In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Transforming Music EducationCarolyn LivingstonEstelle R. Jorgensen, Transforming Music Education ( Bloomington, IN: Indiana University Press, 2003)Estelle Jorgensen's vision of the transformation of our profession is lofty but not ostentatious, exacting but not rigid. The dream she unveils in her latest book, Transforming Music Education, "challenges music educators to raise their expectations of themselves, their colleagues, their students, and their publics; to look beyond the ordinary; and to aspire (...) to distinction in every facet of its enterprise" (145). A powerfully convincing writer, Jorgensen, author of In Search of Music Education, begins appropriately in her preface by detailing the reasons why music education needs to be transformed. Many of her students and former students at Indiana University are not only satisfied with the status quo in music education, but demonstrate reluctance about even considering the need for change. Others, she has found, long for improvement, having encountered paternalistic administrators, loneliness, fear, and a loss of enjoyment in teaching and in music. Although the author is happy for the former group, she empathizes with the latter. "Gone are the hope, joy, and love of connecting with students or of the art that led them to teaching in the first place," she writes. "In their place I hear the voices of weariness, discouragement, and ennui" (x). [End Page 211]In addition, Jorgensen has observed the anti-intellectualism abroad in education, evident in a variety of symptoms. One of the most troubling is the idolization of scientific research resulting in a loss of interest in philosophical and historical inquiry. She decries the "declining regard for the long and distinguished narratives of education and for the critical insights that would help guard the profession against repeating past mistakes and making ill-conceived plans. Pretentious jargon invoked by educational scientists and theorists often cloaks a paucity of ideas frequently unintelligible to the teachers it is supposed to benefit, and few teachers read it," she asserts (x).Pointing out that we have lost much of our culture other than that promoted in the popular media, Jorgensen reminds us that, after graduation, high school students no longer play their instruments and that some churches now project words to hymns on large screens for parishioners no longer willing or able to read from a hymnal. She is as appalled as the rest of us by restaurant employees' attempts to sing "Happy Birthday" to celebrating patrons, and she notices that even consumers of culture increasingly rely on media opinions for assistance with choices about art exhibits, books, recordings, and performances.The resegregation of schools, the "back to basics" movement, and public apathy about education are other indicators that transformation is needed. If these reasons are not enough, Jorgensen states that ongoing renewal will always be a necessity for education. Since education is often defined as the process by which culture is transmitted, musicians and artists, as purveyors of culture, Jorgensen believes, can create a humane and holistic music education to serve as a model for education in general. "To conceive of music education as enculturation... requires placing culture at the heart of education," she states. "Regarding music along with other arts as important manifestations of human expression suggests that they should be central and essential to a complete education" (9).The purpose of each chapter is clear from its beginning, and the chapters are concisely summarized. The first, "Setting the Stage," discusses several problems of our present society as they affect education. Jorgensen considers possible resistance to transformation and the need for support from organizations like MENC and NASM. She maintains that transformation can only be achieved through the cooperation of many groups and individuals. One of the most difficult problems would seem to be the one that occurs when groups who have previously been oppressed, such as members of female, economic, ethnic, racial, religious, or other minorities, achieve a measure of power and then begin to behave toward others as their oppressors behaved toward them. She cites the work of Paulo Freire who believes that this phenomenon can only be eradicated through emancipatory education.Jorgensen gives homage to past and present music educators who have already recognized the need for change. She makes the point... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Transforming Music EducationCarolyn LivingstonEstelle R. Jorgensen, Transforming Music Education ( Bloomington, IN: Indiana University Press, 2003)Estelle Jorgensen's vision of the transformation of our profession is lofty but not ostentatious, exacting but not rigid. The dream she unveils in her latest book, Transforming Music Education, "challenges music educators to raise their expectations of themselves, their colleagues, their students, and their publics; to look beyond the ordinary; and to aspire (...) to distinction in every facet of its enterprise" (145). A powerfully convincing writer, Jorgensen, author of In Search of Music Education, begins appropriately in her preface by detailing the reasons why music education needs to be transformed. Many of her students and former students at Indiana University are not only satisfied with the status quo in music education, but demonstrate reluctance about even considering the need for change. Others, she has found, long for improvement, having encountered paternalistic administrators, loneliness, fear, and a loss of enjoyment in teaching and in music. Although the author is happy for the former group, she empathizes with the latter. "Gone are the hope, joy, and love of connecting with students or of the art that led them to teaching in the first place," she