Discusses the relationship between popular music and literature in conjunction with the connection between high and low art.

Resumen: El presente trabajo explora el estatuto del arte en la filosofía de Spinoza, en el marco de la inversión copernicana que da origen a la estética y del barroco holandés. Si bien el pensamiento spinozista se inscribe en la conversión antropológica, en donde lo bello resulta ser un efecto en el sujeto y no una cualidad de los objetos, su comprensión del arte es inasimilable a la “estética” como ámbito diferenciado y autónomo que se consolida en el siglo XVIII, (...) y más bien concibe el arte integrado a la vida y a la experiencia común -a la vez que, en cuanto praxis de origen corporal al alcance de cualquiera, presenta puntos de contacto con las vanguardias históricas del siglo XX-. Spinoza, según se propone en este texto, concibe la producción de “obras de arte” menos como un hecho estético que como una actividad corporal éticamente orientada a la vida buena.: The present work explores the status of art in the philosophy of Spinoza, within the framework of the Copernican revolution that gives rise to aesthetics and the Dutch Baroque. Although the Spinozist thought is inscribed in the anthropological conversion by virtue of which beauty turns out to be an effect on the subject and not a property of objects, its understanding of art is unassimilable to "aesthetics" as a differentiated and autonomous area that it was consolidated in the eighteenth century, and rather conceived art integrated to life and common experience -at the same time, as praxis of bodily origin within the reach of anyone, presents points of contact with the historical avant-gardes of the twentieth century-. Spinoza conceives the production of "artworks" less as an aesthetic fact than as a body activity ethically oriented to the good life. (shrink)

El concepto de tópico musical fue acuñado por Leonard Ratner en la década de los 80’ en su libro Classic Music: Expression, Form, and Style. Esta primera aproximación sugirió un cambio notable que se observaría luego en la semiología de la música, en concreto, en el estudio de las prácticas musicales del clasicismo y romanticismo –un ejemplo claro de esto es el The Oxford Handbook of Topic Theory, editado por Danuta Mirka y publicado en 2014 por la editorial Oxford (...) University Press... (shrink)

Music Criticism in Vienna records a culture in which musical criticism had achieved the status of a minor art form. The period covered - October 1896 to December 1897 - was an eventful time in Vienna. Bruckner died, then Brahms; Mahler arrived; premieres of works by Czech composers coincided with increasing tension in the Empire between Czechs and Germans; Puccini's La Boheme reached Vienna on its sensational progress around the world; and the great programme music debate continued. These (...) events and issues were recorded and debated by some two dozen critics ranging from Eduard Hanslick, widely credited with (and blamed for) raising music criticism to an art, to Heinrich Schenker. The focus of Sandra McColl's monograph is unashamedly on the critics themselves, and her reconstruction of the climate of debate about whatever music or musicians came to their notice. She illuminates the intellectual climate in which the music was created, performed and received, and provides a foundation for the study of musical criticism in the post-Hanslick generation. (shrink)

Musical values -- Back to Beethoven -- A state of crisis? -- An imaginary object -- A matter of representation -- Music and the academy -- Music and gender.

As new ideas arose during the Enlightenment, many political thinkers published their own versions of popular early modern "absolutist" texts and transformed them into manuals of political resistance. As a result, these works never achieved a fixed and stable edition. Publishing The Prince illustrates how Abraham-Nicolas Amelot de La Houssaye created the most popular late seventeenth- and eighteenth-century version of Machiavelli's masterpiece. In the process of translating, Amelot also transformed the work, altering its form and meaning, and his (...) ideas spread through later editions. Revising the orthodox schema of the public sphere in which political authority shifted away from the crown with the rise of bourgeois civil society in the eighteenth century, Soll uses the example of Amelot to show for the first time how the public sphere in fact grew out of the learned and even royal libraries of erudite scholars and the bookshops of subversive, not-so-polite publicists of the republic of letters. Jacob Soll is Associate Professor of History at Rutgers University. Cover art courtesy of Annenberg Rare Book Room and Manuscript Library, University of Pennsylvania Jacket Design: Stephanie Milanowski "Jacob Soll traces the origins of Enlightenment criticism to the practices of learned humanists and hard-pressed literary entrepreneurs. This learned and lively book is also a tour de force of historical research and interpretation." ---Anthony Grafton, author of Cardano's Cosmos and Bring Out Your Dead "Brilliant. How the printed page changed political philosophy into investigative reporting, and reason of state into the unmasking of power." ---J. G. A. Pocock, author of The Machiavellian Moment "Soll's path-breaking study is a 'must read' for all those interested in the history of political thought and early modern intellectual history." ---Barbara Shapiro, University of California Berkeley "Soll has done [Amelot] and his context justice, writing as he does with a clear, singular, and welcome voice." ---Margaret C. Jacobs, American Historical Review. (shrink)

