In his article about utilitarianism and Mo‐tzu's thought, Dennis Ahem has argued that we should distinguish between two types of utilitarianism. The first he calls “strong utilitarianism”. Ahern says that the distinctive characteristic of this type of utilitarianism is the notion that the final criterion for an action, value, etc. is its utility .1.

As interest in Huayan thought among Western scholars has grown over the last few decades, a number of individuals have noted similarities between A. N. Whitehead's ideas of reality as a process of arising actual occasions and Huayan doctrines concerning the interdependent arising of dharmas. Comparisons of the two systems do show striking similarities, but as Steve Odin has pointed out, one area of noteworthy difference may be their views of temporal passage.1 There seems to be clear agreement among Whitehead (...) scholars that his view requires temporal asymmetry such that the present arises as a creative advance toward an open future. In contrast, Huayan is well known for advocating a symmetrical view of reality, and the Huayan view of time, it has been argued, is no exception. On this basis some have suggested that in accounting for and even requiring an open future, Whitehead's views effectively allow for a free advance of becoming that may not be possible within the context of Huayan views. But is this the case? -/- By examining sections of Fazang's works that specifically deal with tense and temporal passage, we will see that the typical view of Huayan as advocating a temporally symmetrical notion of passage is only partially accurate. Even further, it is apparent in light of that material that the Whiteheadian critique of Huayan is partly inaccurate as well. It is this latter point that may mean Huayan views allow for a type of becoming that Whitehead's cannot. To see how this is the case, it will be helpful to briefly summarize the Whiteheadian critique before focusing on key elements of Fazang's view. (shrink)

Este artigo traz uma breve reflexão acerca do valor que a música assume nos pensamentos filosóficos de Platão e de Aristóteles. Mediante esse exercício, também se refletirá sobre o estatuto da música em relação à ideia de filosofia presente nas obras desses autores.

Dōgen's views of time are descriptively compared to the modern western philosophical view called "B-theory" and found to contain elements of each of the four main tenets of the B-theory. Furthermore, a fundamental incongruency is discovered. Even accounting for traditional Buddhist approaches to apparent contradictions, Dōgen's problems in this regard call into question the assumption of consistency that has characterized modern interpretations of his views on time.

Translation of Nagarjuna's -Treatise on the Twelve Gates- as well as fazang's commentary on that treatise.

In the first chapter, two questions are considered: is listening to music necessary for apprehended musical aesthetic qualities? and is listening to music sufficient for apprehending musical aesthetic qualities? I conclude that the answer to the first question is yes by arguing that musical aesthetic qualities are necessarily at least in part perceptual properties. And my answer to the second question is no, since not all of the features of musical aesthetic qualities are perceivable. ;The ontological status of musical works (...) is the topic of the second chapter. My argument is that scored musical works cannot be entities which completely exist independently of being performed, since many of a musical work's essential properties are at least partially determined by the character of its performance. These essential properties include both sonic properties and aesthetic qualities--both expressive and representational ones. Therefore, I conclude that musical works are collaborative entities, where both the composer and the performer are responsible for the existence of scored musical works. ;The final chapter explains what musical expressiveness and representation actually involve. I argue that we are culturally trained to hear music as expressive of emotions and thus trained to imagine certain configurations of sonic properties in music have emotional features. In this way, the physical properties of performed musical works do not determine its expressiveness; rather, the convention in which one has been trained how to make sense of music determines the aesthetic qualities of a performance. (shrink)

