Kathleen J. Higgins

This article proposes to discuss the role of music within confucian philosophy as a whole and within neo-Confucian philosophy in particular. The discussion includes a consideration of the construction of chinese music; philosophical correlations drawn between musical elements and features of both macrocosm and microcosm; musical aesthetics in the confucian and neo-Confucian philosophical systems; and affinities between the nature of music and the broader outlook of confucian and neo-Confucian philosophy. The suggestion is made that these affinities help to explain the prominent role of music in these two philosophical schools

In the context of mourning, human beings often turn to aesthetic activity. Kathleen Higgins, professor of philosophy at the University of Texas at Austin, argues that the aesthetic sphere has certain characteristic capabilities that make it especially well suited for helping one deal with some of the challenges occasioned by bereavement. Among these are the achievement of coherence among seemingly incongruent elements, the use of indirect means of communication and deferred routes to gratification, the celebration of the particular as opposed to the generic, the social sharing of what is at the same time experienced as highly personal, the elaboration of narratives that bring features of character to the fore, and the attainment of symbolic satisfaction. Drawing on such capabilities, aesthetic behavior helps mourners to reconstruct a sense of self, overcome the temptation to apathy, assuage survivor guilt, and reorganize one's relationship with the deceased. The power of the aesthetic in this context demonstrates how basic it is to our sense of what it is to be human.

This collection of essays fairly exhibits the diversity of opinions about and approaches to the study of Nietzsche within the contemporary academy’s influential and far flung Nietzsche establishment. Notwithstanding the absence of feminist interpretations of Nietzsche and despite the omission of chapters that take seriously Nietzsche’s debt to the ancients, critique of the spirit of democracy, defense of a rank order of desires and souls, recurring articulations of an aristocratic politics, attack on the morally and politically debilitating effects of professional scholarship, and persistent celebration of the philosopher as the highest human type, this book will prove useful to amateurs and professionals alike.

One of the reasons for the disappearance of beauty in the artistic ideology of the late twentieth century has been the seeming similarity of beauty to certain kinds of kitsch. Beauty has also been associated with flawlessness and with glamour. I will content that the flawless and the glamorous are actually categories of kitsch, and that the dominance of these images in marketing has contributed to our societal tendency to confuse them with beauty. The quests for flawlessness and glamour are both self-sabotaging, a premise on which the marketing of beauty depends. These false paradigms of beauty have ob cured the fact that human beauty manifests an ideal of balance and health that is neither self-conscious nor a consequence of deliberate effort. I will defend the relevance of this ideal to beauty to our personal and cultural well-being.

Confucius condemned Zheng 鄭 and Wei 衛 music, which had widespread popular appeal. He may have expected music to display fundamental patterns in the natural world and thriving human relationships, tasks that could be compromised by irregular and relatively complicated music like that of Zheng and Wei. He was also convinced that Zheng and Wei music would motivate undisciplined behavior in listeners. A third consideration may have been that even if some benefits of participation would derive from music that included innovations, traditional forms should be preferred because they would further bonds between generations and encourage a sense of community by emphasizing shared inheritance. Confucius seems unaware that innovation can help keep musical traditions alive, but he may have recognized that well-known music facilitates kinds of engagement that novel music cannot. Such engagement was key to what Confucius sought from music and would be reason enough for his judgment.

ABSTRACT In Living with Nietzsche, Robert C. Solomon defends the view that Nietzsche is an existentialist avant la lettre, a view that I defend. I concur with Ariela Tubert that her case that Nietzsche is a skeptic about metaphysical freedom supports Solomon's position, even if he did not necessarily see Nietzsche as holding a skeptical view. I counter Ivan Soll's arguments against Solomon's view that Nietzsche was mainly interested in promoting the life of passion, which Soll takes as insufficiently appreciative of the importance of will to power in Nietzsche's thought. I argue that Solomon's construal of will to power is defensible and not really so distant from Soll's own stated interpretation.

