In this article, I use Stengers’ concepts of ‘factish’, ‘requirements’ and ‘obligations’, as well as Latour’s critique of modernity, to interrogate the rise of Equal Temperament as the dominant system of tuning for western music. I argue that Equal Temperament is founded on an unacknowledged compromise which undermines its claims to rationality and universality. This compromise rests on the standardization which is the hallmark of the tuning system of Equal Temperament, and, in this way, (...) it is emblematic of Latour’s definition of modernity. I further argue that the problem of the tuning of musical instruments is one which epitomizes the modern distinction between the natural and the social. In turn, this bears witness to what Whitehead calls the ‘bifurcation of nature’. Throughout this article, using the work of Stengers and Latour, I seek to use tuning as a case study which allows social research to talk both of the natural and of the social aspects of music and tuning, without recourse to essentialism or simple social construction. In this way, my argument seeks to avoid bifurcating nature. (shrink)

The development of philosophical ideas throughout history has sometimes been assisted by the use of handcrafted instruments. Some paradigmatic cases, such as the invention of the telescope or the microscope, show that many philosophical approaches have been the result of the intervention of such instruments. The aim of this article is to show the determining role that stringed musical instruments with frets had in the crisis and generation of philosophical paradigms. In fact, just as the observations of the moon with (...) the telescope broke more than a thousand years of Aristotelian hegemony, the fretted string instruments, predecessors of the guitar, played a central role in the collapse of one of the most influential approaches in the history of Philosophy: Pythagorism. We focus on the fundamental hallmarks of Pythagorism and on how, during the 16th century and from the fretted string instruments, the mathematical-musical notion of equal temperament emerged, which from the middle of the 19th century will be established as the prevailing philosophical-musical paradigm of the West. (shrink)

The development of philosophical ideas throughout history has sometimes been assisted by the use of handcrafted instruments. Some paradigmatic cases, such as the invention of the telescope or the microscope, show that many philosophical approaches have been the result of the intervention of such instruments. The aim of this article is to show the determining role that stringed musical instruments with frets had in the crisis and generation of philosophical paradigms. In fact, just as the observations of the moon with (...) the telescope broke more than a thousand years of Aristotelian hegemony, the fretted string instruments, predecessors of the guitar, played a central role in the collapse of one of the most influential approaches in the history of Philosophy: Pythagorism. We focus on the fundamental hallmarks of Pythagorism and on how, during the 16th century and from the fretted string instruments, the mathematical-musical notion of equal temperament emerged, which from the middle of the 19th century will be established as the prevailing philosophical-musical paradigm of the West. (shrink)

Nuestro sistema musical de referencia está basado en la division de la octava en doce partes, doce semitonos, iguales. Aunque adecuada tal configuración a la práctica musical, conlleva en el plano teórico una serie de problemas, como que, a excepción de la propia octava, no haya ni una sola consonancia natural (justa) o que la razon deI semitono sea 12√2. Tal temperamento igual no se impone definitivamente hasta mediados deI s. XVIII, pero ya a finales deI s. XVI se llega (...) a su formulación y determinación exactas, bien que no de forma matemática. En este esfuerzo merece especial atenciónla figura deI teórico musical español Francisco Salinas.Our tonal system of reference is based· on division of the octave into twelve equal parts, twelve semitones. Although this configuration is suitable for practical musical purposes, it poses some problems for music theory. For example, apart from the octave itself, there is not one natural (just) consonance. Also, the semitone ratio results to be 12√2. This equal temperament was not definitively imposed until the middle of the 18th Century, but by the end of the 16th Century its precise formulation and calculation, although not in its mathematical form, had been completed. The spanish humanist and music theorist Francisco Salinas was one of the key figures responsible for this task. (shrink)

A fascinating and hugely original book that explains how a vexing technical puzzle was solved, making possible some of the most exquisite music ever written. From the days of the ancient Greeks, the creation of music was thought to be governed by divine and immutable mathematical certainties. But over time skeptics came to understand that those rules limited harmonic possibilities. In Temperament , we see the traditionalists and the innovators battling across the centuries, engaging great thinkers like Newton, Kepler, (...) and Descartes as well as musicians, craftsmen, church leaders, and heads of state. At the heart of their dispute is the question of how the tones of a musical scale should be selected. The breakthrough came in the eighteenth century, when the modern keyboard was given perfect musical symmetry through a tuning of equal temperament, each pitch reliably equidistant from the ones that precede and follow it. This tuning allows a musical pattern begun on one note to be duplicated when starting on any other; it creates a musical universe in which the relationships between tones are reliably, uniformly consistent--a universe of greatly expanded possibility, one that allowed Liszt, Chopin, Brahms, Debussy, and all those who followed to compose the piano music we listen to today. Stuart Isacoff relates the story of the reinvention of the piano--a story that encompasses social history, religion, philosophy, and science as well as musicology--in a concise and sparkling narrative. Temperament is a jewel of a book. (shrink)

As sociologists learn more about how scientific knowledge is created, they give historians the opportunity to rework their accounts from a more contextual perspective. It is relatively easy to do so in areas with large theoretical, cosmological or overtly ideological components. It is more difficult, but equally necessary, to open up very empirical accomplishments, and recent sociological analysis of the process of science gives us some interesting insights. This paper employs some of these on the apparently unpromising subject of the (...) ‘discovery of secular magnetic variation’ in 1634 by the Gresham professor Henry Gellibrand. (shrink)

Many pioneers of the Scientific Revolution such as Galileo, Kepler, Stevin, Descartes, Mersenne, and others, wrote extensively about musical theory. This was not a chance interest of a few individual scientists. Rather, it reflects a continuing concern of scientists from Pythagorean times onwards to solve certain quantifiable problems in musical theory. One of the issues involved was technically known as ‘the division of the octave’, the problem, that is, of which notes to make music with. Simon Stevin's contribution to this (...) issue, in his treatise Vande Spiegheling der Singconst , is usually conceived of as a remarkably early plea for equal temperament, which is the tuning system we nowadays all take for granted. In this paper I show that, even though it is true that Stevin calculated the figures for what is now known as equal temperament, in fact the subject of temperament has almost nothing to do with his accompanying considerations, and that, therefore, his calculations served another purpose. A careful analysis of the problem situation in the science of music around 1600, reveals that Stevin's treatise highlights a particular stage in the history of what has always been the core issue of the science of music, namely, the problem of consonance. This is the search for an explanation, on scientific principles, of Pythagoras' law: ‘Why is it that those few musical intervals which affect our ear in a sweet and pleasing manner, correspond to the ratios of the first few integers?’ Through an analysis of the source material available we find that Stevin's theory, which makes no sense if interpreted as an early stage in the ‘evolution’ of equal temperament, was meant as a solution—as freshly original as it was wrongheaded—to this perennial problem of consonance, which has continued to baffle some of the best scientific minds from the very beginning of science to the present day. (shrink)

