DOCSLIB.ORG

Persons As Self-Consciously Concerned Beings

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Persons As Self-Consciously Concerned Beings City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 Persons as Self-consciously Concerned Beings Benjamin Abelson Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/824 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] PERSONS AS SELF-CONSCIOUSLY CONCERNED BEINGS by BENJAMIN ABELSON A dissertation submitted to the Graduate Faculty in Philosophy in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2015 i © 2015 BENJAMIN ABELSON All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Philosophy in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Graham Priest May 18th, 2015 ____________________ Chair of Examining Committee John Greenwood May 18th, 2015 _____________________ Executive Officer John Greenwood Linda Alcoff Jesse Prinz Marya Schechtman Supervisory Committee iii Abstract PERSONS AS SELF-CONSCIOUSLY CONCERNED BEINGS by BENJAMIN ABELSON Advisor: Professor John D. Greenwood This dissertation is an analysis of the concept of a person. According to this analysis, persons are beings capable of being responsible for their actions, which requires possession of the capacities for self- consciousness, in the sense of critical awareness of one’s first-order desires and beliefs and concern, meaning emotional investment in the satisfaction of one’s desires and truth of one’s beliefs. The persistence of a person over time requires uninterrupted maintenance of those capacities. This view is in conflict with the more popular account of persistence in terms of the continuity of distinctive psychological states. Furthermore, this account of personhood has the consequence that contrary to most alternative conceptions, the possession of rights to life and good treatment and the concern for others are neither necessary nor sufficient for being a person. In chapter one I explain and argue for my account of personhood in terms of self-consciousness and concern, illustrating that a being lacking either capacity would not be capable of responsible action and therefore would not be a person. In chapter two I argue for the claim that the persistence of a person requires only that those capacities are maintained uninterruptedly. Chapter three concerns the ontology of persons. There I argue for a Reductionist view of persons and defuse the objection that such a view necessarily slides into Eliminativism. In chapter four I draw a distinction between the concepts of ‘person’ and ‘self,’ arguing that the latter is not unique to persons and is best understood in neuro-cognitive terms. The fifth and final chapter deals with the implications of my account of personhood for ethics, as regards rights and concern for others. iv Acknowledgements This dissertation is dedicated to Raziel Abelson and Marie-Louise Friquegnon, who are my wonderful parents as well as masterful philosophers. I hope to have absorbed some small portion of the tremendous wisdom they have endeavored to impart to me throughout my life. I am extremely grateful for my supervisor, John Greenwood, without whom I could not imagine having put this thing together. Nor can I imagine having a more patient, encouraging and challenging guide for the journey. I am also very grateful for the rest of my committee: Linda Alcoff, Graham Priest, Jesse Prinz, and Marya Schechtman for being with me every step of the process, providing me with invaluable feedback on various drafts of the project. I am also greatly indebted to Christa Davis Acampora and David Rosenthal, the two philosophers who had the greatest influence on my thinking in my undergraduate and graduate studies, respectively. I am doubly thankful for my amazing girlfriend Ana Talushllari, not only for her being unbelievably loving and supportive, but also for contributing to the project by sharing her rich knowledge of animal behavior and cognitive ethology, providing me with cutting edge research in those areas, and for lending her graphic design talents to the construction of Figure 1, which appears on page 211 in chapter four. And a very special thanks to our uncanny cats Bisou and Casanova, who were a constant source of inspiration as well as live-in case studies for how fascinating, intelligent, and worthy of our concern non-persons can be, and to Ana’s parents Drita and Veri who were immensely accommodating and tolerant of my presence in their home while I wrote the vast majority of this work. Special thanks go to my older siblings, Gabriel and Maris, who have been fantastic exemplars of how not only to be a good person, but a cool one as well. And also to my nephews and niece: Bodhi, Harry and Samantha, who are my favorite developing persons in the whole world. Huge thanks to the following persons for reading and commenting on substantial portions of this