When discussing one of Fyodor Dostoyevsky's novels, Mikhail Bakhtin ruminates on the poietic power of dialogue: in dialogue a person not only shows himself outwardly, but he becomes for the first time that which he is—and […] not only for others but for himself as well. To be means to communicate dialogically. When dialogue ends, everything ends. […] At the level of his religious-utopian worldview Dostoyevsky carries dialogue into eternity, conceiving of it as eternal co-rejoicing, co-admiration, concord. […] Two voices (...) is the minimum for life.1 Notably, Bakhtin's commendation of dialogue as a sine qua non ontological condition communicates both necessity and hope, implying the indispensability of an encounter... (shrink)

Ce livre réunit les actes du colloque qui s’est tenu le 30 octobre 2013 à Nérac dans le cadre des agoras nationales de l’Association des Professeurs d’Histoire & de Géographie, auxquelles ont participé Éric Bonhomme, Yohann Chanoir, Franck Collard, Maurice Daumas, Didier Foucault, Thierry Issartel, Thierry Labarthe, Céline Piot et Yann Prouillet. Pour paraphraser l’humour de sa préface, ce colloque pourrait s’intituler « Et si Lysistrata était un homme…. » Car du masculin et du viril, il en e...

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 2. © 2015 by Feminist Studies, Inc. 335 Rachel Lumsden “The Music Between Us”: Ethel Smyth, Emmeline Pankhurst, and “Possession” But limelight is bad for me: the light in which I work best is twilight. —Virginia Woolf to Ethel Smyth1 There are few composers who seemed to seek the glow of public limelight more than Dame Ethel Smyth (1858–1944). Smyth fearlessly forged a career for (...) herself as a professional composer in Britain during a time when female musicians were largely regarded as inferior to male musicians and lacked equal educational and professional opportunities. Smyth’s brazen personality was evident from her early years; as a teenager, she battled for two years to gain her father’s approval to travel to Leipzig to further her musical studies. Smyth’s struggle for acceptance as a composer continued throughout her career; she composed large-scale works—including six operas—at a time when women were expected to write “feminine,” small-scale compositions (such as solo piano pieces and songs), and she fought unrelentingly to have her music performed. Throughout her career Smyth faced a barrage of sexist criticism, in which she was consistently referred to as a “lady composer” and alternatively praised and derided for writing “masculine” music: if a 1. Virginia Woolf, letter to Ethel Smyth (August 21, 1932), in The Letters of Virginia Woolf, ed. Nigel Nicolson and Joanne Trautmann (New York: Harcourt Brace Jovanovich, 1979), 5: 97. 336 Rachel Lumsden critic liked her work, it would be lauded for its “masculine strength,” and if a critic didn’t like her work, it would be admonished for exceeding the bounds of female propriety.2 Yet Smyth rarely flinched from battles. A defiant and prolific writer, Smyth also published an exhaustive array of books and memoirs: Impressions that Remained (1919), Streaks of Life (1921), A Three-Legged Tour in Greece (1927), A Final Burning of Boats (1928), Female Pipings in Eden (1933), Beecham and Pharaoh (1935), As Time Went On (1936), Inordinate (?) Affection (1936), Maurice Baring (1938), and What Happened Next (1940), using her literary works as a means of bringing her own experiences into the limelight. By chronicling the oppression and discrimination she consistently faced, she sought not only to draw attention to herself as a composer—whose works, in her mind, had been consistently and unjustly neglected by the public—but also to highlight the plight of female musicians in general. Smyth’s literary works are wide-ranging and cover a host of different subjects, including recollections about her own life, biographical portraits of close friends, excerpts from letters, reviews of her musical compositions, and her forthright opinions about women’s rights. A number of scholars have explored these different aspects of Ethel Smyth’s fascinating artistic career; however, most research on Smyth has focused either on her literary endeavors or her compositions. What is missing is a thoroughgoing analysis of the connections between the two. One exception is Elizabeth Wood, who has brilliantly discussed Smyth’s writings and music; however, many details of Smyth’s vast array of musical works still remain largely unexplored.3 This article examines 2. Smyth’s operas include Fantasio (1892–1894), Der Wald (1899–1901), The Wreckers (1902–1904), The Boatswain’s Mate (1913–1914), Fête Galante (1921– 1922), and Entente Cordiale (1923–1924). For more information about Smyth and the status of female musicians in Britain during this era, see Jane A. Bernstein, “‘Shout, Shout, Up with Your Song!’ Dame Ethel Smyth and the Changing Role of the British Woman Composer,” in Women Making Music: The Western Art Tradition, 1150–1950, ed. Jane Bowers and Judith Tick (Urbana: University of Illinois Press, 1986), 304–24; and Eugene Gates, “Damned If You Do and Damned If You Don’t: Sexual Aesthetics and the Music of Dame Ethel Smyth,” Journal of Aesthetic Education 31, no. 1 (Spring 1997): 63–71. 3. See Elizabeth Wood, “Performing Rights: A Sonography of Women’s Suffrage,” The Musical Quarterly 79, no. 4 (Winter 1995): 606–43; and Elizabeth Rachel Lumsden 337 a small, specific slice of Smyth’s oeuvre: her 1913 song “Possession,” dedicated to Emmeline Pankhurst (“E.P”), her friend and leader of... (shrink)

