Martha Nussbaum’s work Political Emotions: Why Love Matters for Justice identifies the role that compassion plays in motivating citizens in a just society. I expand on this discussion by considering how attitudes of indifference pose a challenge to the extension of compassion in our society. If we are indifferent to others who are in situations of need, we are not equipped to experience compassion for them. Building on Nussbaum’s account, I develop an analytic framework for the public emotion of Civic (...) Tenderness to combat indifference. Civic tenderness is an orientation of concern that is generated for people and groups that are vulnerable in our society. For example, while we are all vulnerable to having material needs, some people are more vulnerable depending on their personal, social, political, economic, or environmental situations. I focus on two social injustices that largely affect African American and African descended people in America—poverty and the American Criminal Justice System. Whereas compassion responds to suffering, tenderness responds to vulnerability. Since occupying a situation of suffering implies having been vulnerable to suffering, vulnerability is prior to suffering and tenderness is prior to compassion. Civic tenderness is the expansion of tenderness among a society’s members, institutions, or systems. I argue that its expansion is initiated and sustained by a process called tenderization. Tenderization adjusts our perception of situations of vulnerability and motivates us to protect the vulnerable. Additionally, I propose a plan to initiate this process. I suggest that the state’s role will be to increase the recognition of situational vulnerability for groups like the imprisoned and the impoverished. This recognition encourages the society to adopt legislation considerate of the historical circumstances that caused a particular group’s vulnerability. In addition to legislative safety nets, I suggest the state should tenderize its citizens in order to reintegrate vulnerable citizens into society by giving them a sense of self-respect. As an exercise in non-ideal political theory, this research draws on social/political philosophy, moral and social psychology, and political science to provide an interdisciplinary perspective of the problem and possible solutions. (shrink)

Psychological and neuroscientific inquiry pointed out the value of attention for auditory perception. Recent studies have identified that the problem is not one of finding a location for a given task, but of identifying how and what one wants to do with a given stimulus. This radicalises the problem of attention in perception. In this paper I try bring experimental research into dialogue with social role of emotions and attention in sonorous and musical field from the point of view of (...) anthropology and ethnomusicology. (shrink)

Offers philosophical and psychological reflections on cruelty and tenderness. The Cudgel and the Caress explores the enduring significance of tenderness and cruelty in a range of works across philosophy, psychoanalysis, and literature. Divided into two parts, the book initially focuses on tenderness, with David Farrell Krell delivering original readings of Homer’s Iliad, Sophocles’s Antigone, and writings by Hölderlin, Hegel, Freud, and Derrida that deal with the importance of tenderness and the tragic consequences of its absence. Part (...) One concludes with an extended reading of Robert Musil’s Man Without Qualities, in which Krell analyzes the tender relationship between Ulrich and Agathe. In Part Two, Krell begins by examining Otto Rank’s Birth Trauma, which reflects on the tenderness of gestation in the womb and the cruel necessity of birth. He then turns to an examination of cruelty in general, focusing on Derrida’s challenge to contemporary psychoanalysis, his opposition between Kant and Nietzsche, and his analysis (and indictment) of the death penalty. Groundbreaking and insightful, the book provides a rare philosophical treatment of subjects vital to the world we live in. David Farrell Krell is Emeritus Professor of Philosophy at DePaul University and Brauer Distinguished Visiting Professor of German Studies at Brown University. (shrink)

In western cultures, when it comes to places of worship and liturgies, music, acoustics and architecture go hand in hand. In the present study, we aimed to investigate whether the emotions evoked by music are enhanced by the acoustics of the space where the music was composed to be played on. We explored whether the emotional responses of western naïve listeners to two vocal pieces from the Renaissance, one liturgical and one secular, convolved with the impulse responses of four Christian (...) temples from the United Kingdom, were modulated by the appropriate piece/space matching. In an alternative forced choice task where participants had to indicate their preference for the original recording of the piece (not convolved with any temple-like acoustics) vs. the convolved one, no significant differences were found. However, in the tasks where participants rated their emotional in response to each piece and acoustic condition, the factorial ANCOVA analyses performed on the results revealed significant effects. We observed that, across pieces and spaces, participants found the temple-like acoustics as more transcendent, compared to the acoustics of the original version of the pieces. In addition, they rated the secular piece as more tender and the liturgical piece as more expressive in its original versions, compared to the convolved ones. We conclude that the acoustic signature of the four Christian temples causes an exaltation of certain emotions on listeners, although this effect is not associated to one or another musical piece. (shrink)

The adequacy of currently popular accounts of the genetic basis for psychological altruism, including inclusive fitness, reciprocal altruism, sociality, and group selection, is questioned. Problems exist both with the evidence cited as supporting these accounts and with the relevance of the accounts to what is being explained. Based on the empathy-altruism hypothesis, a more plausible account is proposed: generalized parental nurturance. It is suggested that four evolutionary developments combined to provide a genetic basis for psychological altruism. First is the evolution (...) in mammals of parental nurturance. Second is the evolution in humans of the ability to see others as sentient, intentional agents and, thereby, to recognize other's needs, even subtle ones. Third is the evolution in humans of tender, empathic emotions as an important component of parental nurturance. Fourth is the evolution in humans of cognitive capacities that make it possible to generalize tender, empathic feelings and, thereby, altruism beyond offspring. (shrink)

En suspendant la violence de ses passions et de ses désirs, l'homme se montre capable d'une relation harmonieuse et respectueuse avec lui-même, les êtres et les choses, dans un dialogue avec la douceur de la vérité et la beauté de l'art qui la recrée. On étudiera comment, à l'âge humaniste et classique, les modernes ont pensé la douceur à partir de la relecture des sources antiques et chrétiennes dans les divers champs du savoir de la poétique à l'éthique, de la (...) métaphysique à l'esthétique et dessiné un idéal difficilement définissable et aisément rompu."--Page 4 of cover. (shrink)