work or otherwise influencing it enormously: Robert Black, Jonah Goldwater, Jessica Gordon- Roth, David Nagy, Nickolas Pappas, Arina Pismenny, and Richard Sorabji Thanks to these persons, who impacted the project in various ways: Mark Alfano, Sophia Bishop, Charlene Blades, Frank Boardman, Brian Bollard, Richard Brown, Gregg Caruso, Ross Colebrook, Carl Craver, Bryan Danielson, Abraham Dickey III, James Dow, Cory Evans, Leonard Finkelman, William Fisk, Charles Goodman, Javier Gomez-Lavin, Richard Hanley, Katherine Hartling, Alan Hausman, Hyun Hochsmann, Eva Kittay, Thomas Kivatinos, Michael Levin, Eric Mandelbaum, Pete Mandik, Florence Nasar, Shaun Nichols, Jake Quilty-Dunn, Rick Repetti, John Richardson, Angelika Seidel, Elisabetta Sirgiovanni, Henry Shevlin, Leana Shugol, Sandeep Sreekumar, Thomas Teufel, Peter Unger, Denise Vigani, Alexis Vigo, and Thomas Whitney. v Table of Contents Introduction Page 1 Chapter One: Necessary and Sufficient Conditions for Personhood Page 32 Chapter Two: The Persistence of Persons Page 83 Chapter Three: The Ontology of Persons Page 154 Chapter Four: Self and Person Page 191 Chapter Five: Metaphysical and Moral Personhood Page 226 Bibliography Page 269 vi Introduction I. What is a Person? The question “What is a person?” might ring oddly in ears unfamiliar with the philosophical debates surrounding it. Someone who poses such a query is likely to receive a reaction of puzzlement or even ridicule. Among the more helpful responses to it is the counter-question, “Isn’t a person just a human being?” This is helpful because the philosopher asks the former question only when he or she has in mind a distinction between the concept of a person and that of a human being. To illustrate this distinction, the philosopher is likely to mention fetuses or individuals in irreversible vegetative comas, as examples of humans that are non-persons on the one hand, and intelligent space aliens, artificial intelligences, or superevolved non-human animals, as examples of non-human persons, on the other. The first hand holds examples of genetically human creatures that don’t seem to meet the criteria for personhood and the second hand holds examples of non-humans who do seem to be persons. Now the original question can be recast in light of these examples: What do the human non-persons lack and the non-human persons have in common that is essential to being a person? This question might sound a bit less odd to the layperson, particularly if he or she has had any exposure to science fiction or the more publicly represented bioethical issues, such as abortion, euthanasia, and animal rights, or legal issues concerning the status of corporations. Often one speaks of the qualities of ‘humanity’ when one really has in mind features that could be possessed by something that is not genetically homo sapiens. The assignment of ‘human’ to the biological species concept and ‘person’ to the more abstract metaphysical notion is a matter of philosophical convention, but there 1 is a conceptual distinction to be drawn that is not a matter of convention but represents a genuine difference in meaning between biologically specific humans and trans- specific persons. Thereby, I follow the philosophical tradition in stipulating that in the context of this study, ‘human’ denotes belonging to the biological species homo-sapiens and ‘person’ denotes belonging to the trans-specific class. For thinkers at the dawn of modern philosophy and science, particularly substance dualists such as Rene Descartes, Joseph Butler (1736), and Thomas Reid (1785), personhood was understood as depending on the possession of an immaterial, immortal soul. Persons were thought to be the unique possessors of minds, free will, and morality. According to Descartes, human beings are the only creatures to possess those characteristics (though he didn’t use the term ‘person’), by virtue of having a soul that is separate from their physical or mental components and properties, standing behind those components and properties, and evidenced by their unique capacity for language. He regarded all non-human creatures as mere mechanisms, without thought, will, or feeling. For him, only human beings oversee their own bodily mechanisms from the executive seat of the soul. The strict duality between soul-possessing persons and mechanical non-persons has since been rejected by most philosophers, and the notion of a separate soul with a causally undetermined will has been largely abandoned by philosophers with naturalistic inclinations. Even without such jettisoning, John Locke (1690), as a kind of proto-functionalist, saw that it didn’t matter what sort of stuff a being was composed of, but rather how that stuff was organized and what it could do. For a 2 non-physical substance to constitute a personal soul it would have to have the capacities constitutive of personhood.