ObjectiveTo examine how physical and psychological childbirth experiences affect maternal perceptions and experiences of early infant behavioural style.BackgroundUnnecessary interventions may disturb the normal progression of physiological childbirth and instinctive neonatal behaviours that facilitate mother–infant bonding and breastfeeding. While little is known about how a medicalised birth may influence developing infant temperament, high impact interventions which affect neonatal crying and cortisol levels could have longer term consequences for infant behaviour and functioning.MethodsA retrospective Internet survey was designed to fully explore maternal (...) experiences of childbirth and her postnatal perceptions of infant behaviour. Data collected from 999 mother–infant dyads were analysed using Pearson’s correlations and multiple analyses of covariance, employing the Bonferroni method of correction to establish initially significant variables. Multiple linear regressions were conducted to determine major perinatal contributors to perceived early infant temperament.ResultsMultiple regression analyses on each of the eight Mother and Baby Scales outcome variables indicated that early infant behavioural style was largely predicted by subjective maternal states during and post-childbirth, postnatal depression scores, maternal personality traits and infant age. For example, infant age was the most significant predictor of Alert-Responsive infant behaviour, followed by maternal Postnatal Positive experience. In contrast, depression scores were the most significant predictor of Unsettled-Irregular infant behaviour, followed by Anxious-Afraid Birth Emotions and infant age. Mothers also perceived their infants as more Alert-Responsive and Easier overall after a Supported birth experience.ConclusionMaternal and infant outcomes were influenced by multiple physical and psychological perinatal variables. The mother’s subjective experience appeared to be of equal significance to more objective factors. Social support enhanced the mother’s childbirth experience, benefitting her perceptions of her baby’s early temperament. These findings provide further support for current World Health Organisation intrapartum guidelines on the importance of making childbirth a ‘positive experience’ for women. (shrink)

INDIAN AND WESTERN PHILOSOPHY- A Study in Contrasts By BETTY HEIMANN. Originally published in I937. Contents include: 1. INTRODUCTION 13 2. THEOLOGY 2Q 3. ONTOLOGY AND ESCHATOLOGY 46 4. ETHICS 63 5. LOGIC 79 6. AESTHETICS 98 7. HISTORY AND APPLIED SCIENCE Il6 8. THE APPARENT RAPPROCHEMENT BETWEEN WEST AND EAST 131 EPILOGUE 147 INDEX OF PROBLEMS TREATED 149. INDIAN AND WESTERN PHILOSOPHY. CHAPTER I. INTRODUCTION: ONE ceuvre dart est un coin de la creation vu d travers un temperament, (...) says Zola and we may be justified in applying this aphorism when we venture on a some what similar survey and attempt an artificial selection from World-Philosophy throughout the ages. My aim, however, is not to elaborate any finished outline of all the philosophical conceptions that have arisen in East and West up to the present day, but merely to indicate the essential and fundamental tendencies and principles. In tracing the sources of Western Philosophy to Plato and Aristotle, and still earlier to the pre-Socratics of ancient Greece, I became convinced that all translations are, to a greater or less degree, modes of interpretation. I studied the Classics, therefore, from the linguistic standpoint, and this procedure ultimately developed into a philosophical method intimately associated with the psychological aspects of Philology. In pursuing this task I discovered at the same time the specifically material basis of all Western thought. In other words in my regress from the history of modern Philosophy to the dawn of Greek speculation, or to repeat to the pre-Socratics, I found myself able to trace the main trends of Western Philosophy to the prior era of the Greek Sophists, whose outstanding role as the actual founders of Western thought is, in my opinion, too frequently underestimated. Their basic dogma which has held good in the West ever since was, Man is the Measure of all things. At this point an equally important feature must be emphasized for throughout this age of the Sophists there persists the profound contrast between the typically Western, and the equally distinctive Eastern, intellectual and spiritual atmospheres. In this connection, still further, I was deeply impressed by the far-reaching divergence of the Western anthropological tendency from the older cosmic out look upon Man as being part and parcel of the Universe And this radical antithesis is to be dis cerned in contemporary Greek drama. For Aeschylus, the Marathonomaches, creates all his immortal tragedies in the genuinely cosmic mood. Every in fraction of cosmic order, with no single exception, must generate its own inevitable reaction, and also its punishment, in order that the primal cosmic harmony may once more be restored... (shrink)

