A brief overview of _A Philosophy of Cover Songs_, highlighting some of the main themes in the book. The first part addresses the nature of covers and makes some important initial distinctions. The second part addresses the appreciation and evaluation of covers. The third part addresses covers as a clue to the ontology of songs. Written to introduce a session at the American Society for Aesthetics Rocky Mountain Division meeting in Santa Fe, New Mexico (July 13, 2024).

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Philosophy of Modern Song by Bob DylanPeter CheyneThe Philosophy of Modern Song, Bob Dylan; 422 pp. New York: Simon and Schuster, 2022.Bob Dylan, like Dante's Virgil, takes us on an odyssey through sixty-six levels, not of the Underworld but of Songworld, in The Philosophy of Modern Song. With playful prose rhythms measured for pleasure and effect, these vistas are almost all seen through second-person (...) portrayals. His gorgeous write-up on Uncle Dave Macon's "Keep My Skillet Good and Greasy" (1924), for instance, conveys the "happy wanderer, the chicken thief," embodying the flagrant aristocracy of freedom: "You're the Dalai Lama, the Black Monk … The Thief of Baghdad … prowling and shoplifting … Multiracial, bisexual, celibate … freethinking … fucking and farting … Long John Silver … a pastry chef … hash slinger" (pp. 237–38). In Dylan's telling, this great song shimmies through a Whitmanesque catalogue of types united in aesthetic thrill.Invented characters inhabit this book, as they do Dylan's songs. Most prominent are the personae he extemporizes from others' songs in barnstorming flights of fancy. Upheld by writerly performance rather than argument, they act out his view that "it's what a song makes you feel about your own life that's important" (p. 9).The standout weird turn is the antihero he conjures from Webb Pierce's "There Stands the Glass" (1953). This is a country song about alcoholic consolation after a breakup, the toper hoping his love still thinks of him, in his misery. Simple, clichéd even, but Dylan invents a backstory hell of a Vietnam vet who "doesn't recall ever having a soul" and is "betrayed by politicians back home." Standard old-drunk fare, but then comes the nightmare of having "stuck a bayonet into babies' bellies and gouged out old men's eyes," "assassinated priests," and a concatenation of sins. "He rounds up the elderly, women and children, torches their huts" (p. 21). No bar-time happy hours for him; all those become "zero hour," "surrounded by the enemy" (p. 22). Dylan still protests the empire grotesque. Following each dark dive or wild fantasia is a straighter section that zooms out to more objective viewpoints, factoids, and historical analysis."You," ubiquitous and protean. "You," Dylan's projected center of subjective meaning. "You," his device, as he brings you along to reinvent a mood and mind frame, a world for each song. A thesis on mimesis, the second-person fantasies urge the reader to identify with the original first-person narrative, then fly it sky high. Dylan maintains that a successful song sings the listener into an alternative existence, a temporary self, through imagery and rhyme. This is just what Plato warned against, and what Dylan values: the art of making the listener mimetically become, for a few timeless minutes, what the writer and performer sing into being. In the ancient tussle between philosophers and poets, Dylan holds the agora through the harp. [End Page 254]Popular song as fiction is nothing unusual, but criticism as fiction? Is this critical license in extremis or is Dylan stressing the idea that music is always subjective? According to Dylan, songs earn their wings not just in the hearing but in how far and wide hearers can take them. While Dylan fabricates characters that weren't even dreamt of by the song performers, this book is also autobiographical throughout. The commentary relates as much of himself as the records he highlights. The book sustains a mood where the host impishly swaps masks all the while (as when he reveals, in a tiny chapter, that "Long Tall Sally" [1956] is about a one-story-tall woman from the Nephilim tribe in antediluvian Samaria). On Bobby Bare's "Detroit City" (1963), he writes, "Everybody assumes you're a bigwig, that things are cool and beautiful, but they're not." Here, many readers will flash back to young Zimmerman in Greenwich Village, desperate to pull off his move to the big city, "and the disgrace of failure is overwhelming" (p. 1). Through songs by selected others, Dylan recounts Dylan.Channeling small-hour talk radio, pulp Westerns, and hardboiled prose, the bourbon-scented mood evokes... (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.

Discusses songs by the troubadours, trouvères, and Guillaume de Machaut, performed live and on the page, in the context of antique, late antique, and medieval thought and poetic practice and in the light of later opera. Topics include cosmology, education, astronomy, breath, beasts, monsters, hybridity, imagination, life, and death.

