The medical biography of Ludwig van Beethoven remains enigmatic. Some of his health problems, such as his early and eventually profound deafness, are well documented and extensively discussed, although not necessarily well explained . Other medical problems, and his ultimate cause of death, remain unclear. Perhaps unsurprisingly for such an important musical figure, there has been no dearth of speculation about the illnesses that may have befallen Beethoven. Medical historians and physicians have suggested a myriad of illnesses, including but (...) hardly limited to .. (shrink)

Although Minsky’s interpretation of Keynes’s macroeconomics and essential message clashes with authoritative alternative interpretations, it has become increasingly influential during the years following the Global Financial Crisis, even in mainstream circles. This paper offers a critical evaluation of Minsky’s Financial Instability Hypothesis from the perspective of the alternative Austro-Wicksellian paradigm. Although some of the similarities and/or analogies between Minsky’s approach and that of the Austrian School suggest a more than merely superficial affinity between the two theoretical frameworks and although some (...) scope for cross-fertilization between both approaches can be found, both theoretically and empirically, at a fundamental conceptual level both theories remain incompatible and difficult if not impossible to reconcile, in particular in terms of fundamental causality and in terms of policy conclusions and prescriptions. Despite the fact that Minsky’s policy conclusions are multifaceted and somewhat eclectic, they manifest a lack of familiarity with the conclusions of the Austrian analysis of the problems of central planning by Big Players such as Big Bank and Big Government. Both approaches also offer contrasting interpretations of the historical experience of the Global Financial Crisis. (shrink)

Given its non-invasive nature, there is increasing interest in the use of transcutaneous vagus nerve stimulation across basic, translational and clinical research. Contemporaneously, tVNS can be achieved by stimulating either the auricular branch or the cervical bundle of the vagus nerve, referred to as transcutaneous auricular vagus nerve stimulation and transcutaneous cervical VNS, respectively. In order to advance the field in a systematic manner, studies using these technologies need to adequately report sufficient methodological detail to enable comparison of results between (...) studies, replication of studies, as well as enhancing study participant safety. We systematically reviewed the existing tVNS literature to evaluate current reporting practices. Based on this review, and consensus among participating authors, we propose a set of minimal reporting items to guide future tVNS studies. The suggested items address specific technical aspects of the device and stimulation parameters. We also cover general recommendations including inclusion and exclusion criteria for participants, outcome parameters and the detailed reporting of side effects. Furthermore, we review strategies used to identify the optimal stimulation parameters for a given research setting and summarize ongoing developments in animal research with potential implications for the application of tVNS in humans. Finally, we discuss the potential of tVNS in future research as well as the associated challenges across several disciplines in research and clinical practice. (shrink)

[1] Biographie, Philosophie, Praxis -- [2] Het spel van het naamloze / naar een concept van Joseph Kosuth.

Given its non-invasive nature, there is increasing interest in the use of transcutaneous vagus nerve stimulation across basic, translational and clinical research. Contemporaneously, tVNS can be achieved by stimulating either the auricular branch or the cervical bundle of the vagus nerve, referred to as transcutaneous auricular vagus nerve stimulation and transcutaneous cervical VNS, respectively. In order to advance the field in a systematic manner, studies using these technologies need to adequately report sufficient methodological detail to enable comparison of results between (...) studies, replication of studies, as well as enhancing study participant safety. We systematically reviewed the existing tVNS literature to evaluate current reporting practices. Based on this review, and consensus among participating authors, we propose a set of minimal reporting items to guide future tVNS studies. The suggested items address specific technical aspects of the device and stimulation parameters. We also cover general recommendations including inclusion and exclusion criteria for participants, outcome parameters and the detailed reporting of side effects. Furthermore, we review strategies used to identify the optimal stimulation parameters for a given research setting and summarize ongoing developments in animal research with potential implications for the application of tVNS in humans. Finally, we discuss the potential of tVNS in future research as well as the associated challenges across several disciplines in research and clinical practice. (shrink)

