ABSTRACTIneffability of musical meaning is a frequent theme in music philosophy. However, talk about musical meaning persists and seems to be not only inherently enjoyable and socially acceptable, but also functionally useful. Relying on a phenomenological account of musical meaning combined with a naturalist explanatory attitude, we argue for a novel explanation of how ineffability is a feature of musical meaning and experience and we show why it cannot be remedied by perfecting language or musico-philosophical study.Musical meaning is seen as (...) an experiential phenomenon that consists of layers, some recent, others archaic. As such, musical meaning is strongly characterized by asubjectivity. It is in-between, in a state where the division of subject and object is not yet valid or valid anymore. A naturalistic interplay of experiential layers in music brings about a non-reified dynamics driving for expressions, interpretations, engenderings of subjects and objects or even for political action. Generally speaking, the in-betweenness of musical meaning can never be universally reified or symbolic nor can it ever be “subjective,” “mine” or present “at the origin.”In this view, ineffability has two primary reasons. First, the criteria offered for defining musical meaning are often too strict, resulting in untenable pretensions of universality. Second, the processual and relational nature of the in-between keeps meaning in flux; any snapshot creates a new situation and new meanings. (shrink)

There is a close connection between Dante’’s portrayal of usury in the Inferno and wider scholastic argumentation on the subject. Reading Dante’’s account in light of the scholastic critique of usury reveals a conceptual depth and clarity to the former which has, in the absence of such a reading, remained unfortunately opaque. Dante’’s treatment is informed by three of the four main scholastic arguments against usury, which are cen- tered around the themes of the nature and purpose of money, the (...) relation between labor and a just recompense, and the medieval vision of society as an harmonious whole. Each of these themes are weaved by Dante into his poem in a range of diverse ways, yet the final (social) element is arguably a unifying factor. In this regard, his account of usury can be read in continuity with other critiques of ‘‘bad commerce’’ which are in evidence throughout the Inferno. (shrink)

English title: Kant and the Right to Vote The article is a contribution to the ongoing debate in NFT about the moral responsibility of voters. Kristian Skagen Ekeli has argued that politically ignorant citizens have a duty to abstain from voting. He argues that such a duty fol- lows from Kant’s duty to respect other persons. I analyze Ekeli’s proposed duties by considering how they might fit into Kant’s system of duties. I conclude, contra Ekeli, that the Kantian duty to (...) respect persons does not give rise to a duty for politically ignorant voters to abstain from voting. -/- Denne artikkelen er et bidrag til debatten om velgeres moralske ansvar. Kristian Skagen Ekeli har i to artikler argu- mentert for at uvitende borgere har en plikt til ikke å stemme, noe han begrunner ut fra en kantiansk pliktetikk. Det er imidlertid uklart hvordan en uvitende borgers plikt til å avstå fra å stemme skulle følge av Kants plikt til å respek- tere personer, noe Cornelius og Herman Cappelen kort antyder i sin kommentar til Ekeli. I denne artikkelen foretar jeg en analyse av de pliktene som Ekeli tar til orde for, og undersøker hvordan disse eventuelt kunne passe inn i Kants system av plikttyper. Jeg konkluderer motsatt av Ekeli, med at den kantianske plikten til å respektere personer ikke gir grunnlag for en plikt for uvitende borgere til å avstå fra å stemme i valg. (shrink)