In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 30-42 [Access article in PDF] How Can Music Seem to be Emotional? Kingsley Price Johns Hopkins University Preliminary Let me make some preliminary remarks about my question. First, the distinction employed in it, the distinction between seeming and reality, comes in two forms. The first is inclusive. A thing that really is so-and-so also seems to be so-and-so. The butler really (...) is guilty and seems guilty as well. The second is exclusive. A thing that is really not so-and-so seems to be so-and-so. The butler is really not guilty but seems to be guilty. The distinction that underlies my question is of the exclusive form.Second, the music I ask about is not music as read from scores on paper or held in memory. Nor is it music that contains linguistic elements-words or gestures as in song, opera, ballet, etc. Rather, it is purely instrumental music, and that as perceived or heard.Third, the emotions I refer to are not physiological conditions that may cause them, nor the behavior that may express them, but the conscious feelings we find in ourselves when we are undergoing emotion. [End Page 30] The Problem Persons (perhaps even the lower animals) can seem to be, without really being, emotional. They are pretending, or we perceive mistakenly. There is no difficulty, in principle, in explaining the situation. But there would be if they were sculptured persons only-that is, if they could not possibly be emotional. A sculpture cannot seem to be emotional by pretending it; nor can we perceive mistakenly that it is emotional when we know that it is a sculpture only.Much music is like sculpture. Not personal, we know that it cannot really be emotional. None-the-less, we hear the wedding march from Mendelssohn's music for A Midsummer Night's Dream as joyful, the second movement of Chopin's Sonata in B-flat Minor as sorrowful, "The Great Fugue" as grimly resigned, the first movement of the first Razumowski as hopeful, etc. How can this be so? How can music seem to be emotional?I look for an answer to this question, first, within the perception, the hearing of music, and then, without it in its meaning. If seeming emotionality is found in either place, I shall have answered the question. And now, for the first place. The Perception In sense perception there are two major constituents.1 One is awareness; the other is the object of awareness. Awareness occurs in all the kinds of consciousness-in remembering, imagining, dreaming, and thinking, for example, as well as in sense perception. In this last, it is brought about by operation of the senses; while in the others, that operation plays no direct part. But although it differs in its cause, awareness in sense perception is precisely the same, considered in itself, as it is in all the other kinds of consciousness, considered in themselves.What is awareness? It cannot be explained, as many notions can, by eliciting its parts. To understand what squareness is, for example, we need only bring forward the parts that constitute it: four straight lines equal in length, four right angles, and closed plane figure. But awareness has no parts and cannot be explained in this way. To call attention to its simplicity and its identity in all kinds of consciousness, indeed, is all that can be done to explain it though we might add the simile that likens awareness to the light that brings things before our minds out of the dark that conceals them in its absence.Now, hearing is a kind of sense perception-the kind that occurs by virtue of operation of the auditory organs; and music heard is one of the objects of auditory awareness. Can we understand how this object can seem to be emotional by appeal to the awareness of it? If that awareness seemed to exist and did not really do so, the answer would be that we cannot since the awareness of it... (shrink)

Kingsley Widmer, one of the most insightful and provocative learned critics, has long had a considerable influence on D. H. Lawrence studies. Here he elaborates the crucial argument that the erotic conversion experience and its dialectic of social negation centrally define Lawrence, thus creating his major legacies. In dialectically considering all of Lawrence’s novels and many of his essays and stories, Widmer carries the issues beyond the texts to Lawrence’s literary and ideological inheritors, including Henry Miller and Norman Mailer. (...) In addition, he imbeds Lawrence’s fictions and roles in the "dark prophecy" of affirmatively countering the Nietzschean tradition and, in a striking chapter on Lady Chatterley’s Lover explores the use of obscenity, sexual ideology, and anticlass utopianism. This is Lawrence as a major dissident culture hero with a still pertinent, drastic revisionism of human responses in a nihilistic world. It is a large and controversial critical view. (shrink)

Sex differences in aggressive and risk-taking behaviors have practical implications for sexual integration of military combat units. The social-role theory implies that female soldiers will adapt to their role and display the same aggressive and risk-taking propensities as their male comrades. If sex differences reflect evolved propensities, however, adoption of the soldier's role is unlikely to eliminate those differences.

Background The COVID-19 pandemic forced governments, multilateral public health organisations and research institutions to undertake research quickly to inform their responses to the pandemic. Most COVID-19-related studies required swift approval, creating ethical and practical challenges for regulatory authorities and researchers. In this paper, we examine the landscape of ethics review processes in Africa during public health emergencies (PHEs). Methods We searched four electronic databases (Web of Science, PUBMED, MEDLINE Complete, and CINAHL) to identify articles describing ethics review processes during public (...) health emergencies and/or pandemics. We selected and reviewed those articles that were focused on Africa. We charted the data from the retrieved articles including the authors and year of publication, title, country and disease(s) reference, broad areas of (ethical) consideration, paper type, and approach. Results Of an initial 4536 records retrieved, we screened the titles and abstracts of 1491 articles, and identified 72 articles for full review. Nine articles were selected for inclusion. Of these nine articles, five referenced West African countries including Liberia, Guinea and Sierra Leone, and experiences linked to the Ebola virus disease. Two articles focused on South Africa and Kenya, while the other two articles discussed more general experiences and pitfalls of ethics review during PHEs in Africa more broadly. We found no articles published on ethics review processes in Africa before the 2014 Ebola outbreak, and only a few before the COVID-19 outbreak. Although guidelines on protocol review and approval processes for PHEs were more frequently discussed after the 2014 Ebola outbreak, these did not focus on Africa specifically. Conclusions There is a gap in the literature about ethics review processes and preparedness within Africa during PHEs. This paper underscores the importance of these processes to inform practices that facilitate timely, context-relevant research that adequately recognises and reinforces human dignity within the quest to advance scientific knowledge about diseases. This is important to improve fast responses to PHEs, reduce mortality and morbidity, and enhance the quality of care before, during, and after pandemics. (shrink)

There is a mental malaise creeping through the collective human mindset. Mass psychosis is becoming normalized. It is time to break free... One of the key problems facing human beings today is that we do not look after our minds. As a consequence, we are unaware of the malicious impacts that infiltrate and influence us on a daily basis. This lack of awareness leaves people open and vulnerable. Many of us have actually become alienated from our own minds, argues (...) class='Hi'>Kingsley L. Dennis. This is how manipulations occur that result in phenomena such as crowd behaviour and susceptibility to political propaganda, consumerist advertising and social management. Mass psychosis is only possible because humanity has become alienated from its transcendental source. In this state, we are prisoners to the impulses that steer our unconscious. We may believe we have freedom, but we don’t. Healing the Wounded Mind discusses these external influences in terms of a collective mental disease – the wetiko virus (Forbes), ahrimanic forces (Steiner), the alien mind (Castaneda), and the collective unconscious shadow (Jung). The human mind has been targeted by corrupt forces that seek to exploit our thinking on a grand scale. This is the ‘magician’s trick’ that has kept us captive within the social systems that both distract and subdue us. In the first part of this transformative book, the author outlines how the Wounded Mind manifests in cultural conditioning, from childhood onwards. In the second part, he examines how ‘hypermodern’ cultures are being formed by this mental psychosis and shaping our brave new world. In an inspiring conclusion, we are shown the gnostic path to freedom through connecting with the transcendental source of life. (shrink)

