This paper presents the story of an isiXhosa traditional healer, Nomzi Hlathi, as told to the first author. Nomzi was asked about how she came to be an igqirha and the narrative focuses on those aspects of her life story that she understood as relevant to that developmental process. The material was obtained from a series of semi-structured interviews with Nomzi, with some collateral from her cousin, and synthesised into a chronological narrative presented in Nomzi’s own words. The aim of (...) the study was to examine her account of her unfolding experience within three hermeneutic frames. The first is the isiXhosa traditional account of what it is to become an igqirha, a process initiated by intwaso, an illness understood to be a call from the ancestors, and guided by messages from the ancestors in dreams and other symbolic communications. The second is the perspective of Western Clinical Psychology on the cognitive, emotional and behavioural disturbances that characterise intwaso. The third is the perspective of transpersonal psychology on the nature and development of shamanic healing gifts, as understood from observations of such practices in traditional societies across the world. As the narrative of Nomzi’s story is quite long, this paper presents her narrative as well as the methodology which gave rise to it. The interpretative review of the material from each of the three perspectives is presented in a second paper. (shrink)

According to Kant, the singular judgement ‘This rose is beautiful’ is, or may be, aesthetic, while the general judgement ‘Roses in general are beautiful’ is not. What, then, is the logical relation between the two judgements? I argue that there is none, and that one cannot allow there to be any if one agrees with Kant that the judgement ‘This rose is beautiful’ cannot be made on the basis of testimony. The appearance of a logical relation between (...) the two judgements can, however, be explained in terms of what one does in making a judgement of taste. Finally, I describe an analogy between Kant's treatment of judgements of taste and J. L. Austin's treatment of explicit performative utterances, which I attribute to a deeper affinity between their respective projects. (shrink)

According to the reward-prediction error hypothesis of dopamine, the phasic activity of dopaminergic neurons in the midbrain signals a discrepancy between the predicted and currently experienced reward of a particular event. It can be claimed that this hypothesis is deep, elegant and beautiful, representing one of the largest successes of computational neuroscience. This paper examines this claim, making two contributions to existing literature. First, it draws a comprehensive historical account of the main steps that led to the formulation and (...) subsequent success of the RPEH. Second, in light of this historical account, it explains in which sense the RPEH is explanatory and under which conditions it can be justifiably deemed deeper than the incentive salience hypothesis of dopamine, which is arguably the most prominent contemporary alternative to the RPEH. (shrink)

This book details the history of the concept of the beautiful, starting with a distinction between the 'warm' metaphysics of beauty and the 'cold' one modeled on Plato's Janus-faced relationship to beauty, and ending with a fragmented yet hopeful vision propagated by the likes of Nietzsche, Benjamin, and Adorno. The most important intellectual figures to write about beauty in Western metaphysics and in the post-metaphysical age are examined in this book.

According to the reward-prediction error hypothesis (RPEH) of dopamine, the phasic activity of dopaminergic neurons in the midbrain signals a discrepancy between the predicted and currently experienced reward of a particular event. It can be claimed that this hypothesis is deep, elegant and beautiful, representing one of the largest successes of computational neuroscience. This paper examines this claim, making two contributions to existing literature. First, it draws a comprehensive historical account of the main steps that led to the formulation (...) and subsequent success of the RPEH. Second, in light of this historical account, it explains in which sense the RPEH is explanatory and under which conditions it can be justifiably deemed deeper than the incentive salience hypothesis of dopamine, which is arguably the most prominent contemporary alternative to the RPEH. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Although football is often referred to as ‘the beautiful game’, to take that idea very seriously — by aestheticizing the target of spectating — is to misunderstand a purposive sport such as football. Yet such a view seems required by Stephen Mumford’s endorsement of the purist spectator, in contrast to the partisan, as attending to ‘… only aesthetic aspects of sport’. But, first, not all non-purposive appreciation is thereby aesthetic appreciation, as Mumford assumes. And, second, while a technical understanding (...) of the aesthetic includes both positive and negative aesthetic concerns, an everyday version addresses only positive aesthetic value. Now, there are concepts of grace, line and so on, applicable to football: that is, concepts suitable to aesthetic appreciation. And sometimes, for instance, in TV’s ‘Goal of the Month’ competition, such appreciation sets aside the purposive dimension of such sports. Yet that dimension is fund.. (shrink)

