Розкрито сутність поняття «рейтинг». Доведено значущість рейтингової оцінки для суб’єктів фінансового ринку, зокрема для страхових компаній, потенційних страхувальників, інвесторів та кредиторів.

This paper explores the nature of time and its relation to our concerns for the future. It is shown how a new sense of time, chronological time, emerged with the rise of science and modernity. This now familiar time is rarely questioned. Yet, it is argued, this time is intimately bound up with our contemporary problems and our failure to effect solutions. In analysing chronological time it is revealed that the future is devoid of reality in it. This absence of (...) a real sense of the future explains our careless despoiling of the environment. To save our environment we need to resurrect a real sense for the future: only then can the future be truly valued. This means rediscovering another sense of time. This other time is named kairological time. In kairological time there is a more vivid awareness of the future. In this time, too, new ways of acting for the future are opened up. Possibilities for a wiser way to the future in part stem from a revaluation of the past. So the sense of being out of time to save ourselves and our planet can be overcome by a living in this other time, kairological time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Musician and Teacher: An Orientation to Music EducationBrent GaultPatricia Shehan Campbell (with chapters contributed by Steven M. Demorest and Steven J. Morrison), Musician and Teacher: An Orientation to Music Education (New York, NY: W. W. Norton and Company, 2008)If one were to review the course content of undergraduate music education programs at various colleges and universities, an "Introduction to Music Education" or "Foundations of Music Education" course would (...) most likely be included. This course often serves a variety of functions for a given program. It can provide students with an overview of the various instructional settings found in the music education profession and introduce theoretical information regarding student development and learning. Foundation courses often review historical and philosophical information, allow students to develop their own justifications regarding why music should be part of a school program, and present information regarding practical issues in the music teaching profession including assessment, planning for instruction, use of technology, and working with diverse learning situations.Because the curricular content within given foundation courses can be quite varied, finding a text that is broad enough to cover the myriad of topics that might be addressed in this type of course yet detailed enough to make each topic meaningful is a true challenge. While no single text can truly meet all needs [End Page 213] that are unique to each instructional setting, Patricia Shehan Campbell's Musician and Teacher: An Orientation to Music Education is an example of a text that succeeds in both providing a broad view of the music education profession while also presenting specific and meaningful information related to each topic addressed within its pages.One of the unique aspects of this book is Campbell's attempt throughout the text to discuss music education from personal, theoretical, and global perspectives. Many of the chapters utilize case descriptions of music education students and practicing teachers to highlight the theoretical ideas discussed in the text. In addition, Campbell relates learning theories and instructional approaches not only to instructional settings within the United States but throughout the world so that the reader can see both similarities and differences in how music is experienced in each setting.The first six chapters of the text deal with general principles related to the music education profession. An opening chapter sets the stage by discussing the decision to become a music educator, relating this decision to the personal stories of five individuals, and describing the qualities that can lead to a successful career in music education. The second chapter, "Great Minds on Music Education," provides an overview of the philosophical arguments for music education. Campbell uses this chapter to relay the ideas of perennial figures commonly identified with music education philosophy including John Blacking, Christopher Small, Bennett Reimer, Keith Swanwick, David Elliott, and Estelle Jorgensen, and adds to this a description of the views of political leaders, scholars, and thinkers throughout the world. In addition to discussing the views of Plato, Aristotle, Boethius, and Lowell Mason, Campbell also includes the ideas of Hildegard von Bingen, Akbar the Great (India), Chulalongkorn (Thailand), and Nelson Mandela to provide a richer portrait of how members of cultural communities throughout the world experience and value music.Continuing with this global perspective, Campbell uses the third chapter to discuss the ways that communities transmit music via formal, nonformal, and natural learning. These three ways of transmitting knowledge are similar to the ideas she described related to Bateson (Learning I, II, and III) and Merriam (enculturation, training, and schooling) in Lessons from the World. 