continent. 2.2 (2012): 66–75 ~*~ We’re Doomed. Pessimism is the night-side of thought, a melodrama of the futility of the brain, a poetry written in the graveyard of philosophy. Pessimism is a lyrical failure of philosophical thinking, each attempt at clear and coherent thought, sullen and submerged in the hidden joy of its own futility. The closest pessimism comes to philosophical argument is the droll and laconic “We’ll never make it,” or simply: “We’re doomed.” Every effort doomed to failure, every (...) project doomed to incompletion, every life doomed to be unlived, every thought doomed to be unthought. Pessimism is the lowest form of philosophy, frequently disparaged and dismissed, merely the symptom of a bad attitude. No one ever needs pessimism, in the way that one needs optimism to inspire one to great heights and to pick oneself up, in the way one needs constructive criticism, advice and feedback, inspirational books or a pat on the back. No one needs pessimism, though I like to imagine the idea of a pessimist activism. No one needs pessimism, and yet everyone—without exception—has, at some point in their lives, had to confront pessimism, if not as a philosophy then as a grievance—against one’s self or others, against one’s surroundings or one’s life, against the state of things or the world in general. There is little redemption for pessimism, and no consolation prize. Ultimately, pessimism is weary of everything and of itself. Pessimism is the philosophical form of disenchantment—disenchantment as chanting, a chant, a mantra, a solitary, monophonic voice rendered insignificant by the intimate immensity surrounding it. In pessimism, the first axiom is a long, low, funereal sigh. ~*~ We’re Still Doomed. No one has time for pessimism. After all, there are only so many hours in a day. Whatever our temperament, happy or sad, engaged or disengaged, we know pessimism when we hear it. The pessimist is usually understood as the complainer, forever pointing out what is wrong with the world without ever once offering a solution. But more often than not pessimists are the quietest of philosophers, submerging their own sighs within the lethargy of discontent. What little sound it makes is of interest to no one—“I’ve heard it all before,” “tell me something I don’t know,” sound and fury, signifying nothing. In raising problems without solutions, in posing questions without answers, in retreating to the hermetic, cavernous abode of complaint, pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. Pessimism fails to live up to the most basic tenet of philosophy—the “as if.” Think as if it will be helpful, act as if it will make a difference, speak as if there is something to say, live as if you are not, in fact, being lived by some murmuring non-entity both shadowy and muddied. Had it more self-assurance and better social skills, pessimism would turn its disenchantment into a religion, possibly calling itself The Great Refusal. But there is a negation in pessimism that refuses even such a Refusal, an awareness that, from the start, it has already failed, and that the culmination of all that is, is that all is for naught. Pessimism tries very hard to present itself in the low, sustained tones of a Requiem Mass, or the tectonic rumbling of Tibetan chant. But it frequently lets loose dissonant notes at once plaintive and pathetic. Often, its voice cracks, its weighty words abruptly reduced to mere shards of guttural sound. ~*~ Maybe It’s Not So Bad, After All. If we know pessimism when we hear it, this is because we’ve heard it all before—and we didn’t need to hear it in the first place. Life is hard enough. What you need is a change of attitude, a new outlook, a shift in perspective... a cup of coffee. If we have no ears for pessimism, this is because it is always reducible to something as reliably mutable as a voice. If pessimism is so frequently disparaged, it is because it brings everyone down, determined as it is to view each day as a bad day, if only by virtue of the fact that it is not yet a bad day. For pessimism the world is brimming with negative possibility, the collision of a bad mood with an impassive world. In fact, pessimism is the result of a confusion between the world and a statement about the world, a confusion that also prevents it from fully entering the hallowed halls of philosophy. If pessimism is so often dismissed, this is because it is often impossible to separate a “bad mood” from a philosophical proposition (and do not all philosophies stem from a bad mood?) The very term “pessimism” suggests a school of thought, a movement, even a community. But pessimism always has a membership of one—maybe two. Ideally, of course, it would have a membership of none, with only a scribbled, illegible note left behind by someone long forgotten. But this seems unrealistic, though one can always hope. ~*~ Anatomy of Pessimism. Though it may locate itself at the margins of philosophy, pessimism is as much subject to philosophical analysis as any other form of thought. Pessimism’s lyricism of failure gives it the structure of music. What time is to the music of sorrow, reason is to a philosophy of the worst. Pessimism’s two major keys are moral and metaphysical pessimism, its subjective and objective poles, an attitude towards the world and a claim about the world. For moral pessimism, it is better not to have been born at all; for metaphysical pessimism, this is the worst of all possible worlds. For moral pessimism the problem is the solipsism of human beings, the world made in our own image, a world-for-us. For metaphysical pessimism, the problem is the solipsism of the world, objected and projected as a world-in-itself. Both moral and metaphysical pessimism are compromised philosophically; moral pessimism by its failure to locate the human within a larger context, and metaphysical pessimism by its failure to recognize the complicity in the very claim of realism. This is how pessimism makes its music of the worst, a generalized misanthropy without the anthropos . Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. ~*~ Melancholy of Anatomy. There is a logic of pessimism that is fundamental to its suspicion of philosophical system. Pessimism involves a statement about a condition . In pessimism each statement boils down to an affirmation or a negation, just as any condition boils down to the best or the worst. With Schopenhauer, that arch-pessimist, the thinker for whom the philosopher and the curmudgeon perfectly overlap, we see a no-saying to the worst, a no-saying that secretly covets a yes-saying (through asceticism, mysticism, quietism), even if this hidden yes-saying is a horizon at the limits of comprehension. With Nietzsche comes the pronouncement of a Dionysian pessimism, a pessimism of strength or joy, a yes-saying to the worst, a yes-saying to this world as it is. And with Cioran yet another variation, futile yet lyrical, a no-saying to the worst, and a further no-saying to the possibility of any other world, in here or out there. With Cioran one approaches, but never reaches, an absolute no-saying, a studied abandonment of pessimism itself. The logic of pessimism moves through three refusals: a no-saying to the worst (refusal of the world-for-us, or Schopenhauer’s tears); a yes-saying to the worst (refusal of the world-in-itself, or Nietzsche’s laughter); and a no-saying to the for-us and the in-itself (a double refusal, or Cioran’s sleep). Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? ~*~ Cosmic Pessimism. Both moral and metaphysical pessimism point to another kind, a pessimism that is neither subjective nor objective, neither for-us nor in-itself, and instead a pessimism of the world-without-us. We could call this a cosmic pessimism ... but this sounds too majestic, too full of wonder, too much the bitter aftertaste of the Great Beyond. Words falter. And so do ideas. And so we have a cosmic pessimism, a pessimism that is first and last a pessimism about cosmos , about the necessity and possibility of order. The contours of cosmic pessimism are a drastic scaling-up or scaling-down of the human point of view, the unhuman orientation of deep space and deep time, and all of this shadowed by an impasse, a primordial insignificance, the impossibility of ever adequately accounting for one’s relationship to thought—all that remains of pessimism is the desiderata of affects—agonistic, impassive, defiant, reclusive, filled with sorrow and flailing at that architectonic chess match called philosophy, a flailing that pessimism tries to raise to the level of an art form (though what usually results is slapstick). ~*~ Song of Futility. An ethics of futility pervades pessimism. Futility, however, is different from fatality, and different again from simple failure (though failure is never simple). Failure is a breakage within the heart of relations, a fissure between cause and effect, a fissure hastily covered over by trying and trying again. With failure, there is always plenty of blame to go around; it’s not my fault, it’s a technical difficulty, it’s a miscommunication. For the pessimist, failure is a question of “when,” not “if”—failure as a metaphysical principle. Everything withers and passes into an obscurity blacker than night, everything from the melodramatic decline of a person’s life to the banal flickering moments that constitute each day. Everything that is done undone, everything said or known destined for a kind of stellar oblivion. When scaled up in this way, failure becomes fatality. Fatality is the hermeticism of cause and effect. In fatality, everything you do, whatever you do, always leads to a certain end, and ultimately to the end—though that end, or the means to that end, remain shrouded in obscurity. Nothing you do makes a difference because everything you do makes a difference. Hence the effects of your actions are hidden from you, even as you deceive yourself into thinking that, at last, this time you will outwit the order of things. By having a goal, planning ahead, and thinking things through carefully, we attempt, in a daily Prometheanism, to turn fatality to our advantage, to gain a glimpse of an order that seems buried deeper and deeper in the fabric of the universe. But even fatality has its comforts. The chain of cause and effect may be hidden from us, but that’s just because disorder is the order we don’t yet see; it’s just complex, distributed, and requires advanced mathematics. Fatality still clings to the sufficiency of everything that exists... When fatality relinquishes even this idea, it becomes futility. Futility arises out of the grim suspicion that, behind the shroud of causality we drape over the world, there is only the indifference of what exists or doesn’t exist; whatever you do ultimately leads to no end, an irrevocable chasm between thought and world. Futility transforms the act of thinking into a zero-sum game. ~*~ Song of the Worst. At the center of pessimism lies the term pessimus , “the worst,” a term as relative as it is absolute. The worst is about as bad as it gets, “the worst” as “the best” in disguise, shrouded by the passage of time or the twists and turns of fortune. For the pessimist, “the worst” is the propensity for suffering that gradually occludes each living moment, until it eclipses it entirely, overlapping perfectly in death... which, for the pessimist, is no longer “the worst.” Pessimism is marked by an unwillingness to move beyond “the worst,” something only partially attributable to a lack in motivation. In pessimism “the worst” is the ground that gives way beneath every existent—things could be worse, and , things could be better. “The worst” invariably implies a value judgment, one made based on scant evidence and little experience; in this way, pessimism’s greatest nemesis is its moral orientation. Pessimism’s propositions have all the gravitas of a bad joke. Perhaps this is why the true optimists are the most severe pessimists—they are optimists that have run out of options. They are almost ecstatically inundated by the worst. Such an optimism is the only possible outcome of a prolonged period of suffering, physical or metaphysical, intellectual or spiritual. But does this not also describe all the trials and tribulations of each day—in short, of “life?” It seems that sooner or later we are all doomed to become optimists of this sort (the most depressing of thoughts...) ~*~ Song of Doom. Rather than serving as a cause for despair, gloom and doom are the forms of consolation for any pessimist philosophy. Neither quite affects nor quite concepts, gloom and doom transform pessimism into a mortification of philosophy. Doom is not just the sense that all things will turn out badly, but that all things inevitably come to an end, irrespective of whether or not they really do come to an end. What emerges from doom is a sense of the unhuman as an attractor, a horizon towards which the human is fatally drawn. Doom is humanity given over to unhumanity in an act of crystalline self-abnegation. Gloom is not simply the anxiety that precedes doom. Gloom is literally atmospheric, climate as much as impression, and if people are also gloomy, this is simply the by-product of an anodyne atmosphere that only incidentally involves human beings. Gloom is more climatological than psychological, the stuff of dim, hazy, overcast skies, of ruins and overgrown tombs, of a misty, lethargic fog that moves with the same languorousness as our own crouched and sullen listening to a disinterested world. In a sense, gloom is the counterpoint to doom—what futility is to the former, fatality is to the latter. Doom is marked by temporality—all things precariously drawn to their end—whereas gloom is the austerity of stillness, all things sad, static, and suspended, a meandering smoke hovering over cold lichen stones and damp fir trees. If doom is the terror of temporality and death, then gloom is the horror of a hovering stasis that is life. At times I like to imagine that this realization alone is the thread that connects the charnel ground Aghori and the graveyard poets. ~*~ Song of Spite. There is an intolerance in pessimism that knows no bounds. In pessimism spite begins by fixing on a particular object of spite—someone one hardly knows, or someone one knows too well; a spite for this person or a spite for all of humanity; a spectacular or a banal spite; a spite for a noisy neighbor, a yapping dog, a battalion of strollers, the meandering idiot walking in front of you on their smart phone, large loud celebrations, traumatic injustices anywhere in the world regurgitated as media blitz, spite for the self-absorbed and overly performative people talking way too loud at the table next to you, technical difficulties and troubleshooting, the reduction of everything to branding, spite of the refusal to admit one’s own errors, of self-help books, of people who know absolutely everything and make sure to tell you, of all people, all living beings, all things, the world, the spiteful planet, the inanity of existence... Spite is the motor of pessimism because it is so egalitarian, so expansive, it runs amok, stumbling across intuitions that can only half-heartedly be called philosophical. Spite lacks the confidence and the clarity of hatred, but it also lacks the almost cordial judgment of dislike. For the pessimist, the smallest detail can be an indication of a metaphysical futility so vast and funereal that it eclipses pessimism itself—a spite that pessimism carefully places beyond the horizon of intelligibility, like the experience of dusk, or like the phrase, “it is raining jewels and daggers.” ~*~ Song of Sleep. A paraphrase of Schopenhauer: what death is for the organism, sleep is for the individual. Pessimists sleep not because they are depressed, but because for them sleep is a form of ascetic practice. Sleep is the askesis of pessimism. If, while sleeping, we have a bad dream, we abruptly wake up, and suddenly the horrors of the night vanish. There is no reason to think that the same does not happen with the bad dream we call “life.” ~*~ Song of Sorrow. Nietzsche, commenting on pessimism, once castigated Schopenhauer for taking things too lightly. He writes: ...Schopenhauer, though a pessimist, really —played the flute. Every day, after dinner: one should read his biography on that. And incidentally: a pessimist, one who denies God and the world but comes to a stop before morality—who affirms morality and plays the flute... what? Is that really—a pessimist? We know that Schopenhauer did possess a collection of instruments, and we also know that Nietzsche himself composed music. There is no reason to think that either of them would ever banish music from the Republic of philosophy. But Nietzsche’s jibes at Schopenhauer are as much about music as they are about pessimism. For the pessimist who says no to everything and yet finds comfort in music, the no-saying of pessimism can only be a weak way of saying yes—the weightiest statement undercut by the flightiest of replies. The least that Schopenhauer could’ve done is to play the bass. I’m not a big fan of the flute, or, for that matter, wind instruments generally. But what Nietzsche forgets is the role that the flute has historically played in Greek tragedy. In tragedy, the flute ( aulos ) is not an instrument of levity and joy, but of solitude and sorrow. The Greek aulos not only expresses the grief of tragic loss, but it does so in a way that renders weeping and singing inseparable from each other. The classicist Nicole Loraux calls this the mourning voice . Set apart from the more official civic rituals of funerary mourning, the mourning voice of Greek tragedy constantly threatens to dissolve song into wailing, music into moaning, and the voice into a primordial, disarticulate anti-music. The mourning voice delineates all the forms of suffering—tears, weeping, sobbing, wailing, moaning, and the convulsions of thought reduced to an elemental unintelligibility. In the collapsed space between the voice that speaks and the voice that sings, pessimism discovers its mourning voice. Pessimism: the failure of sound and sense, the disarticulation of phone and logos . Have we rescued Schopenhauer from Nietzsche? Probably not. Perhaps Schopenhauer played the flute to remind himself of the real function of the mourning voice—sorrow, sighs, and moaning rendered indistinguishable from music, the crumbling of the human into the unhuman. Failure par excellence of pessimism. ~*~ Song of Nothing. In Buddhist thought, the First Noble Truth of existence is encapsulated in the Pali term dukkha , conventionally translated as “suffering,” “sorrow,” or “misery.” The Buddhist teachings are clear, however, that this is an objective claim, and not simply one point of view among others. Existence is suffering and sorrow—and yet this is not, the teachings tell us, a pessimistic attitude. It is likely that Schopenhauer, reading the Buddhist texts available to him, recognized some filiation with the concept of dukkha . But dukkha is a multi-faceted term. There is, certainly, dukkha in the usual sense of the suffering, strife, and loss associated with living a life. But this is, in turn, dependent on the finitude and temporality of dukkha , existence as determined by impermanence and imperfection. And this ultimately points to the way in which both suffering and finitude are grounded by the paradoxical groundlessness of dukkha as a metaphysical principle—the insubstantiality and the emptiness of all that is. Beyond what is worse to me, beyond a world ordered for the worst, there is the emptiness of dukkha as an impersonal suffering... the tears of the cosmos. In this context, it is easy to see how Schopenhauer’s pessimism attempts to compress all the aspects of dukkha into a nothingness at the core of existence, a Willlessness coursing through the Will. Though one thing for certain is that with Schopenhauer we do not find the “ever-smiling” countenance of Buddhism—or do we? The texts of the Pali Canon also contain lists of the different types of happiness—including the happiness of renunciation and the strange happiness of detachment. But Buddhism considers even the different types of happiness as part of dukkha , in this final sense of nothingness or emptiness. Perhaps Schopenhauer understood Buddhism better than he is usually given credit for. Thus the experiment of Schopenhauer’s philosophy—the point at which a Western pessimus and an Eastern dukkha overlap or exchange glances. Empty sorrow, a lyricism of indifference. The result is a strange, and ultimately untenable, nocturnal form of Buddhism. ~*~ Cioran once called music a “physics of tears.” If this is true, then perhaps metaphysics is its commentary. Or its apology. ~*~ Pessimism would be more mystical were it not for its defeatism. Mysticism is much too proactive for the pessimist, and pessimism too impassive even for the mystic. At the same time, there is something enviable about mysticism—despite its sufferings. There is a sense in which pessimists are really failed mystics. ~*~ You, the Night, and the Music. In a suggestive passage, Schopenhauer once noted that, “music is the melody to which the world is the text." Given Schopenhauer’s view on life—that life is suffering, that human life is absurd, that the nothingness before my birth is equal to the nothingness after my death—given all this, one wonders what kind of music Schopenhauer had in mind when he described music as the melody to which the world is text—was it opera, a Requiem Mass, a madrigal, or perhaps a drinking song? Or something like Eine kleine Nachtmusik , a little night music for the twilight of thought, a sullen nocturne for the night-side of logic, an era of sad wings sung by a solitary banshee. Perhaps the music Schopenhauer had in mind is music eliminated to non-music. A whisper would suffice. Perhaps a sigh of fatigue or resignation, perhaps a moan of despair or sorrow. Perhaps a sound just articulate enough that it could be heard to dissipate. ~*~ Teach me to laugh through tears. ~*~ Pessimism always falls short of being philosophical. My back aches, my knees hurt, I couldn’t sleep last night, I’m stressed-out, and I think I’m finally coming down with something. Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique. We didn’t really think we could figure it out, did we? It was just passing time, taking a piss, something to do, a bold gesture put forth in all its fragility, according to rules that we have agreed to forget that we made up in the first place. Every thought marked by a shadowy incomprehension that precedes it, and a futility that undermines it. That pessimism speaks, in whatever voice, is the singing testimony to this futility and this incomprehension—take a chance and step outside, lose some sleep and say you tried... ~*~ Is there a music of pessimism? And would such a music be audible? ~*~ The impact of music on a person compels them to put their experience into words. When this fails, the result is a faltering of thought and language that is itself a kind of music. Cioran writes: “Music is everything. God himself is nothing more than an acoustic hallucination.” ~*~ If a thinker like Schopenhauer has any redeeming qualities, it is that he identified the great lie of Western culture—the preference for existence over non-existence. As he notes: “If we knocked on the graves and asked the dead whether they would like to rise again, they would shake their heads.” In Western cultures it is commonly accepted that one celebrates birth and mourns death. But there must be a mistake here. Wouldn’t it make more sense to mourn birth and celebrate death? Strange though, because the mourning of birth would, presumably, last the entirety of that person’s life, so that mourning and living would the be same thing. ~*~ To the musical idea of the harmony of the universe corresponds the philosophical principle of sufficient reason. Like the music of mourning, pessimism gives voice to the inevitable breakdown of word and song. In this way, music is the overtone of thought. ~*~ The Patron Saints of Pessimism. The patron saints of pessimism watch over suffering. Laconic and sullen, the patron saints of pessimism never seem to do a good job at protecting, interceding, or advocating for those who suffer. Perhaps they need us more than we need them. Lest we forget, there do exist patron saints of philosophy, but their stories are not happy ones. There is, for instance, the fourth century Saint Catherine of Alexandria, or Catherine of the Wheel, named after the torture device used on her. A precocious fourteen year old scholar, Catherine was subject to continual persecution. After all forms of torture failed—including the “breaking wheel”—the emperor finally settled for her decapitation, a violent yet appropriate reminder of the protector of philosophers. There are also patron saints of music and musicians, but theirs too are sad stories. In the second century, Saint Cecilia was also subject to persecution and torture. As she knelt to receive the blade that would separate her head from her body, she ardently sang a song to God. It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. Does pessimism not deserve its own patron saints, even if they are unworthy of martyrdom? But in our search, even the most ardent nay-sayers frequently lapse into brief moments of enthusiasm—Pascal’s love of solitude, Leopardi’s love of poetry, Schopenhauer’s love of music, Nietzsche’s love of Schopenhauer, and so on. Should one then focus on individual works of pessimism? We could include Kierkegaard’s trilogy of horror— Sickness Unto Death , The Concept of Dread , and Fear and Trembling —but all these are undermined by their fabricated and unreliable authors. Besides, how can one separate the pessimist from the optimist in works like Unamuno’s The Tragic Sense of Life , Shestov’s Postetas Clavium , or Edgar Saltus’ under-read The Philosophy of Disenchantment ? Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete—witness Cioran’s trajectory, from his first book, On the Heights of Despair , to the last unpublished notebooks of acrid and taut aphorisms. And this is to say nothing of literary pessimism, from Goethe’s sorrowful Werther, to Dostoevsky’s underground man, to Pessoa’s disquiet scribbler; Baudelaire’s spleen and ennui, the mystical Satanism of Huysmans and Strindberg, the hauntologies of Mário de Sá-Carniero, Izumi Kyoka, H.P. Lovecraft, grumpy old Beckett... even the great pessimist comedians. All that remains are singular, perhaps anomalous statements of pessimism, a litany of quotes and citations crammed into fortune cookies. Patron saints are traditionally named after a locale, either a place of birth or of a mystical experience. Perhaps the better approach is to focus on the places where pessimists were forced to live out their pessimism—Schopenhauer facing an empty Berlin lecture hall, Nietzsche mute and convalescent at the home of his sister, Wittgenstein the relinquished professor and solitary gardener, Cioran grappling with Alzheimer’s in his tiny writing alcove in the Latin Quarter. ~*~ There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. ~*~ If pessimism has any pedagogical value, it is that the failure of pessimism as a philosophy is inextricably tied to the failure of pessimism as voice. I read the following, from Shestov’s The Apotheosis of Groundlessness : When a person is young he writes because it seems to him he has discovered a new almighty truth which he must make haste to impart to forlorn humankind. Later, becoming more modest, he begins to doubt his truths: and then he tries to convince himself. A few more years go by, and he knows he was mistaken all round, so there is no need to convince himself. Nevertheless he continues to write, because he is not fit for any other work, and to be accounted a superfluous person is so horrible. (shrink)