Pop weiter denken versammelt Aufsätze, die sich diesem Motto auf zwei Weisen nähern: Zum einen wollen sie populäre Musik weiter denken, den Begriff also öffnen und einen stilistisch breiteren und historisch umfassenderen Zugang abbilden. Zum anderen will der Band Ansätze der Popforschung weiterdenken, also wieder aufgreifen und fortspinnen, die einst selbstverständliche Bestandteile des Denkens über Musik waren, in den letzten Jahren aber aus unserem Blickfeld geraten sind: die aktuelle Jazzforschung und die Musikphilosophie. In diesem Kontext werden auch musiktheoretische Zugänge zu (...) populärer Musik weiter gedacht, die in den USA seit vielen Jahren selbstverständlich und fruchtbar, hierzulande indes kaum gebräuchlich sind. (shrink)

Postmodernity's Musical Pasts considers music after 1945 as a representation of concepts such as "historicity" and "temporality". The volume understands postmodernity as a period in which both modernism and postmodernism co-exist. It is attracted to a wider interpretation of "historicity" that focuses on the complex nexus of past-present-future. "Historicity" is understood as leaning closely on "temporality", generally thought of as the linear progression of past, present and future. The volume broadens the absolutist understanding of temporality to include processes which (...) can occur in circular, spiral, transcending and other formations. The book covers an extensive spectrum of topics from classical to popular and neo-traditional musics to concerns of the disciplines of musicology. Such a wide range of topics from both the centre and the periphery of the musicological canon mirrors the eclectic and diverse nature of the postwar era itself. The first section investigates how to understand manifestations of the past in musical composition with regard to time, on the one hand, and with regard to genre, style and idiom, on the other. A second section shows how time and history manifest themselves in art music. A third section takes the contrasts and transitional moments of post-1945 practices further by looking at the temporality of reception from different angles. A final part investigates questions of nostalgia and temporalities of belonging. TINA FR HAUF is Adjunct Assistant Professor at Columbia University, New York and serves on the faculty of The Graduate Center, CUNY. CONTRIBUTORS: Michael Arnold, Susana Asensio Llamas, Georg Burgstaller, Caitlin Carlos, Daniela Fugellie, Tina Fr hauf, John Koslovsky, Lawrence Kramer, Beate Kutschke, Laurenz L tteken, Max Noubel, Joshua S. Walden. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Paul Woodford, “A Liberal Versus Performance-Based Music Education?”Peter R. WebsterA study of the history of music teaching and learning in North America will likely reveal very few examples of extended and well-argued professional discourse. By "discourse" I mean a continuous expression or exchange of ideas designed to present contrasting views on important issues in the music teaching profession. Often our annual conventions are (...) filled with presentations that address a single perspective in research, pedagogy, or theory. "Special theme" issues of magazines are rarely devoted to contrasting points of view about music teaching and learning. Conferences are organized to promote single views on a subject, often speaking to a partisan audience that expects to be neither challenged to think in a contrary way nor encouraged to develop alternative perspectives.Of course there are some rare and wonderful exceptions. During my course on measurement and assessment in music, I frequently ask my students to read [End Page 208] the exchange in the pages of the Music Educators Journal during the late 1930s between James Mursell and Carl Seashore as they debated approaches to music aptitude testing.1 I recall the great exchange at the 1994 meeting of the Music Educators National Conference between Bennett Reimer and Edwin Gordon on the subject of music learning.2 In past eras, there have been notable "point-counterpoint" exchanges in the pages of the Bulletin of the Council of Research in Music Education,3 as well as interesting perspectives on completed doctoral dissertations that spawned some debate. More recently, contributions in Philosophy of Music Education Review have been notable, particularly given the recent upturn in published work and interest in music education philosophy that this very Symposium exemplifies. The formation of the MayDay group in recent years is no small example of this trend.4 I am sure that I have missed other examples. However, compare these few instances with the millions of pages that are written in our field and the hours of papers presented and conference sessions held and the examples of real discourse pale in comparison to the body of professional exchange.In his paper, especially in the early pages, Paul Woodford makes this point forcefully and effectively. He challenges us to consider just how few examples there are of real discourse within the profession. I enjoyed enormously the case made for liberal education as not defined by the teaching of a canon of great books or art works as an end but as a thoughtful discussion of ideas in light of con-temporary circumstance. The paper reminds us that the idea of criticism in our field need not be a negative concept in this current age of post-modern thought, but a positive mark of a maturing profession.I was sympathetic to Woodford's example of multiculturalism running the risk of becoming an absolutism to be imposed on children. I feel the same way at times about other trends in our field such as the rise of technology as a kind of end-experience or the encouragement of popular music in classrooms simply because it is such a dominant part of children's lives. Each of these aspects of modern music education is worthy of careful debate by intellectuals in our field in much more sophisticated ways then we see today. Woodford would have us believe that this is a major professional failure, and I tend to agree.Not to belabor this point too much, but what about the National Standards? How often do you see an article published in Music Educators Journal that actually takes issue with any aspect of the standards? Where is the national debate about the content, extension, redefinition, refocusing, and development of these standards? Are they so good that they are not the subject of at least some national debate?At core here, for me, is the notion that discourse involving critical comment leads not to a sense of competition for superiority but real understanding of complex [End Page 209] issues. Very little that is worth discussing is black and white, and nearly always there are levels of complex gray. Many of us learn this from our days on the high... (shrink)