11 After defining these approaches to learning, Campbell describes several learning contexts both past (Medieval Europe) and present (West Africa) to illustrate how formal, nonformal, and/or natural learning is utilized. The cross cultural comparison continues in Chapter Four, as Campbell describes various systems of music education in Africa, Asia, Australia, Europe, North America, and South America to illustrate similarities and differences related to standards for education, goals for instruction, and allotment of instructional time and resources.After providing this global view related to approaches to learning and systems [End Page 214] of instruction, the fifth chapter attempts to personalize music education through vignettes of music programs... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Musician and Teacher: An Orientation to Music EducationBrent GaultPatricia Shehan Campbell (with chapters contributed by Steven M. Demorest and Steven J. Morrison), Musician and Teacher: An Orientation to Music Education (New York, NY: W. W. Norton and Company, 2008)If one were to review the course content of undergraduate music education programs at various colleges and universities, an "Introduction to Music Education" or "Foundations of Music Education" course would (...) most likely be included. This course often serves a variety of functions for a given program. It can provide students with an overview of the various instructional settings found in the music education profession and introduce theoretical information regarding student development and learning. Foundation courses often review historical and philosophical information, allow students to develop their own justifications regarding why music should be part of a school program, and present information regarding practical issues in the music teaching profession including assessment, planning for instruction, use of technology, and working with diverse learning situations.Because the curricular content within given foundation courses can be quite varied, finding a text that is broad enough to cover the myriad of topics that might be addressed in this type of course yet detailed enough to make each topic meaningful is a true challenge. While no single text can truly meet all needs [End Page 213] that are unique to each instructional setting, Patricia Shehan Campbell's Musician and Teacher: An Orientation to Music Education is an example of a text that succeeds in both providing a broad view of the music education profession while also presenting specific and meaningful information related to each topic addressed within its pages.One of the unique aspects of this book is Campbell's attempt throughout the text to discuss music education from personal, theoretical, and global perspectives. Many of the chapters utilize case descriptions of music education students and practicing teachers to highlight the theoretical ideas discussed in the text. In addition, Campbell relates learning theories and instructional approaches not only to instructional settings within the United States but throughout the world so that the reader can see both similarities and differences in how music is experienced in each setting.The first six chapters of the text deal with general principles related to the music education profession. An opening chapter sets the stage by discussing the decision to become a music educator, relating this decision to the personal stories of five individuals, and describing the qualities that can lead to a successful career in music education. The second chapter, "Great Minds on Music Education," provides an overview of the philosophical arguments for music education. Campbell uses this chapter to relay the ideas of perennial figures commonly identified with music education philosophy including John Blacking, Christopher Small, Bennett Reimer, Keith Swanwick, David Elliott, and Estelle Jorgensen, and adds to this a description of the views of political leaders, scholars, and thinkers throughout the world. In addition to discussing the views of Plato, Aristotle, Boethius, and Lowell Mason, Campbell also includes the ideas of Hildegard von Bingen, Akbar the Great (India), Chulalongkorn (Thailand), and Nelson Mandela to provide a richer portrait of how members of cultural communities throughout the world experience and value music.Continuing with this global perspective, Campbell uses the third chapter to discuss the ways that communities transmit music via formal, nonformal, and natural learning. These three ways of transmitting knowledge are similar to the ideas she described related to Bateson (Learning I, II, and III) and Merriam (enculturation, training, and schooling) in Lessons from the World. 11 After defining these approaches to learning, Campbell describes several learning contexts both past (Medieval Europe) and present (West Africa) to illustrate how formal, nonformal, and/or natural learning is utilized. The cross cultural comparison continues in Chapter Four, as Campbell describes various systems of music education in Africa, Asia, Australia, Europe, North America, and South America to illustrate similarities and differences related to standards for education, goals for instruction, and allotment of instructional time and resources.After providing this global view related to approaches to learning and systems [End Page 214] of instruction, the fifth chapter attempts to personalize music education through vignettes of music programs... (shrink)