Enlivening the spirit without overwhelming the mind, the poem Hsin-Hsin Ming, or Song of Trusting the Heart, was written in the sixth century by the third Zen patriarch of China. It is perhaps the most encompassing and profound statement of Zen awareness we have. A beautiful daily meditation guide, the book will become a year-round fixture in readers' lives. These haunting lyrics inspire a peaceful awakening that helps one see through attachments, judgments, and illusions.

In this paper I start with Adorno’s famous and provocative statement “To write poetry after Auschwitz is barbaric”, aimed at asking whether art was still possible in the age of genocides. Then, I take into examination Adorno’s concept of commitment in art – which is closely related to these questions - and the meaning itself of the notion of “Auschwitz” in Adorno’s philosophy. Analyzing what Adorno called “true” art (i.e. art provided with a relevant “truth content”) leads to take (...) into consideration what he understood vice-versa as false or untrue art, in particular mass culture and popular music. Adorno would have probably considered as a sort of blasphemy or heresy the idea itself to write and perform pop-rock songs about such subjects as genocide, but I argue that his views rely on some prejudices that negatively condition his philosophy of art and especially of music. The songs on the Armenian genocide written and performed by the heavy metal band System of a Down serve here as a profitable example that may be of help to foster a critical rethinking of some aspects of Adorno’s aesthetics. (shrink)

It is widely agreed that an artwork having certain non-aesthetic properties explains its having a certain aesthetic property. One interesting feature of such an explanation is its selectivity—it cites only some of the non-aesthetic properties on which the presence of the aesthetic property depends. Hence a question arises as to what distinguishes the selected non-aesthetic properties from the unselected ones. I answer this question by proposing a selection principle modeled on Laura Franklin-Hall’s selection principle for causal explanation, according to which (...) an explanation selects a package of factors that maximizes the ratio of delivery to cost. (shrink)

How should we pursue aesthetic value, or incorporate it into our lives, if we want to? Is there an ideal of aesthetic life? Philosophers have proposed numerous answers to the analogous question in moral philosophy, but the aesthetic question has received relatively little attention. There is, in essence, a single view, which is that one should develop a sensibility that would give one sweeping access to aesthetic value. I challenge this view on two grounds. First, it threatens to undermine (...) our "aesthetic love", or the meaningful attachments we form with aesthetic items, e.g., poems, paintings, songs, or items of design and dress. Second, it fails to accommodate the motivational character of our encounter with beauty, which can diminish our desire to pursue the wider world of aesthetic value. I conclude that whatever the aesthetic ideal is, it must reconcile our desire to broaden our access to aesthetic value with our desire to maintain and cultivate our meaningful aesthetic attachments. I motivate the alternative thought that having style is the aesthetic ideal. (shrink)

The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the visible: the (...) essential intersubjective aspect of life and its complex visual representation in art. To achieve this, the paper first explores Merleau-Ponty’s late aesthetic ontology—a phenomenology that perceives the aesthetic realm, particularly the visible domain, as originating from human corporeal existence, thereby redefining the act of seeing and the concepts of the visible and the invisible; I show the manner in which invisible elements permeate our visual experience in the Rembrandt painting and in seeing as such. The paper also reveals the unique ontological role of painting and the painter in unveiling the aesthetic world, and in guiding the philosopher toward a vision that true philosophy—phenomenology—must embrace. The paper concludes by rethinking the significance of aesthetics, and especially, the arts, to phenomenological thought, and the necessity of phenomenology to aesthetic thought. (shrink)

Through the close analysis of musical performance and tradition, the scholarly contributiors to Island Songs provide a global review of how island songs, their lyrics, and their singers engage with the challenges of modernity, migration, and social change uncovering common patterns despite the diversity and local character of their subjects"--Cover p. [4].

Abstract:Retro-writing has ethical implications. How a speaking subject applies a retro-perspective frames a piece of writing within certain cultural discourses. In contemporary Chinese poetry, cultural nostalgia and the attempted revival of ancient aesthetics is a complex issue, one that is largely the result of a general interest in cultural archeology, writers’ anxiety of influence, the desire to escape from various political pressures, and the claim of a need for a distinctive Chinese cultural identity. The subject in many contemporary Chinese poems, (...) in many cases, is a male subject striving to retrieve the premodern holistic state of being, which is illusory. Han Bo’s two poems “Modern Sex Machine” and “Mass(ive) Killing Machine” are unique in that they examine the bludgeoning of modernity within postmodern parameters and attempt to map the dynamics of modern and contemporary subjecthood, which is in fact a transcorporeal experience of the subject as that which is, ultimately, subjectless. Such work, in creating a cross-corporeal subjectless subject, embraces alterity and renders possibilities for the reader to reject a prior unitary transcendental subject that is illusory, and thereby to discover the beings of themselves and their roles in the world—and to extend this work of reconfiguring subjecthood from literature into other aspects of social life. (shrink)