For a long time, popular music has been presented as a field of loisir, devoid of artistic value, social expression of barbaric subcultures and product of a cultural industry aimed at mass distraction. In this perspective, the criticism of Theodor W. Adorno is crucial and, even today, his theses – on the aesthetic inferiority of popular music compared to the “cultivated” music and on the deplorable socio-cultural effects of its diffusion – are still a shared (...) judgment. Even for this reason, they deserve attention. After showing, we will focus on the critics about Adorno’s Theory by the most recent and important scholars. (shrink)

Oscar Kenshur’s “Demystifying the Demystifiers: Metaphysical Snares of Ideological Criticism” should go a long way toward convincing most readers that the cure for “ideological” criticism is worse than the disease. His attempt to uncouple ideology and epistemology in Thomas Hobbes’ Leviathan and Michael Ryan’s Marxism and Deconstruction belongs to an increasingly popular subgenre of metacriticism, the “more-historical-than-thou” offensive against Marxists and new historicists for their alleged essentialist procedures.1 There is no question that Kenshur raises significant issues about the nature (...) of ideological analysis that should be debated. However, he has neither interrogated the basis of his own assumptions about seventeenth-century views of language theory and epistemology nor convincingly demonstrated, to my mind, that Ryan is somehow wrong in his reading of Hobbes. The weakness of Kenshur’s argument is that he seems intent on erecting the windmills at which he wants to tile—most damagingly for his argument a simplistic notion of ideology that he assumes both Hobbes and Ryan share. By accepting a deterministic notion of ideology, Kenshur offers a “corrective” to overzealous claims for the significance of ideological criticism that has the effect not of “sav[ing history] from its friends” but of returning it to the status of “background” or “context” that it had been for a previous generation of New Critics. The terms in which he casts his argument—epistemology and/or ideology—redefine “ideological criticism” in a polemical manner designed, it seems, to discourage anyone from wanting to practice it. His ultimate purpose is not simply to save “history” from the Ryans of the world but to inoculate his versions of literature and philosophy against the ideological virus. To respond fully to the various issues that Kenshur raises would require detailed analyses of seventeenth-century literary and political culture and of the institutionalization of twentieth-century criticism; simply to discuss the differences between Hobbes and Ryan on epistemology or ideology would require a full-length study of the various discourses in which and against which their works are situated. Given the limitations of a critical response, I shall confine my remarks to two suspect areas of Kenshur’s argument: his characterization of seventeenth-century notions of the relationships among language, epistemology, and ideology and his assumptions about the nature of claims currently made for ideological analysis. 1. See, for example, Edward Pechter, “The New Historicism and Its Discontents: Politicizing Renaissance Drama,” PMLA 102 : 292-303. Robert Markley teaches in the English department of the University of Washington and is editor of The Eighteenth Century: Theory and Interpretation. He is the author of Two-Edg’d Weapons: Style and Ideology in the Comedies of Etherege, Wycherley, and Congreve and coauthor, with Kenneth J. Koespel, of Newton and the Failure of Messianic Science: A Postmodern Inquiry into the Discourses of Natural Philosophy. (shrink)

A history of music aesthetics from Antiquity to the present day. Fubini considers musical thought in terms of its relationship to philosophy, medicine, astronomy, mathematics and teaching in the period up to the Enlightenment. The second half of the book concentrates on key issues in contemporary music aesthetics, placing them in the perspective of the Enlightenment and of 19th-century philosophers.".

