The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the visible: the (...) essential intersubjective aspect of life and its complex visual representation in art. To achieve this, the paper first explores Merleau-Ponty’s late aesthetic ontology—a phenomenology that perceives the aesthetic realm, particularly the visible domain, as originating from human corporeal existence, thereby redefining the act of seeing and the concepts of the visible and the invisible; I show the manner in which invisible elements permeate our visual experience in the Rembrandt painting and in seeing as such. The paper also reveals the unique ontological role of painting and the painter in unveiling the aesthetic world, and in guiding the philosopher toward a vision that true philosophy—phenomenology—must embrace. The paper concludes by rethinking the significance of aesthetics, and especially, the arts, to phenomenological thought, and the necessity of phenomenology to aesthetic thought. (shrink)

The plodding rate of change within higher education makes it ill-suited to anticipate the challenges rapidly looming in government and corporate sectors. This prospectus outlines those challenges and describes a bold solution. If implemented, it would signal a less hidebound, more adroit institution of higher education to better serve students, business, and society, while fostering a new future for higher education.

The field of artistic works is witnessing continuous changes and developments in new sciences and modern technologies. This is due to the community’s need for these works of art, and as a result of the colored papers remaining from paper manufacturing factories that are not used. The idea of the research was to use these remains to enrich the artwork and give it a contemporary appearance by using colored paper draping techniques to enrich the aesthetic aspect of the artwork.The research (...) aims to achieve three basic axes: an axis to demonstrate the plastic possibilities of the art of colored paper quilling in its various forms, an axis to show the aesthetics of contemporary artwork from the remains of colored paper, and an axis concerned with the implementation of innovative artistic works that achieve sustainable development by linking them to create contemporary designs for use in the artistic work.. Collage style to enrich the field of artistic works among home economics students.Through these entries, the concept of collage art, its types, and its various plastic possibilities were clarified, and the different plastic possibilities of this art were identified. The research also relied on the experimental descriptive approach, through the experiment on fifth-level female students in home economics at King Khalid University. One of the most important results we reached. The hypotheses have been verified and it has been proven that experimenting with the remains of colored paper used in paper mills can achieve various plastic and tangible artistic values that enrich the artistic work of home economics students and achieve sustainable development. The current research recommends experimenting with the aesthetics of collage art using other materials. (shrink)

In the 19th century, a gradual reform of art education began, which achieved its peak in the 1930s. This process manifested itself in the form of schools with an explicit anti-academic spirit – the Bauhaus in Europe and Black Mountain College in the United States. In this paper, I contend that such attempt at reform has never repeated again after the Black Mountain College case, where the combination of John Dewey’s educational principles, Josef Albers’ peculiar conception of art (...) instruction, and the college founders’ ideas concerning the essentiality of art for contemporary democratic societies created a unique environment for the development of an experimental form of art education. Examining this innovation with regard to the current situation of teaching art and the humanities, I argue that - despite a process of reform lasted more than a hundred years - art education still manifests residues of the old, conservative academic spirit, while art schools show features of exclusivity or even elitism. The pursuit for a wholesome social position of art, on the other hand, was the most striking endeavour of many brilliant thinkers in 19th and 20th century, something that art educators and art theoreticians of the 21st century must take this into a serious consideration. (shrink)

