Showing papers on "Wonder published in 1983"
TL;DR: In this article, the authors discuss the usefulness of organized environmental analysis in other firms, its usefulness, problems of implementation, and the payoffs, and how to make them more useful.
81 citations
TL;DR: For instance, the authors argues that children's books, especially works of fantasy, rely just as heavily on the artist's ability to tap a rich reservoir of regressive yearnings, and that these conflicting impulses remain locked into a dynamic that acknowledges the simultaneous yet opposing demands of growth and arrest.
Abstract: MUCH has been written on the socializing aspects of children's literature, on this or that classic's promotion of maturity and healthy growth. Yet children's books, especially works of fantasy, rely just as heavily on the artist's ability to tap a rich reservoir of regressive yearnings. Such works can be said to hover between the states of perception that William Blake had labeled innocence and experience. From the vantage point of experience, an adult imagination re-creates an earlier childhood self in order to steer it towards the reality principle. From the vantage point of innocence, however, that childhood agent may resist the imposition of adult values and stubbornly demand that its desire to linger in a realm of magic and wonder be satisfied. Like Blake's two "contrary states," these conflicting impulses thus remain locked into a dynamic that acknowledges the simultaneous yet opposing demands of growth and arrest. It is no coincidence that the self-divided Victorians who found themselves "wandering between two worlds" in their Janus-like split between progress and nostalgia should have produced what has rightly been called "the Golden Age of children's books."' Earlier
36 citations
TL;DR: For example, this article argued that poetry consists of pseudo-statements which are true if they "suite and serve some attitude or link together attitudes which on other grounds are desirable" and that the writings of anti-cognitivists contain equally strenuous statements of doctrine.
Abstract: There is probably no subject in the philosophy of art which has prompted more impassioned theorizing than the question of the ‘cognitive value’ of works of art. ‘In the end’, one influential critic has stated, ‘I do not distinguish between science and art except as regards method. Both provide us with a view of reality and both are indispensable to a complete understanding of the universe.’ If a man is not prepared to distinguish between science and art one may well wonder what he is prepared to distinguish between, but in all fairness it should be pointed out that the writings of anti-cognitivists contain equally strenuous statements of doctrine. For I. A. Richards, poetry consists of ‘pseudo-statements’ which are ‘true’ if they ‘suit and serve some attitude or link together attitudes which on other grounds are desirable’.
14 citations
Journal Article•
11 citations
TL;DR: National physical fitness tests show that children who are assumed to be fit are not, and they often become even less so once they become teenagers, and some wonder if such tests are counterproductive.
Abstract: National physical fitness tests show that children who are assumed to be fit are not, and they often become even less so once they become teenagers. Physical educators blame neglect, and some wonder if such tests are counterproductive.
6 citations
TL;DR: Kolodin this paper pointed out that Stokowski was unique among conductors and was difficult to fathom because he combined a boy's sense of wide-eyed wonder with a mature musical sophistication of the highest order, governed by a deep intuitive grasp of things rather than by rational judgment and pragmatic logic.
Abstract: In his delightful 1958 book, The Musical Life, critic Irving Kolodin deliberately torpedoed the cliches of many of his colleagues in describing conductor Leopold Stokowski-no stories about the "glamor boy" of conducting, his womanizing, his supposed musical vulgarity, nor his Hollywood adventures. Instead Kolodin offered several insights about the musician and asked a couple of thoughtful questions, doing so with something like awe of the then seventy-five-year-old maestro. Remarking that one could not in honesty mark him down as either "a charlatan or a poseur"--which was, of course, exactly what a number of critics had done over the years-Kolodin mused that Stokowski was unique among conductors and was difficult to fathom because he combined a boy's sense of wide-eyed wonder with a mature musical sophistication of the highest order, the whole governed by a deep intuitive grasp of things rather than by rational judgment and pragmatic logic. Describing Stokowski's performances as memorable, but often mystifying, Kolodin wrote that he would gladly go to any New York concert that Stokowski gave "fully knowing that what I expected I would not get." Quite unlike, yet fully the equal of, traditionalist Arturo Toscanini, Stokowski seemed to draw his interpretive power and his strength of command from within rather than from musical tradition and accepted concert norms. Like a volcano, continued Kolodin, he tapped his reserve "from some source deep in the nature of things with a capacity ... quite elemental." His performances were musically engrossing and exciting even when they seemed to be wrong-headed, but, mused Kolodin, as though contemplating some profound mystery of nature, how could a gifted musician, age seventy-five, with then almost fifty years experience in the concert hall remain so "willful," so "mercurial" in a "measured" art form so clear cut in its "fundamental sense of order." And with the acknowledgment that Stokowski was and had ever been outside the established order of the concert world, Kolodin moved on to other musical matters.1
5 citations
3 citations
TL;DR: In this paper, the authors look back on the diverse dramatic compositions and creations produced in France in the early nineteenth century, and they question the adequacy of a linear evolutionary model.