The concepts of Fundierung (“foundation” or “founding”) and Stiftung (“institution” or “instituting”) play a prominent role in the work of Edmund Husserl, who employs Fundierung to describe relations of essential necessity in “static” analyses of intentional consciousness, and Stiftung to describe movements of sedimentation and reactivation in “genetic” analyses of the co-advent of consciousness and the world. Martin Heidegger, meanwhile, employs the notion of Stiften (“establishing”) in his ontological questioning of the disclosure of the truth of beings. It is, therefore, (...) surprising that scholars tend to assume, if not explicitly assert, that Merleau-Ponty treats Fundierung and Stiftung as synonyms. I argue, on the contrary, that Fundierung and Stiftung take on increasingly divergent functions over the course of Merleau-Ponty’s writings, with Stiftung ultimately giving voice to the “ontological operations” of individuation through intertwining whereby sensible and sentient beings, qua flesh, give birth to sense. In particular, I take seriously Merleau-Ponty’s account of Stiftung – from Institution and Passivity onward – as a “double relation of Fundierung”; given that Fundierung is already a “double relation” between the founding and the founded term, Stiftung must be conceived as a “fourfold” relation, wherein each term is simultaneously founding and founded, relative to the other. This fourfold structure articulates the relation of “simultaneity” or “existential eternity” between beings and sense in their advent. By tracing the development of the concept of Stiftung in Merleau-Ponty’s work, I attempt to show that interpreting his thinking of la chair as an “ontology of institution” – in the sense of an articulation of the movement of existence as relations of Stiftung – highlights the originality of his ontologization of Husserlian phenomenology, and thereby his status as a “foundational” thinker in his own right, rather than a merely regional thinker of embodiment.Les concepts de Fundierung (fondation) et de Stiftung (institution) jouent un rôle central dans l’oeuvre d’Edmund Husserl, qui emploie Fundierung pour décrire des relations de nécessité essentielle dans les analyses « statiques » de la conscience intentionnelle, et Stiftung pour décrire les mouvements de sédimentation et de réactivation dans les analyses « génétiques » de l’avènement concomitant de la conscience et du monde. Martin Heidegger, de son côté, emploie la notion de Stiften (instituer, établir) dans son questionnement ontologique du dévoilement de la vérité de l’être. C’est pourquoi il est surprenant que les commentateurs tendent à supposer, sinon à affirmer, que Merleau-Ponty traite Fundierung et Stiftung comme des synonymes. Je soutiens au contraire que ces deux notions exercent des fonctions de plus en plus divergentes dans ses écrits, où la Stiftung exprime au fond les « opérations ontologiques » de l’individuation à travers l’entrelacement par lequel les êtres sensibles et sentants (en tant que chair) donnent naissance au sens. En particulier, je prends au sérieux la conception merleau-pontienne de la Stiftung – à partir des cours sur L’Institution et la passivité – comme « une double relation de Fundierung » ; étant donné que la Fundierung est déjà une « double relation » entre le terme fondant et le terme fondé, la Stiftung doit être conçue comme une relation « quadripartite » dans laquelle chaque terme est simultanément fondant et fondé, relatif à l’autre. Cette structure quadripartite articule la relation de « simultanéité » ou d’« éternité existentielle » entre les étants et le sens dans leur avènement. En retraçant le développement du concept de Stiftung dans les travaux de Merleau-Ponty, je tente de montrer que l’interprétation de sa pensée de la chair comme une « ontologie de l’institution » – au sens d’une articulation du mouvement de l’existence comme relations de Stiftung – souligne l’originalité de son ontologisation de la phénoménologie husserlienne, et par là son statut comme penseur « fondationnel » de plein droit, plutôt qu’un penseur simplement régional de l’incarnation.I concetti di Fundierung (fondazione) e di Stiftung (istituzione) ricoprono un ruolo centrale nell’opera di Edmund Husserl, che si serve del termine Fundierung per descrivere le relazioni di necessità nelle analisi “statiche” della coscienza intenzionale, e di Stiftung per descrivere i movimenti di sedimentazione e di riattivazione nelle analisi “genetiche” del co-avvento di coscienza e mondo. Inoltre, Martin Heidegger usa il termine Stiften (istituire, stabilire) nella sua interrogazione ontologica dello svelamento della verità dell’essere. Per questo, risulta sorprendente che i commentatori di Merleau-Ponty tendano a supporre, se non ad affermare, che il filosofo tratti Fundierung e Stiftung come dei sinonimi. Ritengo al contrario che queste due nozioni rivestano funzioni progressivamente divergenti nei suoi scritti, dal momento che la Stiftung viene ad esprimere le “operazioni ontologiche” dell’individuazione attraverso l’intreccio per cui gli esseri sensibili e senzienti (in quanto carne) permettono la nascita del senso. In particolare, prendo in considerazione la concezione merleau-pontiana della Stiftung – a partire dai corsi sull’istituzione e la passività – come una “doppia relazione di Fundierung”. Nella misura in cui la Fundierung è già una “doppia relazione” tra termine fondante e termine fondato, la Stiftung deve essere pensata come una relazione “quadripartita” in cui ogni termine è simultaneamente fondante e fondato, relativamente all’altro. Questa struttura quadripartita articola la relazione di “simultaneità” o d’“eternità esistenziale” tra gli enti e il senso nel loro avvenimento. Ritracciando lo sviluppo del concetto di Stiftung nei testi di Merleau-Ponty, tento dunque di mostrare come un’interpretazione della sua filosofia della carne come “ontologia dell’istituzione” – nel senso di un’articolazione del movimento dell’esistenza come relazione di Stiftung – metta in luce l’originalità della sua ontologizzazione della fenomenologia husserliana. Ne emerge dunque a pieno titolo un pensatore “fondazionale”, piuttosto che un pensatore semplicemente regionale dell’incarnazione. (shrink)

