The proposed volumes are aimed at a multidisciplinary audience and seek to fill the gap between law, semiotics and visuality providing a comprehensive theoretical and analytical overview of legal visual semiotics. They seek to promote an interdisciplinary debate from law, semiotics and visuality bringing together the cumulative research traditions of these related areas as a prelude to identifying fertile avenues for research going forward. Advance Praise for Law, Culture and Visual Studies This diverse and exhilarating collection of essays explores the (...) many facets both historical and contemporary of visual culture in the law. It opens a window onto the substantive, jurisdictional, disciplinary and methodological diversity of current research. It is a cornucopia of materials that will enliven legal studies for those new to the field as well as for established scholars. It is a 'must read' that will leave you wondering about the validity of the long held obsession that reduces the law and legal studies to little more than a preoccupation with the word. Leslie J Moran Professor of Law, Birkbeck College, University of London Law, Culture and Visual Studies is a treasure trove of insights on the entwined roles of legality and visuality. From multiple interdisciplinary perspectives by scholars from around the world, these pieces reflect the fullness and complexities of our visual encounters with law and culture. From pictures to places to postage stamps, from forensics to film to folklore, this anthology is an exciting journey through the fertile field of law and visual culture as well as a testament that the field has come of age. Naomi Mezey, Professor of Law, Georgetown University Law Center, Washington, D.C., USA This highly interdisciplinary reference work brings together diverse fields including cultural studies, communication theory, rhetoric, law and film studies, legal and social history, visual and legal theory, in order to document the various historical, cultural, representational and theoretical links that bind together law and the visual. This book offers a breath-taking range of resources from both well-established and newer scholars who together cover the field of law's representation in, interrogation of, and dialogue with forms of visual rhetoric, practice, and discourse. Taken together this scholarship presents state of the art research into an important and developing dimension of contemporary legal and cultural inquiry. Above all, Law Culture and Visual Studies lays the groundwork for rethinking the nature of law in our densely visual culture: How are legal meanings produced, encoded, distributed, and decoded? What critical and hermeneutic skills, new or old, familiar or unfamiliar, will be needed? Topical, diverse, and enlivening, Law Culture and Visual Studies is a vital research tool and an urgent invitation to further critical thinking in the areas so well laid out in this collection. Desmond Manderson, Future Fellow, ANU College of Law / Research School of Humanities and the Arts, Australian National University, Australia. (shrink)

This book, which represents probably the most comprehensive discussion of the emergence of modem social science yet produced, is of far more than merely historical interest. The contributors set out to rewrite the history of the social sciences and to show the limitations of conventional conceptions of their development. These tasks they accomplish with great success and much distinction. Yet in so doing they contribute in a direct way to our understanding of the relation between social analysis and the nature (...) of human societies today. The brilliant and distinctive perspective of the papers in this collection is to demonstrate, with many specific examples, that social science and modem institutions have helped shape each other in mutual interplay. Modem systems are in some part con stituted through the reflexive incorporation of developing social science knowledge; on the other hand, the social sciences organise themselves in terms of a continuing reflection upon the evolution of those systems. Such a perspective, as Wagner and Wittrock in particular make clear, does not in any way either impugn the status of knowledge claims made within social science or destroy the independent reality of social institutions. The book questions the notion that the institutionalising of the social sciences can be understood as a process of their increasing autonomy from extemal social connections. 'Autonomy' forms a mode of legitima tion and a basis of power rather than a distinctive phenomenon as such. (shrink)

What is an image? How can we describe the experience of looking at images, and how do they become meaningful to us? In what sense are images like or unlike propositions? Participants of the 33rd International Wittgenstein Symposium--philosophers as well as historians of art, science, and literature--provide many stimulating answers. Some of the contributions are dedicated to Wittgenstein’s thoughts on images while others testify to the important role notions coined or inspired by Wittgenstein--“seeing as”, “picture games” and the dichotomy of (...) “saying and showing”--play in the field of picture theory today. This first volume of the Proceedings of the 2010 conference addresses readers interested in the history and theory of images, and in the philosophy of Wittgenstein. (shrink)

A simple rule of probability revision ensures that the final result of a sequence of probability revisions is undisturbed by an alteration in the temporal order of the learning prompting those revisions. This Uniformity Rule dictates that identical learning be reflected in identical ratios of certain new-to-old odds, and is grounded in the old Bayesian idea that such ratios represent what is learned from new experience alone, with prior probabilities factored out. The main theorem of this paper includes as special (...) cases Field's theorem on commuting probability-kinematical revisions and the equivalence of two strategies for generalizing Jeffrey 's solution to the old evidence problem to the case of uncertain old evidence and probabilistic new explanation. (shrink)