writes. "In their place I hear the voices of weariness, discouragement, and ennui" (x). [End Page 211]In addition, Jorgensen has observed the anti-intellectualism abroad in education, evident in a variety of symptoms. One of the most troubling is the idolization of scientific research resulting in a loss of interest in philosophical and historical inquiry. She decries the "declining regard for the long and distinguished narratives of education and for the critical insights that would help guard the profession against repeating past mistakes and making ill-conceived plans. Pretentious jargon invoked by educational scientists and theorists often cloaks a paucity of ideas frequently unintelligible to the teachers it is supposed to benefit, and few teachers read it," she asserts (x).Pointing out that we have lost much of our culture other than that promoted in the popular media, Jorgensen reminds us that, after graduation, high school students no longer play their instruments and that some churches now project words to hymns on large screens for parishioners no longer willing or able to read from a hymnal. She is as appalled as the rest of us by restaurant employees' attempts to sing "Happy Birthday" to celebrating patrons, and she notices that even consumers of culture increasingly rely on media opinions for assistance with choices about art exhibits, books, recordings, and performances.The resegregation of schools, the "back to basics" movement, and public apathy about education are other indicators that transformation is needed. If these reasons are not enough, Jorgensen states that ongoing renewal will always be a necessity for education. Since education is often defined as the process by which culture is transmitted, musicians and artists, as purveyors of culture, Jorgensen believes, can create a humane and holistic music education to serve as a model for education in general. "To conceive of music education as enculturation... requires placing culture at the heart of education," she states. "Regarding music along with other arts as important manifestations of human expression suggests that they should be central and essential to a complete education" (9).The purpose of each chapter is clear from its beginning, and the chapters are concisely summarized. The first, "Setting the Stage," discusses several problems of our present society as they affect education. Jorgensen considers possible resistance to transformation and the need for support from organizations like MENC and NASM. She maintains that transformation can only be achieved through the cooperation of many groups and individuals. One of the most difficult problems would seem to be the one that occurs when groups who have previously been oppressed, such as members of female, economic, ethnic, racial, religious, or other minorities, achieve a measure of power and then begin to behave toward others as their oppressors behaved toward them. She cites the work of Paulo Freire who believes that this phenomenon can only be eradicated through emancipatory education.Jorgensen gives homage to past and present music educators who have already recognized the need for change. She makes the point... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charles Faulkner Bryan: His Life and MusicTerese M. VolkCarolyn Livingston, Charles Faulkner Bryan: His Life and Music ( Knoxville, TN: University of Tennessee Press, 2003)There are many biographical studies in music education history.1 Indeed, it seems one of the easiest fields in historical research to mine—that is, until the researcher finds him or herself in the midst of what could be a years-long endeavor. Then the choice (...) is to commit to the research or quit. Carolyn Livingston did not quit. Her research began in 1981, continued through twenty years of investigations, interviews, library searches, and analyses, and has culminated in Charles Faulkner Bryan: His Life and Music. This book is not just the usual sequence of events in the life of a musician. Rather, it is more like becoming acquainted with someone you have never met before, yet feel comfortable with immediately. Charles Faulkner Bryan is genuinely likeable, and Livingston brings the person of Bryan to the fore and lets his humanity shine through his life and his music.Charles Faulkner Bryan: His life and Music is divided into two sections (pre- and post-WWII), each with four chapters. Livingston looks at this musician from several perspectives: the composer, the educator, the researcher, and the man. Appalachian folk music is the theme that connects the chapters, as it connected the events in Bryan's life. [End Page 211]Chapter 1 focuses on Bryan's youth, during which he and his family discovered his musical abilities. From performing at school, to building his own "turtle uke,"2 to his studies at the Nashville Conservatory of Music, Livingston describes the family support behind his developing musicality. Chapter 2 shows the reader his humanity even more clearly. Livingston tells of his early career as a music educator at the Tennessee Polytechnic institute; his marriage; and his mentorship of a young Black singer, J. Robert Bradley. That Bryan, a white Southerner, gave voice lessons to Bradley was not only generally unheard of with segregation as it was in the United States during the 1930s, but was dangerous to his career as well. Bryan moved on to teach at Peabody College in Nashville and then worked for the Works Progress Administration (WPA) Music Program on the Tennessee Music Project. Later he became the assistant state coordinator for the Tennessee State Defense Council. During both of these service positions, he called for music education improvements in Tennessee. Commenting on his work during this period, Livingston says, "Bryan was both of his time and ahead of his time... grounded in reality and yet visionary."3In Chapter 3, Livingston gives the reader a review of the "status of