This study describes the theoretical assumptions and the application for health‐promoting conversations, as a communication tool for nurses when talking to patients and their families. The conversations can be used on a promotional, preventive and healing level when working with family‐focused nursing. They are based on a multiverse, salutogenetic, relational and reflecting approach, and acknowledge each person's experience as equally valid, and focus on families’ resources, and the relationship between the family and its environment. By posing reflective questions, reflection is (...) made possible for both the family and the nurses. Family members are invited to tell their story, and they can listen to and learn from each other. Nurses are challenged to build a co‐creating partnership with families in order to acknowledge them as experts on how to lead their lives and to use their own expert knowledge in order to facilitate new meanings to surface. In this way, family health can be enhanced. (shrink)

The voluminous writings of Ludwig Wittgenstein contain some of the most profound reflections of recent times on the nature of the human subject and self-understanding - the human condition, philosophically speaking. Describing Ourselves mines those extensive writings for a conception of the self that stands in striking contrast to its predecessors as well as its more recent alternatives. More specifically, the book offers a detailed discussion of Wittgenstein's later writings on language and mind as they hold special significance for the (...) understanding and clarification of the distinctive character of self-descriptive or autobiographical language. Garry L. Hagberg undertakes a ground-breaking philosophical investigation of selected autobiographical writings - among the best examples we have of human selves exploring themselves - as they cast new and special light on the critique of mind-body dualism and its undercurrents in particular and on the nature of autobiographical consciousness more generally. The chapters take up in turn the topics of self-consciousness, what Wittgenstein calls 'the inner picture', mental privacy and the picture of metaphysical seclusion, the very idea of our observation of the contents of consciousness, first-person expressive speech, reflexive or self-directed thought and competing pictures of introspection, the nuances of retrospective self-understanding, person-perception and the corollary issues of self-perception (itself an interestingly dangerous phrase), self-defining memory, and the therapeutic conception of philosophical progress as it applies to all of these issues. The cast of characters interwoven throughout this rich discussion include, in addition to Wittgenstein centrally, Augustine, Goethe, Dostoevsky, Kierkegaard, Iris Murdoch, Donald Davidson, and Stanley Cavell, among others. Throughout, conceptual clarifications concerning mind and language are put to work in the investigation of issues relating to self-description and in novel philosophical readings of autobiographical texts. (shrink)

Name der Zeitschrift: Frühmittelalterliche Studien Jahrgang: 51 Heft: 1 Seiten: 427-448.

A study of the opinions of a prominent tenth-century scholar pertaining to different aspects of pain, including his theological explanation of the existence of human suffering as well as a historical survey of his Bahšamiyya Mu‘tazila school.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 188-198 [Access article in PDF] Symposium: On Ken Burns's "Jazz" On Representing Jazz: An Art Form in Need of Understanding Garry L. Hagberg ALTHOUGH IT WENT ON in smaller numbers in earlier decades, the fact that there were legions of expatriate jazz musicians fleeing to a far more appreciative Europe in the 1960s and 1970s shows how important a cultural event Ken Burns's (...) documentary on the first century of jazz really is. Those expatriate players were all but forced out by a rapidly diminishing audience and a corresponding lack of appreciation for their artistic achievements and abilities. It is in any social context an achievement to gain an audience for an undervalued artform of between three and four million viewers for nineteen hours; to have done so against the backdrop of the fact—one bitter to swallow for so many American players of those years—that the country of origin for this artform was so slow to significantly value it, makes this documentary almost a form of cultural emergency-relief. But it also raises the stakes in how jazz is represented, which of its features are focused upon, and what kind of story is told about its development. In my opinion the film makes deeply serious errors in each of these ways—almost to the point of turning this seemingly magnificent gift to jazz into a Trojan horse—but here I'd like to focus on five of the features of jazz as an art that I think make jazz particularly difficult to portray in a reduced or simplified form. To put the point a bit more strongly: without an awareness of (at the least) these five features of jazz, any attempted portrayal would run the very serious danger of engendering or further nurturing the very incomprehension of the artistic or aesthetic achievements of jazz that drove all those American players to Copenhagen, Paris, London, Munich, Vienna, and Amsterdam in the first place. It is, in short, necessary to provide at least a sense of what is [End Page 188] intrinsically problematic about the artform to illuminate both its distinctive nature and the aesthetic problems—taken by its practitioners as its internally generated artistic challenges—that give this artform its dynamic energy.First, there is the fundamental question concerning the metaphysics of a jazz piece, i.e., what kind of thing it is. At a glance one can see that a familiar attempt to answer this question within the larger field of the aesthetics of music, i.e., the identification of the work with the score, will have precious little plausibility when applied to jazz. As any jazz musician or aficionado knows, jazz pieces that become "standards" are pieces that are performed countless times, in innumerably variegated ways, and what is usually of greatest interest about any given performance of a standard is not, indeed, how well or to what extent it instantiates a predetermined ideal of the piece as specified in the score, but rather how it departs from, or adds distinctive interpretive content, to the basic structure of the piece. This aesthetically significant fact is reflected in the correlated common practice of using, not scores, but rather schematic "lead sheets" that provide the very basic harmonic and melodic material of the piece. Even larger-ensemble pieces, e.g., the scores of Duke Ellington, are notated only in the sectional writing; the improvisational sections—the sections that many would say give the distinctive life to any given performance—are of course not notated. There are fully notated scores of many—to use a dangerously complicated word—classic jazz performances, but in jazz parlance these, here again with aesthetic significance, are not called scores, but rather transcriptions, and in this improvisational artform it would be cause for suspicion rather than congratulation if a player were to perform a given work exactly in accordance with the transcription repeatedly. The nature of the jazz piece, the jazz composition, is thus extraordinarily fluid and only minimally defined. And as one might expect, the degree or the extent... (shrink)