The purpose of this study is to analyze the relationship between psychology and modern art design education in colleges, and to provide the basis for improving the quality of art education in colleges. Based on the relevant theory, the characteristics of educational psychology and art psychology and the correlation between them were analyzed from the angle of art education. According to the characteristics of college students' psychological development, the significance of art psychology-related courses was analyzed. Through the form of (...) questionnaire, a total of 200 students were randomly selected from Xi'an Academy of Fine Arts and Xi'an University of Science and Technology, respectively. A total of 400 questionnaires were issued, and 382 valid questionnaires were recovered. The results show that almost all students in two colleges think pedagogy and educational psychology are the theoretical basis for art teachers, while less than one-third of students in Xi'an University of Science and Technology think that art psychology is the theoretical basis for art teachers. The difference between the students' aesthetic and life values in the two colleges is significant. In the 15 directions of life values, there are significant differences in five directions: spirit—material, enrichment—emptiness, enthusiasm—apathy, hope—despair, and dedication—acceptance. It shows that the psychological and values of college students are changeable, and the educators should pay attention to the education in the related fields of psychology. This exploration was conducted based on educational psychology, which is of great significance for improving the educational level of art psychology in colleges and enable students to form correct aesthetic standards and life values. (shrink)

Auth: University College London, Distributed by Viking.

The purpose of this study was to understand the influence mechanism of college students’ entrepreneurial intention in view of the increasing number of college students at present to alleviate college students’ employment competition. The psychological factors that influence the entrepreneurial tendency of art graduates were analyzed and studied. First, venture capital and factors affecting entrepreneurial performance were analyzed. Second, the coefficient calculation is carried out for college students majoring in art through the regression analysis of the (...) logistic model. Finally, a team entrepreneurial performance questionnaire was designed, and team reward levels were discussed. The results show that the logistic model can well reflect the real situation of the respondents. The significance level of the entrepreneurial team was 0.02, which was correlated. Additionally, corresponding suggestions were put forward according to the questionnaire results. Clear team goals, assignment of tasks to members, good pressure resistance, and psychological quality of members are necessary qualities for successful entrepreneurship. This conclusion provides a certain theoretical basis for the current college students’ entrepreneurial learning and a reliable inspiration for helping college students to successfully start a business. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 41-57 [Access article in PDF] The Subordination of Aesthetic Fundamentals in College Art Instruction Randall Lavender we smile at a hasty philosopher who assures his disciples that art is about to be replaced with philosophy. 1Opportunities for college students of art and design to study fundamentals of visual aesthetics, integrity of form, and principles of composition are limited today by (...) a number of factors. With the well-documented prominence of postmodern critical theory in the world of contemporary art (and itsquestionable effects on higher education in art and design), the study of aesthetic fundamentals is largely subordinated to a multitude of conceptual, theoretical, and expressive priorities recycled from the art world. 2 Contemporary idea-based priorities tend to obviate, in the minds of many artists who teach, the "need" for aesthetic fundamentals in college art curricula. But as Rudolph Arnheim suggests, art is not easily replaced by ideas alone. For no matter how interested artists, instructors, or students may be in ideas, theory, or self-expression, today's college art/design students need to gain a solid grounding in aesthetic fundamentals early in their college art educations in order to become adept and well-informed makers of art and/or design.In this essay I argue for the value of aesthetic fundamentals in the education of artists and designers, and outline a series of factors that contribute to the subordination of aesthetics in college art instruction. I examine introductory-level college art/design curricula, including a pair of courses that are intended to provide students with visual, compositional, and/or aesthetic fundamentals, and explore why instructors, even in these courses, too often bypass such fundamentals in their teaching. Specifically, I discuss the ways in which traditions of art education, mixed with artist/teachers' own art training, lead to a virtual dismissal of aesthetic fundamentals. Certain assumptions that professional artists often bring to their teaching and how these contribute to the problem are examined. I identify a historical phenomenon [End Page 41] that plays a key role in the subordination of aesthetic fundamentals — the schism between "art" and "design." I suggest an approach for embracing aesthetic fundamentals in college art instruction that preserves students' individual and cultural differences, while at the same time enabling them to make aesthetic decisions in their work, and to discern aesthetic quality in each other's work. Finally, I conclude that students can fully succeed in more advanced explorations of the complex and controversial realm of contemporary art issues, and certainly in the applied arts, only after receiving a solid, balanced, and inclusive grounding in the profound aesthetic power of clear organizing principles of visual information. The Value of Aesthetic Fundamentals Why are aesthetic fundamentals — that is, principles and elements of visual organization — actually important to the education of college art students? Among other reasons, they are important because professional artists do somehow have to learn to make their work aesthetically convincing, even if they must manage other challenges as well, including "newness," historical relevance, and significance of idea. The National Association of Schools of Art and Design shares this reasoning, as evidenced by their requirement that B.F.A. students acquire "essential competencies," including becoming "visually literate," developing an "understanding of basic design principles, concepts, media, and formats," and "mastery of basic foundation techniques." 3 The problem we face in educating artists today is that the range of challenges inherent to a career in the art world often results in aesthetic considerations being assigned a low priority in visual arts curricula. Many contemporary artists teaching in college art programs see themselves as all but immune to the realm of visual aesthetics; they subscribe instead to the prevalent postmodern dictum that aesthetics are superfluous. As this way of thinking permeates college art instructors' thinking to an ever-greater extent, students of art and design find themselves increasingly distanced from aesthetic training, and from the aesthetic experience. This distancing is a loss to students.Students lose when aesthetic fundamentals are neglected because for all the effort they might make... (shrink)