Load more

Recommended publications
  • 7. the PROBLEMATIZATION of the TRIAD STYLE-GENRE- LANGUAGE in the DIDACTIC APPROACH of the DISCIPLINE the HISTORY of MUSIC Loredana Viorica Iațeșen18
    DOI: 10.2478/RAE-2019-0007 Review of Artistic Education no. 17 2019 56-68 7. THE PROBLEMATIZATION OF THE TRIAD STYLE-GENRE- LANGUAGE IN THE DIDACTIC APPROACH OF THE DISCIPLINE THE HISTORY OF MUSIC Loredana Viorica Iațeșen18 Abstract: Conventional mentality, according to which, in the teaching activities carried out during the courses of History of Music, the approach of the triad style-genre-language is performed under restrictions and in most cases in a superficial manner, the professor dealing with the usual general correlations (information regarding the epoch, biography and activity of the creator, affiliation of the musician to a certain culture of origin, the classification of the opus under discussion chronologically in the context of the composer’s work) falls into a traditional perspective on the discipline brought to our attention, a perspective that determines, following the processes of periodical or final assessment, average results and a limited feedback from students. For these reasons, it is necessary to use the modern methods of approaching the discipline, new teaching strategies in the comments and correlations on scientific content, so that the problematization of the style-genre-language triad in didactic approach of the discipline The History of Music, to generate optimal results in specific teaching and assessment activities. Key words: romantic composer, orchestral lied, text-sound relationship, critical reception 1. Stage of research. Musicological perspective In our opinion, the teaching approach of the triad Style-Genre-Language during the courses of history of music involves a systematization of the most relevant titles in the musicological documentation, in order to establish some key-elements in the following study.
    [Show full text]
  • Marco Polo – the Label of Discovery
    Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father.
    [Show full text]
  • Music Is You Ecological Introduction to Improvised Counterpoint
    216 Music is You Ecological introduction to improvised counterpoint If someone wanted to be malicious and point out a word that reappears in AVANT editorial comments particularly (or even irritatingly) often, the word they would likely choose is “counterpoint.” Yet, even were the word to be taken at its most literal, as in the Latin punctus contra punctum,56 it is difficult to find a better description for the basic rule guiding the journal structure. Two forms equally (but differently) adequate and in their ways, equally authentic. What is created between them, however, is en- tirely up to the Reader. So it is in this case, where it is not us but the Readers who can apply the music researchers’ skills to those of musicians themselves. Having invited two eminent representatives of improvised avant-garde, the brothers Marcin and Bartłomiej Oleś, our interviewer let himself conduct a (perhaps preten- tious) experiment: he asked the two brothers (separately) mostly identical questions. The result did not resemble that of a simple poll. The musicians’ personalities defined the form and direction of the answers. One cannot force the way into their musical work and thought, but can only ever be allowed to enter, in a process both peaceful and thoughtful. Let us finally follow with a short biographical note of our guests. The Oleś Brothers: Marcin (Double Bass) and Bartłomiej Brat (Drums). Born in 1973, composers and jazzmen as well as authors of film and theatrical scores. They have collaborated not only with each other, but also with a lineup of true stars of jazz, such as Theo Jörgensmann, David Murray, Chris Speed and Eric Friedlander.