One of the explicit objectives of Darwin's Descent of Man, and Selection in Relation to Sex was to explain cultural differences seen in human beings. Such an explanation, Darwin believed, was to rest upon an understanding of sexual selection. I examine the role that the beautiful plays within the mechanism of sexual selection as it works to differentiate isolated groups. It is suggested that an examination of the relationship between sexual selection and artificial selection — a relationship mediated by (...) the beautiful — will illuminate key issues of the Descent as well as contemporary debates regarding the relationship between evolution and ethics. The beautiful, originally rooted in sexual selection, can become de-coupled from sexual selection and utilized in some selective process which is conscious. (shrink)

This article starts an engagement on the aesthetics of experiments and offers an account for analysing how aesthetics features in the design, evaluation and reception of experiments. I identify two dimensions of aesthetic evaluation of experiments: design and significance. When it comes to design, a number of qualities, such as simplicity, economy and aptness, are analysed and illustrated with the famous Meselson-Stahl experiment. Beautiful experiments are also regarded to make significant discoveries, but I argue against a narrow construal of (...) experimental aims. By drawing on the plurality of goals experimenters have and diversity of aesthetic responses, I argue that experiments are aesthetically appreciated both when they discover and when they produce disruptive results. (shrink)

In this article, I will look at violence from a different perspective – that is, violence regarded as beautiful. For too long, this perspective has been neglected, considered taboo, and it is precisely due to the controversial character of what the word represents, and to the double standards used when considering it. Namely that, violence can also be a means of expression in art and sports, emphasizing the qualities of the artist or athlete, as well as having an aesthetic (...) and ethical significance. Such violence, of course, needs to be kept within certain limits and subjected to rules. And, as it turns out, sports rules legitimize violence and make it “beautiful”. (shrink)

Do the ethical features of an artwork bear on its aesthetic value? This movie endorses misogyny, that song is a civil rights anthem, the clay constituting this statue was extracted with underpaid labor—are facts like these the proper bases for aesthetic evaluation? I argue that this debate has suffered from a false presupposition: that if the answer is yes (for at least some such ethical features), such considerations feature as pro tanto contributions to an artwork's overall aesthetic value, i.e., as (...) merits or flaws which make something have more or less overall aesthetic value. As the case of ethically laden, aesthetic evaluation makes clear, however, good aesthetic judgement is irreducibly multi-dimensional, e.g., "the movie has an engaging soundtrack, tasteful camera work, and takes a misogynistically prurient perspective on its female lead.'' Such a "non-summative" judgement refuses to reduce those various dimensions of aesthetic value to a single aggregate aesthetic evaluation, like "it's a 6/10" or "it's a pretty good movie!" I defend both the modest claim that such non-summative evaluations are not mistaken and the extremist claim that summative (i.e., unidimensional) aesthetic evaluation is defective by considering other domains of normative assessment in which summing seems inappropriate, notably including evaluations of people's character. (shrink)

What is law? How is legal responsibility defined? How does law reflect moral judgment? Why are law's definitions uncertain and conflicted? Basic questions for liberal law and criminal justice - what could they have to do with the forgotten historical figure of the Beautiful Soul? Starting from concrete legal issues, Alan Norrie develops a critical vision of law in its relation to morality and socio-historical context. Liberal law, he argues, is marked by splits and contradictions (antinomies), signs of something (...) missed. Traced historically, such conflicts can be read today in law's treatment of legality and justice, judgment and responsibility. A critical understanding must also be self-critical. From splits in law, Norrie moves to the split in critique: between its socio-historical and ethical forms. Drawing on critical realism and deconstruction, on the dialectics of Hegel, Adorno and Bhaskar, he argues for a form of critical thought that is at once historical and ethical. Thinking critically about critique finally leads to the Beautiful Soul, and its unexpected relation to law. These essays will be of interest to academics and advanced students of legal theory; criminal law, criminology and criminal justice; law and social theory; and critical legal studies. (shrink)