When you think of compassion, what comes to mind? Kindness, understanding, tenderness, empathy, maybe warmth? Compassion can be all those things - but it is much more. Drawing on his many years of experience as a clinical psychologist and researcher, Dr James Kirby brings together hard science and real-life examples to offer a guide to a more compassionate life and society. Kirby debunks the myth that compassion is simple a feeling and shows us how it is a motivational force (...) that can shape our behaviour and relationships with each other and the world. He considers how it might help with self-criticism, parenting and grief, and he explores what part artificial intelligence might play in a compassionate future. In this engaging and timely book, Kirby traverses philosophy, psychology and pop culture to show how we can choose compassion to make our lives healthier, happier and more meaningful. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume on Tranquillizing the Passions John Immerwahr Borrowingafragmentfrom thelyric poetArchilochus, Sir IsaiahBerlin once divided thinkers into two categories: foxes, who know many things; and hedgehogs, who know only one, "one big thing."1 Although Berlin does not include Hume in either list, it is tempting to put him with the foxes. Indeed, Hume's corpus is brilliantly eclectic, ranging with equal facility over an impressive array of seemingly diverse subjects such (...) as epistemology, ethics, political science, religion, psychology, history, criticism, economics, and demography. Many of Hume's admirers have not even attempted to find a unity here, and Hume's less generous critics have attributed this diversity to an incessant hunger for "literary fame" which supposedly led Hume from topic to topic, always searching for popular acclaim and recognition.2 The dazzling diversity of Hume's thinking has obscured some important underlying themes; Hume is more of a hedgehog than he initially appears. At the centre of many of Hume's discussions is a recurring conviction about the nature of human well-being and the means to obtain it. This insistence—which can be found in each stage ofHume's career and in writings on virtually every topic—provides one way of finding an overarching unity to his thought and invites us to rethink some ofthe conventional wisdom about Hume. In this essay I argue that many of Hume's investigations are informed by his early distinction between calm and violent passions. Wherever we turn we find Hume insisting that people arehappiest and governments are most stable when emotional calmness prevails. Hume alsohas astrategy, which Icall "moderation through opposition," which is designedto"tranquillize and soften"the passions.3 This strategy also becomes a stylistic principle which informs Hume's own writing, especially his popular works. This essay begins with a brief discussion of the calm/violent distinction itself. I then sketch out the role ofcalm passions in Hume's treatment of rationality, happiness, morality, politics and religion. Next I turn from Hume's diagnosis to his proposed cure, and discuss the strategy that Hume presents for enhancing the calm passions; indeed, Hume's writing style itselfis often designed to implement this strategy. I then discuss the context of Hume's insight, arguing that while it grows out of a cosmopolitan continental paradigm of using Volume XVIII Number 2 293 JOHN IMMERWAHR passions to oppose passions, Hume's own use ofit is tailored to rather specific features of the political and intellectual life of eighteenth centuryEdinburgh. The essay concludesby discussingthe implications of these findings for reading ofHume's works. Passions: Calm and Violent One characteristic feature of the thinkers of the "Scottish Enlightenment" was a desire tofound moral concepts in a scientific and empirical understanding ofhuman nature, rather than upon abstract conceptions of virtue and justice.4 These thinkers were particularly interestedin non-cognitivistelements ofhuman nature, such as"taste," "sentiment" and the "passions,"5 and they were also interested in discriminatingamongthe feelings and passions to discover those which were most beneficial to the individual or society. One Scottish philosopher who was particularly influential upon Hume in this connection was Francis Hutcheson. In discussing the passions, Hutcheson distinguished between what he called the "calm desire of good" and the "particular passions towards objects immediately presented to the senses." Hutcheson noted that these calm desires were frequently powerful enough to conquer particular passions such as "lust or revenge."6 The calm passions are thus very important to our understanding ofhuman motivation. As in so many other things, Hume also appears to be influenced by Hutcheson on the existence and importance of "calm passions." Early in Treatise 2, Hume expands on Hutcheson's idea that our experience ofan emotion or passion can be described as either "calm" or "violent"7 (also "soft" or "tender," "rough" or "fierce").8 The main difference between calmness and violence has to do with the intensity with which a passion is experienced. When we experience violent passions we feel an "uneasiness" (T 418) and sometimes "disorders and agitations" (E 17).9 Other passions are "calm" in that they cause "no disorder in the soul" and "little emotion in the mind" (T 417).10 Hume's main point is that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Prelude to the Special Issue of the Journal of Aesthetic Education on Children’s LiteratureEllen Handler Spitz, Guest Editor (bio)When Professor Pradeep A. Dhillon, editor of the Journal of Aesthetic Education, suggested to me one day that I might guest edit a special issue of the journal devoted to the topic of children’s literature, my initial reticence was toppled and my sense of resolve buoyed as I began to fantasize (...) with billowing excitement about just how this might be done. First, I dreamt up the image of guest editor as bountiful hostess—setting out delectable dishes in an elegantly appointed banquet before the readers of this journal. That metaphor faded, however, despite Maria Tatar’s eloquent reminder to us in these pages that gastronomy has frequently and salubriously been juxtaposed with reading. I could not help worrying (even though children vociferously protest the logic of this problem) that one cannot have one’s cake and eat it too. Therefore, switching to music, I began to imagine the editor as conductor of a highly select ensemble of musicians, all gifted with glorious well-seasoned voices. They might perform a concert (recorded for posterity, of course) of pieces aimed at an audience of those who care passionately about aesthetics, education, literature, and above all about children, and at those who, perhaps with tenderness, still recall their own childhood reading.But how to accomplish this in practical terms? Well, I reasoned, I would simply invite a group of distinguished senior scholars who, having achieved their reputations in related fields and having written on other subjects as well, have published highly significant works pertaining to children’s literature. Each person would contribute a composition in his or her own voice, and there would be complete freedom, carte blanche, no holds barred—the only constraint being page numbers. Would the results turn out to be harmony or cacophony? Well, I speculated, if each voice were finely tuned, resonant, and clear, whether treble or bass, forte or pianissimo, the outcome—although [End Page 1] unpredictable in terms of specifics—would, unquestionably, be musical. But that, dear reader, is ultimately for you to judge, for you have now heard precisely how this issue came into being and will, we hope, read on. Each author I asked responded to my call with alacrity and, in his or her original style and tone, made my task as conductor a perfect pleasure.We offer you a work in three parts. First, you will encounter two melodious and euphonious pieces, contributed respectively by Marina Warner (“Out of an Old Toy Chest”) and Maria Tatar (“From Bookworms to Enchanted Hunters: Why Children Read”). Here, the overarching themes of children’s play and make believe are set up, analyzed, and explored. Playing and reading are placed side by side, as well as reasons why children love to read and how they are variously exhorted, extolled, and even occasionally excoriated by adults for doing so.Our second movement consists of three apparently unrelated motifs, contributed in turn by Gareth Matthews (“Philosophical Adventures in the Lands of Oz and Ev”), Seth Lerer (“Style and the Mole: Domestic Aesthetics in The Wind in the Willows”), and myself (“Ethos in Steig’s and Sendak’s Picture Books: The Connected and the Lonely Child”). Actually, however, these essays are not unrelated, for each motif arises from a particular mode of interpretation grounded in turn in philosophy, in literary history and theory, and in psychology. The works considered are all by notable writers for children: L. Frank Baum, Kenneth Grahame, William Steig, and Maurice Sendak.For our grand finale, we offer two sonorous, seriously challenging contributions, one by Jack Zipes (“Why Fantasy Matters Too Much”) and the other by Eliza T. Dresang and Bowie Kotrla (“Radical Change Theory and Synergistic Reading for Digital Age Youth”). These works grapple with contemporary matters, with fantasy, with technology, and with “radical change” as these can be discerned in the literature, imagery, and general cultural lives of today’s and even, quite possibly, of tomorrow’s children. Gesturing toward the future even more strikingly, we conclude this work with a flourishing coda in the actual voice of a living child... (shrink)