    [Show full text]
  • Tension and Relaxation (Do Not) Exist in Dodecaphonic Music of Webern
    UDK 78:81’373.46 Izvorni znanstveni rad Rukopis primljen 14. VII. 2018. Prihvaćen za tisak 14. XI. 2018. Gordana Grujić Mladen Janković Academy of Arts University of Banja Luka [email protected] [email protected] TENSION AND RELAXATION (DO NOT) EXIST IN DODECAPHONIC MUSIC OF WEBERN Observing tension in music is generally a very sensitive research field. Authors like Wallace Berry and Joseph Swain believe that this is a principle which is the most fundamental aspect of music experience through its history, no matter which music language or compositional system it is. Starting from such general assumptions that it is possible to determine the parameters which affect the feeling of tension and relaxation in dodecaphonic music as well, the possibility of recording the closures that are the basis for the structural delineation of the sections and the determination of phrases and sentences in the musical flow is imposed. The system surely exists, the only question is whether we are able to perceive it in a new, dodecaphonic music flow? Is it possible in a dodecaphonically organized work to find dissonant and consonant harmonies, and thus demonstrate the elements of tension and resolution, or do some other musical components have the primacy in organizing and establishing hierarchical levels in the definition of closures in dodecaphonic music? Relying on the writings of authors who have dealt with this or similar theme (Babbitt 1949, Forte 1973, Lerdahl 1989, Boss 1994, Rothgeb 1997, Farbood 2006, Granot and Eithan 2011, Zatkalik 2016), this work will illustrate the systematization and ranking of closures at the hierarchical level at which they operate in the examples of Webern’s dodecaphonic music (op.
    [Show full text]
  • Krótki Wykład O Muzyce XX Wieku. Kompendium Dydaktyczne
    Pobrane z czasopisma Annales L - Artes http://artes.annales.umcs.pl Data: 06/09/2019 16:27:21 10.1515/umcsart-2015-0002 ANNALES UNIVERSITATIS MARIAE CURIE-SKŁ ODOWSKA LUBLIN – POLONIA VOL. XII, 2 SECTIO L 2014 Instytut Muzyki Uniwersytetu Marii Curie-Skłodowskiej TOMASZ JASIŃSKI Krótki wykład o muzyce XX wieku. Kompendium dydaktyczne A Short Lecture on Twentieth-Century Music. A Teaching Compendium U schyłku XIX stulecia Debussy wystąpił z formułą muzycznego impresjo- nizmu, a na początku nastpnego wieku zabrzmiały ekspresjonistyczne dzieła Schönberga i neoklasyczneUMCS kompozycje Strawińskiego, wówczas to stało si ja- sne, e wiat muzyki wkroczył w zupełnie nową epok. Mówienie w tym wy- padku jedynie o narodzinach kolejnej fazy stylistycznej nie oddaje ani skali, ani powagi zjawiska. W ciągu owych kilkunastu lat dokonał si bowiem w muzyce prawdziwie ekstremalny i bezprecedensowy przełom, nieporównywalny z adną inną cezurą w dziejach sztuki dwikowej. Ówczesne działania twórcze dopro- wadziły do zerwania wizi z jzykiem muzycznym i estetyką pónego romanty- zmu, zarazem – co jeszcze istotniejsze – zachwiały podstawami wielowiekowej tradycji kompozytorskiej. Rozbrat z przeszłocią, tak jaskrawo widoczny w od- rzuceniu systemu tonalnego, oznaczał równoczenie ostentacyjne wejcie w sfer rozwiązań na tyle nowatorskich i miałych, ryzykownych i szokujących, e ju po krótkim czasie zmianie uległo samo pojmowanie rudymentarnych wyznacz- ników muzyki: jej elementów, formy i stylu, sposobów kształtowania, ekspresji, pikna i wartoci. rodki konstytuujące nowy jzyk dwikowy otworzyły przed poetyką muzyczną zupełnie nowe horyzonty, uruchomiły zarazem takie procesy Pobrane z czasopisma Annales L - Artes http://artes.annales.umcs.pl Data: 06/09/2019 16:27:21 62 Tomasz Jasiński twórcze, które z czasem doprowadzą do sytuacji krańcowych.
