Burial in the forest is a recent, non-confessional alternative to the established cemeteries owned and run by the Evangelical Lutheran Church in Denmark. Danish forest burials fulfil common criteria for non-religion and they are an example of institutionalized non-religion. Their non-confessional character is emphasized in the information material directed towards potential buyers of forest burial plots. Forest burials appeal to both non-members and members of the Evangelical Lutheran Church; in fact, nearly two-thirds of those who had (...) a forest burial by the end of 2021 were members of the church. I have participated in seven tours conducted at different forest burial sites, and I have interviewed nearly fifty participants about their motives for considering buying a forest burial plot. In my analyses, I structure the interviews along the three dimensions, knowing, doing, and being. I found that the motives for people to choose a forest burial reflected both non-religious and religious/spiritual considerations. Forest burials exemplify a religious complexity where nature, non-religion, religion, and spirituality intersect. In this complexity, I see the institution of forest burial as a non-religious vessel, which the buyers fill with their individual thoughts and acts. (shrink)

Key texts on beauty and its revival in contemporary art.

It appears that the attitudes of health professionals differ towards suicide and voluntary active euthanasia. An acceptance of, if not an agreement with, voluntary active eutha nasia exists, while there is a general consensus that suicide should be prevented. This paper searches for a working definition of suicide, to discover ethical reasons for the negative value that suicide assumes, and also to provide a term of reference when comparing suicide with euthanasia. On arriving at a working definition of suicide, it (...) is compared with voluntary active euthanasia. An analysis of utilitarian and deontological considerations is provided and proves to be inconclusive with respect to the ethical principles informing the attitudes of professionals. Therefore, a search for other influences is attempted; this indicates that psychological influences inform attitudes to a greater degree than ethical principles. (shrink)

This essay charts the outlines of the historical transition from the artisanal workshop to the artist’s studio and the transition from the artisan to the artist, not through the transition from patronage to the art market but through an analysis of the transformation of labour’s social division of labour. The essay reassesses the discourses on the artist as genius and the artist as worker through a reinterpretation of the elevation of the Fine Arts above handicraft. This sheds new light, also, (...) on the discourse of deskilling in art. This essay argues that the transition from the artisan to the artist is an effect of the social division of labour in which the knowledge, skills and privileges of the master artisan are distributed among a set of specialists. (shrink)

Diachronic studies of discourse markers suggest they follow a unidirectional developmental path, from propositional to textual and expressive uses. The present study tests whether children acquire the propositional (literal) before the expressive (pragmatic) functions of two adversative discourse markers in French and English, which have similar core meanings and pragmatic functions. Our results partially confirm the propositional-first hypothesis but semantics and pragmatics appear to work together, rather than first one then the other, at least in this case, and this runs (...) counter to both diachronic theories and usage-based accounts of L1 acquisition. 88 occurrences of en fait and 174 of actually were extracted from the CHILDES database, and coded for two functions (adversative and elaborative) and three domains (propositional, textual, expressive). The results suggest that the pragmatic functions of actually are used by children as young as two years old, but the same is not true of en fait, which is almost exclusively propositional in the early years. By contrast, before age 5, French children start to use en fait for textual and elaborative functions to a greater extent than actually. The role of syntactic position and parental input are discussed. (shrink)

Tome I. Quatre essais sur les régimes conceptuels -- Tome 2. Quatre essais sur la connaissance de l'Humain.

Matt Beech traces the ideological roots of the Labour Party from its nineteenth century origins in the Labour Movement, through the twentieth century, until the years under Tony Blair. He claims that New Labour in power evolved as a revisionist social democratic government and traces its search for new political ideas both to the New Right and Old Labour. Using interviews with former Labour politicians, advisers and academics, he presents an original and comprehensive analysis of Labour's political philosophy.

Artistic labour was exemplary for Utopian Socialist theories of 'attractive labour', and Marxist theories of 'nonalienated labour', but the rise of the anti-work movement and current theories of 'fully automated luxury communism' have seen art topple from its privileged place within the left's political imaginary as the artist has been reconceived as a prototype of the precarious 24/7 worker. 'Art and Postcapitalism' argues that art remains essential for thinking about the intersection of labour, capitalism and postcapitalism not insofar as it (...) merges work and pleasure but as an example of noncapitalist production. Reassessing the contemporary politics of work by revisiting debates about art, technology and in the nineteenth and twentieth century, Dave Beech challenges the aesthetics of labour in John Ruskin, William Morris and Oscar Wilde with a value theory of the supersession of capitalism that sheds light on the anti-work theory by Silvia Federici, Andre Gorz, Kathi Weeks and Maurizio Lazzarato, as well as the technological Cockayne of Srnicek and Williams and Paul Mason. Formulating a critique of contemporary postcapitalism, and developing a new understanding of art and labour within the political project of the supersession of value production, this book is essential for activists, scholars and anyone interested in the real and imagined escape routes from capitalism. (shrink)

