The case is presented for a dilemmatic perspective to the educational provision for pupils and students with difficulties and disabilities. This perspective recognises the links and tensions between social and individual values and models. The paper focuses on the central significance of dilemmas of difference in understanding policy and practice issues in the field. One of the central arguments is that a commitment to inclusion implies a commitment to meeting the needs of a minority and therefore to arrangements which may (...) not be required by the majority. Inclusion is about mainstream schools accommodating a full diversity, and in doing so leads inevitably to adopting dedicated or specialised support systems for some. The paper provides an overview of recent changes in policy and practice as well as looking at possible future trends. An inter-disciplinary model which connects individual and social perspectives is proposed both for explanatory purposes and for designing provision in terms of the interaction between the inclusivity of the system and responding to additional individual needs. (shrink)

This paper reports on part of an evaluation of teacher support teams as a special education needs support strategy in primary schools. Using a mixture of quantitative and qualitative evaluation methods, it focuses on areas derived from a theoretical framework for understanding schools’ approaches to SENs. TSTs were set up and run in six of the eight schools, with meetings of between 30 and 45 minutes, usually during lunchtime or after school. Most of the referrals were about behaviour problems, though (...) many were about learning difficulties. The support included providing emotional encouragement, specific approaches to managing behaviour, teaching strategies and consulting others. Referring teachers reported that their TST experience led to increased confidence and some improvements in the children, while TST members themselves believed that they had gained much from the TST experience. Overall the study showed the feasibility and benefits of setting up TSTs in primary schools. The findings are discussed in terms of the wider benefits of TSTs and their relevance to special needs policies and the implementation of the SENs code of practice. (shrink)

This article begins by describing the impact of systems science on the field of marriage and family therapy, discussing that systems concepts are broadly disseminated but have become diluted. The author describes the educational program at a marriage and family therapy graduate institute where students utilize social systems design in their research projects as well as their work with clients. The article outlines the specifications of the Idealized Systems Design (ISD) teaching system, its relationship with the larger institution, as well (...) as its purposes and systemic functions. Application of ISD to the field of marriage and family therapy is emphasized, demonstrating its use in helping facilitate individual, family, and community health as a research tool as well as a set of intervention tools for the practicing therapist. (shrink)

Multiculturalism as a public policy and philosophy has become increasingly controversial in many democracies over the last decade. While the specific issues can vary across national contexts, a common anxiety is that multiculturalism sanctions minority practices that conflict with prevailing social values or legal norms. Central to this concern is the value liberal societies place on the autonomy of the individual. Many of our most charged public controversies involve a perception that certain minority practices jeopardize the autonomy of their individual (...) members and, especially, their women and children. Just as the value of autonomy is central to these disputes, so the idea of 'authenticity' is often pivotal to the understanding of autonomy in such cases. The autonomous individual acts on reasons that are truly his or her own. But the issue of authenticity also arises in claims for cultural recognition regarding whether a particular minority practice is a genuine or authoritative expression of that minority's culture. Geoffrey Brahm Levey and his distinguished group of philosophers, political theorists, and anthropologists critically explore these twin notions of 'authenticity' – of autonomous persons and of cultures – in our multiculturalism debates. Discussing a wide range of illustrative cases and controversies drawn from Britain and continental Europe, North America, Australia, and the Middle East, they address various issues raised by the complex interactions between authenticity, autonomy, and the accommodation of minority cultural practices. Moving beyond theoretical discussion to consider the practical and policy implications, Autonomy, Authenticity and Multiculturalism challenges and complicates conventional assumptions about authenticity that inform liberal responses to minority cultural claims in Western democracies today. A helpful resource to scholars worldwide in Political and Social Theory, Political Philosophy, Legal Anthropology, Multiculturalism, and, more generally, of cultural identity and diversity in liberal democracies today. (shrink)