Not too long ago the trustees of my college decided to update the artistic holdings of our campus, and to this end they set out to acquire a contemporary work of art for permanent display in the College art museum. Not being timid, the trustees wanted a challenging, cutting-edge work, preferably from the West Coast, but they felt they lacked the expertise to find and buy the right piece. As it happened, a few of them had heard of (...) my interest in modernism and its philosophical challenges, and so I found myself with an unusual assignment: I was to fly to Los Angeles with a ten thousand dollar check and bring back something distinguished, a unique object to be discussed and appreciated for years to come. (shrink)

The Liberal Arts model of undergraduate education within small, internationally-focused University Colleges is becoming increasingly popular in Europe. This trend is most notable in the Netherlands, where the liberal arts model is acclaimed as filling a gap in Dutch undergraduate education at conventional research universities. This paper explores the status of the Dutch University College as simultaneously continuing the liberal arts tradition of the US, with its civic and pedagogic values, and providing a truly modern education (...) preparing students to find innovative and inter-disciplinary solutions to the complex problems which define contemporary society. It concludes that the traditional role of a liberal arts education in cultivating intellectual rather than vocation skills does not have to exclude its appeal as providing the skills necessary for professional success in global sectors of the 21 st century knowledge economy. (shrink)

ObjectivesThe global COVID-19 pandemic in 2020 heavily affected the arts and creative industries due to the instigation of lockdown measures in the United Kingdom and closure of venues. However, it also provided new opportunities for arts and cultural engagement through virtual activities and streamed performances. Yet it remains unclear who was likely to engage with the arts at home during lockdown, how this engagement differed from patterns of arts engagement prior to COVID-19, and whether home-based (...) class='Hi'>arts engagement was related to people’s ability to cope with their emotions during lockdown. This study was therefore designed to address these questions.MethodsWe used data collected in late May from the United Kingdom COVID-19 Social Study run by University College London. Multivariate regressions were used for the analysis. Identified factors included demographic factors, socio-economic position, psychosocial wellbeing and health conditions, adverse events/worries, and coping styles.ResultsFour types of home-based arts engagement were identified during the COVID-19 pandemic: digital arts and writing, musical activities, crafts, and reading for pleasure. Our results show that the strongest predictors of the engagement were age, education attainment, social support, and emotion-focused or supportive coping styles. In particular, younger adults, non-keyworkers, people with greater social support, people who had lost work, those who were worried about catching the virus, and those with an emotion-focused, problem-focused or supportive coping style were more likely to have increased arts engagement during lockdown. Arts activities were used as approach and avoidance strategies to help cope with emotions, as well as to help improve self-development.ConclusionOverall, our study suggests that while some people who engaged in the arts during the COVID-19 pandemic were those who typically engage under normal circumstances, the pandemic has also created new incentives and opportunities for others to engage virtually. Additionally, this study highlights the value of the arts as coping tools during stressful situations. (shrink)