RESUMO:Na Carta a d’Alembert, Rousseau se coloca contra a ideia de um teatro enquanto instrumento de educação moral, porém, o posicionamento do filósofo não está em colocar essa atividade lúdica de ordem moral na categoria de atividade imoral, mas na de atividade artificial, e, talvez, isso gerasse efeitos imorais. Todavia, é preciso observar os verdadeiros efeitos do teatro, a partir de alguns argumentos que Rousseau resolve construir e analisá-los, contudo, apenas se trouxesse à tona a crítica de Rousseau ao romance, (...) na Carta a d’Alembert, que tem como contexto “a ideia negativa de privatização da cena”, pois o teatro destina uma excessiva importância à descrição do amor, obviamente, exagerando na representação, naquilo que é romanesco. Porém, se, na Carta a d’Alembert, o filósofo não expressa de forma direta que a teorização sobre o teatro também equivale ao romance, na Nova Heloísa, ou seja, no próprio romance, o autor faz essa ratificação, ao importar um longo comentário sobre o teatro que estava na Carta, afirmando que considera o mesmo da própria cena quanto à maioria dos novos escritos. O cidadão genebrino ataca os romances indiretamente e viceversa, porque é observado que tudo aquilo que diz sobre uma arte se aplica quase que integralmente a outra arte. E, como um povo galante deseja amor e polidez, Rousseau resolve fixar alguns termos, na tentativa de explicar suas críticas e argumentar a coerência de seu posicionamento, já que, se, em geral, a cena é um quadro das paixões humanas, cujo original está nos corações, se o pintor, porém, não tiver cuidado de acariciar suas paixões, os espectadores logo ficarão desgostosos e não desejarão mais se ver sob um aspecto que fizesse com que desprezassem a si mesmos. E pontua que essa linguagem não tem mais sentido, em seu século, pois é preciso falar as paixões, esforçando-nos para usar uma que melhor se compreenda, talvez o romance. ABSTRACT:In theLetter to d’Alembert, Rousseau argues against the idea of theater as a moral instrument of education. However, the position of the philosopher is not one of putting this playful activity in the category of immoral activity, but in the category of an artificial activity that perhaps generates immoral purposes. It is necessary to observe the true effect of the theater on the basis of some arguments that Rousseau decides to construct. These are analyzed here, bringing to the fore Rousseau’s critique of the novel in theLetter to d’Alembert. The letter has as its context “the negative idea of privatization of the scene”, as the theater gives an excessive importance to the description of love, obviously exaggerating the representation of romance. If, in theLetter to d’Alembert, the philosopher does not directly express that theorizing about the theater is equivalent to the novel, in theNouvelle Héloïse, that is, in the novel itself, the author does this. He adds to the novel a long commentary on the theater that was in theLetter, stating that he considers the theatrical scene itself to be the same as most new writing. He attacks novels indirectly, as well as the theatre, observing that everything said about one art applies almost entirely to another art. As a gallant people want love and politeness, Rousseau decides to fix certain terms in an attempt to explain his criticism and argue the consistency of his position. In general, the scene is a picture of human passions whose original is in the heart; if the painter is not careful in stroking these passions, spectators will soon become disgusted, not wanting to see themselves in such a way that they despise themselves. Rousseau points out that this language has no more meaning in his century, as it is necessary to speak the passions, striving to use language that best understands the passions, such as, perhaps, that of the novel. (shrink)

Part four of the Proceedings of the fifth International Congress of Logic, Methodology and Philosophy of Science, London, Ontario, Canada, August 27-September 2, 1975.

Cet ouvrage se propose de mener l'enquête tant sur les accusations de scepticisme et sur les modes de défenses spécifiques que ces dernières imposent de mettre en place, que sur la façon dont les mêmes arguments circulent et peuvent servir à des projets contraires. Cette perspective polémique permet ainsi de s'interroger sur les étiquettes philosophiques, sur la circulation des arguments, et sur leur force et leur portée, non seulement au sein du corpus sceptique, mais aussi à l'intérieur des systèmes sommés (...) de répondre aux questions qu'ils posent."--Page 4 of cover. (shrink)

In the _World Library of Educationalists_, international experts themselves compile career-long collections of what they judge to be their finest pieces – extracts from books, key articles, salient research findings, major theoretical and practical contributions – so the world can read them in a single manageable volume, allowing readers to follow the themes of their work and see how it contributes to the development of the field. Mary James has researched and written on a range of educational subjects which encompass (...) curriculum, pedagogy and assessment in schools, and implications for teachers´ professional development, school leadership and policy frameworks. She has written many books and journals on assessment, particularly assessment for learning and is an expert on teacher learning, curriculum, leadership for learning and educational policy. Starting with a specially written introduction in which Mary gives an overview of her career and contextualises her selection, the chapters are divided into three parts: Educational Assessment and Learning Educational Evaluation and Curriculum Development Educational Research and the Improvement of Practice Through this book, readers can follow the different strands that Mary James has researched and written about over the last three decades, and clearly see her important contribution to the field of education. (shrink)

This book discusses deep problems about our place in the world with a minimum of jargon. It argues that 'absolutist' ideas dating back to Plato continue to mislead generations of mathematicians, physicists and theologians, and reveals the underlying reasons for the current conflicts between science and religion.