Introducing Philosophy: A Text with Integrated Readings, Tenth Edition is a thorough introduction to the core problems of philosophy, including explanations and background by the authors along with generous excerpts from the philosophers under discussion. Organized topically, the chapters present alternative perspectives-including analytic, continental, feminist, and non-Western viewpoints-alongside the historical works of major philosophers. The text provides the course materials that allow instructors and students to focus on a variety of philosophical problems and perspectives. Spanning 2,500 years, the selections range from the oldest known fragments to cutting-edge contemporary essays

The turn of the nineteenth century marked a rich and exciting explosion of philosophical energy and talent. The enormity of the revolution set off in philosophy by Immanuel Kant was comparable, by Kant's own estimation, with the Copernican Revolution that ended the Middle Ages. The movement he set in motion, the fast-moving and often cantankerous dialectic of `German Idealism', inspired some of the most creative philosophers in modern times: including G.W.F. Hegel and Arthur Schopenhauer as well as those who reacted against Kant - Marx and Kierkegaard, for example. This volume traces the emergence of German Idealism from Kant and his predecessors through the first half of the nineteenth century, ending with the irrationalism of Kierkegaard. It provides a broad, scholarly introduction to this period for students of philosophy and related disciplines, as well as some original interpretations of these authors. Each chapter is written by a distinguished scholar in the field. A glossary of technical terms together with a chronological table of philosophical, scientific and other important cultural events are provided

Ironies are implicit in the title of Zoltan Somhegyi’s book Reviewing the Past: The Presence of Ruins, and this is in keeping with ruins’ own paradoxical character as manifesting endurance and fragility, presence and absence, vivid physicality and an import that is almost entirely reflective. By inviting readers to take a desultory approach to the sequence of the book’s chapters, the author positions them to be active co-explorers of ruins who are reflective about their responses. Somhegyi analyzes various threats to the survival of ruins as structures and aesthetic objects but nevertheless finds bases for some optimism. He ends the book with a chapter on a topic that seems far afield from ruins: museums that make the process of remembering thematic. This somewhat abrupt conclusion forces the reader to draw connections between his remarks on such museums and the topic of ruins. This provocation of the reader’s own reflections encourages a stance akin to that involved in the aesthetic appreciation of ruins and draws attention to their open-endedness.

The significance of Friedrich Nietzsche for twentieth century culture is now no longer a matter of dispute. He was quite simply one of the most influential of modern thinkers. The opening essay of this 1996 Companion provides a chronologically organised introduction to and summary of Nietzsche's published works, while also providing an overview of their basic themes and concerns. It is followed by three essays on the appropriation and misappropriation of his writings, and a group of essays exploring the nature of Nietzsche's philosophy and its relation to the modern and post-modern world. The final contributions consider Nietzsche's influence on the twentieth century in Europe, the USA, and Asia. New readers and non-specialists will find this the most convenient, accessible guide to Nietzsche currently available. Advanced students and specialists will find a conspectus of recent developments in the interpretation of Nietzsche.

Monique Roelofs’s The Cultural Promise of the Aesthetic is groundbreaking in its nuanced account of the potential and limitations of the aesthetic for creating a more just, humane world. Particularly timely are Roelofs’s analyses of the ways in which racial and gender stereotypes are reinforced and the operations of what she calls “racialized aesthetic nationalism,” the tendencies of aesthetic values to shore up schisms along racial, ethnic, and national lines. I raise questions, however, about the appropriateness of aesthetic criticism that stresses sins of omission, the desirability of insisting that the broad nexus of social relations always be kept in view, and the danger that foregrounding minority group membership and gender will reduce individuals in marked categories to mere exemplifications of such status.

This volume examines the motives behind rejections of beauty often found within contemporary art practice, where much critically acclaimed art is deliberately ugly and alienating. It reflects on the nature and value of beauty, asking whether beauty still has a future in art and what role it can play in our lives generally. The volume discusses the possible “end of art,” what art is, and the relation between art and beauty beyond their historically Western horizons to include perspectives from Asia. The individual chapters address a number of interrelated issues, including: art, beauty and the sacred; beauty as a source of joy and consolation; beauty as a bridge between the natural and the human; beauty and the human form; the role of curatorial practice in defining art; order and creativity; and the distinction between art and craft. The volume offers a valuable addition to cross-cultural dialogue and, in particular, to the sparse literature on art and beauty in comparative context. It demonstrates the relevance of the rich tradition of Asian aesthetics and the vibrant practices of contemporary art in Asia to Western discussions about the future of art and the role of beauty.