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Schumann’s essay on Symphonie fantastique was an extended critique. Much of it he admired and defended from an earlier critic, but he took exception to other aspects, including the programme and the music of the final movement. He discusses the form of the first movement Allegro, viewing it as a valid alternative structure related, but not identical, to ‘the traditional model’. The debate about the validity or otherwise of Berlioz’s procedures (which were not born of ignorance or ineptitude, as some have supposed) may never reach a conclusion agreed upon by every critic and theorist, despite the music’s positive reception by audiences; the conclusion must be that whatever its eccentricities compared to academically approved models, it ‘works’ in performance.
This chapter offers an exposition of Suárez's theory of distributive justice, which, until very recently, has not been the subject of scholarly attention. Suárez's immediate preoccupations were theological, there is a clear political dimension to his treatment. For Suárez politics provides the perfect platform for testing our intuitions about distributive justice. Suárez's discussion illuminates aspects of distributive justice too often overlooked by contemporary theorists. Suárez maintains that distributive justice is the sovereign's virtue, consisting in meeting and protecting the subjects' rights to acquire and remain in possession of portions of the common stock. These rights are created by a pact or conditional promise that specifies the personal qualities that ground the subject's rights to shares of the common stock. Distributive justice governs not only the fresh allocation of shares of the common stock, but also the conditions under which subjects can continue to own them.
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