As the editors of the series, New Literary Theory, proclaim in the preface of the book, the purpose of the series is to make more room in literary theory for playful and accessible approaches to li...

Since its first publication in 1992, _New Perspectives on Historical Writing_ has become a key reference work used by students and researchers interested in the most important developments in the methodology and practice of history. For this new edition, the book has been thoroughly revised and updated and includes an entirely new chapter on environmental history. Peter Burke is joined here by a distinguished group of internationally renowned historians, including Robert Darnton, Ivan Gaskell, Richard Grove, Giovanni Levi, Roy Porter, Gwyn (...) Prins, Joan Scott, Jim Sharpe, Richard Tuck, and Henk Wesseling. The contributions examine a wide range of interdisciplinary areas of historical research, including women’s history, history "from below," the history of reading, oral history, the history of the body, microhistory, the history of events, the history of images, and political history. (shrink)

A new edition of this best-selling collection of essays by leading experts on historical methodology. Since its first publication in 1992, _New Perspectives on Historical Writing_ has become a key reference work used by students and researchers interested in the most important developments in the methodology and practice of history. For this new edition, the book has been thoroughly revised and updated and includes an entirely new chapter on environmental history. Peter Burke is joined here by a distinguished group of (...) internationally renowned historians, including Robert Darnton, Ivan Gaskell, Richard Grove, Giovanni Levi, Roy Porter, Gwyn Prins, Joan Scott, Jim Sharpe, Richard Tuck, and Henk Wesseling. The contributions examine a wide range of interdisciplinary areas of historical research, including women's history, history "from below," the history of reading, oral history, the history of the body, microhistory, the history of events, the history of images, and political history. (shrink)

Salons evoke high-flown associations; we picture elegant people gathering in glamorous settings for cultivated conversations about the arts, literature, and politics. The so-called salons hosted around 1800 in Berlin by bourgeois Jewish women are tied to promises of emancipation and religious toleration. Scholars have either hailed the empowering functions of these convivial gatherings or debunked their enlightened promises as myths. Drawing on the latest research on conviviality in the social sciences, on Friedrich Schleiermacher's theory of sociability, and on writings by (...) and about Rahel Varnhagen, Henriette Herz and Fanny Lewald, this essay approaches the topic of the salon from a different angle. I argue that these women's social endeavours were not tied to specific ends that we can either admiringly endorse or expose as failures from today's perspective. The notions of the female self, of writing, and the conceptions of literature and philosophy emerging from these convivial constellations are inherently dialogical and shifting. Conversations may sometimes break open hierarchies, but they may also foster conflict and no improvement. The value of these encounters, I suggest, lies in the effort made rather than a classifiable outcome. (shrink)

Since its first publication in 1992, _New Perspectives on Historical Writing_ has become a key reference work used by students and researchers interested in the most important developments in the methodology and practice of history. For this new edition, the book has been thoroughly revised and updated and includes an entirely new chapter on environmental history. Peter Burke is joined here by a distinguished group of internationally renowned historians, including Robert Darnton, Ivan Gaskell, Richard Grove, Giovanni Levi, Roy Porter, Gwyn (...) Prins, Joan Scott, Jim Sharpe, Richard Tuck, and Henk Wesseling. The contributions examine a wide range of interdisciplinary areas of historical research, including women’s history, history "from below," the history of reading, oral history, the history of the body, microhistory, the history of events, the history of images, and political history. (shrink)

The six articles that comprise Book 2, Distinction 1, Question 1 of Aquinas' Writings on the "Sentences" of Peter Lombard represent his earliest and most succinct account of creation. These texts contain the essential Thomistic doctrines on the subject, and are here translated into English for the first time, along with an introduction and analysis. In Article One Aquinas argues, against Manichean dualism, that there is one ultimate cause of all created being; in so doing he gives three proofs for (...) the existence of the Creator and the essential features of his answer to the problem of evil. Thomas establishes his definition of creation in Article Two, providing the needed distinctions between philosophical and theological senses of creation. Emanationism and the problem of whether there can be any intermediary causes in God's act of creation are the subject of Article Three. The next article demonstrates that although God is the cause of all created being, nevertheless creatures are true causes in nature. Article Five argues that it is from revelation alone that we know that the world had a temporal beginning, and that the philosophical arguments that purport to show either the necessity or impossibility of the temporal beginning are not persuasive. A detailed exposition of the meaning of the first sentence of the Bible, "In the beginning God created the heavens and the earth," follows in Article Six. (shrink)

