Rap music is the sound and soul of the Hip Hop culture—a powerful social, musical, and political phenomenon of the late twentieth century. Born among the youth in the poor districts of New York, the genre has extensive roots: Puerto Rican, Latino, and Jamaican sounds, African tribal drumming, spoken poetry of the 1930s Harlem renaissance, blues music, spirituals, slam poetry, and oratory of the Civil Rights Movement. Developing right along-side this musical genre was the Five Percent Nation, a relatively unknown off-shoot of the Nation of Islam, that embraced the hip hop culture from its inception. God Hop, as some call the rap associated with the Five Percenters, became a natural conduit for the Nationʼs belief system. This paper will employ contemporary spatial theory to reveal how this unique symbiosis aided the construction of three categories of sacred space for the Five Percenters and how rap continues to serve as the glue that unites the group and also captures the imagination of new generations. More than just the public face of this new religious movement, rap provides physical gathering space, establishes ideological sacred space by articulating and contextuatizing sacred history, and continues to cast a vision for creation of a new, idealized just world order. Extensive new research traces the genre from its inception among marginalized, inner-city youth to the powerful prestigious rap artists of today, including Jay Z, Busta Rhymes, and the Wu Tang Clan. Both the Nation and Hip Hop have gone global, with Buddhist, Jewish, and Muslim rap artists also creating new cultural spaces while spreading a powerful, positive counter-culture message for social change—proving the adage: never underestimate the power of music on the religious consciousness. ATINER CONFERENCE PAPER SERIES No: ART2018-2571
{"title":"Creating Sacred Spaces: The Power of Rap Music on the Religioius Consciousness","authors":"Barbara B. Pemberton","doi":"10.30958/AJHA.6-3-4","DOIUrl":"https://doi.org/10.30958/AJHA.6-3-4","url":null,"abstract":"Rap music is the sound and soul of the Hip Hop culture—a powerful social, musical, and political phenomenon of the late twentieth century. Born among the youth in the poor districts of New York, the genre has extensive roots: Puerto Rican, Latino, and Jamaican sounds, African tribal drumming, spoken poetry of the 1930s Harlem renaissance, blues music, spirituals, slam poetry, and oratory of the Civil Rights Movement. Developing right along-side this musical genre was the Five Percent Nation, a relatively unknown off-shoot of the Nation of Islam, that embraced the hip hop culture from its inception. God Hop, as some call the rap associated with the Five Percenters, became a natural conduit for the Nationʼs belief system. This paper will employ contemporary spatial theory to reveal how this unique symbiosis aided the construction of three categories of sacred space for the Five Percenters and how rap continues to serve as the glue that unites the group and also captures the imagination of new generations. More than just the public face of this new religious movement, rap provides physical gathering space, establishes ideological sacred space by articulating and contextuatizing sacred history, and continues to cast a vision for creation of a new, idealized just world order. Extensive new research traces the genre from its inception among marginalized, inner-city youth to the powerful prestigious rap artists of today, including Jay Z, Busta Rhymes, and the Wu Tang Clan. Both the Nation and Hip Hop have gone global, with Buddhist, Jewish, and Muslim rap artists also creating new cultural spaces while spreading a powerful, positive counter-culture message for social change—proving the adage: never underestimate the power of music on the religious consciousness. ATINER CONFERENCE PAPER SERIES No: ART2018-2571","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121559917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The relationship between the nineteenth century vampire monster and the vampire bat has not yet been seriously investigated in English. Three common assumptions made by experts are examined in this paper. Current vampire historiography has held that Stokerʼs use of a huge bat as the vampire was either mistaken or a creative innovation and therefore requires explanation in those terms. It supposes that people in the nineteenth century understood the word "vampire" the way we do today. It presumes Dracula to be the first story to have a vampire monster transform into a bat. To consider these positions, we must first analyze the use of the bat in Dracula and then set it in the context of 19th-century conceptions of the vampire bat to see how mistaken or creative Stoker actually was. Thereafter a survey of 19th-century works that are said to be leading the way to Dracula is initiated to see if "vampire" had the same meaning then as it does today. Finally we will examine if Draculaʼs metamorphosis from a monster into a vampire bat had any precursors and, if so, how distinctive Stoker was in developing it.
