Adorno’s writings are often the starting point for the teaching of popular music studies, usually passing swiftly on, after concluding that ‘he didn’t listen to the right jazz’ or ‘he was a snob’. In this book, using Adorno’s aesthetic theory more generally, a viable philosophical approach to the study of idiomatic, non- standard music is constructed. The links between Adorno’s work and its Kantian roots are explored, and a more general and inclusive aesthetic constructed, using the utopian and implicitly political elements in each. This book will be of interest to critical theorists and musicologists wishing to build a more engaged practice without the pitfalls of a by now outdated ‘postmodern’ turn.

Utopia is a work of fiction and socio-political satire by Thomas More published in 1516 in Latin. The book is a frame narrative primarily depicting a fictional island society and its religious, social and political customs. Many aspects of More's description of Utopia are reminiscent of life in monasteries.

Introduction -- The arts and social change -- The power of utopian thinking -- Transforming society -- Music education and utopia -- Conclusion.

This edition includes: -Several illustrations from the original work -Extended and up to date introduction -A discussion of the structure of the book First published in 1516, Saint Thomas More's Utopia is one of the most important works of European humanism. Through the voice of the mysterious traveller Raphael Hythloday, More describes a pagan, communist city-state governed by reason. Addressing such issues as religious pluralism, women's rights, state-sponsored education, colonialism, and justified warfare, Utopia seems remarkably contemporary nearly five centuries after it was written, and it remains a foundational text in philosophy and political theory. Precminent More scholar Clarence H. Miller does justice to the full range of More's rhetoric in this new translation. Professor Miller includes a helpful introduction that outlines some of the important problems and issues that Utopia raises, and also provides informative commentary to assist the reader throughout this challenging and rewarding exploration of the meaning of political community.

What is money and how does it acquire its value? How do we assign a measurable monetary value to human goods that do not seem quantifiable? What role does money play in the structure of society? Is money an illusion or is it real? Despite the enormous impact of money on the structure of human society, as well as its effect on our daily decision-making, surprisingly little philosophical work has been done on money to date. This book examines the metaphysical foundations of money as well as the power structures that characterize the world of finance, connecting the ontology of money to considerations about inequality and other real-life issues. By throwing light on the metaphysical structure of money and financial value, Eyja M. Brynjarsdóttir seeks to further the philosophical discussion of money and contribute to a broader critique of the monetary system.

Sovereignty as Value is one of the first books to examine sovereignty using solely a normative approach. Through fourteen original essays, the book seeks to understand its viability in a globalized world, thus taking into account the inclusion of a language of rights, limitation and legitimacy. The authors’ focus is on whether sovereignty as a normative concept might be understood as a criterion of legitimate power and authority; as a foundational concept of public ethics applied to political and legal institutions. How should notions of legitimacy be linked with the notion of sovereignty? In what manner is sovereignty challenged by territoriality and territorial control? How does sovereignty relate to political legitimacy? Are all the forms of sovereign authority legitimate? Does the project of advancing human rights globally conflict with the logic of exclusion inherent in the classic notion of national sovereignty? These are some of the questions that will be assessed in this collective volume.

When, if ever, is it permissible to afford special consideration to friends and family? How can we strive to be objective in our thinking, and is this always a feasible or appropriate aim? This book examines the categories of impartiality and objectivity by showing how they frame certain debates in epistemology, moral psychology, and metaethics, arguing that many traditional conceptions of objectivity fail to capture what is important to our identities as knowers, social beings, and moral agents. A new thesis of ‘perspectival realism’ is offered as a critique of strong objectivity, but in a way that avoids radical subjectivism or relativism. Locally-situated identities can provide their own criteria of epistemic and moral justification, and we may aspire to be impartial in a way that need not sacrifice particular perspectives and relationships. Arguments throughout the book draw heavily on resources from classical Chinese philosophy, and significant attention is given to applications of arguments to concrete issues in applied ethics, cross-cultural anthropology, and political science.

From the sex-free paradise of the Shakers to the worker's paradise of Marx, utopian ideas seem to have two things in common--they all are wonderfully plausible at the start and they all end up as disasters. In Visions of Utopia, three leading cultural critics--Edward Rothstein, Martin Marty, and Herbert Muschamp--look at the history of utopian thinking, exploring why they fail and why they are still worth pursuing. Edward Rothstein, New York Times cultural critic, contends that every utopia is really a dystopia--a disaster in the making--one that overlooks the nature of humanity and the impossibilities of paradise. He traces the ideal in politics and technology and suggests that only in art--and especially in music--does the desire for utopia find satisfaction. Martin Marty examines several models of utopia--from Thomas More's to a 1960s experimental city that he helped to plan--to show that, even though utopias can never be realized, we should not be too quick to condemn them. They can express dimensions of the human spirit that might otherwise be stifled and can plant ideas that may germinate in more realistic and practical soil. And Herbert Muschamp, the New York Times architectural critic, looks at Utopianism as exemplified in two different ways: the Buddhist tradition and the work of visionary Viennese architect Adolph Loos. Utopian thinking embodies humanity's noblest impulses, yet it can lead to horrors such as Nazi Germany and the Soviet Regime. In Visions of Utopia, these leading thinkers offer an intriguing look at the paradoxes of paradise.

This book explores the ways in which popular music can criticise political, social and economic structures, through the lens of alternate rock band Manic Street Preachers. Unlike most recent work on popular music, Peters concentrates largely on lyrical content to defend the provocative claim that the Welsh band pushes the critical message shaped in their lyrics to the forefront. Their music, this suggests, along with sleeve art, body-art, video-clips, clothes, interviews and performances, serves to emphasise this critical message and the primary role played by the band’s lyrics. Blending the disciplines of popular music studies, culture studies and philosophy, Peters confronts the ideas of German philosopher and social critic Theodor W. Adorno with the entire catalogue of Manic Street Preachers, from their 1988 single ‘Suicide Alley’ to their 2018 album Resistance is Futile. Although Adorno argues that popular music is unable to resist the standardising machinery of consumption culture, Peters paradoxically uses his ideas to show that Manic Street Preachers releases shape ‘critical models’ with which to formulate social and political critique. This notion of the ‘critical model’ enables Peters to argue that the catalogue of Manic Street Preachers critically addresses a wide range of themes, from totalitarianism to Holocaust representation, postmodern temporality to Europeanism, and from Nietzsche’s ideas about self-overcoming to reflections on digimodernism and post-truth politics. The book therefore persuasively shows that Manic Street Preacher lyrics constitute an intertextual network of links between diverse cultural and political phenomena, encouraging listeners to critically reflect on the structures that shape our lives.

The purpose of this volume is to broaden scholars' analytical perspective by placing the creative industries in frameworks that compare and contrast them with other kinds of entities, organizations, and social forms that mix creativity and production. In other words, this volume aims to set out an emerging agenda for the study of creativity in the cultural and media industries. Although this work focuses on the media and cultural industries, they are investigated in the context of other groups and organizations connecting forms of creativity with an explicit emphasis on turning ideas into concrete practices and products. The originality of this book lies in (1) presenting a comparative and interdisciplinary perspective that develops a new framework and analytical concepts to understand the notion of creativity in the media and cultural industries, and (2) providing a series of fresh empirically based studies of the process of creativity in fields such as advertising, fashion, animation, and pop culture. This comparative move is taken in order to generate new insights about the particular features of the creative industries and new questions for future analysis.