This collection of original essays examines the relationship between women and religion in the history of political thought broadly conceived. This theme is a remarkably revealing lens through which to view the Western philosophical and poetical traditions that have culminated in secular and egalitarian modern society. The essays also give highly analytical accounts of the manifold and intricate relationships between religion, family and public life in the history of political thought, and the various ways in which these relationships have manifested (...) themselves in pagan, Jewish, Christian and post-Christian settings. (shrink)

Richard Wagner (1813-1883) zählt zu den herausragendsten Komponisten der Welt überhaupt und gilt aufgrund seiner musikalischen Interpretationen als ein Erneuerer der europäischen Musiklandschaft. Er fühlte eine enge Verbindung zu Ludwig van Beethoven, da eben sein Werk für die Entscheidung verantwortlich war, sich der Musik zuzuwenden. Das vorliegende Werk ist eine Hommage an den deutschen Künstler und erschien zu seinem einhundersten Geburtsjahr 1870. Es handelt sich hierbei um die englische Übersetzung der deutschen Originalfassung.

In this article the authors are reconstructing the dichotomies which the young Theodor Adorno was trying to detect in the music of the bourgeois epoch and personify in two antipodes - Franz Schubert and Ludwig van Beethoven. Although already a devotee of Arnold Sch?nberg and the 20th century music avantgardism, Adorno was, in his works prior to his exile from Germany, intensively dealing with Schubert and his opposition towards Beethoven. While Beethoven was a bold and progressive revolutionary, fascinated by (...) the?practical reason? and the mission to rise up and reach the stars, Schubert wanted none of it. Instead, he was looking backwards, to primordial nature and the possibility of man to participate in its mythic cycles of death and regeneration. The lack of synthesis between this two opposing tendencies in the music of early bourgeois epoch lead to the?negative dialectics? of Sch?nberg and 20th century music avantgardism and to the final separation of Beethovenian musical progress and Schubertian musical mimesis. (shrink)

Uit familie-foto's en tekstfragmenten van brieven en aantekeningen samengestelde biografie van de Joods-Oostenrijkse, later in Engeland gevestigde wijsgeer (1889-1951).

lniciado como un movimiento crítico de la modernidad, el Sturm und Drang alemán propuso una concepción distinta del humano, que exigía una renovación de la razón en armonía con la totalidad de las facultades humanas en favor del desarrollo de la individualidad. De esta manera se centralizaba la cualidad creadora del ser humano, sin subordinar el desarrollo de las demás facultades humanas. En este trabajo se analiza la reinterpretación del mito de Prometeo en el trabajo de tres personalidades: el filósofo (...) Johann G. Herder, el literato Johann W. von Goethe y el compositor Ludwig van Beethoven. Del primero, se examina su teoría del genio, explicada por medio de la figura de Shakespeare; del segundo se aborda el lugar de Prometeo en la obra del poeta; mientras que del tercero se analiza su tercera sinfonía, Heroica. Al final, se concluye que, en lostres pensadores, la figura del titán Prometeo representa ese espíritu rebelde que, rechazando a los dioses, encamina todos sus actos hacia el engrandecimiento del ser humano y de la humanidad. (shrink)

Les problèmes de la mort, de l'immortalité et de Dieu ont entre eux une connexion étroite. Ils constituent, après la mort de Hegel, le centre des débats entre ses disciples. Les réflexions de Feuerbach sur ces problèmes, principalement dans les Pensées sur la mort et l'immortalité (1830) et La question de l'immortalité du point de vue de l'anthropologie (1846), ont pour but de dissiper les entités imaginaires de l'au-delà et de poser la vérité et la consistance de ce monde. La (...) problématique est hégélienne au départ, mais Feuerbach remanie dans la suite certains concepts-clefs du hégélianisme, comme l'Esprit, l'infini, etc. Le résultat est paradoxal : l'homme, qu'il prétend libérer de la peur de la mort ainsi que du rêve de l'immortalité, se voit entièrement subordonné à la société. (shrink)

