In this book, Morrison discusses the process of aesthetic education, as defined by Johann Joachim Winckelmann on the basis of his status as arbiter of classical taste and as applied to his teaching of two pupils. Morrison identifies the key features of Winckelmann's treatment of classical beauty and elucidates how Winckelmann taught the appreciation of beauty. He argues that Winckelmann's practice of aesthetic education fell short of his aesthetic theory. Morrison concludes by looking at Goethe's aesthetic self-education, which was strongly (...) influenced by Winckelmann. (shrink)

Introduction: a peculiar experiment -- Kinaesthetic knowing: the nineteenth-century biography of another kind of knowledge -- Looking: Wölfflin's comparative vision -- Affecting: Endell's mathematics of living feeling -- Drawing: the Debschitz school and formalism's subject -- Designing: discipline and introspection at the Bauhaus -- Epilogue.

Philosophy is the study of the most general and fundamental problems of human life. The main areas of study in philosophy includes metaphysics, epistemology, logic, ethics and aesthetics etc. there are other several branches of philosophy which characterize different branches of knowledge. Philosophy being a very abstract branch of study, has not much scope of using equipment on a large scale to supplement the normal lecture schedules. However, in some papers/areas there are comparatively better scope to make (...) the lectures more concrete and interesting through proper use of various teaching aids and modes. We include logic, philosophy of science, applied philosophy, applied ethics, social and political philosophy, philosophy of mind, philosophy of cognitive science and history of philosophy etc., we can use various modern aids. In this article my attempt is to draw out an outlines of aids and modes for effective philosophy teaching. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Approaches to Teaching Spenser’s “Faerie Queene”Patricia B. PhillippyApproaches to Teaching Spenser’s “Faerie Queene,” edited by David Lee Miller and Alexander Dunlop; ix & 207 pp. New York: Modern Language Association of America, 1994, $37.50.In many respects, the teaching of Spenser’s Faerie Queene is an experience that most completely encapsulates both the challenges and the rewards of introducing students to the literature of the early modern period. (...) As a work whose length, complex narratives, substantial cast of characters, and polyvocal allegories are often daunting to undergraduates, Spenser’s epic can easily appear as a riddle to be solved rather than a work to be appreciated, let alone enjoyed. Too frequently the constraints of the syllabus and the resistance of students result in a one-dimensional rendering of the text, which permits students to feel that they have “learned something” about Spenser, and about literature generally, by seeing simple, point-by-point allegorizations (Archimago as the Pope, Duessa as Catholicism) as the work’s whole meaning. However, if these difficulties can be surmounted, few other works can equal the great opportunities available in The Faerie Queene to enrich students’ understanding of Elizabethan aesthetic, ethical, social, and political climates, and, perhaps more significantly, to impress upon them the fact that literature, as the most self-conscious of written works, seeks to elicit a multiplicity of meanings from its readers. Thus the task of critical reading appropriately moves toward expansiveness rather than inclusiveness, toward calling forth a plethora of meanings rather than eliminating all but the one “right” reading.Valuable help in overcoming the problems posed by Spenser’s work in the classroom is found in Approaches to Teaching Spenser’s “Faerie Queene.” The collection includes six essays that suggest various strategies for introducing the text to students, and nine essays devoted to more advanced study of the poem. The majority of essays in the former group concentrate on Book 1, and negotiate the practical difficulties of incorporating The Faerie Queene into undergraduate survey courses by suggesting methods to help students to bridge the gap between the work’s cultural context and their own, while also stressing the need to appreciate the text’s distinctiveness.The “special topics” essays treat individual books and themes within a variety of methodological frameworks and in light of cultural touchstones, such as the Renaissance association of painting and poetry (aided by the volume’s eight illustrations), Elizabethan colonial and imperial attitudes about Ireland, and early modern treatises and conduct books describing women’s character. A “Materials” section includes a descriptive bibliography of texts for classroom use and for students’ assigned readings, a wonderfully inclusive bibliography describing editions, reference works, background reading, and critical interpretations for the instructor’s use, and an outline of aids to teaching, such as portraits, films, and music. Even the experienced teacher of Spenser will find this a useful summary of the available materials. [End Page 278]While rooted in practical pedagogy, the essays in this collection also, for the most part, offer provocative comments on Spenser’s poem that are of scholarly interest beyond the classroom as well. Julia M. Walker’s discussion of Britomart alongside Elizabethan portraiture and Dorothy Stephens’ reading of the “feminine” in Book 4 are abridgments of longer articles from Modern Philology and ELH, respectively, and Theresa M. Krier’s provocative comments on the gendering of Spenserian symbol and allegory point toward her work in progress. Overall, the collection recommends numerous innovative techniques to energize and enliven one’s teaching of the poem and to enhance students’ experiences of it. While teachers’ awareness of the demographics and dynamics of their own students may preclude the adoption of specific approaches suggested in this volume, its essays dramatically illustrate the need to avoid reductive readings of The Faerie Queene and, at the same time, offer worthwhile guidance to prevent students from wandering endlessly through the woods of semiotic indeterminacy, error, and despair.Patricia B. PhillippyTexas A&M UniversityCopyright © 1996 The Johns Hopkins University Press... (shrink)

Knowledge under cover -- Pedagogies of liberal humanism -- Making sense otherwise -- Mis/taking the universal.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Oxford Handbook of AestheticsDerek MatraversThe Oxford Handbook of Aesthetics, edited by Jerrold Levinson. Oxford: Oxford University Press, 2003, 821pp., $99.00 Hardback.The aesthetics community has much for which to thank Jerrold Levinson. His papers are required reading on a number of topics in aesthetics, and he is renowned as a generous commentator and critic. The considerable labor he must have expended in editing this book is yet another (...) reason to be grateful for his industry. As well as a useful Preface, which lays out the editor's rationale for the content, the book contains two survey articles and thenforty-six individual articles that, according to the Preface, cover "virtually all the major issues in philosophical aesthetics that are active topics of discussion and research" (p. v). I shall begin this review with a brief overview of the book. I shall then comment on the extent to which it fulfils it stated purpose, on its usefulness in teaching, and what it might show us about the current state of our discipline. Finally, I shall compare it with similar books that are currently available.The first of four parts consists of the two overview articles: the first covering debates on contemporary aesthetics, and the second an account of recent work in the history of aesthetics. The first, by Levinson himself, usefully demarcates the subject before organizing the discussion into three foci of aesthetics (art, the aesthetic property, and the aesthetic experience) and then five problems (the concept of the aesthetic, the definition of art, the ontology of art, representation in art, and expression in art). The piece is skillfully organized, and Levinson's grasp of the details of the various topics is unsurpassed. It is very much a teaser, however, as thebrevity means that only the bare outlines of the various problems get discussed. The second article, by Paul Guyer (once again, it is difficult to think of anyone more suitable to the task) does not attempt to give an overview of the history of aesthetics, but rather an overview of the recent work in the history of modern aesthetics. Although descriptive, this is informed by Guyer's view that the Anglo-American tradition has been unduly restricted in both the history it has studied and in the range of its current concerns. The article aims to be comprehensive: the bibliography takes up eight of its thirty-five pages.The second part, which is the most extensive, consists of twenty-five essays of general issues in aesthetics. It begins with two essays on aesthetic realism. The first, by Nick Zangwill, advocating the position and the second, by John Bender, opposing it. This is the only instance of such a debate: the other twenty-three essays cover all the general issues currently being discussed (at least, this reviewer could not see any obvious gaps). The third part covers aesthetic issues of specific artforms including, it is nice to see, Architecture, Sculpture, Dance, Theatre,Poetry, Photography, and Film as well as Music, Painting, and Literature. [End Page 104] The final part certainly has the most intriguing heading: "Further Directions in Aesthetics." This pushes out the boundaries, including articles that relate aesthetics to evolutionary psychology, cognitive science, the everyday, postmodernism, cultural studies, and the avant-garde.One function of a handbook (or companion) is to offer readers a one-stop place from which to learn what the main issues are in a particular area, what is the orthodox mainstream view, and what are the main points for and against. It is an intriguing matter that fifteen years ago there were few introductions to philosophical aesthetics, and ever fewer handbooks or companions such as this one. I imagine that there are many people who, like me, make use of such books (I look on my shelves and see, as well as the book I am reviewing, six introductions to aesthetics and two Companions) yet who feel that the notion of a philosophical textbook is problematic. It is difficult to be precise about this feeling of unease although, were I to do so, I would point to two issues. The first worry is that presenting a synoptic view of an area... (shrink)