Does non-representational art itself constitute a refutation of any theory of art based upon mimesis or imitation? Our intuitions regarding this question seem to support an affirmative answer: it appears impossible to account for abstract and non-representational art in terms of imitation, because, to put the problem simply, if nothing is copied in a work of art then there can be nothing essentially imitative about it. The very notion of abstract imitative art seems self-contradictory.

When we inquire into the nature of works of art we can see at a glance that there is a good deal of evidence against aesthetic idealism, the view that artworks are, in the final analysis, imaginary objects in the minds of their creators. We believe, for instance, that the National Gallery not only contingently but in some sense necessarily weighs more than merely the sum of the empty building, the people in it, and the assorted fixtures. This sum must (...) also include the weight of canvases, the oils on them, carved stone and marble, and so on, all of which add up to substantially more than nothing, which is at least the approximate weight of imaginary things. We know that it takes considerably more than a verbal utterance or acoustical blast to transport an artwork, and we also know that a visit to the gallery is not going to amount to an afternoon spent with wax figures of unicorns, flying horses, present and bald kings of France or, for that matter, talking teapots. In short, intuition protests against the idealist theory that if works of art are imaginary objects, they cannot be the things we go to see in the gallery; and if they are imaginary objects then, like a waxen Peter Pan, they are surely not art. Mellon and Meinong simply have different kinds of collections. (shrink)

In this study the awake patient's intraoperative situation and experiences during regional anaesthetics and surgery are reflected upon by using the work of the French philosopher Maurice Merleau‐Ponty. Merleau‐Ponty's phenomenological idea of the body as being at the centre of the world highlights the patient's embodied position and bestows significance onto the body as a whole, as a lived body. A case, based on the findings from a previous interview study, is presented as a contextual starting point where a patient (...) goes from having a familiar body recognized as her own to having a partially anaesthetized body experienced as an unknown object. The intraoperative caring space is described in this context as the mutual ground where the awake patient and the nurse anaesthetist (NA) can interact to create meaning. The NA can act as the patient's bodily extension to bridge the gap between the patient's experiences and the situation. This calls for the NA's proximity and genuine presence in order to meet and understand the patient's awake experiences. Learning from the patient's situatedness gives information that is valuable for NAs to share with patients who are less experienced with this contextual situation. The challenge for the NA is not to perform routine‐based care, but to acknowledge every patient's lifeworld and uniqueness thus enabling the patient to move easily along the mind–body–world continuum. The core of intraoperative care is to provide support and promote well‐being of awake patients in the intraoperative environment. The use of a philosophical perspective is relevant for nurses who work in an intraoperative setting where patients undergo regional anaesthetics. This study shows how nursing research using phenomenological philosophy can help uncover new meanings known only to the patients living the experience. (shrink)