About the Author James Elkins is E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. His many books include Pictures and Tears, How to Use Your Eyes, and What Painting Is, all published by Routledge. Michael Newman teaches in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, and is Professor of Art Writing at Goldsmiths College in the University (...) of London. His publications include the books Richard Prince: Untitled (couple) and Jeff Wall, and he is co-editor with Jon Bird of Rewriting Conceptual Art. (shrink)

Taking the Royal College of Barcelona (1760–1843) as a case study, this paper shows the development of modern surgery in Spain initiated by the Bourbon Monarchy when they founded new kinds of institutions as academic activities to spread scientific knowledge. Antoni Gimbernat was the most famous internationally recognised Spanish surgeon. He was trained as a surgeon at the Royal College of Surgery in Cadiz and was later appointed Professor of Anatomy at the College of Barcelona. He then (...) became Royal Surgeon of King Carlos IV, and with that esteemed position in Madrid, he worked relentlessly to improve the quality of the Royal Colleges in Spain. Learning human body structure by performing hands-on dissections in the anatomical theatre has become a fundamental element of modern medical education. Gimbernat favoured the study of natural sciences, the new chemistry of Lavoisier and experimental physics in the academic programmes of surgery. According to the study of a very relevant set of documents preserved in the library, the so-called “juntas literarias”, among the main subjects debated in the clinical sessions was the concept of human beings and diseases in relation to the development of the new experimental sciences. These documents showed that chemistry and experimental physics were considered crucial tools to understand the unexplained processes that occurred in the diseased and healthy human body and in a medico-surgical context. It is important to stress that through these manuscripts, we can examine the role and the reception of the new sciences as they were applied to the healing arts. (shrink)

The question whether the study of education and teacher education belong at a liberal arts college deserves careful consideration. In this essay Bruce Kimball analyzes and finds unpersuasive the three principled rationales that are most often advanced on behalf of excluding educational studies, teacher education, or both from a liberal arts college. Specifically, Kimball argues that no principled definition of the conventional liberal arts disciplines excludes the study of education without barring other fields now regarded (...) as legitimate, and consistency demands that all such fields be excluded if any are. In addition, teacher education, even if considered as merely “craft know-how” or as professional training, cannot be excluded from liberal arts colleges without arbitrarily classifying it as suspect and subjecting it to strict scrutiny. But the question of whether educational studies or teacher education fit any asserted definition of liberal education does not finally resolve the question of whether they belong in a liberal arts college. Kimball concludes by suggesting that there are moral and prudential reasons for liberal arts colleges to offer teacher education and, concomitantly, the study of education, even apart from the unpersuasive objections that they do not fit a definition of liberal education. (shrink)

A collection of ten previously published or delivered essays by Taminiaux (philosophy, Boston College and the Universite de Louvain).