Friendly Remainders draws on Adorno's concept of the negative dialectic, examining its importance in Adorno's thought and its critical application to musical forms. Moving beyond a positivist view where musical object and appreciation operate as a synthesis, the negative dialectic method focuses on divergence and dissonance in musical forms and in society. Contradictions and divergent details and concepts become "remainders," friendly because of the fresh perspective they offer on musical forms. Dineen examines these contradictory remainders in subjects such as the (...) fascist element in Wagner's character, the torpor of Schoenberg's twelve-tone method, the self-contradiction implicit in Beethoven's Late Style, Frank Zappa's attempt to define himself as a "serious" composer, the reactionary stasis in Marilyn Manson's DVD "Guns, God and Government World Tour," and the death motive in John Coltrane. Friendly Remainders takes seriously the project of making Adorno accessible, asking the same questions of classical and popular music - taking the measure of Mahler as much as Manson - for the value of the critical insights they provoke. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Beardsley's AestheticsProblems in the Philosophy of CriticismDonald Crawford (bio)Monroe Beardsley's Aesthetics was published the year I was a junior philosophy major at the University of California, Berkeley, and by the end of that academic year, I had completed semester courses in the history of ancient as well as modern philosophy, logic, ethics, and the philosophy of religion. The requirements remaining for me in philosophy in my (...) senior year were a course in either epistemology or metaphysics, plus five elective philosophy courses. I had fairly developed interests in literature, especially poetry, classical music, film, and the visual arts, so it seemed natural for me to select a course in aesthetics as one of my remaining electives. Nonetheless, I had no idea what aesthetics was. When I looked up the word in the dictionary, I found the following definition: "The branch of philosophy dealing with beauty or the beautiful, especially in the fine arts." Even today, the Berkeley philosophy course catalog entry for aesthetics simply says, as it did then, "Aesthetics: Visual arts/literature and music. Form, expression, representation, style; interpretation and evaluation."Interpretation and evaluation sounded worth pursuing. At that time I had no doubt that almost any music by Bach was better than that by Offenbach, that Van Gogh's Starry Night was in a different class than Norman Rockwell's covers for the Saturday Evening Post, or that Bergman's The Seventh Seal (1957) was a far better film than Attack of the Crab Monsters of the same year. And I was fully convinced that some poems lent themselves to more interesting and profound readings—that is, interpretations—than others and therefore were better poems. So a course that dealt with the interpretation and evaluation of the visual arts, literature, and music was enticing. The class lectures were rather dull, however, and I began to have regrets for enrolling. Besides, the required text was brand new and had several drawbacks: there were no used copies available so it was expensive ($7.50!), and its 591 pages were bound in hardback and heavy. [End Page 19]Yes, the text was Beardsley's Aesthetics, and my now well-worn copy is complete with my original revealing and indelible underlines that remind me of my naiveté. I recall being immediately struck by the book's epigraph—a quotation from David Hume: "I am uneasy to think I approve of one object, and disapprove of another; call one thing beautiful, and another deform'd; decide concerning truth and falsehood, reason and folly, without knowing upon what principles I proceed." This encouraged me to think that this book and course would teach me the principles that underlay my unreasoned critical comparative evaluations of poems, films, and other works of art. Was this false optimism? After glancing at the table of contents, I quickly turned to chapter 10, "Critical Evaluation," where I read on page 454: "The problems to which we now come have been put off as long as possible in the hope that a circumspect approach would make them more vulnerable." I wasn't quite sure what that meant ("vulnerable" to what?), but it seemed to imply that it was necessary to start at the beginning of the book.1 So I did just that. To my delight, almost immediately, on page 3, Beardsley provided his definition of "aesthetics," saying: "[A]esthetics consists of those principles that are required for clarifying and confirming critical statements. It can be thought of, then, as the philosophy of criticism, or metacriticism" (3-4; emphasis in the original). Unless by "critical statement" Beardsley meant judgments of beauty, this didn't really correspond with either Webster's definition or the course description of aesthetics. Beardsley's concept of a critical statement was much broader than that in common use today, and it reflected the attitude of the founders of the American Society for Aesthetics, who named their journal the Journal of Aesthetics and Art Criticism (JAAC). Beardsley said he would be "using the term 'critical statement,' very broadly, to refer to any statement about a work of art" (3) and that a critical statement "need not be a value judgment at... (shrink)

Als große, integrale Kunstform wird Musik zunehmend unterschätzt. Die Anforderungen ihres Wissens und Könnens wollen die Menschen - zumal in den westlichen Konsumgesellschaften - immer weniger erfüllen. So verkürzen sie ihr Bild von sich selbst. Doch ihnen kann ein besseres Bild geboten werden.0Was heute als Musik beliebt ist, gehört weithin zur Breitenkultur. Musikalische Hochkultur hingegen gilt als elitär. Doch deren seelische und geistige Vermögen konnten in früheren Jahrhunderten in vielen Menschen geweckt werden, weil Breitenkultur und Hochkultur ineinander verflochten waren. Erst (...) mit der Aufklärung des 18. Jahrhunderts kamen vereinfachende und einseitig suggestive Musikauffassungen auf, die mittlerweile weltweite Geltung beanspruchen. Doch in ihnen verkürzen die Menschen ihr Bild von sich selbst. Dieses Bild muss daher nun einer kritischen Revision unterzogen werden. Es müssen die seelischen und geistigen Vermögen, die Musik als integrales Wissen und Können wecken kann, erneut bewusst werden. Und sie müssen bewusst werden als Teil solcher Vermögen, durch die der Einzelne in einer globalisierten Welt, die ihn immer mehr zu überfordern, zu entmündigen und zu entmächtigen trachtet, zumindest einen Teil seines Lebens in die eigene Hand nehmen kann. (shrink)

