First published in 1982. Routledge is an imprint of Taylor & Francis, an informa company.

Hans Joas is one of the foremost social theorists in Germany today. Based on Joas’s celebrated study of George Herbert Mead, this work reevaluates the contribution of American pragmatism and European philosophical anthropology to theories of action in the social sciences. Joas also establishes direct ties between Mead’s work and approaches drawn from German traditions of philosophical anthropology. Joas argues for adding a third model of action to the two predominant models of rational and normative action—one that emphasizes the creative (...) character of human action. This model encompasses the other two, allowing for a more comprehensive theory of action. Joas elaborates some implications of his model for theories of social movements and social change and for the status of action theory in sociology in the face of competition from theories advanced by Luhmann and Habermas. The problem of action is of crucial importance in both sociology and philosophy, and this book—already widely debated in Germany—will add fresh impetus to the lively discussions current in the English-speaking world. (shrink)

After a historical and conceptual overview of the changing face of nihilism in the last century, Carr examines Nietzsche's diagnosis of nihilism as modernity's major crisis. She then compares the responses to nihilism given by the early Karl Barth and by Richard Rorty. To some, nihilism is losing its crisis connotations and becoming simply an unobjectionable characteristic of human life. Carr argues that this transformation ultimately absolutizes community preference and reflects an increasing inability to criticize and change the existing structures (...) of thought. The author contends that the uncritical acceptance of nihilism, which characterizes much of postmodernism, ironically culminates in its complete opposite--dogmatism. (shrink)

IN THE winter and spring of 1031,1 was invited to give a series of ten lectures at Harvard University. The subject chosen was the Philosophy of Art; the lectures are the origin of the present volume. The Lectureship was founded in memory of William James and I esteem it a great honor to have this book associated even indirectly with his distinguished name. It is a pleasure, also, te recall, in connection with the lectures, the unvarying kindness and hospitality of (...) my colleagues in the department of philosophy at Harvard. I am somewhat embarrassed in an effort to acknowledge indebtedness to other writers on the subject. Some aspects of it may be inferred from authors mentioned or quoted in the text. I have read on the subject for many years, however, more or less widely in English literature, somewhat less in French and still less in German, and I have absorbed much from sources which I cannot now directly recall. Moreover, my obligations to a number of writers are much greater than might be gathered from allusions to them in the volume itself. My indebtedness to those who have helped me directly can be more easily stated. Dr. Joseph Ratner gave me a number of valuable references. Dr. Meyer Schapiro was good enough to read the twelfth and thirteenth chapters and to make suggestions which I have freely adopted. Irwin Edman read a large part of the book in manuscript and I owe much to his suggestions and criticism. Sidney Hook read many of the chapters, and their present form is largely the result of discussions with him; this statement is especially true of the chapters on criticism and the last chapter. My greatest indebtedness is to Dr. A. C. Barnes. The chaptershave been gone over one by one with him, and yet what I owe to his comments and suggestions on this account is but a small measure of my debt. I have had the benefit of con versations with him through a period of years, many of which occurred in the presence of the unrivaled collection of pictures he has assembled. The influence of these conversations, together with that of his books, has been a chief factor in shapingmy own thinking about the philosophy of esthetics. Whatever is sound in this volume is due more than I can say to the great educational work carried on in the Barnes Foundation. That work is of a pioneer quality comparable to the best that has been done in any field during the present generation, that of science not ex cepted. I should be glad to think of this volume as one phase of the widespread influence the Foundation is exercising. I am indebted to the Barnes Foundation for permission to reproduce a number of illustrations and to Barbara and Willard Morgan for the photographs from which the reproductions were made. J. D. (shrink)

Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

This timely book addresses concerns about educational and moral standards in a world characterised by a growing nihilism.

White searches for the subtler side of Nietzsche beyond his ambiguous support for violence and oppression. He looks at the `yes saying teachings' articulated with the `voice of beauty'.

