovery of Schopenhauer. Many of Schopenhauer's ideas, especially those regarding music's metaphysical significance, resonated with patterns of thought that had long been central to Wagner's aesthetics, and Wagner described the entry of Schopenhauer into his life as 'a gift from heaven.' Chafe argues that Wagner's Tristan and Isolde is a musical and dramatic exposition of (...) metaphysical ideas inspired by Schopenhauer. The first part of the book covers the philosophical and literary underpinnings of the story, exploring Schopenhauer's metaphysics and Gottfried van Strassburg's Tristan poem. Chafe then turns to the events in the opera, providing tonal and harmonic analyses that reinforce his interpretation of the drama. Chafe acts as an expert guide, interpreting and illustrating the most important moments for his reader. Ultimately, Chafe creates a critical account of Tristan, in which the drama is shown to develop through the music. (shrink)

Verschillende personnages uit de Meistersinger worden getoetst aan wat Goehr de "esthetiek der ontkenning" noemt, waarbij ook de interpretatie van verschillende musicologen wordt behandeld.

Hoe kan de behoefte om 'hartstochtelijk uitdrukking te geven' aan de geestesgesteldheid die teweeggebracht is door het lezen van een wijsgerige verhandeling tegelijkertijd de aanzet vormen tot een eenvoudig muzikaal concept, of zelfs, zoals Wagner zelf stelt, 'mijn minst gecompliceerde muzikale conceptie'? Magee analyseert dit probleem waarmee hij geconfronteerd wordt naar aanleiding van de opera Tristan en Isolde.

In _"Masterpiece" Studies_ Kermit Champa offers new ways to interpret modernism that have previously been closed off by the application of the reigning art-historical methodologies to the study of the modernist achievement. He focuses on four separate phenomena—Manet's last Salon painting, _Bar at the Folies-Bergèr_e;_ L'Oeuvre_, Zola's novel about the realist/impressionist movement; Van Gogh's problematic versions of a single painting, _La Berceuse_; and the immanent "series" phenomenon of Monet's work of the period. Champa reveals the importance of music, in particular (...) Wagner's music, as a paradigm for later nineteenth-century French painting. He also shows the crucial significance of the concept of the masterpiece as thematized by Zola in his novel for our understanding of certain aspects of the art of Manet, Monet, and Van Gogh. Employing postformalist methodology, the book explores the conversation between works of art produced in close succession and elaborates an aesthetic context for that conversation. Champa also shows how paintings and fictional representations of paintings can announce their points in common, and it is out of this exploration that he radically redefines what constitutes "context.". (shrink)

Do adherents of different religious traditions communicate and, if so, how? What enables them to do so? What is interreligious “communication”? These issues are ad dressed with reference to Wilfred Cantwell Smith's hermeneutical rule, and to inter alia Paul Knitter, Martin Heidegger, Hans-Georg Gadamer, David Tracy, and John Dunne. Four responses to the question as to what permits interreligious communication are criticised. According to a fifth response, on which the author elaborates, interreligious communication is not – as the objectivist (...) claims – possible because members of different religious traditions speak the very same language, or – as the relativist claims – impossible because they speak radically different languages. Adherents of different religions communicate, if at all, by means of an analogical language. This language is the product of persistent efforts to understand the religion/faith of the other as he or she understands it. Paradoxically, the language that permits inter religious communication is thus the product of such communication. Without thereby reverting to objectivism or an essentialist view of religion, the author identifies five “less unstable” similarities between religions. These and other “less un stable” similarities might assist believers in their efforts to under stand the religious other. (shrink)

Die Rilke-Auslegung wird in weitreichende historische Perspektiven gestellt. Seit der Renaissance lässt sich ein Autonom-werden der Kunst beobachten, das bei Hölderlin, Wagner und Nietzsche zur Erwartung eines neuen ästhetisch bestimmten Zeitalters fuhrt. Heidegger schliesst für seine Kennzeichnung der gegenwärtigen Zeit, nach dem Tode Gottes und ohne eine neue bestimmende Mitte der Kultur, als ,, dürftiger Zeit" bei Hölderlin und Nietzsche an. Rilkes Position als „Dichter in dürftiger Zeit” ist in Heideggers Texten indessen nicht eindeutig. Rilke ist schliesslich nur ein (...) Gesprächspartner in einem Gesprächskontext zwischen Philosophie und Kunst. Innerhalb dieses Kontextes werden hier zwei Gedichte und die Grabschrift Rilkes interpretiert. Adorno und Habermas werfen Husserl vor, dass er die Forderung der Phänomenologie, zu einer „Wesensschau” zu kommen, die das objektivierende Denken überwindet, nicht einlösen kann. Die These dieser Abhandlung ist, dass Rilke in einigen seiner Gedichte die „Wesensschau” auf adäquate Weise verwirklicht. Die methodische Seite, die freilich nicht von der inhaltlichen zu trennen ist, kommt in „Der Schauende”, die ganz auf das Inhaltliche gerichtete Seite in „Der Panther” mit völliger Klarheit zum Ausdruck. Was kann es bedeuten, dass Rilke das Wesen schliesslich als Un-wesen erblickt ? (shrink)