Teixeira de Pascoaes foi um poeta-pensador religioso. O carácter religioso da sua obra compreende-se a partir do seu temperamento, do contexto epocal e das raízes culturais da mesma obra. A religiosidade influenciou quer a matéria quer a forma do pensamento. Filosofia poética e religiosa, é-o antes de mais em razão do seu modelo religioso e bíblico a que se atém no seu aspecto formal, de preferência ao modelo científico e grego. Apresenta-se como pensamento profético, hermenêutico, divinamente inspirado e revelado. A (...) visão do mundo que daí decorre é ela própria religiosa. Podemos verificá-lo no seu pensamento sobre o ser, sobre o homem e sobre a sua história. Mais tardiamente, Pascoaes tentou conciliar poesia e religião com a ciência, pela via do pensamento hermenêutico. /// Teixeira de Pascoaes est un poète-penseur religieux. Son tempérament, son époque, les racines culturelles de sa pensée nous permettent de comprendre la religiosité dont son oeuvre est pleine. Cette religiosité a influencé aussi bien la matière que la forme de sa pensée. Philosophie poétique et religieuse, elle l'est tout d'abord parce que, formellement, elle s'en tient au modèle religieux et biblique de la pensée plutôt qu'à son modèle scientifique et grec. Elle se présente comme une pensée prophétique, herméneutique, divinement inspirée et révélée. La vision du monde qui en découle est elle-même religieuse. On peut le vérifier dans sa pensée sur l'être, sur l'homme et sur son histoire. Plus tardivement, Pascoaes a essayé une conciliation de la poésie et la religion avec la science, par le biais de la pensée herméneutique. /// Teixeira de Pascoaes was a religious poet and thinker. The religious character of his work can be understood on the basis of his temperament, his historical context, and the cultural roots of his writings. Religiosity marked both the matter and form of his thought. The poetical and religious quality of his philosophy can be appreciated according to the biblical model rather than that of the Greeks. His thought was manifestly prophetic, hermeneutical, inspired, and revealed. The world-view derived from it was equally religious. This can be verified in his thought on being, on Man, and on history. Later on, Pascoaes attempted to conciliate poetry and religion with science thought hermeneutics. (shrink)