Ludwig Feuerbach is traditionally regarded as a significant but transitional figure in the development of nineteenth-century German thought. Readings of Feuerbach's The Essence of Christianity tend to focus on those features which made it seem liberating to the Young Hegelians: namely, its criticism of reification as abstraction, and its interpretation of religion as alienation. In this book, Van Harvey claims that this is a limited and inadequate view of Feuerbach's work, especially of his critique of religion. The author argues (...) that Feuerbach's philosophical development led him to a much more complex and interesting theory of religion which he expounded in works which have been virtually ignored hitherto. By exploring these works, Harvey gives them a significant contemporary re-statement, and brings Feuerbach into conversation with a number of modern theorists of religion. (shrink)

Music, language, and drama come together in opera to make a whole that conveys emotional reality. In this book, Irving Singer develops a new mode for understanding and experiencing the operas of Mozart and Beethoven, approaching them not as a musical technician but as a philosopher concerned with their expressive and mythic elements. Using the distinction between the sensuous and the passionate as framework for his discussion, Singer explores not only the treatment of love in these operas but also the (...) emotional and intellectual orientation of these two great composers. Singer contrasts the cool sensuality of the Don in Mozart's Don Giovanni with Leonora's passionate love for her husband in Beethoven's Fidelio and compares the erotic playfulness of some of Mozart's letters with Beethoven's fervent letter to "the immortal beloved." Don Giovanni, The Marriage of Figaro, Così Fan Tutte, and The Magic Flute all express the conflict between the sensuous and the passionate, but it is only in The Magic Flute, says Singer, that this conflict is resolved. Beethoven, an admirer of The Magic Flute, emulated both its music and its ideology, and produced in Fidelio the greatest of all operas about married love. Written while Singer was also at work on the three-volume The Nature of Love, Mozart and Beethoven can be read as a companion volume to this masterful trilogy and as a forerunner to his later work on philosophy in film. (shrink)

La forma sonata es una de las estructuras musicales más empleadas desde el siglo XVIII, tanto en obras para instrumento solista como en música de cámara, sinfónica e incluso en ópera. La disposición formal de este tipo de construcciones se basa en las relaciones establecidas entre las sensaciones sonoras de reposo, inestabi-lidad y tensión, generadas inicialmente en el discurso armónico. Sin embargo, estas relaciones se pueden situar también en los niveles melódico, rítmico y tímbrico. En este documento se presenta el (...) primer movi-miento del Cuarteto No 1 Op. 18 en Fa Mayor de Ludwig van Beethoven, compuesto en forma de sonata, como estructura basada en relaciones rítmicas. El principal fundamento teórico de este estudio se halla en la Teoría de Estratos de Nicolai Hartmann. (shrink)

In this article the authors are reconstructing the dichotomies which the young Theodor Adorno was trying to detect in the music of the bourgeois epoch and personify in two antipodes - Franz Schubert and Ludwig van Beethoven. Although already a devotee of Arnold Sch?nberg and the 20th century music avantgardism, Adorno was, in his works prior to his exile from Germany, intensively dealing with Schubert and his opposition towards Beethoven. While Beethoven was a bold and progressive revolutionary, fascinated by (...) the?practical reason? and the mission to rise up and reach the stars, Schubert wanted none of it. Instead, he was looking backwards, to primordial nature and the possibility of man to participate in its mythic cycles of death and regeneration. The lack of synthesis between this two opposing tendencies in the music of early bourgeois epoch lead to the?negative dialectics? of Sch?nberg and 20th century music avantgardism and to the final separation of Beethovenian musical progress and Schubertian musical mimesis. (shrink)

The complex story of mathematics in the Tractatus In this paper some thoughts are presented about the treatment of mathematics in the Tractatus Logico-Philosophicus of Ludwig Wittgenstein. After introducing a metaphor for the mathematical ‘building’, we look at the scattered ideas about mathematics in the Tractatus itself. Although the general consensus is that Wittgenstein rejects the entire ‘building’, there are recent insights that suggest that a more coherent view of ‘Tractarian’ mathematics can be presented, if we are willing to (...) leave behind a foundational form of thinking. What this means will be outlined in some detail. The concluding general assessment is that the final word on the status of mathematics in the Tractatus is still pending. (shrink)