This article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the attitudes toward (...) the artistic creation of the most typical intellectuals, Su Shi and Mi Fu; the close interaction between the principles of painting, calligraphy, and poetry is emphasized; a special attention is paid to the landscape genre and to conveying the beauty of nature. This article discusses in detail the most important components of artist’s creative potential, the opportunities to employ them during the creative act, and the influence of Confucian, Daoist, and Chan aesthetic ideas. The various external and internal factors influencing the intellectual creative process are analyzed; artist’s psychological preparation before creating is discussed along with the characteristics of his entrance into the creative process. This article highlights the meditational nature of artistic creation typical of representatives of this movement, the freedom of the spontaneous creative act, and the quest for the inner harmony of the artist’s soul with expressions of beauty in the natural world. (shrink)

This book describes the framework of a new theory of science. Over the last hundred years, philosophy of science has developed its theory based on what philosophers perceived what science is and what scientists do. It does not address the basic questions that scientists care about. Thus, this book examines the conventional theories of philosophy of science from a completely different point of view and describes the most difficult problems that scientists are concerned about and how science is (...) conducted. This book is based on the lecture notes under the same title in Honors College at the junior level in UMASS Lowell. It is qualified as a required course in Art and Humanity for science and engineering majors. (shrink)

This paper reveals a serious flaw in the consequentialist solution to the inefficacy problem in moral philosophy. The consequentialist solution is based on expected utility theory. In current philosophical literature, the debate focuses on the empirical plausibility of the solution. Most philosophers consider the cases of collective actions as of the same type as a horse-racing game, where expected utility theory is adequate to solve the choice problem. However, these cases should be considered as of the same type as (...) a coordination game, where the assumption of common knowledge is also required. However, the assumption is implausible—it is impossible to obtain common knowledge of rationality in cases such as voting. (shrink)

This open access book sheds light on the term gongsheng/kyōsei, which is used in Chinese and Japanese to not only translate “symbiosis” in biology but also broadly deployed in philosophical, social and political contexts. It is a cross-contextual attempt to study the foundation of gongsheng/kyōsei as a philosophy of co-becoming, with exploration of its significance for thinking about the planetary challenges of our times.

An overview and descriptions of the auditory commitments of ancient Greek song, drama, and acoustic theory from the time of Homer to the death of Euripides, this is the first complete study of the cultural system of sound in Greece.

Listening to music can be an intensely moving experience. Many people love music in part because of its power to alter or amplify their moods, and turn to music for inspiration, comfort, or therapy. It is a puzzle, then, why many of us spend so much time listening to sad music. If music can influence our moods, and assuming that most people would prefer to be happy not sad, why would we choose to listen to sad music? I revisit the (...) question of why we like sad music, drawing from work in both the philosophy and psychology of music, as well as work in the philosophy and science of affect. I argue to shift the focus of the question to music-induced moods, not emotions. This reframes the debate but does not dissolve the paradox. To understand what is appealing about the affective experience of listening to sad music I suggest we take into account the unique features of music-induced sad mood. I argue that sad mood and a certain sort of focused music listening are mutually reinforcing in ways that differ from other mood/music interactions. Sad mood and sad music are, in a sense, made for each other. (shrink)

Plato's philosophical dialogues can be seen as his creation of a new genre. Plato borrows from, as well as rejects, earlier and contemporary authors, and he is constantly in conversation with established genres, such as tragedy, comedy, lyric poetry, and rhetoric in a variety of ways. This intertextuality reinforces the relevance of material from other types of literary works, as well as a general knowledge of classical culture in Plato's time, and the political and moral environment that Plato addressed, when (...) reading his dramatic dialogues. The authors of Philosophy as Drama show that any interpretation of these works must include the literary and narrative dimensions of each text, as much as serious the attention given to the progression of the argument in each piece. Each dialogue is read on its own merit, and critical comparisons of several dialogues explore the differences and likenesses between them on a dramatic as well as on a logical level. This collection of essays moves debates in Plato scholarship forward when it comes to understanding both particular aspects of Plato's dialogues and the approach itself. Containing 11 chapters of close readings of individual dialogues, with 2 chapters discussing specific themes running through them, such as music and sensuousness, pleasure, perception, and images, this book displays the range and diversity within Plato's corpus. (shrink)