Catafalque offers a revolutionary new reading of the great psychologist Carl Jung as mystic, gnostic and prophet for our time. This book is the first major re-imagining of both Jung and his work since the publication of the Red Book in 2009 -- and is the only serious assessment of them written by a classical scholar who understands the ancient Gnostic, Hermetic and alchemical foundations of his thought as well as Jung himself did. At the same time it skillfully tells (...) the forgotten story of Jung's relationship with the great Sufi scholar, Henry Corbin, and with Persian Sufi tradition. The strange reality of the Red Book, or "New Book" as Carl Jung called it, lies close to the heart of Catafalque. In meticulous detail Peter Kingsley uncovers its great secret, hidden in plain sight and still -- as if by magic -- unrecognized by all those who have been unable to understand this mysterious, incantatory text. But the hard truth of who Jung was and what he did is only a small part of what this book uncovers. It also exposes the full extent of that great river of esoteric tradition that stretches all the way back to the beginnings of our civilization. It unveils the surprising realities behind western philosophy, literature, poetry, prophecy -- both ancient and modern. In short, Peter Kingsley shows us not only who Carl Jung was but who we in the West are as well. Much more than a brilliant spiritual biography, Catafalque holds the key to understanding why our western culture is dying. And, an incantatory text in its own right, it shows the way to discovering what we in these times of great crisis must do. Book details 844-page paperback. (shrink)

In this paper, I consider the validity and proper formulation of the only-x-and-y principle, which states, roughly, that whether a later individual, y, is numerically identical to an earlier individual, x, can depend only on facts about x and y and the relationships between them. In the course of my investigation, I distinguish between two classes of physical entities - those that exist in a 'real' sense, and those that exist in a mere Cambridge sense. This distinction is grounded in (...) Peter Geach's distinction between 'real' and mere Cambridge change. I argue in favor of a modified version of the only-x-and-y principle - the qualified only-x-and-y principle - which applies to entities that exist in a 'real' sense, but not to mere Cambridge entities. It is also argued that the plausibility of the qualified only-x-and-y principle has more to do with facts about the nature of causality than with intuitions we have about existence or numerical identity. I finish by considering some traditional objections to the only-x-and-y principle, and conclude that they do not succeed in refuting the qualified only-x-and-y principle. (shrink)

Sex differences in willingness to take physical risks and in concern for peer esteem may be relevant to whether women should serve in combat, since two major fears soldiers experience are of being injured and of not measuring up as warriors. Women's relative aversion to nonphysical risk may have workplace implications, since risk taking is an attribute of most successful executives.

The concept of Christian Philosophy is not new in the history of philosophy. However, since the mid-twentieth century the idea of Christian Philosophy gained momentum and has become an object of explicit discussion among philosophers. The historical circumstances leading to its emergence as a distinct type of philosophy are not here discussed, and the existence of Christian Philosophy with a distinct content and purpose that sets it apart from other philosophies is here presupposed. Instead, the paper focuses on the concept (...) and methods of practising Christian Philosophy with specific reference to the methodology developed by Stanisław Kamiński. The paper argues for the suitability of his method of philosophising within the context of Christian Philosophy. Kamiński proposes a unique style that is strictly philosophical but also Christian. This methodology was based on the classical theory of being which fulfils the demand for the autonomy of philosophy but in relationship to faith. Kamiński’s doctrinal standpoints in philosophy are rational, objective, and universal. But is also most friendly and compatible with the Christian faith. In this sense, one can speak of his Christian philosophy and the suitability of his methodology for the practice of Christian philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 30-42 [Access article in PDF] How Can Music Seem to be Emotional? Kingsley Price Johns Hopkins University Preliminary Let me make some preliminary remarks about my question. First, the distinction employed in it, the distinction between seeming and reality, comes in two forms. The first is inclusive. A thing that really is so-and-so also seems to be so-and-so. The butler really (...) is guilty and seems guilty as well. The second is exclusive. A thing that is really not so-and-so seems to be so-and-so. The butler is really not guilty but seems to be guilty. The distinction that underlies my question is of the exclusive form.Second, the music I ask about is not music as read from scores on paper or held in memory. Nor is it music that contains linguistic elements-words or gestures as in song, opera, ballet, etc. Rather, it is purely instrumental music, and that as perceived or heard.Third, the emotions I refer to are not physiological conditions that may cause them, nor the behavior that may express them, but the conscious feelings we find in ourselves when we are undergoing emotion. [End Page 30] The Problem Persons (perhaps even the lower animals) can seem to be, without really being, emotional. They are pretending, or we perceive mistakenly. There is no difficulty, in principle, in explaining the situation. But there would be if they were sculptured persons only-that is, if they could not possibly be emotional. A sculpture cannot seem to be emotional by pretending it; nor can we perceive mistakenly that it is emotional when we know that it is a sculpture only.Much music is like sculpture. Not personal, we know that it cannot really be emotional. None-the-less, we hear the wedding march from Mendelssohn's music for A Midsummer Night's Dream as joyful, the second movement of Chopin's Sonata in B-flat Minor as sorrowful, "The Great Fugue" as grimly resigned, the first movement of the first Razumowski as hopeful, etc. How can this be so? How can music seem to be emotional?I look for an answer to this question, first, within the perception, the hearing of music, and then, without it in its meaning. If seeming emotionality is found in either place, I shall have answered the question. And now, for the first place. The Perception In sense perception there are two major constituents.1 One is awareness; the other is the object of awareness. Awareness occurs in all the kinds of consciousness-in remembering, imagining, dreaming, and thinking, for example, as well as in sense perception. In this last, it is brought about by operation of the senses; while in the others, that operation plays no direct part. But although it differs in its cause, awareness in sense perception is precisely the same, considered in itself, as it is in all the other kinds of consciousness, considered in themselves.What is awareness? It cannot be explained, as many notions can, by eliciting its parts. To understand what squareness is, for example, we need only bring forward the parts that constitute it: four straight lines equal in length, four right angles, and closed plane figure. But awareness has no parts and cannot be explained in this way. To call attention to its simplicity and its identity in all kinds of consciousness, indeed, is all that can be done to explain it though we might add the simile that likens awareness to the light that brings things before our minds out of the dark that conceals them in its absence.Now, hearing is a kind of sense perception-the kind that occurs by virtue of operation of the auditory organs; and music heard is one of the objects of auditory awareness. Can we understand how this object can seem to be emotional by appeal to the awareness of it? If that awareness seemed to exist and did not really do so, the answer would be that we cannot since the awareness of it... (shrink)

This article argues that Kaminski’s concept of philosophy meets the requirements for being a Christian philosophy as articulated by John Paul II. In the encyclical letter Fides et Ratio, John Paul II affirmed the possibility, existence, meaning, and need for a Christian philosophy. He distinguished three stances of philosophy concerning the Christian faith. First, philosophy should be completely independent of the Biblical Revelation but implicitly open to the supernatural. A second stance adopted by philosophy is often designated as Christian philosophy. (...) Third, philosophy presents another stance that is closely related to theology. Kamiński constructed an understanding of philosophy that is original, universal, and autonomous. Such a notion of philosophy was based on the classical theory of being, which fulfils the demand for the autonomy of philosophy through its relationship with faith. Kamiński’s doctrinal standpoints in philosophy are rational, objective, and universal. According to him, philosophy is also compatible with the Christian faith. In this sense, one can speak of his philosophy as a Christian philosophy. --------------- Received: 22/04/2021. Reviewed: 06/09/2021. Accepted: 23/10/2021. (shrink)

Martin Drenthen has made a strong case for his interpretation of Nietzsche’s potential contribution to environmental ethics but he does not do justice to deep ecology. The problematic he identifies is essentially the difficulty of asserting a meaningful basis for action while being aware of the contingency of all meanings.This tension can be seen running through deep ecology, at least as described by its main theorist, Arne Naess, who is not the moral realist that Drenthen would have him. Key differences (...) do emerge as Drenthen develops his idea of “Wildness” or nature as “other,” which can only partially support caring action towards nature. Drenthen is ambivalent, even hostile, to a context of experienced reality – central to Naess’s ecosophy.This causes him to fall into what is ultimately a fairly traditional nature versus culture distinction and so maintain the existential gulf between humans and nature. (shrink)