Viruses are major drivers of global biogeochemistry and the etiological agents of many diseases. They are also the winners in the game of life: there are more viruses on the planet than cellular organisms and they encode most of the genetic diversity on the planet. In fact, it is reasonable to view life as a viral incubator. Nevertheless, most ecological and evolutionary theories were developed, and continue to be developed, without considering the virosphere. This means these theories need to be (...) to reinterpreted in light of viral knowledge or we need to develop new theory from the viral point-of-view. Here we briefly introduce our viral planet and then address a major outstanding question in biology: why is most of life viral? A key insight is that during an infection cycle the original virus is completely broken down and only the associated information is passed on to the next generation. This is different for cellular organisms, which must pass on some physical part of themselves from generation to generation. Based on this premise, it is proposed that the thermodynamic consequences of physical information (e.g., Landauer’s principle) are observed in natural viral populations. This link between physical and genetic information is then used to develop the Viral Information Hypothesis, which states that genetic information replicates itself to the detriment of system energy efficiency (i.e., is viral in nature). Finally, we show how viral information can be tested, and illustrate how this novel view can explain existing ecological and evolutionary theories from more fundamental principles. (shrink)

Given the highly coercive and heavily surveilled dynamics of the present moment, when the tremendous pressures exerted by capital on contemporary life produce an aggressively normative 'official reality', the question of the construction of other possible worlds is crucial and perhaps more urgent than ever. This collection brings together different perspectives from the fields of philosophy, aesthetics, and art to discuss the mechanisms through which possible worlds are thought, constructed, and instantiated, forcefully seeking to overcome the contemporary moment's deficit of (...) conceptualizing alternate realities, its apparent fear of imagining possible new and compelling futures, and beginning the arduous task of producing the political dynamics necessary for actual construction. Implicit in this dynamic between the conceptual and the possible is the question of how thinking intertwines with both rationality and the inherited contingencies and structures of the world that loom before us. With no ascertainable ground on which to build, with no confidence in any 'given' that could guarantee our labours, how do we even envisage the construction site(s) of possible worlds, and with what kind of diagrams, tools, and languages can we bring them into being? (shrink)

This book follows the historical trail by which humanity has determined the shape and internal structure of the Earth. It is a story that bears on aspects of the history of science, the history of philosophy and the history of mathematics. At the heart of the narrative is the important philosophical practice of performing thought experiments -- that is, the art of considering an idealized experiment in the mind. This powerful technique has been used by all the great historical practitioners (...) of science and mathematics, and this book looks specifically at the long history of considering what would happen if an object could be dropped into a tunnel that cuts all the way through the Earth's interior. Indeed, the story begins with a historical whodunit, tracing back through the historical literature the origins of what is now a classic, textbook problem in simple harmonic motion. (shrink)

A useful guide to best practice including reviews of the latest and most helpful tests available. In Part One, contributors discuss the theory of reading assessment including issues such as screening, legal aspects, memory and visual problems, computer based assessment and the dyslexias. Part Two contains the review section where experts give comprehensive reviews of named tests.

Explores the topic of ethics in sports, including stories of good sportsmanship in action, playing by the rules, and game preparation.

This book offers an interdisciplinary analysis of the social practice of taste in the wake of Pierre Bourdieu¿s sociology of taste. For the first time, this book unites sociologists and other social scientists with artists and curators, art theorists and art educators, and art, design and cultural historians who engage with the practice of taste as it relates to encounters with art, cultural institutions and the practices of everyday life, in national and transnational contexts. The volume is divided into four (...) sections. The first section on ¿Taste and art¿, shows how art practice was drawn into the sphere of ¿good taste¿, contrasting this with a post-conceptualist critique that offers a challenge to the social functions of good taste through an encounter with art. The next section on ¿Taste making and the museum¿ examines the challenges and changing social, political and organisational dynamics propelling museums beyond the terms of a supposedly universal institution and language of taste. The third section of the book, ¿Taste after Bourdieu in Japan¿ offers a case study of the challenges to the cross-cultural transmission and local reproduction of ¿good taste¿, exemplified by the complex cultural context of Japan. The final section on ¿Taste, the home and everyday life¿ juxtaposes the analysis of the reproduction of inequality and alienation through taste, with arguments on how the legacy of ideas of ¿good taste¿ have extended the possibilities of experience and sharpened our consciousness of identity. As the first book to bring together arts practitioners and theorists with sociologists and other social scientists to examine the legacy and continuing validity of Pierre Bourdieu¿s sociology of taste, this publication engages with the opportunities and problems involved in understanding the social value and the cultural dispositions of taste ¿after Bourdieu¿. It does so at a moment when the practice of taste is being radically changed by the global expansion of cultural choices, and the emergence of deploying impersonal algorithms as solutions to cultural and creative decision-making. (shrink)