In this elegant new study Galen Johnson retrieves the concept of the beautiful through the framework of Merleau-Ponty’s aesthetics. Although Merleau-Ponty seldom spoke directly of beauty, his philosophy is essentially about the beautiful. In Johnson’s formulation, the ontology of Flesh as element and the ontology of the Beautiful as elemental are folded together, for Desire, Love, and Beauty are part of the fabric of the world’s element, Flesh itself, the term at which Merleau-Ponty arrived to replace Substance, (...) Matter, or Life as the name of Being. Merleau-Ponty’s _Eye and Mind _is at the core of the book, so Johnson engages, as Merleau-Ponty did, the writings and visual work of Paul Cézanne, Auguste Rodin, and Paul Klee, as well as Rilke’s commentary on Cézanne and Rodin. From these widely varying aesthetics emerge the fundamental themes of the retrieval of the beautiful: desire, repetition, difference, rhythm, and the sublime. The third part of Johnson’s book takes each of these up in turn, bringing Merleau-Ponty’s aesthetic thinking into dialogue with classical philosophy as well as Sartre, Heidegger, Nietzsche, and Deleuze. Johnson concludes his final chapter with a direct dialogue with Kant and Merleau-Ponty, and also Lyotard, on the subject of the beautiful and the sublime. As we experience with Rodin’s _Balzac_, beauty and the sublime blend into one another when the beautiful grows powerful, majestic, mysterious, and transcendent. (shrink)

Psychoanalysis: Its Image and Its Public is a perfect illustration of Tarde's claim that ‘beautiful’ should be reserved for ideas that lead to a discovery of more ideas and to an invention that we can judge as fruitful for the future. The article examines the influence of the book in geographical, historical and scientific contexts and traces the development and diffusion of the theory of social representations throughout four periods. The article highlights the difference between the first edition in (...) 1961, and the second one in 1976, and it examines the development of Moscovici's ideas over time. The first edition of Psychoanalysis, based on the criticism of sociology of knowledge, underlines common sense as a new object of study, attempting to capture complex social phenomena. It shows common sense as a legitimate object of study that interweaves social, cultural and individual dimensions in the constitution of social reality. The 1976 edition emphasises that language and communication and its role in the theory of social knowledge. The book has had manifold impact on new areas of study. An overview of international research in social representations shows how this work has inspired scholars all over the world, has lead to creating Schools of research and to innovative proposals not only in terms of domains that have been studied but also in terms of theoretical models and methodological concerns. (shrink)

This volume makes available for the first time in English the most important of Hans-Georg Gadamer's extensive writings on art and literature. The principal text included is 'The Relevance of the Beautiful', Gadamer's most sustained treatment of philosophical aesthetics. The eleven other essays focus particularly on the challenge issued by modern painting and literature to our customary ideas of art, and use that challenge to revitalize our understanding of it. Gadamer demonstrates the continuing importance of such concepts as imitation, (...) truth, symbol, and play for our appreciation of contemporary art, and thereby establishes its continuity with the Western tradition. The essays here are not technical and are readily accessible to the beginning student and the general reader. The collection as a whole serves to illustrate the practice of hermeneutics and to introduce Gadamer's thought. Robert Bernasconi provides an introduction clarifying the central aims of the essays and their relations to Gadamer's major work, Truth and Method, and to the philosophy of art since Kant. A bibliography of Gadamer's writings available in English is also included. (shrink)

Classical aesthetics sees the experience of the beautiful as an anthropological necessity. But, in fact, the beautiful is rather the central category designating classical art, and one can question the relevance of this category considering contemporary art. The reference term most frequently used for contemporary art is interesting: works of art solicit the interests of my faculties (the cognitiveintellectual, the pragmatic community-oriented moral, the affective aesthetic faculties). It is interesting to notice that the categories of the beautiful (...) and the ugly have an axiological-moral value. It looks as if the qualities of contemporary art works are judged according to the intensity of the impact on the interests of our faculties. It reveals important, in this respect, to distinguish the ugly from the sublime and the monstrous. Kant’s Third Critique is of some importance in defi ning these categories. (shrink)

Poet, painter, self-described funny guy, idiot, failure, pickpocket, and anti-artist par excellence, Francis Picabia was a defining figure in the Dada movement; indeed, André Breton called Picabia one of the only "true" Dadas. Yet very little of Picabia's poetry and prose has been translated into English, and his literary experiments have never been the subject of close critical study. _ I Am a Beautiful Monster_ is the first definitive edition in English of Picabia's writings, gathering a sizable array of (...) Picabia's poetry and prose and, most importantly, providing a critical context for it with an extensive introduction and detailed notes by the translator. Picabia's poetry and prose is belligerent, abstract, polemical, radical, and sometimes simply baffling. For too long, Picabia's writings have been presented as raw events, rule-breaking manifestations of inspirational _carpe diem_. This book reveals them to be something entirely different: maddening in their resistance to meaning, full of outrageous posturing, and hiding a frail, confused, and fitful personality behind egoistic bravura. I Am a Beautiful Monster provides the texts of of Picabia's significant publications, all presented complete, many of them accompanied by their original illustrations. (shrink)

