Oh, the Treatise!

This foreword to the Michigan Law Review’s 2013 Survey of Books Related to the Law considers the history of the American legal treatise in light of the well-known criticisms of legal scholarship published by Judge Harry Edwards in 1992. As part of his critique, Edwards characterized the legal treatise as “[t]he paradigm of ‘practical’ legal scholarship.” In his words, treatises “create an interpretive framework; categorize the mass of legal authorities in terms of this framework; interpret closely the various authoritative texts within each category; and thereby demonstrate for judges or practitioners what ‘the law’ requires.” Part I examines the origins of the legal treatise and its early importance to the U.S. lawyers; Part II the impact that the massive growth in published case law had on the treatise during the latter part of the nineteenth century; and Part III the implications for the treatise of shifts from print to electronic formats in the twentieth century. The Foreword concludes by speculating briefly on the continuing need for the treatise in light of Edwards’s concerns and its place in the digital legal information environment

The Bibliothèque raisonnée Review of Volume 3 of the Treatise: Authorship, Text, and Translation

The review of volume 3 of Hume’s Treatise, a review that appeared in the Bibliothèque raisonnée in the spring of 1741, was the first published responseto Hume’s ethical theory. This review is also of interest because of questions that have arisen about its authorship and that of the earlier review of volume 1 of the Treatise in the same journal. In Part 1 of this paper we attribute to Pierre Des Maizeaux the notice of vols. 1 and 2 of the Treatise published in the spring 1739 issue of the Bibliothèque raisonnée. We then focus on the question of the authorship of the review of vol. 3. In Part 2 of our paper we provide a transcription of the French text of this review. Part 3 is a new English translation of the review. Part 4 provides comparisons between passages from the textof the Treatise, the French translations of these passages in the Bibliothèque raisonnée review, and our back-translations of these same passages. We alsoprovide brief comparisons between our translation of passages from this review and an earlier translation of these passages

Eduard Hanslick's Formalism and His Most Influential Contemporary Critics

The paper deals with the formalistic view on music presented in Eduard Hanslick’s treatise On the Musically Beautiful, which is taken to be the foundingwork of the aesthtetics of music. In the paper I propose an interpretation of Hanslick’s treatise which differs on many points from the interpretations displayed in the works of several most influential contemporary aestheticians of music. My main thesis is that Hanslick’s treatise is misunderstood and incorrectly presented by these authors. I try to demonstrate this thesis by referring to Hanslick’s original formulations in the German edition and by showing that my interpretation renders Hanslick’s view far more coherent and his arguments successful in showing his main conclusions. Accepting this alternative interpretation should have further implications on many contemporary theories in the aesthetics of music that reckon on the failure of Hanslick’s arguments as presented by usual interpretations

Is Hume attempting to introduce a new, pragmatic conception of a contradiction in his Treatise?

Hume’s Treatise, with its celebrated bundle theory of the self, is a significant contribution to the embryonic Newtonian experimental philosophy of the enlightenment. But the theory is inadequate as it stands, as the appendix to the Treatise makes clear. For this account of the self, apparently, rests on contradictory principles — propositions, fortunately, that can be reconciled, according to Hume. My paper is a critical exploration of Hume’s argument for this intriguing suggestion

Notes on Pseudo-Apsines

The paper discusses problems of text and interpretation in the rhetorical treatise traditionally attributed to Apsines:(i) two declamation themes mentioned in 1.33 are clarified;(ii) in 1.44 emendation of poiei to paiei is proposed;(iii) points of rhetorical theory in 4.15 and 5.10 are explained, leading to a defense of the transmitted text;(iv) an explanation is offered of the concepts of 'leading' and 'necessary' arguments in 10.3, and the implications of this passage for the composition of the treatise are briefly discussed;(v) at 10.14 deletion of synkriseos may be the best solution to the textual problem

Boston University Percussion Ensemble, November 7, 2016

This is the concert program of the Boston University Percussion Ensemble performance on Monday, November 7, 2016 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were December 1952 by Earle Brown, Jam Karet by Jay Alan Yim, Treatise, Pages 29, 41, and 4 by Cornelius Cardew, Keep Warm by Greg Spears, Treatise, Pages 3, 23, and 183 by C. Cardew, Tian (heaven) and Di (earth) from Garden 8 by Lei Liang, Lakescape II by L. Liang, and Field Studies from Demarest/Lloyd by Josiah Oberholtzer. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Rescued Music and Music which Rescues. About Wiesław Myśliwski’s Treatise on Shelling Beans

The article focuses on the interpretation of the last novel written by Wiesław Myśliwski: Treatise on Shelling Beans (Traktat o łuskaniu fasoli). The author presents a biography of the hero – a musician and homo viator. The novel describes his life and its connections with Polish history in the 20th century. Above all, it presents reflections on the role of music in culture after World War II. In his Treatise on Shelling Beans Myśliwski performs anti-logocentric turn – music is created as a sphere of art which has a/the power of salvation: it could save a human life from destruction and could stop the destruction of rudimental senses which formed European culture