Few musical works loom as large in Western culture as Richard Wagner's four-part Ring of the Nibelung. In Finding an Ending, two eminent philosophers, Philip Kitcher and Richard Schacht, offer an illuminating look at this greatest of Wagner's achievements, focusing on its far-reaching and subtle exploration of problems of meanings and endings in this life and world. Kitcher and Schacht plunge the reader into the heart of Wagner's Ring, drawing out the philosophical and human significance of the text (...) and the music. They show how different forms of love, freedom, heroism, authority, and judgment are explored and tested as it unfolds. As they journey across its sweeping musical-dramatic landscape, Kitcher and Schacht lead us to the central concern of the Ring--the problem of endowing life with genuine significance that can be enhanced rather than negated by its ending, if the right sort of ending can be found. The drama originates in Wotan's quest for a transformation of the primordial state of things into a world in which life can be lived more meaningfully. The authors trace the evolution of Wotan's efforts, the intricate problems he confronts, and his failures and defeats. But while the problem Wotan poses for himself proves to be insoluble as he conceives of it, they suggest that his very efforts and failures set the stage for the transformation of his problem, and for the only sort of resolution of it that may be humanly possible--to which it is not Siegfried but rather Brünnhilde who shows the way. The Ring's ending, with its passing of the gods above and destruction of the world below, might seem to be devastating; but Kitcher and Schacht see a kind of meaning in and through the ending revealed to us that is profoundly affirmative, and that has perhaps never been so powerfully and so beautifully expressed. (shrink)

Review of Simon Callow's book, 'Being Wagner: The Triumph of the Will'.

Richard Jeffrey’s “Conditioning, Kinematics, and Exchangeability” is one of the foundational documents of probability kinematics. However, the section entitled “Successive Updating” contains a subtle error regarding the applicability of updating by so-called relevance quotients in order to ensure the commutativity of successive probability kinematical revisions. Upon becoming aware of this error, Jeffrey formulated the appropriate remedy, but he never discussed the issue in print. To head off any confusion, it seems worthwhile to alert readers of Jeffrey’s “Conditioning, Kinematics, and (...) Exchangeability” to the aforementioned error and to document his remedy, placing it in the context of both earlier and subsequent work on commuting probability kinematical revisions.1. (shrink)

Additional results are reported on the author's earlier generalization of Richard Jeffrey's solution to the problem of old evidence and new explanation.

Adorno unquestionably loved opera music as much as he hated opera as a cultural institution. His take on opera in the twentieth century led him to write its socio‐political obituary, while recognizing at the same time that opera continued to attract a steady stream of would‐be onlooker‐auditors. Paradoxically for Adorno, opera continued to appeal to audiences, and – from his dialectical reckoning – characteristically for precisely the wrong reasons. His opera analyses address the sociology of musical theater, performance hermeneutics, and (...) the direct consideration of music itself (though given his typical writing mode this writing is perhaps best characterized as criticism rather than analysis, as the latter term is commonly employed within musicology). Adorno's interests principally revolve around modern opera (Schoenberg, Berg, Strauss, Weill, especially) but also, if to a lesser extent, canonic works from Mozart to Verdi. Wagner, Wagnerian music drama, and cultural Wagnerism more generally were special cases for Adorno, and subjects he returned to repeatedly throughout his adult life, coinciding with the rise and fall of National Socialism and the Wagner cult, which in the 1930s and 1940s war years comfortably accommodated fascist proclivities. Adorno recognized the socio‐cultural agency of opera as a still‐prestigious cultural leftover of nineteenth‐century bourgeois triumphalism, which he vigorously opposed. In its place, he labored to promote what he regarded as a more socially responsible musico‐operatic practice to supplant the aesthetic and social complacency of the established order, ideas that after his death have found considerable currency, nowhere more evident than in late‐modern opera productions throughout the world. (shrink)