I argue that the criteria governing the aptness of emotions directed towards fictional entities, such as characters and events in fiction, are structurally identical to the criteria governing the aptness of emotions directed towards real entities in the following sense: in both cases, aptness is characterized in terms of fittingness, justification, and being salience-tracking, and each of these notions is understood in an analogous way across reality- and fiction-directed emotions. The only differences are that, in the case of fiction-directed emotions, (...) fictional truth rather than truth is relevant to fittingness, and salience in the context of engaging with the fiction replaces salience in the real context. Other asymmetries between the aptness criteria of fiction- and reality-directed emotions that seem to conflict with this claim are reducible to these two differences or stem from the failure to distinguish between emotions directed towards the content of a fiction and the fiction itself. (shrink)

This paper gives a new and richer account of open-mindedness as a moral virtue. I argue that the main problem with existing accounts is that they derive the moral value of open-mindedness entirely from the epistemic role it plays in moral thought. This view is overly intellectualist. I argue that open-mindedness as a moral virtue promotes our flourishing alongside others in ways that are quite independent of its role in correcting our beliefs. I close my discussion by distinguishing open-mindedness from (...) what some might consider its equivalent: empathy and tolerance. (shrink)

Frege believes that the real power to determine the sentence to show the logic of interest to "true." And with the word "truth" of redundancy on the same, he believes the lack of everyday language and the ability to determine the appropriate symbol. However, Frege, it seems that he invented the concept of text assigned to a special force to determine the sign: determine the bar. This paper attempts to demonstrate, although Frege until the final stage of his academic career (...) to determine the bar still insist to retain its logic into the language system, but the concepts and words in this design does not meet him on the relationship between logic and fuzzy real insight. A key step in the argument, we will by means of Husserl on the "faith of variation" to clarify the doctrine of "judge" and "determined" by Frege between the neglected difference. On this basis, we finally prompted a brief on the logic of Frege and true insight into the relationship between the interpretation of ambiguous direction. (shrink)

This book offers an introduction to the philosophy of Ham Sok Hon, an iconic figure in the intellectual and political history of modern Korea, and discusses the potential contribution of his ssial philosophy to cosmopolitanism.