Abstract: Friedrich Nietzsche's The Birth of Tragedy (1872) and George Steiner's The Death of Tragedy (1961) betray, by their very titles, that preoccupation with organicism which has been the hallmark of much of theatre history at least since the late nineteenth century. Yet when one looks back on the diverse dramatic compositions and creations produced in France in the early nineteenth century, one cannot help but wonder about the adequacy of a linear evolutionary model. Does such a model truly describe the complex history of French drama between 1800 and 1830, or does it present an over-simplified picture of the past? To ask the question is, perhaps, in itself a sign of discontent. If so, it will not be enough merely to demonstrate the weaknesses of a diachronic view of theatre history. (This can easily be done by pointing to the persistence, both in print and on stage, of what were said to be "dead" theatrical forms and by focusing on the resultant coexistence of several dramatic genres.) What is needed is an alternate model which, by virtue of its superior "fit" with the facts, implicitly reveals the flaws inherent in the standard "biological" description of early nineteenth-century French drama.
2 citations
Journal Article•
TL;DR: Bartram was one of America's pioneer botanists as mentioned in this paper who not only identified closely with the European scientific community of the eighteenth century, developed a popular botanical garden on his estate, and played a prominent role in the propagation of New World plants abroad and Old World plants at home, but also authored numerous reports, letters and journals pertaining to the American wilderness.
Abstract: AFARMER IN COLONIAL PENNSYLVANIA, John Bartram was one of America's pioneer botanists. As he remarked in a letter L (1764), he had \"in thirty years' travels, acquired a perfect knowledge of most, if not all the vegetables between New England and Georgia, and from the sea-coast to Lake Ontario and Erie.\" He not only identified closely with the European scientific community of the eighteenth century, developed a popular botanical garden on his estate, and played a prominent role in the propagation of New World plants abroad and Old World plants at home, but also authored numerous reports, letters and journals pertaining to the American wilderness. Although only a few samples of Bartram's writings survive, they apparently represent his work generally. Read only in the context of other eighteenth-century nature reportage, the extant Bartram documents may not seem particularly unique or impressive, and they hardly intimate why Benjamin Franklin urged Bartram to write a natural history of the New World. Read, however, with an awareness of Bartram's dialectical manner of thought and his implicit emphasis on process—a pattern and emphasis intrinsic to his colonial culture as well—these writings evince a fascinating mode of perception crucial to any interest in an intellectual biography of Bartram. Bartram's weak formal education left him ill-equipped for written expression, and in fact he never did learn to spell, to compose wellstructured sentences, to range in vocabulary, or to devise a conscious stylistic manner. Even several of his friends and correspondents who highly regarded his knowledge—Peter Collinson and Peter Kalm, for example—explicitly criticized Bartram's apparent limitations as a writer. Sensitive to such complaints, Bartram told Collinson in 1754 that he preferred to write \"not according to grammar rules, or science,
Book•
01 Jan 1983
TL;DR: The first critical study of the work of Ferlinghetti was done by as mentioned in this paper, who considered the poet-prophet of engagement as a prophet of engagement and wonder, and found that by approaching the contemporary poet as the contemporary prophet we can more truly understand both his methods and his multi-achievement as: oral poet, poet of the streets, super realist, actualist of the public nightmare, political poet, poetry-and-jazz poet, bohemian poet, painter-poet, absurd expressionist dramatist, avant-garde
Abstract: This is the first critical study to come to grips with the work of Ferlinghetti, a man who eludes classification because he practices most forms of art, because he is both educated (doctorate from the Sorbonne) and streetwise, and because for more than 25 years he has followed the expansive and dangerous tradition of the poet who boldly seeks Rimbaud s goal to change life through his art. Explaining his method, Smith notes that By approaching Lawrence Ferlinghetti as the contemporary poet-prophet of engagement and wonder we can more truly understand both his methods and his multi-achievement as: oral poet, poet of the streets, super realist, actualist of the public nightmare, political poet, poetry-and-jazz poet, bohemian poet, painter-poet, absurd expressionist dramatist, avant-garde novelist, anti-Art poet, and, finally, visionary poet of consciousness. "
Journal Article•
TL;DR: The catalogue is designed to open up that?uvre both to the possibility of renewed performance, and to the critical attention it deserves as discussed by the authors, which is the case of the music of Canadian composers before the turn of the century.