ABSTRACT This essay considers the highly ambivalent attitude of the Austrian-Dutch physicist Paul Ehrenfest toward contemporary developments in both science and society. On the one hand, he was in the vanguard of the quantum and relativity revolutions, supported industrialization and economic planning based on mathematical models, and, in general, cherished technocratic ideals. The essay highlights several influences that shaped his attitude in these respects, from his ties with the Philips Physics Laboratory and his sojourns in the United States to the (...) utopian visions of H. G. Wells. On the other hand, he was extremely worried about the harmful consequences of contemporary changes in science and society, such as specialization, the growing pace of city life, and the increasing dependence on modern technologies, be they material or mathematical. In this regard, he agreed with cultural critics such as Max Nordau, Henri Bergson, Ostwald Spengler, and Ludwig Klages. Rather than attempting to solve this paradox, the essay suggests that this kind of ambiguity characterized a great deal of innovative science in the period. (shrink)

Differential academic language proficiency is an issue of major educational concern, bearing on problems varying from pupil performance, to social prospects, and citizenship. In this paper we develop a conception of the language‐acquiring subject, and we discuss the consequences for understanding differential language proficiency in schools. Starting from Wittgenstein's meaning‐as‐use theory we show that learning a language requires an activity that relates the subject both to the community of language users, and to the things language is about. In opposition to (...) Luntley, we contend that this does not mean that linguistic development involves linguistic adjustment to the world ‘as it is’. It is argued that, in as far as linguistic development involves a process of adjustment, this concerns conceptions about the world as it is presupposed to be—a ‘world’ that is subjected to doubt and revision time and again. With respect to dealing with differential academic language proficiency, this approach to linguistic development suggests bringing pupils into situations which require active participation in processes of ‘negotiating meaning’, including negotiating the prevailing presuppositions about what the world is like. This also puts novices in a different position—less assimilatory—recognising their co‐constructive potencies at a more fundamental level. (shrink)

The paper discusses whether deliberative democracy should make us see democracy as deliberation only insofar as we need to see it as such, or whether it should make us see democracy as deliberation essentially. Critics have argued that deliberative democracy does the latter rather than the former. But they have not sufficiently shown how this works, why exactly it is problematic, and how the associated problems may be overcome. Drawing on recent literature on Ludwig Wittgenstein’s idea of being held (...) captive by a picture, I develop a conceptual framework for understanding these questions. Drawing on recent empirical work on the realities of deliberative democracy, I show why empirical accounts of democracy demand that we learn to see democracy under many different aspects - of which deliberation is an important, but not necessarily the essential one. (shrink)

Thinking about Martin Stokhof as a philosopher and colleague, his formal analysis (together with Jeroen Groenendijk) of questions and question answering is the first thing that comes to mind. This work is part of a fruitful tradition that has recently spawned inquisitive semantics, and the focus on question answering in dynamic epistemic logic. The theme is still very much alive at ILLC today. Next, I am reminded of the dynamic turn in natural language semantics, of the way he and Jeroen (...) Groenendijk criticized Hans Kamp’s ideas about discourse representation, and how this led to the invention of dynamic predicate logic. Later it became clear that dynamic predicate logic can be viewed as the action part of quantified dynamic logic, invented much earlier by David Harel. This led to a connection, a semantic parallel, between the analysis of programming and the analysis of natural language. Thinking about Martin as a philosopher still longer, it is impossible to further postpone the thought of Ludwig Wittgenstein. This is the connection that I am least familiar with, so this is what I will write about, in the hope that developing my thought in writing will create a somewhat better understanding. (shrink)

This essay is a response to proposals to integrate patient-subjective or idiographic data into future versions of nosologies such as the DSM and the ICD. It argues that a nosology is not a suitable vehicle for disseminating psychopathological-phenomenological research results throughout the field. Drawing on the work of Ludwig Binswanger, it examines, on the basis of four postulates, how he applies the Husserlian concept of intentionality in psychiatry and thus arrives at a psychopathological phenomenology. For each individual postulate, we (...) then look in depth at the implications for the current debate around DSM. The conclusion we come to is that, both because of the objective of phenomenological research and because of the complexity of the kind of information involved in findings based on that research, it is impossible to integrate these findings into a nosology without deviating from either them or the nosology itself. (shrink)