In recent years there has been a renewed interest in Plato’s Statesman. The dialogue is certainly one of Plato’s most recalcitrant works and requires of its interpreter a peculiar combination of quickness and steadiness, and in particular, a sufficient immersion in and sympathy with Plato’s intention and style to attend with the requisite subtlety to the extremely heterogeneous content, much of which is initially soporific. In sum, one has to strike a happy balance between attention to the details, and the (...) perception of the god who dwells in these details. Melissa Lane’s book scores very well by this standard. Her study is divided into three main parts, corresponding to the three main themes of method, the story of the reversed cosmos, and politics. Underlying and organizing these parts is the central thesis that in the Statesman, Plato presents the fullest statement of his conception of example as an instrument of cognition and pedagogy, and hence as a necessary prelude to the exercise of diaeresis in its various versions. More particularly, Lane argues for the link between examples and the branch of measure that is concerned with the appropriate or timely. She insists that political expertise is a type of science or objective knowledge concerned with when to do what the technicians tell us needs to be done. The divisions of diaeresis are an exercise in the clarification of true beliefs which can establish knowledge ; the example is used to establish relations of resemblance and provides us with a path from true belief to knowledge, along which path we analyze and revise, but do not reject, the former. According to Lane, the initial division of the art of the statesman fails because of the absence of a preliminary example; she also says that its inhuman treatment of politics is intended to make the reader uncomfortable. The story of the reversed cosmos is needed as a supplement to the method of diaeresis because the latter has no mechanism for dealing with history, that is, with temporal political existence. However, she continues, the example of cosmology is too great to serve as a prelude to the analysis of politics. As the Stranger himself holds, we must practice on a smaller or slighter example ; the example invoked is that of weaving. Lane summarizes the function of the weaving example as illustrating the dependence of the art of politics upon “a great deal of prior and ongoing preparation, nurture, and maintenance of the people and material within the city”. In the third part of the book, Lane argues that the art of politics is the ability to distinguish between the right and the wrong time for doing something devised and recommended by an auxiliary specialist. There is an instructive comparison between the Stranger’s use of weaving and the role of that art in Aristophanes’ Lysistrata, which leads in turn to a reflection on why the Stranger is silent about the connection between weaving and women. An especially important conclusion is that the conflict of values in the city is attributed by the Stranger to a conflict between two equally good but unlike temperaments, and not to sophistry or a decline in political virtue. (shrink)