    [Show full text]
  • Lecture Notes in Computer Science
    Name Index Abraham 14-15 Goetschius 200, 210 Adler 2, 30, 42-51 Goeyvaerts 106 Bach 144, 146, 149, 151, 164, 197, 233, Habk 15 288, 290, 296, 401 Hofstadter 57 Beethoven 272-273, 395 Husserl 47, 60, 91, 117, 118, 119, 421- Binet 57 422, 427 Boltzmann 42, 51 Huygens 14 Boulez 112 H~ndel 446, 459, 461,462 Brentano 44, 51, 117, 118, 121, 122 HSfler 50 Bruckner 47-48 Isaacson 6, 237 Budge 205 Ives 396 Cambouropoulos 6, 277 Jeppesen 226 Camurri 9, 495 Jodl 42, 48-49, 51 Canazza 8, 431,441 Carnap 72-73 Kant 13, 117, 122, 138 Carreras 4, 144 Keuler 5,214 Charbonneau 7, 375 Kirnberger 209 Chopin 95, 98, 397 Kitson 207, 210 Clynes 270, 414-415 Koffka 57-58, 63, 70, 108, 118, 144, 146, Cohen 7, 386 294 Cufaro Petroni 4, 169 Kohonen 150, 153, 165, 169-171, 179, 337 De Poll 8, 431,441 Kreichgauer 15 Descartes 14, 117, Krumhansl 6, 179, 196, 294 Dubnov 7, 386 Krfiger 70 Durand 206 Kurth 14 Delibes 459, 459, 466 K5hler 15, 18, 57-58, 70, 72, 75-78, 80, Ebcrlein 6, 225 108, 118, 147, 163, 363 Eichert 3, 70 Kiilpe 121,138 Epstein 253-255 Lach 42-43, 50-51 Euler 14 Larson 6, 321 Forte 237, 241-243, Leibniz 117 Franek 6, 253 Leman 2, 4, 9, 13, 98, 144, 169ff., 495 Fyk 8, 421 Lewin 15 F4tis 208 Ligeti 393 Lotze 138 Geyer 208 Louhivuori 2, 30 Godoy 3, 89 Luria 78 518 Mach 13, 42, 46, 48-49, 51, Schmidt 3, 70 Maler 225 Schneider 2, 4, 13, 117 Marpburg 206 Schoenberg 237, 247, 375 Mates 6, 253 Schubert 456 Mattusch 8, 469 Schumann 272 McCulloch 82 Schumann, K.E.
    [Show full text]
  • The Contribution of Wrocław-Based Composers to Silesian and National Musical Culture in Poland After 1945
    190 Musicologica Slovaca 11 (37), 2020, č. 2 THE CONTRIBUTION OF WROCŁAW-BASED COMPOSERS TO SILESIAN AND NATIONAL MUSICAL CULTURE IN POLAND AFTER 1945 Anna Granat-Janki prof. Anna Granat-Janki; The Karol Lipiński Academy of Music in Wrocław, The Faculty of Composition, Conducting, Theory of Music and Music Therapy, pl. Jana Pawła II nr 2, 50-043 Wrocław; e-mail: [email protected] Abstract When attempting to discuss and appraise the contribution of Wrocław-based composers to the Silesian and national musical culture in Poland, one should remember that the Wrocław music milieu came into existence only after the Second World War, and it developed from scratch, with no Polish roots it could refer to. However, in spite of difficult conditions in which it emerged, the milieu of Wrocław-based composers has always been open to new trends and movements. The article presents the achievements of the composers during different periods in the post-war Polish music history of the 20th and 21st centuries in the context of political and cultural changes, which provide a reference frame for the critical discourse. The aim is to determine characteristic features of the music of Wrocław-based composers and assess the significance of their cultural achievements from a local and national perspective. Key words: Wrocław-Based Composers; Silesian Culture; National Music Culture in Poland; music in Poland after 1945 The year 1945 was of particular importance for both Poland and Wrocław, as it was the year the city of Wrocław and part of Silesia were returned to Poland, which marked the beginning of a new period in the history of our country.