Cet article propose une analyse du livre sur Beethoven auquel, sans avoir eu le temps de l’achever, Adorno a travaillé durant plus de 30 ans. Longtemps attendue, la traduction française permet aujourd’hui de prendre pleinement la mesure de l’importance de ce volume, tour à tour atelier ou chambre d’écho de l’œuvre entière d’Adorno. Ligne de force de l’ouvrage, le rapprochement entre Beethoven et Hegel porte ainsi l’enjeu d’un rapport entre l’identité et la différence tel que l’altérité ne se laisse pas (...) absorber dans l’économie de la pensée spéculative. À cet égard, on a d’abord été attentif au fait que, pour Adorno, c’est dans la mesure même où la forme beethovénienne vise la constitution d’une « totalité intensive », qu’elle conduit à mettre au jour – au sein de l’apparence esthétique et par elle – le caractère arbitraire d’un tel primat accordé au tout. Si telle est la « teneur de vérité » de cette musique, on peut alors considérer que le « style tardif » de Beethoven (motif présent du premier au dernier des textes qu’Adorno a consacrés au compositeur) en constitue le plein déploiement, en tant que critique, immanente au matériau musical, de l’illusion du réconcilié. S’il est connu que, notamment, les derniers quatuors ou les dernières sonates sont exemplaires d’un tel geste, on a voulu montrer que celui-ci se trouvait à la fois dédoublé et altéré dans la composition de la Missa solemnis, qu’Adorno dit ne pas parvenir à comprendre. On soutient alors l’hypothèse suivante : exprimant de façon éminente une intempestivité qui traverse l’ensemble de l’œuvre beethovénienne, cette tension entre deux formes de distanciation, ou d’« estrangement » (Verfremdung), cristallise du même coup les exigences théoriques fondamentales de cette réforme de la dialectique qu’Adorno appelle dialectique négative et, indissociablement, celles de la conception d’une temporalité historique non linéaire et non téléologique. (shrink)

Sguardo d'insieme -- Armonia delle sfere celesti : Hildegard von Bingen, symphonia -- Il tempo di Dio : Johann Sebastian Bach, Cantata Gottes Zeit -- Trasmutazioni : Wolfgang Amadeus Mozart, Die Zauberflöte -- "Questo bacio vada al mondo intero" : Ludwig van Beethoven, An die Freude -- Viaggio d'inverno : Franz Schubert, Winterreise -- Inni all notte : Richard Wagner, Tristan und Isolde -- L'ultimo rito : Richard Wagner, Parsifal -- Azzurre solitudini : Gustav Mahler, Terza sinfonia -- Universi (...) sonori : Gustav Mahler, Ottava sinfonia -- Orizzonti perduti : Gustav Mahler, Das Lied von der Erde -- Labirinti : Richard Strauss, Also sprach Zarathustra -- Cortei di ombre : Richard Strauss, Metamorphosen -- La terza via : Omaggio a Francesco d'Avalos. (shrink)

Autorka u clanku rekonstruise kompleksnu sliku Franca Suberta koju je stvorio Teodor Adorno u nekoliko osvrta na ovog kompozitora, a najvise u clanku?Subert? iz 1928. Adorno je te, 1928. godine doziveo Suberta kao tragicnog kompozitora cija muzika obitava u oblasti htonskih bogova, a da ipak otkriva radost?putujuceg naroda, opsenara i cudotvoraca?. Ipak, nije objasnio kako ova radost moze da prezivi u paklenim pejsazima Subertove htonske muzike. Tek kasnije Adorno je bio spreman da u Subertu prepozna, zahvaljujuci njegovom?habitusu?, i kafanskog sviraca, (...) ne pominjuci vise?putujuci narod, opsenare i cudotvorce?. Te dve predstave Suberta-Subert kao osluskivac htonskih bogova i Subert kao kafanski svirac-pokazale su se kao zanimljiv par vredan dalje teorijske elaboracije koju Adorno, nazalost, nikada nije sproveo. PR Projekat Ministarstva nauke Republike Srbije, br. 177019: Identiteti srpske muzike u svetskom kulturnom kontekstu. (shrink)