{"title":"\"Blood Suckers Most Cruel:\" The Vampire and the Bat In and Before Dracula","authors":"Kevin V. Dodd","doi":"10.30958/AJHA.6-2-1","DOIUrl":"https://doi.org/10.30958/AJHA.6-2-1","url":null,"abstract":"The relationship between the nineteenth century vampire monster and the vampire bat has not yet been seriously investigated in English. Three common assumptions made by experts are examined in this paper. Current vampire historiography has held that Stokerʼs use of a huge bat as the vampire was either mistaken or a creative innovation and therefore requires explanation in those terms. It supposes that people in the nineteenth century understood the word \"vampire\" the way we do today. It presumes Dracula to be the first story to have a vampire monster transform into a bat. To consider these positions, we must first analyze the use of the bat in Dracula and then set it in the context of 19th-century conceptions of the vampire bat to see how mistaken or creative Stoker actually was. Thereafter a survey of 19th-century works that are said to be leading the way to Dracula is initiated to see if \"vampire\" had the same meaning then as it does today. Finally we will examine if Draculaʼs metamorphosis from a monster into a vampire bat had any precursors and, if so, how distinctive Stoker was in developing it.","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126534685","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Much of what we regard ourselves as knowing came to us from the testimony of others. But recently epistemologists have debated just how testimony can be a source of knowledge at all. Must we have some independent way to confirm what we receive through testimony, or is there perhaps some reason why we should suppose that testimony is all by itself an adequate source of knowledge? This problem, I claim, is actually a version of a much older and better known problem: the so-called problem of the criterion. I will first explain this other, older, problem, and lay out the available options for solving it. I will then show why I think the problem of testimony is simply a version of the problem of the criterion. I will conclude by arguing that the best way to solve these problems comes from a theory of justification that few epistemologists seem to support these days: holistic coherence theory. In doing so, I hope I will provide some powerful new reasons for reconsidering this theory of justification.1
{"title":"How Testimony Can Be a Source of Knowledge","authors":"N. Smith","doi":"10.30958/AJHA.6-2-4","DOIUrl":"https://doi.org/10.30958/AJHA.6-2-4","url":null,"abstract":"Much of what we regard ourselves as knowing came to us from the testimony of others. But recently epistemologists have debated just how testimony can be a source of knowledge at all. Must we have some independent way to confirm what we receive through testimony, or is there perhaps some reason why we should suppose that testimony is all by itself an adequate source of knowledge? This problem, I claim, is actually a version of a much older and better known problem: the so-called problem of the criterion. I will first explain this other, older, problem, and lay out the available options for solving it. I will then show why I think the problem of testimony is simply a version of the problem of the criterion. I will conclude by arguing that the best way to solve these problems comes from a theory of justification that few epistemologists seem to support these days: holistic coherence theory. In doing so, I hope I will provide some powerful new reasons for reconsidering this theory of justification.1","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"7 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130131592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper makes use of Mikhail Bakhtinʼs notion of polyphony to approach In Search of Walid Masoud, a novel written in Arabic by the Palestinian writer Jabra Ibrahim Jabra in 1978 and translated into English by Roger Allen and Adnan Haydar in 2000. It is the story of the mysterious disappearance of the protagonist Walid Masoud who does not flesh out as a character in his own right although he fills the world of the novel from beginning to end. As the novel hosts multiple characters with distinct voices, each telling his/her own version of the reminisced memories with the protagonist, there is a need to stitch up these parts in search of a possible vision lurking in the offing of the tale. In this context, Bakhtinʼs polyphony is used to deconstruct and reconstruct the fictional world which Jabra must have pedantically created in this fragmentary novel to send a holistic, non-fragmentary message. Pulling the threads of the various voices of characters rehashing nonidentical pieces of the jigsaw puzzle that makes the story of the physically absent hero, this paper demystifies the un-orchestrated polyphonic ambiguities in order to unify the seemingly disconnected events that make the plotline of Walidʼs story and his baffling disappearance from the outset of the novel. In particular, this study looks at the narrative technique used by Jabra to create from a variety of reminisced and shredded personal narratives a totality of a clear-cut vision at the centre of which stands one image epitomizing the drama of a national saga that is worth-telling. Focusing on the impact of Jabraʼs narrative technique, this paper explores areas long viewed by some literary critics as marginal and unimportant. To this effect, the paper authenticates the voice of the absented hero as the ever-present figure who excels himself to address his homeland, Palestine, as a reverberating national cause.
