Comparative political theory is at best an embryonic and marginalized endeavor. As practiced in most Western universities, the study of political theory generally involves a rehearsal of the canon of Western political thought from Plato to Marx. Only rarely are practitioners of political thought willing (and professionally encouraged) to transgress the canon and thereby the cultural boundaries of North America and Europe in the direction of genuine comparative investigation. Border Crossings presents an effort to remedy this situation, fully launching a (...) new era in political theory. Thirteen scholars from around the world examine the various political traditions of West, South, and East Asia and engage in a reflective cross-cultural discussion that belies the assumptions of an Asian "essence" and of an unbridgeable gulf between West and non-West. The denial of essential differences does not, however, amount to an endorsement of essential sameness. As viewed and as practiced by contributors to this ground-breaking volume, comparative political theorizing must steer a course between uniformity and radical separation--this is the path of "border crossings.". (shrink)

José Ortega y Gasset not only expressed his views on subjects such as art or mass culture but he was also one of the promoters and founders of a United Europe which he considered a cultural unity. However, his view on the proper functioning of multicultural societies was as skeptical as his attitude towards the possibility of constructing an unified world that could be based on cultural coexistence of the Western World societies.

Socialization enforces gendered standards of politeness that encourage men to be dominating and women to be deferential in mixed-gender discourse. This gendered dynamic of politeness places women in a double bind. If women are to participate in polite discourse with men, and thus to avail of smooth and fortuitous social interaction, women demote themselves to a lower social ranking. If women wish to rise above such ranking, then they fail to be polite and hence, open themselves to a (...) wellspring of social discord, dissention, and antagonism. The possibility for women’s politeness in mixed-gender conversation threatens more than cooperation, it undermines the possibility for self-respect and autonomy. (shrink)

In this paper, I explore the ways in which human bodies, payback, and comestibility become inescapably entangled in cultures in which honor is the prevailing virtue. Shakespeare was deeply sensitive to the social and psychological processes through which these concepts become entwined when honor is at stake—to the ways in which, as a means of corrective response, men who transgress a code of honor can be rightly reduced to their bodies, similar to how those who are not allowed to be (...) full participants in an honor culture (most particularly women) always already are. I begin by examining Shakespeare’s earliest depictions of honor cultures in Titus Andronicus and The Rape of Lucrece, and then briefly discusses how the ideas they trade in are further developed and complicated later in his career, focusing specifically on Othello. -/- . (shrink)

Trudy Govier argues in The Philosophy of Argument that adversariality in argumentation can be kept to a necessary minimum. On her ac-count, politeness can limit the ancillary adversariality of hostile culture but a degree of logical opposition will remain part of argumentation, and perhaps all reasoning. Argumentation cannot be purified by politeness in the way she hopes, nor does reasoning even in the discursive context of argumentation demand opposition. Such hopes assume an idealized politeness free from gender, (...) and reasoners with inhuman or at least highly privileged capabilities and no need to learn from others or share understanding. (shrink)

This article examines verbal humour in routine interactions within professional workplaces, using material recorded in four New Zealand government departments. The problem of defining humour is discussed, followed by a brief outline of the theoretical models which underpin the analysis of the various functions which humour serves in professional organizations. Humour can express positive affect in interaction. It can also facilitate or `licence' more negative interpersonal communicative intent. While politeness theory can account for the former, as a means of (...) expressing collegiality at work, or de-emphasizing power imbalances, in its standard form politeness theory does not explain barbed, competitive or confrontational humour. For this it is necessary to look to `the dark side of politeness'. An alternative perspective thus examines the extent to which humour functions, especially in unequal encounters, as an acceptable strategy to help superiors maintain a position of power but also as a strategy used by subordinates to licence challenges to the power structures within which they operate, and as a legitimizing strategy in attempts at subverting the repressive or coercive discourse of superiors. (shrink)

In ‘Listening to Music Together’, Nick Zangwill offers three arguments which aim to establish that listening to music can never be a joint activity. If any of these arguments were sound, then our experiences of music, qua object of aesthetic attention, would be essentially private. In this paper, I argue that Zangwill’s arguments are unsound and I develop an account of shared musical experience that defends three main conclusions. First, joint listening is not merely possible but a common feature of (...) our socially situated experiences of music. Second, when listening with others our experience of the music and our sense of community with our fellow listeners often reciprocally enhance one another. Third, how deeply and intimately we share a musical experience with others depends upon such factors as our respective backgrounds, interests, and levels of expertise. (shrink)