    [Show full text]
  • Krótki Wykład O Muzyce XX Wieku. Kompendium Dydaktyczne
    10.1515/umcsart-2015-0002 ANNALES UNIVERSITATIS MARIAE CURIE-SKã ODOWSKA LUBLIN – POLONIA VOL. XII, 2 SECTIO L 2014 Instytut Muzyki Uniwersytetu Marii Curie-Skäodowskiej TOMASZ JASIýSKI Krótki wykäad o muzyce XX wieku. Kompendium dydaktyczne A Short Lecture on Twentieth-Century Music. A Teaching Compendium U schyáku XIX stulecia Debussy wystąpiá z formuáą muzycznego impresjo- nizmu, a na początku nastĊpnego wieku zabrzmiaáy ekspresjonistyczne dzieáa Schönberga i neoklasyczne kompozycje StrawiĔskiego, wówczas to staáo siĊ ja- sne, Īe Ğwiat muzyki wkroczyá w zupeánie nową epokĊ. Mówienie w tym wy- padku jedynie o narodzinach kolejnej fazy stylistycznej nie oddaje ani skali, ani powagi zjawiska. W ciągu owych kilkunastu lat dokonaá siĊ bowiem w muzyce prawdziwie ekstremalny i bezprecedensowy przeáom, nieporównywalny z Īadną inną cezurą w dziejach sztuki dĨwiĊkowej. Ówczesne dziaáania twórcze dopro- wadziáy do zerwania wiĊzi z jĊzykiem muzycznym i estetyką póĨnego romanty- zmu, zarazem – co jeszcze istotniejsze – zachwiaáy podstawami wielowiekowej tradycji kompozytorskiej. Rozbrat z przeszáoĞcią, tak jaskrawo widoczny w od- rzuceniu systemu tonalnego, oznaczaá równoczeĞnie ostentacyjne wejĞcie w sferĊ rozwiązaĔ na tyle nowatorskich i Ğmiaáych, ryzykownych i szokujących, Īe juĪ po krótkim czasie zmianie ulegáo samo pojmowanie rudymentarnych wyznacz- ników muzyki: jej elementów, formy i stylu, sposobów ksztaátowania, ekspresji, piĊkna i wartoĞci. ĝrodki konstytuujące nowy jĊzyk dĨwiĊkowy otworzyáy przed poetyką muzyczną zupeánie nowe horyzonty,
    [Show full text]
  • Postmodern Referentiality
    G. POMPE • POSTMODERN ... UDK 78.082.1Bergamo P. Gregor Pompe Filozofska fakulteta, Univerza v Ljubljani Faculty of Arts, University of Ljubljana Postmodern referentiality: playing with texts and contexts in Petar Bergamo’s Second Symphony Postmoderna referencialnost: Igra tekstov in kontekstov v Drugi simfoniji Petra Bergama Prejeto: 3. september 2013 Received: 3rd September 2013 Sprejeto: 7. oktober 2013 Accepted: 7th October 2013 Ključne besede: Petar Bergamo, modernizem, Keywords: Petar Bergamo, modernism, post- postmodernizem, tekst, kontekst, referencialnost, modernism, text, context, referentiality, intertex- intertekstualnost tuallity Iz v l e č e k Ab s t r a c t Drugo simfonijo (1967) hrvaškega skladatelja Petar Bergamo’s Second Symphony (1967) must be Petra Bergama je potrebno analizirati v kontekstu analyzed in the context of Zagreb Biennale and zagrebškega Bienala, torej v kontekstu prevlade therefore in the context of modernist domination modernizma, ki ga je skladatelj razumel kot slepo which Bergamo understood as cul-de-sac. His Sec- ulico. Simfonija je zasnovana kot niz citatov in ond Symphony is conceived as set of quotations and aluzij, ki lahko sprožajo široko polje asociacije, allusions that are able to trigger wide filed of associ- povezanih z logiko toka glasbene zgodovine. ations connected to the logic of music history. Such Takšni postopki so podobni postmodernističnim a procedure resemble postmodernist technique, tehnikam, zato je mogoče skladbo Bergama razu- therefore it is possible to understand Bergamo’s meti kot proto-postmoderno delo. symphony as a proto-postmodern work. The questions of referentiality are predominantly connected with the acts of the reception and the interpretation. However it is possible to broaden this horizon – a kind of a “play” with referentiality can be found also at the level of production/composition: the composer deliberately choses to position his work in the complicated net of differ- ent referential frames.