Families and clinicians approaching a child’s death in the paediatric intensive care unit (PICU) frequently encounter questions surrounding medical decision-making at the end of life (EOL), including defining what is in the child’s best interest, finding an optimal balance of benefit over harm, and sometimes addressing potential futility and moral distress. The best interest standard (BIS) is often marshalled by clinicians to help navigate these dilemmas and focuses on a clinician’s primary ethical duty to the paediatric patient. This approach does (...) not consider a clinician’s potential duty to the patient’s family. This paper argues that when a child is dying in the PICU, the physician has a duty to serve both the patient and the family, and that in some circumstances, the duty to serve the family becomes as important as that owed to the child. We detail the limitations of the BIS in paediatric EOL care and propose the relational potential standard as an additional ethical framework to guide our decisions. (shrink)

The concept of Christian Philosophy is not new in the history of philosophy. However, since the mid-twentieth century the idea of Christian Philosophy gained momentum and has become an object of explicit discussion among philosophers. The historical circumstances leading to its emergence as a distinct type of philosophy are not here discussed, and the existence of Christian Philosophy with a distinct content and purpose that sets it apart from other philosophies is here presupposed. Instead, the paper focuses on the concept (...) and methods of practising Christian Philosophy with specific reference to the methodology developed by Stanisław Kamiński. The paper argues for the suitability of his method of philosophising within the context of Christian Philosophy. Kamiński proposes a unique style that is strictly philosophical but also Christian. This methodology was based on the classical theory of being which fulfils the demand for the autonomy of philosophy but in relationship to faith. Kamiński’s doctrinal standpoints in philosophy are rational, objective, and universal. But is also most friendly and compatible with the Christian faith. In this sense, one can speak of his Christian philosophy and the suitability of his methodology for the practice of Christian philosophy. (shrink)

Black Mirror is a cultural phenomenon. It is a creative and sometimes shocking examination of modern society and the improbable consequences of technological progress. The episodes - typically set in an alternative present, or the near future - usually have a dark and satirical twist that provokes intense question both of the self and society at large. These kind of philosophical provocations are at the very heart of the show. Philosophical reflections on Black Mirror draws upon thinkers such as Friedrich (...) Nietzsche, Pierre Hadot and Michel Foucault to uncover how Black Mirror acts as 'philosophical television' questioning human morality and humanity's vulnerability when faced with the inexorable advance of technology. (shrink)

This essay examines the possibility that Charles Kingsley’s sermon “The True Gentleman” was in part a response to John Henry Newman’s classic definition of the gentleman in The Idea of a University, and explores the principal theological differences underlying the two texts.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 71-75 [Access article in PDF] Response to Kingsley Price's "How Can Music Seem to be Emotional" Marguerite Nering Calgary, Canada Kingsley Price argues that music, since it is not personal, cannot be emotional but can only seem emotional. In an earlier draft of this paper he described it more fully: "Music is not a person, cannot possibly harbor an inward (...) life, and cannot possibly be emotional." He then sets out to discover how music, since for him it is not emotional, can seem to be so. Through a step-by-step process of philosophical inquiry, he first looks within perception and not finding an answer there, searches without, mainly focusing on meaning and Susanne Langer's theory of emotion and music. His search is unrewarded, leaving him to conclude that the answer to his question remains an incomprehensible mystery.His logic at first seems impervious to dispute. Had he not strictly limited his meaning of music and emotion-particularly emotion-it may have simplified responding to his query. For him, "music" refers to instrumental music that is heard or perceived. "Emotion" means conscious feelings we find ourselves in when undergoing emotion.The major question one must ask is whether his basic premise is accurate. Is he correct in stating that music unequivocally is not emotional but only seems so? [End Page 71] Is he correct in stating that music does not harbor an inward life? After all, he is talking about instrumental music that is perceived. While one cannot deny that notated music on paper is not emotional, does this hold for instrumental music being performed and transmitted? The source is a live human, someone who has an inward life, or at least did have at the time of production. The receptor is alive and has an inward life. The human source is sending living music imbued with emotion and energy. The airwaves transport these vibrations. Can we really say that the living or live music reaching the receiver's ears is not carrying real emotion?Returning to Price's analysis, we find he looks first at perception itself, in this case sense perception, and determines that it has two major constituents: awareness and the object of awareness. He argues that awareness cannot seem to exist; it must exist. It is always simple; therefore, there can be no characteristic that makes it seeming and not real. I question whether the latter conclusion necessarily follows, that is, that reality is a consequence of simplicity, but I must agree that awareness by virtue of its existence must be real.Music heard is the object of awareness. He states that the distinction between seeming and reality does apply to some things-for example, to Macbeth seeing a dagger that really is not there-but declares that this cannot apply to music heard, for it actually exists. Does this mean that one cannot hear music that really is not there? The illusion should work for hearing if it works for vision. Back to his argument, because music heard exists, he reasons that one cannot say that the seeming emotionality in music can be traced to the character of the music that bears it. I wonder then how this would apply to a person playing music with real emotion for his or her own enjoyment? In this case the human receptor of music is also the human source of the music. They are one and the same, and this person of course has an inward personal life. Does this music only seem emotional or is it really emotional? It would make sense that it is really emotional.He then looks at whether the seemingness of emotionality can be traced to emotionality itself and deduces that it cannot. Emotions are real. If we feel joy, it is real joy we are feeling and not seeming joy. One cannot debate this. Again, however, I am not convinced of the seemingness of the emotionality of music. Because music comes from a living person, it is an extension... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 71-75 [Access article in PDF] Response to Kingsley Price's "How Can Music Seem to be Emotional" Marguerite Nering Calgary, Canada Kingsley Price argues that music, since it is not personal, cannot be emotional but can only seem emotional. In an earlier draft of this paper he described it more fully: "Music is not a person, cannot possibly harbor an inward (...) life, and cannot possibly be emotional." He then sets out to discover how music, since for him it is not emotional, can seem to be so. Through a step-by-step process of philosophical inquiry, he first looks within perception and not finding an answer there, searches without, mainly focusing on meaning and Susanne Langer's theory of emotion and music. His search is unrewarded, leaving him to conclude that the answer to his question remains an incomprehensible mystery.His logic at first seems impervious to dispute. Had he not strictly limited his meaning of music and emotion-particularly emotion-it may have simplified responding to his query. For him, "music" refers to instrumental music that is heard or perceived. "Emotion" means conscious feelings we find ourselves in when undergoing emotion.The major question one must ask is whether his basic premise is accurate. Is he correct in stating that music unequivocally is not emotional but only seems so? [End Page 71] Is he correct in stating that music does not harbor an inward life? After all, he is talking about instrumental music that is perceived. While one cannot deny that notated music on paper is not emotional, does this hold for instrumental music being performed and transmitted? The source is a live human, someone who has an inward life, or at least did have at the time of production. The receptor is alive and has an inward life. The human source is sending living music imbued with emotion and energy. The airwaves transport these vibrations. Can we really say that the living or live music reaching the receiver's ears is not carrying real emotion?Returning to Price's analysis, we find he looks first at perception itself, in this case sense perception, and determines that it has two major constituents: awareness and the object of awareness. He argues that awareness cannot seem to exist; it must exist. It is always simple; therefore, there can be no characteristic that makes it seeming and not real. I question whether the latter conclusion necessarily follows, that is, that reality is a consequence of simplicity, but I must agree that awareness by virtue of its existence must be real.Music heard is the object of awareness. He states that the distinction between seeming and reality does apply to some things-for example, to Macbeth seeing a dagger that really is not there-but declares that this cannot apply to music heard, for it actually exists. Does this mean that one cannot hear music that really is not there? The illusion should work for hearing if it works for vision. Back to his argument, because music heard exists, he reasons that one cannot say that the seeming emotionality in music can be traced to the character of the music that bears it. I wonder then how this would apply to a person playing music with real emotion for his or her own enjoyment? In this case the human receptor of music is also the human source of the music. They are one and the same, and this person of course has an inward personal life. Does this music only seem emotional or is it really emotional? It would make sense that it is really emotional.He then looks at whether the seemingness of emotionality can be traced to emotionality itself and deduces that it cannot. Emotions are real. If we feel joy, it is real joy we are feeling and not seeming joy. One cannot debate this. Again, however, I am not convinced of the seemingness of the emotionality of music. Because music comes from a living person, it is an extension... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In MemoriamForest HansenKingsley Blake Price, Professor of Philosophy at The Johns Hopkins University for more than three decades, died in Baltimore on October 27, 2009, at the age of 92. He had long served as an editorial consultant for PMER and participated in numerous PME international symposia. His personal and academic life drew admiration from his colleagues, students, and friends (overlapping classes).Kingsley was born in Salem, Indiana, where (...) his father was a Baptist minister. The family moved from there to California, and Kingsley grew up in Berkeley. He earned his B.A. with highest honors from University of California, Berkeley (1938) and went on there for his M.A. (1942) and Ph.D. (1946). His dissertation was on Locke’s theory of knowledge. Kingsley taught first at the University of Washington, then at the University of Nevada and Sarah Lawrence College (where he became a good friend of Susanne Langer) before becoming an assistant professor of philosophy and education at Hopkins in 1953. He retired from Hopkins in 1986. In the meantime he published books and articles, presented invited papers, and traveled extensively, especially to England, France, Italy, and Greece. In 1973–74 he was president of the Philosophy of Education Society.What is especially remarkable about this is that Kingsley became blind at the age of four, as a result of undiagnosed scarlet fever. For the rest of his life he was dependent upon others to read to him (he was never keen on taped readings, and was a consultant to the Library of Congress concerning recordings for the blind). He also needed others to help him with daily practical tasks. Yet he remained fiercely independent and lived alone until his death. He did not use a seeing-eye dog and only rarely a white cane.Besides his two books, Education and Philosophical Thought (1962) and On [End Page 194] Criticizing Music (1982), Kingsley published numerous articles and reviews in the Journal of Philosophy, the Review of Metaphysics, the Journal of Aesthetics and Art Criticism, Educational Theory, the British Journal of Aesthetics, the Philosophy of Music Education Review, and others. His publications were mostly on topics of art (especially music) and education. He had long been working on a manuscript of reflections upon the alleged emotional qualities of music. Kingsley criticized other theories as having inconsistent of otherwise insupportable claims. Some of his former students hope to bring this work to fruition as a book.Kingsley took piano lessons as a youngster and, typically, excelled. As a teenager he placed second in a Major Bowes Amateur Hour radio competition and considered a career as a concert pianist. When one former student asked why he had not pursued that, Kingsley replied that philosophy was more in need of an excellent philosopher than music was of an only good pianist.A February memorial for Kingsley was postponed because of a blizzard in the Baltimore area. On April 25, 2010, former graduate students, readers, colleagues, and friends—some from as far away as California, Wyoming, Hawaii, and Florida—gathered in Baltimore to honor Kingsley and share their remembrances. Besides their expressions of admiration for his philosophical acumen and his rigorous teaching, people noted Kingsley’s high moral principles, his wide range of interests in the humanities, his commitment to efforts promoting world peace, and his connoisseurship in gardening and antique furniture. Many graduate students rode with him on his tandem bicycle, and later invited him to give papers at their colleges. He was a meticulous dresser and was proud of his bow ties, his four-in-hands, and his beret. Besides such personal testimonies by those present, letters by family members, friends abroad, former graduate students, and other friends were read. Photographs were on display, and recordings of some of Kingsley’s favorites by Bach, Schubert, and Vaughan Williams were played.Above all, Kingsley was that rare professor who maintained friendship with many of his students. He is survived by an older brother, two sisters, and numerous nephews, nieces, and their offspring. And by his many friends for whom his life has made a lasting impact. [End Page 195]Forest HansenEaston, Maryland Professor Emeritus, Lake Forest College forestval2... (shrink)