This chapter offers a close reading of a passage from the literary and philosophical work Minima Moralia that enacts Theodor W. Adorno's radical concept of nonpropositional truth content in philosophical aesthetics after Auschwitz. Readers of Adorno's texts, especially those devoted to philosophical aesthetics, can hardly fail to be struck by their chiastic structure. The aesthetic theory that Adorno develops constitutes not only a theory of the aesthetic but also a theory that is itself aesthetic, hence a theory of literature that (...) exhibits qualities associated with literary texts, and a theory of music that harbors within itself traces of musical composition. The rhetorically self-conscious tropes of his posthumous Aesthetic Theory, the stylized literary studies of his Notes to Literature, his musically inflected meditations on musicological questions from Ludwig van Beethoven to Arnold Schönberg, and so many of his other texts perform this provocative inversion in a variety of registers and conceptual modulations. (shrink)

BILL MARTIN replies to Sciabarra's essay on Rand, Rush, and progressive rock with critical reflections from a Marxist perspective. Focusing on the film version of The Fountainhead, which shares much in common with film noir and Socialist Realism, Martin rejects as reification Rand's emphasis on property as the defining feature of human life. Her dismissal of rock music has overtones of racism and Eurocentrism. The rock band Rush may have drawn inspiration from Howard Roark, but two other real-life role models (...) would have been better suited: Ludwig van Beethoven and Frank Lloyd Wright. (shrink)

Martin replies to Sciabarra's essay on Rand, Rush, and progressive rock with critical reflections from a Marxist perspective. Focusing on the film version of The Fountainhead, which shares much in common with film noir and Socialist Realism, Martin rejects as reification Rand's emphasis on property as the defining feature of human life. Her dismissal of rock music has overtones of racism and Eurocentrism. The rock band Rush may have drawn inspiration from Howard Roark, but two other real-life role models would (...) have been better suited: Ludwig van Beethoven and Frank Lloyd Wright. (shrink)

What are some of the most useful tools and techniques for teaching about suicide? How can this topic be used to deepen students’ understanding of Socrates and existentialism? Which concepts, skills, and exercises can facilitate student interest and insight? This essay will explore Socrates’ Apology as a means to teach analytical issues on suicide, Camus’s The Myth of Sisyphus to teach existentialist issues, and finally the cases of Kurt Cobain and Ludwig van Beethoven to teach the application of existentialist (...) issues. (shrink)

Modernism has been a celebration of the present. Why does it need a legacy ? Why should that which was born in the spirit of rebellion perpetuate itself as tomorrow’s past? Modernism has been profoundly reflective of late nineteenth- and twentieth-century cultural values. Is that not enough? It is not that modernism has forgotten the past—an art that rebels against its past must understand its adversary—but rather that it asks us not to forget the present. The revolt of modernism was (...) made possible, if not inevitable, by the rediscovery of the past. In earlier, eras, when the past was less readily accessible, artists worked for their present with little thought about their heritage. Renaissance composers, for example, generally knew little of music even two generations old; much medieval music theory and composition were based on misconceptions of Greek models. Yet by the nineteenth century, works from the past were available and understood. Virtually all composers agreed with Johannes Brahms, who reputedly said of Ludwig van Beethoven, “You have no idea how the likes of us feel when we hear the tramp of a giant like him behind us.” Historical consciousness had entered the arts, and artists were both threatened by competition with the past and seduced by the powerful idea that their works might outlive them. The Romantic artist became a genius speaking to posterity. Gustav Mahler was not the only Romanticist to pin his hopes on the future: “My time will yet come.” Small wonder that, once the future came to be, its artists rebelled against pronouncements from their past—the time rightfully belonged to them and no longer to Mahler’s generation. While many twentieth-century artists continued to create for their future, the most extreme modernists rejected not only their past but also the quest for immortality. They have written of their day and for their day. The real legacy of modernism is that it has no legacy. Jonathan D. Kramer is professor of music theory and composition at the College-Conservatory of Music at the University of Cincinnati and also program annotator and new music advisor of the Cincinnati Symphony Orchestra. He is currently working on Time and the Meanings of Music . His previous contribution to Critical Inquiry, “New Temporalities in Music,” appeared in Spring 1981. (shrink)