Summary The young Hermann Helmholtz, in an 1838 letter home, declared that he always appreciated music much more when he played it for himself. Though a frequent concert-goer, and celebrated for his highly influential 1863 work on the physiological basis of music theory, Die Lehre von den Tonempfindungen, it is likely that Helmholtz's enduring engagement with music began with his initial, personal experience of playing music for himself. I develop this idea, shifting the discussion of Helmholtz's work on sound (...) sensation back to its origins, and examine the role of his material interaction with musical instruments and music itself. In his sound sensation studies, Helmholtz understood sound as an external, physical object. But Helmholtz also conceived of sound in musical terms. Further, Helmholtz's particular musical tastes as well as his deeply personal interaction with musical instruments allowed him to reconcile his conception of sound as physical object with his conception of sound as music. Helmholtz's physiological theory of sound sensation was both the product of and constitutive of how he heard and created sound. I argue that Helmholtz himself was the embodied reconciliation of his physiological theory of sound sensation and his belief that musical aesthetics were historically and culturally contingent. (shrink)

A theory of musical narrative. An introduction to narrative analysis : Chopin's prelude in G major, op. 28, no. 3 ; Perspectives and critiques ; A theory of musical narrative : conceptual considerations ; A theory of musical narrative : analytical considerations ; Narrative and topic -- Archetypal narratives and phases. Romance narratives and Micznik's degrees of narrativity ; Tragic narratives : an extended analysis of Schubert, piano sonata in B flat major, D. 960, first movement (...) ; Ironic narratives : subtypes and phases ; Comic narratives and discursive strategies ; Summary and conclusion. (shrink)

The article examines the subjective attitudes towards life chances of the Lithuanian youth (aged 18–35). Following the concept of life chances introduced by M. Weber (1920) (cited by Grusky 2001), the theoretical aspects of life chances are analysed. The empirical part of the paper is to survey the research results on the life chances of young people in Lithuania in 2023. Based on the analysis of scientific literature and survey research data, we can state that the subjective attitudes of young (...) people to life chances vary depending on age, gender, employment, and parents’ socio-economic status when the respondent is 14–15 years old. The survey research revealed that young people, who are currently not working or studying, or who identify themselves and their family with the lowest social class, most unfavourably evaluate their life chances. The scientific research is funded by the Lithuanian Science Council researchers group’s Project ‘Socio-economic Factors of Youth Life Chances Differentiation in Lithuania’ (Reg. No. S-MIP-22-42, contract date 18.03.2022). (shrink)

This dissertation is comprised of two big essays. The first seeks to understand what is at stake in the project of music analysis writ large. I argue for adopting a conception of musical analysis as a practical activity oriented toward the having of what Dewey calls "integral experiences." I cash out this idea with help from Wittgenstein's notion of aspect perception ("seeing as"), whose musical applications I demonstrate in a discussion of Beethoven's "Moonlight" sonata. I then use my model (...) of music analysis to give a reading of David Lewin's analysis of Schubert's "Morgengruss." The second essay seeks to understand what is at stake in the project of Schenkerian musical analysis in particular. I offer an extended reconstruction of Schenker's theory of organic unity in response to objections to Schenker's "necessitarian" language, i.e. his penchant for claiming that a musical masterwork must be as it is (in some to-be-determined sense of "must"). I accomplish this by giving a normative reading of Schenker's theory of absolute music, a reading which understands Schenker's musical absolutism as at root a theory of the proper norms of musical hearing. I then argue that the observance of these norms induces one to explain musical structures teleologically. Schenker's necessitarian language, I contend, makes sense once it is situated within the context of Kant's theory of biological explanation, as set out in his Critique of Teleological Judgment, the second half of his Critique of the Power of Judgment. (shrink)

The concept of the sinthome - the construction which provides a unique structuring of jouissance, but which is divested of any symbolic meaning - arrived late in Lacan’s work, in his seminar on 1975-6. The sinthom’s most notable application in Žižek’s output is found in Part I of his The Sublime Object of Ideology, in which he explores the homology between the form of commodities and of dreams. It has since been used widely in discussions of literature, art, and cinema, (...) but is missing from musicology, aside from the occasional remark from Žižek himself. This paper demonstrates that the medial caesura which deflects the tonal trajectory of a sonata exposition, and not the themes themselves, should be identified as the locus of this aspect of Schubert’s compositional voice. Drawing on ideas emerging from Žižek’s critique of Hitchcock, the aim is to demonstrate how the Lacanian concept of the sinthom reveals a deeper, more fundamental intertextuality in Schubert’s compositional project than has hitherto been available. (shrink)

"An important contribution to contemporary jurisprudential debate and to legal thought more generally, Just Interpretations is far ahead of currently available work."--Peter Goodrich, author of Oedipus Lex "I was struck repeatedly by the clarity of expression throughout the book. Rosenfeld's description and criticism of the recent work of leading thinkers distinguishes his work within the legal theory genre. Furthermore, his own theory is quite original and provocative."--Aviam Soifer, author of Law and the Company We Keep.