The nineteenth century theologian, author and poet Charles Kingsley was a notable populariser of Darwinian evolution. He championed Darwin’s cause and that of honesty in science for more than a decade from 1859 to 1871. Kingsley’s interpretation of evolution shaped his theology, his politics and his views on race. The relationship between men and apes set the context for Kingsley’s consideration of these issues. Having defended Darwin for a decade in 1871 Kingsley was dismayed to read (...) Darwin’s account of the evolution of morals in Descent of Man. He subsequently distanced himself from Darwin’s conclusions even though he remained an ardent evolutionist until his death in 1875. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 76-79 [Access article in PDF] Response to Kingsley Price, "How Can Music Seem to be Emotional" Forest Hansen Lake Forest College Just as at the International Symposium in Philosophy of Music Education IV (PME-IV) in Birmingham, Kingsley Price has demonstrated his acute logical prowess and his alluring wit. Then as now he was addressing the question of how music can (...) seem to have feelings, how it is that we attribute merriment, joy, sorrow, sadness, and the like to passages of instrumental music. On that occasion he systematically dissected the general theory which explains such attributions by reference to feelings or emotions caused in the listener, and he more explicitly criticized the causal model theories of Peter Kivy, Jerrold Levinson, and Roger Scruton. He half-promised, then, that he would in time examine another kind of relevant theory-namely one that explains by showing that music means feelings.Now he has examined for us what is probably the strongest version of such a theory-that of Susanne Langer-and found it wanting. And he has left us in limbo by refusing to reveal his own true and best theory. Perhaps for that we must wait for PME-VI!By way of responding to Price, I want to point out two things in his argument which I find rather slippery, one perhaps not so important and one that I think is [End Page 76] quite important. Then I will make a quasi-defense of Langer's theory of meaning which may evade Price's criticism. Finally, I would like to hazard a guess as to the kind of position which Price might put forward if he were not so reticent.First, the point that is not so important. There has long been an amazing amount of uncertainly about what constitutes an emotion or a feeling, amazing because philosophers and subsequently psychologists have been reflecting on and doing mental and laboratory experiments in the area for a long, long time. Some take feeling to be the larger field of which emotions are a subset; others do the reverse. Some differentiate feelings or emotions or both in terms of related behavior, whereas others put them in the box of subjective experience. So my first comments are meant to be cautionary with respect to speaking about feelings or emotions.Price, for instance, speaks of love as a kind of emotion. I find that peculiar, especially in the way he describes Romeo's love as "continuous, not a succession of discrete moments" and as something that has a more or less clear beginning and end with no lapses in between. But there must be many times that Romeo does not experience the so-called emotion, when he is asleep, for instance, or doing nothing between acts. I love my wife Valerie, but when I am speaking now, and in most of my actions every day, I am not experiencing some set of feelings that combine to make the emotion "Forest's love of Valerie." Often what we call emotions are only intermittently experienced and are perhaps best understood as dispositions or attitudes or beliefs or commitments.My second, and I hope more telling, point is to note how Price is playful with the notion of "reality." He makes it sound as if the distinction between appearance and reality is something that can be quite clear and unambiguous, even if it is not so in particular situations like that of a person seeing a nonexistent oasis or of Lady Macbeth seeing a nonexistent spot on her hand. But note how Price so often gives us examples from the world, so to speak, of art. Lady Macbeth and Romeo do not exist as real people. Those who enact their parts do, of course, but the Lady Macbeth actor is not fooled about the spot on the hand, and the Romeo actor might quite dislike the Juliet actor and not even be sexually attracted to her. Unlike us poor mortals, Romeo and Juliet live and die again and again... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 76-79 [Access article in PDF] Response to Kingsley Price, "How Can Music Seem to be Emotional" Forest Hansen Lake Forest College Just as at the International Symposium in Philosophy of Music Education IV (PME-IV) in Birmingham, Kingsley Price has demonstrated his acute logical prowess and his alluring wit. Then as now he was addressing the question of how music can (...) seem to have feelings, how it is that we attribute merriment, joy, sorrow, sadness, and the like to passages of instrumental music. On that occasion he systematically dissected the general theory which explains such attributions by reference to feelings or emotions caused in the listener, and he more explicitly criticized the causal model theories of Peter Kivy, Jerrold Levinson, and Roger Scruton. He half-promised, then, that he would in time examine another kind of relevant theory-namely one that explains by showing that music means feelings.Now he has examined for us what is probably the strongest version of such a theory-that of Susanne Langer-and found it wanting. And he has left us in limbo by refusing to reveal his own true and best theory. Perhaps for that we must wait for PME-VI!By way of responding to Price, I want to point out two things in his argument which I find rather slippery, one perhaps not so important and one that I think is [End Page 76] quite important. Then I will make a quasi-defense of Langer's theory of meaning which may evade Price's criticism. Finally, I would like to hazard a guess as to the kind of position which Price might put forward if he were not so reticent.First, the point that is not so important. There has long been an amazing amount of uncertainly about what constitutes an emotion or a feeling, amazing because philosophers and subsequently psychologists have been reflecting on and doing mental and laboratory experiments in the area for a long, long time. Some take feeling to be the larger field of which emotions are a subset; others do the reverse. Some differentiate feelings or emotions or both in terms of related behavior, whereas others put them in the box of subjective experience. So my first comments are meant to be cautionary with respect to speaking about feelings or emotions.Price, for instance, speaks of love as a kind of emotion. I find that peculiar, especially in the way he describes Romeo's love as "continuous, not a succession of discrete moments" and as something that has a more or less clear beginning and end with no lapses in between. But there must be many times that Romeo does not experience the so-called emotion, when he is asleep, for instance, or doing nothing between acts. I love my wife Valerie, but when I am speaking now, and in most of my actions every day, I am not experiencing some set of feelings that combine to make the emotion "Forest's love of Valerie." Often what we call emotions are only intermittently experienced and are perhaps best understood as dispositions or attitudes or beliefs or commitments.My second, and I hope more telling, point is to note how Price is playful with the notion of "reality." He makes it sound as if the distinction between appearance and reality is something that can be quite clear and unambiguous, even if it is not so in particular situations like that of a person seeing a nonexistent oasis or of Lady Macbeth seeing a nonexistent spot on her hand. But note how Price so often gives us examples from the world, so to speak, of art. Lady Macbeth and Romeo do not exist as real people. Those who enact their parts do, of course, but the Lady Macbeth actor is not fooled about the spot on the hand, and the Romeo actor might quite dislike the Juliet actor and not even be sexually attracted to her. Unlike us poor mortals, Romeo and Juliet live and die again and again... (shrink)