Abstract:Held at Landscape, Language, and the Sublime symposium and creative gathering in Devon, England on Solstice 2016, We Weave and Heft by the River was an all-night, socially-engaged event that explored ways to grieve the current loss of non-human species and ecological habitats. We Weave and Heft by the River considered how inheritors of the colonial legacy may have a compromised ability to grieve due to transformations tied to agriculture and colonization. We considered the social nature of grief, the possibility (...) of grieving with non-humans, and the importance of grief in unraveling colonial practices of time and space. (shrink)

The study reported in this paper focused on nursing students' learning and, in particular, their integration of caring science in theory and practice. An educational model incorporating educational drama was developed for implementation in three different teaching contexts within the nursing and midwifery study programmes at a Swedish college. A central aim was to understand the dynamics of educational drama in the healthcare context and its impact on learning and teaching. Using a phenomenological approach, seventeen students and six teachers were (...) interviewed and their experience of drama as an educational method explored.The research findings illustrate the meaning of learning and teaching that is sensitive to students' lifeworld experiences. In order to be a successful method for closing the gap between caring science theory and practice, not only the educational drama, but teaching in general, must be anchored in the lived world of the students - that is, their experiences of health and care. While embodied reflection, as a key factor in integrating theory and practice, was shown to be well supported by educational drama, it was also found that "the method" tends too readily to take over and govern teaching and learning. The findings of this study further indicate how learning in practice and embodied reflection can be supported by the inclusion of well-chosen caring science theory to cast light on caring practice dilemmas. (shrink)

The study reported in this paper focused on nursing students’ learning and, in particular, their integration of caring science in theory and practice. An educational model incorporating educational drama was developed for implementation in three different teaching contexts within the nursing and midwifery study programmes at a Swedish college. A central aim was to understand the dynamics of educational drama in the healthcare context and its impact on learning and teaching. Using a phenomenological approach, seventeen students and six teachers were (...) interviewed and their experience of drama as an educational method explored.The research findings illustrate the meaning of learning and teaching that is sensitive to students’ lifeworld experiences. In order to be a successful method for closing the gap between caring science theory and practice, not only the educational drama, but teaching in general, must be anchored in the lived world of the students – that is, their experiences of health and care. While embodied reflection, as a key factor in integrating theory and practice, was shown to be well supported by educational drama, it was also found that “the method” tends too readily to take over and govern teaching and learning. The findings of this study further indicate how learning in practice and embodied reflection can be supported by the inclusion of well-chosen caring science theory to cast light on caring practice dilemmas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) iii-iv [Access article in PDF] Editorial War of the Worldviews With this issue, PHILOSOPHY AND LITERATURE enters its second quarter century. For many of the past twenty-five years it has enjoyed the sponsorship of Whitman College and the extraordinarily capable coeditorship of Patrick Henry. Bard College now assumes sponsorship, and the journal will be edited jointly by us, with Pat Henry ascending to the (...) empyrean to look down upon us as Editor Emeritus.From its first issue (a mere 124-page wisp of a journal, but with robust essays by Hazel Barnes, Monroe Beardsley, and a smart young thinker named Martha Nussbaum), PHILOSOPHY AND LITERATURE has provided a home for anyone convinced by the initially counterintuitive notion that a close study of fiction can play an irreplaceable role in epistemology, ethics, philosophy of language, and even metaphysics. Philosophy is about life from the broadest possible human perspective, and so is literature. But how different the perspectives! Plato saw fiction, poetry, drama, and passion dug in on one side of the battle lines, with science, philosophy, and reason on the other. Not for the first time, nor the last, he was right. At this journal, we're on no peace mission, and we don't relish vapid compromises. Both sides in Plato's War of the Worldviews will be discomfited and annoyed to learn that they have features in common. Would-be peacemakers will be disappointed to see fresh hostilities breaking out just when they thought differences were being at last reconciled. We're interested more in the facts, arguments, and the healthy entertainment of battle than we are in making anybody comfortable. And let's admit it: the kinds of scholarly disputes we encourage in this journal can be exciting and fun.Watch these pages, therefore, not only for fresh news of ancient disputes, but also for exciting studies that break old boundaries, exploring the myriad linkages between traditional aesthetics and such empirical disciplines as psychology, anthropology, and biology. The [End Page iii] symposium on jazz in this issue marks as well our intention to publish engaging work on the arts and culture in general, not limiting ourselves to the areas named in our title. All the articles in PHILOSOPHY AND LITERATURE are, as always, offered in the spirit of expanding the reach and depth of humanistic scholarship. But one thing will stay the same around here: our constant concern to offer prose that is characterized by exactitude, insight, refinement, rigor, and above all, clarity.Heartfelt thanks to the many individual readers and writers who have brought PHILOSOPHY AND LITERATURE to this stage of its evolution. We welcome your suggestions about future directions. And so we roll up our sleeves and plunge into the next twenty-five years. Denis Dutton University of Canterbury Garry Hagberg Bard College... (shrink)