Het thema van de verlossing en het onverbrekelijke verband tussen verlossing, liefde en dood loopt als een rode draad door Wagners late opera's. Scruton onderzoekt hoe dit thema vorm krijgt in de christelijke traditie, de Griekse tragedies en in de opera's van Wagner en dan met name in Tristan en Isolde. Hij analyseert nauwkeurig de verschillende 'settings' waarin verlossing gedaante krijgt. Zo beschouwt hij verschillende offerrituelen, de rol van de jacht daarbij, de gemeenschap tegenover het individu, de rol van (...) geweld. Ook gaat hij in op hoe de slachtoffers zelf tegen hun opoffering aankijken. Alleen zo valt te begrijpen hoe zij verlossing kunnen vinden. En dat de liefde deze verlossing biedt. (shrink)

The study used a thematic analysis to examine student and faculty responses to two qualitative questions focused on their perceptions of the consequence of incivility and solutions that would embed civility expectations as a key element to professional role socialization in higher education. Participants included students and faculty across multiple academic programs and respondent subgroups at a regional university in the southern United States. A new adapted conceptual model using Clark’s in _Nursing Education Perspectives_, _28_(2), 93–97 ( 2007, revised 2020) (...) Conceptual Model for Fostering Civility in Nursing Education and Daniel Goleman’s in _Emotional intelligence: Why it can matter more than IQ_. Bantam Books ( 1995 ) Emotional Intelligence domains was used as the framework for this study to give meaning and context to its findings. For this group of respondents, the study found that seventy percent of faculty and students agree that incivility has the largest impact on the emotional intelligence domain of self-management, which includes negative emotional outcomes, loss of respect, negative professional and student outcomes, poor academic outcomes, attrition, and less success. Leadership in higher education will strengthen their institutions by using a relational approach centered on communication skill-building to ensure that faculty have been socialized to the importance of civil professional behavior and that stakeholders collectively explore and agree on the meaning and organizational integration of civility. (shrink)

Adorno unquestionably loved opera music as much as he hated opera as a cultural institution. His take on opera in the twentieth century led him to write its socio‐political obituary, while recognizing at the same time that opera continued to attract a steady stream of would‐be onlooker‐auditors. Paradoxically for Adorno, opera continued to appeal to audiences, and – from his dialectical reckoning – characteristically for precisely the wrong reasons. His opera analyses address the sociology of musical theater, performance hermeneutics, and (...) the direct consideration of music itself (though given his typical writing mode this writing is perhaps best characterized as criticism rather than analysis, as the latter term is commonly employed within musicology). Adorno's interests principally revolve around modern opera (Schoenberg, Berg, Strauss, Weill, especially) but also, if to a lesser extent, canonic works from Mozart to Verdi. Wagner, Wagnerian music drama, and cultural Wagnerism more generally were special cases for Adorno, and subjects he returned to repeatedly throughout his adult life, coinciding with the rise and fall of National Socialism and the Wagner cult, which in the 1930s and 1940s war years comfortably accommodated fascist proclivities. Adorno recognized the socio‐cultural agency of opera as a still‐prestigious cultural leftover of nineteenth‐century bourgeois triumphalism, which he vigorously opposed. In its place, he labored to promote what he regarded as a more socially responsible musico‐operatic practice to supplant the aesthetic and social complacency of the established order, ideas that after his death have found considerable currency, nowhere more evident than in late‐modern opera productions throughout the world. (shrink)

Als Plato de hedendaagse academie zou aanschouwen, zou hij niet alleen stomverbaasd zijn over de massificatie en de byzantijnse bureaucratie, maar gezien het ethische doel van de universiteit zou hij ook reden hebben om bezorgd te zijn.