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 537 tion of his three dialogues, and of course there are several references to Hume's intern= parable Dialogues. The bibliographic essay is useful with respect to general works and period pieces but unfortunately does little to help those who are seeking further help in understanding an individual writer. Professor France's work is an invaluable guide nevertheless for those who realize that authors, even philosophers, do not write (...) in a cultural vacuum. NICHOLASCAPALDI Queens College, CUNY Die Auseinandersetzung yon ldealismus und Realismus in Fichtes Wissenscha/tslehre. By Ingeborg Schfissler. (Frankfurt am Main: Vittorio Klostermann, 1972. Pp. 182. DM 24.50) For Fichte scholars this closely argued and well organized study of the foundations of Fichte's Wissenscha/tslehre is simply a must. American philosophers generally, however, will not become Fichte enthusiasts after reading this book. But this is not the fault of the authoress, but of Fichte. The key question which Dr. SchiJssler raises is, What role does realism play in Fichte's transcendental idealism? With this question in mind she examines Fichte's "foundation of the entire theory of science" of 1794-1795 and related matters, and the "theory of science" of 1804, together with the lecture of 1813. As Fichte originally saw the task of philosophy it was to explain theoretical, i.e., scientific, consciousness in terms of its own foundation. In 1804, however, the task was conceived as presentation of absolute truth; and in 1813, Fichte tried to understand the theory of science as a theory of appearances. Dr. Schfissler's thesis is that all three approaches are necessary; that, in fact, the changes in Fichte's conception of what a theory of science is or ought to be are grounded in the nature of transcendental philosophy itself. The book is not something one reads for relaxation; its sustained and detailed arguments militate against that. But it is a highly illuminating study, and well worth the effort of careful analysis. W. H. WE~mSTBR Florida State University The Manifold in Perception. Theories of Art.from Kant to Hildebrand. By Michael Pedro. (Oxford: Clarendon Press, 1972. Oxford-Warburg Studies) This is a survey of theories of art of Kant, Schiller, Herbart, Hildebrand, Schopenhauer and Fiedler. One may question the value of a re-statement of this sort, over simply another reading of the works of the authors themselves. Pedro's answer may be found in the Preface and again in a more extended statement in the conclusion. "German aesthetic theory from Kant through to the end of the nineteenth century seemed to contain valuable critical ideas quite absent from contemporary philosophical writing." Pedro's attempt has been to "re-locate notions in current use, like 'aesthetic detachment', within the sustained systematic discourse of which they were once part. This seemed a way both of uncovering a number of assumptions which have been constraining writing on art for some time, and of clarifying a number of crucial insights of earlier theorists." The author's account is almost entirely expository, its negative critical questions being limited almost exclusively to Herbart. Yet even here, when the author indicates that Herbart's theory of mind "exhibits certain very basic logical difficulties," he adds that 538 HISTORY OF PHILOSOPHY "they are difficulties which have a particular importance in the discussion of art.... " Podro's clarification is largely made through the asking of questions which the authors themselves did not ask and then suggesting answers to these questions in the light of what the authors did say. The two chapters on Schiller form the core of the book. Schiller's theory of art and aesthetic education of man is placed as central to Podro's account of an aesthetic tradition beginning with Kant and ending with Fiedler. The "tradition" detailed in Podro's book is described as having two underlying assumptions. The first was that any account of art must indicate distinctive or at least characteristic uses of our perception, uses which if not exclusive to art are at least necessary to it, and which are seen in art in a particularly striking way. The second assumption was that art involves our attitudes, in the sense of our serious purposes as... (shrink)

Alexander Hamilton presents his early formative years, sharing the way his engagement with the cyanotype process has informed his art practice, from his time at Edinburgh College of Art, to his program of exhibitions and residencies, through to his work within the field of public arts. This personal history is combined with essays by academics, scholars and curators who engage with the intellectual roots of his work and practice. A comprehensive selection of Hamilton’s photography, including his unique plant-based (...) cyanotypes, completes this beautiful book. (shrink)