This volume explores some of the more important of Hans-Georg Gadamer's extensive writings on art and literature. The principal text included is 'The Relevance of the Beautiful', Gadamer's most sustained treatment of philosophical aesthetics. The eleven other essays focus particularly on the challenge issued by modern painting and literature to our customary ideas of art, and in turn revitalize our understanding of it. Gadamer demonstrates the continuing importance of such concepts as imitation, truth, symbol, and play for our appreciation (...) of contemporary art, and thereby establishes its continuity with the Western tradition. The essays here are not technical and are readily accessible to the beginning student and the general reader. The collection as a whole serves to illustrate the practice of hermeneutics and to introduce Gadamer's thought. Robert Bernasconi provides an introduction clarifying the central aims of the essays and their relations to Gadamer's major work, Truth and Method, and to the philosophy of art since Kant. A bibliography of Gadamer's writings available in English is also included. (shrink)

Love has always liked, as we can observe since the same lyrical beginnings, to show itself, proclaim itself, as if something vital was played in that revelation that, in a certain sense, does not stop being strange because we are talking about deep experiences of each one’s soul. Now, that showing, which has found a place of privilege, must be thought under the digital cloak that dresses Eros, and think about it, then, as digital Eros. From Plato, Eros is a (...) desire for the beautiful, Eros loves the beautiful. Therefore, the showing itself beautiful of love, requires a reflection in relation with how we show ourselves beautiful, that is, how the possibilities of networks allow us to make, sculpt, elaborate for that purpose. Finally, this implies a revision of the fictitious and the authentic of us, what the networks allow of us. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Contemplating the Beautiful: The Practical Importance of Theoretical Excellence in Aristotle’s EthicsJames L. Wood (bio)Aristotle, unlike plato, famously distinguishes φρόνησις from, practical from theoretical wisdom, in Book VI of the Nicomachean Ethics. He distinguishes them on the basis of both their objects and their psychic spheres: is the excellence or virtue (ἀρετή) of the scientific faculty, τὸ ἐπιστημονικόν, “by which we contemplate [θεωρου̑μεν] the sort of beings whose (...) principles [ἀρχαί] do not admit of being otherwise,” while φρόνησις is an excellence of the calculative faculty, τὸ λογιστικόν, by which we contemplate “the sort of beings that admit of being otherwise” (VI.1, 1139a6–8).1 Φρόνησις is skilled and experienced deliberation about human action and emotion, and in particular about “the sort of things that relate to (πρός) living well in general” (VI.5,1140a28); so φρόνησις guides right action, and as it turns out, directly entails excellence of character, ἠθική ἀρετή (VI.13, 1145a1–2)., on the other hand, while necessary for complete happiness (VI.12, 1144a1–6), “contemplates none of the things that make a human being happy” (VI.12, 1143b19–20), because it contemplates not changeable human affairs, circumstances, and actions, but eternal and unchanging realities (VI.6–7; X.7–8; cf. On the Soul, III.9, 432b26–433a1). Θεωρία, contemplation itself, is defined with reference to in Book X, where contemplation is made the basis of the highest human happiness as the excellent activity of intellect (νου̑ς) by which “beautiful and divine” realities are apprehended (X.7, 1177a15–18 and following). In contrast, the excellence of practical activity (both φρόνησις and ἠθική ἀρετή) is explicitly distinguished from the excellent theoretical activity of νου̑ς in θεωρία and relegated to a merely “secondary” importance (X.8, 1178a9 and following).2 [End Page 391]We might well conclude from this account that theoretical activity has nothing to do with practical activity, even if each is independently necessary for complete human happiness, and even if, as Aristotle says, practical excellence is somehow necessary to prepare the way for theoretical excellence (cf. VI.13, 1145a6–11). I wish to counter this impression, however, by showing that there is a theoretical dimension to excellent practical activity.3 More precisely, I will argue that theoretical activity contributes to practical excellence by furnishing the principles (ἀρχαί) of practical reasoning to the calculative faculty and the motivating end (τέλος) of action to the irrational-appetitive (τὸ; ἄλογον) part of the soul. The intellectual faculty that performs this theoretical activity is νου̑ς; the principles that νου̑ς apprehends are the first premises of ethical and political deliberation; and the τέλος that νου̑ς holds up to the appetitive soul as an orienting and motivating object is το καλόν.4 What distinguishes this activity from the theoretical activity that furnishes the principles of scientific reasoning (ἐπιστήμη) for the sake of knowledge is both the kinds of objects studied and the purpose of the study. One typically studies mathematics or astronomy in order to gain knowledge, not to act virtuously; however, one can certainly study the principles of human nature for the sake of virtuous action (as well as knowledge), as Aristotle himself does in the Ethics and other treatises (cf. II.2, 1103b27–29).5 Moreover, the theoretical study of the most “beautiful and divine” realities, described in Book X of the Ethics and Book XII of the Metaphysics, raises the possibility of a direct contribution of θεωρία at the highest levels to πρα̑ξις through the mediating activity of νου̑ς in the contemplation of the highest beauty and divinity.In what follows I will develop and defend these points through a close examination of Aristotle’s discussion of these concepts. My argument has three main parts. The first examines the role of thought in excellent action, the second brings out [End Page 392] the significance of το καλόν as the universal object of practical excellence, and the third argues in three subsections for the contribution in different ways of theoretical to practical excellence.1. The Dependence of Desire on Thought in Excellent ActionAs is clear from his concluding remarks in Book VI, where he declares that the possession of φρόνησις entails the possession of all the virtues of character (VI.13, 1145a1–2), Aristotle holds that the ἀρεταί of practical thought and character, φρόνησις and ἠθική ἀρετή, are interdependent and mutually implicating in virtuous choice and action. Thought needs desire in order to be practically effective... (shrink)