In lieu of an abstract, here is a brief excerpt of the content:On "Methodolatry" and Music Teaching as Critical and Reflective Praxis Thomas Regelski State University of New York, Fredonia Introduction: Professions and Professionalism Most teachers, including those in music, like to think of themselves as professionals. However, the "professionalization" of teachers traced by sociology generally refers to only the transition early in the twentieth century from two years ofteacher preparation in normal schools to four years in newly created professional (...) schools, departments, orprogramsofeducationinuniversities. Traditional sociological theory still considers teaching to be at best a "semiprofession."1 In the "ideal" descriptionofsociologist Max Weber, professionals shared these traits: They were self-employed providers of services, diey entered dieir profession because diey were 'called' to it out of some deep personal commitment, and dieir qualifications were based upon tiieir possessionof'expert' andesotericknowledge. In addition, dieir knowledge base could be acquired only by a select few who underwent long and rigorous study. Their services dealt widi serious, often life or deadi matters, and dieywere remunerated by fees from clients. Communication between professionals and dieir clients was legally privileged so uiat courts oflaw could not require its disclosure. Most important, entrance to mese professions was controlled by professional peers, who set requirements for entry, training, and certification. Boards ofpeers also developed reviewprocesses to maintain standards and competence. 2 A further criterion of a true profession is that praxis3 relies upon underlying theory4 and the fundofwidelyacceptedpractice-basedknowledge generated by theory that is required to deal with the extensive variety ofpredictably unique problems and needs presented by those served. Teaching clearly deviates substantially from these conditions. The theory serving as the basis of any profession is not amatterofsimple speculation; it is rooted in research and theoretical principles-fundamentals that importantly include commonly recognized and accepted action ideals of the profession's ethical and other guiding philosophicalconsiderations. Uponsuchtheoretical bases, professional praxis generates ever-new praxial knowledge. Because ofthe particulars of the situatedness governing both the practitioner andthose served, praxis-based knowledge always takes idiosyncratic form for a particularpractitioner -but, importantly, within the general theoretical, ethical, and philosophical stance ofthe profession. As a result, there are no "standard results " for any practitioner or for the overall profession. Furthermore, there are no standard methods ;just "standards ofcare" rooted in the profession 's theoretical and ethical premises. Music educationhas evolvedno such shared action ideals concerning ends and so the issue of theory-guided practice or of a professional ethic remainsambiguous, evencontroversial.1 Without professionally based consensus on ends, no stable criteria exist for selecting means and evaluating results and, thus, no ethic of accountability can apply. As aconsequence, results areconsiderably unpredictable-and not infrequently negative-and the appropriateness and usefulness ofmuch what is taught and learned is regularly disputed. This is not at all to say or to argue that music education has historically brought about mainly negative results, or that individual music©Philosophy ofMusic Education Review 10, no. 2 (Fall 2002): 102-123. Thomas Regelski 103 teachers are never successful. It wouldbe wrongheaded not to acknowledge the existence ofmuch well-intentioned, hardworkby individual teachers who are both musically competent and 'naturals' in working with students. This paper addresses instead mainly structural weaknesses in the field of music education that result in it as a field falling far short of at least the general kinds of professionalism found in helping professions. The comparisons made here to helping professions are made only in a very general way. However, overall, the field ofmusic education fails to compare well with the most obvious traits of familiar professions. As shall be argued, judgments concerning successful practice in music education should depend in large part on criteria provided by theoretically substantiated auricular goals and ideals and by implied and explicit process criteria of both an ethical and practical nature.6 Lacking such criteria, the question or degree of teaching success remains vague. As a result music education fails to promote predictable and pragmatic "right results" that students, parents, and the public at large can easily recognize as the professional "value-added" to general education and society by music education and this creates the increasing need foradvocacyofschool music. Philosophy, Theory, and Professional Praxis Whetherornot teachingcan everfullymeet the sociological conditions ofbeing a true profession, it would profit from and... (shrink)