    [Show full text]
  • Investigating Evolutionary Biology in the Laboratory. INSTITUTION National Association of Biology Teachers, Reston, VA
    DOCUMENT RESUME ED 439 008 SE 063 183 AUTHOR McComas, William F., Ed. TITLE Investigating Evolutionary Biology in the Laboratory. INSTITUTION National Association of Biology Teachers, Reston, VA. ISBN ISBN-0-941212-15-7 PUB DATE 1994-00-00 NOTE 155p. AVAILABLE FROM National Association of Biology Teachers, 11250 Roger Bacon Drive #19, Reston, VA 22090. Tel: 800-406-0775 (Toll Free); Fax; 703-435-5582; e-mail: [email protected]; Web site: http://www.nabt.org. PUB TYPE Guides Classroom Teacher (052) EDRS PRICE MF01/PC07 Plus Postage. DESCRIPTORS Biology; *Demonstrations (Science); Educational Resources; *Evolution; Higher Education; Instructional Materials; *Laboratory Experiments; *Science Activities; Science Education; *Scientific Concepts; Secondary Education IDENTIFIERS *Natural Selection ABSTRACT This document presents a collection of useful laboratory-based activities for teaching about evolution. Some of the activities in this monograph are previously unpublished exercises, someare new versions of well-known labs, a few make useful classroom demonstrations, and several require somewhat sophisticated equipment. As a group, the activities allow biology teachers to illustrate most aspects of the Darwin-Wallace model of evolution and natural selection by choosing an appropriate activity from each section. Sections include: (1) Introduction; (2) Evidences of Evolution;(3) General Evolutionary Principles; (4) Variation within the Species;(5) Biotic Potential and Survival; (6) Adaptation;(7) Simulating Natural Selection;(8) Proposing Phylogenies;
    [Show full text]
  • Female Composers, Gender and Politics in Communist Poland
    Marta Beszterda Department of Arts & Culture Female composers, gender and politics in communist Poland Master’s thesis supervised by dr Rutger Helmers Second reader: dr Maarten Beirens 2016 Contents Introduction ................................................................................................................................ 1 Chapter 1. Musical life in communist Poland .......................................................................... 12 Chapter 2. Communist ideology and the gender of composers ................................................ 28 Chapter 3. Polish female composers’ lives and careers during communist times ................... 42 Conclusion. The ambivalence of communist regime’s impact and its consequences .............. 64 Bibliography ............................................................................................................................. 68 Figures ...................................................................................................................................... 72 Appendix 1 ............................................................................................................................... 73 Appendix 2 ............................................................................................................................... 76 Appendix 3 ............................................................................................................................... 78 Acknowledgments I would like to thank the following people and institutions
    [Show full text]
  • Polish Music Published by Moeck 1958 to 1967 – a (Failed?) Transfer from East to West
    Sebastian Borchers Folkwang University of the Arts, Essen; Deutsches Polen-Institut, Darmstadt ORCID: 0000-0003-3475-6407 Polish Music Published by Moeck 1958 to 1967 – a (Failed?) Transfer from East to West DOI: 10.14746/rfn.2020.21.4 INTroDUCTioN there were also problems. The West German publish- er acted according to the criteria of ‘Western’ market In respect of the international reputation of Polish economy, while the Polish state institutions acted on contemporary music during the 1960s, again and the criteria of ‘Eastern’ planned economy and cultural again in the specialist literature we find hints and policy decisions, made in the context of the so called traces as to when and where a worldwide successful ‘Polish path to socialism’. Between 1958 and 1966, var- work was published. But the relationship between ious interests came together in this context, resulting composers and music publishers is only very rarely not only in an atmosphere of new beginnings, but also the object of investigation in current music analytical, in a potential for problems and conflicts. This article historical and sociological research. In fact, the busi- therefore deals with the beginnings of the Polish ex- ness of publishing musical works usually takes place port strategy of Polish contemporary music in connec- less impressively ‘behind the curtain’ of spectacular tion with its (early) publishing in West Germany. On concert events and thus often surprising musical-ar- the one hand, the article refers to copyright disputes, tistic aspects. And what happens if an Iron Curtain which indicate how different the interests and scopes also stands between? of action were.
    [Show full text]