In _What Animals Teach Us about Politics_, Brian Massumi takes up the question of "the animal." By treating the human as animal, he develops a concept of an animal politics. His is not a human politics of the animal, but an integrally animal politics, freed from connotations of the "primitive" state of nature and the accompanying presuppositions about instinct permeating modern thought. Massumi integrates notions marginalized by the dominant currents in evolutionary biology, animal behavior, and philosophy—notions such as play, (...) sympathy, and creativity—into the concept of nature. As he does so, his inquiry necessarily expands, encompassing not only animal behavior but also animal thought and its distance from, or proximity to, those capacities over which human animals claim a monopoly: language and reflexive consciousness. For Massumi, humans and animals exist on a continuum. Understanding that continuum, while accounting for difference, requires a new logic of "mutual inclusion." Massumi finds the conceptual resources for this logic in the work of thinkers including Gregory Bateson, Henri Bergson, Gilbert Simondon, and Raymond Ruyer. This concise book intervenes in Deleuze studies, posthumanism, and animal studies, as well as areas of study as wide-ranging as affect theory, aesthetics, embodied cognition, political theory, process philosophy, the theory of play, and the thought of Alfred North Whitehead. (shrink)

Bruns lucidly depicts the distinctions and convergences between these two lines of thought by examining the works of Mallarme, Flaubert, Joyce, Beckett, and ...

The article is devoted to the transformation of traditional folk culture archetypes of wood, stone, thread in modern decorative and applied art, as well as ways of using threads, wood and stone as materials for the manufacture of objects of modern art. The research does not aim to repeat classical ethnographic studies or to refer monographs on the history of culture. The article is an attempt at a comprehensive analysis of the modern practice of decorative and applied (...) art from the point of view of the philosophy of culture and practical aesthetics. This approach is a unique experience in the analysis of jewelry and decorative practices of processing heterogeneous materials of natural origin. The cluster of masters of decorative and applied art in Russia is expanding, there are more and more opportunities and materials for creativity, but the authors of the products themselves are not engaged in stylistic, art criticism or philosophical understanding of their activities. Nevertheless, their works, according to researchers, reflect the oldest mythological images that are the cornerstones of Russian culture and represent the heritage of world culture, transformed by post-culture and man-made trends that have penetrated, among other things, into art. Archetypes of wood, stone, thread, preserved since ancient times, acquire new meanings and new forms of embodiment in the works of modern authors. (shrink)