Synthetic naturalism is a form of moral realism which holds that we can discover a posteriori that moral properties exist and are natural properties. On this view moral discourse earns the right to be construed realistically because it meets the conditions that license realism about any discourse, that properties it represents as existing pull their weight in empirical explanations of our observations of the world. I argue that naturalism is an inadequate metaphysics of moral value, because parallel arguments to those (...) used by the naturalist to establish the reality of 'moral' properties and their normativity for persons of sympathetic temperament can be constructed, which would equally demonstrate the reality of normatively antagonistic value properties, and their normativity for differently psychologically constituted agents. Since moral discourse implicitly denies that there are such diverse and competing normative truths the strategy fails to establish moral realism. (shrink)

The idea that a just political system must ignore or nullify socially caused initial advantages in competing for positions and other social benefits is as old as political philosophy itself. Plato called for social mobility among his classes so that all could gravitate toward the classes for which their temperaments naturally suited them. The idea that the system must take positive steps to correct for these differences among individuals is likewise as old as the concept of public education, the supposed (...) great equalizer. But the claim that society must correct also for natural differences among individuals – differences in intelligence, talents, beauty, and physical prowess – is far more recent, having been articulated most forcefully by Rawls. The reasoning underlying this further step toward a more radical notion of equal opportunity appeals to the fact that natural differences are equally arbitrary from a moral point of view as a basis for differential rewards as are socially caused differences. A person no more deserves to be born smart than rich. Why then should the former but not the latter be allowed to influence future benefits and rewards? A negative answer, however, creates a tension within a liberal theory of justice between the demand to nullify natural differences, or to use them to the benefit of those least well endowed, and the demand to respect distinct individuals that supposedly grounds such a theory. (shrink)

The idea that a just political system must ignore or nullify socially caused initial advantages in competing for positions and other social benefits is as old as political philosophy itself. Plato called for social mobility among his classes so that all could gravitate toward the classes for which their temperaments naturally suited them. The idea that the system must take positive steps to correct for these differences among individuals is likewise as old as the concept of public education, the supposed (...) great equalizer. But the claim that society must correct also for natural differences among individuals – differences in intelligence, talents, beauty, and physical prowess – is far more recent, having been articulated most forcefully by Rawls. The reasoning underlying this further step toward a more radical notion of equal opportunity appeals to the fact that natural differences are equally arbitrary from a moral point of view as a basis for differential rewards as are socially caused differences. A person no more deserves to be born smart than rich. Why then should the former but not the latter be allowed to influence future benefits and rewards? A negative answer, however, creates a tension within a liberal theory of justice between the demand to nullify natural differences, or to use them to the benefit of those least well endowed, and the demand to respect distinct individuals that supposedly grounds such a theory. (shrink)

Aristotle’s writings contain more direct statements about priorities and rankings among the various sciences, degrees of accuracy within them, routes to knowledge from first principles, “first philosophy” and its characteristics, and the relation between sciences and practical concerns than almost any other philosopher we know.Yet taken together, Aristotle’s statements on these matters belie the apparent systematicity of his philosophical temperament. Almost every devotee of Aristotle is compelled to choose certain texts as authoritative and relegate others to some specific topic-context (...) in which they have limited validity. An only slightly shaky consensus among Aristotle’s readers has emerged through this process over time: on that consensus, Aristotelian first philosophy equals what later came to be called metaphysics, and is characterized by its remoteness from particular human discourses and desires, and from the types of knowledge we connect most directly with perception. First principles are also divorced from perception and are known through an incompletely explained intuitive process, but remain indemonstrable. Theoretical wisdom or contemplation soars above the domain of the human struggle, providing a stabilizing but distanced and abstract mode of considering the highest and most divine matters of which we are capable of thinking. (shrink)