There is an essential tension in Hume's account of explanation in the moral sciences. He holds the familiar (though problematic) view that explanations of action are causal explanations backed by the laws of human nature. But he also tenders a rational and historical model of explanation which has been neglected in Hume studies. Developed primarily in the Essays and put into practice in the History of England, this model holds that explanations in the moral sciences cite agents? reasons for acting (...) in definite historical situations. Such explanations are context?dependent, social (not psychological) in content, essentially post hoc, and provide insufficient grounds for prediction. The tension between Hume's two models is considerable, not to say inconsistent. We would best understand him as trying to reconcile the two. Each provides different and equally important kinds of intelligibility. Until this is appreciated, the one?sided interpretation of Hume as a psychological reductionist and a covering?law theorist will continue. (shrink)

There is a paradox about how our social understanding develops if we take seriously both theory theory and the cognitivist dictum that all skilful interaction has robust conceptual underpinnings. On the one hand, it is clear that young infants demonstrate a capacity to reliably detect and respond to other’s intentions. For example, recent experimental evidence confirms that they have the capacity to appropriately parse what would otherwise be an undifferentiated behaviour stream at its mentalistic joints. If we follow the cognitivist (...) trend in thinking that having the appropriate concepts is an antecedent requirement for such recognitional capacities then it follows that we should ascribe to these infants the concept of intention (or, at least, a concept of intention). But if we also hold that mentalistic concepts are constituted by their links with other mentalistic concepts, such as belief and desire, as assumed by proponents of theory theory, then we ought to conclude that infants lack certain concepts, such as intention, because at their tender age they lack other concepts, such as belief, which are required to constitute their contents. I will consider two possible atomistic ways of squaring this circle, in the process ultimately rejecting cognitivism in favor of the idea that various nonconceptual capacities best account for our initial abilities for recognizing and responding to intentional agency. I hold that it is what these responses are directed at that remains common throughout the developments of our mentalistic concepts, enabling us to make sense of talk of conceptual change. Not only does this resolve the paradox with which theory theorists must content, it shows how we can start our folk psychological careers without a theory or even any concepts. (shrink)

Sometimes referred to as "the last taboo," money has remained something of a secret within psychoanalysis. Ironically, while it is an ingredient in almost every encounter between analyst and patient, the analyst's personal feelings about money are rarely discussed openly or in any great depth. So what is it about money that relegates it to the background, both on the couch and off? In _Money Talks_, Brenda Berger, Stephanie Newman, and their excellent cast of contributors address this and other questions (...) surrounding the tender topic of money, how we talk about it, and how it talks to us. Its multiple meanings are explored in the contexts of patients and analysts and the ways in which they relate, in the training and practice of the analysts themselves, as well as the psychological and cultural consequences of having too much or too little in both flush and tight economic times. Throughout, a clinical sensibility is brought to bear on money's softly spoken place in therapy and life. _Money Talks_ paves the way for an open discourse into the psychology of money and its pervasive influence on the psyche of both patient and analyst. (shrink)

