Academic capitalism, which has become part of the higher education ideology, emphasizes scientific activity as a means of generating profits at the expense of pedagogical activity. The article is a philosophical reflection of this issue, especially in the humanities. The author reflects on the philosophical characteristic of the personality of a young scientist as a pedagogue, who, besides the scientometric requirements, should also fulfill the more elementary social role, namely to educate and inspire students of humanities as members of the (...) humanist society of liberal democracy. (shrink)

Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention to the (...) sounds produced by either musicians a on stage, a stereo, or a portable device. This approach is illustrated in recent work by Nick Zangwill. Drawing on essentialist assumptions, Zangwill concludes that properly musical experience is effectively disembodied and radically private. While this seems plausible when we consider the essentialists’ paradigm case, Zangwill’s conclusion seems odd once we consider the wide variety of ways that people experience music. One’s body and social situation seem ineluctably enmeshed within the experience of, e.g., hot jazz played in a nightclub, where listeners bob their heads and dance to the music, cheer on the musicians, and socialize with their fellow concertgoers. The question this paper aims to answer is: should we consider this and similar experiences of music properly “musical”? I maintain that we should. Far from the world of pure music that Zangwill and others relegate properly musical experience, I conclude that our musical experiences are fully enmeshed within the somatic, affective, and interpersonal dimensions of human life. (shrink)

Preview: In various guises and cultures, the theme of elevating, ennobling love is a recurrent topos in the premodern erotic theory my book traces. Freed from Plato’s problematic dualistic denigration of the body as prison of the soul and from the modern aesthetic prejudice of disinterestedness, Ars Erotica recaptures the valuable core of ennobling desire by showing how a new somaesthetic approach to sex could channel the power of eros to cultivate qualities of courtesy, grace, skill, self-mastery, and sensitivity to (...) the feelings of others, thus evoking a richer, more positive vision of sex education than we have today. (shrink)

Starting from a phenomenological understanding of the body, this article discusses the understanding of body awareness in health and illness. I question the common way to understand our relationship to our bodies in terms of subjective and objective perspectives on it, and furthermore, how this opposition has been used in the phenomenological literature to outline an understanding of health and illness as states where the body stays unnoticed versus resurfaces to our attention as dysfunctional. Using examples from an ongoing interview (...) study, I argue for an understanding of the dialectical interplay between body and world in our awareness, and how it can be understood as an approaching or distancing movement to body and world. I furthermore describe how the interplay between body and world effects and is effected by our existence in health and illness. Finally, I suggest what implications this new way of understanding the lived body has for health care practice in general, and for the development of a person‐centred care in particular. I suggest that we leave the dichotomous understanding of subjective and objective perspectives behind, and start to investigate how we move between different kinds of body awareness in health and illness. Illness, as a situation where that which has been taken for granted becomes questioned, can be said to be characterized by mistrust, and by a distancing from world and body. It is thus of importance for caregivers to provide the time, space and trusting atmosphere needed in order to make the approaching movement possible. (shrink)

The embodied creative practice of dance facilitates a particular kind of awareness or attunement which can inform both the therapeutic and the intellectual work of the Health Humanities. This paper therefore considers dance as a way of ‘doing’ Health Humanities in two interlinked ways: dance as a way of healing and dance as a way of knowing. In bringing together carnal and the creative dimensions of human experience, dance offers us a way of making sense of our place in the (...) world that provides us both with much needed existential security and much needed epistemological freedom. (shrink)