In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.2 (2005) 97-103 [Access article in PDF] MoMA as Educator: The Legacy of Alfred H. Barr, Jr. Ralph A. Smith Professor Emeritus University of Illinois at Urbana-Champaign Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art by Sybil Gordon Kantor. Cambridge: The MIT Press, 2002, xxv, 472 pp., $39.95. ISBN 0-262-11258-2 Sybil Kantor's history of (...) the intellectual origins of the Museum of Modern Art (MoMA) is an engaging account of Alfred Barr, Jr.'s, pivotal role in acquainting an American audience with the modernist movement in art that had developed in Europe and the Soviet Union in the first part of the twentieth century. Scrupulously documented, Kantor's narrative relies heavily on interviews with Barr's contemporaries, his publications, and his extensive correspondence. She also limns portraits of major figures who either influenced his ideas or were instrumental in establishing MoMA. Although the book is very informative about modern art, according to its author it is not intended to be strictly a history of that art. Rather, it is devoted to Barr's early development, his personal characteristics, his attitude toward the cultural and political climate of the times, his definitions of modernism and formalism, and finally, his legacy.Kantor traces Barr's career through the decade of the 1920s, which culminated in his being named the first director of MoMA in 1929; the expansive years of the 1930s and 1940s when, as Kantor puts it, Barr and the museum were at full throttle; and the later years when Barr was relieved of his director's responsibilities to allow him to spend more time on writing and the mounting of exhibitions. He retired from the museum in 1967, began to show signs of ill health in the mid-1970s, and died at the age of 79 in 1981. The Early Years Barr began his studies in the history of art at Princeton where he took courses with Frank Jewett Mather, who taught about modern art, and with Charles Rufus Morey, a distinguished medievalist whose teaching ranged beyond the architecture and sculpture of the Middle Ages to the other arts of that era. Morey's example of comprehensiveness would later stimulate Barr to think along similar lines about modern art and the organization of MoMA. At Harvard's graduate school Barr learned the skills of connoisseurship and museum management from Paul Sachs whose students went on to become directors of major museums across America. Sachs also encouraged Barr's interest in modern art and provided him with numerous letters of [End Page 97] introduction to scholars and museum directors — and occasionally withfunds for his travels.1 Lincoln Kirstein was a close friend, art critic, and earlyally, while Henry-Russell Hitchcock, Walter Gropius, and Philip Johnson significantly affected Barr's understanding of architecture. A large cast of artists, patrons, collectors, writers, trustees, and editors of "little magazines"(so-called because of their relatively small numbers of readers) also enter the scene and play various roles. A few words are in order about Barr himself who, Kantor says, exhibited more rebelliousness, a larger vision, and greater discipline than most of those around him. Barr the Man Kantor portrays a mind and sensibility possessed of exceptional discernment for the new, the difficult, and the worthwhile in the art of the early twentieth century. Barr's feeling for order, organization, and clarity of relations; his commitment to perfection, freedom, and truth; and his faith in the capacity of modern art to overcome prejudices and improve the taste of Americans are not merely reflections of the disciplinary habits inculcated by Barr's Presbyterian upbringing. They also reveal the classical tastes acquired through his art-historical studies and echo the temper of the age.The time — the 1920s through the 1940s — valued both the rationalism of science with its methods of problem solving and the insights of psychoanalysis with its probing of the irrational. Belief in the inevitable progress promised by advances in technology was, however... (shrink)

Scripture: early convictions -- Being taught: the Bible and the Reformed Scripture principle -- Dominus illuminatio mea: the school of the biblical witness -- Dominus et vivificantem: biblical witnesses as children of God.

Bishop is a professor of nursing; Scudder is a professor of philosophy.

Prolonged investigations of past and present use of wetland margins in various lowlands within Latin America have yielded a wealth of detail. It has become necessary to search out regularities in the natural environmental context and the human adaptations, all of which can be done advantageously in the context of the concept of landscape. Such a move in the direction of theory is attempted here by means of a heuristic model and an exploration of variations in its expression. The discussion (...) of seasonal as well as longer termed change in the natural environment and human adaptation is easily accomodated. The essay includes a brief consideration of some of the recent directions in the investigation of the tropical wetland landscape. (shrink)

Sally Gadow influenced our work when we first began exploring the meaning of nursing philosophically. In this article, we discuss two major themes of Gadow's work that have influenced us: existential advocacy and treating the body objectively without reducing the patient to the moral status of an object. Our treatment of these issues is appreciative but not uncritical. We argue that existential advocacy makes an important contribution to the meaning of nursing but that it cannot be its essential meaning. We (...) contend that Gadow, by making self‐direction the essence of care, tends to diminish the intersubjective nature of care. Then we show how Gadow recovers the intersubjective nature of care by disclosing how nurses and patients both become subjects in personal relationships, even when tending to the body objectively. We show how hermeneutic phenomenology, which we favour, can contribute to Gadow's existential phenomenology by using examples from nursing practice to disclose the meaning of nursing. Gadow's major contribution to our work has been in the ways her work has evoked creative thought from us concerning the meaning of nursing. (shrink)

Comments on Fullerton's paper, 'The doctrine of space and time' (1901). Fullerton adapts both Kantian and Berkelian doctrine of space, but his view on space is dominated more by the Berkelian views. His views on time are the same as that on space. His comparative study on animals has been criticized since it is claimed that animals are living wholes and abstracting certain parts have little value for fundamental comparison. The concepts of infinity and infinite divisibility are considered important. However, (...) he misses the real import of infinity by recognizing the possibility of infinite divisibility and ignores the distinction between being infinitely divisible and infinitely divided. The world according to him is not given directly by intuition and consciousness can only represent it. (shrink)

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