Peter Kivy has said that the power of purely instrumental music remains an unexplained wonder. With this larger question in mind, I will consider: the issues in musical aesthetics that led to what Kivy termed his enhanced formalism, his conception of expressive properties in music and how a distinction between having and understanding an emotion can help clarify this issues here, and, most importantly for Kivy’s larger mystery, the way that counterpoint, in an often unrecognized way, can present mimetic content (...) of a kind that can explain the sense of musical profundity that it often awakens. It may turn out that absolute music’s profundity can be explained by the resonances this kind of layered and complex music has with the living, the ordering, the making sense, of a life. (shrink)

This book investigates the significance of Wittgenstein’s philosophy for aesthetic understanding. Focusing on the aesthetic elements of Wittgenstein’s philosophical work, the authors explore connections to contemporary currents in aesthetic thinking and the illuminating power of Wittgenstein’s philosophy when considered in connection with the interpretation of specific works of literature, music, and the arts. Taken together, the chapters presented here show what aesthetic understanding consists of and the ways we achieve it, how it might be articulated, and why it is important. (...) At a time of strong renewal of interest in Wittgenstein’s contributions to the philosophy of mind and language, this book offers insight into the connections between philosophical-psychological and linguistic issues and the understanding of the arts. (shrink)

In the current literature, institutional adoption of Corporate Social Responsibility (CSR) governance standards is mainly understood in a binary sense (adoption versus no adoption), and existing research has hitherto focused on inducements as well as on barriers of related organizational change. However, little is known about often invisible internal adoption patterns relating to institutional entrepreneurship in the field of CSR. At the same time, additional information about these processes is relevant in order to systematically assess the outcomes of institutional entrepreneurship (...) and to differentiate between substantive versus symbolic implementation. In this paper, we contribute a comparative intraorganizational differentiation of institutional adoption processes in the field of CSR, and we distinguish between broad and narrow organizational institutional adoption across different management functions relating to institutions of a similar type. Our study is based on a quantitative survey among members of the United Nations Global Compact Network Germany, as well as on qualitative interviews. We analyze different institutional adoption patterns and derive ten theoretical predictors of diverse institutional adoption choices and thereby inform the literatures on institutional entrepreneurship, CSR governance, and Multi-Stakeholder Initiatives. Besides our theoretical contributions, our findings serve as a source of information for practitioners engaged in CSR governance as they provide new insights into the managerial perception and assessment of different CSR standards and initiatives. (shrink)

In 1931, in the remarks collected as Culture and Value, Wittgenstein writes: ‘A thinker is very much like a draughtsman whose aim it is to represent all the interrelations between things.’ At a glance it is clear that this analogy might contribute significantly to a full description of the autobiographical thinker as well. And this conjunction of relations between things and the work of the draughtsman immediately and strongly suggests that the grasping of relations is in a sense visual, or (...) that networks or constellations of relations are the kinds of things brought into focus by seeing in the right way. (shrink)

Literature is a complex and multifaceted expression of our humanity, one dimension of which is ethical content. This striking collection of new essays pursues a fuller and richer understanding of five of the central aspects of this ethical content. These aspects are: the question of character, its formation, and its role in moral discernment; poetic vision in the context of ethical understanding; literature's distinctive role in self-identity and self-understanding; patterns of moral growth and change that emerge from the philosophical reading (...) of literature; and the historical sources and genealogies of some of our most central contemporary conceptions of the ethical dimension of literature. The volume engages with literary work from Homer to J. M. Coetzee, Shakespeare to David Foster Wallace, and explores the philosophy of Plato, Aristotle, Descartes, Locke, Kant, Hegel, Freud, Heidegger, Wittgenstein, Levinas, and others. This rich collection presents some of the best new thinking about the ethical content that lies within literature, and it shows why our reflective absorption in literature is the humane--and humanizing--experience many of us have long taken it to be. (shrink)