In lieu of an abstract, here is a brief excerpt of the content:Adjudicating the Debate Over Two Models of Nature AppreciationSheila Lintott (bio)It seems commonplace to point out that we aesthetically appreciate a wide variety of objects: that is, art objects are not the only good candidates for aesthetic appreciation.1 We know from experience that one can aesthetically appreciate not only Georgia O'Keefe's White Trumpet Flower, but also a white trumpet flower. Similarly, we can aesthetically appreciate both a pictorial representation (...) of the human form and that form instantiated in certain prime specimens. We do so, moreover, without classifying either flowers or human beings as art objects. Yet, the paradigm of aesthetic appreciation today, in both everyday life and in educative contexts, is the appreciation of art, which explains why we tend to try to understand what makes aesthetic appreciation appropriate in terms of what makes art appreciation appropriate. This approach may not be entirely mistaken, for beginning with the familiar is always a good plan. However, it must be done with care, otherwise important differences between our relationships with the art we appreciate and with the nature we appreciate may be overlooked, thereby obscuring salient differences in the appreciation of each.In this essay, I focus on the issue of the appropriate aesthetic appreciation of nature and offer an overview of a contemporary debate on the topic. I begin with a general discussion of art and nature appreciation. I then summarize Kendall Walton's theory of appropriate art appreciation and explain his skepticism regarding the possibility of appropriate and inappropriate nature appreciation. Next, I discuss two models according to which Walton is mistaken, as the philosophers who present these models, Allen Carlson and Noël Carroll, do so to illustrate how nature appreciation can be properly considered appropriate or inappropriate. It may seem that given the recent proliferation of models of nature appreciation, the last thing we should seek is yet another model. However, in the end, I shall argue the need for a new and different kind of model, one that is a revisionist and extensionist model of nature appreciation. [End Page 52]Art and Nature AppreciationConcerning the perceptual activity of the audience, how we ought to appreciate artworks is largely uncontroversial. Perhaps this is why Carlson opens his attempt to understand the aesthetic appreciation of nature with a presentation of the aesthetic appreciation of art, explaining that "with art objects there is a straightforward sense in which we know both what and how to aesthetically appreciate."2 Although not all artworks offer "straightforward" examples of aesthetic appreciation, Carlson's general point is reasonably motivated. As Kendall Walton succinctly explains: "Paintings and sculptures are to be looked at; sonatas and songs are to be heard. What is important about these works of art, as works of art, is what can be seen or heard in them."3 That we ought to look at paintings and listen to sonatas seems obvious for at least two reasons. First, via formal education and informal interactions, we have grown familiar with the conventions of art appreciation; second, such conventions find experiential reinforcement when, for example, our auditory sense is tickled by a Mozart concerto.4Underlying our relative lack of confidence when it comes to nature appreciation is the obvious fact that nature, unlike art, is not an artifact. Nature was not made by beings like us; it was made neither for our use, nor for our entertainment, nor for our appreciation.5 As Carlson puts it, "art objects are our own creations; it is for this reason that we know what is and what is not part of a work, which of its aspects are of aesthetic significance, and how to appreciate them" (ANE, 41). We need, therefore, a model of nature appreciation that will serve as a source of education regarding how best to appreciate nature and will offer the confidence we lack and the guidance we seek.It might seem that we should simply apply our knowledge of art to nature appreciation — that is, appreciate nature as if it were art. However, as numerous philosophers have noticed, this approach is mistaken.6 The mistake is both theoretical and practical. Theoretically, it is a category error... (shrink)