INTUITIVELY, WE RECOGNIZE at least two broad ways in which we talk about musical performances. On the one hand, we talk about them as lasting twenty minutes, having a tempo of 120 quarter notes per minute, being a string quartet, loud or soft, sounding like a trumpet rather than a cornet, and out of tune. These descriptions refer to the nonaesthetic properties of musical performances. On the other hand, we talk about musical performances as being expressive of sorrow, sounding thematically (...) unified, having a swinging rhythm, portraying the harshness of living under economic distress, representing the howling of a wolf, and placid. These descriptions refer to the aesthetic qualities of musical performances. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In 1790 the Count d'Antraigues, an eccentric eighteenth-century anti- revolutionary spy, claimed that he had been given a sequel to Jean-Jacques Rousseau's Social Contract explaining how states could prevent wars by forming international associations but that he had destroyed the manuscript because it might pose a threat to the French monarchy. Recent Rousseau scholars have generally assumed that d'Antraigues was lying. I suggest that the manuscript in question was a copy of the summary that Rousseau wrote in 1760 of the (...) Project for Perpetual Peace published earlier in the century by the Abbé de Saint-Pierre. I then explore the significance of d'Antraigues' view that Rousseau's comments on the Project constituted an extension of the Social Contract and that they had revolutionary implications. The article ends with references to the ways that Rousseau's summary and critique of Saint-Pierre have recently opened up new thinking about democratic, non-hierarchical models of international organization. (shrink)

This article uses Rousseau’s little-known responses to the Abbé de Saint-Pierre’s Project for Perpetual Peace and his fragments on ‘The State of War’ as a foil for Rawls’s claim that the international society he envisions in The Law of Peoples constitutes a ‘realistic utopia’. The main conclusion is that in a post-9/11 world Rousseau may have more to teach us about the possibilities for international security than Rawls does, since Rousseau’s theory accounts for the moral corruptibility of both individuals and (...) groups. Most of the article focuses on comparing Rousseau’s and Rawls’s assumptions about human nature, but the final section also includes a brief discussion of their contrasting views of reason and the common good. The two philosophers agree, however, that the possibilities for international justice can only evolve out of the careful practice of local justice. (shrink)

The trajectory from Rousseau through romanticism to twentieth-century efforts to preserve natural settings for their aesthetic values is a familiar one. What may be less familiar and more fruitful to explore at the present time is Rousseau’s stoic recognition of the need for limitation and balance in the ways that human beings interact with their surroundings. Rousseau’s discussion of the dynamics of natural need, artificial desires, and human powers or faculties appears in its most elaborated form in Emile, within the (...) context of the pedagogue’s role in fostering authentic happiness. Given our present preoccupation with competition, consumerism, and growth, Rousseau’s ethic of self-limitation and retrenchment is unlikely to be embraced by policy makers any time soon, but his alternative vision nevertheless merits contemporary recognition. (shrink)

In this article I report on the ways that an educational philosophies course in a performance-based program enables teacher candidates to identify, reflect upon, and evaluate a wide range of educational purposes. The context for the report is an accelerated graduate program in childhood education at a small urban college where intensive fieldwork is required every semester and applied learning is the norm. Using teacher candidates? reactions to selected texts in the history of educational thought as evidence, I aim to (...) show that an encounter with provocative foundational ideas can promote effective value-formation and reflective analysis of educational practice. (shrink)

In her book, Goehr defends two claims which surely generate controversy. She argues that for several reasons, no analytic method for defining musical works is viable, and no musical works existed before circa 1800. For Goehr, analysis fails in the attempt to capture the pure ontological character of musical works, to account for their mode of existence in terms of abstracta or relata, or to discover their alleged ahistorical identity conditions. The main reason most analyses fail, according to Goehr, is (...) because the development of a coherent ontological theory is accomplished at the expense of accommodating our precritical intuitions. She argues that neither Nelson Goodman's extentionalist [[sic]] account nor Jerrold Levinson's intentionalist [[sic]] account successfully establish an equilibrium between theory and practice--between what can be logically and clearly stated about musical works and what is actually thought about them. The failure to establish such an equilibrium derives from the impossibility of analytic philosophers to offer clear grounds for resolving whether any given purported condition for the identity of a musical work marks something essential to the musical work's existence. For example, Levinson's desideratum that aesthetic qualities are essential properties of musical works is countered by Goodman's claim that aesthetic qualities merely refer to the evaluative qualities of musical works and not to the identity of musical works. Such a dispute, Goehr argues, is irresolvable. (shrink)

Este artigo objetivou adaptar a Escala de Altruismo Autoinformado (EAA), reunindo evidencias de sua validade de construto. Realizaram-se dois estudos em Joao Pessoa (PB), nos quais os participantes responderam a EAA e perguntas demograficas. No Estudo 1 participaram 331estudantes universitarios com ..