Publication date: 30 November 2016 Source: Author: Mahshid Mirmasoomi King Lear is one of the political tragedies of Shakespeare in which the playwright censures Lear's hamartia wrecking havoc not only upon people's lives but bringing devastation on his own kindred. Shakespeare castigates Lear's wrath, sense of superiority, and misjudgments which lead to catastrophic consequences. In Death of Yazdgerd, an anti-authoritarian play, Bahram Beyzayie, the well-known Persiaian tragedian, also depicts the hamartia of King Yazdgerd III whose pride and unjust treatment of (...) people end in devastation. By demonstrating such defective and reprehensible tragic heroes, both playwrights set at providing audience with an anti-heroic representation of the kings and also shattering the common god-like heroism attributed to hero kings. Bearing in mind the political instability of England after the succession of James I, Shakespeare avails himself of such anti-heroic representation to forewarn those monarchs incapable of maintaining a balance between their judgments and the society's need for a genuine authority. In a similar fashion, Beyzayie narrates the true historical event of a Persian king whose improper exercise of authority, withdrawal from battle, and an ultimate escape leave people helpless against the invasion of Arabs. The article initially aims to discuss the concept of hamartia within the tragedies based on Aristotle's definition of hamartia and golden mean; by defining the nature of the kings' unforgivable errors and their extremely imbalanced temperament, the paper demonstrates how such ignoble failure relegates the hero kings to anti-heroes whose punishment equals their mistakes. Contrary to Aristotle’s idea, the article also elucidates how Shakespeare and Beyzaie have caused the audiences’ catharsis of emotion not through fear and pity but through the creation of a sense of justice by portraying characters who deserve their ultimate downfall. (shrink)

Many philosophers have worried about what philosophy is. Often they have looked for answers by considering what it is that philosophers do. Given the diversity of topics and methods found in philosophy, however, we propose a different approach. In this article we consider the philosophical temperament, asking an alternative question: what are philosophers like? Our answer is that one important aspect of the philosophical temperament is that philosophers are especially reflective: they are less likely than their peers to (...) embrace what seems obvious without questioning it. This claim is supported by a study of more than 4,000 philosophers and non-philosophers, the results of which indicate that even when we control for overall education level, philosophers tend to be significantly more reflective than their peers. We then illustrate this tendency by considering what we know about the philosophizing of a few prominent philosophers. Recognizing this aspect of the philosophical temperament, it is natural to wonder how philosophers came to be this way: does philosophical training teach reflectivity or do more reflective people tend to gravitate to philosophy? We consider the limitations of our data with respect to this question and suggest that a longitudinal study be conducted. (shrink)

Peter Sloterdijk turns his keen eye to the history of western thought, conducting colorful readings of the lives and ideas of the world's most influential intellectuals. Featuring nineteen vignettes rich in personal characterizations and theoretical analysis, Sloterdijk's companionable volume casts the development of philosophical thinking not as a buildup of compelling books and arguments but as a lifelong, intimate struggle with intellectual and spiritual movements, filled with as many pitfalls and derailments as transcendent breakthroughs. Sloterdijk delves into the work and (...) times of Aristotle, Augustine, Bruno, Descartes, Foucault, Fichte, Hegel, Husserl, Kant, Kierkegaard, Leibniz, Marx, Nietzsche, Pascal, Plato, Sartre, Schelling, Schopenhauer, and Wittgenstein. He provocatively juxtaposes Plato against shamanism and Marx against Gnosticism, revealing both the vital external influences shaping these intellectuals' thought and the excitement and wonder generated by the application of their thinking in the real world. The philosophical "temperament" as conceived by Sloterdijk represents the uniquely creative encounter between the mind and a diverse array of cultures. It marks these philosophers' singular achievements and the special dynamic at play in philosophy as a whole. Creston Davis's introduction details Sloterdijk's own temperament, surveying the celebrated thinker's intellectual context, rhetorical style, and philosophical persona. (shrink)

This review study was conducted to describe how temperament is related to school readiness. The basic research question was whether there is any relationship between later school success and temperament in children and, if so, what characterizes it. A systematic search of databases and journals identified 27 papers that met the two criteria: temperament and school readiness. The analytical strategy followed the PRISMA method. The research confirmed the direct relationship between temperament and school readiness. There is (...) a statistically significant relationship between temperament and school readiness. Both positive and negative emotionality influence behavior, which is reflected in the approach to learning and school success. (shrink)

In this paper, we examine Adam Feltz and Edward Cokely’s recent claim that “the personality trait extraversion predicts people’s intuitions about the relationship of determinism to free will and moral responsibility”. We will first present some criticisms of their work before briefly examining the results of a recent study of our own. We argue that while Feltz and Cokely have their finger on the pulse of an interesting and important issue, they have not established a robust and stable connection between (...) extraversion and compatibilist-friendly intuitions. (shrink)

Peter Sloterdijk turns his keen eye to the history of western thought, conducting colorful readings of the lives and ideas of the world's most influential intellectuals. Featuring nineteen vignettes rich in personal characterizations and theoretical analysis, Sloterdijk's companionable volume casts the development of philosophical thinking not as a buildup of compelling books and arguments but as a lifelong, intimate struggle with intellectual and spiritual movements, filled with as many pitfalls and derailments as transcendent breakthroughs. Sloterdijk delves into the work and (...) times of Aristotle, Augustine, Bruno, Descartes, Foucault, Fichte, Hegel, Husserl, Kant, Kierkegaard, Leibniz, Marx, Nietzsche, Pascal, Plato, Sartre, Schelling, Schopenhauer, and Wittgenstein. He provocatively juxtaposes Plato against shamanism and Marx against Gnosticism, revealing both the vital external influences shaping these intellectuals' thought and the excitement and wonder generated by the application of their thinking in the real world. The philosophical "temperament" as conceived by Sloterdijk represents the uniquely creative encounter between the mind and a diverse array of cultures. It marks these philosophers' singular achievements and the special dynamic at play in philosophy as a whole. Creston Davis's introduction details Sloterdijk's own temperament, surveying the celebrated thinker's intellectual context, rhetorical style, and philosophical persona. (shrink)

Theories of personality and personality disorders need, from time to time, to be revised and updated according to new empirical and conceptual developments. Such development has taken place in the realms of affective neuroscience, evolution and social cognition. In this article we outline a new personality theory which claims that phenomena we usually ascribe to the concept personality are best understood by postulating a web consisting of three major constituents: Temperament (mainly primary emotions), attachment and self-consciousness (mentalizing). We describe (...) these constituents, their neurobiological underpinnings, the subjective experiences they evoke and their behavioral implications. We discuss the relevance of the espoused theory for the field of personality disorders with references to borderline, narcissistic and avoidant personality disorders as well as the DSM-5 Alternative Model. Implications for social psychology, psychotherapy and common-sense self-understanding are outlined. The theory aims to bridge previous contradictions between natural sciences and hermeneutics by its propositions of the evolution of self-consciousness. (shrink)