En varios pasajes de sus obras psicológicas, Avicena sugiere que los animales no humanos tienen un yo. Aquí argumentaré que, a partir de las características que le atribuye a la percepción, hay razones de peso para sospechar que los animales no humanos efectivamente tienen un yo: el impulso natural en ellos hacia la supervivencia, la familiaridad con su propio cuerpo, su capacidad para tender hacia aquello que les resulta conveniente y huir de lo peligroso de acuerdo con sus propias circunstancias, (...) así como el modo de relacionarse con el mundo, son conductas que, como se verá, requerirían la presencia de un yo. In several passages from his psychological works Avicenna suggests that non-human animals have a self. Here I argue that from the Avicennian description of perception, there are strong reasons to suspect that non-human animals have a self: their natural self-preservation impulse, the familiarity they have with their own body, their capacity to move towards what they perceive as convenient and to avoid what is dangerous according to their own circumstances, and the way each one relates to the world, are behaviors that, as will be shown, would require the presence of a self. (shrink)

Under the light of ancient Western philosophies, our darker moods like grief, anguish, and depression can seem irrational. When viewed through the lens of modern psychology, they can even look like mental disorders. The self-help industry, determined to sell us the promise of a brighter future, can sometimes leave us feeling ashamed that we are not more grateful, happy, or optimistic. Night Vision invites us to consider a different approach to life, one in which we stop feeling bad about (...) feeling bad. -/- In this powerful and disarmingly intimate book, Existentialist philosopher Mariana Alessandri draws on the stories of a diverse group of nineteenth- and twentieth-century philosophers and writers to help us see that our suffering is a sign not that we are broken but that we are tender, perceptive, and intelligent. Thinkers such as Audre Lorde, María Lugones, Miguel de Unamuno, C. S. Lewis, Gloria Anzaldúa, and Søren Kierkegaard sat in their anger, sadness, and anxiety until their eyes adjusted to the dark. Alessandri explains how readers can cultivate “night vision” and discover new sides to their painful moods, such as wit and humor, closeness and warmth, and connection and clarity. -/- Night Vision shows how, when we learn to embrace the dark, we begin to see these moods—and ourselves—as honorable, dignified, and unmistakably human. (shrink)