folk music scholarship and performance" as it existed in the 1930s.4 She takes pains to introduce the folk music researchers and musicians who influenced Bryan in his work with Appalachian folk music: Lucien L. McDowell and Flora Lassiter McDowell, George Pullen Jackson, Charles Seeger, and John Jacob Niles. These connections and friendships were to influence his awareness of Appalachian folk music and would continue for the rest of his life. By 1945 he had come to be considered an authority on folk music in his own right and his vision of this music came to encompass "the ultimate meaning in representing America itself."5Chapter 4 traces Bryan's development as a composer. It is in this chapter that Livingston begins to incorporate analyses of Bryan's most popular compositions. Her reviews of these compositions are clear and detailed without being overly theoretical. Some of the selections she analyzes include "Charlottown," "The Ballad of the Harp Weaver," and the White Spiritual Symphony. The Symphony in particular shows his respect for the folk songs he incorporated in this composition. Indeed, as Livingston points out several times, he maintained the integrity of these songs in all his compositions and performances. Chapter 4 concludes with Bryan's academic achievements: a Guggenheim Fellowship for music composition and his acceptance at Yale University to study composition under Hindemith.Livingston continues the discussion and analyses of Bryan's compositions in Chapter 5, detailing his time at Yale. His completed choral works from this period include the "Bell... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charles Faulkner Bryan: His Life and MusicTerese M. VolkCarolyn Livingston, Charles Faulkner Bryan: His Life and Music ( Knoxville, TN: University of Tennessee Press, 2003)There are many biographical studies in music education history.1 Indeed, it seems one of the easiest fields in historical research to mine—that is, until the researcher finds him or herself in the midst of what could be a years-long endeavor. Then the choice (...) is to commit to the research or quit. Carolyn Livingston did not quit. Her research began in 1981, continued through twenty years of investigations, interviews, library searches, and analyses, and has culminated in Charles Faulkner Bryan: His Life and Music. This book is not just the usual sequence of events in the life of a musician. Rather, it is more like becoming acquainted with someone you have never met before, yet feel comfortable with immediately. Charles Faulkner Bryan is genuinely likeable, and Livingston brings the person of Bryan to the fore and lets his humanity shine through his life and his music.Charles Faulkner Bryan: His life and Music is divided into two sections (pre- and post-WWII), each with four chapters. Livingston looks at this musician from several perspectives: the composer, the educator, the researcher, and the man. Appalachian folk music is the theme that connects the chapters, as it connected the events in Bryan's life. [End Page 211]Chapter 1 focuses on Bryan's youth, during which he and his family discovered his musical abilities. From performing at school, to building his own "turtle uke,"2 to his studies at the Nashville Conservatory of Music, Livingston describes the family support behind his developing musicality. Chapter 2 shows the reader his humanity even more clearly. Livingston tells of his early career as a music educator at the Tennessee Polytechnic institute; his marriage; and his mentorship of a young Black singer, J. Robert Bradley. That Bryan, a white Southerner, gave voice lessons to Bradley was not only generally unheard of with segregation as it was in the United States during the 1930s, but was dangerous to his career as well. Bryan moved on to teach at Peabody College in Nashville and then worked for the Works Progress Administration (WPA) Music Program on the Tennessee Music Project. Later he became the assistant state coordinator for the Tennessee State Defense Council. During both of these service positions, he called for music education improvements in Tennessee. Commenting on his work during this period, Livingston says, "Bryan was both of his time and ahead of his time... grounded in reality and yet visionary."3In Chapter 3, Livingston gives the reader a review of the "status of folk music scholarship and performance" as it existed in the 1930s.4 She takes pains to introduce the folk music researchers and musicians who influenced Bryan in his work with Appalachian folk music: Lucien L. McDowell and Flora Lassiter McDowell, George Pullen Jackson, Charles Seeger, and John Jacob Niles. These connections and friendships were to influence his awareness of Appalachian folk music and would continue for the rest of his life. By 1945 he had come to be considered an authority on folk music in his own right and his vision of this music came to encompass "the ultimate meaning in representing America itself."5Chapter 4 traces Bryan's development as a composer. It is in this chapter that Livingston begins to incorporate analyses of Bryan's most popular compositions. Her reviews of these compositions are clear and detailed without being overly theoretical. Some of the selections she analyzes include "Charlottown," "The Ballad of the Harp Weaver," and the White Spiritual Symphony. The Symphony in particular shows his respect for the folk songs he incorporated in this composition. Indeed, as Livingston points out several times, he maintained the integrity of these songs in all his compositions and performances. Chapter 4 concludes with Bryan's academic achievements: a Guggenheim Fellowship for music composition and his acceptance at Yale University to study composition under Hindemith.Livingston continues the discussion and analyses of Bryan's compositions in Chapter 5, detailing his time at Yale. His completed choral works from this period include the "Bell... (shrink)