Theodor W.Adorno was one of the towering intellectuals of the twentieth century. His contributions cover such a myriad of fields, including the sociology of culture, social theory, the philosophy of music, ethics, art and aesthetics, film, ideology, the critique of modernity and musical composition, that it is difficult to assimilate the sheer range and profundity of his achievement. His celebrated friendship with Walter Benjamin has produced some of the most moving and insightful correspondence on the origins and objects of (...) the Frankfurt School of Critical Theory. This unprecedented collection, devised and assembled by one of Europe's rising social theorists, distills the best from published assessments and responses to Adorno's oeuvre. The collection is divided into 4 volumes: Volume 1: Philosophy, Ethics and Critical Theory Part 1: Negative Dialectics Included here are contributions on the concept of totality in the writings of Adorno and Lukacs; Adorno and Bourgeois Philosophy; the relationship between Adorno and Kierkegaard; Adorno's Critique of Idealism; Adorno and Linguistics; Adono and Habermas. Part 2: Ethics and Redemption This is comprised of contributions on Adorno and Truth; Adorno's Inverse Theology; and Adorno and the Ineffable Part 3: Critical Theory, Ideology Critique and Social Science Included here are contributions on Adorno's relation to the Positivist Dispute; the Popper-Adorno Controversy; Adorno and Empirical Research; and Hermeneutics and Critical Theory. Volume 2: Aesthetic Theory Part 1: Art and Politics in 'Aesthetic Theory' This includes material on the De-Aestheticization of Art; Adorno, Utopia and Mimesis; Adorno and autonomous art; Adorno and Dialectics; Adorno, Marxism and Art; Art and Criticism in Adorno's Aesthetics; Adorno's concept of the Avant-Garde. Part 2: Philosophy of Music This includes contributions on Adorno's music and social criticism; Adorno and nostalgia; Adorno, Heidegger and the meaning of music; Adorno and Wagner. Part 3: On Jazz The material included here addresses questions of Adorno and Popular Music; Adorno's encounter with jazz; Adorno, Jazz and Society; and the reasons for Adorno's apparent hatred of jazz. Volume 3: Social Theory & The Critique of Modernity Part 1: On 'The Dialectic of Enlightenment' Included here are chapters on the dialectic of enlightenment and post-functionalist thought; dialectic of enlightenment as genealogy critique; the relationship between the dialectic of enlightenment, modernity and postmodernity; Adorno's critique of progress; Adorno and theories of subjectivity; and the dialectic of enlightenment and rationality. Part 2: Anti-Semitism This consists of material on Adorno and Horkheimer; and Adorno and Public Sphere Part 3: Popular Culture and Capitalism Included here are contributions on Adorno and Sport; Adorno's alleged left-wing elitism; Adorno's critique of astrology and the Occult; Benjamin and Adorno on Disney; Adorno, Totalitarianism and the Welfare State; and Adorno and Mass Society. Volume 4: Cultural Theory and the Postmodern Challenge Part 1: 'Damaged Life': Exile in America This section includes Leo Lowenthal's insightful recollections of Adorno; Adorno and the primal history of subjectivity; Adorno and Los Angeles; Adorno's relation to American culture; and Adorno's exile in England. Part 2: Film Theory This section includes chapters on Adorno and the Culture Industry; Benjamin, Adorno and Contemporary Film Theory; Adorno, Aesthetics and the Social. Part 3: Wellmer and Adorno Included here are papers on Aesthetic, Psychic and Social Synthesis in Adorno and Wellmer; and New German Aesthetic Theory after Adorno. Part 4: Jameson on Adorno Included here are papers on Jameson, Adorno and the persistence of the Utopian; and a Marxism for Postmodernism Part 5: Modernism and Postmodernism This section contains papers on Adorno, Foucault and the Modern Intellectual; Adorno, Foucault and Two forms of the Critique of Modernity; Adorno and the Habermas-Lyotard Debate; Adorno, Postmodernism and Edward Said; Adorno, Heidegger and Postmodernism; Adorno and the Decline of the Modern Age; The literary process of modernism; Adorno, Tradition and the Postmodern Part 5: The Feminist Response Included here are contributions on Adorno and Judith Butler; Adorno, Art Theory and Feminist Practice; and Gender in the writings of Adorno and Horkheimer. The collection comes with a superb Introduction to Adorno by Gerard Delanty which elucidates the main contributions of this penetrating and enduring thinker. Comprehensive and consistently illuminating, the collection includes the thought on Adorno from some of the most distinguished commentators on social theory. Included here are selections from the writings of Susan Buck-Morss, Martin Jay, Agnes Heller; David Frisby; Johann Arnason; Richard Wolin; Andrew Bowie; Robert Hulnot-Kentor; Leo Lowenthal; Richard Rorty Axel Honneth; Albrecht Wellmer; and Jurgen Habermas. The result is a peerless research resource allowing readers to delve into all aspects of Adorno's extraordinary accomplishments in social thought, philosophy and cultural criticism. It will be required reading for students of the Frankfurt School, Marxism, Critical Theory, Philosophy of Art and Aesthetics and Social Theory. (shrink)

Histories of literary criticism are rare, and it may be useful to consider why. The initial confrontations between the early modernism of the nascent avant-garde at the turn-of-the-century and the conservatism of the critical establishment which attempted to stifle precisely those aesthetic innovations that subsequently came to be recognized as the classics of the age left a deep impression on literary life. Given this paradigmatic experience, criticism appears as the fundamental antagonist of authentic literature with which a popular taste, (...) infused with an epigonic romanticism which has lost its radical thrust, is always eager to identify. A denigration of literary criticism ensues which, in its kinder moments, views the critic as merely irrelevant but more often denounces him as an evil creature, ontologically inferior to the truly productive creative genius. (shrink)