Contributing to renewed scholarly interest in R. D. Laing and his circle, and in the radical therapeutic community of Kingsley Hall, London, this article offers the first article-length reading of Mary Barnes’ and Joseph Berke’s Mary Barnes: Two Accounts of a Journey through Madness. This text offers views of anti-psychiatry ‘on the ground’ that critique the 1960s utopianism of Laing’s championing of madness as a metanoic, quasi-psychedelic voyage. Barnes’ story, too, reveals tensions within the anti-psychiatric movement. Moving beyond existing (...) criticism of the text, Barnes, it is argued here, emerges as far more than an exemplary patient, victim or anti-psychiatric puppet. Particular attention is paid in this reading of Two Accounts to the following: the ways in which the spiritually inclined Barnes and the psychoanalytic Berke differ in this dual narrative text; the ways in which each differs from Laing; the metaphor of the journey; and the setting of Barnes’ story in the often conflicted, experimental household of Kingsley Hall. (shrink)

This article explores archival accounts of the experimental community, Kingsley Hall, established by R. D. Laing, the radical Scottish psychiatrist. The paper contributes to renewed interest in Kingsley Hall, R. D. Laing's radical psychiatry and UK counterculture. Archival sources enable not only the further exploration of already known figures but also let us hear previously unheard voices. Following a discussion of archival materials, the Hall is analyzed thematically and historically as an inner spaceship; an embattled middle-class countercultural plantation; (...) a site of spiritual renewal and development; a single-building arts colony; and a countercultural experiment. Finally, it is argued that with re-evaluation of 1960s and 1970s counterculture now underway on the Left, the Hall’s experiment in Laingian countercultural psychiatry—as we may fittingly call it—may yet inform future radical projects. (shrink)

This article reviews Stephen K. Levine’s 2019 book, Philosophy of Expressive Arts Therapy: Poiesis and the Therapeutic Imagination. The book, complete with poetry and anecdotes is connected to larger concepts in psychology, phenomenology and philosophy. The article summarizes the books contents and offers a review from the perspective of phenomenology and the expressive art practice.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 194-199 [Access article in PDF] June Boyce-Tillman, Constructing Musical Healing. (London: Jessica Kingsley Publishers, 2000) June Boyce-Tillman has written a wonderfully stimulating book. Her writing style is eminently readable and the flow of ideas can be readily absorbed. Her forays across many different areas of musical ideation and the various oppositions that exist in and among different cultures reveal that we (...) still have much to learn about the true nature of music. We also have much to change to reach the necessary levels of enlightenment that would be universally beneficial to human life. This book offers some enlightenment. Enlightenment, as the Buddha says, is a process, not a thing, so my purpose here is to give enough of an overview so that you may experience reading the book, the author's cogent insights, posing your own questions about music as a human endeavor, and to consider some of my criticisms.Her primary thesis is spelled out succinctly: My aim in this book is to examine how these polarities are associated with the healing/therapeutic properties of music and how they are reflected in different musical traditions (32). [End Page 194]The emphasis on the healing/therapeutic properties of music is well taken and she pursues these to glorious ends. In examining these properties, one becomes completely engrossed in thinking about music per se, raising both answers and puzzles. Boyce-Tillman effectively plants the seeds for inquiry that remain long after the reading is complete.Chapter 1, "Setting the Scene," is insightful in laying the ground for examining several distinct areas: ways of knowing, notions of well-being, healing as process, models of health, creativity and well-being, and musical development. She then comes to the task prepared to battle with a difficult subject, difficult because of the elusive nature of the subject, by reporting on her own musical and contemplative experiences. It is important to know her own path so that we can examine her conclusions from a deeper perspective.Next she establishes the polarities on which the rest of the book rests, and the framework on which each chapter is built: community/individualism; containment/freedom; expression/confidentiality; unity/diversity; challenge/nurture; excitement/relaxation; and embodiment/transcendence. These are explored after setting forth "A model of the self" and "Music and the model of the self."Two features are helpful to understanding the thesis and keeping track of the narrative. One is the case studies she includes to further explain the specific polarity, and the other is the summary at the end of each chapter which assists greatly in retaining cogent contact with the discourse.Chapter 2, "Of Philosophers and Thinkers," an examination of the Western outlook, although viewed from Boyce-Tillman's healing-therapeutic perspective, is a worthwhile read for even the casual reader. It spans the philosophical/aesthetic area sufficiently so that I will assign the reading of this particular chapter to my graduate students where that subject is appropriate. Here again, the six polarities come into play through an explication of each from the point of view of philosophers, aestheticians, and other writers on music.Having dealt with the Western view, she turns to shamanistic practice in Chapter 3, "Of Shamans and Healers." Intentional or not, these two chapters form a metapolarity for this is where the contrasts are at their widest points. The various dimensions and uses of music as they exist in cultures based on metaphysical beliefs are detailed and revealed through extensive and representative examples.Chapter 4, "Of a New Consciousness," explores the New Age view. She states: [t]he New Age is a many-faceted collection of traditions that has drawn on a variety of sources—both ancient and modern—to balance contemporary trends such as elitism, commercialism, materialism, racism and sexism. It has produced a variety of musical practices, many of the syntheses of ancient traditions and contemporary ideas. Communal music making can represent healing at a personal, ecological and cosmic level. The interconnectedness of the cosmos can be accessed and expressed in music (199). [End Page... (shrink)