Defense of a psychological account of what it is for an artwork to be complete.

In this book, Livingston develops the political implications of formal results obtained over the course of the twentieth century in set theory, metalogic, and computational theory. He argues that the results achieved by thinkers such as Cantor, Russell, Godel, Turing, and Cohen, even when they suggest inherent paradoxes and limitations to the structuring capacities of language or symbolic thought, have far-reaching implications for understanding the nature of political communities and their development and transformation. Alain Badiou's analysis of logical-mathematical structures (...) forms the backbone of his comprehensive and provocative theory of ontology, politics, and the possibilities of radical change. Through interpretive readings of Badiou's work as well as the texts of Giorgio Agamben, Jacques Lacan, Jacques Derrida, Gilles Deleuze, and Ludwig Wittgenstein, Livingston develops a formally based taxonomy of critical positions on the nature and structure of political communities. These readings, along with readings of Parmenides and Plato, show how the formal results can transfigure two interrelated and ancient problems of the One and the Many: the problem of the relationship of a Form or Idea to the many of its participants, and the problem of the relationship of a social whole to its many constituents. (shrink)

In aesthetics, the topic of intentions comes up most often in the perennial debate between intentionalists and anti-intentionalists over standards of interpretation. The underlying assumptions about the nature and functions of intentions are, however, rarely explicitly developed, even though divergent and at times tendentious premises are often relied upon in this controversy. Livingston provides a survey of contentions about the nature and status of intentions and intentionalist psychology more generally, arguing for an account that recognizes the multiple functions fulfilled (...) by intentions in the lives of temporally situated agents who deliberate over what to do, settle on ends and means, and try to realize some of their plans. Artists’ intentions are the same sorts of attitudes that we attribute to ourselves and to others as we attempt to describe, explain, and predict our actions. As such, intentions are relevant not only to debates over the interpretation of works of art but also to a range of other basic topics in the philosophy of art, including artistic creation and authorship, the ontology of art, the nature of texts, works, versions, and life-works, and the status and nature of fiction and fictional truth. With regard to the controversy over the interpretation of art, Livingston advocates a ‘partial’ intentionalism. Intentions are never infallible, so there is a conceptual gap between the completed work and the intentions that initiated and guided its making. Yet in spite of the fallibility of intentions and of our beliefs and claims about them, intentions regularly contribute to the determination of a work’s features, including implicit meanings, the recognition of which requires the uptake of the artist’s intentional design. Partial intentionalism also finds support in the idea that at least one sort of artistic value depends on the artist’s skilful accomplishment of intentions. (shrink)

Emotional intelligence (EI) stands at the nexus between intelligence and emotion disciplines, and we outline how EI research might be better integrated within both theoretical frameworks. From the former discipline, empirical research focused upon whether EI is an intelligence and what type of intelligence it constitutes. It is clear that ability-based tests of EI form a group factor of cognitive abilities that may be integrated into the Cattell–Horn–Carroll framework; less clear is the lower order factor structure of EI. From the (...) latter discipline, research linking EI with theoretical frameworks from emotion research remain relatively sparse. Emotion regulation and appraisal theory may be key to explain how EI may reflect different processes. We propose a research agenda to advance the EI study. (shrink)

Paisley Livingston here addresses contemporary controversies over the role of "theory" within the humanistic disciplines. In the process, he suggests ways in which significant modern texts in the philosophy of science relate to the study of literature. Livingston first surveys prevalent views of theory, and then proposes an alternative: theory, an indispensable element in the study of literature, should be understood as a Cogently argued and informed in its judgments, this book points the way to a fuller understanding (...) of the special contribution that literary knowledge may make within the human sciences. (shrink)