This study aims to alleviate the current tense employment situation and study the entrepreneurial situation of teachers and students in colleges and universities. Firstly, based on the educational concept of Science Technology Engineering Arts Mathematics, Ideological and Political Education is added to psychological capital to explore the effect of the combination of the two on entrepreneurial performance. An entrepreneurial performance impact model is constructed, and the questionnaire is set. Secondly, the influence of psychological capital combined with IPE on sports (...) morality is explored, and a sports morality questionnaire is designed. Finally, the questionnaire results are analyzed. The results showed that most of the participants in the survey are under the age of 25. The 25- to 29-year-olds are the smallest among those surveyed. The respondents who participated in the survey had the most undergraduate degrees, accounting for 43.4%. The 40 items on entrepreneurial performance this time obey a normal distribution, and the scale has good reliability and validity. The main factor analysis results obtained by principal component analysis include 6 factors. Their total explanatory power exceeds 67%, and the six factors screened out this time are well represented. The model tolerance is between 0.45 and 0.5, and the Variance Inflation Factor value is less than 10. The scale does not suffer from multi-collinearity issues. IPE significantly strengthens the effect of psychological capital on entrepreneurial performance. The influences of various sports on sportsmanship, bravery, self-confidence, and self-transcendence are significantly different, and the P value is less than 0.001. The difference in aggressiveness is less than 0.01, indicating that it is very significant. Different sports have significant differences in the cultivation of sports morality, and the P value is less than 0.05. The differences in self-discipline are also significant, and there are extremely significant differences in compliance with rules, and the P value here is less than 0.001. There are no significant differences in sporting qualities. IPE combined with psychological capital has a significant impact on entrepreneurial performance. These contents provide references for the entrepreneurship education of teachers and students in colleges and universities. The contribution lies in expanding the research on psychological capital in entrepreneurial performance and laying a foundation for the combination of psychological capital and IPE. (shrink)

Of the requisites for economic development, human capital is the most “policy-proof,” is the one which developed nations can most effectively render on large scale, and is that which American colleges of Agriculture are uniquely equipped to render. Graduate study in agricultural economics is a popular choice of third world students as it occupies a pivotal position between agricultural science and the liberal arts, giving it substantial relevance to economic development. It is necessary to understand the history, economics, sociology, (...) and psychology of the institutions that are central to economic development. Graduate programs in agricultural economics have fallen short of their potential to contribute to human capital and hence to the process of economic development. It is recommended that these programs capitalize on the disciplinary ties to both agricultural science and to the liberal arts, and in particular, 1) place greater emphasis on international aspects of macroeconomics, 2) include in the study of microeconomics more realistic treatment of what prices and markets can and cannot accomplish, and 3) emphasize the importance of effective communication in preparing returning third world students for their responsibilities in bridging the gap between research and policy. (shrink)

Higher education is seeing renewed calls for strengthening ethics education, yet there remains a dearth of research on the state of ethics education across undergraduate curricula. Research about ethics in higher education tends to be localized and often isolated to fields of graduate study. In contribution to a contemporary, landscape understanding of ethics education, we collected data on the placement and prevalence of ethics instruction within the general education curricula at 507 major U.S. colleges and universities. Our findings suggest that (...) 1) most schools in our study’s population do not explicitly require ethics as a part of their general education curricula; and 2) a school’s religiosity and research status are positively associated with explicitly requiring ethics instruction for its undergraduate student body. (shrink)

Shortly after John Andrew Rice, the eccentric classics professor and fire-brand advocate of progressive education, was dismissed from Rollins College for, among other things, teaching his students to “do as they please,”1 he drafted a sort of pedagogical manifesto announcing a new, and fundamentally new kind of, liberal arts school. The “Preliminary Announcement of Black Mountain College” describes this radical educational paradigm in largely contrarian terms, as the antithesis to traditional higher learning. This new college would (...) be one without exams, without grades and required courses, and without typical hierarchy of academic administration. Beyond this negative agenda, however, Rice makes one positive... (shrink)

Over the years, American colleges and universities have made various efforts to provide prisoners with access to education. However, few of these outreach programs presume that incarcerated men and women can rise to the challenge of a truly rigorous college curriculum. The Bard Prison Initiative is different. _College in Prison_ chronicles how, since 2001, Bard College has provided hundreds of incarcerated men and women across the country access to a high-quality liberal arts education. Earning degrees in subjects (...) ranging from Mandarin to advanced mathematics, graduates have, upon release, gone on to rewarding careers and elite graduate and professional programs. Yet this is more than just a story of exceptional individuals triumphing against the odds. It is a study in how the liberal arts can alter the landscape of some of our most important public institutions giving people from all walks of life a chance to enrich their minds and expand their opportunities. Drawing on fifteen years of experience as a director of and teacher within the Bard Prison Initiative, Daniel Karpowitz tells the story of BPI’s development from a small pilot project to a nationwide network. At the same time, he recounts dramatic scenes from in and around college-in-prison classrooms pinpointing the contested meanings that emerge in moments of highly-charged reading, writing, and public speaking. Through examining the transformative encounter between two characteristically American institutions—the undergraduate college and the modern penitentiary—_College in Prison_ makes a powerful case for why liberal arts education is still vital to the future of democracy in the United States. (shrink)