To engage with the aesthetic is to watch yourself watching and what you see cannot be reached, for all that exists is the reflection of the vision performed by you. The aesthetic experience offers insights into the consciousness that are both ancient and linked to creative inventions in present-day art culture. In "A Place to Know", Margaretha Rossholm Lagerloef interprets twelve recent artworks, from Sol LeWitt to Katharina Grosse. She sets out the unique claims and qualities which are inherent (...) in seeing and understanding contemporary art. The book presents four analytical categories of artwork, charting the character of the aesthetic experience and the traditions that determine how we think about visual art. She peels back the layers of consciousness to lay bare the forgotten seams of experience, interwoven with artistic expression. The ancient thus arcs into a deepened awareness of avant-garde art. (shrink)

This chapter contains sections titled: Attentiveness Awareness of the Circumstances of Action Acknowledging the Autonomy of Others Respecting Complexity Memory Respecting Individuality Rethinking the Past The Habit of Resourcefulness Kantian Mutual Respect Genuineness and Insight Sensitivity to the Context of Discourse Excessive Attentiveness The Diversity of Intentional Action.

Wittgenstein’s scattered remarks on music, when brought together and then related to his similarly scattered remarks on culture, show a deep and abiding concern with music as a repository and conveyer of meaning in human life. Yet the conception of meaning at work in these remarks is not of a kind that is amenable to brief or concise articulation. This paper explores that conception, considering in turn the relational networks within which musical meaning emerges, what he calls a discernible “kinship” (...) between composers and styles, the embodied character of musical content, the close and too-little-appreciated intricate connections between our capacity to make sense in music and in language and the interaction of the musical theme with spoken language, and music as a culturally-embedded phenomenon that is, as he said of language, possible only in what he evocatively, if too briefly, called “the stream of life.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 196-210 [Access article in PDF] On Philosophy as Therapy:Wittgenstein, Cavell, and Autobiographical Writing Garry Hagberg IN HIS LATER PHILOSOPHICAL WRITINGS Wittgenstein was exquisitely sensitive to the misleading implications housed within the formulations of philosophical questions. The question with which he opened the Blue Book, "What is the meaning of a word?," the question "What is thinking?," and the question "What constitutes understanding?," each (...) put into place presumptions concerning how an answer is going to proceed: in the first, that the meaning will be an entity of some kind—likely of an ontological kind different from the acoustical or calligraphic sensory property of the word (to which we will then think the meaning attached); in the second, that thinking will be in essence a determinate mental process or event—likely one of an ontological kind different from that of speaking (to which we will then picture thinking as prior); in the third, an inner process culminating in a state that is metaphysically hidden from all things outer and that is the inner condition that lies unreachable behind what we will then call the behavior that is contingently correlated with it. It is by now no secret that each of these questions has been subjected to thorough scrutiny throughout the writings in The Blue and Brown Books, Philosophical Investigations, Remarks on the Philosophy of Psychology, Last Writings on the Philosophy of Psychology, Zettel, and even more extensively in the typescripts and manuscripts from which these are taken. 1 But it is still perhaps less widely realized than it might be that the very phrase "Wittgenstein's method" can easily prove as misleading as each of the above questions, and there is an aspect of irony waiting to dawn on those who reflect that the modern philosopher most concerned to maintain a philosophically relevant mindfulness about front-loaded [End Page 196] implications is perhaps too often not afforded precisely the mindfulness about his own later philosophical writings that he was most concerned to teach.The phrase "Wittgenstein's method" might well lead us to expect, in the first place, a unitary way of contending with philosophical difficulties that is employed across the board; in the second place, it might lead us to expect an acceptance of a set of perennial problems as framed by philosophers through the ages that are treated with that unitary method; and in the third place, it might lead us to expect a set of solutions to those time-honored questions providing answers formulated in a way parallel to, if different from, those worked out by Frege, Russell, Quine, or many others before and since. Indeed, such an expectation has often outlived the recognition that Wittgenstein's own writings are presented in a piecemeal way that seems not to offer any such overarching method or any such problem-accepting concisely formulated answers; some have simply assumed that, while Wittgenstein himself did not or could not provide such results, the raw material is there, and the task of interpretation, in his case, just comes to the task of argument-and-position formulation. To load a spatial metaphor into epistemology, nothing could be further from the truth. What Wittgenstein's later writings offer us is—to put the matter in a different way misleadingly briefly—a way of seeing philosophical problems that constitutes a radical departure from the approaches of Frege, Russell, Quine, and so many others. And in enacting this departure throughout his writings from the Blue Book and the Cambridge lectures of those years through to his final remarks in On Certainty, he himself, wary of too simply or too conventionally characterizing his own ways of working, appeals to the notion of therapy. This is a fitting concept for a moment in philosophy's history of radical departure and an ensuing process of radical change.It is true that in the Tractatus Wittgenstein wrote "Most of the propositions and questions of philosophers arise from our failure to understand the logic of our language" (4.003), and it would not be wrong to call... (shrink)

'What is the meaning of a word?' In this thought-provoking book, Hagberg demonstrates how this question—which initiated Wittgenstein's later work in the philosophy of language—is significant for our understanding not only of linguistic meaning but of the meaning of works of art and literature as well.