Damn Great Empires! offers a new perspective on the works of William James by placing his encounter with American imperialism at the center of his philosophical vision. This book reconstructs James's overlooked political thought by treating his anti-imperialist Nachlass -- his speeches, essays, notes, and correspondence on the United States' annexation of the Philippines -- as the key to unlocking the political significance of his celebrated writings on psychology, religion, and philosophy. It shows how James located a craving for authority (...) at the heart of empire as a way of life, a craving he diagnosed and unsettled through his insistence on a modern world without ultimate foundations. Livingston explores the persistence of political questions in James's major works, from his writings on the self in The Principles of Psychology to the method of Pragmatism, the study of faith and conversion in The Varieties of Religious Experience, and the metaphysical inquiries in A Pluralistic Universe. Against the conventional view of James as a thinker who remained silent on questions of politics, this book places him in dialogue with a transatlantic critique of modernity, as well as with champions and critics of American imperialism, from Theodore Roosevelt to W. E. B. Du Bois, in order to excavate James's anarchistic political vision. Bringing the history of political thought into conversation with contemporary debates in political theory, Damn Great Empires! offers a fresh and original reexamination of the political consequences of pragmatism as a public philosophy. (shrink)

Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and ideas of (...) tradition, metaphor, genius, imagination and genre. This is an important collection that will be eagerly sought by philosophers of art as well as theorists in art history, cinema studies and literary criticism. (shrink)

The article explores the link between motion pictures and philosophy, citing film's contribution to philosophy, and the illustrative and heuristic roles of films. The philosophical contributions of films may be examined in the films "Vredens Dag," or "Day of Wrath," where filmmaker, Carl Theodor Dreyer used various specifically cinematic means to express ideas pertaining to ethical and epistemic issues, while "The Seventh Seal," provides some ideas about religion.

This is the only book that examines the theory and data on the development of implicit and explicit memory. It first describes the characteristics of implicit and explicit memory (including conscious recollection) and tasks used with adults to measure them. Next, it reviews the brain mechanisms thought to underlie implicit and explicit memory and the studies with amnesics that initially prompted the search for different neuroanatomically-based memory systems. Two chapters review the Jacksonian (first in, last out) principle and empirical evidence (...) for the hierarchical appearance and dissolution of two memory systems in animal models (rats, nonhuman primates), children, and normal/amnesic adults. Two chapters examine memory tasks used with human infants and evidence of implicit and explicit memory during early infancy. Three final chapters consider structural and processing accounts of adult memory dissociations, their applicability to infant memory dissociations, and implications of infant data for current concepts of implicit and explicit memory. (shrink)

_The Routledge Companion to Philosophy and Film_ is the first comprehensive volume to explore the main themes, topics, thinkers and issues in philosophy and film. The _Companion_ features sixty specially commissioned chapters from international scholars and is divided into four clear parts: • issues and concepts • authors and trends • genres • film as philosophy. Part one is a comprehensive section examining key concepts, including chapters on acting, censorship, character, depiction, ethics, genre, interpretation, narrative, reception and spectatorship and style. (...) Part two covers authors and scholars of film and significant theories Part three examines genres such as documentary, experimental cinema, horror, comedy and tragedy. Part four includes chapters on key directors such as Tarkovsky, Bergman and Terrence Malick and on particular films including _Memento_. Each chapter includes a section of annotated further reading and is cross-referenced to related entries. _The Routledge Companion to Philosophy and Film_ is essential reading for anyone interested in philosophy of film, aesthetics and film and cinema studies. (shrink)

Love is a key concept in the theory and history of civil disobedience yet it has been purposefully neglected in recent debates in political theory. Through an examination of Martin Luther King, Jr.’s paradoxical notion of “aggressive love,” I offer a critical interpretation of love as a key concept in a vernacular black political theology, and the consequences of love’s displacement by law in liberal theories of civil disobedience. The first section locates the origins of aggressive love in an earlier (...) generation of black theologians who looked to India’s anticolonial struggle to reimagine the dignity of the oppressed as “creative survival.” The second contextualizes King’s early sermons on moral injury and self-respect within this tradition to reinterpret Stride toward Freedom’s account of the dignity-enhancing effects of nonviolent resistance as the triumph of love over fear. The third considers the implications of these arguments for conceptualizing the moral psychology of the white citizen and its consequences for contemporary debates over the ideological uses of Civil Rights history. The call to respond to oppression with aggressive love illustrates the paradoxical character of civil disobedience obscured by legal accounts as well as by criticisms of the very idea of “civil” disobedience. This is the paradox of affirming civility while enacting disobedience in order to bind political confrontation with political pedagogy. (shrink)