This very long book sets out to track and trace the working-class men and, less commonly, women who, against the limited expectations of their social position, learned Greek and Latin as an aspiration for personal change. The ideology of the book is clear and welcome: these figures “offer us a new ancestral backstory for a discipline sorely in need of a democratic makeover.” The book's twenty-five chapters explore how classics and class were linked in the educational system of Britain and (...) in its cultural performativity: Is he a gentleman? Does he have Greek? became the paradigmatic questions, as the study of classics became a sign of cultural attainment and social exclusion. This book sets out to explore the counterstory of the cobblers and shepherds who, like Jude the Obscure, fought against society's oppressiveness to access classical learning.The book's breadth is exemplary. It looks at the issue through genres and media, through different communities and national identities, through the prosopography of ragged-trousered philanthropists, beggar-lecturers, body-building performers, and through other institutions and people who helped, including adult-education teachers, kind bosses, supportive vicars, and fiery communists. This breadth, and the fascinating research that it encapsulates, will make this book a fantastic resource for future scholarship: it outlines the richness of a field that has been all too rarely explored properly. If you do not know Stephen Duck, “the thresher poet,” or Hawkie, the crutch-wielding beggar who performed from the books he sold on the streets of Glasgow, then this book is the place to the meet them. The cast list alone is worth the entrance ticket.Yet this very breadth is also the source of the book's limitations. The sheer number of cases listed, treated at similar length and depth, repeatedly conceals the complexity and even the interest of individual figures or events. So, the numerous representations of Vesuvius in shows around London in the first half of the nineteenth century—after the discoveries at Pompeii—are duly noted as a source of excitement and knowledge about antiquity, but against the recent treatment by Clare Pettitt in Serial Forms (which came out the same year) this mere noting looks desperately thin. There is little discussion of how the characters themselves talked about or negotiated class. This deficiency is particularly important for someone like Charles Kingsley, who was very active in the Chartist movement but also became Queen Victoria's chaplain and the professor of history at Cambridge. There are hilarious descriptions of Kingsley's stammering engagement with the working-class leaders he actively supported, which capture how awkward the interaction of classes could be even and especially when the participants shared a goal of transformation. (Ed Richardson's Classical Victorians: Scholars, Scoundrels and Generals in the Pursuit of Antiquity is good on these moments of awkwardness but is one of several books whose absence from the notes looks pointed.) The authors list cases of working men who were picked up by fashionable society as poets or scholars, many of whom were dropped almost as quickly back into penury—but the telling description of such a case in Kingsley's Alton Locke is passed over, although it reveals an acute self-consciousness about such narratives in a best-selling novel.The very structure of the book tends toward listing cases rather than analyzing them in depth. It is not clear why “Shoemaker classicists” should take up a chapter, bar there having been some. Nor is it clear why some figures are not included. John Brown was an uneducated Scottish shepherd who taught himself Greek, Latin, and Hebrew. He was discovered by a professor, one John Pringle, when he went into a shop to buy a secondhand Greek Testament (though his own church thought this newfound and inexplicable linguistic brilliance suspicious or even satanic). Brown went on to write the wonderfully titled The Self-Interpreting Bible, which remained in print and sold very widely for more than a century after its publication in 1778—especially after it was championed by the evangelical preacher Charles Simeon. It is a pity that Brown escaped the authors’ net, but religion, one of the main reasons to learn the classical languages, is downplayed throughout this study, although its imbrication with classics is everywhere in evidence. The book, significantly enough, leads rather toward a rosy-eyed depiction of posh classical communists like Geoffrey de Ste. Croix and George Thompson, and other such heroes of the authors.The authors are much more at home in the years of ardent republicanism in the decades on either side of the turn of the nineteenth century and in the beginning of the twentieth century, when socialism and communism became embedded in British life. The last half of the nineteenth century, when classics really established itself institutionally as a discipline, and its revolutionary potential moved away from the zeal of the Romantic philhellenists into the artistic idealism of a Richard Wagner or the sexual freedom of an Oscar Wilde, are less adequately explored. The huge attendance at art galleries and the Great Exhibition at Crystal Palace as a route to encountering the past of antiquity in material form are barely addressed (Kate Nichols's Greece and Rome at the Crystal Palace would have helped); nor do shows like Astley's Circus get air time (Rachel Bryant Davies's Troy, Carthage, and the Victorians is revealing). It is particularly noticeable in such a voluminous study that there is no discussion of how turning to Greek was a crucial route for the self-understanding of what was considered transgressive male sexuality—and for a particular engagement between the classes. To understand the social force of classics requires a deeper appreciation of the dynamics between conservatism and transformation, disciplinarity and self-discovery. The big picture of how classics matters is lost in the gems picked out by the authors. Gems they are, but their facets need more attention and their setting a broader perspective. (shrink)

After examining the ways in which Newman employed the tools of rhetoric in his Apologia pro Vita Sua in response to Charles Kingsley’s charges against him, this essay charts Newman’s use of his personal testimony to proclaim the Gospel and defend the Catholic Faith and concludes with an analysis of the strengths and potential weaknesses of his approach.