MARINA PAOLA BANCHETTI-ROBINO is Associate Professor and Chair of the Philosophy Department at Florida Atlantic University. Her areas of research include phenomenology, philosophy of language, philosophy of science, philosophy of mind, and zoosemiotics. Her publications have appeared in such journals as Synthese, Husserl Studies, Idealistic Studies, Philosophy East and West, and The Review of Metaphysics. She has also contributed essays to The Role of Pragmatics in Contemporary Philosophy (1997), Feminist Phenomenology (2000), and Islamic Philosophy and Occidental Phenomenology on the Perennial (...) Issue of Microcosm and Macrocosm (2006). She co-edited Philosophies of the Environment and Technology (1999) and is currently working on a book-length project entitled The Birth of Science Out of the Spirit of Myth: A Historico-Phenomenological Re-Examination of the Crisis of the European Sciences. BERNARD BOXILL was born in Saint Lucia, West Indies where he received his primary and secondary education. He studied philosophy at the University of New Brunswick, Canada and at the University of California, Los Angeles where he was awarded a doctorate in philosophy in 1971. He has published numerous articles, a book, Blacks and Social Justice (1992), and is professor of philosophy at the University of North Carolina at Chapel Hill. ED BRANDON was born and educated in England, studying philosophy and linguistics at The University of York, England, and later philosophy at The University of Oxford with the late John Mackie. After teaching in Sierra Leone and briefly in England, he went to teach philosophy of education at the University of the West Indies at Mona, Jamaica in 1978. From 1992 he has been attached to a policy unit of the Vice-Chancellery, based at the Cave Hill campus in Barbados, where he has been assisting since 2000 with a new major in philosophy. His academic work can be accessed from http://cavehill.uwi.edu/bnccde/epb/personalpage.html CAROLYN CUSICK is a doctoral candidate in the Department of Philosophy at Vanderbilt University. She is a founding member of the Phenomenology Roundtable. Her research focuses on feminist epistemology, Africana philosophy, and phenomenology. LEWIS GORDON is President of the Caribbean Philosophical Association. He is Laura H. Carnell Professor, the most distinguished chair, at Temple University, where he holds appointments in philosophy, religion, and Judaic studies and directs the Institute for the Study of Race and Social Thought and the Center for Afro-Jewish Studies. He is also Ongoing Visiting Professor of Philosophy and Government at the University of the West Indies at Mona, Jamaica. He is the author of several books, including the award-winning Her Majesty's Other Children: Sketches of Racism from a Neocolonial Age (Rowman and Littlefield, 1997), Disciplinary Decadence: Living Thought in Trying Times (Paradigm, 2006), An Introduction to Africana Philosophy (Cambridge University Press, forthcoming), and co-editor of A Companion to African-American Studies (Blackwell, 2006) and Not Only the Master's Tools: African-American Studies in Theory and Practice (Paradigm, 2005). CLEVIS HEADLEY is currently Associate Professor of Philosophy at Florida Atlantic University, director of the Ethnic Studies Certificate Program, as well as director of the Master's in Liberal Studies. Professionally, he serves as the Vice-President and Treasurer of the Caribbean Philosophical Association. Professor Headley has published widely in the areas of Critical Race Theory and Africana philosophy. He has also published in Analytic philosophy, focusing specifically on Gottlob Frege. PAGET HENRY is Professor of Sociology and Africana Studies at Brown University. He is the author of Caliban's Reason: Introducing Afro-Caribbean Philosophy, Peripheral Capitalism and Underdevelopment in Antigua, and the co-editor of C. L. R. James' Caribbean. Professor Henry also serves as the editor of the C. L. R. James Journal, and has published numerous articles on the political economy of the Caribbean as well as on African, African-American, and Afro-Caribbean philosophy. ESIABA IROBI is Associate Professor of International Theatre/Performance Studies at Ohio University, Athens. His groundbreaking book: A Theatre for Cannibals: Resisting Globalization on the Continent and Diaspora since 1441 will be published by Palgrave Macmillan, London, in 2007. He has been invited to be an External Resident Fellow at the prestigious Dartmouth College Humanities Institute for the 2007-2008 academic year. CHIKE JEFFERS is a graduate student in the Ph.D. program of the Philosophy Department at Northwestern University. His interests are in Africana philosophy, social and political philosophy, ethics, philosophy of religion and aesthetics. He is originally from Toronto, Ontario, Canada. CATHERINE JOHN is Associate Professor of African Diaspora Literary and Cultural Studies at the University of Oklahoma. Her book Clear Word and Third Sight: Folk Groundings and Diasporic Consciousness in African Caribbean Writing was co-published by Duke University Press and UWI Press in 2003. She has published several articles on Caribbean literature and culture and her current book project is entitled The Just Society and the Diasporic Imagination. She spends her summer working in Woodside, St. Mary, Jamaica helping with a summer school for children and participating in the community's emancipation celebration. KENNETH KNIES is a doctoral student in philosophy at Stony Brook University. His areas of focus are phenomenology and ancient philosophy. He is also a contributing editor for Political Affairs magazine. EDIZON LEN is a photographer and coordinator of the Fondo Documental Afro-Andino at the Universidad Andina Simòn Bolivar in Quito, Ecuador. In 2006, he was curator of the photo exhibit "The Color of the Diaspora" presented at the Cultural Center of the Catholic University of Ecuador and the University of Tennessee in Knoxville. He is currently completing his doctorate at the Universidad Andina Simòn Bolivar with a focus on Maroon thought. REKHA MENON is Associate Professor of Art History at State University of New York, Buffalo State. She is the author of Seductive Aesthetics of Post Colonialism (forthcoming). Her area of research focuses on current philosophical investigations in colonial and neocolonial aspects of Indian art, artistic/cultural practices and philosophies and their relationship to Western arts and philosophies. Her manuscripts under review are: Ashamed of Our Nakedness, Is There Ever a Naked Body? Ambivalence in Contemporary Indian Expressive Aesthetics and Insatiable Desire. MICHAEL R. MICHAU is a Ph.D. candidate in the Philosophy and Literature Program at Purdue University, and during the 2006-2007 school year, a lecturer in the Department of Comparative Studies and Department of Philosophy at Ohio State University. He is the co-founder and co-secretary of the North American Levinas Society. CHARLES W. MILLS is Distinguished Professor of Philosophy at the University of Illinois at Chicago. He works in the general area of oppositional political theory, and is the author of numerous articles and three books: The Racial Contract (Cornell University Press, 1997), Blackness Visible: Essays on Philosophy and Race (Cornell University Press, 1998), and From Class to Race: Essays in White Marxism and Black Radicalism (Rowman and Littlefield, 2003). MABOGO P. MORE is currently Associate Professor of Philosophy at the University of KwaZulu-Natal, South Africa. He has published articles on African philosophy and social and political philosophy in a number of academic journals, such as South African Journal of Philosophy, Dialogue and Universalism, Alternation, Theoria, and African Journal of Political Science. MARILYN NISSIM-SABAT, Ph.D., M.S.W. is Professor Emerita and Adjunct Professor of Philosophy, Lewis University. Dr. Nissim-Sabat is also a psychotherapist in private practice. She is the author of numerous book chapters and papers in the fields of philosophy (Husserlian phenomenology), psychoanalysis, feminism, and critical race theory. Citations of her works can be found on her website: marilynnissim-sabat.com. FREDERICK OCHIENG'-ODHIAMBO is a Senior Lecturer of Philosophy and Coordinator of the discipline at The University of the West Indies, Cave Hill, Barbados. His major research areas are African philosophy and social philosophy. He has published several articles on philosophic sagacity. IVAN PETRELLA is an Assistant Professor of Religious Studies at the University of Miami. He is author of The Future of Liberation Theology: An Argument and Manifesto (SCM Press, 2006) and editor of Latin American Liberation Theology: The Next Generation (Orbis Books, 2005) as well as co-editor of the series Reclaiming Liberation Theology (SCM Press) RICHARD PITHOUSE is a research fellow at the University of KwaZulu-Natal in Durban, South Africa. He is editor of Asinamali: University Struggles in Post-Apartheid South Africa (Africa World Press, 2006). SATHYA RAO is Assistant Professor in French translation at the Department of Modern Languages and Cultural Studies, University of Alberta, Canada. His research fields include: theory of translation, continental philosophy, postcolonial studies, discourses on Africa, and Francophone cinema and literature. He has published articles in various peer-reviewed journals and written chapters in several collective books such as: De l'Ecrit Africain a l'Oral le Phenomene Graphique Africain, Simon Battestini (Ed.) (Paris: L'Harmattan, 2006) and Thèorie-rèbellion. Un Ultimatum, Gilles Grelet (Ed.) (Paris: L'Harmattan, 2005). He has a co-edited a book on Francophone African cinema L'Afrique fait son cinema (Montreal: Memoires d'encrier, forthcoming). Sathya Rao is vice-president of the International Non-Philosophical Organisation (INPhO), member of the Canadian Association of Translatology (CATS), coordinator of the research team Poexil, and Secretary of the Caribbean Philosophical Association. He is co-founder of an online journal Alternative Francophone. CATHERINE WALSH is Professor and Director of the doctoral program in Latin American Cultural Studies at the Universidad Andina Simon Bolivar in Quito, Ecuador. Her research interests include the geopolitics of knowledge, interculturality and concerns related to the Afro-Andean Diaspora and the production of decolonial thought. Among her recent publications are Pensamiento crìtico y matriz colonial (Quito: Abya Yala, 2005), "Interculturality and the Coloniality of Power. An 'Other' Thinking and Positioning from the Colonial Difference," in Coloniality of Power, Transmodernity, and Border Thinking, R. Grosfoguel, J.D. Saldivar, and N. Maldonado-Torres (Eds.) (Durham: Duke University Press, forthcoming) and "Shifting the Geopolitics of Critical Knowledge: Decolonial Thought and Cultural Studies 'Others' in the Andes," Cultural Studies (forthcoming). KRISTIN WATERS has published widely in the areas of race and gender. Her anthology Enlightened Conversations: Women and Men Political Theorists (Blackwell, 2000) challenges political theorists to be more inclusive of race and gender in their research and teaching. Her book Black Women's Intellectual Traditions: Speaking Their Minds, co-edited with Carol Conaway (University of Vermont Press, forthcoming), addresses the varied intellectual traditions of black women's thought that spans more than two hundred years in North America. She is currently Professor of Philosophy at Worcester State College and Visiting Research Associate at Brandeis University. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"Your Cell Will Teach You Everything":Old Wisdom, Modern Science, and the Art of AttentionNoreen HerzfeldA brother came to Scetis to visit Abba Moses and asked him "Father, give me a word." The old man said to him "Go, sit in your cell, and your cell will teach you everything." 1 Among the Desert Fathers, Christian monks of the fourth and fifth centuries, it was customary for a novice (...) to go to an elder and ask for "a word," a word of advice, of counsel, a word to take home and reflect on. What does this word of advice say to us today?A Multitasking World"Your cell will teach you everything." To my students, this seems like very strange advice indeed. "Your cell?" When I quoted Abba Moses to a colleague he instinctively reached for his phone. But a monk's cell? Isn't a monk's cell empty, isolated? What can that cell possibly have to teach? And how? The lives of the young men and women I teach are the very antithesis of sitting in a cell. Their attention is fragmented, divided by an array of modern technologies. I watch them walk by my office window, iPod plugged into the ears, cell phone or Blackberry in hand as they check e-mail or send a text message. Time in their rooms is characterized by one eye on the television and another on the computer, on which are open their theology paper, an instant messaging box or two connecting them to friends, their Facebook page, in case one of their friends should post a status update, and perhaps a Twitter feed or their favorite blog. They assure me that they have grown up multitasking. Young Americans spend an average of six hours a day using nonprint media, and at least a quarter of that time they are using more than one screen, device, or channel.2 They are connected, linked in, logged on.It is not just the student who multitasks while doing homework. The average office worker is interrupted roughly every three minutes during the workday, interruptions that the worker herself often initiates.3 These include the phone, e-mail, [End Page 83] checking websites. As more jobs move to the knowledge and service sectors, more of us find the temptation to multitask at work irresistible.But what effect does all this multitasking have on the person? We're not getting more done, for one thing. Several recent studies have shown that, contrary to self-perception, people really can't multitask. The brain cannot concentrate on several things simultaneously. Instead it switches focus from task to task the same way a computer does. This means that all tasks are slowed down somewhat by the switching process, and the attempt to coordinate too many tasks can lead to more time being devoted to the switching than to the tasks at hand, a phenomenon computer scientists have long been aware of, known as "thrashing." Earl Miller, a neuroscientist at MIT, notes: "Think about writing an e-mail and talking on the phone at the same time. You cannot focus on one while doing the other. That's because of interference between the two tasks."4 Miller notes that in an MRI you can actually see the brain struggling as it shifts rapidly from one to the other.One can see that this might have a deleterious effect on one's work life. Research shows that, once interrupted by an e-mail or a phone call, the average worker can take up to half an hour to return to full concentration on the task at hand.5 But why does this matter for the spiritual life? Over time, multitasking erodes our ability to pay focused, close attention, and this eventually eats away at traits such as patience, tenacity, judgment, and problem solving. This is most evident in the latter. In a test of fifteen-year-olds, the United States ranks twenty-fourth out of the twenty-nine developed countries in the Organization for Economic Co-operation and Development on problem solving skills, with nearly 60 percent of them scoring below the most basic level of using a single... (shrink)

