This paper will examine John Rawls’s views regarding the make up of society and, in particular, it will investigate the question of whether or not Rawls’s theory of justice is dependent upon accepting and endorsing the view that society is, or, at least, resembles an association. The aim of the paper will be to defend the position that Rawls’s theory of justice is in fact dependent upon an associational conception of society, and that it, therefore, relies upon the idea that the individuals in a society share a common interest or purpose. Thus, far from providing a liberal conception of society, this paper will attempt to illustrate that Rawls actually presents a more communitarian outlook of society than many might expect from a purportedly liberal thinker. In order to best prove the essential link to an associational conception of society, I discuss three principles that provided Rawls with reasons for preferring the difference principle to other modes of justice, and suggest that these founding principles provide sufficient evidence for connecting Rawls’s theory of justice to an associational conception of society. By advocating such a vision of society, Rawls betrays a fundamental premise of his own political liberalism, namely, the idea that individuals do not necessarily share a common interest or purpose with one another. / Thesis (Master, Philosophy) -- Queen's University, 2007-09-25 19:19:43.637

Composer Isang Yun developed an idiosyncratic musical language that blends Eastern-Asian and Western-European art traditions. Exiled from Korea due to political conflict, he continued his compositional career in Germany, where his music is renowned for its use of the Hauptton (“main-tone”) technique. Yun was the first to discuss this technique, which he interprets as a process rooted in East-Asian musical traditions, including Taoism philosophy. His music is remarkable in that it fuses this process within the context of Western formal structures. I combine Straus’s associational model with Yun’s Hauptton theory to analyse the second movement of Duo für Violoncello und Harfe (1984) in order to show the inclusion of Eastern-Asian and Western-European musical elements in Yun’s music. I begin by analysing several Haupttöne at the surface level through associational relationships, followed by a large-scale analysis of the entire movement with one fundamental Hauptton.

Composer Isang Yun developed an idiosyncratic musical language that blends Eastern-Asian and Western-European art traditions. Exiled from Korea due to political conflict, he continued his compositional career in Germany, where his music is renowned for its use of the Hauptton (“main-tone”) technique. Yun was the first to discuss this technique, which he interprets as a process rooted in East-Asian musical traditions, including Taoism philosophy. His music is remarkable in that it fuses this process within the context of Western formal structures. I combine Straus’s associational model with Yun’s Hauptton theory to analyse the second movement of Duo für Violoncello und Harfe (1984) in order to show the inclusion of Eastern-Asian and Western-European musical elements in Yun’s music. I begin by analysing several Haupttöne at the surface level through associational relationships, followed by a large-scale analysis of the entire movement with one fundamental Hauptton.

Composer Isang Yun developed an idiosyncratic musical language that blends Eastern-Asian and Western-European art traditions. Exiled from Korea due to political conflict, he continued his compositional career in Germany, where his music is renowned for its use of the Hauptton (“main-tone”) technique. Yun was the first to discuss this technique, which he interprets as a process rooted in East-Asian musical traditions, including Taoism philosophy. His music is remarkable in that it fuses this process within the context of Western formal structures. I combine Straus’s associational model with Yun’s Hauptton theory to analyse the second movement of Duo für Violoncello und Harfe (1984) in order to show the inclusion of Eastern-Asian and Western-European musical elements in Yun’s music. I begin by analysing several Haupttöne at the surface level through associational relationships, followed by a large-scale analysis of the entire movement with one fundamental Hauptton.