The dissertation explores the implications of the liberal value of individual autonomy for the rights of cultural minorities in liberal societies. Liberals traditionally have assumed that respect for autonomy precludes the political recognition of citizens' cultural identities. But in recent years a number of self-styled "liberal nationalists" have argued that honoring the value of autonomy actually entitles cultural minorities and their members to a plethora of cultural rights, including political autonomy, minority jurisdiction over land and language, the public subsidization of (...) ethnic festivals, the symbolic recognition of ethnic and religious groups, and even a right to national self-determination. I argue that both the "liberal neutralist" and the "liberal nationalist" accounts of what individual autonomy stands for are mistaken. I present an alternative way of viewing the connection between the value of individual autonomy and claims for cultural recognition, one that preserves the primacy and inherent complexity of this central liberal value. Rightly understood, liberal autonomy supports the political recognition of cultural identity in principle and in a wide range of cases, but the principle and the cases fall well short of the extravagant claims recently made in its name. My analysis suggests that the principle of liberal autonomy sustains a civil right to cultural expression in the manner of classical civil rights, an approach that many liberal democracies implicitly have been moving toward in recent years. (shrink)

Transitional justice scholars are increasingly concerned with measuring the impact of transitional justice initiatives. Scholars often assume that TJ mechanisms must be properly designed and ordered to achieve lasting effect, but the impact of TJ timing and sequencing has attracted relatively little theoretical or empirical attention. Focusing on Latin America, this article explores variation within the region as to when TJ occurs and the order in which mechanisms are implemented. We utilize qualitative comparative analysis to assess the impact of TJ (...) timing and sequencing on democratic development. We find little evidence for path dependency owing to the chronological order of mechanisms. We do find, however, that amnesties and trials approach a sufficient condition for democratic consolidation in Latin America; trials, however, come closest to being a necessary condition for successful democratic consolidation. (shrink)

A standard problem in empirical inquiry is how to adjudicate between contending theories when they work from different fundamental assumptions. In the field of political sociology, several strategies are adopted, from metatheoretical and comparative historical approaches to the recent formal models of scientific growth proposed by Imre Lakatos and Larry Laudan. After considering the limitations of these approaches, I develop an alternative strategy—"second—order empiricism"—based on the idea that successor theories have an onus to explain the apparent success of their rivals, (...) not only their own and their rivals' anomalies. Such a strategy, I argue, underscores some of the most effective analysis and argument in political sociology, yet is obscured by the appeal to other methodologies. (shrink)

Book Information Culture and Equality. Culture and Equality Brian Barry , Cambridge: Polity Press , 2001 , xi + 399 , US$19.95 ( paper ) By Brian Barry. Cambridge: Polity Press. Pp. xi + 399. US$19.95 (paper:).

Raphael Cohen-Almagor’s Just, Reasonable Multiculturalism offers a different way of approaching multiculturalism from the systematic theoretical treatments that anchor the literature. While strongly committed to liberal democratic values, it presents not so much a theory or moral argument justifying minority or majority cultural rights as a set of values and principles for adjudicating controversial cases and oft-heard arguments against multicultural accommodation. After noting distinctive features of the approach, I discuss three areas of tension in the analysis. First, between its appeals (...) to Rawlsian justice and state neutrality and its support of state multiculturalism. Second, between its stated theoretical principles and its adjudication of some cases. Third, regarding how we think about a state’s entanglement with culture and, specifically, whether that should be in terms of an incomplete liberal neutrality, liberal perfectionism, or liberal nationalism. I suggest that as helpful as Cohen-Almagor’s liberal-democratic guidelines are, there remain some contextual factors which are no less important in justly responding to the pointy end of multiculturalism. (shrink)

In recent years, countries have begun to establish ministries of transitional justice as part of political transitions from authoritarianism to democracy or from conflict to peace. This may reflect a broader historical trend in the administration of TJ, which has evolved from isolated offices within a particular ministry to ad hoc cross-ministry coordinating bodies to the establishment of dedicated ministries. The reasons for the establishment of specific ministries to pursue TJ, what we call ministerialization, have not attracted scholarly attention. This (...) article explores the causes and likely consequences of this development. In particular, it applies international relations, comparative politics, and public policy theories to explain the phenomenon. Contrary to some TJ literature that is concerned about hegemonic transnational discourse, international actors have played little to no role in shaping how TJ is bureaucratically managed. Rather, based upon fieldwork in Solomon Islands and Tunisia, the article concludes that ministerialization has been the result of domestic policy entrepreneurship. For TJ ministries to become a norm, however, more transnational actors will need to be convinced of the benefits of such an institutional arrangement. (shrink)