After a generous introduction to the subject, essays follow on transcendence and spirituality from a multidisciplinary and multifaith perspective: a focus on Abrahamic, Oriental, and African religions, a study of transcendence in Nazism, etc.

CHRISTOPHER PINCOCK, Department of Philosophy, Purdue University, West Lafayette, IN 47907, USA The volume under review contains fifteen new essays by some of the most influential scholars of the history of early analytic philosophy. The focus of the essays is, as the editor says in the preface, ‘the work of Gottlob Frege and of Ludwig Wittgenstein (mostly the early Wittgenstein), as well as various ties between them’ (p. x). The essays are divided into four parts. The first part, ‘Background and (...) General Themes’, contains essays by E. Reck, G. Gabriel and S. Gerrard. The second part on Frege has contributions by H. Sluga, S. Shieh, M. Ruffino and J. Weiner. Essays on the relation between Frege and the early Wittgenstein by W. Goldfarb, D. Macbeth, T. Ricketts and C. Diamond comprise the third part. The volume concludes with essays by I. Proops, J. Floyd, M. Ostrow and J. Conant on the early Wittgenstein. This volume is an important contribution to our understanding of Frege and the early Wittgenstein and should prove a help to specialists in the history of analytic philosophy. I have chosen to briefly discuss seven of these essays with an emphasis on topics in the history and philosophy of logic. Reck’s opening essay, ‘Wittgenstein’s “Great Debt” to Frege: Biographical Traces and Philosophical Themes’, gives a helpful overview of our current knowledge of the contacts between Frege and Wittgenstein. Reck argues quite persuasively for the conclusion that Wittgenstein engaged with Frege’s work throughout his philosophical career. The depth of this engagement is in-. (shrink)

This book is a lucid and readable account of Spinoza, Hume, Kant, Nietzsche, James, and Santayana, not only as contributors to present-day secularism, but as precursors of religious liberalism. Beck traces the theme of "secularism and human values" through these thinkers, though difficulties arise from the fact that they represent a radical divergence of philosophic interests, and in any case would hardly have recognized, much less defended, the particular variety of secularism and religious liberalism that has arisen in recent times, (...) and with which the author associates them.—T. E. V. (shrink)

The public expects members of the medical profession to conduct themselves according to the terms of the Hippocratic oath, yet few physicians and virtually no laypersons know what is in that oath. For the oath to reach beyond its symbolic importance, ethical conduct must be learned and practised. There are many texts on the practice of medicine, surgery and all of the related disciplines, yet one is hard pressed to find anything on ethical practice in any of them. Scholarly texts (...) on ethics tend to deal with the landmark issues and dilemmas that have occurred within particular jurisdictions or religions. This book is intended as a student-friendly text that seeks not to turn students into ethics scholars but to provide them with a practical guide to ethical conduct in everyday medical practice. and discussion are provided for each of the following areas: Ethical Practices in Health Care Law and Ethics Rights of Patients and Responsibilities of Health-Care Providers The Rights of Health-Care Professionals The Duty of Care Confidentiality Consent to Treatment Life and Death Research Ethics Ethics in Public Health Practice Ethical Practice in Everyday Health Care is useful, practical and student friendly. The exercises and discussions will stimulate thought about ethical conduct and help students to develop and translate ethical principles into their daily practice as health-care workers. Dr Walrond offers a ready and concise source of information for medical students on ethical issues. The text is simple, comprehensive and factual, addressing issues encountered in everyday medical practices. Case studies provide practical illustrations of complex ethical issues. (shrink)

In philosophy, there is an as yet unresolved discussion on whether there are different kinds of kinds and what those kinds are. In particular, there is a distinction between indifferent kinds, which are unaffected by observation and representation, and interactive kinds, which respond to being studied in ways that alter the very kinds under study. This is in essence a discussion on ontologies and, I argue, more precisely about ontological levels. The discussion of kinds of kinds can be resolved by (...) using a semiotic approach to ontological levels, building on the key semiotic concept of representation. There are three, and only three, levels of semiosis: non- or proto-semiotic processes without representation, such as physical or causal processes; semiotic processes with representation, such as the processes of life and cognition; and second-order semiotic processes with representation of representation, such as self-awareness and self-reflexive communication. This leads to the distinction between not two, but three kinds of kinds: indifferent, adaptive and reflexive kinds, of which the last two hitherto have not been clearly distinguished. (shrink)

Memoirs and papers presented at a conference held on the occasion of the 90th birthday of the Mongolian philosopher Ts. Balkhaajav.