In the current digital environment, people can visit every corner of the world without leaving their homes. New media technology compresses distance and time, but it also subverts the traditional mode of audience presence. Many traditional, offline content expression modes are also moving toward the digital field, and digital art is among them. Digital new media is a new art form that requires its audience to have a new media literacy; this literacy is necessary for esthetic experience and for audience (...) participation. At present, the relatively lack of objective methodology for scientific research on aesthetic and media literacy has limited our current understanding. Therefore, we need to develop a new model and conduct empirical research with college students as the audience. Empirical research was conducted with an audience of college students. The study had the following purposes: to add a new dimension to the esthetic model, namely new media literacy, to align the model with the current digital environment, and to test the moderating effect of new media literacy on esthetic emotion as represented by interest and confusion. The experiment verified the study’s hypothesis that higher new media literacy was associated with higher esthetic interest and lower confusion. By contrast, has a substantial influence on the cognitive processes in humans, lower new media literacy was associated with lower esthetic interest and higher confusion. New media literacy is an essential quality for contemporary audiences. This knowledge may be useful for effective design. It provides a traditional and favorable learning environment and empirical reference for the subsequent improvement of digital aesthetics and media literacy. (shrink)

The author of handbooks that reflected the Victorian emphasis on bettering one's prospects, Charles Eyre Pascoe addressed the topic of female education in this work of 1879, at a time when the Cambridge colleges of Girton and Newnham were in their infancy. 'Chiefly designed for the use of persons of the upper middle class', the guide aims to assist parents in making informed choices about their daughters' education. The coverage extends from kindergarten through to university, before focusing on career options (...) for women in the late nineteenth century, in fields such as teaching, the arts and medicine. Throughout, Pascoe's recommendations are based on consideration of the breadth of the curriculum, the qualifications of the teaching staff and the results achieved in examinations. For higher education, details of entrance examinations are provided, together with information on the subjects and lectures that were open to women at that time. (shrink)

The Marxist history of science has played an enormous role in the development of the history of science. Whether through the appreciation of its insights or the construction of a political fortress to prevent infusion, its presence is felt. From 1931 the work of Marxists played an integral part in the international development of the history of science, though rarely have the connections between them or their own biographies been explored. These networks convey a distinct history, alongside political, methodological and (...) personal implications, impressing on us a greater understanding of the possibilities that were present and were lost in the most turbulent of decades. Two of the most notable were Boris Hessen, a founder of Marxist history of science, and J. G. Crowther, one of its most prolific exponents. My examination explores aspects of the dialogue between these controversial figures, starting with brief biographical sketches. Their lives became briefly entwined following the Second International Congress of the History of Science and Technology in 1931, demonstrated with reference to the meeting and the correspondence between them until Hessen's death. In doing so, some new facts and old controversies surface, though most importantly the nature of the correspondence carries implications for the Marxist history of science and for the wider movement of which it is part. The Russian delegation to the congress declared that science was at a crossroads. The history of science was at a similar crossroads in the 1930s. (shrink)

Black Mountain College is remembered as an artistic utopian alternative to institutional learning. Its faculty and students included some of the most important creative thinkers of the 20th century. Its foundation was built on the philosophy of “learning by doing.” But what made Black Mountain such a dynamic educational environment? Today, the financial burden of higher education places a lasting strain on students that inhibits creative growth. Does the educational structure of the college system impede our learning? Black (...) Mountain was a legendary educational experiment, which offers a model for contemporary art education. (shrink)