Geographical features and cultural traits influence the character of big-mountain tourism in Alaska. This research considers the intersectionality of wilderness and frontier concepts on tourism culture, examines guides’ and clients’ motivations for participation, and relates these influences to the larger phenomena of tourism generally and nature tourism specifically. The findings show that Alaska’s big-mountain tourism is globalized in its political and economic scope. Guides imagine themselves as pioneers on a last frontier of mountain pursuits, notions that relate well to images (...) depicted of the region in literature and promoted by the tourism industry. Clients, on the other hand, come to Alaska because of its exceptional geography and unique mountain sporting culture, but are not as enamored with the mythos of the frontier. (shrink)

Malcolm Quinn’s book,Utilitarianism and the Art School in Nineteenth-Century Britain, is an historical study of the birth pangs of the state-funded art school that interrogates the politics of art’s reproduction within the context of Victorian reformism in which the art school was proposed as a mechanism to improve the standards of taste of manufacturers and factory workers, as well as of artists, designers, art teachers and others. The review locates the political and cultural transition from the academy to the art (...) school as the construction of a specifically bourgeois institution of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Dialogue:The Principle of Civility in Academic DiscourseForest HansenSeveral months ago New York Times columnist David Brooks addressed the lack of civility in recent public discourse. "So... you get narcissists who believe they or members of their party possess direct access to the truth.... You get people who prefer monologues to dialogue.... You get people who... loathe their political opponents."1One might think that by contrast academia, and especially academic (...) publications, would provide a bastion of civil discourse. Alas, even academia has been infiltrated. At least it so appears to me when I read some of what has been recently published in the name of the philosophy of music education.I find that disheartening.However one defines "philosophy," it minimally entails raising questions whose answers are reasonably debatable. The key word here is "reasonably." Those who are committed to philosophical activity criticize positions they oppose by formulating arguments, giving examples, calling on accepted facts, clarifying the meaning of terms, and bringing to bear the principles of formal and informal logic. And thus they open themselves to counter-criticism of the same [End Page 198] sort. Nowhere in this enterprise is there need—or room—for invective, sarcasm, name-calling, ad hominems, or any other kind of personal abuse. One might call this The Principle of Civility in Academic Discourse.Philosophy differs in this respect from polemics. In one of its senses "polemics" means "the art or practice of disputation or controversy," and so seems a close cousin to philosophy. However, while "philosophy" traces its etymological roots to "love" and "wisdom," "polemics" is derived from "war." Polemics is a kind of verbal warfare. Typically polemicists are willing to use any tool at their disposal—even underhanded ones—to "win" the war of ideas. Polemics in this usual sense dispenses with objectivity and fairness (though it may make such a pretense). In fact, people who mount personal attacks thereby reveal their lack of philosophical tools and diminish their argument.Distinguishing philosophy from polemics does not mean that all philosophical claims are equal. Some positions are stronger than others, some weaker. Some can be dismissed relatively out of hand if they are illogical or do not square with normal experience. But even when positions are inadequate, the persons who advance the positions deserve to be treated with courtesy, respect, and collegiality.Typically, people trained in philosophy assimilate this principle as a matter of course. They have learned that over the centuries great minds have disagreed about every philosophical issue—whether the make-up of ultimate reality, the nature and sources of knowledge, the existence of god, the justification of morality. So too with what the nature of music is, what music should be taught and how, what is the purpose of music education.No one has a corner on the answers to such questions. The floor should always be open to debate—to consideration of new proposals and reconsideration of old ones. In disciplines where some matters are more or less settled (as in natural science and mathematics), such arguments disappear and new quests hope to find new settled answers. But in philosophy, more fundamentally than in any other traditional academic discipline, the discussion, the reasoned argumentation, is ongoing.Many years ago Douglas Morgan, in his essay "Must Art Tell the Truth"2 eloquently captured this spirit of philosophy:Philosophy is itself to be conceived as an invitational, dialectical activity rather than as any system of dicta. A philosopher can be thought of as [one] who, far from commanding assent with any thunderous barrage of argumentative artillery, invites you to think [about] the world or some aspect of it in a somewhat different way. "Come in," [the philosopher] says cordially, "and welcome. Sit down. Let me mix you an idea. Sip this thought, and tell me how your own experience looks. If you should find my way of construing our [End Page 199] world unappetizing or unpromising, pray show me your way. Let us once again in the good old Greek way, dia-lego, talk it through together."Finally, The Principle of Civility in Academic Discourse ought to be conveyed in our classrooms, as we foster new generations in... (shrink)