In comparative studies, Confucian teaching and learning have multiple meanings. On the one hand, they refer to contemporary educational practices and contexts in Asian countries and regions such as mainland China, Hong Kong, Taiwan, Japan, South Korea, and Singapore. Comparative researchers contend that Confucian heritage Culture, a mixed and blended cultural tradition of Confucianism, Taoism, and Buddhism, has heavily influenced these countries and regions.1 As a result, their educational practices and contexts are different from those in Western countries.2 One indication (...) of this point is that, although teachers in Confucian teaching and learning environments conduct lectures, the learning tasks are... (shrink)

Gerhard Richter's groundbreaking study argues that the concept of "afterness" is a key figure in the thought and aesthetics of modernity. It pursues questions such as: What does it mean for something to "follow" something else? Does that which follows mark a clear break with what came before it, or does it in fact tacitly perpetuate its predecessor as a consequence of its inevitable indebtedness to the terms and conditions of that from which it claims to have departed? Indeed, (...) is not the very act of breaking with, and then following upon, a way of retroactively constructing and fortifying that from which the break that set the movement of following into motion had occurred? The book explores the concept and movement of afterness as a privileged yet uncanny category through close readings of writers such as Kant, Kafka, Heidegger, Bloch, Benjamin, Brecht, Adorno, Arendt, Lyotard, and Derrida. It shows how the vexed concepts of afterness, following, and coming after shed new light on a constellation of modern preoccupations, including personal and cultural memory, translation, photography, hope, and the historical and conceptual specificity of what has been termed "after Auschwitz." The study's various analyses—across a heterogeneous collection of modern writers and thinkers, diverse historical moments of articulation, and a range of media—conspire to illuminate Lyotard's apodictic statement that "after philosophy comes philosophy. But it has been altered by the 'after.'" As Richter's intricate study demonstrates, much hinges on our interpretation of the "after." After all, our most fundamental assumptions concerning modern aesthetic representation, conceptual discourse, community, subjectivity, and politics are at stake. (shrink)

The volume offers the first large-scale study of the teaching of Descartes' philosophy in the early modern age. Its twenty chapters explore the clash between Descartes' "new" philosophy and the established pedagogical practices and institutional concerns, as well as the various strategies employed by Descartes' supporters in order to communicate his ideas to their students. The volume considers a vast array of topics, sources, and institutions, across the borders of countries and confessions, both within and without the university (...) setting (public conferences, private tutorials, distance learning by letter) and enables us thereby to reconsider from a fresh perspective the history of early modern philosophy and education. (shrink)

Où en est l'étude de la philosophie arabe? Ce livre propose un état des lieux. Il s'agit de dresser un premier bilan des travaux menés dans ce vaste champ. On examine l'historiographie, les dénominations employées; on s'interroge sur les thématiques, les objets retenus et les méthodes d'analyse mises en oeuvre ; on y présente aussi des études sur des auteurs, des traditions ou des concepts, qui montrent comment le travail progresse, quelles tensions perdurent, quelles sont les perspectives."--Page 4 of cover.