In the Logic of Being: Realism, Truth, and Time, the influential philosopher Paul M. Livingston explores and illuminates truth, time, and their relationship by employing methods from both Continental and analytic philosophy.

The term "false memories" has been used to refer to suggestibility experiments in which whole events are apparently confabulated and in media accounts of contested memories of childhood abuse. Since 1992 psychologists have increasingly used the term "false memory" when discussing memory errors for details, such as specific words within word lists. Use of the term to refer to errors in details is a shift in language away from other terms used historically (e.g., "memory intrusions"). We empirically examine this shift (...) in language and discuss implications of the new use of the term "false memories." Use of the term presents serious ethical challenges to the data-interpretation process by encouraging over-generalization and misapplication of research findings on word memory to social issues. (shrink)

Paisley Livingston on Stanislaw Lem and the history and philosophy of Virtual Reality. The technologies and speculations associated with “virtual reality” and cognate terms have recently made it possible for scores of journalists and academics to develop variations on a favorite theme - the newness of the new, and more specifically, the newness of that new and wildly different world-historical epoch, era, or Zeitgeist into which we are supposedly entering with the creation of powerful new machines of simulation. The (...) innovative powers of the machines of virtual reality are so extensive, it would seem, that they are even supposed to be able to achieve the extraordinary feat of revitalizing that tired journalist genre, “gee-whiz” scientific reporting. “Gee whiz,” one can now read, “you just put on a data glove and don the head-mounted display helmet, and step right into a whole new world where the old reality - and even the tired, old-fashioned notion of reality as such - gets replaced by the non-existent reality simulated by the machine. You can fight battles and have sex with people who aren’t anywhere near you, or who never even existed. Why you can actually, I mean really, interact with an illusion!”. (shrink)

Paisley Livingston asks questions about the arguments Philosopher George M. Wilson offers in order to establish that the Mediated Version of his Imagined Seeing Thesis is superior to other options.

Studies on so-called Change Blindness and Inattentional Blindness have been taken to establish the claim that conscious perception of a stimulus requires the attentional processing of that stimulus. One might contend, against this claim, that the evidence only shows attention to be necessary for the subject to have access to the contents of conscious perception and not for conscious perception itself. This “Methodological Argument” is gaining ground among philosophers who work on attention and consciousness, such as Christopher Mole. I find (...) that, without the supporting evidence of inaccessible consciousness, this argument collapses into an indefensible form of inductive parsimony. The Methodological Argument is thus shown to be unsuccessful when used against the claim that attention is required for conscious perception, though I suggest that it may be successful against the more ambitious claim that attention is necessary for all conscious experience. (shrink)

Pragmatism, Feminism, and Democracy is James Livingston's virtuoso reflection on the period between 1890 and 1930, a primal scene of American history during which a wave of intellectual currents came together--and fell apart--to reorient society. Tying in critical insights on corporate capitalism, consumer culture, populism, and the American Left, Livingston analyzes the intersections and similarities of pragmatism and feminism to yield an original, provocative blend of historiography, feminist theory, and American intellectual history.