In this paper, I present the beginnings of a resemblance theory of representation. I start by surveying the contemporary philosophical debate surrounding musical representation and reveal that its main interlocutors share a conception of artistic representation as a mode of meaningful communication. I then show how conceiving of artistic representation in this way severely limits music’s possibilities as a medium for representation. Next, I propose an alternative conception of representation that, despite its widespread acceptance outside of the philosophy of art, (...) has been largely denigrated within it: namely, that representation fundamentally depends on structural resemblance. Finally, I demonstrate how conceiving of artistic representation as grounded upon structural resemblances, rather than as a mode of meaningful communication, provides us with a more accurate picture of both (a) how music represents and (b) how we perceive and appreciate musical representations. (shrink)

This article analyses Hume's notion of politeness as developed in a letter he wrote in Paris in 1734 and the account of the corresponding artificial virtue in the Treatise. The analysis will help us understand Hume's admiration for French manners and why politeness is presented as one of the central artificial virtues in the Treatise. Before the Treatise, Hume had already sided with Bernard Mandeville's theoretical outlook which stood in contrast to the popular eighteenth-century understanding of politeness (...) as a natural quality of human nature. In the Treatise, Hume developed these notions about the artificial nature of politeness into one of the cornerstones of his account of human sociability. (shrink)

While the vital impacts of linguistic and discursive politeness on the sustenance of talk and the possibility of community-building have enjoyed a lot of attention in linguistic scholarship, attention is shifting to virtual communities with studies interrogating their language use and interactional patterns. This study seeks to further that line of inquiry by investigating politeness in Nigerian news-based virtual communities. Taking an etic interpretive analytical approach which relies on the facework and relational-work paradigms, it studies virtual communities generated (...) by four Nigerian online newspapers purposively sampled to represent the Nigerian geo-political zones and political ideologies between 2015 and 2018. Given the relative newness of the virtual community in Africa as well as its significant impacts on socio-political activities and attitudes to democracy and governance, the research will contribute significantly to the exploration of online communicative behaviour in the African humanities. (shrink)

This study draws upon naturalistic ethnographic data to expand current understandings regarding the socio-communicative capabilities and challenges of children with autism spectrum disorders in mid-childhood. Affording a view of the children’s spontaneous interactions within naturally occurring family and community settings, the study explores a range of discursive resources utilized by the children to accomplish socially reciprocal positive politeness practices in tandem with others. Emphasizing contextualized deployment of politeness forms in interaction, the practice-based conception developed here construes positive (...) class='Hi'>politeness as a discursive process encompassing both socio-cultural and interpersonal knowledge/skills; and contributes to a perspective in which social and communicative realms are conceptualized as integrated domains of functioning. (shrink)

Prime Minister’s Questions (PMQs) is a weekly, half-hour long session in the British House of Commons, which gives backbench Members of Parliament (MPs) and the Leader of the Opposition (LO) the opportunity to ask the Prime Minister (PM) questions on any topic relating to the government’s policies and actions. The discourse at PMQs is often described as adversarial (see Bull & Wells 2011) and in this paper I will show how the notion of impoliteness can be applied to both the (...) questions and the answers which make up the session. Through the detailed analysis of six sessions of PMQs I will also demonstrate that PMQs is also a source of polite linguistic behaviour of the sort described in Brown & Levinson’s (1987) politeness theory. Comparisons between Gordon Brown’s and David Cameron’s speech styles will also be drawn. (shrink)

This book offers an opportunity for an anti deficit and positive examination of Black/Black-multiracial culture and its role in creating educational efficacy among academics of color. Through personal narrative, educational and learning theory, and creative writing/poetry, this hybrid text examines the cultural path to the doctorate.