Miran Božovič, an expert in modern philosophy, in his new work begins to read some literary works from the 17th, 18th and 19th centuries in the light of philosophical theories, either explicitly or implicitly contained in them. These range from little-known novels such as G. Daniel's Journey to the World of Descartes (1690) and Fontenell's State of the Philosophers (1682), through 18th century classics, Diderot's Rameau's nephew, to one of the greatest 19th century novels, Melville's Moby Dick (1851) and Tolstoy's (...) short stories Kreutzer's Sonata (1889)--Publisher's website. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Adjudicating the Debate Over Two Models of Nature AppreciationSheila Lintott (bio)It seems commonplace to point out that we aesthetically appreciate a wide variety of objects: that is, art objects are not the only good candidates for aesthetic appreciation.1 We know from experience that one can aesthetically appreciate not only Georgia O'Keefe's White Trumpet Flower, but also a white trumpet flower. Similarly, we can aesthetically appreciate both a pictorial representation (...) of the human form and that form instantiated in certain prime specimens. We do so, moreover, without classifying either flowers or human beings as art objects. Yet, the paradigm of aesthetic appreciation today, in both everyday life and in educative contexts, is the appreciation of art, which explains why we tend to try to understand what makes aesthetic appreciation appropriate in terms of what makes art appreciation appropriate. This approach may not be entirely mistaken, for beginning with the familiar is always a good plan. However, it must be done with care, otherwise important differences between our relationships with the art we appreciate and with the nature we appreciate may be overlooked, thereby obscuring salient differences in the appreciation of each.In this essay, I focus on the issue of the appropriate aesthetic appreciation of nature and offer an overview of a contemporary debate on the topic. I begin with a general discussion of art and nature appreciation. I then summarize Kendall Walton's theory of appropriate art appreciation and explain his skepticism regarding the possibility of appropriate and inappropriate nature appreciation. Next, I discuss two models according to which Walton is mistaken, as the philosophers who present these models, Allen Carlson and Noël Carroll, do so to illustrate how nature appreciation can be properly considered appropriate or inappropriate. It may seem that given the recent proliferation of models of nature appreciation, the last thing we should seek is yet another model. However, in the end, I shall argue the need for a new and different kind of model, one that is a revisionist and extensionist model of nature appreciation. [End Page 52]Art and Nature AppreciationConcerning the perceptual activity of the audience, how we ought to appreciate artworks is largely uncontroversial. Perhaps this is why Carlson opens his attempt to understand the aesthetic appreciation of nature with a presentation of the aesthetic appreciation of art, explaining that "with art objects there is a straightforward sense in which we know both what and how to aesthetically appreciate."2 Although not all artworks offer "straightforward" examples of aesthetic appreciation, Carlson's general point is reasonably motivated. As Kendall Walton succinctly explains: "Paintings and sculptures are to be looked at; sonatas and songs are to be heard. What is important about these works of art, as works of art, is what can be seen or heard in them."3 That we ought to look at paintings and listen to sonatas seems obvious for at least two reasons. First, via formal education and informal interactions, we have grown familiar with the conventions of art appreciation; second, such conventions find experiential reinforcement when, for example, our auditory sense is tickled by a Mozart concerto.4Underlying our relative lack of confidence when it comes to nature appreciation is the obvious fact that nature, unlike art, is not an artifact. Nature was not made by beings like us; it was made neither for our use, nor for our entertainment, nor for our appreciation.5 As Carlson puts it, "art objects are our own creations; it is for this reason that we know what is and what is not part of a work, which of its aspects are of aesthetic significance, and how to appreciate them" (ANE, 41). We need, therefore, a model of nature appreciation that will serve as a source of education regarding how best to appreciate nature and will offer the confidence we lack and the guidance we seek.It might seem that we should simply apply our knowledge of art to nature appreciation — that is, appreciate nature as if it were art. However, as numerous philosophers have noticed, this approach is mistaken.6 The mistake is both theoretical and practical. Theoretically, it is a category error... (shrink)

This chapter deals with a crucial component of our position, the presumption that there are objective grounds for preferring one thing to another within the various cultural institutions we deal with, that there are better or worse symphonies, soufflés and theories of the atom. The task of showing this is more urgent for some institutions than others. While philosophers can doubt anything, most people are persuaded of the objectivity of our efforts to comprehend the physical world and to weigh, count (...) and measure accurately in many areas of human activity. Again, when we are faced with a choice among functional objects or processes, most people will admit that we can ground a preference for a knife or an exercise routine on objectively established facts: sharpness, or measurable increase in strength. Here, certainly, various conflicting desiderata may enter and make actual decisions more difficult — the sharpest knife may also be the most expensive; we may need to worry about its safety features; it may be ugly; and so on. But many will doubt that our judgements of comparative worth for non-functional objects such as paintings or sonatas can claim a similarly objective basis. We shall, therefore, concentrate our efforts on the most doubted areas, but will begin with the less contentious, where we think it is useful to draw attention to the genuine problems some philosophers have stressed, to show in fact that what we believe to be popular unconcern deserves to be somewhat ruffled. (shrink)