In lieu of an abstract, here is a brief excerpt of the content:Reading the Mind:From George Eliot's Fiction to James Sully's PsychologyVanessa L. RyanWhat is the function and value of fiction? Debates over these questions involve considerations that range from aesthetics to ethics, from the intrinsic values of the genre to its moral effects. Recently, largely under the influence of the cognitive sciences, the question has taken on a new cast: might science give us a new answer to these long-standing (...) issues? Studies such as Lisa Zunshine's Why We Read Fiction (2006), John Carey's What Good Are the Arts? (2005), and Alan Palmer's Fictional Minds (2004) are part of a growing area of interdisciplinary work on the relationship between art and consciousness.1 This body of work asks not just how our theories of consciousness inform our understanding of the process and function of [End Page 615] reading fiction, but also whether fiction itself might provide a key to new theories about the nature of consciousness.The nineteenth-century novel is often considered the high point in the literary representation of mind. Indeed, the terms "psychology" and "novel" are explicitly yoked in the nineteenth-century with the simultaneous emergence of both as discrete forms of intellectual and artistic activity. Not surprisingly, George Eliot has come to be identified with the term "psychological novel": in fact, Nicholas Dames argues that she was the first to couple the words psychology and novel in this way in an 1855 review where she contrasted Charles Kingsley's historical romance Westward Ho! with "those 'psychological' novels."2 While George Eliot initially used the phrase in what Dames calls "mock disdain," by the end of the nineteenth century the term "psychological novel" had gained currency as a straightforward description of a type of Victorian novel: Wilbur Cross, in his summary The Development of the English Novel, for example, describes the form as "stressing an inner sequence of thought and feeling, which is brought into harmony with an ethical formula and accounted for in an analysis of motive." Along with Elizabeth Gaskell and George Meredith, Cross also cites George Eliot as one of his central examples of the "psychological novel."3It seems natural, then, when a critic asks, "what is the special distinguishing function of the modern art of fiction?" to turn for an answer to George Eliot's novels and their close connections with psychological science. It is perhaps surprising that this still-current question was posed by the nineteenth-century psychologist James Sully (1842–1923) in an 1881 article in the journal Mind on "George Eliot's Art."4 His essay offers us a Victorian contribution to questions about the relationship of literature and psychology that are being addressed today by critics such as Sally Shuttle-worth, Athena Vrettos, Kay Young, Nicholas Dames, or Rick Rylance, especially [End Page 616] with respect to George Eliot. James Sully's essay not only provides valuable insight into how the Victorians themselves understood the role of psychology in the novel, but also helps to place contemporary debates about fiction and consciousness into sharper relief.In the wake of important studies, such as Rylance's Victorian Psychology and British Culture (2000), that have brought renewed attention to nineteenth-century British psychology, recent scholarship has shown the central role of Victorian debates about the mind in shaping the fiction of the period.5 Nineteenth-century mental science provided material and inspiration for works of literature, with imaginative writers eager to exploit and develop the narrative and thematic potential of contemporary psychological discourse and probe the problems it raised. Novelists such as Wilkie Collins, George Eliot, and Henry James turned to some of the most current work in the science of the mind, which they saw as the most sophisticated and credible approach to psychological realism available. These and other novelists rapidly absorbed the central terms of the new science as it considered problems of consciousness, identity, and memory, and brought them to life by dramatizing and questioning them in their fiction. James Sully's interest in George Eliot reflects this fruitful mid- to late-nineteenth-century cross-pollination between philosophers, scientists, and novelists who were interested in the nature of consciousness, psychology... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:An Evangelical Adrift: The Making of John Henry Newman's Theology by Geertjan ZuijdwegtReinhard HütterAn Evangelical Adrift: The Making of John Henry Newman's Theology by Geertjan Zuijdwegt (Washington, DC: The Catholic University of America Press, 2022), xii + 365pp.What do we know of St. John Henry Newman's life, thought, and theological development before 1833, the year in which the Oxford Movement or Tractarian Movement was launched by Newman, John (...) Keble, and Richard Hurrell Froude? Newman, in his rightly famous and indispensable Apologia Pro Vita Sua, covers this period in one brief chapter offering at best a rough outline and some central signposts. A more nuanced and somewhat more expansive picture is emerging in Newman's Autobiographical Writings, published posthumously in 1956. Wilfrid Ward, in the two immense volumes of his 1912 Newman biography, dedicates one single chapter entitled "Life in the Church of England (1801–1845)" to the first forty-four years of Newman's life, and of those fifty-four pages, only thirty cover the time from Newman's birth in 1801 to the signal year 1833. Ian Ker, in his 1988 biography, arguably still the normative and unsurpassed scholarly Newman biography, acknowledged as such by admirers and critics alike, dedicates one chapter of fifty-three pages to the same time period. Finally, Geertjan Zuijdwegt, in his very well written and equally well-researched and well-argued monograph of 344 pages, offers a detailed and nuanced account of Newman's theological development from his teenage conversion to Calvinist Evangelicalism up to and including the beginnings of the Tractarian Movement from 1833 to 1835. One must go back to Maisie Ward's lovely portrait, Young Mr. Newman, from 1948, to find a book that covers roughly the same territory. Ward's captivating biographical portrait and Zuijdwegt's meticulously researched theological biography may be read with great benefit as mutually enlightening and complementary accounts—at least in the eyes of this reader. The latter's new work is, however, a commendable and indeed indispensable achievement of its own. For one, what lies between Ward's portrait of the young Newman and Zuijdwegt's reconstruction of Newman's [End Page 1097] early intellectual and theological development is Frank M. Turner's 2002 John Henry Newman: The Challenge to Evangelical Religion, a 750-page ad hominem attack on Newman's person and character, not only making Evangelicalism (and not theological and political liberalism) the alleged primary if not sole object of the post-Evangelical Newman's Tractarian and post-Tractarian, Catholic polemic, but also insinuating alongside in so many ways that Newman was dishonest about his work and thought, that he cared deeply for money or the security of a "living," that he was a closeted and repressed homosexual, and that he was lying about his conversion experiences—charges advanced by Charles Kingsley and other contemporaries of Newman's day and age and debunked—now warmed up und recycled under the guise of what pretended to be a massive scholarly study of intellectual history published by an Ivy League university press. Much ink has been spilled by Newman scholars in the years since Turner's book appeared to set the record straight, while others thought the time was ripe to form a "Turner school" of critical, iconoclastic Newman scholarship. Unsurprisingly, since 2002, there has been no dull moment in the small world of Newman scholarship, now divided between two well-defined camps, with "iconographers" (so called by the iconoclasts) on one side, and on the other those who aim at advancing a hard-nosed form of critical, detached historical Newman scholarship that at points has a hard time identifying the fine line between historical criticism and barely camouflaged detraction.Zuijdwegt's book is a considerable achievement first and foremost simply because he escapes to a commendably high degree, albeit not completely, the trench warfare between the warring camps of Newman scholarship. His unavoidable engagement with Turner's work is judicious, balanced, and overall, in a measured way, critical. He is far more frequently disagreeing with Turner's interpretation than agreeing with a limited number of interpretive points about Newman's early... (shrink)

