Gregory E. Ganssle and David M. Woodruff (eds)
- Published in print:
- 2001
- Published Online:
- October 2011
- ISBN:
- 9780195129656
- eISBN:
- 9780199849130
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195129656.001.0001
- Subject:
- Philosophy, Philosophy of Religion
This is a collection of essays written by philosophers about God's relation to time. The essays have been selected to represent current debates written between those who believe God to be atemporal ...
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This is a collection of essays written by philosophers about God's relation to time. The essays have been selected to represent current debates written between those who believe God to be atemporal and those who do not. The essays highlight issues such as how the nature of time is relevant to whether God is temporal and how God's other attributes are compatible with his mode of temporal being. By focusing on the metaphysical aspects of time and temporal existence, the book contributes to the current resurgence of interest in philosophical theology within the analytic tradition.Less
This is a collection of essays written by philosophers about God's relation to time. The essays have been selected to represent current debates written between those who believe God to be atemporal and those who do not. The essays highlight issues such as how the nature of time is relevant to whether God is temporal and how God's other attributes are compatible with his mode of temporal being. By focusing on the metaphysical aspects of time and temporal existence, the book contributes to the current resurgence of interest in philosophical theology within the analytic tradition.
Gretchen Horlacher
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780195370867
- eISBN:
- 9780199893492
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195370867.001.0001
- Subject:
- Music, Theory, Analysis, Composition, History, Western
A pioneer of musical modernism, Igor Stravinsky marked a significant turn in compositional method. He broke free from traditional styles and contemporary trends in the early part of the 20th century ...
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A pioneer of musical modernism, Igor Stravinsky marked a significant turn in compositional method. He broke free from traditional styles and contemporary trends in the early part of the 20th century to achieve an entirely new and truly modern aesthetic. Striking a remarkable concurrence of stasis and discontinuity, Stravinsky crafted large-scale compositions out of short repeating melodies, juxtaposed these primary motives with contrasting and varying fragments, and layered on fixed ostinati which repeated at their own rates throughout the piece. Previous scholarship on Stravinsky focuses on the disparate and independent nature of such textures, conceiving them as separated and deadlocked, unable to escape their repetitions, and having no goal. This connects Stravinsky's procedures with the more radical music of subsequent composers for whom disconnection has served as a primary aesthetic. Yet, from the perspective of his later works, the static and discontinuous depictions of Stravinsky's music seem incomplete and perhaps even simplistic. The “building blocks” of his novel textures often consist of tunes with identifiable intervallic shapes, goal pitches, and defining durational patterns—organizations that engender continuity and connection. This book provides a fuller perspective, and offers a fresh approach to this music and the theoretical constructs behind it. The book portrays the whole of Stravinsky's repertoire as radical or modern not because it eschews continuity and connection, but because it places them in relation to their opposites: the music holds our interest because undeniable references toward continuity are dynamically coordinated (rather than subsumed) with stasis and discontinuity. From this vantage point, Stravinsky's music becomes a commentary on the nature of time: the music draws into relation the tension between time as it is punctuated by fixed reference and as it flows from one event to another. It is quintessentially modern because of its inherent emphasis on multiple vantage points.Less
A pioneer of musical modernism, Igor Stravinsky marked a significant turn in compositional method. He broke free from traditional styles and contemporary trends in the early part of the 20th century to achieve an entirely new and truly modern aesthetic. Striking a remarkable concurrence of stasis and discontinuity, Stravinsky crafted large-scale compositions out of short repeating melodies, juxtaposed these primary motives with contrasting and varying fragments, and layered on fixed ostinati which repeated at their own rates throughout the piece. Previous scholarship on Stravinsky focuses on the disparate and independent nature of such textures, conceiving them as separated and deadlocked, unable to escape their repetitions, and having no goal. This connects Stravinsky's procedures with the more radical music of subsequent composers for whom disconnection has served as a primary aesthetic. Yet, from the perspective of his later works, the static and discontinuous depictions of Stravinsky's music seem incomplete and perhaps even simplistic. The “building blocks” of his novel textures often consist of tunes with identifiable intervallic shapes, goal pitches, and defining durational patterns—organizations that engender continuity and connection. This book provides a fuller perspective, and offers a fresh approach to this music and the theoretical constructs behind it. The book portrays the whole of Stravinsky's repertoire as radical or modern not because it eschews continuity and connection, but because it places them in relation to their opposites: the music holds our interest because undeniable references toward continuity are dynamically coordinated (rather than subsumed) with stasis and discontinuity. From this vantage point, Stravinsky's music becomes a commentary on the nature of time: the music draws into relation the tension between time as it is punctuated by fixed reference and as it flows from one event to another. It is quintessentially modern because of its inherent emphasis on multiple vantage points.
Linda Trinkaus Zagzebski
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780195107630
- eISBN:
- 9780199852956
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195107630.001.0001
- Subject:
- Philosophy, Philosophy of Religion
This book examines the three leading traditional solutions to the dilemma of divine foreknowledge and human free will—those arising from Boethius, William of Ockham, and Luis de Molina. Though all ...
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This book examines the three leading traditional solutions to the dilemma of divine foreknowledge and human free will—those arising from Boethius, William of Ockham, and Luis de Molina. Though all three solutions are rejected in their best-known forms, three new solutions are proposed, and the book concludes that divine foreknowledge is compatible with human freedom. The discussion includes the relation between the foreknowledge dilemma and problems about the nature of time and the causal relation; the logic of counterfactual conditionals; and the differences between divine and human knowing states. An appendix introduces a new foreknowledge dilemma that purports to show that omniscient foreknowledge conflicts with deep intuitions about temporal asymmetry, quite apart from considerations of free will. This book shows that only a narrow range of solutions can handle this new dilemma.Less
This book examines the three leading traditional solutions to the dilemma of divine foreknowledge and human free will—those arising from Boethius, William of Ockham, and Luis de Molina. Though all three solutions are rejected in their best-known forms, three new solutions are proposed, and the book concludes that divine foreknowledge is compatible with human freedom. The discussion includes the relation between the foreknowledge dilemma and problems about the nature of time and the causal relation; the logic of counterfactual conditionals; and the differences between divine and human knowing states. An appendix introduces a new foreknowledge dilemma that purports to show that omniscient foreknowledge conflicts with deep intuitions about temporal asymmetry, quite apart from considerations of free will. This book shows that only a narrow range of solutions can handle this new dilemma.
Kristin Czarnecki and Carrie Rohman (eds)
- Published in print:
- 2011
- Published Online:
- January 2016
- ISBN:
- 9780983533900
- eISBN:
- 9781781382202
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780983533900.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This book is a compilation of thirty-one chapters which contain discussions presented at the twentieth annual international conference on Virginia Woolf. This volume explores Woolf's complex ...
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This book is a compilation of thirty-one chapters which contain discussions presented at the twentieth annual international conference on Virginia Woolf. This volume explores Woolf's complex engagement with the natural world, an engagement that was as political as it was aesthetic. The diversity of topics within this collection—ecofeminism, the nature of time, the nature of the self, nature and sporting, botany, climate, and landscape, just to name a few—fosters a deeper understanding of the nature of nature in Woolf's works.Less
This book is a compilation of thirty-one chapters which contain discussions presented at the twentieth annual international conference on Virginia Woolf. This volume explores Woolf's complex engagement with the natural world, an engagement that was as political as it was aesthetic. The diversity of topics within this collection—ecofeminism, the nature of time, the nature of the self, nature and sporting, botany, climate, and landscape, just to name a few—fosters a deeper understanding of the nature of nature in Woolf's works.