This is a study of the relationship between EAS temperament traits, age and gender, and religious fundamentalism in an adult Polish sample. Participants were sampled from among people who tended towards secularisation. A total of 902 participants, including 551 women and 351 men, aged 18 to 58 were studied. Participants were students in a variety of university faculties and adults with higher education representing a variety of professions. They all lived in the Warsaw area. Temperament was assessed with (...) Buss and Plomin’s EAS Temperament Survey. Religious fundamentalism was assessed using Altemeyer and Hunsberger’s Religious Fundamentalism Scale. The level of religious fundamentalism was found to be associated with the temperament traits of sociability and anger. All three variables decrease in intensity with age. Women have higher levels of religious fundamentalism than men. (shrink)

In some patients with atrial fibrillation, the causative agent of attack is stress. In others, AF usually begins during relax or sleep. This study aimed to investigate the individual factors associated with the adrenergic or vagal type of AF. This study included 138 patients with paroxysmal atrial fibrillation. Sixty-eight patients reported that AF was frequently triggered by stress and 70 patients reported that AF usually began during relaxation or sleep. Gender, age, ejection fraction, and temperament were compared across the (...) two groups. Temperament was evaluated using the Formal Characteristics of Behaviour-Temperament Inventory. The groups differed only in temperament. Patients with sympathetic-type AF had a higher score for emotional reactivity and perseverance temperament traits and a lower score for endurance than patients with vagal-type AF and than the average in population. (shrink)

Few studies have addressed the longitudinal links between early temperament types and later problematic smartphone use. This study aims to identify children’s early temperament types at age 3 and to examine the link between the temperament types and smartphone overdependence at age 10. This study utilized a population-based data set presented by the Panel Study on Korean Children. Based on emotionality, activity, and sociability levels at age 3, children were clustered into similar temperament types. Links between (...) the early temperament types and the risks of smartphone overdependence at age 10 were identified through analyses of covariances and binary logistic regressions. Three early temperament types were identified among Korean children: reactive, sociable, and cautious. Children’s smartphone dependence at age 10 differed according to the temperament types identified at age 3. Compared to children with the sociable temperament type, children with the reactive type or the cautious type had an increased risk of smartphone overdependence. The link between temperament types at age 3 and smartphone overdependence at age 10 was meaningful. The cautious children were the most vulnerable group to the risk of smartphone overdependence. Temperament type identification in early years may be a useful measure for screening groups of children who are at risk for problematic smartphone use and need proactive interventions. (shrink)

This volume brings together a collection of ten original essays which present new analyses of social and relational equality in philosophy and political theory. The essays analyze the nature of social equality and its relationship with justice and with politics.

Valuing -- Morality and reasonable partiality -- Doing and allowing -- The division of moral labour : egalitarian liberalism as moral pluralism -- Is the basic structure basic? -- Cosmopolitanism, justice, and institutions -- What is egalitarianism? -- Choice, circumstance, and the value of equality -- Is terrorism morally distinctive? -- Immigration and the significance of culture -- The normativity of tradition -- The good of toleration.

I argue that the often-heard claim that all serious present-day political philosophers subscribe to the principle of equal respect and concern or to the doctrine of equal moral status or are in some other fundamental sense egalitarians is wrong. Also wrong is the further claim that the usual methods currently used in political philosophy presuppose basic equality. I further argue that liberal egalitarianism itself is wrong. There is no universal duty “of equal respect and concern” towards every (...) person, for one does not owe one’s nice sister and a serial rapist equal respect and concern. There is also no duty of the state to respect all citizens equally, for a state need not be equally concerned about murderous criminals on the one hand and their innocent victims on the other. The potential maneuver of saving liberal egalitarianism by claiming that people have equal rights is unsuccessful. Human beings clearly do not have equal rights, nor are they born with equal rights; and merely having an equality of some rights, for example of “basic” or human ones, would not suffice for egalitarianism. Appeals to “recognition respect” and related concepts are also to no avail. Trying to go back still a step further and to claim that certain rights inequalities or justified discriminatory rules are themselves “grounded” in equal respect and concern at some deeper, norm-generating level (like, for example, the original position or a discourse-ethical principle of justification) is also futile. Finally, I argue that the “This is not what we mean”-strategy of escaping the above arguments reduces egalitarianism to triviality and empty rhetoric. Liberal egalitarianism should be abandoned. (shrink)

Historically, as well as more recently, women's emancipation has been seen in two ways: sometimes as the `right to be equal' and sometimes as the `right to be different'. These views have often overlapped and interacted: in a variety of guises they have played an important role in both the development of ideas about women and feminism, and the works of political thinkers by no means primarily concerned with women's liberation. The chapters of this book deal primarily with the (...) meaning and use of these two concepts in the context of gender relations, but also draw attention to their place in the understanding and analysis of other human relationships. (shrink)

Wheeler's contribution in this unique partnership gives a woman's consciousness to the philosophy of sexual equality.

Equality, diversity and radical politics -- Value incommensurability -- Empathic imagination and its limits -- Critiquing compassion-based social relations -- Egalitarianism, disability and monistic ideals -- Equality, identity and disability -- Paradox and the limits of reason.

This volume brings the remarkable writings of Russian liberal thinker Boris Nikolaevich Chicherin to English-language readers for the first time. The collection includes key essays in which Chicherin addresses the central political and social problems that confronted Russia from 1855 to the opening years of the twentieth century. Chicherin’s ideological alternatives to the Bolshevik plan for revolutionary transformation of Russia not only provide valuable historical insights, but also are highly relevant to current political discussion of liberalism in Russia and in (...) the West. In a comprehensive introduction to the book, G. M. Hamburg discusses the development of Chicherin’s thought and places it in historical context. Chicherin, Hamburg says, was a powerful and sophisticated but often misunderstood defender of civil and political rights. Like his fellow liberals in Russia, Chicherin was heavily influenced by German idealism and particularly by Hegel. He departed from many, however, in favoring a market economy and advocating that reform efforts be tailored to local conditions and traditions. In this collection Chicherin explores such contemporary issues as the abolition of serfdom, Russian education, and the need for a constitution. He also tackles broad philosophical problems—the nature of liberty and equality, styles of political discourse—and comments on such philosophers as Plato, Aristotle, More, Machiavelli, Montesquieu, Hegel, and Marx. (shrink)

The concept of power shapes both the political philosophy and the general worldview of the modern age. For this reason, two areas of philosophy - ontology and political philosophy - which were hitherto treated separately, must be brought together. Freedom, Equality, Power brings out the ontological framework shared by the political philosophies of Hobbes, Locke, and Rousseau. In the last chapter, the author uses the results of his earlier analyses as the stepping stone for developing some themes belonging to ontology (...) in general. (shrink)