Este trabalho é um estudo sobre a manifestação da violência pelo recorte da homofobia com sujeitos LGBTs. Adentrou-se a obra freudiana, objetivando apreender, pela luz da psicanálise, a condição subjetiva do sujeito em relação à sexualidade. O ponto central da pesquisa foi alcançado pelo desenho do que se denominou estatuto do ódio, que foi composto com elementos primordiais da constituição do sujeito. O estatuto denuncia o enlace destrutivo ao outro, aqui representado pelo sujeito LGBT, denuncia uma manifestação do conteúdo arraigado (...) no inconsciente, que alcança o fim último de um gozo do ódio caracterizado pela discriminação preconceituosa e cruel. Nessa perspectiva, destacou-se a necessidade de se construir urgentemente uma realidade social mais justa, mais bem alicerçada sobre o conhecimento científico, ético e político. Abordou-se, por fim, o enfrentamento desse ódio por uma educação emancipadora em direitos humanos comprometida com projetos de reconhecimento e de valorização da diversidade, com vistas à cidadania, minimização da opressão sociopolítica e manejo de conflitos para uma não violência. (shrink)

Topics in Cognitive Science, Volume 14, Issue 3, Page 492-507, July 2022.

A puzzling finding from research on strategic decision making concerns the effect that predictions have on future actions. Simply stating a prediction about an opponent changes the total probability (pooled over predictions) of a player taking a future action as compared to not stating any prediction. These interference effects are difficult to explain using traditional economic models, and instead these results suggest turning to a quantum cognition approach to strategic decision making.

Part one. Brahms and Bruckner : a radical historical, art-theoretical, and artistic contrast. Aspects and issues ; Art and personality ; The conflict ; Art-theoretical controversies ; On historical classification ; Parallelisms and antitheses ; The relation to historicism ; "Heirs" of Beethoven ; Parallelisms and antitheses once more ; Richard Wagner -- Part two. The unknown Brahms. Brahms : an autonomous composer? ; "Young Kreisler" ; Schumann's essay "Neue Bahnen" : a new interpretation ; Schumann and Brahms : Brahms' (...) Schumann variations (op. 9) and Schumann's Davidsbèundlertèanze ; The piano variations op. 23 : a monument to Robert Schumann ; "Benedictus qui venit in nomine Domini" : on the "Mass quotation" in the Adagio of the Piano concerto op. 15 ; A special kind of father-son relationship -- Part three. The unknown Bruckner. Bruckner : "the most absolute of absolute musicians"? ; Bruckner and the program symphony ; On Bruckner exegesis : the "tone symbol of the cross" (Liszt) ; The program of the "Romantic" symphony ; The program of the Eighth symphony : musical semantics and historical contexts. (shrink)

The subject of the study. The article analyzes a number of aspects of Brahms' intermezzo Op. 119 No. 3 in order to detect non-classical tendencies manifested in the structure of the musical fabric and the principles of shaping in this work. Research methodology. In the course of the study, the method of holistic analysis was used, which includes consideration of the features of harmony, textural originality, thematic processes and form-forming patterns in the Brahms intermezzo Op. 119 No. 3. Elements of (...) comparative analysis were also applied. The scientific novelty of the work consists in the fact that as a result of the research it was possible to identify a number of non-classical qualities of Brahms' music, namely: the homogeneity of the sound fabric, a weak degree of differentiation of relief and background in texture, the absence of common forms of sound and passive fragments in musical form. The conceptual kinship of Brahms' principles of working with musical material with the technique of interpenetration of object and space, which became widespread in painting at the beginning of the XX century, was also discovered. Conclusions, the results obtained allow us to conclude that Brahms' intermezzo Op. 119 No. 3 implements a number of non-classical principles of working with musical material that anticipate the discoveries of composers of the Novovensky school. The results of the research can be used in the process of further study of Brahms' creativity and various theoretical aspects of music at the turn of the XIX–XX centuries, as well as in performing and pedagogical practice. (shrink)

Using new semiotic methods and analyses as the fulcrum of its approaches, the volume aims to clarify why great classical composers from Mozart and Beethoven to Brahms and Wagner fascinate music listeners and lovers from all cultures of the ...