Mandelstam’s criticism of the Rayleigh theory of the blue color of the sky (1907) and his polemic with M. Planck (1907–1908) did not become notable events in the history of physics. However, the method of their coverage in the Soviet and in the post-Soviet physics literature is remarkable. Most of Soviet physicists and historians of physics supported Mandelstam's point of view in his criticism of both Raleigh and Planck. The situation changed only at the beginning of the 21st century: (...) in the Russian literature the publications appeared emphasizing that in the Raleigh–Mandelstam and Planck–Mandelstam controversies Mandelstam was not right, Raleigh and Planck were closer to the truth. Which presumptions of this trend can be noted? This was patriotism of the scientific school peculiar to Mandelstam’s graduate students and the former graduate students, the patriotism connected with solidarity which helped Mandelstam’s community to survive in the Soviet totalitarian regime and in the totalitarian organization of science. This was also progressionism which was popular among academics and among men in the street. The phenomenon of common knowledge, mutual knowledge among the members of a scientific community should be taken under consideration. Common knowledge is connected with the non-thematized anonymous inclusion of the ideological terminology into scientific discourse. (shrink)

Stimmung in music -- The philosophy of Stimmung -- Playing in between -- History -- Duration -- Aftersong.

Given this bewildering abundance, how we can speak of a single thing called "music"? This book argues that we can.

This infamous book has enjoyed a lively underground reputation since its first publication in 1970. Richard Meltzer (a.k.a. R. Meltzer) took his training as a young philosopher and applied it with unalloyed enthusiasm to the lyrics, sound, and culture of rock and roll. Never before had anyone noticed the relationship between the philosophy of Heidegger and a tune by Little Anthony and the Imperials, heard the cries of agony in the Shangri Las' “Remember (Walkin' in the Sand)”, or transcribed every (...) "papa-ooma-mow-mow" in the Trashmen's “Surfin' Bird.”From Dionne Warwick to Plato, Jim Morrison to Bert Brecht, Conway Twitty to Miguel de Unamuno, Meltzer subverts high and low culture in his search for meaning, emotion, and codes in popular music. At once an earnest investigation and a crypto put-on, the book can be read for its nuggets of information and insights or for its humor. Here with Greil Marcus's new introduction, yet another generation of readers can be outraged and inspired. (shrink)

Henry St. John, Viscount Bolingbroke, was the mastermind behind the Treaty of Utrecht in 1713 that ended the War of the Spanish Succession, and a lifelong rival of Britain’s first Prime Minister, Sir Robert Walpole. He is also known for his political use of history based on the saying of Dionysius of Halicarnassus: ‘history is a philosophy teaching by examples’. While much scholarly attention has been paid to Bolingbroke’s historical criticism of Walpole’s Whig oligarchy, his discussion of European (...) international history has been treated as a mere vindication of the Treaty of Utrecht, thus not meriting further investigation. This article reconstructs Bolingbroke’s writings on European politics as a history of British foreign policy. Arguing that his focus was on Britain’s role in maintaining the balance of power, this article demonstrates that, contrary to popular belief, Bolingbroke attacked the Hanoverian government not for its involvement in European politics per se but for its abandonment of the Old System of William III against France. Bolingbroke believed history was repeating itself. As the Stuarts had helped France achieve hegemony half a century ago, the Hanoverians enabled France to regain supremacy in their pursuit of private interests, re-disrupting the European balance of power. (shrink)

The purpose of this book is to advance responsible rehabilitation of the speculative philosophy of history. It challenges the idea popularized by thinkers such as and Claude Lévi-Strauss and Jean-François Lyotard that historical meta-mythology and meta-narrative are philosophically obsolete. As long as humanity, viewed anthropologically, lives by over-arching narrative, the quest for a version that survives rational criticism remains vital. Here human rights serve as the key to unlock such a version. Despite the fact that the Hegelian philosophy of (...) history has often been derided, something very similar currently functions as the official ideology of the world community: the idea of history as the story of freedom. This book does not retell the world-historical story of freedom. Rather, it uncovers it, beginning with the current age of human rights and working backward through the great role-model civilizations of history. Its conclusion is that a forward retelling of the story of freedom as the story of human rights can be justified by dewesternizing the story. The book contains critical responses from specialized scholars and re-presentative of selected world cultures. The volume includes illustrations, and a guest Afterword by Donald Phillip Verene. It is a companion-volume to the author's Hegel's Logic: Between History and Dialectic (North-western University Press, 1996). (shrink)

The first publication in English of Adorno's most sustained analysis of modern music.