Dai Jinhua _Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua_ Edited by Jing Wang and Tani E. Barlow London and New York: Verso, 2002 ISBN 1-85984-264-X 280 pp.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.2 (2002) 91-95 [Access article in PDF] From: A Symposium on Rhetoric, Writing, and Culture Jeffrey Walker For who does not know, except them, that the art of using letters is fixed and unchanging, so that we always use the same letters for the same purposes, but in the art of discourse the case is entirely the reverse? —Isocrates, Against the SophistsThe essays composing this (...) issue of Philosophy and Rhetoric are based on papers that originally were presented at a symposium on "Rhetoric, Writing, and Culture," sponsored by the Emory University Center for Teaching and Curriculum, Department of English, and Hightower Fund, in March 2001. The ostensible purpose of the symposium was to consider the double nature and status of rhetoric: on one hand, a hermeneutic/theoretical discipline with applications across the humanities (in the analysis of texts, events, culture, argumentative practices, ideologies, and so forth); and, on the other hand, a practical "art of discourse," a techne, whose central or distinctive application is the training of skilled writers and speakers. The former tends to be emphasized in contemporary rhetorical studies, while the latter is the most familiar (though not necessarily essential) characteristic of "classical" or ancient rhetoric. Likewise, we can connect these two orientations, respectively, with rhetorical cultural studies and with the teaching of writing, speaking, and communication in general. While the natural assumption is that these two orientations are mutually supporting, that is not always or necessarily the case. One can argue that the first pulls in the direction of "philosophy" (however that may be defined), while the second pulls in the direction of sheer technique—and at one time or another, each has been [End Page 91] open to criticism for its lack of attention to the other: philosophers are ineffective rhetoricians, and cannot intervene in the public sphere; orators are superficial thinkers, and practice an irresponsible, demagogic art of manipulation and domination. This tension goes all the way back to the first critiques of the sophists, and plays out through the entire history of rhetoric. The symposium's speakers, then, were asked to reflect, in any way that seemed suitable to them, on either or both aspects of rhetoric's double nature, and/or the relationships between them.A symposium, inevitably, as a rhetorical event, always takes its own somewhat unpredictable trajectory, as papers are produced and presented, and as the ensuing discussion unfolds. And the four essays presented here—Steven Mailloux on Frederick Douglass and the nineteenth-century American debate over slavery; Susan Wells on "double consciousness" in S. Weir Mitchell's account of the case of Mary Reynolds and W. E. B. Du Bois's The Souls of Black Folk; James L. Kastely on the discontinuity between the "philosophical" and "technical" halves of Plato's Phaedrus;and Richard Doyle on the strange intersection between the emergence of LSD and the evolution of biotechnological understandings of DNA—are all revisions and expansions of the original presentations, reflecting the contingencies of their invention and reinvention. Nevertheless, the original motives of the symposium are still in evidence.As different as these essays are, it can be said that one or two underlying themes run through them, and provide a reply to the original topic proposed for the symposium. Perhaps the keynote is what Mailloux describes as "rhetorical paths of thought": that is, the "migration" and "evolution" of topoi, figures, lines of arguments, bits of narratives, and rhetorical traditions themselves (or fragments of them?) "from one community to another... [and] from one cultural moment to the next," as Frederick Douglass takes in the rhetorical traditions, practices, tropes and arguments exemplified in the Columbian Orator, as well as Aristotle's arguments on slavery, and as they become enabling parts of his own rhetorical repertoire in the debate on abolition. In Wells's essay, this appears as the "refunctioning" or reworking of topoi, as the notion of "double consciousness" is adapted as part of a "new logic of scientific authority" in Mitchell's account of "split personality," and also as a way of understanding and performing public discourse and identity in... (shrink)

The ArgumentIn this paper three canonical studies of the scientific revolution are subjected to narratological analysis. Underlying this analysis is the assumption that in any single product of historical writing it is possible to distinguish, for analytical purposes, between three levels of reference: the object of the text — the events; the representation of the events — the narrative; and the text in which a story is represented by means of narrative. Through texts one learns about historical events, but (...) also about the process of producing the texts. Techniques of representation are means of production of texts that represent, in addition to the events, also the producer and his or her authority. The distinction made for any specific text allows the reader to play the two levels against each other in order to create a space within which historical writing should be criticized. Such criticism may draw attention to the difficulty of controlling the meaning of historical stories, and to the need to analyze narrative structures in order to appreciate the ideological changes of historical texts. (shrink)

In ancient China, a revered Taoist sage named Zhuangzi told many parables. In Existential Psychology and the Way of the Tao, a selection of these parables will be featured. Following each parable, an eminent existential psychologist will share a personal and scholarly reflection on the meaning and relevance of the parable for psychotherapy and contemporary life. The major tenets of Zhuangzi's philosophy are featured. Taoist concepts of emptiness, stillness, Wu Wei (i.e. intentional non-intentionality), epistemology, dreams and the nature of reality, (...) character building in the midst of pain, meaning and the centrality of relationships, authenticity, self-care, the freedom that can come from one's willingness to confront death, spiritual freedom, and gradations of therapeutic care are topics highlighted in this book. (shrink)