This paper, a version of which was presented at the ‘Feminist Futures’ twentieth Anniversary conference of the British and Irish Feminist Theology Summer School in July 2012, is, in one sense, a misnomer. Through the lived experience of one remarkable woman with whom I have the privilege of working as a mental health chaplain and companion, I recount her past of pervasive patriarchal abuse, pain, and psychic ‘storms’ but also her present that contains her songs of survival and her language (...) of liberation. It is one woman’s life, a life that could be replicated in many women’s lives, not only in the past, but in the present and throughout the world. But it is only by being acutely reminded of the unique, personal narratives of women, and men, whose past continues to invade our presents by their unbearable witness to the actual violence of the patriarchal landscapes in which their ‘voices’ have been seemingly silenced and their language pathologized, that we shall be able together to conceive of futures. These are futures where, whilst, acknowledging the continuing severe and enduring psychological damage to the abused and the violated and enabling appropriate treatment to be available, we shall also empower the bearing of the witness, the resolute and hard won language of the remaining, the bursting forth from the deadness of tombs of terror, of resurrected lives in the dance of the garden. This will require a sea-change in the way we imagine and establish mental health services and it will require an applied feminist theological methodology to be at the heart, not only of the theoretical models, but of the witnessing to the theology-making that such hidden, ‘anonymous’ lives intrinsically reveal. To imagine such mental health services is a subject for another paper. For now I want to introduce one such life I have been describing and with whom I have the privilege of travelling, consciously and shamefully aware of my gender in a way which seems OK, which seems re-imagined through the eyes of a woman who has absolutely no reason to love men but who has invited me to tread tenderly towards the sights and seasons of her pain and abuse. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.1 (2005) 31-47 [Access article in PDF] Holistic Integrated Design Education: Art Education in a Complex and Uncertain World Christopher Nokes Egosystem All art is the solution to an initiating design problem that must be articulated, even if the problem is this: to create something without meaning. As such, all art is a literary process, whereby the idea is articulated before that idea is (...) re-presented as an art form. And this is precisely what I attempt to do in the classroom when I assign highly challenging, universal, socio-cultural based and interpretive design problems. Both intent and solutions are implicit in the design assignments given to students. In each case the design process is emphasised, and students define the problem, research (often collaboratively), brainstorm (diving deeply into the problem for potential solutions), develop alternative solutions, use free-hand sketches and storyboarding to track the design and decision-making process, and (finally) select the best design for development and evaluation. Definition of key terms, research and storyboarding are the initial steps in the process to solving each of the design problems. Some examples of problem solving performance tasks are provided below (Table 1).Regarding the last example, in my first year of teaching I accepted a position on agreement that I teach Grade 10 (sophomore) mathematics. Even though my teaching background favored art and history, this was not a hardship because my original degree was in architecture (University of Toronto, 1978). I realized quickly that my personal romance with D.N. Perkins's Knowledge as Design demanded that I attempt to teach mathematics as a design process (much to the dismay of the department head).1 Nevertheless, imaginative mathematical works of mind were explored, based on original "design problems." As well, collaborative math tests were developed (and structured as design problems), where students divided into groups or design teams, each team having a "competent mathematician" on [End Page 31] Click for larger viewTable 1 Works of Mind; Visual Arts as a Problem-Solving Design Process [End Page 32]board. Each team worked together to solve one challenging mathematical problem, or a series of challenging mathematical design problems, under a time limit. This ensured that each student had a role to play. A key group dynamic here is that students speak to each other as peers, in a way teachers cannot: "No! You don't do it that way, silly. It's like this!" says A. "Ok! Ok! Don't yell at me," says B tenderly. "It's like this?" "Yes!" says A. "See! You really are good at math!" It was a beautiful thing to watch. The so-called "stupid-at-math" students saw how the "brainy" math students interpreted and approached mathematics, while the "brainy" students pulled those students who always believed they were "stupid at math" up to their level. In the end (to say the least), it greatly increased the weaker students' comfort level entering the classroom, and (at best) it gave weaker math students confidence by dispelling some of the mystical mystery which mathematics seems to possess — mathematics is not a mystery, it is a problem waiting to be solved as any other design problem once you know the process. Click for larger viewTable 2 Components of the Egosystem This is holistic integrated design education (or HIDE). Transforming students from the traditional, isolated receiver of information to the holistic child requires a fundamental transformation of the associative-cognitive paradigm of learning behavior and psychology, based on the child's ego development in a kind of object-filled, symbolical, self-contained world.2 In actuality, the world is complex, multi-faceted, hyper-sensitive, with many people of different socio-cultural and intellectual frames of mind interacting; and it is (thus) hardly self-contained. The world has indeed evolved that far. Somehow, like all paradigms, the ego must undergo a similar evolution, a similar transformation.3 A new version of ego must be invented, one that takes into account all the stuff of objective reality — the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Bill Brandt: A LifeStuart Richmond, Professor of Arts EducationBill Brandt: A Life, by Paul Delany. Stanford California: Stanford University Press, 2004, 335 pp., $47.50 hardcover.From June to September 2003, Britain's famous art gallery, the Tate Modern, housed dramatically in a gigantic, renovated power station on the south bank of the Thames, held its first major photography exhibition, entitled Cruel and Tender after comments made by a critic to (...) describe the work of Walker Evans. The twenty-three artists in the show, including August Sander, Diane Arbus, Rineke Dijkkstra, William Eggleston, Walker Evans, Philip-Lorca diCorcia, and Thomas Ruff, were mainly Americans and Germans. Bill Brandt, who had a reputation as a documentary photographer, was not included. Writing in the catalogue, Tate director Nicholas Serota notes, "Cruel and Tender examines a form of documentary photography that keeps within the limits of the medium, stressing pure description.... Surrealist and Conceptual photography would fit more naturally into the programs and displays at the Tate, but the elusive and documentary qualities in straight photography challenge the traditions of the institution, by concentrating on a form of photography which explores the intrinsic aspects of the medium." In other words, "straight photography" serves as a kind of unemotional, uncreative narrative of ordinary life, avoiding drama, romanticism, sentimentality, deep coding, and, as far as possible, the expressive contributions of the artist. The relationship of photograph to reality, though problematic, is still interesting, according to the catalogue notes, and this contemporary work aims to inform us, literally, of the true essence, banal or otherwise, of our world. This approach acts implicitly to undermine the fake optimism of consumer capitalism.It will be useful to keep in mind this exhibition in considering the work of Brandt, for in the early 1980s Brandt was being lauded as Britain's greatest photographer, and he was nothing if not expressive. It was his métier to find the unusual in the everyday and to create meaning through careful staging and composition, drawing very much on his own personal outlook, aesthetic philosophy, and psychology. He believed all was permitted in photography, whether in the novel choice of lens, use of friends as models, or darkroom processing to achieve his vision. Rather than being a documentary photographer, at least in the purist sense of the Tate collection, he was more the poet ethnographer with a strong sense of the surreal. His was a vision that would be imposed on the world. After reading Paul Delany's excellent biography, it becomes clear why Brandt, all too soon, had become unfashionable in the eyes of the Tate organizers and contemporary photography at large. He is, nevertheless, an artist who can help us question the nature of reality while producing work that is often very complex and beautiful, and someone whose methods and ideas can serve as [End Page 118] a model of individual creative practice. The global interest in photography, the many significant exhibitions and books produced in the past decade, and the prices paid for photographs have by now lain to rest the old debate about whether photography is a genuine art form. As any serious photographer can attest, producing a photograph that has form, presence, and originality is dauntingly difficult, even though photography seems so easy. Everyone, today, has a camera. Yet, constantly fed with glitzy images from commerce and entertainment that direct our minds along certain well-worn grooves—a challenge for aesthetic education—budding artists require a certain strength of character and imagination to resist the literal and obvious and move toward a more authentic way of seeing. Delany's book shows how someone can defy fashion, as Brandt did for half a century, producing "pictorial" images layered with meaning and mystery. As an aside, despite the intent to show images that simply describe the world, some of the Tate pictures still manage, to my eye at least, to have their own ephemeral expressiveness, and at times great beauty, which raises the question, At what point does a document become a work of art? The Tate approach, with its strict theories, seems to be more interested in legislating than in exploring photographic practice.Biographies can... (shrink)

How to Human is a tender and irreverent take on one of life's most fundamental questions: how to be a better human in a world dead set against it. Alice Connor offers sage, no-nonsense wisdom, encouraging you to embrace the chaos and see life as an experiment -- not a quest for the right answers.