{"title":"Jabra Ibrahim Jabraʼs In Search of Walid Masoud. A Polyphony of (Un)Orchestrated Opus","authors":"Ibrahim A. El-Hussari","doi":"10.30958/AJHA.6-2-2","DOIUrl":"https://doi.org/10.30958/AJHA.6-2-2","url":null,"abstract":"This paper makes use of Mikhail Bakhtinʼs notion of polyphony to approach In Search of Walid Masoud, a novel written in Arabic by the Palestinian writer Jabra Ibrahim Jabra in 1978 and translated into English by Roger Allen and Adnan Haydar in 2000. It is the story of the mysterious disappearance of the protagonist Walid Masoud who does not flesh out as a character in his own right although he fills the world of the novel from beginning to end. As the novel hosts multiple characters with distinct voices, each telling his/her own version of the reminisced memories with the protagonist, there is a need to stitch up these parts in search of a possible vision lurking in the offing of the tale. In this context, Bakhtinʼs polyphony is used to deconstruct and reconstruct the fictional world which Jabra must have pedantically created in this fragmentary novel to send a holistic, non-fragmentary message. Pulling the threads of the various voices of characters rehashing nonidentical pieces of the jigsaw puzzle that makes the story of the physically absent hero, this paper demystifies the un-orchestrated polyphonic ambiguities in order to unify the seemingly disconnected events that make the plotline of Walidʼs story and his baffling disappearance from the outset of the novel. In particular, this study looks at the narrative technique used by Jabra to create from a variety of reminisced and shredded personal narratives a totality of a clear-cut vision at the centre of which stands one image epitomizing the drama of a national saga that is worth-telling. Focusing on the impact of Jabraʼs narrative technique, this paper explores areas long viewed by some literary critics as marginal and unimportant. To this effect, the paper authenticates the voice of the absented hero as the ever-present figure who excels himself to address his homeland, Palestine, as a reverberating national cause.","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"186 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132975444","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cicero has affirmed that gratitude "is not only the greatest of virtues but the parent of them all" (Pro Plancio, #80). This paper will argue against Kantʼs defense of the second formulation of the categorical imperative by attempting to show that no rational argument can prove the basic principle of morality but that it is a deeply felt and profound choice of the central value of the dignity of person both in oneʼs own life and the lives of all others. Then, following Cicero, this paper will explore how we can find a deeply felt and profound choice of gratitude at the center of the virtues of faith, hope and love. The paper is not arguing that everyone must find gratitude at the heart of faith, hope, and love, but that it is possible to do so. Next, this paper will examine how gratitude can be found at the center of the virtues of practical reason, courage, temperance, and justice. The paper is not arguing that everyone must find gratitude at the heart of practical reason, courage, temperance, and justice, but that it is possible to do so. Finally, this paper will reflect with Augustine and Aquinas on the centrality of the virtue of love in all other virtues and on how love leads to gratitude.