Dans L'animal, l'homme, la fonction symbolique, Raymond Ruyer cherchait à caractériser la spécificité de l'homme à l'intérieur du monde biologique et il en distinguait trois traits constitutifs : le rôle modifié du cerveau, la transmission ou « hérédité » culturelle, la dimension symbolique du langage. Sa thèse était qu'il faut chercher dans le maniement des symboles ce qui rend possible les diverses manifestations de la culture, et qu'en vertu de cette origine commune, ces manifestations doivent être considérées comme indissociables. Mais, (...) il y a chez Ruyer, une troisième voie entre émergence et réduction. Il a, en ce qui concerne les symboles, une dette à l'égard de Cassirer et surtout de Susanne Langer. Enfin les acquis en éthologie cognitive et les recherches contemporaines sur l'évolution de la faculté du langage permettent d'apprécier avec quelque scepticisme la position de Ruyer. In Vanimal, Vhomme, la fonction symbolique, Raymond Ruyer tried to define the specificity of man within the biological world, distinguishing three characteristic features: the modified role of the brain, cultural transmission or "heredity", the symbolic dimension of language. He argued that one had to consider the manipulation of symbols as what makes possible the manifestations of culture, and that, because of their common origin, these manifestations should be held to be intricately linked. This paper focuses on the alternative to emergence and reduction that Ruyer intends to define, and elaborates, with respect to symbols, his debt towards Ernst Cassirer and, most notably, Susanne K. Langer. Finally, it provides a skeptical examination of Ruyer's position, drawing on the results of cognitive ethology and on contemporary research on the evolution of the linguistic faculty. (shrink)

Objectives—To evaluate a departmental computer system.Design—a. Direct comparison of the time taken to use a manual system with the time taken to use a computer system for lung function evaluation, loan of equipment and production of correspondence. b. Analysis of the accuracy of data capture before and after the introduction of the computer system. c. Analysis of the comparative running costs of the manual and computer systems.Setting—Within a department of respiratory medicine serving a hospital of 1323 beds.Main Outcome Measures—a. Time (...) taken to perform functions with the assistance of computerised methods, in comparison to the manual method used alone. b. Accuracy of data capture. c. Relative running costs.Results—a. The computer system (CS) was significantly faster than the manual system (MS) for lung function evaluation (CS=7.63 min/test, MS=12.25 min/test), loan of equipment (CS=0.40 min/loan, MS=2.07 min/loan), and checking for overdue equipment (CS=0.49 s/record, MS=9 s/record). The production of correspondence was slightly slower with the computer (CS=9.30 min/letter, MS=8.54 min/letter). b. All outpatient episodes, but only 43 of 65 (66%) of inpatient episodes, were captured. Lung function and managerial report data were accurate using both manual and computerised methods. The manual system for equipment loans was inefficient, and use of the computer resulted in the recovery of 221 nebulisers. c. Development costs for 1988–1990 were high (£72 178). Only £1200 to £1845 per year was recovered directly from staff time saved by the computer but larger savings resulted from changes in work practice (£4049–4765). After 10 years the projected deficit is £10 000 per annum in running costs.Conclusions—In comparison with the manual methods, the computer system has shown significant advantages which provide accurate information, with significant favourable effects on working practices. In evaluating computer systems used in clinical practice it is essential to ensure that the projected work practice benefits are achieved without unacceptable costs in staff time, inaccurate data and high financial outlay. (shrink)