This paper is an evaluation of a selection of writings by Frede V. Nielsen and their significance for the philosophy of music education. The terms Didaktik and Bildung, which played a central role in Nielsen’s writings, will be introduced, situated within the historical context of classic theories of Bildung (Schleiermacher, von Humboldt, and others.), expounded upon from the perspective of the philosophy of music education and related to Nielsen’s central question of criteria-driven selection of content. I shall also make reference (...) to Nielsen’s position on a number of questions of musical Didaktik. (shrink)

... diflblved his name into that <)f Parthenio Etyro, and fell to writing pfalms , lifes of J. and the faints, prayers and meditations. ...

ArgumentThe paper focuses on the instrumentality of writing in the context of scientific research. It is suggested that the tool-character of writing is related to specific writing procedures, such as the list. These procedures can vary in their degree of complexity and often follow rules that are not codified. In any case, writing procedures can be characterized as non-material devices of “concretion.” Two examples from the notebooks of the physicist and philosopher of science, Ernst Mach, will (...) help to develop the notion of writing procedures. Typical for Mach's use of his notebooks, they highlight the effects of writing in the context of reasoning and reflecting. (shrink)

This book explores the religious experiences of two notable figures who endured severe trials under authoritarian regimes: Bediuzzaman Said Nursi (1877–1960) within the Islamic tradition, and Aleksander Solzhenitsyn (1918–2008) within the Russian Orthodox Christian tradition. Against the tumultuous backdrop of the twentieth century’s spiritual, social, political, and intellectual upheavals, both Nursi and Solzhenitsyn grappled with immense hardships because of their beliefs. Despite immense tribulations, both individuals demonstrated unwavering faith and resilience in the face of adversity, continuing their scholarly and literary (...) activities. The current study centers on the dichotomy of spiritual confinement and expansiveness, illustrating how people can experience spiritual distress even without physical restraints. It explores the historical and conceptual aspects of imprisonment within Christian and Muslim perspectives, explores the reasons for Nursi and Solzhenitsyn's incarceration, examines their coping mechanisms in the face of hardship, and underscores the role of faith and spirituality. The author integrates personal experiences, particularly his own incarceration during the aftermath of the 2016 Turkish staged coup attempt, within the context of the narratives of Nursi and Solzhenitsyn. The book addresses court proceedings, release, departure from Turkey, and resettlement in Australia. Throughout, the author draws parallels between their own observations and those of Nursi and Solzhenitsyn, contributing to the broader discourse on individual spirituality and collective consciousness. The book offers insights into spiritual resilience in the face of adversity, utilizing the lives of these figures to illuminate shared human experiences. A unique collation of personal narration and scholarly reflection, it is relevant to academics and students in history, political science, sociology, Islamic and Middle Eastern studies, and to social scientists researching the phenomenon of exile and prison in different countries across the world. It also speaks to the work of activists and policymakers in human rights. (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)

Intriguing unpublished manuscripts by Leo Strauss which explore the intricate relationship between religion, philosophy, and politics, accompanied by fourteen interpretative essays.

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)

To explore the knowledge, attitudes and practices regarding plagiarism in a large culturally diverse sample of researchers who participated in the AuthorAID MOOC on Research Writing. An online survey was designed and delivered through Google Forms to the participants in the AuthorAID MOOC on Research Writing during April to June 2017. A total of 765 participants completed the survey, and 746 responses were included in the analysis. Almost all participants reported knowledge of the term “plagiarism”, and 89.1% of (...) them understand the meaning of the term before joining the course. Most participants reported that their university does not provide access to plagiarism detection software, and 35% participants admitted they had been involved in plagiarism during their education. Overall attitudes toward plagiarism indicated low acceptance of plagiarism. Moreover, low scores were reported for approval attitude, disapproval attitude, and knowledge of subjective norms. The most common reason for plagiarizing was lack of time, and the most common consequence was the perception that “those who plagiarize are not respected or seen positively”. Developing country researchers appear to be familiar with the concept of plagiarism, but knowledge among the participants surveyed here was incomplete. Knowledge about plagiarism and awareness of its harmfulness must be improved, because there is an obvious relationship between attitudes toward plagiarism and knowledge, reasons and consequences. The use of plagiarism-detection software can raise awareness about plagiarism. (shrink)