The sudden death of Professor Hobhouse on June 21, at the age of sixty-four years, at Alençon, Normandy, is a heavy loss to science and philosophy. He combined in a rare degree great powers of metaphysical speculation and synthesis with capacity for painstaking and detailed research in many fields of empirical science. He was one of the pioneers of comparative psychology; he developed a technique of the greatest value in the handling of the vast and chaotic data of anthropology; (...) he laid the foundations of a scientific sociology; and he has attempted a synthesis of the results of his scientific and philosophical studies on a scale which must win for him a high place among the systematic thinkers of the world. As a teacher and a social leader he inspired love and reverence by the nobility of his thought and utterance, his passion for justice, his wise and tender humanity. Members of the Philosophical Institute have special cause to mourn his loss. When the Institute was founded in 1925, it was the unanimous wish of all connected with its foundation that Professor Hobhouse should be its chairman; and it has been a great piece of good fortune for the Institute to have had the benefit of his ripe wisdom and extensive experience during the first five years of its life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rembrandt and Collections of His Art in America: An NEH Curriculum ProjectJoseph M. Piro (bio)IntroductionI have asked myself whether the short time given us would be better used in an attempt to understand the whole of the universe or to assimilate what is within our reach.—Paul CézanneThis issue of the Journal of Aesthetic Education features an arts education curriculum project that was designed to use the oeuvre of Rembrandt (...) van Rijn—seventeenth-century Dutch painter, etcher, and draftsman extraordinaire—as a teaching resource. A partnership of scholars, university professors, museum educators, and classroom teachers designed the project, which uses Rembrandt as the prism through which to diversify teaching of the core content areas of social studies and visual art. Members of this team attempted to expand the boundaries of themes traditionally found in art and other humanities disciplines by linking these with the social sciences, thereby forming what might be called “humanistic social studies.” The final product is a Web site to which teachers and those interested in using this type of instructional approach in their classroom teaching will have access. Funding for this project derived from a National Endowment for the Humanities (NEH) Curriculum Materials Development grant designed to promote the teaching of the humanities and support projects that can serve as national models.1In the eyes of many, Rembrandt is viewed primarily as a “European” artist. Although it is true that many of his major works are found in museums across Europe, he is generously represented in the holdings of collections across America. Yet for many teachers in the United States he remains an enigmatic figure; knowledge about his art is limited, and the U.S. museum collections of his work remain untapped for classroom application. To broaden the appeal and teaching potential of his work, the project team [End Page 1] mined this collection of “American” Rembrandts. Specifically, the project, targeted at secondary art and social studies teachers (grades 6 through 12), is committed to building and increasing the capacities of teachers to network knowledge of Rembrandt’s art with their classroom practice. Further, with its grounding in aesthetic education theory within a humanities framework, the project endeavors to promote instructional innovation and encourage teachers to break new ground in high-impact classroom pedagogy. The timing of the project and its ongoing development was not accidental. They converged with events held in 2006 to commemorate the four hundredth anniversary of Rembrandt’s birth. These events ranged from worldwide museum exhibitions to publications of books containing new insights on Rembrandt, all of this aimed at celebrating an artist whose achievements many consider to be a zenith of world culture.Why Rembrandt: The Rationale for the ProjectWhy is Rembrandt the artist at the center of this project? There are any number of good reasons, but the project’s rationale centers around three in particular. First, to borrow a term from Peter Kivy, Rembrandt is the ultimate “aesthetic symbol,”2 an indisputably blue-chip figure who produced some of the greatest masterworks of world art, many of which students find both intellectually engaging and psychologically insightful. Traditionally, teachers have striven to enrich the aesthetic lives of their students with exemplars of the human mind, and the genius of Rembrandt provides a potent opportunity to do so.3 By studying an artist of such stature teachers can develop students’ cultural intelligence and visual literacy and present opportunities to observe and decode substantive, challenging masterworks of art. In this context, Rudolf Arnheim describes a painting by Rembrandt as containing a network of “visual arrows” that communicate multiple experiences about the human condition, including love, tenderness, and desire, among others. Arnheim speaks of the additive nature of the experience, how the viewer—almost like a mathematician—needs to learn how to add up the clues and arrive at a solution. He does not intend, of course, for the viewer to have an impersonal, “clinical” experience. Rather, he writes, “art... is one of the most powerful instruments available to us for the fulfillment of life. To withhold this benefit from human beings is to deprive them indeed.”4Second, there is a cognitive complexity embedded in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Is Beauty an Archaic Spirit in Education?Howard Cannatella (bio)O! Father and mother, if buds are nip'd and blossoms blown away, and if the tender plants are strip'd of their joy in the spring day, by sorrow and care's dismay, how shall the summer arise in joy, or the summer fruit appear?William Blake, "The School Boy"1This article discusses the unfashionable and taboo idea that beauty matters. A sign of the (...) esteem in which beauty is held can be gauged by the fact that so few articles significantly address any conception of beauty in education. Yet outside a purely educational regime, matters are treated somewhat differently albeit confusedly. In contrast to a virtual silence on this issue, a defense of beauty is modestly made in this article—one that claims that education is considerably ineffective without beauty and would be a poorer and unjust system of practice if beauty were merely seen as an irrelevance, a distraction from the serious stuff of management practice. What is broadly pursued is an attempt to portray an educational praxis that involves the suggestion that an active being in the world is someone who shows themselves to be in some exhortation of its beauty. An attempt is made to map out a few of the reasons why the sense of beauty is an important condition of being, a position few educationalists, so the arguments go in this article, can choose to take lightly. In what can be seen at times as a rather tasteless, aggressive, and doctrinaire educational climate, an education that is culturally alive and buzzing with the sounds, smells, images, rhythms, freedoms, play, knowledge, and rationalities that accompany and are inseparable from social and individual existence at intimate levels of being can revitalize teaching practice in more sensitive and magical ways. By exploring some of the reasons why we should not desensitize ourselves to beauty in education, it is possible to counter-argue for a greater retention and conviction of this experience. My supposition is that beauty as a poetic force should be regarded [End Page 94] as one of the defining characteristics central to pedagogic practice. In making this claim I draw upon a few of Charles Dickens's and William Wordsworth's ideas in support of the importance of beauty in education.IEnjoyment is not a psychological state among others, the affective tonality of empiricist psychology, but the very pulsation of the I.Emmanuel Levinas, Totality and Infinity2If it is the case that beauty is nothing other than the proper releasing of the human spirit, the grasping of delights, something fundamental to the capacity of our minds and body—"the form under which the intellect prefers to study the world"3 —then, we may wonder, why is current educational practice preoccupied with things of arguably less importance? The thought that "beauty is the basic impulse underlying education"4 —or as Carritt5 puts it, beauty instigates that which is morally worth cultivating, a recognition of something universally valid for humanity—strikes a certain agreement between Emerson, Scarry, and Carritt: namely, that beauty matters educationally. Indeed, Freud6 surmised that civilization could not survive without it, and Plato remarked that education "ought to end in the love of the fine and beautiful."7 Although these remarks may seem platitudinous, they may still nevertheless arouse within us a feeling that beauty is something quite immense, faithful, and necessary. With these ideas in mind, the aim here is to explain how certain aspects of beauty can be important for transcending some of the dystopia affecting educational practices together with some of the reasons why the intimacy of beauty is good for us. When the delicateness of beauty appears to be losing its appeal, it is perhaps no coincidence that a major reason why some students are disenchanted with education is because they fail to see the beauty in it. If beauty in society is losing its grip, what harshness or sadness will result?Let us begin with the obvious observation that a pluralist conception of beauty is a fact of life. If there are different perspectives of beauty, then, as Wittgenstein8 remarked, we... (shrink)