{"title":"A Natural Ethics of Gratitude","authors":"William M. OʼMeara","doi":"10.30958/AJHA.6-2-3","DOIUrl":"https://doi.org/10.30958/AJHA.6-2-3","url":null,"abstract":"Cicero has affirmed that gratitude \"is not only the greatest of virtues but the parent of them all\" (Pro Plancio, #80). This paper will argue against Kantʼs defense of the second formulation of the categorical imperative by attempting to show that no rational argument can prove the basic principle of morality but that it is a deeply felt and profound choice of the central value of the dignity of person both in oneʼs own life and the lives of all others. Then, following Cicero, this paper will explore how we can find a deeply felt and profound choice of gratitude at the center of the virtues of faith, hope and love. The paper is not arguing that everyone must find gratitude at the heart of faith, hope, and love, but that it is possible to do so. Next, this paper will examine how gratitude can be found at the center of the virtues of practical reason, courage, temperance, and justice. The paper is not arguing that everyone must find gratitude at the heart of practical reason, courage, temperance, and justice, but that it is possible to do so. Finally, this paper will reflect with Augustine and Aquinas on the centrality of the virtue of love in all other virtues and on how love leads to gratitude.","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125369644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
entities, many other kinds of art, and even perhaps performances of abstract artworks, certainly have aesthetic properties. Conceiving of Aesthetic Properties A description of how aesthetic properties are conceived follows, through which it will be clear that there can be a full description of "how matters are" (concerning aesthetic properties) without anyone being able to definitely say whether aesthetic properties are subjective or objective. Thus, perhaps it does not matter, or, an answer may be that aesthetic properties have both subjective and objective aspects, which are perhaps even inseparable, at the same time.13 Let us take an example of a certain property which obviously is an aesthetic property. Certainly beauty seems to be par exellence an example of a property which is an aesthetic property, regardless of what it may truly be in fact.14 Besides beauty, which first comes to mind as an aesthetic property, when we speak about art and artworks, examples of other aesthetic properties are balance, symmetry, 10. Jerrold Levinson, Music, Art and Metaphysics (Oxford: Oxford University Press, 2011), 63-88, 215-263. 11. Currie, An Ontology of Art. 12. David Davies, Art as Performance (Malden: Blackwell, 2004). 13. Perhaps we may say that "aesthetic" properties supervene at the same time, both, on mental and non-mental facts or properties. We can say, perhaps, when certain facts, both mentally and non-mentally obtain, then we have an aesthetic property realized. But I shall not pursue supervenience theory of aesthetic properties in any form here. About supervenience in artworks see for example Levinson, ''Aesthetic Supervenience.'' 14. For various theories of beauty see, for example, St. Thomas Aquinas, Summa Theologica, trans. Fathers of the English Dominican Province (Benziger 1947), 33, 270; Immanuel Kant, Kritika moći suđenja (Critique of Judgement) trans. Viktor Sonnenfeld (Naprijed: Zagreb, 1976), 45-50; Nick Zangwill, The Metaphysics of Beauty (Ithaca, NY: Cornell University, 2001). Vol. 6, No. 1 Pećnjak: Aesthetic Properties of the Art of Painting... 74 elegance, gracefulness, and unity.15 Of course, there are still other valuable aesthetic properties. Each of these properties may pose a problem for itself – it can be asked what it is in fact and what it is in relation to other aesthetic properties. There is no need to analyze in detail the specificity of each aesthetic property and various possible specific realizations of each property. On the other hand, of course, it will be necessary to say something about some property, but it is not necessary to go into depth for each property. The primary aim of this text is to examine some basics concerning relations of various aesthetic properties. In doing this, by necessity we must also examine and consider the relations aesthetic properties have to other properties which are not aesthetic. There are two ways of examining: top-down and bottom-up. It may be, for example, stipulated that beaut