In lieu of an abstract, here is a brief excerpt of the content:Changing Theories of Undergraduate Theatre Studies, 1945–1980Anne Berkeley (bio)IntroductionThe history of theatre study in American undergraduate education is a story of prodigious quantitative success. Although it took two centuries to secure the right to perform plays at American colleges, it took only eighty years for the curriculum to grow from a few isolated courses at the turn of the twentieth century to well over 14,000 in the 1970s.1 (...) By far the steepest growth occurred during the unprecedented expansion of higher education between 1945 and 1979. But academic theatre's meteoric rise after the war years conceals more problematic qualitative achievements. Throughout its ascendancy, vexing questions persisted concerning the quality, standards, and evaluation of theatre programs. In academic journals and books, theorists explored with alacrity broad opportunities for educational theatre in the university. But they also bickered constantly about objectives and practices and their role in academe, ultimately providing a decidedly ambivalent assessment of accomplishment.According to Oscar G. Brockett, the fundamental questions are, What place, if any, should theatre have in a university? and, For what are students being educated?2 This study traces answers to these questions given by scholars and educators between 1945 and 1979.3 It explores the connections between the scholarship about theatre studies and the programs that developed, what scholars and educators wanted it to become, and what it became in the context of liberal arts education. These years are important because they are the golden age of higher education, a time of unprecedented expansion. Following World War II the G.I. Bill greatly increased student enrollment, and academic and research programs surged. At this time, the [End Page 57] university's governing interests were established by the politics of the Cold War, and the desire to surpass the Soviet Union at everything motivated the expansion of higher education.4 The National Defense Education Act of 1958 and the Higher Education Facilities Act of 1963 (legislation made possible by a prosperous economy) injected vast financial resources into program development, and federal programs such as the National Endowment for the Humanities (NEH) and the National Endowment for the Arts (NEA) were established.An earlier study of theatre curriculum between, roughly, the Civil War and the Second World War provides a useful background against which to interpret the data for this later period.5 From the earlier study we learn that academic theatre suffered from religious hostility for two centuries but that by the end of the nineteenth century there were extracurricular dramatic clubs and productions. The emergence of the modern research university brought with it the expansion and diversification of knowledge, the differentiation of the colonial college's general curriculum into discrete disciplines, and the departmentalization of the curriculum. As principles and aims for liberal arts education, and the bachelor of arts degree, began to take shape, reconstruction of the curriculum included the introduction of departments of speech and literature, which included dramatic curricula.6 Academic theatre first began in classical and later modern language departments as a way of teaching literature in another language; later speech and English departments added courses in oral interpretation and playwriting.After George Pierce Baker opened the theatre department at Yale in 1925, theatre became an autonomous field of study in increasing numbers of universities. During this early period several developments took place: curriculum for theatrical studies developed out of extra-curricular theatre, theatre was identified and justified as a humanistic study, the seeds were planted for the university's eventual role in nonprofit and professional regional theatres, and the study of theatre as a legitimate academic discipline was developed. During this period, too, most theorists argued that theatre was one of the liberal arts and should be taught as part of the humanities. Late in the period there developed a small but increasingly vocal group of scholars and teachers who began to argue that theatre departments should teach technical skills of theatrical performance as well as humanistic inquiry. Thus was born the so-called craft or culture dichotomy: should educational theatre emphasize the crafts of performance or the humanism that prevailed in general (unspecialized) liberal study?The Forties and Fifties: The Curriculum Diversifies... (shrink)

The dance traditions embedded within the intangible cultural heritage of Shaanxi are not merely artistic expressions but also profound carriers of spiritual narratives, ritualistic symbolism, and collective memory. However, the modernization process has led to significant challenges in their preservation, including the aging of inheritors and the weakening of traditional transmission mechanisms. This study explores the philosophical and spiritual dimensions of Shaanxi’s intangible dance heritage, emphasizing its role in religious ceremonies, moral teachings, and metaphysical expressions of human connection to (...) the cosmos. Guided by theories of intangible cultural heritage protection and cultural ecology, this research examines the preservation and inheritance of Shaanxi’s traditional dance forms, integrating both quantitative and qualitative methodologies. National and provincial intangible cultural heritage dance traditions are systematically analyzed, and an evaluative framework is developed to assess their historical, cultural, and spiritual significance. Using the hierarchical analysis method, the study determines weighted evaluation indices and applies a fuzzy comprehensive evaluation model to quantify the value of these dance traditions. The results reveal that _Ansai Waist Drum_ holds exceptional historical and cultural significance (95 points) and strong regional characteristics (95 points), reflecting its deep-rooted ritualistic and communal importance. Similarly, _Shaanbei Yangge_ scores highly in historical and cultural value (85 points) and regional identity (90 points), demonstrating its role in shaping the spiritual consciousness of the local community. In contrast, _Huazhou Back Flower Drums_ face considerable challenges in preservation, with lower scores across cultural value (65), regional significance (75), and innovation potential (50), highlighting the urgent need for renewed conservation efforts. By situating these dance traditions within the broader discourse of religious philosophy and sacred aesthetics, this study argues that Shaanxi’s intangible dance heritage embodies more than artistic expression—it serves as a bridge between past and present, the material and the transcendent. The research proposes targeted preservation strategies that prioritize not only cultural continuity but also the revitalization of the spiritual and philosophical dimensions inherent in these dances. Future research should explore the intersection of ritual, movement, and metaphysical thought in dance traditions, further contributing to the understanding of intangible cultural heritage as a medium of religious and philosophical reflection. (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

In his speech of welcome to the members of the Classical Joint Meeting at Cambridge in August, 1958, the Master of Peterhouse praised classical scholars for the detachment and pertinacity with which they continue their pursuits while the world is on the edge of the abyss. The remark might be taken to have one more edge than the abyss. At a time when it can no longer be assumed that a knowledge of the Greek and Latin classics is part of (...) the learning of any man who has any learning at all, there are two opposite temptations which beset those whose profession is the study and teaching of the ancient classics. The first is the sentimentality which goes on singing dithyrambs to the Glory that was Greece and the Grandeur that was Rome, on the assumption that the relevance of ancient texts to modern perplexities is too nearly self-evident to need explaining. (shrink)

Recent Catholic social teaching’s treatments of social sin and its proposed remedy, neighbor-love conceived as solidarity, represent genuine advances in this modern Christian tradition. This essay asks what Niebuhr’s ethical analysis might add to, or question about, these Catholic interpretations. After briefly describing how these themes are enunciated in post-Vatican II documents, and Niebuhr’s approach to like issues, I identify several challenges, cautions and additions that Niebuhr might offer to Catholic leaders seeking to understand social sin and to promote (...) solidary action. Suggesting the merits of a more ‘Niebuhrian’ Catholic social ethic, and a more ‘Catholic’ Niebuhrian realism, I argue that articulating a Catholic social agenda with a Niebuhrian perspective can address weaknesses that undercut each tradition’s ability to motivate and sustain effective work for justice. Both traditions also need to better connect social ethics and spirituality, and more systematically account for the social-theoretical assumptions their moral discourse depends upon or implies. (shrink)

This volume features in-depth philosophical analyses of major Japanese Confucian philosophers as well as themes and topics addressed in their writings. Its main historical focus is the early-modern period (1600-1868), when much original Confucian philosophizing occurred. Written by scholars from the United States, Canada, Europe, Australia, Japan, and China and eclectic in methodology and disciplinary approach, this anthology seeks to advance new multidimensional studies of Japanese Confucian philosophy for English language readers. It presents essays that focus on Japanese Confucianism, (...) while including topics related to Buddhism, Shintō, Nativism, and even Andō Shōeki (1703-1762), one of the most vehement critics of Confucianism in all of East Asia. The book builds on the premise that Japanese Confucian philosophy consists in the ongoing engagement in critical, self-reflective discussions of and speculative theorizing about ethics, epistemology, metaphysics, political theory, and spiritual problems, as well as aesthetics, cosmology, and ontology. (shrink)