Abstract: Stephen C. Willis. Alexis Contant: Catalogue. Ottawa: National Library of Canada, 1982, viii, 87 pp. Somewhere near the middle of the clump of attitudes and assumptions that contribute to the still general apathy and ignorance about the past of musical composition in Canada lies a problem of perception. We are accustomed to thinking of composition in this country as a purely twentieth-century phenomenon with only three identifiable generations of composers: the "first generation" uttering an autumnal romantic rhetoric, the "middle generation" introducing to Canada the new techniques of contemporary musical enterprise, and later passing these on to their own pupils, the "third generation." However convenient such facile nomenclature may be, our acceptance of it does no more to stimulate curiosity about generations of Canadian composers before the turn of the century than the fundamentalist's reliance on the myth of Adam and Eve promotes the quest for the origins of mankind. If we are sure about who were "the first," there is not much incentive, really, to wonder about anyone who came from the logically impossible "before." The disservice this perception does to hardy pioneers who did, in fact, run before - effectively obliterating not only their music but also the memory of them as contributors to the continuum of Canadian musical life- is Helmut Kallmann's starting point in the preface he contributes to Stephen Willis's catalogue. The "middle generation" composers, among whom the three-generation classification arose, really belong, he points out, not to the second generation, but to the third or fourth. Some dozen competent composers born during the three decades immediately preceeding Confederation produced a substantial body of music for church, theater, and concert hall - music which cannot be ignored if we are to reach a mature awareness of the progress of composition in this country. Publication of the work in hand brings that awareness a step closer. Montreal composer Alexis Contant (1858-1918), whose life and music is the subject of the catalogue, made a unique contribution to the literature of this earlier generation. Working entirely in a Canada still lacking the professional resources needed for regular musical performance and never having had the stimulus of training abroad, he nevertheless produced an oeuvre remarkable in its scope- even by today's standards. The catalogue is designed to open up that ?uvre both to the possibility of renewed performance, and to the critical attention it deserves. To that end Willis, Head of the Manuscript Collection of the National Library of Canada's Music Division and custodian of the Contant papers, has spared no pains. …
TL;DR: In fact, it would be difficult to cite an issue more time-honored or more intricate than that of the assimilation of moral and ethical norms as discussed by the authors, and one should therefore hardly wonder at the attention it has received from psychologists.
Abstract: 1. It would be difficult to cite an issue more time-honored or more intricate than that of the assimilation of moral and ethical norms. Every writer, every philosopher throughout the intellectual history of mankind, has touched, somehow, on this topic. One should therefore hardly wonder at the attention it has received from psychologists.
Journal Article•
TL;DR: In the romance, life is a natural process in which rebirth cyclically succeeds death and the continuity of life is assured, but the process of change which secures that continuity by replacing the outworn with the new brings great pressure to bear on human beings, whom it disorients as mentioned in this paper.