This new translation is the first to be published in a twenty-volume English-language edition of _The Complete Works of Friedrich Nietzsche_, the first complete, critical, and annotated translation of all of Nietzsche's work. The Stanford edition is based on the Colli-Montinari edition, which has received universal praise: "It has revolutionized our understanding of one of the greatest German thinkers"; "Scholars can be confident for the first time of having a trustworthy text." Under the title _Unzeitgemässe Betrachtungen_, Nietzsche collected four essays (...) published separately between 1873 and 1876: "David Strauss the Confessor and the Writer," "On the Utility and Liability of History for Life," "Schopenhauer as Educator," and "Richard Wagner in Bayreuth." The title, newly translated as _Unfashionable Observations_, spells out the common impulse linking these essays: Nietzsche's inimical attitude toward his "time," understood broadly as all the mainstream and popular movements that constituted contemporary European, but especially German, "culture" in the wake of the Prussian military victory over the French in 1871. The _Unfashionable Observations_ are foundational works for Nietzsche's entire philosophy, prefiguring both his characteristic philosophical style and many of the major ideas he would develop in his later writings. This is the first English translation to include Nietzsche's variants to the published text. (shrink)

This volume presents an English translation of Nietzsche's Unzeitgemasse Betrachtungen or, Unfashionable Observations. The common impulse that links up these four essays is Nietzsche's attitude towards all mainstream and popular movements that constituted contemporary European, and especially German culture. The work offers the foundations for Nietzsche's whole philosophy, prefiguring both his characteristic philosophical style and many of the major ideas he develops in his later writings.

In his writings, Richard Wagner imagines art as something natural. This paradox was only befitting for Wagner’s contradictory historical stance: that of an eminently modern artist loathing the modern world. For him, nature served as a yardstick apt to find the modern world deficient on all counts. But how can something ahistorical, nature, be used to judge a historical phenomenon, modernity? To arrive at the verdict Wagner was keen on, he had to fill his concept of nature with historical (...) content attributed to myth. (shrink)

Richard Wagner has come to be seen as the quintessential artist of the nineteenth century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, (...) while his links with the great figures and forms of world theatre - Shakespeare, the commedia dell'arte, the popular theatre, and the puppet theatre - are traced in detail. The influence on Wagner of the historical and social novel is also discussed. The author provides the first comprehensive analysis of Cosima Wagner's Diaries, and throws unexpected sidelights on Wagner's relationship with Nietzsche, in particular his important contribution to Nietzsche's The Birth of Tragedy. Central to the present study are Wagner's music dramas from Die Feen to Parsifal. These are examined in their literary, ideological, and socio-political contexts. First published in German in 1982, this book has become established as a standard work of Wagner scholarship, and now appears for the first time in English in a completely revised edition incorporating a number of new chapters on the music dramas. (shrink)

Richard Wagner has come to be seen as the quintessential artist of the nineteenth century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, (...) while his links with the great figures and forms of world theatre - Shakespeare, the commedia dell'arte, the popular theatre, and the puppet theatre - are traced in detail. The influence on Wagner of the historical and social novel is also discussed. The author provides the first comprehensive analysis of Cosima Wagner's Diaries, and throws unexpected sidelights on Wagner's relationship with Nietzsche, in particular his important contribution to Nietzsche's The Birth of Tragedy. Central to the present study are Wagner's music dramas from Die Feen to Parsifal. These are examined in their literary, ideological, and socio-political contexts. First published in German in 1982, this book has become established as a standard work of Wagner scholarship, and now appears for the first time in English in a completely revised edition incorporating a number of new chapters on the music dramas. (shrink)

Nietzsche writes that the 'real task' of The Birth of Tragedy is to 'solve the puzzle of Wagner's relation to Greek tragedy'. The 'puzzle', I suggest, is the intermingling in his art and writings of earlier socialist optimism with later Schopenhauerian pessimism. According to the former the function of the 'rebirth of Greek tragedy' in the 'collective artwork' is to 'collect', and so create, community. According to the second the function of the artwork is to intimate a realm 'beyond' this (...) world of pain and death. The audacity of The Birth is that it attempts to show that Wagner can have his cake and eat it: the 'Dionysian', musical, element provides a 'metaphysical comfort', while the 'Apollonian', verbal, element draws a 'veil of oblivion' over the metaphysical, thereby allowing the artwork to solidify community. Contrary to the standard Anglophone view, this perspective on The Birth shows that Nietzsche's intimate association with Wagner during the period of its creation lies at the heart of its philosophical content. (shrink)