The Law Most Beautiful and Best is a thoughtful and creative examination of the role irrational rhetoric ought to play in persuading citizens to voluntarily obey laws. Author Randall Baldwin Clark explores the figure of the physician in Plato's Laws to address this question, identifying the subtle ways in which Plato uses the physician's role in healing as a metaphor for the task of governance and arguing that Plato hints that rational discourse may ultimately be inadequate as a persuasive (...) technique. (shrink)

Color has long been at home in the domains of classical art and aesthetics. However, with the introduction of computer art in Germany in the early 1960s, a new ‘rational theory’ of art, media and color emerged. Many believed this new ‘science’ of art would generate computer algorithms which would enable new media aesthetic ‘principles to be formulated mathematically’ — thus ending the lofty mystifications that have, for too long, been associated with Romantic notions about artwork and art-making. Although, as (...) German computer artist Herbert Franke noted, ‘Traditional aesthetic modes of expression are of little avail to the artist who works with technical systems, particularly computers’, I argue herein that the shifts in aesthetic theory brought about by the introduction of computer art are more complex than a clear-cut subsumption to mathematics, information theory or cybernetics. While the ‘Programming the Beautiful’ project that began in Europe in the 1960s — the three-fold rationalization of the artist, the artwork and color — has been largely realized, nonetheless, today we find ourselves seeped in the neo-Romanticization of new media art, the reglorification of the role of the artist, and new digital color — ironically, the exact opposite of what the project for rational art initially sought. (shrink)

Those who know anything about black history and culture probably know that aesthetics has long been a central concern for black thinkers and activists. The Harlem Renaissance, the Negritude movement, the Black Arts Movement, and the discipline of Black British cultural studies all attest to the intimate connection between black politics and questions of style, beauty, expression, and art. And the participants in these and other movements have made art and offered analyses that wrestle with clearly philosophical issues. In _A (...) Philosophy of Black Aesthetics_, I propose to identify and explore the most significant philosophical issues that emerge from the aesthetic dimensions of black life. The book will consist of eight short chapters, each of which will discuss a complex of related themes and phenomena. Every chapter will begin with one or two illustrative real-world examples, and then use the complexities of these opening cases to introduce the relevant issues. Many people in several fields have explored various bits of the terrain that I’ll cover. But none has surveyed the entire terrain in the name of aesthetics, and none has conducted this survey from an explicitly philosophical perspective. Setting up the project in this way means that its main conclusions will come in two forms. One kind of conclusion will emerge from the way I frame the issues. The two most important points here are that the field of aesthetics ought to cover more than the study of western fine art, and that the field of black aesthetics allows and requires the sort of comprehensive and philosophical analysis that I’ll offer. Another set of conclusions will emerge from my treatment of the specific issues in each chapter. In each case the aim will be to defend, albeit briefly, some position on the major issues raised in each chapter. (shrink)

