Nolan reviews three works describing the influence of ethics on modern international relations, namely Code of Peace: Ethics and Security in the World of the Warlord States ; The Age of Rights ; and Morality and American Foreign Policy: The Role of Ethics in International Affairs.

In lieu of an abstract, here is a brief excerpt of the content:RusselL on Chinese Civilization 23 RUSSELL ON CHINESE CIVILIZATIONI Yu DONG Ph}losophy / McMaster University Hamilton, Ont., Canada L8s 4K1 1 I am indebted to Nicholas Griffin for his valuable comments and encouragement. I thank Marty Fairbairn and Perer Lovrick for many corrections in the paper. I am also greatly indebred to Ken Blackwell for his helpful criticisms and suggesrions. • (London: Allen & Unwin, 1922), p. 20. 3 (...) Karl Popper, The Open Society and Its Enemies (Princeron: Princeton U. P.), p. 173· B ertrand Russell arrived in China with Dora Black in October 1920. World War I had deepened his disillusionment with both the capitalist system and Western civilization in general. Seeking a socialist solution, he had visited Soviet Union just a few months before. But he had found that the Communist state there presented an unappealing alternative to the capitalist West in that it treated its citizens as slaves. The sad mood in which he "set out for China to seek a new hope"2 was described in his The Problem of China, published in 1922 after his nine-month visit: "It was on the Volga, in the. summer of 1920, that I first realized how profound is the disease in our Western mentality, which the Bolsheviks are attempting to force upon an essentially Asiatic population, just as Japan and the West are doing in China" (p. 18). The 1920S were a time when China, both as a nation and as a civilization, was in deep trouble. Her young people were eagerly looking outside their country to find a way of saving her. Since the 1840 Opium War, the Western Powers had poured into China, which had been a closed society, at least in Karl Popper's sense,3 for more than 3,000 years. With the collapse of the Qing dynasty in 19I1, China had been thrown into a state of anarchy by feuding warlords. The Great World Powers had both politically and economically dominated China through successive wars with her;4 through demanding indemnities, the cession of territory, fixed tariffs, etc.; and through controlling the corrupt and inept central government and warlords. Meanwhile, China was plagued by famine, piracy, brigandage, incipient rebellion,5 and the failures of various attempts at reform and revolution.6 China was well on the way toward disintegration, divided into "spheres of influence" by Britain, Germany, France, Russia and, especially, Japan. In the 1920S, China was also in the period of the May Fourth Movement-named after a popular student protest on 4 May 1919against foreign imperialism and an impotent Chinese government. It was agitated by the Treaty of Versailles which transferred, at the request ofJapan, the properties and privileges of the German sphere of influence in the Shandong Peninsula to Japan. This movement advocated learning science and adopting democratic principles in order to save China. It is important in Chinese history as a symbol of Chinese awareness of the need for the most profound changes in her tradition. All of these factors constituted the background to Russell's visit to China and thus affected the formation of his distinct view of the problem of China.? The invitation to him was a part of Chinese efforts in seeking methods from the West to save their country. Russell had already been known in China as a great philosopher, not only for his philosophy of logic and science, but also for his views on social problems. Some Chinese had access to his books: Principles ofSocial Reconstruction (1916), Political Ideals (1917), Roads To Freedom (1918), and magazine publication of parts of The Practice and Theory ofBolshevism (1920).8 Considering this background, it is quite understandable why 4 For example, Brirain and France 1856-60, Japan 1894-95, 1914-15. 5 For example, Taiping 1850-65, and the Boxer Rebellion of 1900. 6 The revolution of 1911 actually just changed the name of the government, rather than the reality of society. 7 A detailed description of this background as "psychological roots" can be seen in S. P. Odgen, "The Sage in the Inkpot", Modern Arian Studies, 16 (1982): 529-600. 8 For example, Zhang Shenfu, a student originally majoring in mathematics in Beijing University, had read almost all of... (shrink)

El propósito es una lectura de la tercera edición del Facundo como estrategia de Domingo Faustino Sarmiento para la concreción de fines políticos. El estudio se centra en el nuevo escrito que el autor inserta en esta edición: "El Chacho, último caudillo de la montonera de los llanos". Se aborda, desde el campo de la Historia Intelectual, la historicidad del concepto "caudillismo", analizando los usos que hace Sarmiento del término en sus diversos contextos de enunciación. A su vez se propone (...) un análisis de la historicidad del texto mismo, observando las estrategias discursivas con que opera su autor para intervenir en la escena política. The aim is a reading of the 3rd edition of Facundo as a strategy by Domingo Faustino Sarmiento to achieve political purposes. The study focuses on the addition by the author in this edition of: "El Chacho, último caudillo de la montonera de los llanos". It discusses, from the field of Intellectual History, the historicity of the concept of "warlordism", analyzing the uses that Sarmiento makes of the term in its various contexts of enunciation. At the same time it proposes an analysis of the historicity of the text itself, observing the discursive strategies that the author operates to intervene in the political scene. (shrink)

