A study of the philosophy of music history.

Abdulkadir Tanr'kulu was born in Diyarbak'r in 1961 and was educated in the journalism faculty of Ankara University. He left his studies of journalism and public relations in the fourth year. He worked as a journalist for two years during the most violent period in Turkey's southeast (1988?1990). Following this, he took management positions in several private companies. During his life following university, he closely observed society. He observed that the instincts of people in situations where terrorism prevails affected their behaviour in an unhealthy manner. He witnessed the state becoming more aggressive and the destruction of the concept of justice and judicial organisations that would affect the future of the people. He witnessed the effects of an unhealthy environment on forthcoming generations, how they suffered, and how families lost hope. He wrote about these experiences in books several times but, each time, did not consider the end product to be sufficient, and he abandoned these projects, destroying the books. The author also observed the spiritual interactions of the people and witnessed the reactions of religious organisations to an environment where terrorism was rife. The books he wrote on these subjects he also destroyed without publishing. If you have no respect for your profession, the place you live, your individual or societal identity, your status within society, your beliefs, no matter what your ideology is, if you have no respect for human values, you are merely a savage. Eventually he came to this conclusion: if you cannot be human, you are nothing but a savage.

The idea that science is or should be value-free, and that values are or should be formed independently of science, has been under fire by philosophers of science for decades. Science and Moral Imagination directly challenges the idea that science and values cannot and should not influence each other. Matthew J. Brown argues that science and values mutually influence and implicate one another, that the influence of values on science is pervasive and must be responsibly managed, and that science can and should have an influence on our values. This interplay, he explains, must be guided by accounts of scientific inquiry and value judgment that are sensitive to the complexities of their interactions. Brown presents scientific inquiry and value judgment as types of problem-solving practices and provides a new framework for thinking about how we might ethically evaluate episodes and decisions in science, while offering guidance for scientific practitioners and institutions about how they can incorporate value judgments into their work. His framework, dubbed “the ideal of moral imagination,” emphasizes the role of imagination in value judgment and the positive role that value judgment plays in science.

Philosophers since Aristotle have explored emotion, and the study of emotion has always been essential to the love of wisdom. In recent years Anglo-American philosophers have rediscovered and placed new emphasis on this very old discipline. The view that emotions are ripe for philosophical analysis has been supported by a considerable number of excellent publications. In this volume, Robert Solomon brings together some of the best Anglo-American philosophers now writing on the philosophy of emotion, with chapters from philosophers who have distinguished themselves in the field of emotion research and have interdisciplinary interests, particularly in the social and biological sciences. The reader will find a lively variety of positions on topics such as the nature of emotion, the category of "emotion," the rationality of emotions, the relationship between an emotion and its expression, the relationship between emotion, motivation, and action, the biological nature versus social construction of emotion, the role of the body in emotion, the extent of freedom and our control of emotions, the relationship between emotion and value, and the very nature and warrant of theories of emotion. In addition, this book acknowledges that it is impossible to study the emotions today without engaging with contemporary psychology and the neurosciences, and moreover engages them with zeal. Thus the essays included here should appeal to a broad spectrum of emotion researchers in the various theoretical, experimental, and clinical branches of psychology, in addition to theorists in philosophy, philosophical psychology, moral psychology, and cognitive science, the social sciences, and literary theory.

The focus of this textbook is on the link between ethics and economic policy analysis. Basic philosophical concepts are systematically described, followed by conventional welfare economic theory and policy, and applications to some topical economic problems such as income distribution and sustainable development.

Teachers of literature make judgments about value. They tell their students which works are powerful, beautiful, surprising, strange, or insightful—and thus, which are more worthy of time and attention than others. Yet the field of literary studies has largely disavowed judgments of artistic value on the grounds that they are inevitably rooted in prejudice or entangled in problems of social status. For several decades now, professors have called their work value-neutral, simply a means for students to gain cultural, political, or historical knowledge. ?Michael W. Clune’s provocative book challenges these objections to judgment and offers a positive account of literary studies as an institution of aesthetic education. It is impossible, Clune argues, to separate judgments about literary value from the practices of interpretation and analysis that constitute any viable model of literary expertise. Clune envisions a progressive politics freed from the strictures of dogmatic equality and enlivened by education in aesthetic judgment, transcending consumer culture and market preferences. Drawing on psychological and philosophical theories of knowledge and perception, Clune advocates for the cultivation of what John Keats called “negative capability,” the capacity to place existing criteria in doubt and to discover new concepts and new values in artworks. Moving from theory to practice, Clune takes up works by Keats, Emily Dickinson, Gwendolyn Brooks, Samuel Beckett, and Thomas Bernhard, showing how close reading—the profession’s traditional key skill—harnesses judgment to open new modes of perception.