Peter Lamarque和Stein Haugom Olsen (Malden: Blackwell, 2004)， 127-141;肯德尔·l·沃尔顿，《艺术的类别》，《美学与艺术哲学》，彼得·拉马克和斯坦·豪戈姆·奥尔森主编(马尔登:布莱克威尔出版社，2004年)，142-157页;罗伯特·斯特克，《美学与艺术哲学》(兰哈姆:罗曼和利特菲尔德出版社，2010)，第65-92页;彼得·拉马克，“美学经验主义，”在工作和对象，编辑。彼得·拉马克(牛津:牛津大学出版社，2010)，122-138。雅典人文与艺术杂志2019年1月75事实有点像图式，当适当地填充其元素时，应该能够产生某些美学属性。综上所述，我们可以暂时得出结论，一件艺术品的美来自于它以某种方式布局、组合和组合了一些其他的美学属性。这让我们想到，如果这是真的，在其他关系中，审美属性有一定的等级。再一次，如果这是真的，那么它就意味着存在“高阶”美学属性和更基本的美学属性。此外，一些更基本的审美属性取决于各种非审美属性的某种安排，也许，不仅取决于它们，还取决于艺术作品的心理状态和体验过程。所谓审美属性的层次，我们指的是本体论上的，而不是价值上的。以绘画为例，考虑到这种艺术，就会产生一种关于美学属性的理论，但似乎也可以通过必要的调整来扩展到其他艺术。如果不能，那么它至少适用于绘画，从而实现了本文的目的，即至少对于绘画艺术，可以对审美特性如何实现进行完整的描述，而不必明确地说它们是主观的还是客观的。事实上，我们可以说，审美属性是复杂的复合实体，因此它们的实现同时依赖于当下的主观性和客观性。解决了这个问题，就可以为绘画领域的艺术作品创造某种结构属性。使用自底向上的方法，描述从一个基本的基础层开始，其中包含肯定且毫无疑问是非美学的属性，即它们是物体的一些常见属性。首先，有一些物理基础，油漆将在其上铺设。它通常是一个木板，帆布或墙壁(在壁画的情况下)。也可以有其他类型的基金会。然后，在准备好的基础上铺设色块;有些斑块非常薄，我们可以将它们视为线(彩色)。可能是这样的情况，基本的绘图，作为一个基本的方案，在添加色块之前。为了达到各种细微差别、亮度和效果，颜色可以并且经常被混合和分层放置。在底漆上涂上足够的颜色后，画就完成了，然后让它晾干。当然，之后可以做一些修改，但本质上没有什么新的事情发生。这幅画晾干后，就可以向公众展出了。当公众看到这幅画的时候，会发生什么?一定量的光子落在画上;一些波长被吸收，一些第6卷，第1号Pećnjak:绘画艺术的美学特性……被反射的光在正常情况下到达观看者的眼睛光线通过晶状体折射，落在视网膜上，并转化为电脉冲，通过视神经进一步传递到大脑，最终在大脑的各个视觉区域引起状态和过程。我们应该补充一点，因为我们是二元论者，它们是一些非物质精神状态和过程的进一步原因，但没有任何东西取决于这个进一步的主张;在这里，我们不会说任何关于层次和美学和非美学性质的结构，取决于心灵的二元论图景。特定的瞬时感觉被整合到一个感知中，所以它们都结合在一起，给人一种结构化的视觉感知(绘画)。最终，观者对画作有了一种感性的体验。一幅画的起源是什么?当然，绘画是通过复杂的有意过程产生的，使用各种物理过程，这些物理过程包含许多子过程。一般来说，这些都是生产历史的一部分。作者，或在我们的情况下画家，使用他们的各种技能，知识和想象力在这种有意生产的工作。这听起来很简单，但事实并非如此——事实上，这些因素之间存在相当复杂的关系。
{"title":"Aesthetic Properties of the Art of Painting: Subjective or Objective?","authors":"D. Pećnjak","doi":"10.30958/AJHA.6-1-4","DOIUrl":"https://doi.org/10.30958/AJHA.6-1-4","url":null,"abstract":"entities, many other kinds of art, and even perhaps performances of abstract artworks, certainly have aesthetic properties. Conceiving of Aesthetic Properties A description of how aesthetic properties are conceived follows, through which it will be clear that there can be a full description of \"how matters are\" (concerning aesthetic properties) without anyone being able to definitely say whether aesthetic properties are subjective or objective. Thus, perhaps it does not matter, or, an answer may be that aesthetic properties have both subjective and objective aspects, which are perhaps even inseparable, at the same time.13 Let us take an example of a certain property which obviously is an aesthetic property. Certainly beauty seems to be par exellence an example of a property which is an aesthetic property, regardless of what it may truly be in fact.14 Besides beauty, which first comes to mind as an aesthetic property, when we speak about art and artworks, examples of other aesthetic properties are balance, symmetry, 10. Jerrold Levinson, Music, Art and Metaphysics (Oxford: Oxford University Press, 2011), 63-88, 215-263. 11. Currie, An Ontology of Art. 12. David Davies, Art as Performance (Malden: Blackwell, 2004). 13. Perhaps we may say that \"aesthetic\" properties supervene at the same time, both, on mental and non-mental facts or properties. We can say, perhaps, when certain facts, both mentally and non-mentally obtain, then we have an aesthetic property realized. But I shall not pursue supervenience theory of aesthetic properties in any form here. About supervenience in artworks see for example Levinson, ''Aesthetic Supervenience.'' 14. For various theories of beauty see, for example, St. Thomas Aquinas, Summa Theologica, trans. Fathers of the English Dominican Province (Benziger 1947), 33, 270; Immanuel Kant, Kritika moći suđenja (Critique of Judgement) trans. Viktor Sonnenfeld (Naprijed: Zagreb, 1976), 45-50; Nick Zangwill, The Metaphysics of Beauty (Ithaca, NY: Cornell University, 2001). Vol. 6, No. 1 Pećnjak: Aesthetic Properties of the Art of Painting... 74 elegance, gracefulness, and unity.15 Of course, there are still other valuable aesthetic properties. Each of these properties may pose a problem for itself – it can be asked what it is in fact and what it is in relation to other aesthetic properties. There is no need to analyze in detail the specificity of each aesthetic property and various possible specific realizations of each property. On the other hand, of course, it will be necessary to say something about some property, but it is not necessary to go into depth for each property. The primary aim of this text is to examine some basics concerning relations of various aesthetic properties. In doing this, by necessity