Abstract: Despite Henry Green's originality, he is a traditional writer. His tradition is the romance. That this has not been recognized is perhaps due to the low repute of the romance in the mainstreams of twentiethcentury literary criticism. Its mode of thought and, even more, its argument about the process and reality of life have been depreciated, perhaps because they depreciate reason and individuality. The romance is oriented, in Mircea Eliade's terms, to cosmos rather than history. In the romance, life is natural process in which rebirth cyclically succeeds death. The continuity of life is assured, but the process of change which secures that continuity by replacing the outworn with the new brings great pressure to bear on human beings, whom it disorients. The endless drama of the romance occurs as it keeps watch on humankind's capacity to move with change to keep close to life. The romance is also concerned with the depth of life. Life is deep when, again in Mircea Eliade's terms, the temporal, profane world coincides with the timeless, absolute reality of the sacred.2 We experience that conjunction by means of our mysterious capacity for symbolic vision. The romance deals especially with symbol making and symbol using. It presents the realm of wonder and finds the wondrous in the symbolic mind. Belief in one's closeness to life is what gives Green's characters the ability to reorient themselves when their worlds are altered; that belief depends upon the fluid functioning of their symbolic vision. That vision endlessly fascinates Green; it is the chief source of his fiction's energy. To move with life's change is to make a passage. In the novels from Living through Concluding, Green creates rich dramas of passage, all of
TL;DR: In this paper, the authors present a book which poses troubling questions at every step, questions which the author knowingly asks in a Socratic process of interrogation, and open discussion on Aristotle and Cicero, the two greatest auctoritates, on the specific topic of rhetorical theory.
Abstract: period, it must be interpreted through the use of different "registers" of reading, always with the goal of culling not only its inevitable ambiguity but, even more, its deepest and most problematic meaning. It is a book which poses troubling questions at every step, questions which the author knowingly asks in a Socratic process of interrogation. He intends thereby to question the firm opinions of the culture of his era and to open discussion on Aristotle and Cicero, the two greatest auctoritates, on the specific topic of rhetorical theory. It is also a radical critique of the reduction of language to a mere instrument of political domination, and an attempt to find another form of discourse which will restore to it its powers of invention and its ability to create wonder.
01 Mar 1983
TL;DR: In this paper, the authors argue that the exigencies of slavery in the New World drastically altered but did not completely annihilate the traditional role of African women in the family or in the community.
Abstract: SUCH WAS THE NATURE of slavery in the New World that the African slaves were allowed little opportunity to practice overtly any aspect of their aboriginal culture. Little wonder, then, that there has developed among scholars the theory that the Middle Passage destroyed the culture of the Africans who were imported to the New World during the period from 1540 to 1807. Edward Brathwaite, however, the Barbadian poet, historian and critic disputes this theory. He claims that African culture not only crossed the Atlantic but survived and creatively adapted itself to the new environment.1 It will be the contention of this essay that the exigencies of slavery in the New World drastically altered but did not completely annihilate the traditional role of African women in the family or in the community. Further, an examination of the literature will reveal parallels between Afro-West Indian women and their African counterparts. In traditional Africa, religion and the family formed the nucleus around which the culture was built and the society revolved. It is no wonder, then, that in looking for African survivals and retentions in the New World, these are the two areas that usually come into focus. Outsiders sometimes express surprise at the "seeming lack of seriousness" with which Caribbean men and women enter into alliances and bear children. They wonder, too, at the fact that many of these people do not eschew legal marriage because of any penchant for promiscuity, since many older couples have lived together for years and do adhere to all the tenets of a legal marriage.2 Attempting to explain this phenomenon, Melville Herskovitz states that in Africa, marriage is not
TL;DR: In this article, a general concern is with limits upon the status of "artwork" and particularly with the question as to whether and how such status, once properly attained, may be lost.
