FDA Disclosure of Safety and Effectiveness Data: A Legal and Policy Analysis

Syftet med studien är att genom analys av förskollärares berättelser beskriva hur barns sociala samspel och lek kan påverkas och utvecklas. Den empiriska studien baserar sig på åtta intervjuer med förskollärare som delat med sig av sina erfarenheter i sitt arbete med barns lek och sociala samspel. Den tidigare forskningen behandlar begreppen socialt samspel och lek. Vidare redovisas också olika faktorer som kan påverka barns samspelsutveckling i lek. Vi valde att göra en kvalitativ studie med tematisk analys för att besvara våra frågeställningar. Utifrån ett specialpedagogiskt synsätt har vi valt att utgå från tre teoretiska perspektiv, det kategoriska-, det relationella- och dilemmaperspektivet. Den tematiska analysen ledde fram till tre olika huvudteman. Det första temat handlar om hur viktiga pedagogers roll och deltagande är i leken. Det andra temat fokuserar på pedagogers erfarenheter hur lek och samspel kan påverkas utifrån hinder och möjligheter. Det tredje och sista temat behandlar organisationens och miljöns betydelse för utvecklingen i lek och samspel i förskolan

Form and Freedom: The Kantian Ethos of Musical Formalism

Musical formalism is often portrayed as the enemy of artistic freedom. Its main representative, Eduard Hanslick, is seen as a purist who, by emphasizing musical rules, aims at restricting music criticism and even musical practices themselves. It may also seem that formalism is depriving music of its ability to have moral significance, as the semantic connection to the extramusical is denied by the formalistic view. In my paper, I defend formalism by placing Hanslick’s argument in a Kantian framework. It is not hard to find Kantian elements in Hanslick’s work, such as his emphasis on the contemplative and disinterested nature of the aesthetic judgment, the nonconceptuality of music’s content, and his insistence that “beauty has no purpose.” I argue further that Hanslick’s formalism is in fact motivated by and manifests the Kantian conception of freedom as self-legislation. Thus understood, the kind of moral significance music may have rests upon its own autonomous rules

Editorial

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The King of Rockingham County and the Original Bridge to Nowhere

This chapter, reveals the story -- the clash of personalities, the economic tensions, and the political significance -- behind Rockingham County v. Luten Bridge Co. Since its publication in 1929, the opinion has proceeded to leave an impression on generations of law students. Luten Bridge, a staple in most contracts casebooks, is known today as the paradigmatic case that demonstrates the duty to mitigate damages in contract law, whereby a nonbreaching party is not compensated for performance that occurs after the other party announces an intention to breach. This chapter takes on three objectives: it identifies the case\u27s original importance, uncovers the opinion\u27s political and jurisprudential significance, and tells a remarkable story, one that arose within a heated tax revolt pitting the county\u27s farmers against its most celebrated industrialist. Much more than a crisp illustration of the duty to mitigate, Rockingham County v. The Luten Bridge Co. offers a window into a southern community\u27s struggles with a divided social order, the introduction of wealth into local politics, and a changing economy

Beauty and Rules : Kant and Wittgenstein on the Cognitive Relevance of Aesthetics

Non peer reviewe

Wittgenstein on Aesthetic Normativity and Grammar

Peer reviewe

Wittgenstein and Musical Formalism : A Case Revisited

This article defends a formalist interpretation of Wittgenstein’s later thought on music by comparing it with Eduard Hanslick’s musical formalism. In doing so, it returns to a disagreement I have had with Bela Szabados who, in his book Wittgenstein as a Philosophical Tone-Poet, claims that the attribution of formalism obscures the role that music played in the development of Wittgenstein’s thought. The paper scrutinizes the four arguments Szabados presents to defend his claim, pertaining to alleged differences between Wittgenstein and Hanslick on their accounts of theory, beauty, rules, and the broader significance of music. I will argue that in each case the similarities between Wittgenstein’s and Hanslick’s respective views outshine possible differences. Ultimately, I will argue that instead of rendering music a marginal phenomenon suited for mere entertainment, formalism –as presented by Hanslick and Wittgenstein, whom I read as influenced by Kant’s aesthetics– underscores music’s ability to show fundamental features of reality and our relation to it. Music does this precisely as a sensuous yet structured medium that is irreducible to any conceptually determined domain.Non peer reviewe

Wittgenstein and Levinas on the Transcendentality of Ethics

This article discusses Wittgenstein’s early ethics by comparing it with the ethical thought of Emmanuel Levinas. By treating ethics as transcendental, both Wittgenstein and Levinas are responding to the tension they find between contingent facts of the world and the absolute demand of ethics. We argue that the origin of this tension may be traced back to Kant’s philosophy, specifically to Kant’s division between nature and morality. Instead of grounding the ethical in the world of facts or in a transcendent realm over and above the limits of the world, both Wittgenstein and Levinas resolve the tension by appealing to the idea of a perspective, distinct from the perspective of knowledge, that shows the world as meaningful or purposive in spite of its objective lack of meaning. By spelling out the relevant similarities and differences between Wittgenstein and Levinas, the paper addresses the nature and extent of the Kantianism in Wittgenstein’s early ethics.Peer reviewe