we must also examine and consider the relations aesthetic properties have to other properties which are not aesthetic. There are two ways of examining: top-down and bottom-up. It may be, for example, stipulated that beaut","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130426933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For the musician, aural skills mean training our ears to identify the basic elements of music. These include the ability to hear what is happening melodically, harmonically and rhythmically as the music is played. As music educators, we instruct our students on how to hear the grammar of this medium we call music. It is arguably this process of active listening that is the most important part of being a musician. Unfortunately, it is also one of the most difficult skills to acquire and subsequently, the teaching of aural skills is generally acknowledged to be demanding, laborious, and downright punishing for faculty and students alike. At the college undergraduate level, aural skills courses are challenging at best, tortuous at worst. Surprisingly, pedagogy in this area is hugely underdeveloped. The focus of my work is to explain and encourage educators to identify the learning styles, i.e. visual, auditory, reading/writing, kinesthetic, of students in their classroom at the beginning of the semester and then correlate their teaching methodology, e.g., solfeggio, rote, song list, playing keyboard, etc., to each learning style. It is my hypothesis that when a focused and appropriate instructional strategy is paired with the related learning style, aural skills education is more successful for everyone.
{"title":"Correlating Methods of Teaching Aural Skills with Individual Learning Styles","authors":"Christine Condaris","doi":"10.30958/ajha.6-1-1","DOIUrl":"https://doi.org/10.30958/ajha.6-1-1","url":null,"abstract":"For the musician, aural skills mean training our ears to identify the basic elements of music. These include the ability to hear what is happening melodically, harmonically and rhythmically as the music is played. As music educators, we instruct our students on how to hear the grammar of this medium we call music. It is arguably this process of active listening that is the most important part of being a musician. Unfortunately, it is also one of the most difficult skills to acquire and subsequently, the teaching of aural skills is generally acknowledged to be demanding, laborious, and downright punishing for faculty and students alike. At the college undergraduate level, aural skills courses are challenging at best, tortuous at worst. Surprisingly, pedagogy in this area is hugely underdeveloped. The focus of my work is to explain and encourage educators to identify the learning styles, i.e. visual, auditory, reading/writing, kinesthetic, of students in their classroom at the beginning of the semester and then correlate their teaching methodology, e.g., solfeggio, rote, song list, playing keyboard, etc., to each learning style. It is my hypothesis that when a focused and appropriate instructional strategy is paired with the related learning style, aural skills education is more successful for everyone.","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125435169","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-30DOI: 10.30958/AJHA/V5I4.5-4-4
A. Hesamifar, A. Baqershahi
In his treatise "On the Intellect," Alexander of Aphrodisias paraphrases Aristotleʼs views on the intellect. He refers to four kinds of intellect. The first three include: the potential intellect which resides potentially in manʼs soul and will be actualized through perceiving the intelligible; the habitual intellect which has perceived certain intelligibles and can perceive some others as well; the Active Intellect which can change the first kind of intellect into the second one. This intellect can perceive its essence. And since its essence is intelligible so it can perceive it through perceiving the intelligibles. The fourth is the acquired intellect and it is a part of the Active Intellect and comes to soul from outside and enables it to perceive the intelligibles. The main objective of this article is to treat Alexanderʼs idea of the intellect and to explore its impact upon Islamic philosophy which can be traced in the similarities between their debates on the issue and the allusions to Alexanderʼs view in the works about intellect written by Muslim philosophers.