This edited collection examines alternative or entangled modernities as competitive narratives that blend ethics, aesthetics, and critical thinking to depict the human condition. It includes chapters covering the rivalry between scientific and aesthetic revolutions; contemporary trends in postmodernity; and study-cases on visual arts and cinema. The collection applies a philosophical view of visual arts and cinema, and competitive narratives of (post)modernity that arise from ethics and aesthetics as complementary fields. Key audiences for the book are students, PhD candidates, and (...) scholars from the field of philosophy, aesthetics and cultural studies. This volume emerges from contributions held at the International Conference Rethinking Modernity: Transitions and Challenges, organized by the Research Center for the History and Circulation of Philosophical Ideas of the University of Bucharest. (shrink)

Winner of the 1999 Best Book in Ecological and Transformational Politics presented by the American Political Science Association's Section on Ecological and Transformational Politics The discipline of political science has reached a crossroads. The frequency with which terms such as "post-liberal," "post-modern," "post-patriarchical," "post-materialist," and "post-structural" are used in contemporary political discourse testifies to the pervasive conviction that an era has ended. Similarly, phrases such as "new world order," "new paradigm," "new age," and "third wave" convey the widely-shared expectation (...) that what lies ahead politically will be qualitatively unlike what has gone before. Transformational Politics argues that traditional political science is failing to identify and address fundamental political phenomena of our time and proposes an alternative value-based political science that not only studies phenomena, but also uses knowledge to promote democracy, sustainability, and social conscience. Part I of the book defines transformational political theory as an emerging paradigm and draws on a wide array of theories—empowerment, feminist, democratic, communitarian, chaos, quantum, conflict resolution, self-actualization. Part II examines how a transformational perspective guides the study of politics in both research and teaching. Part III offers guidance about how to practice the theory and apply the study with a concern for creating a better world. (shrink)

Focusing primarily on the work of Samuel Beckett, Toni Morrison, Wole Soyinka, and J. M. Coetzee, Ato Quayson launches a thoroughly cross-cultural, interdisciplinary study of the representation of physical disability. Quayson suggests that the subliminal unease and moral panic invoked by the disabled is refracted within the structures of literature and literary discourse itself, a crisis he terms "aesthetic nervousness." The disabled reminds the able-bodied that the body is provisional and temporary and that normality is wrapped up in certain (...) social frameworks. Quayson expands his argument by turning to Greek and Yoruba writings, African American and postcolonial literature, depictions of deformed characters in early modern England and the plays of Shakespeare, and children's films, among other texts. He considers how disability affects interpersonal relationships and forces the character and the reader to take an ethical standpoint, much like representations of violence, pain, and the sacred. The disabled are also used to represent social suffering, inadvertently obscuring their true hardships. (shrink)

The period that has begun after the last quarter of the 19th century brings an open conflict between the ‘histori- cal’ aspect of modernity and the ‘aesthetical’ one. The situation raises a question about the modern architectural shape’s dependency on architectonic function. Utility, production, profit become the keywords of the ideology; new social utopias and their reflection on the architecture- for-the masses projects emerge. This leads to the urban alienation of the modern man, in spite of the well-intended (...) architectural functionalism and mechanistic comfort, both of them ideologically uphold in order to ensure an easy livelihood for the proletariat. Thus, the late modernity is constrained to retrieve though eclecticism the very values that has denied itself, the mixing of codes that it ‘performs’ nowadays standing for a new ideology, one of “the ending of ideologies”. (shrink)

On study and teaching of aesthetics in Vietnam.

The article explores the way in which new objects of study, such as dance performance and art–practice, emerge in algorithmic aesthetics. The advent of digital communicative practices shapes new means of formalization of dance performance scripts, which nowadays have various technological solutions, including algorithmic ones. Classical aesthetics is unable to describe the technological modernization of artistic expression. The author offers a general framework of algorithmic aesthetics to study of dance performance and art practice.

As overdevelopment, noise pollution, and land use become considerations in modern life, we become more thoughtful of the quality of our environments, whether the space is for recreation, education, or residential living. Demonstrating how such tenets as "to each his own" have contributed to the demise of our public spaces, Environmental Aesthetics is the first integrated study of this emerging field. Beginning with a brief history of aesthetics, the author explores the concept of landscape, the psychology of human-environment (...) relations, the influences of literary, artistic and legal activism, and the roles of public policy and of planning. Clearly written and lavishly illustrated, the book will prove invaluable to anyone interested in how the physical environment can and should be improved. (shrink)

I have based my psychological hypotheses on studies in perception and in personality. Research in these two areas began independently, but by the late forties the supposedly unconnected processes came to be seen as different aspects of one process. For instance, a low tolerance for perceptual ambiguity and cognitive dissonance was found to be significantly correlated with lack of emotional responsiveness, dogmatism, and authoritarianism; conversely, a high tolerance for perceptual ambiguity and cognitive dissonance was found to be significantly correlated with (...) tolerance of emotional ambivalence, openness to new experience, and a liberal world view.1 Later studies, primarily those conducted in the sixties, then established strong correlations between these findings and information-processing styles. Information processing involves three stages: first, stimuli are selected from the environment ; these stimuli are then arranged into "dimensions"; finally, if two or more dimensions result, they are compared and/or combined according to certain rules. H. M. Schroder and his colleagues have established correlations between personality styles and styles of information processing.2 For example, an intolerant personality—that is, one with a low integration index—"identifies and organizes stimuli in a fixed way, and the rules derived from existing schemata are explicit in defining this one way" . What psychologists call an "abstract personality" and identify in terms of "flexibility" or "tolerance of ambiguity"—what in literary studies is most conveniently called "negative capability"—is not necessarily characterized as lacking rules but rather as possessing a greater number of conflicting rules on a lower level which may be accommodated by rules on a higher level. · 1. See Jerome S. Bruner and David Krech, eds., Perception and Personality, 2nd ed. and Robert R. Blake and Glenn V. Ramsey, eds., Perception: An Approach to Personality . Although, as Else Frenkel-Brunswick says, "rigidity in one respect may go with flexibility in another," she also adds: "There is some indication that in the case of distinct intolerance of emotional ambivalence one may as a rule be able to locate at least some aspects of intolerance of cognitive ambiguity although these may often be more apparent on a higher level than that of perception proper" The present essay, since it is one section of a projected larger study, deals with the issues inherent in this approach in only a limited fashion. One could, for instance, quote whole essays in this branch of psychology dealing with ambiguity and point to their relevance for some aspects of literary study and the teaching of literature. Ambiguity, of course, is also a central term in New Criticism. See William Empson, Seven Types of Ambiguity and Ernst Kris and Abraham Kaplan, "Aesthetic Ambiguity," in Psychoanalytic Explorations in Art, ed. Kris , pp. 243-64.· 2. H. M. Schroder, M. J. Driver, and S. Streufert, "Levels of Information Processing," in Thought and Personality, ed. Peter B. Warr , pp. 174-91. All citations to this work will appear in the text. Reuven Tsur, senior lecturer in Hebrew literature at Tel-Aviv University, is the author of several books in Hebrew on medieval and modern Hebrew poetry and, in English, A Perception-Oriented Theory of Metre. (shrink)