An intertemporal bargaining model of commitment does not entail the interaction of parts within the person as Rachlin claims, and is needed to explain properties of self-control that his molar generalization model does not predict.

This book offers a critical introduction to the work of American philosopher D. G. Leahy (1937-2014). Leahy's fundamental thinking can be characterized as an absolute creativity in which all creating is 'live' -- a happening occurring now that manifests a supersaturated polyontological actuality that is essentially created by the logic that characterizes it. Leahy leaves behind the categorial presuppositions of modern thought, eclipsing both Cartesian and Hegelian subjectivities and introducing instead an essentially new form of thinking founded in a nondual (...) logic of creation. The new thinking delineates the absolute unicity of existence as a creative interactivity beyond all traditional dichotomies (such as one vs. many, unity vs. plurality, identity vs. change): a fully "digitized" actuality that is nothing but newness, which inherently implies nothing but change. Through this new form of thinking, change itself is revealed to be the very essence of reality and mind. Any reader looking for a quantum leap beyond the thrall of modern and postmodern fixations is invited to hear and apprehend this new thinking that refuses to be conditioned by paradigms, categories, species, genera, walls, bridges, boundaries, or abstractions: an essentially free thinking that embodies creative novelty itself. (shrink)

Political liberals ask citizens not to appeal to certain considerations, including religious and philosophical convictions, in political deliberation. We argue that political liberals must include a demanding requirement of intellectual modesty in their ideal of citizenship in order to motivate this deliberative restraint. The requirement calls on each citizen to believe that the best reasoners disagree about the considerations that she is barred from appealing to. Along the way, we clarify how requirements of intellectual modesty relate to moral reasons for (...) deliberative restraint. And we argue against attempts to weaken our requirement of intellectual modesty by emphasizing those moral reasons. (shrink)

Locke is the first English philosopher to be considered in this series, and that fact of itself is worthy of attention. Philosophy, of course, like science, knows no frontiers and no national boundaries. Yet it is true to say that Locke’s contribution to philosophy is typically and peculiarly English. His moderation, his emphasis upon experience, his tolerant spirit of compromise, his dislike of mystical extravagance and of metaphysical speculation, even that elusive quality of his which people call his “common sense”, (...) are English traits. His very defects, illogicality leading to inconsistency and an awkward disorderliness of thought so abhorrent to the. (shrink)

The Nature of God explores a perennial problem in the philosophy of religion.

While it might seem prima facie plausible that divine foreknowledge is all that is needed for prophecy, this seems incorrect. To issue a prophecy, God hasto know not just how someone will act, but how someone would act were the prophecy issued. This makes some think that Middle Knowledge is required.I argue that Thomas Flint’s two Middle Knowledge based accounts of prophecy are unsatisfactory, but one of them can be repaired. However the resources needed for repair also yield a sketch (...) of a foreknowledge-only account of prophecy. (shrink)

Professor R. J. Getty has drawn attention to a tenth- or early eleventh-century manuscript of Statius’ Thebaid, hitherto examined only in Book I, namely Turonensis. Dr. Klotz, in his Teubner edition of 1908, gave citations from Book I, and wrote, ‘dolendum est sane de hoc codice primum tantum librum innotuisse, sed cum Roffensis libri maxime affinis accuratiorem notitiam haberemus, collatione quamvis -aegre careri posse nobis visum est.’ I have collated both T and Roffensis in full, and find firstly that the (...) citations of r by Klotz are far from accurate, especially in the last six books, and secondly that while it is indeed true thatT and r are very closely related, T is a much better representative than r of their common source. (shrink)

The first Philosophers -- Plato -- Aristotle -- Augustine -- Thomas Aquinas -- Rene Descartes -- John Locke -- David Hume -- Immanuel Kant -- Karl Marx -- Soren Kierkegaard -- Fredrich Nietzsche -- Jean-Paul Sartre -- Darwin and Freud.

The list of Italian forces1 with which Virgil concluded Aeneid 7 was a piece of the ‘machinery’ of epic, that is to say an expected part of the content of an epic poem, established by Homer and expected of his successors; cf. Apollonius 1. 20–228, Silius 3. 222 f., Statius, Th. 4. 32 f., Milton, P.L. 1. 376 f. The straightforward enumeration of Homer was naturally appropriate in the Iliad both because oral technique sought this kind of directness and because (...) of the immediate relationship of the subject-matter to a heroic community. But Virgil was well aware that the Homeric manner would not fit satisfactorily into the sophisticated and elaborate structure of literary and contemplative epic. Two essential requirements had to be met in the transplanting of such ‘machinery’ into a new milieu. The first was one of function: the piece should blend with the whole intricate pattern of theme and tone which a poem like the Aeneid possesses. The second was one of structure: it must possess within itself artistic symmetries and designs of a carefully organized kind. (shrink)

Of the unusual grammatical constructions which Statius employs for the sake of variety and novel effect, among the most remarkable is his use of the ablative case. There are striking instances at Th. 8. 157, Th. 10. 309, Ach. 1. 219, Ach. 2. 129; and W. C. Summers was led to say: ‘We see some traces in Valerius of the lax use of this case which became almost a disease with Statius, who employs it for almost any kind of idea.’ (...) There are three passages in Statius which have been misinterpreted or emended through the failure to recognize a use of the ablative to which he was especially prone—the local ablative where the poetic dative of ‘motion towards’ would seem more normal. I shall first list examples of this use in Statius where there is little or no doubt about interpretation or reading, and in the light of this accumulated evidence consider the three passages which are disputed. (shrink)