The present article uncovers a pervasive strand of Victorian critique of John Henry Newman’s religious apologetic. The exponents of this critique maintained that Newman defended a credulous adherence to Catholic doctrine on the basis of a sceptical approach to knowledge. The origins of this critical tradition are to be located in Tractarian Oxford, most notably in the disputes on religious epistemology between Newman and the Oriel Noetics, and the controversy over Newman’s Essay on Development. Later Victorian intellectuals continued this critical (...) interpretation of Newman’s apologetic. The present paper discusses its development among its most prominent religiously liberal and agnostic exponents, namely, James Anthony Froude, Charles Kingsley, James Fitzjames Stephen, his brother Leslie Stephen, and Thomas Henry Huxley. All of these critics were committed to epistemological standards that ultimately derived from John Locke and which they charged Newman with subverting. Accordingly, they regarded Newman’s apologetic as fundamentally dishonest. In addition, they argued that Newman’s sceptical rhetorical strategy was a major cause of the Victorian crisis of faith rather than a persuasive to belief. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Books ReceivedThe Ahmadis: Community, Gender, and Politics in a Muslim Society. By Antonio Gualtieri. Montreal and Kingston: McGill-Queen's University Press, 2004. Pp. xvi + 192. Hardcover $65.00. Paper Cdn $24.95 / U.S. $19.95.American Knees. By Shawn Wong. Seattle and London: University of Washington Press, 2005. Pp. xxi + 229. Paper $14.95.The Art of Worldly Wisdom. By Baltasar Gracian and translated by Joseph Jacobs. Mineola, NY: Dover Publications, 2005. Pp. (...) xiii + 114. Paper $5.95.Bashō's Journey: The Literary Prose of Matsuo Bashō. Translated by David Landis Barnhill. Albany: State University of New York Press, 2005. Pp. xvii + 191. Hardcover $59.50. Paper $17.95.Bringing the Gods to Mind: Mantra and Ritual in Early Indian Sacrifice. By Laurie L. Patton. Berkeley: University of California Press, 2005. Pp. xv + 289. Hardcover $49.95/£32.50.Buddhist Inclusivism: Attitudes Towards Religious Others. By Kristin Beise Kiblinger. Burlington, VT: Ashgate Publishing Company, 2005. Pp. viii + 145. Hardcover $89.95.A Chinese Ethics for the New Century: The Ch'ien Mu Lectures in History and Culture, and Other Essays on Science and Confucian Ethics. By Donald J. Munro. Hong Kong: Chinese University Press, 2005. Pp. xlv + 158. Hardcover $33.00.Chinese Theories of Reading and Writing: A Route to Hermeneutics and Open Poetics. By Ming Dong Gu. Albany: State University of New York Press, 2005. Pp. xiv + 334. Hardcover $85.00.A Dictionary of Cantonese Slang: The Language of Hong Kong Movies, Street Gangs, and City Life. By Christopher Hutton and Kingsley Bolton. Honolulu: University of Hawai'i Press, 2005. Pp. xxiv + 492. Paper $28.00.Ghazālī and the Poetics of Imagination. By Ebrahim Moosa. Chapel Hill and London: University of North Carolina Press, 2005. Pp. xiii + 349. Hardcover $59.95. Paper $22.50.Going Forth: Visions of Buddhist Vinaya. Edited by William M. Bodiford. Honolulu: University of Hawai'i Press, 2005. Pp. x + 317. Hardcover $48.00.The Harem: Inside the Grand Seraglio of the Turkish Sultans. By N. M. Penzer. Mineola, NY: Dover Publications, 2005. Pp. 277. Paper $14.95.Ideals of the East: The Spirit of Japanese Art. By Kakuzo Okakura. Mineola, NY: Dover Publications, 2005. Pp. xiv + 106. Paper $5.95. [End Page 365]An Illustrated Chinese Materia Medica. By Jing-Nuan Wu. New York: Oxford University Press, 2005. Pp. 706. Price not given.Jews and Arabs: A Concise History of Their Social and Cultural Relations. By S. D. Goitein. Mineola, NY: Dover Publications, 2005. Pp. xv + 263. Paper $12.95.The Logic of Nothingness: A Study of Nishida Kitarō. By Robert J. J. Wargo. Honolulu: University of Hawai'i Press, 2005. Pp xi + 241. Paper $25.00.The Moral and Political Thought of Mahatma Gandhi. By Raghavan N. Iyer. New Delhi: Oxford University Press, 2000. Pp. xiii + 449. Paper Rs 520.00.Nietzsche's Epic of the Soul: Thus Spoke Zarathustra. By T. K. Seung. Lanham, MD: Lexington Books, 2005. Pp. xxviii + 370. Hardcover $83.00. Paper $27.95.Of Guilds, Companies, Corporations, and Governance: A Conceptual Sketch. By Leonardo R. Silos. Makati City, Philippines: Asian Institute of Management, 2005. Pp. xvi + 238. Price not given.The Path to Rome. By Hilaire Belloc. Mineola, NY: Dover Publications, 2005. Pp. ix + 251. Paper $12.95.The Philosophy of the Bhagavadgātā : A Study based on the Evaluation of the Commentaries of Śamkara, Rāmānuja and Madhva. By S. M. Srinivasa Chari. New Delhi: Munshiram Manoharlal Publishers, 2005. Pp. xxvi + 294. Hardcover Rs 575.00.The Philosophy of Rabindranath Tagore. By Kalyan Sen Gupta. Burlington, VT: Ash-gate Publishing Company, 2005. Pp. ix + 103. Hardcover $79.95.The Pristine Dao: Metaphysics in Early Daoist Discourse. By Thomas Michael. Albany: State University of New York Press, 2005. Pp. xi + 170. Hardcover $60.00. Paper $21.95.Three Mountains and Seven Rivers: Prof. Musashi Tachikawa's Felicitation Volume. Edited by Shoun Hino and Toshihiro Wada. Delhi: Motilal Banarsidass Publishers. 2004. Pp. xx + 903. Hardcover Rs. 1800.The Unity of Mystical Traditions: The Transformation of Consciousness in Tibetan and German Mysticism. By Randall Studstill. Leiden and Boston: Brill, 2005. Pp. xii + 304. Hardcover @89/$127.00.Writing the World: On Globalization. Edited by David... (shrink)

Guess the defined words and write them below, one letter per numbered blank. Transfer each letter of these words to the appropriate numbered square in the diagram. The filled-in diagram should contain a quotation reading from left to right. Only black squares, not ends of lines, indicate word endings, The first letters of the guessed words should give, reading vertically, the author of the quotation and the title of the work from which it was taken. Veteran readers of the Saturday (...) Review and the Sunday New York Times should already be familiar with such double-crostic puzzles, which were originally developed by Elizabeth S. Kingsley, Doris Nash Wortman, and Thomas H. Middleton. (shrink)

Sara Mills’ influential Foucauldian study of women’s travel writing, Discourses of Difference, heralded a turn from the consideration of individual female travellers as exceptions towards an analysis of the discursive pressures similarly exerted on all of them, through the awareness of normative expectations regarding the production and the reception of their writings. This article revisits panopticism in the genre by showing how travel writing reveals the intersection between the material plane and the discursive process. Through the parallel analysis of three (...) travel narratives, Anna Jameson’s Winter Studies and Summer Rambles in Canada, Isabella Bird’s A Lady’s Life in the Rocky Mountains, and Mary Kingsley’s Travels in West Africa, I show how their clothing and behaviour are enacted as signs of femininity for the benefit of their contemporaries, in texts whose diaristic form articulates the writing of the self and its exhibition to the public. I thus analyse how these travel narratives illustrate the intersection of the individual and the social in power relations and self-fashioning, and how their authors negotiate surveillance in gender performance. (shrink)

The error in Kingsley's attack on special relativity is shown to arise from his failure to actually use the Lorentz transformation. He has instead applied a fallacious symmetry argument to justify the use of time dilation in a situation for which this special case formula is not valid.

Industries of production and scientific research rely on the use of nonhuman animals and plants, remaking environments, populations, and even genetic information to suit human designs. This issue of _Social Text_ considers the radical implications of questioning the exceptional status of humans among the planet’s species. Responding to growing interest in animal studies and posthumanism, the contributors draw on racial, feminist, queer, postcolonial, and disability theories to probe the diversity of human relationships with other forms of biosocial life. “Interspecies” queries (...) the politics of traditional species taxonomy and examines the ways humans use the material characteristics of other species to pursue their economic, political, and social aims. This collection goes beyond companionate species to examine less charismatic life forms: viruses, vermin, transgenic pigs, and commodified plants. Bringing together prominent scholars and artists from a range of fields, the issue examines the histories of species collection and display. In the context of current public health challenges, including the swine flu epidemic and the scarcity of donor organs, the contributors explore the limits of transgressing species boundaries that arise when human bodies contain other species, such as viruses or transplanted organs from genetically customized pigs. “Interspecies” analyzes the use of nonhuman species in the biopolitics of warfare and torture and examines how interspecies relationships shape conditions of colonialism, imprisonment, and violence. The issue also complicates romanticized narratives of human/nonhuman animal dynamics without resorting to oversimplified portrayals of human exploitation of animal and plant life. _Julie Livingston _is Associate Professor of History at Rutgers University. _Jasbir Puar _is Associate Professor of Women’s and Gender Studies at Rutgers University. She is the author of _Terrorist Assemblages: Homonationalism in Queer Times_. _Contributors: _Neel Ahuja, Suzanne Anker, Ed Cohen, James Delbourgo, Sarah Franklin, Carla Freccero, Alphonso Lingis, Julie Livingston, Chakanetsa Clapperton Mavhunga, Jasbir Puar, Kingsley Rothwell, Lesley Sharp. (shrink)

At the beginning of a new reign it seems appropriate to re-assess the meaning of monarchy in modern Britain. The new King heads a fractured royal family, a divided nation, and a disaffected Commonwealth. How can we as scholars make sense of where the monarchy has been, and where it might be going? This article suggests a new scholarly approach is required. Through a critical analysis of three classic studies of monarchy: Walter Bagehot’s The English constitution (1867), Kingsley Martin’s (...) The magic of monarchy (1937) and Tom Nairn’s The enchanted glass (1988), the lecture traces the lineage of modern interpretations of the British monarchy and points up their limitations. Preoccupied with the symbolism of monarchy, conventional scholarship neglects its important political functions. As the lecture argues, in the era of Brexit at home and populist regimes around the world, modern democracies may actually need monarchy more than ever before. (shrink)