We thank Leo Lam and Taylor Nichols for their response1 to our paper ‘COVID-19 vaccine boosters for young adults: a risk–benefit assessment and ethical analysis of mandate policies at universities’.2 In our paper, we demonstrate that the risk–benefit calculus to mandate boosters for young adults aged 18–29 is a net risk intervention. The authors assert that we have made three inappropriate comparisons of benefits versus risks of the mRNA vaccine booster dose in this age group. We provide our response to (...) each below. We erred on the side of overestimating benefits of the booster dose against severe COVID-19 in this age group and still found net harms to outweigh net benefits. The conclusion of our paper holds, and university booster mandates for young people were—and remain—unethical. For the first comparison, we weighed predicted hospitalisations prevented by one booster dose of BNT162b2 with vaccine-associated SAEs from the manufacturer’s randomised trial (3/5055).3 We found that the rate of expected SAEs would outweigh the benefits of the booster against hospitalisation by at least 18-fold. Lam and Nichols suggest that this was an inappropriate comparison, as not all SAEs result in hospitalisation. However, the definition of SAE as used in the trial included death, hospitalisation, disability, permanent damage, life-threatening event or condition, which required medical or surgical intervention to prevent a serious outcome.4 While all comparisons include some degree of incommensurability, comparing these SAEs with hospitalisations prevented by the booster is more reasonable than Lam and Nichols’ suggestion of comparing SAEs to infections prevented. The COVID-19 infection hospitalisation risk in this age group was <0.5% (or <1/200)5 even prior to widespread immunity, thus comparing SAEs to infection risk is entirely inappropriate. Furthermore, a booster dose will only offer transient (if any) protection against infection6 and cumulative infection rates …. (shrink)

It is well known that Friedrich Nietzsche loved to refer to himself as the “last disciple of Dionysus.” On the basis of this famous self-characterization, it would seem warranted to describe Nietzsche’s ideal as Dionysian—as Tracy Strong, Bruce Detwiler, and Daniel Conway have done. This paper seeks to reassess the extent of Nietzsche’s Dionysianism via an examination of what the philosopher had to say about music—in particular, Richard Wagner’s music. What the paper argues is that Nietzsche’s musical aesthetics (...) is remarkably Apollonian (or classical), and that elements of this aesthetics can be detected in every period of Nietzsche’s intellectual life. While some scholars have acknowledged the classicism in Nietzsche’s middle-period, I go further and argue that Nietzsche’s earlyworks already indicate that the philosopher was not an entirely loyal disciple of Dionysus. (shrink)

It is well known that Friedrich Nietzsche loved to refer to himself as the “last disciple of Dionysus.” On the basis of this famous self-characterization, it would seem warranted to describe Nietzsche’s ideal as Dionysian—as Tracy Strong, Bruce Detwiler, and Daniel Conway have done. This paper seeks to reassess the extent of Nietzsche’s Dionysianism via an examination of what the philosopher had to say about music—in particular, Richard Wagner’s music. What the paper argues is that Nietzsche’s musical aesthetics (...) is remarkably Apollonian (or classical), and that elements of this aesthetics can be detected in every period of Nietzsche’s intellectual life. While some scholars have acknowledged the classicism in Nietzsche’s middle-period, I go further and argue that Nietzsche’s earlyworks already indicate that the philosopher was not an entirely loyal disciple of Dionysus. (shrink)

Ook al staan de beelden van Confucius, Lao Zi en Boeddha in sommige Chinese tempels weer broederlijk bijeen op het altaar, hun verschillende wegen tot zelfcultivering worden zelden in onderlinge samenhang beschreven. Dit boek benadert confucianisme, daoïsme en het Chinese boeddhisme in zijn vroege ontwikkeling vanuit hun visie op de praktijk van de zelfcultivering. Hoewel ze een volstrekt ander doel hebben dan de westerse zelfverwerkelijking, mogen de Chinese wegen zich in onze contreien toch in een grote populariteit verheugen. Omdat de (...) zelfcultivering in China primair gericht is op de emoties, vormt de emotiecultivering de rode draad in dit boek. Het begrip Qi, levenskracht, speelt een grote rol in alle cultiveringspraktijken en staat centraal in het klassieke Chinese denken. Het eerste hoofdstuk biedt een inleiding in dit begrip, waardoor de lezer een overzicht krijgt van een aantal Chinese kernconcepten en theorieën en daarmee ook van de context van de emotiecultivering. Naast de beschrijving daarvan in confucianisme, daoïsme en boeddhisme biedt het boek verder een beschouwing van de Chinese landschapsschilderkunst als "filosoferen met het penseel". Het slothoofdstuk vat de verschillende cultiveringspraktijken samen en presenteert ze onder de noemer van Wegen naar het Midden. (shrink)

Epistemologists have a special fondness for David Hume. Even Kant-obsessed a priorists admire the honesty, directness and elegance of his thinking. He is the Mozart of analytic philosophy rather than the Bach. Sparkling ideas, icy clarity and popular delivery make his writings the standard for good philosophy. 'Try to think like Hume' is pretty decent advice. But is that his only use today—to be emulated in style and approach? This volume is a collective 'no'. A team of top epistemologists and (...) historians join forces to demonstrate the relevance of Humean ideas to the most current questions and debates. Hume dribbles into the following themes, much to the advantage of each: knowledge, belief, inquiry and suspension, reason and reasons, scepticism, hinge epistemology, naturalized epistemology, the ethics of belief and moral epistemology, virtue and vice epistemology, the epistemology of testimony. Epistemologists who discount history and historians who halt at 1950 should gallop to this volume and start reading. Neither perspective will survive. (shrink)