In this article, I argue for a distinct and novel right-based account of risks and I call it the Sophisticated High-risk Thesis. I argue that there is a distinction between rights-infringing risk impositions and no-rights-infringing risk impositions. An action imposing a high risk of harm infringes rights, whereas an act imposing a low risk of harm does not. I also suggest three principles that govern the permissibility of highly risky actions. If a highly risky action meets the conditions specified by (...) any of these three principles, it can be justified. These principles are the consent principle*, the prevent disaster principle* and the reciprocity principle**. I show that the Sophisticated High-risk Thesis is, in general, better than the alternative Risk Thesis defended by McCarthy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:As Ground of Being, God Favors Good Over Bad Choices:Confucian Response to Wesley J. WildmanBin Song (bio)I. Historical/Historic LocationThroughout the history of Western exploration of worldviews and lifepaths, three figures prominently herald the overarching nature of Wildman's scholarship on science, philosophy, theology, and religion: Aristotle, Spinoza, and Tillich (along with his contemporary counterpart, Robert C. Neville). While the link between Tillich-Neville and Wildman is extensively articulated in Wildman's (...) own writings and the festschrift1 dedicated to him, I will center my discussion on Aristotle and Spinoza.The thoughts of all three aforementioned historical figures constitute a lineage towards merging science, philosophy, theology, and religion into an open inquiry process concerning the foundational conditions of human existence. This inquiry also has profound practical implications for humanity's pursuit of the ultimate meaning and power in life that are larger than any human self. Aristotle's architectonic philosophy, evident in the early currents of Western thought, reveals the organic links among all major disciplines practiced in the modern academy. For Aristotle, "theology,"2 focused on the ultimate cause of the world, is nested within "metaphysics." This discipline delves into the most fundamental natures of reality and is a subset of "theoretical philosophy." This broad category also encompasses sciences such as "mathematics," "physics," and the study of animals and plants—what we now term "biology." In the "practical philosophy," Aristotle crafted his renowned virtue "ethics," advocating for individuals to cultivate stable character traits through a liberal arts education and a well-informed democracy, all in the pursuit of a [End Page 50] eudaimonic, or fulfilling, life. This aspiration for the good life aims to emulate and perpetually approach the achievements of the ultimate reality, the eternally self-contemplating Nous, on a cosmic scale. This grants Aristotle's philosophy a deeply "religious" dimension.3The virtual confluence of "philosophy" and "science" involves mastering all requisite knowledge and tapping into multi-generational and multicultural intellectual assets to support and refine one's theological hypothesis about ultimate reality. Moreover, it entails understanding the practical and religious implications of such theological inquiry. These facets of Aristotle's thought align closely with Wildman's conception of "religious philosophy" or "philosophical theology."4 I contend that if the Western world had consistently embraced Aristotle's liberal arts educational model, without the extended influence of Christian theology on medieval universities, Wildman, as a teacher-scholar, would likely feel entirely at home within a modern branch of the Peripatetic school based in the Lyceum.The affinity between Wildman's religious philosophy and Spinoza's thought is more substantive than formal. The Spinozian notion that equates God with nature echoes Wildman's religious naturalism. Wildman's inclination towards the Plotinus model of ultimate reality as the ground of being, which envisions the emergence of distinct entities from the One akin to "breaking off pieces from an endless and paradoxically edgeless chocolate bar,"5 is reminiscent of Spinoza's distinction between God as "natura naturans" and the world as "natura naturata."6 Furthermore, the "dipolar monism" metaphysics7 Wildman employs to address the hard question in neuroscience and the philosophy of mind is clearly derivative of Spinoza's monistic parallelism between mind and body. [End Page 51]More crucially, by equating God with nature, Spinoza posits that revealed truths about God are merely particular instances of natural truth. The "prophets" described in the Hebrew Bible don't necessarily possess unique wisdom about this natural truth. Instead, they have vivid imaginations, enabling them to employ those particular instances of truth to appeal to the masses' senses, thereby cultivating morality and serving various institutional and political aims. When aligned with natural reason, religion, as thus understood, complements philosophy and science in fostering the humanistic ethics of the general populace. However, when rooted in superstition rather than natural reason, it becomes a source of political manipulation and societal unrest.8 Echoing Spinoza's views on religion, Wildman presents a compelling refutation of the distinction between revealed and natural theology, leaning in favor of the latter.9 Yet, Wildman is still open to retaining "God" as the term for ultimate reality to uphold the moral-guiding role of traditional... (shrink)

The contributions to this volume focus on various forms of revival of Platonism in ancient philosophy. Particular attention is paid to the topics of unity and beauty, intellect and knowledge, soul and body, virtue and happiness as well as to political and religious dimensions of Plato's legacy. The book testifies to the extraordinary capacity of the basic tenets of Platonism for renewal and transformation.

This essay depicts the emergence of the notion of predetermined fate in early China by focusing on the changing meaning of the word ming 命. Many scholars have long interpreted the term ming in the Lunyu 論語 as a kind of inevitable fate, but I show that it is still subject to change depending on the will of an anthropomorphic Heaven. In the Warring States period, however, Heaven became increasingly conceived as following fixed patterns in its behavior, and the growing (...) belief in the validity of these patterns lead to the idea that the course of the future is more or less fixed and predictable. I argue that the idea of predetermined and predictable ming was a result of these changed conceptions of Heaven and the future. (shrink)

This essay examines Jerrold Levinson’s hypothetical intentionalism with respect to the following two objections raised by actual intentionalists: (1) it is arbitrary to exclude certain kinds of evidence, such as the author’s pronouncements of intention, when hypothesizing about authorial intention; and (2) there exist counter-examples. I argue that these objections fail to establish that actual intentionalism is superior to hypothetical intentionalism and that hypothetical intentionalism is more plausible than actual intentionalism. I also suggest, however, that hypothetical intentionalism has difficulties when (...) applied to truth in fiction and thus may not be a complete theory of literary work meaning broadly construed. (shrink)

Issues of academic authorship pose few problems for philosophers or those in the humanities, yet raise a host of issues for medical researchers, engineers and scientists, where multiple authors is the norm and journal articles sometimes list hundreds of authors. At issue here are abstract questions about desert, as well as practical problems regarding the distribution of goods attached to authorship—tenure, prestige, research grants, etc. This paper defends a version of the author/contributor model, where the specific contributions of authors are (...) described in a footnote, against other models of authorial attribution. Such a model offers the best guarantee that authors will get their due, as well as providing the most reliable protection against misconduct and fraud. The paper also arguesthat it is important for this model to be institutionalized across disciplinary boundaries as the increasingly interdisciplinary nature of research will inevitably bring discipline-specific authorial norms into conflict. (shrink)