When Taylor Swift's record label was sold in 2019, the six studio albums she recorded for them came under the control of a person with whom she has had years of bad blood: Kanye West's former manager Scooter Braun. But rather than move on, Swift chose to take the unprecedented step of re-recording duplicate versions of those albums. With all of the profits made from selling, streaming, and licensing these “Taylor's Versions” going directly to Swift, she could deprive Braun of (...) potentially hundreds of millions of dollars. The gambit has already paid off. The first two Taylor's Versions (of Fearless and Red) debuted at Number 1 on the Billboard charts and have sold over one million copies so far; and four more are still on the way. In this book, nine philosophers and one music producer explore the philosophical richness of Swift's project and the questions it raises: Are Swift's re-recordings new works of art or mere copies of the originals? Do the Taylor's Versions of the songs have the same meanings as the original versions, or do they now mean something different? Is her re-recording project genuinely artistic or merely commercial? Is Swift standing up for artists' rights or looking out for herself? Does the music industry exploit artists, and, if so, how should it be reformed? Together they show the philosophical dividends one of the most famous and acclaimed recording artists of her generation is capable of producing. For anyone interested in the complicated relationship between popular art and commerce this book is a must-read. (shrink)

This is the English translation of a speech Bergson made at Lycée Henri-IV on July 30, 1892. This is an interesting text because it anticipates Bergson’s last book, his The Two Sources of Morality and Religion. Like the distinction in The Two Sources between the open and the closed, “Politeness” defines its subject matter in two ways. There is what Bergson calls “manners” and there is true politeness. For Bergson, both kinds of politeness concern equality. Manners or (...) material politeness amount to the ritualized greetings and formalities by means of which we usually define politeness. Unfortunately and like The Two Sources, Bergson attributes this formalized relation to other human beings with primitive and “inferior races.” Nevertheless, Bergson sees in these formalities an attempt, in the name of equality, to ignore other people’s talents and merits so that one can dominate morally superior people. In contrast, true politeness or “spiritual politeness” consists in “intellectual flexibility.” When one meets a person of superior morality, one is flexible in one’s relation to him or her; one abandons the formalities in order to really live her life and think her thoughts. Here we find equality too: “what defines this very polite person is to prefer each of his friends over the others, and to succeed in this way in loving them equally.” After making a comparison to dance, Bergson defines spiritual politeness as “a grace of the mind.” Since both kinds of politeness concern equality, Bergson associates both with justice. However, beyond these two kinds of politeness and justice there is “politeness of the heart,” which concerns charity. In order to indicate politeness of the heart, Bergson describes the kind of person, a sensitive person, who anxiously awaits a word of praise in order to feel good about herself but who also, when she hears a word of reproach, is thrown into sadness. Although Bergson calls the sensibility of this person “a bit sickly,” he also claims that the sensibility is found in the heart of each of us. It indicates a fundamental sympathy with others. For this person such a word from another makes every power of one’s being vibrate in unison. So in this short speech, one will find Bergson distinguishing between material politeness, mental or spiritual politeness, and politeness of the heart. Politeness of the heart is true openness to others. And, for Bergson, it opens up to a society exemplified by ancient philosophy: true friends of each other and of ideas. (shrink)

Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention to the (...) sounds produced by either musicians a on stage, a stereo, or a portable device. This approach is illustrated in recent work by Nick Zangwill. Drawing on essentialist assumptions, Zangwill concludes that properly musical experience is effectively disembodied and radically private. While this seems plausible when we consider the essentialists’ paradigm case, Zangwill’s conclusion seems odd once we consider the wide variety of ways that people experience music. One’s body and social situation seem ineluctably enmeshed within the experience of, e.g., hot jazz played in a nightclub, where listeners bob their heads and dance to the music, cheer on the musicians, and socialize with their fellow concertgoers. The question this paper aims to answer is: should we consider this and similar experiences of music properly “musical”? I maintain that we should. Far from the world of pure music that Zangwill and others relegate properly musical experience, I conclude that our musical experiences are fully enmeshed within the somatic, affective, and interpersonal dimensions of human life. (shrink)

This is a 1992 study of writing of the seventeenth and eighteenth centuries, mainly in France, but also in Britain and Russia. Its focus is on the establishing and questioning of rational, 'civilized' norms of 'politeness', which in the ancien régime meant not just polite manners, but a certain ideal of society and culture.

