Boston University Symphony Orchestra, February 10, 2009

This is the concert program of the Boston University Symphony Orchestra performance on Tuesday, February 10, 2009 at 7:30 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Egdon Health, op. 47 by Gustav Holst, Four Sea Interludes, from Peter Grimes, op. 33a by Benjamin Britten, and Symphony No. 2 in E-flat, op. 63 by Edward Elgar. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Family Life – between Charism and Institution. Signalling Multidimensionality and Complexity of Human Interactions for Business Institutions and Society

This paper analyses the complexity of family life, which includes both its charismatic and institutional aspects. Deepening the understanding of this basic social group can be useful in explaining how human beings in their decisions and actions, as well as organizations, unceasingly transcend different oppositions and dimensions. Undertaking this topic is not only important in the context of understanding the fundamental and complex experience of family life in the process of preparing and introducing new members to society, but also from the organizational perspective. It means that exploring the role of both dimensions – charismatic and institutional – which are somehow complementary, is crucial for understanding and harmonizing the different relationships and interactions within organizations, including business ones. In this way the article shows the connection between the functioning of the family and society (including organizations within it)

Rational a priori or Emotional a priori? Husserl and Scheler’s Criticisms of Kant Regarding the Foundation of Ethics

Based on the dispute between Protagoras and Socrates on the origin of ethics, one can ask the question of whether the principle of ethics is reason orfeeling/emotion, or whether ethics is grounded on reason or feeling/emotion. The development of Kant’s thoughts on ethics shows the tension between reason and feeling/emotion. In Kant’s final critical ethics, he held to a principle of “rational a priori.” On the one hand, this is presented as the rational a priori principle being the binding principle of judgment. On the other hand, it is presented as the doctrine of “rational fact” as the ultimate argument of his ethics. Husserl believed that Kant’s doctrine of a rational a priori totally disregarded the a priori essential laws of feeling. Like Husserl, Scheler criticized Kant’s doctrine of a rational a priori, and therefore developed his own theory of an “emotional a priori”. Both of them focused their critiques on the grounding level of ethics. Scheler, however, did not follow Husserl all the way, but criticized him and reflected on his thoughts. At last, he revealed the primary status of a phenomenological material ethics of value

Boston University Women's Chorale, Concert Choir, and Chamber Chorus, March 31, 2007

This is the concert program of the Boston University Women's Chorale, Concert Choir, and Chamber Chorus performance on Saturday, March 31, 2007 at 8:00 p.m., at Marsh Chapel, 735 Commonwealth Avenue, Boston, Massachusetts. Works performed were Missa Brevis in D, Op. 63 by Benjamin Britten, Serenity by Charles Ives, Songs of the Lights by Imant Raminsh, If Ye Love Me by Thomas Tallis, Almighty and Everlasting Gog by Orlando Gibbons, Festival Te Deum and Hymn to St. Peter by Benjamin Britten, Magnificant in G by Sir Charles Villiers Stanford, Rejoice in the Lamb by Benjamin Britten, Fire Salmer by Edvard Grieg, and Hark, I Hear the Harps Eternal, My God Is a Rock, and Shout On arranged by Parker/Shaw. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

The Sugi Sakit Ritual Storytelling in a Saribas Iban Rite of Healing

This paper describes a Saribas Iban rite of healing called the Sugi sakit. What distinguished this rite from other forms of Saribas Iban healing was that it incorporated within its performance a long narrative epic concerned with the adventures and love affairs of an Iban culture hero named Bujang Sugi. Here I explore the language used by Iban priest bards both in telling the Sugi epic and in performing the larger ritual drama in which it was set, and look, in particular, at how the Sugi epic, which was otherwise told for entertainment, was integrated into this drama and recast by the priest bards as they performed the ritual, so that it not only entertained their listeners, but also served as a serious instrument of healing

John Templeton Foundation: Capabilities Report

This annual report, celebrating the 25th anniversary of the foundation, includes letters from its leaders, a history of the foundation, details of current grantmaking and other activities, financial statements, and lists of trustees