The representational arts seem friendly territory for “symbol” theories of aesthetics. Much of the initial resistance one may feel to the idea that a Mondrian composition or a Scarlatti sonata is a symbol evaporates when we switch to a portrait of Mozart, Michelangelo’s Pietá, or Dickens’s A Tale of Two Cities. These representational works have reference to things outside themselves. The portrait is a picture of Mozart; the Pietá is a sculpture of Christ and his Mother; A Tale of (...) Two Cities is about London, Paris, and the French Revolution. It is natural enough to consider the relation between these works and what they are of or about a semantic one. And if the representational is to be understood in terms of this semantic relation it is reasonable to hold that to be representational is to be a symbol of a certain kind. (shrink)

Yannis Ritsos es uno de los poetas más influyentes de la generación griega de 1930, análoga a la generación del ‘27 en España. Los poetas de esa generación trajeron el surrealismo a la poesía griega, y, algunos como Ritsos, un claro compromiso político, reflejado en su poesía. Su obra más conocida/traducida es de carácter políticamente comprometido, de tono seco y épico. La "Sonata del claro de luna", el poema aquí traducido, es de un lirismo marcadamente diferente, y es menos (...) conocido, aunque sea de una belleza y recursos artísticos impactantes.PALABRAS CLAVE: Yannis Ritsos, Sonata del claro de luna, generación de 1930, poesía griega del siglo XX, poesía y contexto histórico.Yannis Ritsos is one of the most influential poets of the socalled 1930 generation of Greek poets who introduced surrealism in Greek poetry, and for some, such as Ritsos, a strong political engagement reflected in their poetry. His most read/translated work is imbued by a politically engaged, stark and epic tone. The poem translated/presented herewith is of a markedly different, lyrical character, and is less well-known, despite its arresting beauty and artistic elements.KEYWORDS: Yannis Ritsos, Moonlight Sonata, 1930 generation, XX-century Greek poetry, poetry and its historical context. (shrink)

La forma sonata es una de las estructuras musicales más empleadas desde el siglo XVIII, tanto en obras para instrumento solista como en música de cámara, sinfónica e incluso en ópera. La disposición formal de este tipo de construcciones se basa en las relaciones establecidas entre las sensaciones sonoras de reposo, inestabi-lidad y tensión, generadas inicialmente en el discurso armónico. Sin embargo, estas relaciones se pueden situar también en los niveles melódico, rítmico y tímbrico. En este documento se presenta (...) el primer movi-miento del Cuarteto No 1 Op. 18 en Fa Mayor de Ludwig van Beethoven, compuesto en forma de sonata, como estructura basada en relaciones rítmicas. El principal fundamento teórico de este estudio se halla en la Teoría de Estratos de Nicolai Hartmann. (shrink)

If the world itself is metaphysically indeterminate in a specified respect, what follows? In this paper, we develop a theory of metaphysical indeterminacy answering this question.

This chapter surveys hybrid theories of well-being. It also discusses some criticisms, and suggests some new directions that philosophical discussion of hybrid theories might take.

"Feminism, Theory and the Politics of Difference" looks at the question of difference across the full spectrum of feminist theory from liberal, radical, lesbian ...

This paper argues that we should replace the common classification of theories of welfare into the categories of hedonism, desire theories, and objective list theories. The tripartite classification is objectionable because it is unduly narrow and it is confusing: it excludes theories of welfare that are worthy of discussion, and it obscures important distinctions. In its place, the paper proposes two independent classifications corresponding to a distinction emphasised by Roger Crisp: a four-category classification of enumerative theories (about which items constitute (...) welfare), and a four-category classification of explanatory theories (about why these items constitute welfare). (shrink)

The proof theory of many-valued systems has not been investigated to an extent comparable to the work done on axiomatizatbility of many-valued logics. Proof theory requires appropriate formalisms, such as sequent calculus, natural deduction, and tableaux for classical (and intuitionistic) logic. One particular method for systematically obtaining calculi for all finite-valued logics was invented independently by several researchers, with slight variations in design and presentation. The main aim of this report is to develop the proof theory of (...) finite-valued first order logics in a general way, and to present some of the more important results in this area. In Systems covered are the resolution calculus, sequent calculus, tableaux, and natural deduction. This report is actually a template, from which all results can be specialized to particular logics. (shrink)

Proof Theory of Modal Logic is devoted to a thorough study of proof systems for modal logics, that is, logics of necessity, possibility, knowledge, belief, time, computations etc. It contains many new technical results and presentations of novel proof procedures. The volume is of immense importance for the interdisciplinary fields of logic, knowledge representation, and automated deduction.