This article argues that David Hume's essay 'Of the Liberty of the Press' points to significant elements of his conception of the public realm and, in particular, his thoughts on the nature and importance of political discourse. Hume saw the opposition of interests as both a key constitutional support and a potential source of faction and fanaticism. His account of politeness suggests an important means through which a free press might improve the quality of public discourse such that the (...) educative facet of discourse and, what I have termed, its messy facet, could be united towards maintaining the constitutional balance, the latter by providing a forum for the opposition of interests and the former by deflating factional bigotry. (shrink)

Morality is an abstract consideration, and language is an important regulator of abstract thought. In instances of moral ambiguity, individuals may pay particular attention to matters of interactional justice. Politeness in language has been linked to greater perceptions of social distance, which we contend is instrumental in regulating attitudes toward a brand. We posit that politeness in a brand’s advertising will impact consumers who are attuned to violations of interactional justice [i.e., those with low belief in a just (...) world ]. In three studies, we demonstrate that the politeness used in advertising as well as consumers’ individual differences in BJW affect judgments and attitudes toward brands. Specifically, individuals with a low just world belief are more likely to harbor negative attitudes towards a brand with ethically ambiguous business practices if the language used in advertising is impersonal than when the language used in advertising is personal. Importantly, for individuals with a low BJW, lowered trust due to the advertisement’s language mediated the relationship between politeness and attitudes toward the brand. Theoretical and managerial implications of this research are discussed. (shrink)

This dissertation defends the place of representation in music. Music’s status as a representational art has been hotly debated since the War of the Romantics, which pitted the Weimar progressives (Liszt, Wagner, &co.) against the Leipzig conservatives (the Schumanns, Brahms, &co.) in an intellectual struggle for what each side took to be the very future of music as an art. I side with the progressives, and argue that music can be and often is a representational medium. Correspondence (or resemblance) theories (...) of representation, such as the one I offer, have been much maligned in philosophy since the 1960s. Most theories assimilate representation under “meaning,” which has usually been thought to belong primarily to language. As a result, representational content has been taken to be purely conventional in the way that sentential meaning is. People want to know what music “means,” and these theories interpret this as “what does it refer to?” or “what propositions does it express?” I argue that propositional communication is only one (small) part of the issue. Once we overcome the bias of conceiving of musical works as essentially linguistic items, speech acts (performed) or sentence tokens (written), we can begin to take music on its own terms to discover how it represents—one way in which it “means.” The first step is to “naturalize” music’s representational content. Influenced by recent discussions in the philosophies of mind and science, I argue in Chapter 1 that composers represent extra-musical objects, events, and states of affairs through their works by exploiting antecedent relations (such as similarities in pitch, timbre, and structure) in order to secure reference to them. In Chapter 2, I survey and respond to the main challenges that those skeptical of music’s representational possibilities would raise against my theory of musical representation. In Chapter 3, I explore a number of ways through which music has been claimed to represent in order to show how my theory accounts for these diverse phenomena better than its conventionalist rivals, both in terms of the metaphysics and the epistemology. Chapter 4 extends this discussion by offering an account of how we perceive, understand, appreciate, and interpret sophisticated musical representations. I conclude by teasing out some of my theory’s implications and suggesting areas for further research. (shrink)

Tekst omawia związek sformułowanej przez Leona Chwistka koncepcji przeżycia artystycznego z charakterem ocen dotyczących najnowszych zjawisk w sztuce polskiej formułowanych przez niego w latach 30. XX w. Ukazuje pokrewieństwo tej koncepcji z pojęciem „całościowego sensu plastycznego dzieła sztuki”, określającym charakter eksperymentów artystycznych dokonywanych w środowisku przedwojennej Grupy Krakowskiej. Ufundowana na założeniach teorii wielości rzeczywistości, koncepcja przeżycia artystycznego podkreśla nierozdzielność doświadczenia odbioru rzeczywistości wyobrażeniowej dzieła sztuki z impulsem jej współtworzenia. W zamierzeniu Chwistka koncepcja ta dostarczać mogła ugruntowania teoretycznego sztuki zaangażowanej społecznie. (...) Stanowić miała również fundament dla kreślonego przez Chwistka projektu nominalistycznej estetyki zorientowanego na wypracowanie intersubiektywnych zasad oceny dzieł sztuki, na podstawie poddanych refleksji teoretycznej indywidualnych doświadczeń odbioru, przez wspólnotę osób zaangażowanych w publiczną dyskusję o sztuce. Wypracowane w ramach tego projektu kryteria oceny dzieł sztuki mogły znaleźć zastosowanie w krytyce artystycznej. (shrink)