"In lieu of an abstract, here is a brief excerpt of the content: -/- This excellent collection, edited by Julian Young, features ten essays on the topic of Nietzsche’s valuation of the individual and the implications this has for notions of community. The book features contributions from some of the most respected contemporary Nietzsche scholars, and each essay displays rigorous analysis while being written in an engaging style. -/- Many of these contributions are evidently written in response to Young’s own (...) provocative reading of Nietzsche as a communitarian thinker in Nietzsche’s Philosophy of Religion (Cambridge: Cambridge University Press, 2006), and Young presents aspects of this reading in the opening essay. He argues that Nietzsche’s “liberal communitarianism” (8) stems from his intellectual inheritance from Wagner of a distinctly Hegelian project, that of synthesizing the need for common meaning with the desire for liberal individual rights. Young provides a close reading of Wagner, identifying the liberal aspect of Wagner’s communitarianism in a form of “soft power” (9)—namely, the capacity to inspire, rather than coerce, the collective toward a shared ideal. This soft power opens the space for reconciliation between the desires of the individual and the goals of the community at large. Young contends that Wagner’s early Hegelianism “appears virtually word for word” in Nietzsche’s Birth of Tragedy (16). More controversially and less convincingly, he extends this liberal communitarianism across Nietzsche’s entire corpus. In particular, for Young, we should understand Nietzsche’s free spirits as “agents of change” (25), exemplary individuals who both establish and question the evaluative boundaries of the collective ethical imperative. -/- Hans Sluga’s chapter investigates Nietzsche’s call for a new “great politics” (32). Drawing comparisons with Plato, Sluga argues that Nietzsche views the lack of a socially recognized order of rank, a corollary of modern democratic pluralism, as the inception of political nihilism. Sluga locates this diagnosis in Human, All Too Human, where Nietzsche’s critique of modern democracy inaugurates his concern with the tensions between political processes and the prospect of cultural flourishing. For Sluga, however, it is in Beyond Good and Evil that Nietzsche floats the possibility of reconciliation between the two, with the prospect of exceptional individuals instigating a new political relationship. Sluga argues that Nietzsche sees the European notion of the nation-state as something that should and will be abolished. While taking Nietzsche’s recommendation to be problematic, Sluga concludes that his diagnosis is profound. [End Page 469] -/- How convincing one takes Sluga’s argument to be depends on the literalness one thinks should be placed on the phrase “great politics.” By Beyond Good and Evil, is it not employed purely as a metaphor? This would accord with Ken Gemes and Chris Sykes’s approach in the following essay. Like Young, Gemes and Sykes emphasize Nietzsche’s kinship with Wagner, identifying the problem of meaning as central to both. Nietzsche is identified as conducting an anthropology of communities’ answers to the problem of meaning, or, rather, their creations of illusions to act as semblances of meaning. In his early works they take Nietzsche to hold that the foundations for the kind of cultural consecration necessary for the provision of collective meaning can be provided through myth, in the place of metaphysics. But, contra Young, Gemes and Sykes argue that Nietzsche develops away from his early communitarianism: first, toward an (ultimately pessimistic) investigation into the possibility of a scientific culture that provides meaning, and then by advocating a narrower individualism. For Gemes and Sykes, then, Nietzsche’s aspiration for communitarian cultural flourishing died at Bayreuth, and with Thus Spoke Zarathustra, Nietzsche makes a final attempt to provide a life-affirming “mythology” (72) for the flourishing of his intended recipients, now of a far more limited scope—namely, only truly exemplary individuals. -/- Here one might wonder whether Nietzsche’s thought of the eternal recurrence might better fit this need for the provision of a mythology. Although Nietzsche marks out Zarathustra as the jewel of his oeuvre (EH P:4), he also declares the eternal recurrence, which receives...". (shrink)

Quando consideramos a extensão da obra dramática de Richard Wagner, não causa estranheza que seus textos teóricos sejam praticamente desconhecidos. No entanto, um de seus escritos, intitulado Beethoven, influenciou decisivamente a elaboração de um livro famoso, hoje considerado um capítulo importante da história da estética, O nascimento da tragédia. Este artigo pretende analisar este escrito de Wagner na intenção de desvendar o que pode ter sido tão determinante na leitura que Nietzsche fez dele, e que o levou ao ponto (...) de citá-lo de modo efusivo no primeiro prefácio da sua obra de estréia, dedicado àquele que, até então, era seu grande mestre e amigo e, como veremos, uma influência não só musical, mas também teórica. (shrink)

Julian Young presents Richard Wagner as an important philosopher of art and life, first as a utopian anarchist-communist and then as a Schopenhauerian pessimist. Understanding Wagner’s philosophy is crucial to understanding his operas, as it is to understanding Nietzsche, Schopenhauer, and Heidegger.