The Harvard Graduate School of Education convocation speech, praised as "powerful" by Hillary Rodham Clinton in Teen Vogue and "inspired" by Justin Timberlake, that has offered inspiration to millions around the world In Lift Off, Donovan Livingston offers a groundbreaking rallying call about education, race, and the true nature of equality. In emotionally charged spoken-word poetry, Livingston shares a message of hope and hard truths, declaring that education can become an equalizer only if we first acknowledge the inequality (...) and racial divides holding back America's future. Livingston is dedicated to helping young people reach their celestial potential, and in his galvanizing commencement address, now adapted for the first time to the page, he calls on us to raise our voices on behalf of all children, as their brighter futures can light up our own. Together, we can lift off! Praise for Donovan Livingston "Donovan Livingston gave a powerful speech at the Harvard Graduate School of Education's convocation. In a spoken-word poem, he shared his struggles in life and urged his fellow graduates to fight inequality and inspire students. Donovan's message hit home. [He is] part of a rising generation that's. standing up to some of the biggest challenges in the world today."--Hillary Rodham Clinton, Teen Vogue "These are the words, and Donovan Livingston's voice and spirit are the music, but in any form, this rare graduation speech tells us that learning is full of bias yet can lead us to the stars."--Gloria Steinem "Donovan Livingston's Lift Offis our youth's gift to us. In this joyous young man's voice is the promise of tomorrow."--James McBride. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume XXI, Number 2, November 1995, pp. 151-164 On Hume's Conservatism DONALD W. LIVINGSTON In Opinion and Reform in Hume's Political Philosophy,1 John Stewart seeks to establish two theses. The first is that Hume's philosophical skepticism does not entail political conservatism as many commentators have argued, and the second is that central to all of Hume's writings, but especially to the History and the Essays, is (...) a program of major reforms. These include an ethic of individualism and cosmopolitanism, protection of private property, representative government under the rule of law, free trade, anti-imperialism, and moderate secularization. Stewart is right, I think, that these reforms are central to Hume's philosophic project, and he explores them with historical depth and subtlety. What is not so convincing, however, at least in the form presented, is the thesis that Hume is a liberal and not a conservative. And it is this thesis that I wish to explore. The first thing to appreciate is the sense in which Hume is neither a liberal nor a conservative. These are early nineteenth century terms framed to characterize a political and intellectual response to the French Revolution and to the Industrial Revolution. Liberalism and conservatism were not and could not have been a part of Hume's own self-understanding. That understanding is revealed clearly enough in Hume's remark that he was a whig in respect to "things" and a tory in respect to "persons" (HL II237). That is, he admired the moral character of Charles I and leading royalists more than the characters of Cromwell and the Puritan fanatics. But he was happy about the unintended consequences of the Puritan rebellion which led to the constitution of liberty Donald W. Livingston is at the Philosophy Department, Emory University, 214 Bowden Hall, Atlanta GA 30322 USA. 152 Donald W. Livingston of 1689 (the whig order of "things," namely liberty and the rule of law). But though Hume could not have thought of himself as a liberal or a conservative, it is possible to find intimated in his philosophy a pattern of thought significantly similar to a later structure of thought which may properly be called liberal or conservative as the case may be. Such retrospective judgments are legitimate as long as there is sufficient evidence to support the appropriate historical claim about what Hume did and thought he had done and an adequate philosophical theory of what liberalism and conservatism are. But if Hume is to be recruited as part of a liberal or conservative political tradition, we must be clear about what is meant by the terms 'liberal' or 'conservative '. And this is no easy matter; for these terms have not only changed their meanings over time, they are highly contested terms, being in their very nature partisan expressions the explication of which cannot entirely escape a political commitment. What I find unsatisfactory about Stewart's thesis that Hume should not be thought of as part of the conservative political tradition is not so much what he says about the critical and reforming character of Hume's thought (in that he is essentially correct) as that he does not offer a philosophical theory of conservatism or liberalism. The result is that much of the liberalism he finds in Hume would be embraced by self-professed conservatives, and some of what he characterizes as conservatism would be denied. One must gather Stewart's meaning for these terms from various contexts. In some places a conservative is thought of as a philosophical skeptic who has nothing to cling to but the raft of custom and is, consequently, incapable of making judgments of truth. Or, a conservative may be one who can indeed make judgments but is uncritical and perhaps even bigoted in doing so. Or finally, a conservative may be one whose character is informed by an ungenerous disposition to defend the status quo regardless of the oppression of others.2 Stewart argues that Hume is not a conservative in these senses but is a critical political theorist whose philosophical skepticism not only did not prohibit, but positively legitimated the formulation of truths about political things. In his... (shrink)

This paper begins by presenting a simple model that maps some salient positions on the topic of cinema as philosophy, including the very strong claims that are constitutive of what has been stipulated to be “the bold thesis.” It is contended that examples that have been adduced in the literature as substantiating that bold thesis in fact only support weaker claims. It is argued in favor of accepting some such theses on the topic. It is then introduced a number of (...) variables that might be worth keeping in mind as we ponder the philosophical merits or demerits of various cinematic works. (shrink)

A book review of Matthew Strohl, Why It’s OK to Love Bad Movies. New York: Routledge, 2022, 206 pp. ISBN 9780367407650.