The current study examined the longitudinal relationships between goal contents and academic cheating (serious versus minor cheating) among representative college students. Based on the framework of goal contents theory within self-determination theory, wealth, fame, affiliation, self-growth, social-concern, and leisure goals were tested as predictive factors of two types of academic cheating. Participants were 2,360 representative college students from the Korean Education Longitudinal Study majoring in business, humanities, social sciences, engineering, education, arts, and medicine. They answered survey questionnaires (...) twice at 1-year intervals. Hierarchical regression analysis found that self-growth negatively predicted serious as well as minor cheating, and the wealth goal was positively correlated with minor cheating after controlling for previous cheating behaviors and gender. The results support goal contents theory and show that classifying academic cheating by severity permits a deeper understanding of students’ academic cheating. Educators and practitioners seeking to encourage students’ ethical behavior should pay closer attention to the goal contents they pursue to provide appropriate guidelines. (shrink)

Extols the virtue of small liberal arts colleges and the liberal arts tradition.

Enduring disparities in choice of college major constitute one of the most significant forms of gender inequality among undergraduate students. The existing literature generally equates major choice with career choice and overlooks possible variation across student populations. This is a significant limitation because gender differences in major choice among liberal arts students, who attend college less for specific career training and more for broader learning objectives, are just as great as among those choosing pre-professional majors. This study (...) addresses this gap by examining how privileged men and women at an elite, liberal arts university select their fields of study. Drawing on in-depth interviews, findings contradict the prevailing assumption of a unitary model of major choice as career choice by revealing a plurality of gendered meanings around choosing a field of study. Majors may play an important part in the construction of an intellectual identity as much as a means of career preparation. How students approach the choice relates to both gender and social background. For privileged students, traditional gendered associations with bodies of knowledge hold salience in their decision making as well as expectations of reproducing future elite family roles. This research also illuminates how gendered processes of choosing fields of study take place in relationship to particular institutional contexts. (shrink)

Volume 24, Issue 9, September 2024, Page 48-50.

Background The American Association of Medical Colleges has called for incorporation of the health humanities into medical education, and many medical schools now offer formal programs or content in this field. However, there is growing recognition among educators that we must expand beyond empathy and wellness and apply the health humanities to questions of social justice – that is, critical health humanities. In this paper we demonstrate how this burgeoning field offers us tools for integrating social justice into medical education, (...) utilizing the frameworks of critical consciousness and structural competency. Practice of health humanities Critical health humanities can be applied at multiple levels of learners, and in a variety of contexts. We are two physician-writers who have developed several educational programs that demonstrate this. We taught a seminar that introduced first-year and second-year undergraduates to concepts such as social determinants of health, intergenerational trauma, intersectionality, resilience, and cross-cultural care through works of fiction, poetry, film, podcasts, stand-up comedy, and more. Through creative projects and empathic reflection, students engaged with the complexities of structural forces that create and maintain health disparities. Medical students in their clinical years can engage in critical health humanities learning experiences as well. We teach several multidisciplinary electives that address social (in)justice in medicine, as well as mentor fourth-year students engaged in independent electives that foster critical awareness around health equity and ethics. Beyond the classroom, we have actively engaged in critical health humanities practices through story slams, literary journal clubs, conference presentations, and Grand Rounds. Through these activities we have included learners at GME and CME levels. These examples also demonstrate how community engagement and multidisciplinary partnerships can contribute to the practice of critical health humanities. Conclusion In this paper, we explore the growing field of critical health humanities and its potential for teaching health equity through narrative practices. We provide concrete examples of educational activities that incorporate critical consciousness and structural competency – frameworks we have found useful for conceptualizing critical health humanities as a pedagogical practice. We also discuss the strengths and challenges of this work and suggest future directions. (shrink)