This book is the first to put forward a general theory of the manner in which different media--music, words, moving picture, and dance--work together to create multimedia. Beginning with a study of the way in which meaning is mediated in television commercials, the book concludes with in-depth readings of Disney's Fantasia, Madonna's video Material Girl, and Armide (Godard's sequence from the collaborative film Aria). Analysing Musical Multimedia not only shows how approaches deriving from music theory can contribute to (...) the understanding of multimedia, but also seeks to draw conclusions from the practice and further development of musical analysis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:An Undeleter for CriticismSimon Jarvis (bio)Is there experience of beauty, or is it only that we sometimes choose to sort and name certain experiences by using a set of terms, originating often in ancient and medieval philosophy and theology and by a long process of mutation and manipulation arriving under the disciplinary heading of "aesthetics"? This question asks for at least two kinds of information. It does not only (...) ask for information about the history of the formation of the concepts of aesthetics; it also asks for information about experiences. But information about experiences is hard to come by. This is not only, perhaps, for the large reason that "information is concerned with alien objects," rather than with experiences,1 but also for the more local one that "aesthetics" does not often attempt to describe any experiences with determined fidelity.2I can illustrate this with reference to a branch of aesthetics in which I have a particular interest, the aesthetics of prosody. A good deal of subtle and sometimes brilliant work exists in this field. It is rare, however, to find writing which describes in any detail the particular experiences which a particular living individual has had in relation to a line of poetry.3 One is much more likely to find such descriptions in works of fiction (or, rarely, in brief reviews) than in professional writing on the topic of prosody. There seem at first to be some obvious and good reasons for this. Professional writing demands not that we merely report our own subjective experiences, but that we produce knowledge. Critics are not paid to be artists but to be a kind of scientists of art. But what if there is no such science? What if "there is no science of the beautiful" [Kant, CJ 172]? Would that mean that the whole subject area should simply be—deleted?That this is a possibility is confirmed by the fact that in one area of thinking about aesthetic experience, it has almost happened already. While there are still a number of paid professionals who understand part of their vocation to be bound up with investigating the experience of the beauty or other value of works of art, there are few paid aestheticians of nature.4 There have been historical periods in which numbers of printed nonfiction [End Page 3] texts were devoted both to experiences of natural beauty and also to the relative propensity of natural appearances to occasion such experiences. Such descriptions are now thought to be, insofar as they are of interest at all, the province of artists.5 This is indeed a consequence of something like an acceptance that, in the sphere of experiences of nature, at least, "there is no science of the beautiful." Most agree that "an ideal of a beautiful view is unthinkable" [CJ 80]. Yet few, perhaps, would now argue that an ideal of a beautiful poem is quite thinkable either.We are thus returned to the question posed above. If there is no science of the beautiful, must claims to experiences of beauty be treated as fictional—in the specific sense that they are matters for fiction, and not for science? Why should the concept not be altogether eliminated?Perhaps for this reason. Let us imagine that I think I have had an experience. I have been walking along a street at night, say, head down as though scrutinizing the quite complex surface of tarmacadam, kerbstone, painted parking and motoring instructions, drain covers and grilles, although perhaps in distraction I may have been allowing my eyes simply to pass lightly over all this while I think about a mortifying remark addressed to me at a recent committee meeting, or attempt to identify the catalogue number relevant to a fragment of piano music which has come into my head; may, for example, as if startled by a call or a cry of pain have raised my look from the wet pavement—which I now possibly "see" for the first time (since it is the soul which sees, and not the eye [Descartes 1: 172])—and now indeed see at a great distance ahead of me, almost at the horizon of... (shrink)