Using a special issue of the Chinese journal Gaizao published in 1921 as a starting point, this article intends to trace some conceptual articulations of federalism (lianbang) and self-government (zizhi) promoted by intellectuals and activists in early twentieth-century China. The analysis will show how Chinese federalists shaped their arguments through a series of historical and philosophical references, translating a prevalently “Western” concept into Chinese discourse, at the same time transplanting it into the traditional political debate and traditional historical narrative. (...) Part of the argument will also be concerned with the identification of the conceptual reasons behind the failure of federal projects in China especially at the turning point of the mid-1920s, as the “modern” federal blueprint eventually fell under the category of “feudalism” and “warlordism,” thus deteriorating into an “anti-modern” nemesis. (shrink)

El propósito es una lectura de la tercera edición del Facundo como estrategia de Domingo Faustino Sarmiento para la concreción de fines políticos. El estudio se centra en el nuevo escrito que el autor inserta en esta edición: "El Chacho, último caudillo de la montonera de los llanos". Se aborda, desde el campo de la Historia Intelectual, la historicidad del concepto "caudillismo", analizando los usos que hace Sarmiento del término en sus diversos contextos de enunciación. A su vez se propone (...) un análisis de la historicidad del texto mismo, observando las estrategias discursivas con que opera su autor para intervenir en la escena política. The aim is a reading of the 3rd edition of Facundo as a strategy by Domingo Faustino Sarmiento to achieve political purposes. The study focuses on the addition by the author in this edition of: "El Chacho, último caudillo de la montonera de los llanos". It discusses, from the field of Intellectual History, the historicity of the concept of "warlordism", analyzing the uses that Sarmiento makes of the term in its various contexts of enunciation. At the same time it proposes an analysis of the historicity of the text itself, observing the discursive strategies that the author operates to intervene in the political scene. (shrink)

El propósito es una lectura de la tercera edición del Facundo como estrategia de Domingo Faustino Sarmiento para la concreción de fines políticos. El estudio se centra en el nuevo escrito que el autor inserta en esta edición: "El Chacho, último caudillo de la montonera de los llanos". Se aborda, desde el campo de la Historia Intelectual, la historicidad del concepto "caudillismo", analizando los usos que hace Sarmiento del término en sus diversos contextos de enunciación. A su vez se propone (...) un análisis de la historicidad del texto mismo, observando las estrategias discursivas con que opera su autor para intervenir en la escena política. The aim is a reading of the 3rd edition of Facundo as a strategy by Domingo Faustino Sarmiento to achieve political purposes. The study focuses on the addition by the author in this edition of: "El Chacho, último caudillo de la montonera de los llanos". It discusses, from the field of Intellectual History, the historicity of the concept of "warlordism", analyzing the uses that Sarmiento makes of the term in its various contexts of enunciation. At the same time it proposes an analysis of the historicity of the text itself, observing the discursive strategies that the author operates to intervene in the political scene. (shrink)

In this paper, we draw attention to an unintended but severe side effect of just war thinking: the fact that it can impose barriers to making peace. Investigating historical material concerning a series of conflicts in China during the early twentieth century, we suggest that operating in a just war framework might change actors' identities and interests in a way that makes peacemaking an unavailable action. But since just war theory places significant normative constraints on how long wars can be (...) continued, it might thus be self-defeating, in the sense that those who adopt it may undermine the very goals which it is supposed to serve. Whether this finding calls for a revision of existing ethical frameworks governing warfare will depend on whether there are possible alternatives to just war theory that perform better at reining in unjust violence. (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)

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)

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)

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)

Anyone interested in the philosophy of music, especially popular music, should be familiar with Cristyn Magnus, P.D. Magnus, and Christy Mag Uidhir’s contempora.

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)

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.

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)

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)

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)

The only complete study of Buber as a political thinker. Shed new light upon Buber's I Thou, while also attempting to understand Buber's Zionist thought and activity in a new and fresh manner.

Democracy has been a flawed hegemony since the fall of communism. Its flexibility, its commitment to equality of representation, and its recognition of the legitimacy of opposition politics are all positive features for political institutions. But democracy has many deficiencies: it is all too easily held hostage by powerful interests; it often fails to advance social justice; and it does not cope well with a number of features of the political landscape, such as political identities, boundary disputes, (...) and environmental crises. Although democracy is valuable it fits uneasily with other political values and is in many respects less than equal to the demands it confronts. In this volume prominent political theorists and social scientists present original discussions of such central issues. Democracy's Values deals with the nature and value of democracy, particularly the tensions between it and such goods as justice, equality, efficiency, and freedom. (shrink)

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 117-120, Winter 2020.