A fibromialgia é uma síndrome crônica, não inflamatória caracterizada por dores musculoesqueléticas difusas e pela presença de pontos dolorosos em determinadas regiões do corpo "Tender Points". Seu diagnóstico é clínico, não havendo alterações laboratoriais específicas. O enfoque deste trabalho é co..

This work by an accomplished and respected comparative philosopher criticizes the Western ideology of individualism from the perspective of a Confucian morality of the family. Individualism is a name for the Enlightenment era ideology of the autonomous individual. The philosophical pillars of this ideology are Locke and especially Kant, and it runs through practically all modern moral philosophy. It is the moral psychology of classical liberalism, no less than of its libertarian and communitarian critics. They are different politically, but (...) ontologically of a piece. Individual selves—rational, calculating, selfish, autonomous—are what we are. Rosemont thinks this ideology is philosophically wrong, morally, politically, and ecologically destructive, but also optional. We sometimes feel painted into a corner where the only alternatives seem to be unrestrained freedom or totalitarian dictatorship. Moral philosophy still awaits the end of the Cold War. It would be good for people to understand that there are more options. Rosemont thinks Confucianism is one of them—a Confucianism for post-modern or even post-Western Westerners, with an ideology of the family that Rosemont thinks is more amenable than indigenous alternatives to our moral and ecological crises. “The vision of classical Confucianism can be reclaimed today with its integrity basically intact.” Rosemont advances two points. First, Confucian moral psychology conceives of the person as the bearer of roles. We are our roles as the onion is its leaves, without a an essential core self. Placing roles at the center of moral psychology eliminates the value of impersonal rules or universal principles. There are many ways to be a good father, teacher, friend, or son. Moral decency acquires an almost aesthetic quality, as our approach to roles (our own and those of others) expresses such qualities as zest, grace, or tenderness. His second point is that the moral center of Confucian philosophy is the family. The family is largely ignored in Western ethical tradition. Plato wanted to eliminate family life for his guardians. Kant, Bentham, and Mill have nothing useful to say about the family. For Rosemont the family is the first and best school for morality. It is there, if at all, that we learn to love, trust, cooperate, and obey. Rosemont’s best pages describe the important Confucian concept of family reverence (xiao). The gist is unswerving loyalty to parents, obligations extending even beyond death. It is easy for Western people to misunderstand that. Confucian tradition has a carefully worked out idea of filial reverence, and it should not be dismissed with a label (paternalistic, dogmatic, Asiatic). Obedience is expected, but not servility. In the inter-generational family, the child obeys the parents, but also sees parents obeying grandparents. Remonstrance is expected when appropriate. Deference motivated by gratitude can be genuinely appreciative without fawning, and dissent can remain respectful and polite. Rosemont believes that filial reverence is a way of life as open to anyone today as it was to Chinese two thousand years ago. Confucianism is a relentlessly secular philosophy. It entails practically no theological or metaphysical commitments, and contains little if anything to offend modern scientific sensibilities. This moral philosophy is at once remote (from individualism) and close, familiar, a fairly straightforward account of how we actually live our lives. Rosemont carefully argues that Confucian ideas of family are flexible enough to accommodate progressive ideals, and may even be our best hope against sexism, racism, homophobia, and other anti-humanistic altitudes and behaviors. He urges this version of Confucianism as a human-centered spirituality for a global civilization suspicious of discredited universalism. All cultures are made of families. How alien can they be? Respect for and accommodation with diversity begins in the family, when people learn from infancy to enjoy contributing to the well-being of others. While it would be wrong to expect Western people to abandon their Greek or Abrahamic heritage, those values might be reordered in light of Confucian thought, which deserves to be better understood in the West. A traditional Confucian might be baffled and dismayed by things that pass for normal in modern families, but our families could be better at what they have to be anyway by absorbing Confucian wisdom. There is a growing body of literature on Confucianism and virtue ethics. It is worth noting that Rosemont’s thought is probably the leading alternative to this paradigm in comparative moral philosophy. He takes an uncompromisingly critical attitude toward this particular effort to build a bridge from West to East by attributing to the Confucians a Western virtue ethics, which is, he thinks, objectionably individualistic in all its usual forms. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Commentary on “Lumps and Bumps”Kathleen Wallace (bio)Reason/Emotion Distinction in PhilosophyI would like to use Radden’s interesting exploration of the historical roots of a split between affect and thought as an occasion for reflecting on the distinction itself and some of the philosophical reasons for its appeal. There is a range of presuppositions in philosophical theories about knowledge, judgment, moral judgment and the like that have disposed us, at least (...) in the West, to accept a split between emotion or affect and reason or thought. At least in the modern tradition (from the seventeenth century on), judgment has been identified with “reason” and conceived of as the making of logical, evidential, “impartial,” or “legislative” inferences or the asserting and applying of universal principles and rules. 1 Feelings might provide content or data for reasoning but do not themselves judge.A brief review of recurrent assumptions about feelings will be indicative of possible rationales for their subordination to “reason.” Some of these assumptions are that feelings (1) are untransformable; (2) are incompatible with autonomy because they are not self-caused but are part of a deterministic causal chain; (3) are noncognitive; (4) are unreliable; (5) are demeaning because associated with the animal, sensual, or “natural” side of human nature; (6) have no moral content; and (7) have only an accidental relation to action and choice. 2In his thought Kant, who had such a strong influence on the development of Kraepelin’s theory, reflects several of these assumptions. Emotions are part of the sensible world and subject to the strict law of causality. The only exception to the deterministic view of emotion is the moral feeling of respect for the moral law. The feeling of respect “is not one received through an outside influence but is, rather, one that is self-produced by means of a rational concept.” 3Most of these accounts presuppose that feeling is a reactive or passive state or that it “expresses” or reveals an inner state over which one has no control. If feeling also tends to be viewed as noncognitive, then it has no value for knowledge. Given these assumptions, actions and judgments that are based on, motivated by, or formed with reference to feeling are viewed as suspect with regard to their objectivity.ImplicationsThe split between reason and emotion has had interesting consequences in the assessment of behaviors that are thought of as gendered. For example, moral deliberation that seems to be based on feeling or emotion is assessed as inferior to that which is allegedly based on reason, and the [End Page 17] former tends to be associated with women. For example, an “epistemic lean” of the moral commitment to care (Bartky 112) involves “a displacement of interest from my own reality to the reality of the other” (Noddings 14). 4 But if the perspective into which a female caregiver enters is one that is structured in terms of a presumed supremacy of the male, then a woman, through caregiving, could participate in her own social (and personal) demotion (Bartky 109). Yet she may thereby be caught in an interesting bind: “Tenderness requires compassion and forgiveness,... virtues under some circumstances and... excellences in a caregiver. But there are situations in which [such] virtues... can lead to moral blindness or outright complicity” (Bartky 112). Bartky cites the example of Teresa Stangl, wife of Fritz Stangl, Kommandant of Treblinka, who, although appalled by what she knew of her husband’s activity, supported him at home and never publicly challenged his moral outlook (Bartky 1990, 113). Thus a woman is caught in a doublebind. If she is “forgiving” and “tender,” she may be identified as “complicitous,” “unprincipled,” or morally “weak-willed,” but if she were to assert her [other] principles she would fail to be “virtuous” as a caregiver, her designated, but subordinate, moral role. 5 Thus, a traditional association of judgment with “reason” may support the inference that the affectively motivated person does not count as a moral agent, or is at best an inferior one.What this suggests is not only that a sharp split between reason and emotion or thought and affect may lead to a distorted understanding... (shrink)