{"title":"Intellect in Alexander of Aphrodisias and Its Impact upon Muslim Philosophers","authors":"A. Hesamifar, A. Baqershahi","doi":"10.30958/AJHA/V5I4.5-4-4","DOIUrl":"https://doi.org/10.30958/AJHA/V5I4.5-4-4","url":null,"abstract":"In his treatise \"On the Intellect,\" Alexander of Aphrodisias paraphrases Aristotleʼs views on the intellect. He refers to four kinds of intellect. The first three include: the potential intellect which resides potentially in manʼs soul and will be actualized through perceiving the intelligible; the habitual intellect which has perceived certain intelligibles and can perceive some others as well; the Active Intellect which can change the first kind of intellect into the second one. This intellect can perceive its essence. And since its essence is intelligible so it can perceive it through perceiving the intelligibles. The fourth is the acquired intellect and it is a part of the Active Intellect and comes to soul from outside and enables it to perceive the intelligibles. The main objective of this article is to treat Alexanderʼs idea of the intellect and to explore its impact upon Islamic philosophy which can be traced in the similarities between their debates on the issue and the allusions to Alexanderʼs view in the works about intellect written by Muslim philosophers.","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116814785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Literature has long been "seen as a field of activity set apart from ordinary life." But, this modern approach betrays the rich heritage from which tragic theatre arose. Contrary to this view, Greek tragedy, like the law itself, is "not a world of authoritarian clarity, ... but a world of deep uncertainty and openness, of tension and conflict and argument, a world where reasons do not harmonize but oppose one another." It is a world that was firmly connected to "Aristotelian" concepts of justice, a theory of equity and voluntariness largely understood only by academia and the legal community. Great efforts have been made within the United States and Great Britain since the 1970ʼs to rediscover the connections between law and literature. However, outside the work of classics professors, the study of law and classical Greek literature almost exclusively has been conducted in law schools. Yet, of all American Bar Association approved law schools, only twentyone percent of schools have indicated that they offer a course in law and literature. Those that do use classical literature have focused upon Aeschylusʼs Oresteia and Sophoclesʼs "Antigone" and "Oedipus the King." But, even then, only "Antigone" was listed in more than one syllabus. And, most of these courses have often ignored the actual cultural, historical, and legal context in which the surviving Greek tragedies were written.
{"title":"Why we continually Misinterpret Classical Tragedy: Ancient Greek Law within the Tragic Tradition","authors":"Lynn Adams","doi":"10.30958/AJHA.5-4-2","DOIUrl":"https://doi.org/10.30958/AJHA.5-4-2","url":null,"abstract":"Literature has long been \"seen as a field of activity set apart from ordinary life.\" But, this modern approach betrays the rich heritage from which tragic theatre arose. Contrary to this view, Greek tragedy, like the law itself, is \"not a world of authoritarian clarity, ... but a world of deep uncertainty and openness, of tension and conflict and argument, a world where reasons do not harmonize but oppose one another.\" It is a world that was firmly connected to \"Aristotelian\" concepts of justice, a theory of equity and voluntariness largely understood only by academia and the legal community. Great efforts have been made within the United States and Great Britain since the 1970ʼs to rediscover the connections between law and literature. However, outside the work of classics professors, the study of law and classical Greek literature almost exclusively has been conducted in law schools. Yet, of all American Bar Association approved law schools, only twentyone percent of schools have indicated that they offer a course in law and literature. Those that do use classical literature have focused upon Aeschylusʼs Oresteia and Sophoclesʼs \"Antigone\" and \"Oedipus the King.\" But, even then, only \"Antigone\" was listed in more than one syllabus. And, most of these courses have often ignored the actual cultural, historical, and legal context in which the surviving Greek tragedies were written.","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127882232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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