In this study, first of all, it was important to analyze this technique of returning to the ancient tradition of two outstanding thinkers of the 20th century. M. Heidegger and Sri Aurobindo Ghosh in order to understand to what extent the language of the ancient sages and rishis is still accessible to our understanding; Has it not already happened that the voice of the ancient sages will turn out to be completely foreign to us, like the language of the (...) unconscious, which we do not hear and do not understand? The conducted analysis showed that a certain intellectual conflict arose between Heidegger and the ancient Greeks. This conflict connected with the fact that the German thinker, repeatedly turning to different periods of Greek philosophy and different Greek thinkers and trying to apply to them the phenomenological method of his teacher Husserl, being atheistically minded, never managed to capture the original spiritual intuition of the pre-Socratics in the understanding of being. And at the same time, he himself could not find a suitable name for understanding being in modern culture. Where Heidegger still very carefully writes about the “open clearing” as a manifestation of the truth in the original ancient Greek thinkers, the essence of which, from the point of view of the German thinker, was still given to Heraclitus and Parmenides only intuitively (they did not yet understand the reason for this phenomenon of our consciousness), Sri Aurobindo directly indicates the existence of a connection between the ancient rishis and the existence (revelation) of the gods. Moreover, the processes described by the Indian thinker are very similar to those described by Heidegger. Everything indicates that the thinking of the ancient Greeks and ancient Hindus was very similar. The ancient Greeks (pre-Socratics) tried to understand why our consciousness is given to existence at all, and discovered the existence of inner peace in man – human openness to understanding the existence. Vedic sages, listening to the “voice” of the subconscious, discovered the waves of the subconscious and realized that man is like gods. It is important to note the difference between the pre-Socratics and the ancient Indian rishis in their interpretation of knowledge of existence. For the Greeks, true knowledge of being awakens human existence for knowledge (the logos, the world of naming, the world of concepts). According to the ideas of the ancient Indian rishis, when the gods awakened by man descend into their own world of existence, the consciousness of man in his actual existence also awakens. That is why the truth for the Greeks, according to Heidegger, is the opening and concealment of the truth of being (things), and the truth for the Rishi, according to Sri Aurobindo, is the ascent to true existence together with the gods that awaken in us. (shrink)

Case studies invite students to share in an ethical dilemma and challenge them about their values. Dr Sheldrake is Reader in Modern History at London Guildhall University, Old Castle St., London E1 7NT. A version of his case study appeared in Sarah Vickerstaff , 1992, Human Resource Management in Europe: Text and Cases, London: Chapman & Hall.

In Hegel's aesthetics, the element of speculative philosophy is always a notorious aspect that attracts the most complaints from modern art criticism. The book, however, justifies the intelligibility in art in light of Hegel's philosophy of metaphysics. The author explores the philosophical motivations of Hegelian aesthetics, its underlying logic, the relationship between metaphysical core and artistic expression, as well as the contemporary significance and value of metaphysicalised theories of art exemplified by Hegelian aesthetics. Through elucidating the metaphysical core implicit (...) in Hegel's lectures on aesthetics, this book proves that the philosophical considerations of Absolute Idealism bring to art the spiritual seriousness which the Romantics lack. Ultimately, this approach reveals the broad consensus which both Hegel's aesthetics and modern philosophical hermeneutics share, thus bridging the gap between ancient and the modern philosophy of art. The book will appeal to scholars and students studying classical German philosophy, German Romantic literature criticism, and modern art theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading History: On Jacob Burckhardt as Source-ReaderJürgen GroßeThere is a gap between the reputation Jacob Burckhardt (1818–97) has enjoyed among the educated public and among professional historians—a discrepancy that has become commonplace in the century-long reception of the Swiss cultural historian’s work. 1 Nevertheless, in the light of recent appraisals of Burckhardt as an ancestor of a different—perhaps a new—cultural history, and with the rediscovery of his contributions to (...) the history of art, aesthetics, and historical anthropology, the gap seems to be ever-narrowing. 2 However, let us keep it open in the following few pages.The chasm between assessments of Burckhardt as an historian-writer and as an historian-researcher appears roughly analogous to his above-mentioned respective reputations among laymen and professional scholars. As a historian Burckhardt did not want to be a scientific researcher. From the time he began writing history he admitted that he felt little commitment to the predominating concept of scientific progress as a continuous accumulation of facts and theories. Thus, as an outsider to the profession he had only one option, which was to [End Page 525] attain a place of honor as an esteemed writer of historical books for the educated public—a “master historian.” Yet it is precisely this characterization of Burckhardt that makes a curious fact appear all the more baffling: the act of writing books made Burckhardt feel thoroughly tormented. Throughout his career, he lamented historical authorship as a thankless occupation—a form of “slavery.” Just four years after finishing Die Cultur der Renaissance in Italien (1860) Burckhardt wrote to his friend Paul Heyse:I now consider my modest literary career as finally closed, and feel much better and content reading sources, as I only study and make notes for teaching and not for possible book-making. The historical market is tremendously overcrowded as things are, and it will be worse if peace lasts. 3Books like Die Zeit Constantins des Großen, Die Cultur der Renaissance in Italien, and Der Cicerone—works that gained the Basler historian fame that has endured to the present day—were either not prepared by the author for further editions or abandoned for colleagues to revise. Thus, Burckhardt seemed to regard himself neither as a researcher nor as a writer but rather as a reader of history. His dislike of research and authorship deserves our attention not only because it stands in sharp contrast to the mores of the scientific community, both in his and our times; for it might also elucidate yet another interesting paradox: Burckhardt, who celebrated the “reading of sources” and “the insights accessible from sources” as no other nineteenth-century historian, was soon to be charged with failing to meet the accepted standards of source-criticism. This essay examines these problems in terms of a series of questions concerning Burckhardt’s reading of history.Why Burckhardt Prefers ReadingBurckhardt clearly abhorred what he called the “history of the events.” Already as a student, he felt himself confronted with a barrage of events, not so much as matters of real history as rather as products of historical science—the ever-increasing facts that historians produced in relation to actual events. Unlike the humanistic and enlightenment paradigms of history, mainstream nineteenth-century scholarship no longer relied on the eyewitness to guarantee authenticity. The focus had shifted from remembrance to reconstruction; events were now narrated in terms of newly conceived abstractions like “development,” “process,” “spirit of an age,” and “spirit of a nation.” This increasing detachment from eyewitnessed experience paved the way for an endless production of information, [End Page 526] which had become an occupation in its own right. Every newcomer to the study of history now encountered a huge mass of mere historical facts, largely devoid of content—“a desperate prospect at the beginning of the study of history,” according to Burckhardt. Furthermore, the dynamism of modern history itself continued to produce more and more “events,” which were then to be reproduced as “facts.” This mire of facts burdened the reader of historiography even more than the student of history. “Even the most well-meaning of contemporary historians,” Burckhardt... (shrink)