The widespread influence of skeptical and relativist philosophies has led to an abandonment of empiricist accounts of objectivity in historical investigation. Can one do justice to the historical conditionedness of the historian without totally denying objectivity in historical judgments? This article introduces Bernard Lonergan's answer to this question. Lonergan contends that one can avoid both the Scylla of naive empiricism, fostering the myth of some simple backward gaze at the facts of the past, and the Charybdis of total relativism. He (...) proposes a form of perspectivism which, he believes, does justice both to the belief of the majority of working historians that they are gradually increasing our knowledge of the past, and to the points brought out by writers on historiography, such as the "metahistorians," concerning the impossibility of ascending to some god's-eye view of the historical process.Lonergan's perspectivist position is built upon a prior philosophical account of cognition and epistemology, which I outline here. I will then move on to some immediate concerns of working historians, such as value judgments in history, the relationship of historical data to the facts the historian claims to know, and the criteria of selection used by the community of historians. In treating these issues I will highlight some of the areas of convergence and divergence between Lonergan's work and that of other philosophers and historians who have written on historiography. (shrink)

Father Lord, author of Armchair Philosophy, herein offers to a wider audience some notes from a recent talk to the Philosophers in St. Louis. He believes that writing is necessary not only to express, but also really to assimilate philosophy.

Father Lord, author of Armchair Philosophy, herein offers to a wider audience some notes from a recent talk to the Philosophers in St. Louis. He believes that writing is necessary not only to express, but also really to assimilate philosophy.

This research investigates Chinese EFL students’ flow experience in academic writing and its effect on students’ writing performance. The research consists of two studies: a preliminary study involving a survey of 162 college students immediately after their completion of a short English essay to examine whether and how intensely they experienced flow during their writing and whether their perceived levels of challenge of the writing task and their writing skills affected their flow experience, and a (...) main study including a survey of 216 different students at the end of a semester-long writing course to ascertain how frequently these students experienced flow during the course, whether their intrinsic writing motivation and attention control ability were significantly correlated with their flow experience, and whether their flow frequency had an effect on their performance in the writing course. Results of statistical tests of the data in the preliminary study revealed that a large majority of the students experienced a certain level of flow in their writing and their perceived levels of writing skills had a significant influence on their flow experience. The statistical test results of the main study indicated that 66.4% of the students experienced flow with various frequency levels, while 33.6% of the students rarely or never experienced flow, students’ level of motivation and attention control were significantly correlated with their level of flow frequency, and students’ flow frequency had a significant influence on their writing course scores. Research and pedagogical implications of the study are also discussed. (shrink)

Did Darwin Write the Origin Backwards is Sober’s book that comes closest to history of science. Some reviews have expressed reservations about Sober’s inclination to subordinate historical accuracy to analytical clarity, and to contemporary discussions . My comments will be devoted to the kind of relationship that Sober entertains with history of science. I do not think that the author’s interest in history is superficial and instrumental.In the first section, I try to locate Sober’s book within ‘&HPS’ , a recent (...) initiative that gathers a growing number of people willing to promote a new regime of interaction between philosophy and history of science. I will suggest that Sober offers an interesting way of developing this approach. The more critical second section is devoted to Sober’s first chapter, bearing on the relationship between the two main tenets of Darwin’s argument in the Origin—descent with modif .. (shrink)

Recordar: To remember; from the Latin re-cordis, to pass back through the heart.Forgetting is not secondary; it is not an improvised failing of what has first been constituted as memory. Forgetfulness is a practice.In his search for a community that does not rely upon the false unities of subjectivity or identity, Maurice Blanchot looks to literature and writing. To achieve the common in community, Blanchot argues for the development of unworking writing practices aimed at the silence anterior to (...) language—a silence that constitutes authentic communication. Instead of abiding by the rules of grammar, Blanchot encourages writers to produce fragments, which constitutes one method of unworking writing. This... (shrink)

Self-organization -- Organisms, finalisms, programs, machines -- Spinoza -- Judaism, determinism, and rationalities -- Fabricating the living -- Ethics.

"This book introduces a new way of looking at the writing of history. Rather than as the production of knowledge or the telling of stories, it sees writing history as an ethical, existential and emotional engagement with the people from the past. The conceptual and philosophical basis for this view is provided by the philosophy of Emmanuel Levinas. In the first part, the view is presented and contrasted with other, competing views, such as those of Hans-Georg Gadamer and (...) Michel Foucualt. In the second part, the view is argued for, most importantly by an in-depth discussion of one specific tradition of history-writing, and a series of close readings of several classical works from the history of historiography. The third part, finally, explores some of the methodological consequences of this view, and applies it to a non-academic way of dealing with the past, namely historical performance practice in music. The book features a foreword by Frank Ankersmit"--Provided by publisher. (shrink)