Abstract: My general concern in this paper is with limits upon the status of "artwork" and particularly with the question as to whether and how such status, once properly attained, may be lost. In the history of philosophic thought, the emergence of aesthetics as a distinct area of inquiry with its own special concerns is relatively recent. Yet in a certain sense this victory, however hard won, may have become too complete. The aesthetic, from the standpoint of its autonomy, can be radically interpreted as a license to stand aloof from other ways in which objects and events are understood and evaluated. Such "aestheticizing" of the world becomes problematic when, in the light of these other, nonaesthetic, experiences, we ask if everything in the world merits aesthetic identity or, conversely, whether we are ever justified in engaging any and all things from an aesthetic point of view. Additionally, we may ask how our answers to these questions affect our appreciation of art. We usually consider artworks to be a special kind of aesthetic object, but this is not selfevident. Problems of the above kind arise not only when we are uncertain about the limits of the aesthetic, but also when we come to wonder whether artworks need be included in it.
01 Jan 1983
TL;DR: For example, the authors argues that teaching, like art, appears to be a mysterious process to which theory and research can contribute nothing, and that trying to use these scientific tools to inform educational practice is, at best, unfruitful, and at worst, it can be destructive to the purity of art teaching.
Abstract: the generalizable while art deals with the emotional, with the intuitive and spiritual, with the suprarational, and with the particular." (p. 4). Theory and research are strongly identified with science. For this reason, many art teachers feel that trying to use these scientific tools to inform educational practice is, at best, unfruitful. Or, they feel that, at worst, it can be destructive to the purity of art teaching. In the minds of these teachers, teaching, like art, appears to be a mysterious process to which theory and research can contribute nothing. To a certain extent, it would seem that these teachers have a legitimate point. It is difficult to deny that a mysterious, trans-empirical dimension is a central part of both art and teaching. Good classroom art activities traditionally produce elements of discovery, imagination, surprise, and wonder. In various ways, both art and education clearly go far beyond the level of verbal language, numbers, generalizations, conceptualizing, systematic planning, and thinking. To be protective of and devoted to this mysterious, transcendent dimension is, many would hopefully agree, to serve that which is most basic to our human life and therefore also to art and education: the pure, undifferentiated wonder and love of life which are evidenced not by theoretical arguments but by
01 Jan 1983
TL;DR: Bosio as mentioned in this paper argued that the essential and specific aim of the knowledge man tries to have of himself is always of a moral nature, and pointed out that the question we have to answer is not "What is man?" but "Who is man." Even if the difference between "what" and "who" is not clear from the psychological point of view, Bosio's position is supported by references to the thinking of some philosophers he calls "psychologists," using the word with the meaning it has in the history of philosophical or rational psychology.
Abstract: This essay deals with issues treated by Professor Bosio in recent work. It will neither deal with the problem of the moral knowledge of man from the psychological point of view, nor consider any possible relation between psychology and moral philosophy. It will pay no attention to these problems because ever since the end of last century, when psychology became "scien tific," its epistemological and instrumental models as well as its image of man have so differed from those of philosophy as to exclude any real possibility of parallelism and comparison. It goes without saying that Professor Bosio is aware of this; he is suffi ciently aware as to bring to trial the entire history of psychology, and to reproach psychologists for having left, like degenerate sons, the bosom of their old mother. The reproach is not new and, indeed, I heard it in the lecture halls of my university in the 1940s, and found it in the academic texts then imbued with idealistic philosophy. In this paper I will defend the scientific status of psychology. Bosio begins with the general hypothesis that "the essential and specific aim of the knowledge man tries to have of himself is always of a moral nature." He then points out that the question we have to answer is not "What is man?" but "Who is man?" Even if the difference between "what" and "who" is not clear from the psychological point of view, Bosio's position is supported by references to the thinking of some philosophers he calls "psychologists," using the word with the meaning it has in the history of philosophical or rational psychology. What follows is a discussion of the works of Dilthey, Scheler, and Hussed, a discussion which I cannot comment on because the cultural fi~ld is not my own. If, according to Hussed, the naturalistic model assumed by psychology has been harmful to a complete knowledge of human nature, and if this statement, shared by Bosio, has its place in the history of philosophical thought, I wonder why - rather than ask whether the "breach" could have been avoided by means of a methodological