예술과 유희는 철학적, 미학적, 문화사적으로 자주 논의되어 온 문제이다. 그런데 유희는 단순히 예술의 한 특징이나 측면이 아니라, 예술과 삶, 예술과 문화, 예술과 사회, 예술과 정치, 예술과 인간(몸) 등과 직, 간접적으로 연관되어 있는 대단히 중요한 예술철학적 주제이다. 필자는 본고에서 예술과 유희의 문제를 두 명의 독일 사상가들인 발터 벤야민(Walter Benjamin, 1892-1940)과 헤르만 슈미츠(Hermann Schmitz, 1928- )의 이론을 통해 고찰하고자 한다. 철학적 입장과 방법론이 현저하게 다르지만, 두 사상가는 예술과 유희의 존재론적, 인식론적 의미에 대해 각기 매우 독창적이며 의미심장한 이론을 전개한다. 벤야민은 거시적인 ‘토대와 상부구조’의 (...) 발전 경향과 상호작용의 관점에서 예술과 유희의 문제를 논구한다. 그의 이론에서 유희는 예술의 근원적 추동력일 뿐 아니라, 새로운 역사적 주체인 대중의 내적 구성과 해방적 실천을 가능케 하는 인간학적 핵심 개념으로 등장한다. 한편, 슈미츠는 신체적 경험과 주관적 사실의 전면적인 재평가를 바탕으로 예술과 유희의 의미를 논의한다. 신체적으로 경악할 수 있는 존재인 인간은 카오스적 다양체의 도전에 대해 신체적 공명 능력과 대상화 능력으로 응답한다. 이들이 바로 유희적 동일시와 시와 예술을 통한 대상화 능력이다. 유희적 요소가 날로 증가하고 있는 동시대 예술작품을 깊이 이해하고자 할 때, 벤야민과 슈미츠의 이론은 여러 지점에서 중요한 시사점을 줄 수 있을 것이다. (shrink)

Enfolding Silence is a rare gem for exploring the aesthetic dimensions of epistemology and meaning-making through the arts in the context of historic communal injury. Author Brett Esaki invites his audience to consider how Japanese Americans have developed various art forms to cope with, resist, and transform traumatic experiences of racism, including the mass, unlawful internment of nearly 120,000 people of Japanese descent during World War II. By examining an extended ethnographic case study, educators and students can reflect on (...) how a community teaches aesthetically across generations, as one generation traumatized by racism teaches what matters culturally, aesthetically, and spiritually to the next. Esaki is... (shrink)

Few words in both everyday parlance and theoretical discourse have been as rhapsodically defended or as fervently resisted as "experience." Yet, to date, there have been no comprehensive studies of how the concept of experience has evolved over time and why so many thinkers in so many different traditions have been compelled to understand it. _Songs of Experience _is a remarkable history of Western ideas about the nature of human experience written by one of our best-known intellectual historians. With its (...) sweeping historical reach and lucid comparative analysis—qualities that have made Martin Jay's previous books so distinctive and so successful—_Songs of Experience _explores Western discourse from the sixteenth century to the present, asking why the concept of experience has been such a magnet for controversy. Resisting any single overarching narrative, Jay discovers themes and patterns that transcend individuals and particular schools of thought and illuminate the entire spectrum of intellectual history. As he explores the manifold contexts for understanding experience—epistemological, religious, aesthetic, political, and historical—Jay engages an exceptionally broad range of European and American traditions and thinkers from the American pragmatists and British Marxist humanists to the Frankfurt School and the French poststructuralists, and he delves into the thought of individual philosophers as well, including Montaigne, Bacon, Locke, Hume and Kant, Oakeshott, Collingwood, and Ankersmit. Provocative, engaging, erudite, this key work will be an essential source for anyone who joins the ongoing debate about the material, linguistic, cultural, and theoretical meaning of "experience" in modern cultures. (shrink)

With the aim of tracing the peculiarities of modern cognition and its educational explications, we are aware that the fundamental provisions of the stated topic are properly and comprehensively studied. The convincing evidence of this is the hundreds of publications on the most diverse range of issues in the problematic complex, as well as the depth and systematic comprehension of them. Many of these studies can be safely classified as fundamental and combined with the specifics of cognition, whose ideological (...) and aesthetic and cultural-intellectual discourse impresses with interpretive polyphony. Do not make an exception in this context, and domestic researchers, for most of thempost-Soviet realities have become an important factor for scientific and theological reflections, and often also for changing philosophical and methodological approaches to the consideration of the problem of cognition. (shrink)

Purpose. The purpose of the study is to show the connection of romanticism with the anthropological doctrine that goes back to Hegelianism and Kantianism, and at the same time – with the concepts of the future, structuralism and postmodernism. Theoretical basis. The man is a central figure of the Romantic literary, therefore it makes sense to single out romantic human anthropological doctrine and the image of man associated with a specific historical and cultural era called the "epoch of romanticism"; (...) to show that many romantic philosophical positions remained relevant to the basic foundations of contemporary anthropological research and coincide with it in analytical and critical thinking about a man, a person, his historical and evolutionary fate. Originality. The romantic worldview determined the specifics of anthropological discourse, both logical and illogical, remaining symbols and attaching, as for example, a real historical anecdote, a popular history, a philosophical thought, a myth, a famous literary episode and the arts multiplied by creative inspiration and imagination. This tendency determined the fragmentation of thinking and the scientific image of man as a dual being, nevertheless, presented and described in all the variety of relations with the world and with himself, that allows us to call this area of thought "the romantic human science". Conclusions. Structural analysis of numerous romantic texts allows us to draw the following conclusion: with mythopoetic imagery and anthropological thought about a man, romantic writers introduced the reader to any wisdom, to philosophical understanding of their human essence, to past and modern teachings, in a way processed antique, medieval and enlightening views, in which an important place was given to reflections on the place of man in nature, society, and history. Correlating the well-known statements about a person as a descendant of the "old Adam", "person", "personality", "soul", with the modern idea of historical and social development, about the evolution of the consciousness of a person who revealed himself as an individual in modern times, with scientific and aesthetic views, the writers of the first half of the XIX century gave romantic thought anthropological meaning and, in fact, laid the foundations of historical, social, psychological, cultural and psychoanalytic anthropology. (shrink)

This is a very useful collection of papers on a highly significant topic, one that up to now has not received the attention it deserves. It is divided into four sections, and these make sense. They consist of Neoplatonism and the concept of the beautiful, representational design, contemporary aesthetics, and cosmic genesis. Most of the essays are brief and helpful, and anyone interested in Plotinus, who is dealt with extensively here, will find much of interest in this collection. The only (...) general critical remark worth making, perhaps, is that in a book on aesthetics it is a shame to have only two pictures, and those in monochrome. It makes some of the essays rather difficult to follow, in that the author is referring to images that are not available to us with the text. (shrink)

This book is for anyone interested in how to build a teacher education program utilizing the arts as one central modality for teaching and learning or for those interested in building some of their program along these lines. Throughout the book you will find reference to the intersection of ethics, aesthetics, and teaching. We provide an integrated program devoted to good learning and the good society. In the book we discuss how the program came to be and the underlying educational (...) thinking that informs the whole program. This section of the book is invaluable for understanding how the reader can build her/his own arts approach to teacher education. The central section of the book is devoted to the specific coursework of the program. Each author describes in detail how she/he leverages aesthetics and art to expand the possibilities of learning and teaching (including a chapter focused on the core competency course, Teaching, Imagination, Creativity) in language and literacy, psychology of education, science education, mathematics education, social studies education, and classroom management including many examples from our teaching. The book ends with a focus group discussion about the program by former students. (shrink)