This essay aims to elucidate the so-called 'qua problem' often invoked in the debate on the interaction between moral and artistic values. The qua problem is currently understood as the failure to establish a direct value interaction. I argue that this way of understanding the qua problem is flawed because it does not make the qua problem a real problem, that is, a problem that makes an interactionist argument unsuccessful in virtue of having the problem. Instead, I propose that the (...) qua problem should be understood as the failure to show that the fact that an artwork is (im)moral (as opposed to other related facts, such as those that ground this fact) explains, whether directly or indirectly, the work’s artistic value (as opposed to being connected to the artistic value in some other way). (shrink)

This study argues that it is more important to enlighten human mind than to develop key competencies in terms of human development. For this, the current study addresses the limitations of OECD's functional approach to competency development, by exploring the conceptual framework of key competencies identified by OECD researchers. Then, it explores the structure of human mind, drawn from the perspective of the Doctrine of the Mean (中庸) which is one of the important East Asian philosophical traditions that has studied (...) the theme of human being or mind. When based on the analysis of the structure of human mind which uses the perspective of the Doctrine of the Mean, this study found that key competencies that a human being should have are basically produced through the operation of human mind. Also, human mind in the Doctrine of the Mean is 'transformed being' from ego-centered to virtue centered. The findings of this study provide some useful implications for the human development. First, given the nature of the human mind and the important role it plays in human life, the primary focus of education should be placed on enlightening the mind of human beings. Second, this study suggests that school education and extra-curricular activities should not only provide knowledge and techniques that are needed in a modern society, but also make an effort to enlighten human mind. (shrink)

As moral philosopher Zhu Xi (1130–1200) sought to nurture the autonomous moral self. In his pedagogical scheme, one ought to cultivate the innate goodness of the heart, investigate principles in things, and embody ethical standards in daily life. In Zhu Xi’s view, the ability to exercise moral autonomy is obtained through a long period of moral and ethical training under the close surveillance of one’s immediate surroundings since early childhood. For this reason, Zhu Xi emphasized the practice of social norms (...) as well as the performance of mundane rituals as the preconditions for the development of the autonomous moral self. By combining the Lesser Learning (xiaoxue 小學) with the Great Learning (daxue 大學), Zhu Xi articulated an integrated vision of moral development from the heteronomous performing of ethical duties to the autonomous embodiment of moral principles. (shrink)

During the 20th-century Chinese revolution, L’Internationale was one of the most important political symbols. After the failure of the Paris Commune in 1871, Eugène Pottier wrote the poem titled “L’Internationale” which was published for the first time until 1887. It was set to music by Pierre Degeyter in 1888 and introduced into China from both France and the Soviet Union. Qu Qiubai and Xiao San made great contribution to the work of translation that influenced the official version in 1962. From (...) a hymn for the International Workingmen’s Association to the revolutionary song of all the proletariats, L’Internationale was the historical witness of the National Revolution, the Chinese Communist Revolution and the Continuous Revolution, whose symbolic meanings were connected closely to the tensions between nationalism and internationalism. (shrink)

This study explores the educational meaning of Songdok in traditional Korean education. Songdok refers to the act of memorizing text completely while reading it aloud; however, in traditional Korean education, it used to symbolize ‘learning’ itself. Historically, Songdok was regarded in extreme terms: being criticized as low-level memorization or encouraged as a religious ritual. In the Goryeo Dynasty, when civil service exams were introduced, Songdok was performed to memorize Confucian textbooks solely for passing the exam. However, its status changed in (...) the mid-1600s because of an educational reform movement by Neo-Confucian fundamentalists. Given the widespread perception in South Korea that ‘imitating a saint is a way of learning’, Songdok has been elevated as part of moral consciousness. Here, we discuss how Songdok takes on two opposing educational objectives: One is passing the exam, and the other is imitating a saint. An examination of Songdok provides insightful perspectives on Korean education, especially regarding sluggish moral education. (shrink)

As this writer reads him, Emerson's thinking falls into three loose and broad categories. He held soul to be divine, that intuition or divine spark within every man, whereby every man is capable of infinite growth. He regarded Nature as the lengthened shadow of God cast upon human sense, a kind of incarnation of some Divine Power here on earth. And he believed Deity ever near to man, and every soul possessed of access to Deity, not continuously, but at least (...) in moments of exaltation. This triple structure--the primacy of the soul, the immediacy of Nature, and Divine Immanence--might be called the skeleton framework of his message. (shrink)