This book investigates the scope and significance of Stanley Cavell’s lifelong and lasting contribution to aesthetic understanding. Focusing on various strands of the rich body of Cavell’s philosophical work, the authors explore connections between his wide-ranging writings on literature, music, film, opera, autobiography, Wittgenstein, and Austin to contemporary currents in aesthetic thinking. Most centrally, the writings brought together here from an international team of senior, mid-career, and emerging scholars, explore the illuminating power of Cavell’s work for our deeper and richer (...) comprehension of the intricate relations between aesthetic and ethical understanding. The chapters show what aesthetic understanding consists of, how such understanding might be articulated in the tradition of Cavell following Wittgenstein and J. L. Austin, and why this mode of human understanding is particularly important. At a time of quickening interest in Cavell and the tradition of which he is a central part and present-day leading exponent, this book offers insight into the deepest contributions of a major American philosopher and the profound role that aesthetic experience can play in the humane understanding of persons, society, and culture. (shrink)

Whatever societies accept as "knowledge" is embedded in specific epistemological, political and economic power relations. How is knowledge produced and functionalized? What is the difference between knowledge and the sciences? Can there be science without universal truth claims? Questions like these, all of them highly relevant, are discussed in twelve essays from the perspective of Sociology, Law, Cultural Studies and the Humanities.

Irrigation systems are recognized as common pool resources supplying water for agricultural production, but their role in supplying water for other uses is often overlooked. The importance of non-agricultural uses of irrigation water in livelihood strategies has implications for irrigation management and water rights, especially as increasing scarcity challenges existing water allocation mechanisms. This paper examines the multiple uses of water in the Kirindi Oya irrigation system in Sri Lanka, who the users are, and implications for water rights and management (...) policies. There are important residential, gender, and class differences among the water users. People use irrigation system water not only for field crops, but also for fishing, homestead gardens, and livestock. Even within irrigated farming households, men have more control over paddy crops in the main fields, whereas homestead gardens are women's domain. Because the irrigation system provides water for birds and animals, even wildlife and non-resident environmental groups can be considered stakeholders. Current policies emphasize user involvement in both irrigation and domestic water supply. While government agencies have had primary responsibility, institutions such as Farmers' Organizations are being promoted. These have the potential to serve as user platforms for negotiating water allocation among irrigated farmers. However, the user organizations reflect the sectoral responsibility of the government agencies. Their membership and structure do not take into account the multiple uses or users of water. Developing platforms that accommodate different user groups remains a major challenge for improving the overall productivity, as well as equity, of water use. (shrink)

This article undertakes a comparison between Wittgenstein's philosophy of the early and late periods with the musical theories of Wittgenstein's contemporary, Heinrich Schenker, an influential Viennese theorist of tonality, as well as those of their contemporary Arnold Schoenberg. Schenker's reductive analytical procedure was designed to unveil fundamental and uniform ways in which all works of music function, unfolding a deep structure constituting their essence. Schoenberg deplored this line of thought, and for reasons strikingly parallel to those that led Wittgenstein back (...) to what he called the ‘rough ground’ in his Philosophical Investigations. Ultimately, for Wittgenstein, the abstracted picture of the musical work as a platonic entity is nourished by grammatical conflations as well as by the Platonic and Cartesian legacies. (shrink)

This monumental collection of new and recent essays from an international team of eminent scholars represents the best contemporary critical thinking relating to both literary and philosophical studies of literature. Helpfully groups essays into the field's main sub-categories, among them ‘Relations Between Philosophy and Literature’, ‘Emotional Engagement and the Experience of Reading’, ‘Literature and the Moral Life’, and ‘Literary Language’ Offers a combination of analytical precision and literary richness Represents an unparalleled work of reference for students and specialists alike, ideal (...) for course use. (shrink)