This article contends that Georg Simmel attempted a rehabilitation of the Jewish stereotype in a singular way: via his theory of modernity and the quintessential place held therein by money. The first part of the article, based almost entirely on Simmel's The Philosophy of Money, seeks to demonstrate that Simmel intended to overturn the negative Aristotelian and Marxist assessments of money and of those who deal with it. The second part of the article is based on Simmel's unique theory of (...) type. This part seeks to establish that what Simmel in fact rehabilitates is the Jewish type, rather than any actual historical entity, and that this type is in fact the stereotype of the Jew. Simmel's attempt is made in terms of existential authenticity and in direct relation to the project of modernity. (shrink)

The present article considers the problem of the preservation of pleasure in Kant’s Critique of Judgment. The problem stems from the fact that the Critique of Judgment contains not one but two distinct definitions of pleasure. In the definition of pleasure in §10 of the Analytic of the Beautiful Kant emphasizes that all pleasure is characterized by the tendency to preserve itself. On the other hand, in the definition of §VII of the unpublished Introduction Kant makes a sharp distinction (...) between interested and disinterested pleasures, whereby only the former kind is defined by the tendency for self-preservation. Yet, how can the disinterested pleasure of the beautiful preserve itself, given that insofar as it is disinterested it can be based on neither desire for its own preservation nor continued existence of the object? In addressing this issue, most commentators erroneously reintroduce desire in the pleasure of aesthetic reflection. By contrast, I propose to resolve this issue by turning to Kant’s account of lingering in §12 of the Analytic of the Beautiful and, more importantly, §§43-53 of the Deduction, where Kant affords his conception of aesthetic ideas. (shrink)

Kant's only aesthetic work apart from the Critique of Judgment , Observations on the Feeling of the Beautiful and Sublime gives the reader a sense of the personality and character of its author as he sifts through the range of human responses to the concept of beauty and human manifestations of the beautiful and sublime. Kant was fifty-eight when the first of his great Critical trilogy, the Critique of Pure Reason , was published. Observations offers a view into (...) the mind of the forty-year-old Kant. (shrink)

This book details the history of the concept of the beautiful, starting with a distinction between the 'warm' metaphysics of beauty and the 'cold' one modeled on Plato's Janus-faced relationship to beauty, and ending with a fragmented yet hopeful vision propagated by the likes of Nietzsche, Benjamin, and Adorno. The most important intellectual figures to write about beauty in Western metaphysics and in the post-metaphysical age are examined in this book.

Einstein's theories of special and general relativity are unanimously praised by scientists for their extraordinary beauty to the extent that some consider the latter to be the most beautiful theory in physics. The grounds for these assertions are assessed here and it is concluded that the beauty of Einstein's theories can be attributed to two of their aspects. The first is that they incorporate all possible ingredients that constitute the beauty of theories: simplicity, symmetry, invariance, unification, etc. The second (...) concerns the perfect logical consistency of Einstein's theories, a crucial factor in the unanimous praise of their beauty. Theories other than Einstein's are also assessed here, namely, electromagnetism and the various quantum theories, and it is concluded that all these suffer from logical flaws. This has resulted in a lack of consensus among scientists with respect to their beauty. Consequently, the unanimous claim that Einstein's theories are of superior beauty as compared to other theories in physics is hereby substantiated. (shrink)

Ralph Waldo Emerson's appropriation of the Stoic tradition occupied a central and enduring place in his worldview, as is abundantly clear from his essays, poems, and journals. Just as clearly, like other modern thinkers and writers influenced by Stoicism as "perennial philosophy," Emerson interpreted what he learned within a historical framework shaped by Christianity, liberalism, and democracy as well as by influences particular to his own thought and his personal experience. In my paper I will briefly review the main ideas (...) of ancient Stoicism, consider the changes introduced by modern versions of the Stoic tradition, and then indicate what ideas Emerson specifically appropriated and what role they played in his .. (shrink)

