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Andrew Bowie

said about it, thus to an account from the objective, conceptualisable side of the relationship, of the kind sought in some kinds of music psychology. At the same time, it is not the case that the effects of this interaction merely remain in ‘that more dreamy element of feeling without ideas’. This would only be the case if feelings were wholly indeterminate. In that case, there could only be one feeling, rather than the endless gradations of which feeling actually consists. The role of music as a social practice that is evident, for example, in music therapy, which

in Aesthetics and subjectivity
Open Access (free)
The beginning of aesthetic theory and the end of art
Andrew Bowie

evident to me that Hegel himself was wholly clear about this relationship. We are therefore left with a tension, which has influenced Hegel’s effect on modern thought ever since, between his radically modern sense of thought as being reliant solely on our social practices and their intersubjective justification, rather than on some form of immediate empirical access to the truth, and his systematic urge, which points back to earlier forms of metaphysics as the expression of the universalia ante rem. The Encyclopedia puts the division of philosophy in the following order

in Aesthetics and subjectivity
Open Access (free)
Andrew Bowie

science and technology, the key manifestations of ‘metaphysics’.3 The changing role of music from the period of the Pantheism controversy onwards also begins to raise questions about the primacy of representational thinking and representational conceptions of language which have become part of mainstream contemporary philosophy in the form of ideas about language as social practice and as the basis of the world’s intelligibility. What is really at issue here, and was in many respects already at issue for Kant and his successors, are the kinds of philosophical response

in Aesthetics and subjectivity
Open Access (free)
Entanglements and ambiguities
Saurabh Dube

(1930–2002). Bourdieu combines phenomenological, Weberian, and Marxian dispositions to underscore the temporal-spatial dimensions of social practices and practical actors, arguing that totalizing frameworks of fixed “rules” of action take temporality out of spatial “practice.” Yet, precisely such hermeneutic moves crucially crisscross in Bourdieu’s work with analytical orientations that bring into play

in Subjects of modernity
Andrew Bowie

tradition at issue in this book, my question will be Nietzsche and the fate of Romantic thought 261 whether these resources really offer so much more than those established by some of his predecessors. One response to the sort of issues raised by Nietzsche’s texts is the – explicitly Hegelian – argument by Robert Brandom that the shared social practice of fulfilling the commitments entailed in any discursive claim made to another person has priority over the preferences and desires which give rise to what one may claim. While an advocate of a Nietzschean stance may wish

in Aesthetics and subjectivity
Open Access (free)
Art and interpretation
Andrew Bowie

about the music that develops at this time is precisely that the notes can be heard independently of any link to representation of the objective world. I should perhaps stress here, in order to avoid any misunderstanding, that the way the notes in the music of a particular society come to be ordered is clearly bound up with ideological issues: composers do not compose in a vacuum. However, the ordering of notes is never wholly comprehensible in terms of the way that ordering is socially determined, because it does not just represent some other form of social practice

in Aesthetics and subjectivity