The selection of the procurement model, which is a process of discretion exercised by procurement officials, is crucial to the Public-private Partnership procurement performance. From theoretical analysis and international practice, we could find that the negotiation method is more suitable for complex PPP projects, while the tendering method is widely used in China’s PPP procurement. To analyze the reasons for the phenomenon, we used the logit regression model to examine the influence of regulatory competition, risk aversion preference, and tacit interaction (...) on the procurement model selection based on the data of 8,926 PPP projects from 2009 to 2021 in China. The results indicate that regulatory competition leads to confusion in procurement model selection, while risk aversion preference and tacit interaction significantly promote the application of tendering. Moreover, the heterogeneity analysis of regions and return models prove that provincial capitals and municipalities are more susceptible to regulatory competition, risk aversion preference, and tacit interaction than ordinary cities. Compared with user-pay projects, government-pay projects and viability gap funding projects are more susceptible to regulatory competition and risk aversion preference, and less affected by tacit interaction. Therefore, to optimize the procurement model selection, policymakers should improve procurement policies to reduce the adverse effects of regulatory competition, risk aversion preference, and tacit interactions. (shrink)

BackgroundFibromyalgia syndrome is the second most common chronic diffuse pain disorder and can have a lasting negative impact on the quality of life, pain, and physical function of people. Exercise therapy is an important component of the treatment of fibromyalgia, but there was not a consensus understanding of the effect of various exercise programs on the quality of life, pain, and physical function of people with fibromyalgia syndrome. This study aimed to compare three exercise programs in their effectiveness in improving (...) quality of life, relieving muscle pain, and enhancing physical function in patients with fibromyalgia.MethodsA comprehensive search of databases, including China National Knowledge Internet, Wan fang, The Cochrane Library, PubMed, EMBASE, and Web of Science, was conducted to identify randomized controlled trials on exercise therapy for patients with fibromyalgia syndrome with outcome indicators including at least one of Fibromyalgia Impact Questionnaire, Tender point count, and 6-minute walk test from the date of database creation on 20 April 2022. The included studies were evaluated for literature quality according to Cochrane Handbook criteria, and a network meta-analysis was performed using STATA 14.0.ResultForty-five randomized controlled trials met all inclusion criteria and were analyzed. The network meta-analysis showed that a combination of aerobic and resistance exercise was ranked first in all three dimensions of quality of life improvement, pain alleviation, and physical function enhancement.ConclusionThe current meta-analysis demonstrates that the combination of aerobic and resistance exercise may be the best type of exercise to accentuate the quality of life, pain alleviation, and physical function for people with fibromyalgia syndrome. (shrink)