While there is a great deal of scholarly inquiry into the Suzuki Method of music instruction, few resources examine how the various aesthetic and pedagogic themes associated with the Suzuki Method are grounded in Dr. Shinichi Suzuki’s sense of self. Using the notion of authenticity—being true to oneself—as an investigative underpinning, I trace the trajectory of Suzuki’s personal grounding from the pivotal events of his youth to the emergence in his eighties of the signature statement, “Beautiful tone with living (...) soul, please.” What comes from this investigation is an appreciation that Suzuki’s sense of self carries with it not only a consideration for the life affirming and transformational potential of music, but also an invitation for teachers to purposefully engage in meaning-making and music-making experiences reflective of what it means to be true to oneself. (shrink)

This is the second part of a three-part study dealing with the Madhyamaka accounts of, and commentaries on, the Cārvāka/Lokāyata so-called “wolf’s footprint” stanza and tale, and “beautiful lady” stanza. Here Avalokitavrata’s discussion of the tale and the stanzas is dealt with, together with the Tibetan edition and English translation of the corresponding passage from his Prajñāpradīpaṭīkā.

With the present study an analysis in three parts is provided of the Buddhist reception of two Cārvāka/Lokāyata stanzas, abbreviated as "wolf's footprint" and the "beautiful lady". These stanzas seem to be conceptually related to each other, having the common aim to emphasize the idea that one should rely only upon what is or can be perceived. Consequently, from here it is concluded that any perspective concerning the existence of an afterlife or of a moral retribution of our actions, (...) since these things cannot be directly perceived, should be abandoned. The first part of the article is a study of the occurrences of the two stanzas in the Buddhist sources, taking into account also new material, recently discovered, together with a comparison with the Jain sources. The second and third parts discuss respectively Avalokitavrata's and Jayānanda's interpretations of the stanzas, offering also for the first time to the reader a translation and analysis of their versions of the "wolf's footprint" tale, so far studied only from Jain sources. (shrink)

This is the third and final part of a study focused on the Madhyamaka accounts of the Cārvāka/Lokāyata so-called “wolf’s footprint” stanza and tale, and “beautiful lady” stanza. In particular, this paper discusses Jayānanda’s short account of the tale and the stanzas contained in his Madhyamakāvatāraṭīkā on Candrakīrti’s Madhyamakāvatārabhāṣya. The Tibetan edition and English translation of Jayānanda’s relevant passages are also provided.

Resumen: Varios comentaristas han sostenido que la ontología de la concepción hegeliana de “alma bella” se funda en la determinación conocida como “mal infinito”, desarrollada en la Doctrina del Ser. En correlación con lo antedicho, comentaristas como Paha, Hinchman, Solomon y Harris sostienen que Hegel pensaba en el sistema filosófico fichteano al momento de desarrollar su concepción de “alma bella”. Sin embargo, esta hipótesis de lectura adolece de algunas falencias que serán desarrolladas a continuación. En primer lugar, es necesario realizar (...) una breve exposición de la figura del Espíritu conocida como “alma bella”; en segundo lugar, se describirá la determinación denominada “mal infinito”; en tercer lugar, se desarrollarán los problemas que conlleva la mencionada exégesis; en cuarto lugar, se expondrán las objeciones a la inclusión de la filosofía de Fichte como ejemplo de la concepción hegeliana de “alma bella”. Finalmente, se expondrán las conclusiones.: Many scholars have stated that the ontology of the Hegelian notion of “beautiful soul” is grounded in the category known as “bad infinite”, developed in the Doctrine of Being. Regarding this, scholars like Paha, Hinchman, Solomon and Harris state that Hegel was thinking of the Fichtean philosophical system as He developed his own notion of “beautiful soul”. However, this interpretation has some issues, which will be developed below. First, we give a short explanation about the shape of the Spirit known as “beautiful soul”. Second, we describe the category called “bad infinite”. Third, we show the issues related to the interpretation. Fourth, we present the objections to the inclusion of the Fichtean philosophy as an example of the Hegelian notion of “beautiful soul”. Finally, we present the conclusions. (shrink)

This book is a personal history and apology, written by one of this century's most distinguished small mammal ecologists, for a life in science spent working on problems for which no final dramatic conclusion was reached. Included along the way are some important anecdotes and history about Charles Elton and the pioneering work at the Bureau of Animal Population at Oxford University, from which most of modern population ecology has grown, and insigts on the philosophy and practice of science.