Lipsey and Lancaster's "general theory of second best" is widely thought to have significant implications for applied theorizing about the institutions and policies that most effectively implement abstract normative principles. It is also widely thought to have little significance for theorizing about which abstract normative principles we ought to implement. Contrary to this conventional wisdom, I show how the second-best theorem can be extended to myriad domains beyond applied normative theorizing, and in particular to more abstract theorizing about the (...) normative principles we should aim to implement. I start by separating the mathematical model used to prove the second-best theorem from its familiar economic interpretation. I then develop an alternative normative-theoretic interpretation of the model, which yields a novel second best theorem for idealistic normative theory. My method for developing this interpretation provides a template for developing additional interpretations that can extend the reach of the second-best theorem beyond normative theoretical domains. I also show how, within any domain, the implications of the second-best theorem are more specific than is typically thought. I conclude with some brief remarks on the value of mathematical models for conceptual exploration. (shrink)

In this paper we discuss how Causal Decision Theory should be modified to handle a class of problematic cases involving deterministic laws. Causal Decision Theory, as it stands, is problematically biased against your endorsing deterministic propositions (for example it tells you to deny Newtonian physics, regardless of how confident you are of its truth). Our response is that this is not a problem for Causal Decision Theory per se, but arises because of the standard method for assessing (...) the truth of certain counterfactuals. The truth of deterministic laws is `modally fragile' on the standard semantics for counterfactuals: if determinism is true and you were to do otherwise, the laws would be different. We provide two ways of avoiding this problem: 1) supplement the standard semantics for counterfactuals with impossible worlds, or 2) introduce rigid designators into the description of problematic decision situations. We argue that both of these approaches are well-motivated and can be readily incorporated into Lewisian Causal Decision Theory. (shrink)

Postmodernism has evoked great controversy and it continues to do so today, as it disseminates into general discourse. Some see its principles, such as its fundamental resistance to metanarratives, as frighteningly disruptive, while a growing number are reaping the benefits of its innovative perspective. In Political Theory and Postmodernism, Stephen K. White outlines a path through the postmodern problematic by distinguishing two distinct ways of thinking about the meaning of responsibility, one prevalent in modern and the other in postmodern (...) perspectives. Using this as a guide, White explores the work of Heidegger, Foucault, Derrida, Lyotard, and Habermas, as well as 'difference' feminists, with the goal of showing how postmodernism can inform contemporary ethical-political reflection. In his concluding chapter, White examines how this revisioned postmodern perspective might bear on our thinking about justice. (shrink)

The subject of the study is the Sonata for flute and piano "Pan's Flute" by J. Mouquet. The purpose of the study is to consider the traditional pastoral techniques that the composer uses in his composition. When writing the article, both general research methods (analytical, deductive, inductive, etc.) and musicological (holistic, intonation, harmonic, genre, structural and compositional) were used. Methodologically important in writing the article were the works of A. G. Korobova. Based on the works of the scientist in (...) the Sonata of J. Muke analyzed the pastoral topic of the composition, and also determined its pastoral model. The culturological approach was carried out on the basis of the research of V. V. Azarova, O. A. Gagarina, V. A. Zakharova. With the help of him, certain French traditions were derived in the article, which influenced the work of J. Flour. In the scientific article, for the first time, an attempt is made to analyze one of the most famous compositions of J. Mouquet – the Sonata "Pan's Flute". In this work, two aspects are considered in detail – verbal and actually musical. In both aspects, there are connections with the French pastoral musical and theatrical tradition, as well as a commonality in the symbolic interpretation of neoanticism and neobucolics with the works of C. Debussy. During the analysis, it was found that J. Muke applied an anti-politicized pastoral model. Pastoral topics are found at different levels of composition – intonation, tonal-harmonic, textural, timbre, formative, dramatic. This article can be used in the field of art criticism for further study of the work of J. Mouquet, French music of the turn of the XIX – XX centuries and in the study of pastoral musical works. Analysis of the Sonata by J. Muke will also be useful in performing practice for a better understanding of the composer's idea and the dramaturgy of the composition. (shrink)