Objectives—To evaluate a departmental computer system.Design—a. Direct comparison of the time taken to use a manual system with the time taken to use a computer system for lung function evaluation, loan of equipment and production of correspondence. b. Analysis of the accuracy of data capture before and after the introduction of the computer system. c. Analysis of the comparative running costs of the manual and computer systems.Setting—Within a department of respiratory medicine serving a hospital of 1323 beds.Main Outcome Measures—a. Time (...) taken to perform functions with the assistance of computerised methods, in comparison to the manual method used alone. b. Accuracy of data capture. c. Relative running costs.Results—a. The computer system was significantly faster than the manual system for lung function evaluation, loan of equipment, and checking for overdue equipment. The production of correspondence was slightly slower with the computer. b. All outpatient episodes, but only 43 of 65 of inpatient episodes, were captured. Lung function and managerial report data were accurate using both manual and computerised methods. The manual system for equipment loans was inefficient, and use of the computer resulted in the recovery of 221 nebulisers. c. Development costs for 1988–1990 were high. Only £1200 to £1845 per year was recovered directly from staff time saved by the computer but larger savings resulted from changes in work practice. After 10 years the projected deficit is £10 000 per annum in running costs.Conclusions—In comparison with the manual methods, the computer system has shown significant advantages which provide accurate information, with significant favourable effects on working practices. In evaluating computer systems used in clinical practice it is essential to ensure that the projected work practice benefits are achieved without unacceptable costs in staff time, inaccurate data and high financial outlay. (shrink)

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

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

In lieu of an abstract, here is a brief excerpt of the content:In Memoriam: Bennett ReimerForest HansenIn late afternoon on January 9, 2014, family members, colleagues, former students, and other friends met at Northwestern University to reflect upon and honor the life of Bennett Reimer, who had died from cancer on November 18, 2013 at the age of 81. The printed program fittingly called it a “Memorial Celebration,” because that is what it was. Fine wine and savory hors d’oeuvres were (...) served, a woodwind quartet of Bienen School of Music graduate students played Reimer favorites, and Beth Hebert, Bennett’s life partner of 27 years, greeted every person as they entered the hall. Reimer would have approved of the exuberant tastefulness of the event. He would probably have blushed and demurred, however, when in the formal part of the program his colleagues, daughters, and former students praised him in recalling specific occasions of his mentoring, inspiring, modeling, guiding, collaborating, and originating. (In his writing Reimer loved such extensive discriminatory lists.) Included among the expressions of respect and affection were these words by Estelle Jorgensen, who could not be present, read by Randall Allsup: [End Page 101]We have lost a wonderful person who lived life richly and made an outstanding contribution to the field of music education and beyond. In honor of his work as a philosopher of music education, among the many facets of his professional life, the Philosophy of Music Education Review will have a special issue devoted to the ideas that he left us, contributed by prominent music educational leaders and writers. Such moments of professional loss leave a rent in our midst that can never quite be patched. Along with our sorrow is our memory of the joy, idealism, and hope that characterized his lived life. We cling collectively to the memories of the blessings he brought us in simply being Bennett.Reimer was born on June 19, 1932 in Brooklyn, where he grew up. He earned a B.S. in music education in 1954 at SUNY at Fredonia and an M.S. (1955) and Ed.D. (1963) at the University of Illinois, Urbana-Champaign. His teaching career started at the Richmond Professional Institute of the College of William and Mary (1955–57) and continued at Madison College (Harrisburg VA) (1958–1960) and the University of Illinois (1960–65). At Case Western Reserve University (1965–1978), he became chair of the Music Education Department and holder of the Kulas Endowed Chair in Music. Then at Northwestern University he held the John W. Beattie Chair in Music from 1978 until his retirement in 1997. He chaired the Music Education Department there, directed the doctoral program in music education, and founded and directed the Center for the Study of Education and the Musical Experience—a weekly research forum for graduate students and faculty. Although Reimer had started out as an instructor in clarinet and oboe, musical theory, conducting, and music appreciation, he became a scholar, teacher, and lecturer in the new field of philosophy of music education with a worldwide following and reputation.Reimer was most noted for his seminal A Philosophy of Music Education (1970), which can fittingly be described as the founding document of the discipline. Typically he made revisions for the second edition in 1989 and more radical ones for the third edition in 2003, retitled as A Philosophy of Music Education: Advancing the Vision. This work has been translated into French, Japanese, and Chinese, and, forthcoming, Greek. He was associated with PMER and the International Society for Philosophy of Music Education (ISPME) from their beginnings in 1990.Besides his seminal works, Reimer wrote or co-wrote another twenty books and more than 150 articles, reviews, and book chapters. A few of his book titles indicate the range of his thought, from his early and widely used textbooks The Experience of Music (1971) for college students and Silver Burdett Music for grades 1–8 to his more recent Performing with Understanding: The Challenge of the National Standards for Musical Education (2000), World Musics and Music [End Page 102] Education: Facing the Issues (2002), and Seeking the Significance of Music Education (2009). He was an active participant and leader in a host of other music... (shrink)