Ausgehend von der Grundüberzeugung Wagners, daß das dramatische Kunstwerk erst in der sinnlichen Mitteilung an alle Sinne seine vollständige und endgültige Gestalt erlange und sich daher nur im Theater verwirkliche, erweist sich die Aura-Metapher Walter Benjamins, die "einmalige Erscheinung einer Ferne, so nah sie sein mag", als treffendes Sinnbild für die künstlerische Absicht Wagners. Hatte Benjamin den "Verfall der Aura" als Symptom des Kunstwerks "im Zeitalter seiner technischen Reproduzierbarkeit" diagnostiziert, so begriff auch bereits Wagners Kritik die als kulturelle und künstlerische (...) Degenerationsform empfundene zeitgenössische Oper als Ausdruck für den allgemeinen Verfall der Kunst im Verlust ihrer ehemaligen Bedeutung und Dignität im Zeitalter eines blinden Materialismus. Wagner entwickelt seinen Kunstbegriff dagegen auf der geistigen Grundlage des deutschen Idealismus der klassisch-romantischen Epoche. Daher erscheint es zulässig, Wagner ästhetikgeschichtlich zwischen die zwei großen idealistischen Denkrichtungen, die Romantik und die Frankfurter Schule einzureihen und den ästhetischen Komplex des 'Musikdramas' von diesen beiden Polen aus zu beleuchten. Wagner setzt sein Kunstwerk und dessen theoretische Untermauerung als Versuch einer 'Reauratisierung', als Restituierung seiner Aura, ihrem Verfall entgegen. Bühnenfestspiel und Bühnenweihfestspiel als Verbindung von elitärer splendid isolation und demokratischem Kunstideal treten dabei in Beziehung zu kultischen und religiösen Wirkungsabsichten, wodurch im Rahmen der Regenerationsthese ein aus der Ästhetik gewonnener, rezeptionsgeschichtlich jedoch prekärer kulturtheoretischer Ansatz in Reichweite rückt. Faszinosum und Skandalon von Wagners Werk erweisen sich mithin als zwei Seiten derselben Medaille. (shrink)

Wagner was one of the few major composers who studied philosophy seriously. Bryan Magee places the composer's artistic development in the context of the philosophy of his age, and gives us the first detailed and comprehensive study of the close links between Wagner and the philosophers - from the pre-Marxist socialists to Feuerbach and Schopenhauer. Magee explores the relationship between words and music, between the conscious and the unconscious mind, between art and philosophy. It tackles soberly and judiciously the Wagner (...) whose paranoia, egocentricity and anti-semitism are repugnant, as well as the Wagner of artistic genius. The resulting text illuminates Wagner and the music-dramas in altogether new ways. (shrink)

In 1870, Wilhelm Richard Wagner wrote an essay to celebrate the centennial of Beethoven’s birth. In this essay Wagner made the case that music is, unlike any other object we create or are attentive to in experience, in an immediate analogical relationship with the activity of the Schopenhauerian “will” and is always enlivened. By drawing on this idea, we can not only conceive of music as in an immediate analogical relationship with our personal experience, but as perhaps the only (...) object of cognition that is in a constant state of personal vitality. It is by that very continuous vitality that it can return us to our own personhood with deeper insight and perspective. The essay concludes by exploring how attending to the musical object as a spiritual exercise might reconnect us to our roots in sensus communis, educate us on our common personhood, and play an ethical role in our lives. (shrink)

Of all Wagner's operas, the Tetralogy has a special status. Indeed, beyond the myth related by the plot, the four operas it comprises also contain the presentation of a myth of the origin of music and the total work of art. The latter is based on an androgynous myth uniting poetry and music, seen respectively as the incarnation of male and female principles, symbolized by the different characters – Siegfried, Brünnhilde, Fafner, Mime – who are all tied up with androgyny. (...) The theme appears both in Wagner's theoretical writing penned around 1850 and between the lines of the libretto of the Ring, which concludes with the impossible reunification of the sexes on the Platonic model. Nevertheless, even if biological androgyny belongs to the world of utopia, the creative artist does have the opportunity to bring together the opera's two sexualized components, music and poetry, and thus produce the total work of art that Wagner aspired to. (shrink)

De wortels van de vijandschap jegens Wagner liggen in de politieke ontwikkeling van de twintigste eeuw, waarin de linkse critici van Wagner de misdaden van Hitler hebben teruggelezen in zijn opera's. Scruton ziet in de werken van Wagner een grootse poging om de onttovering van het moderne leven een halt toe te roepen en voor de mens een deur te openen naar een bovenmenselijke kosmische orde.