What does it mean to be conservative? What could it mean in the arts? Whoever merely conserves works of art may be a collector but is not an artist. Brahms’s trio op. 40 conserves the hand horn idiom. Yet its aesthetics will not be captured by the opposition of ‘conservative’ versus ‘progressive’. What is superior in terms of technology, Brahms maintained, need not be superior in terms of art.

Sa?yutta of the P?li Sa?yutta-nik?ya in conjunction with two other versions preserved in Chinese translation in Taish? vol. 2, nos 99 and 100. Then it compares the main teachings contained in the three versions. This comparative study of these three different versions focuses on some shared images of Brahm?s and on disagreements of some teachings presented in the three versions. It reveals similarities and significant differences in structure and doctrinal content, thus advancing the historical/critical study of early Buddhist doctrine (...) in this area. (shrink)

This essay discusses Claudio Magris’s concept of Mitteleuropa—which is central to his view of Europe—by situating it within the context of Triestine cultural history. It first presents the reflections on Europe formulated by the early generations of journalists in La Favilla, the newspaper founded in Trieste in 1836. This is followed by a discussion of the cultural and political writings of Scipio Slataper (1888–1915) and Giani Stuparich (1891–1961). Like Magris these journalists and writers assumed the role of public intellectuals (...) and reflected on three pivotal periods in the history of Trieste by focusing on the question of cosmopolitanism (La Favilla), political and national identity (Slataper), and the feasibility of a European project after World War II (Stuparich). Against the prevailing totalizing nationalist vision, these writers explored the possibility of a non-national political identity based on a cultural notion of Europeanism. The different views of the nineteenth- and twentieth-century Triestine journalists and writers of the idea of Europe, of Trieste as a border city, and of European identity, are illuminated by Magris’s own theoretical elaborations on borders, on Europe, and on Mitteleuropa, which further highlight their historical and conceptual intricacies. (shrink)

Da Capo -- Pforta -- Bonn -- Leipzig -- Schopenhauer -- Basel -- Richard Wagner and the birth of The birth of tragedy -- War and aftermath -- Anal philology -- Untimely meditations -- Aimez-vous Brahms? -- Auf Wiedersehen Bayreuth -- Sorrento -- Human, all-too-human -- The wanderer and his shadow -- Dawn -- The gay science -- The Salomé affair -- Zarathustra -- Nietzsche's circle of women -- Beyond good and evil -- Clearing the decks -- The genealogy of (...) morals -- 1888 -- Catastrophe -- The rise and fall of The will to power -- The end -- Nietzsche's madness. (shrink)

Listening to the Concerto for Violin and Orchestra in D-major by Brahms takes twenty-two minutes. It varies a few minutes depending of the soloist and conductor, but the duration is fairly constant. Reading Anna Karenina by Leo Tolstoy takes many hours. The duration varies a lot depending on the reader's pace, but reading literature, just as listening to music, takes a considerable amount of time. Looking at a work of visual art, on the other hand, typically takes less than a (...) minute. This may be an exaggeration, but museum studies show that visitors to an art museum usually spend only a few moments in front of the individual work of art. Jeffrey K. Smith and Lisa F. Smith found that visitors to the Metropolitan... (shrink)

Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical acculturation, the perils (...) of modernity, and the challenge, which was very personal to Wittgenstein, of philosophizing amidst what he believed was a dissolution of the resemblances which unite his culture’s ways of life. In particular, Denkbewegungen contains unique remarks on modern music, the problem of Gustav Mahler’s music, and the music of the future. Also, it contains, among other things, some unusually forward-looking remarks on the differences between Brahms and Bruckner, which both probe deeply into the nature of musical creativity and anticipate his later philosophical move beyond the inner/outer divide in his last writings. I shall offer a close reading of Wittgenstein’s remarks on music in Denkbewegungen, which situates them in the broader context of his philosophical development in his middle-period and beyond. I aim to show the deep integration of Wittgenstein’s thinking about music with his philosophical development, his deep sense of cultural lamentation, and his development as a person and as a philosophical expositor. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 1-20 MuseSearchJournalsThis JournalContents[Access article in PDF]"This-with-That": A Dialectical Approach to Teaching for Musical ImaginationEstelle R. JorgensenAmong the various approaches to music education, my dialectical and epistemological view offers a way of thinking about music and education and deciding how to go forward in teaching and learning music. 1 In this article I show how this particular philosophical perspective can play out in (...) teaching for the development of musical imagination in a particular musical piece, in particular, Johannes Brahms's Intermezzo, op. 118, no. 2. Three questions lie at the center of this analysis: What is meant by my dialectical approach? 2 How is musical imagination implicated, for example, in a performer's reading of this Intermezzo? How ought one to teach for the development of musical imagination?My response to the first of this trio of questions is predicated on my previous writing, most recently in Transforming Music Education and an essay, "Four Philosophical Models of the Relationship of Theory and Practice." 3 My response to the second applies Mary Reichling's model of images of imagination to a reflection on my approach to this Brahms Intermezzo—a piece I have played over a musical lifetime—with reference to a few of its more obvious features. 4 And my response to the third builds on my extension of Vernon Howard's analysis of learning in Transforming Music Education by drawing on Alfred North Whitehead's elegant model of teaching and learning formulated almost a century ago in his The Aims of Education and Other Essays, again with reference to the self-same piece. 5 In addressing these questions, I show how my dialectical approach can work practically and how the various tensions between aspects of imagination can play out in opposite, even paradoxical, modes of teaching for musical imagination. [End Page 1]What Is Meant by My Dialectical Approach?In choosing a "this-with-that" approach rather than a both/and synthesis or either/or approach to the choices between alternatives in music education, I recognize that in the phenomenal world, educational decisions (as with decisions in other areas of life) are often difficult to arrive at and problematic in their outcomes. I see dialectics as seepages and tensions that arise between alternatives viewed comparatively. 6 These alternatives are not always logically compatible, equally feasible, or easily reconcilable. Rather, resolutions are made on the basis of incomplete information, consequences that flow from decisions are often unexpected, some things are easier to meld than others, and constituent value judgments are sometimes dissonant, even impossible, to reconcile logically and practically. My interest is in describing the epistemological quandaries in which musician-teachers and their students sometimes find themselves practically speaking. I do not seek a "one-size-fits-all" approach because it is impossible to realize practically even if it could be shown to be desirable. Music instruction takes place in the phenomenal world—a world of sometimes messy or fuzzy categories in which the teacher's and student's interests often lie at the margins, where one thing seems to become another 7 —and I seek to describe my own approach to tackling the sorts of practical dilemmas in which I find myself as teacher and student. As such, I am preoccupied with the question, How does one decide what to do as a music teacher or learner?For me, the best angle from which to address this question has been from a dialectical perspective. I came to this position as I reflected on my experience as a music teacher. 8 Things in the phenomenal world were never as simple as the theoretical models upon which I drew supposed. I was often faced with choices, and these choices were sometimes easily made and sometimes not. This practical experience resonated with that of others on a similar journey. For example, I. A. Richards remarks that Socrates enjoyed the friendship of those who were able to see both the "one-and-the-many... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 157-169 [Access article in PDF] Praxis and the PossibleThoughts on the Writings of Maxine Greene and Paulo Freire Randall Everett Allsup Columbia University Authors in a recent edition of the Philosophy of Music Education Review have assayed various understandings of praxis within the domain of music learning and teaching. 1 Leadened (perhaps) by history, this six-letter word sustains a multiplicity of meanings. (...) Philosophers as disparate as Aristotle, Marx and Engels, Sartre, Marshall Sahlins, Pierre Bourdieu, and David Elliott have represented praxis as a form of cultural-doing—but in many instances, this is where the similarities end. 2 By stirring up the pot, editor Estelle Jorgensen has sought to lighten history's burden, lest the word praxis suffer ossification, territorial over-use, or (worse) over-simplification.My first encounters with the word praxis were not particularly weighty or didactic. In graduate work with Maxine Greene, I would often hear praxis associated with the arts, with possibilities, openings, or alternatives. Greene does not construct a philosophical stance around the word; rather the conditions for praxis exist within the imagination, within "the capacity to look at things as if they could be otherwise." 3 Recalling Emily Dickinson, Greene writes that "imagination lights the possible's slow fuse." 4 Praxis, I think, is not simply the capacity to imagine alternative scenarios, but is instead the slow burning fuse of possibility and action. [End Page 157] This definition connects nicely with Paulo Freire, the revolutionary pedagogue who is of late often paired with Greene. 5 "Human activity," writes Freire, "consists of action and reflection: it is praxis." 6 The result is action upon our world.I must admit that as a long time fan of Freire (and as a student and friend of Greene), I have often wondered what exactly it means to act upon one's world, to name's one's world—especially as a music educator. Can such action lead to the creation of a love song? Can we say that certain art forms like the blues, be-bop, and jam band are more praxial than others? Might an encounter with Brahms lead to potentially transformative action upon my world?Freirian praxis, for sure, is non-neutral; it occurs when we disavow the traditional separation between abstracted learning and real life. After September 11, for example, my freshman music education majors created a requiem for the missing and the dead. This was the most difficult teaching I have ever facilitated. Before beginning our composition, we listened to several movements from the Faure Requiem, particularly the "In Paradisum": "May the choir of angels receive thee, and with Lazarus, once a beggar, mayst thou have eternal rest." We tried to attain Faure's sense of peace and hope; we admired his assurance that those who were gone were at rest, at peace. And we shared stories, and talked about our feelings and our pain. 7During this time, even the ordinary became infused with meaning. Banal pop music, like Enrique Inglesia's Hero, became a tribute song for many, including myself. Suddenly full of significance and relevance, I attended more closely to the simplicity of his chords and the sotto voce color of his voice: Would you die for the one you love? Hold me in your arms tonight. I wanna be your hero... The fact that this was an ordinary love song written some time before the terrorist attacks does not negate my feelings for it. Like Faure's requiem, it brought me a degree of comfort. In addition, I found solace in the music of Aaron Copland, particularly Quiet City. The open intervals seemed to speak of piece, quietude, and space. The opening trumpet recitative was defiant, but introspective—the English horn felt dark and mournful. I wanted to be back in an earlier New York, like the one that Copland knew and loved.Of course, acting upon our world requires inaction: thinking, perceiving, reflecting, reconceptualizing, connecting. For Freire and Greene, transformational or liberatory practice cannot... (shrink)

In classical music, the immediate canon is Bach, Beethoven, Brahms, and Mozart. With Bach and Beethoven it is hard to go wrong. But my short list there would be Bach's B Minor Mass and St. Matthew's Passion, The Art of the Fugue, Well-Tempered Klavier, some of the organ music, the Brandenburgs, the Partitas, the Goldberg Variations, and the solo violin works.

Music Criticism in Vienna records a culture in which musical criticism had achieved the status of a minor art form. The period covered - October 1896 to December 1897 - was an eventful time in Vienna. Bruckner died, then Brahms; Mahler arrived; premieres of works by Czech composers coincidedwith increasing tension in the Empire between Czechs and Germans; Puccini's La Boheme reached Vienna on its sensational progress around the world; and the great programme music debate continued. These events and issues (...) were recorded and debated by some two dozen critics ranging from Eduard Hanslick,widely credited with (and blamed for) raising music criticism to an art, to Heinrich Schenker. The focus of Sandra McColl's monograph is unashamedly on the critics themselves, and her reconstruction of the climate of debate about whatever music or musicians came to their notice. She illuminates theintellectual climate in which the music was created, performed and received, and provides a foundation for the study of musical criticism in the post-Hanslick generation. (shrink)