In From History to Theory, Kerwin Lee Klein writes a history of the central terms of the discipline of theory of history, such as “historiography,” “philosophy of history,” “theory of history,” and “memory.” Klein tells us when and how these terms were used, how the usage of some declined during the twentieth century, and how other terms became increasingly popular. More important, Klein also shows that the use of these words is not innocent. Using (...) words such as “theory” or “historiography” implies certain specific ideas about what the writing of history should be like, and how theoretical reflection on the nature of history and its writing relates to the practical issues of the discipline.In the second half of his book, Klein focuses more on the concept of memory and the memory boom since the later part of the 1980s. He observes that “memory” came to be seen as a kind of “counterhistory,” a postcolonial, fragmented, and personal alternative to the traditional mainstream discourse of history. Klein does not necessarily disagree with this view, but he does warn us about unwanted side effects. More specifically, he argues that the discourse of memory is surprisingly compatible with that of extremist right-wing groups, and should be treated with suspicion. Although Klein certainly has a point, he presents it in a rather dogmatic fashion. However, a more nuanced version of Klein's criticism of memory can be developed by building on Klein's suggestion that there is an intimate connection between memory and identity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:386 HISTORY OF PHILOSOPHY species of pragmatism, it could be said that there is indeed some justification for discovering analogies between the Heideggerian theory of truth and pragmatism. What is deplored by Vers6nyi is the loss of the concrete significance of tIeidegger's early theory of truth (as Vers~nyi characterizes it) and its replacement by a conception of truth which is paradoxical and ultimately fruitless for an understanding of (...) the world in which man finds himself. If Being is the groundless Ground, the Wholly Other, and if Being is truth, then truth is inaccesible to man. Truth, in Heidegger's later works, is beyond the finitude of self-reflective thought and can only be approached by means of a via negativa. This, however, is described as the "abandonment of reason." This critical analysis of Heidegger's thought is an interesting and challenging work which attempts a much needed appraisal of Heidegger's philosophical "voyage" from Being and Time to Gelassenheit. Some will be angered by the author's incisiveness; some will applaud his hostility to the dissolution of reason in mysticism; none can be indifferent to this valuable contribution to the study of Heidegger. GEORGEJ. STACK Long Island University A Short History o] Ethics. By Alasdair MacIntyre. (New York: The Macmillan Co., 1966. Pp. viii + 280 $4.95.) Professor MacIntyre's Short History o] Ethics turned out, to my surprise and pleasure, to be a quite different book from what I had expected. I had assumed from its title that it would consist of an exposition, analysis, and perhaps criticism of the theories of the standard great figures from the history of Western moral philosophy, stitched together by a thin thread of historical narrative. It does contain this standard material and the quality of exposition and analysis is very high. But there is much more to the book than that. For in it MacIntyre devotes a great deal of space to political and social philosophy, with discussions of figures like Machiavelli, Locke, Montesquieu, Rousseau, and Marx. Another subject that gets a good deal of attention is religion, including such writers as Luther, Calvin, and Kierkegaard. Even further afield, Professor MacIntyre surveys the beliefs and activities of certain social reformers---for example, the Diggers and Levellers in 17th century England--and the developments and changes in the moral attitudes and relationships of people in certain societies--for example, in ancient Greece. The result is a book that is very rich and varied in content, fascinating to read, and informative. Anyone, student or teacher, who is interested in technical ethics would be well advised to study it. Maclntyre has reasons for giving his book the wide scope it has. For he believes that ethics is a broad subject, concerned with the whole range of man's activities as a practical being. He rejects the notion currently popular that ethics should be a second-order undertaking, morally neutral in itself and limiting its activities to the logical analysis of first-order moral utterances (p. 3). The ethicist cannot, he believes, divorce himself from the social setting in which he lives, taking up a neutral position above the fray, because the very concepts he uses in his thinking and writing are "embodied in and are partially constitutive of forms of social life" (p. 1). The moral philosopher, in other words, is and must be articulating a set of beliefs and ideals that arise out of the general social and historical setting of which he is a part. To understand and appreciate his theories, therefore, we must be conversant with the social organization, political structure, and religious faith of his society. For it is only within this broad context that the concepts that any given ethicist employs become intelligible. MacIntyre's view seems to have one very controversial implication, on which I should like to comment. If the concepts employed by the ethicist are embodied in a given form of social life, then no ethical theory can transcend its historical setting, hence the question, Is a given ethical theory true or false? cannot legitimately be asked. The result is historical BOOK REVIEWS 387 relativism. MacIntyre recognizes this implication and has a good deal to... (shrink)

My purpose here, then, is to reexamine a form which has already attracted considerable attention and, more particularly, by utilizing precisely that same mythopoetic analytic grid established by Fielder and Slotkin to reread on of its most popular incarnations, only adding to it a feminist perspective. My reading will thus avoid the unacknowledged and unexamined assumption which marks their work: the assumption of gender. Nonfeminist critics, after all, tend to ignore the fact of women as readers as much as (...) they tend to ignore the potentially symbolic significations of gender within a text. Fiedler, for example, obviously focuses on a male audience when he asserts that "westering, in America, means leaving the domain of the female" . And Slotkin, in making the same mistake, ignores the fact that women, too, required imaginative constructs through which to accommodate themselves to the often harsh realities of the western wilderness.Annette Kolodny, the author of The Lay of the Land: Metaphor as Experience and History in American Life and Letters, has recently completed the first volume of Westering Women, a projected multivolume analysis of women's imaginative responses to the successive American frontiers. She is presently working on Dancing through the Minefield, a study of the theoretical political, and methodological concerns of feminist literary criticism. (shrink)

'Caractère', 'densité', 'texture', 'bloc', 'trait', 'profil', 'figure' ou encore 'énergie'... : ces termes, s'ils sont souvent convoqués dans le discours musicologique se référant aux oeuvres des XXe et XXIe siècles, résistent à la clôture d'une définition. De telles notions mobilisent différentes dimensions de l'écriture mais aussi - et peut-être surtout - cherchent chacune à désigner un aspect qualitatif du musical, ce 'devenir illimité' du discours, difficile à neutraliser et à rationaliser. Le colloque organisé à l'Université Paris 8, intitulé 'Manières d'être (...) du musical', dont nous éditons aujourd'hui les actes, proposait ainsi de 'connaître l'individu à travers l'individuation plutôt que l'individuation à partir de l'individu' en interrogeant les outils compositionnels et les catégories qualitatives de l'écriture ayant pour fonction de différencier le musical en comportements ou manières d'être singuliers'"--Page 4 of cover. (shrink)

Prelude and address. I'm listening -- Author's rights, listener's rights (journal of our ancestors) -- Writing our listenings: arrangement, translation, criticism -- Our instruments for listening before the law (second journal entry) -- Listening (to listening): the making of the modern ear -- Plastic listening.