People often ask each other “what happens” in a novel or film, and they are inclined to think that some answers are better than others. Some claims about what happens in a story are deemed inaccurate or false, while others are the object of a fairly widespread consensus. The fact that a statement about a narrative discourse is deemed accurate does not mean that it will or should be accepted as an adequate statement about the story told in the discourse. (...) If someone asks me what just happened in a movie, even the most prefect description of the cuts and camera angles will be deemed irrelevant. (shrink)

In this response to the critiques of Fontaine and Hughes and Evans, we touch on main points of consensus and contention, and offer some suggestions for future programs of research.

In the burgeoning literature on thought experiments (e.g., Cohen 2005; Freese 1995; Gendler 2000; Häggqvist 1996, 2009; Ierodiakonou and Roux 2011; Sorensen 1992), examples are drawn from almost all areas of philosophy. One exception, however, is aesthetics. There are good reasons why this is so: there are very few interesting theory‐ oriented thought experiments in aesthetics, which is unsurprising since there are few well‐developed theories to test in this field (see Chapter 34, Applied Aesthetics). We argue in this chapter, however, (...) that theory‐centered thought experiments are not the only kinds of thought experiments, and that the practical and productive thought experiments that are prevalent in aesthetics are also worthy of some attention. The outline of this chapter is as follows. First we describe in some detail the single most influential theoretical thought experiment in aesthetics. We assess this experiment in epistemic terms, and with this case in view discuss the distinction between theoretical and practical or productive thought experiments. Examples of the latter are introduced so as to illustrate the importance of that distinction. (shrink)

Last year the editors of Signs: Journal of Women in Culture and Society invited feminists worldwide to comment on the millennial transition. Representing a disciplinary and generational range of writers, the resulting collection is at turns inspiring, troubling, provocative, despairing, celebratory. Some of the essays give voice to anxieties, others are more hopeful some reflect back, others look forward. Many of these fifty-plus short essays speak to themes of gender, nationality, global independence, transnational corporate domination, racial and ethnic identities, and (...) complex intersections among these systems. Readers will find eye-opening writing that is thoughtful, committed, and passionate about feminist futures. (shrink)

Through close readings of Frost's poetry and often ignored prose, Mark Richardson argues that Frost's debates with Van Wyck Brooks, Malcolm Cowley, and H. L. Mencken informed his poetics and his poetic style just as much as did his deep identification with earlier writers like Emerson and William James.

This paper considers the historical and current reception of Husserl’s phenomenological project within the tradition of analytic philosophy, especially in the United States. Despite the fact that both Husserlian phenomenology and the analytic tradition have centrally undertaken systematic analysis and clarification of structures of meaning or sense, the project of phenomenological analysis and reflection has never been centrally or comprehensively integrated into the most characteristic projects of the analytic tradition. This resistance owes in part to the strong elements of naturalism, (...) conventionalism, reductionism, and realism characteristic of the projects of the analytic tradition. I argue that there remains little hope for a comprehensive rapprochement between Husserlian phenomenology and analytic philosophy that retains without significant distortion the most characteristic methods of both. Nevertheless, it is possible to envision a contemporary development of a phenomenologically informed “post-analytic” philosophy that would integrate phenomenological methods and ideas to supplement the analytic project just where some of its constitutive limitations are, today, becoming most evident. (shrink)

Reasons are given for believing that it is premature to abandon the idea that domain-general models of concept learning can explain how human beings understand the biological world. Questions are raised about whether the evidence for domain specificity is convincing, and it is suggested that two constraints on domain-general concept learning models may be sufficient to account for the available data.

In the burgeoning literature on thought experiments, examples are drawn from almost all areas of philosophy, one exception, however, being aesthetics. There are good reasons why this is so: there are very few interesting theory-oriented thought experiments in aesthetics, which is unsurprising since there are few well-developed theories to test in this field. After evaluating some aesthetic thought experiments in light of some general epistemic questions regarding thought experiments, we argue that theory-centred thought experiments are not the only kinds of (...) thought experiments, and that the practical and productive thought experiments that are prevalent in aesthetics are also worthy of some attention. (shrink)