ABSTRACTThis paper explores the role of exemplarity in education through a conceptualisation of two different dimensions of exemplarity in educational practice. Pedagogical exemplarity, which relates to the pedagogical and ethical dimension of educational practice. In other words, this dimension explores the educational moments when someone takes up an exemplary function in educational practice. Didactical exemplarity, which relates to the exemplary function of subject matter or educational content. In other words, this dimension explores the educational moments when something takes up an (...) exemplary function in educational practice. Through an initial conceptual exploration of these two dimensions, via the works of Linda Zagzebski and Martin Wagenschein, the paper sets out to lay the foundation for a deeper understanding of the role of exemplarity in education. (shrink)

Review of CECILIA SJÖHOLM: ATT SE SAKER MED ARENDT: KONST, ESTETIK, POLITIK GÖTEBORG: DAIDALOS, 2020. 248 PAGES ISBN: 9789171735461.

Taika Waititi's recent film ‘Hunt for the Wilderpeople’ (2016) portrays the coming‐of‐age of a young boy, Ricky, in a world with few recognisably responsible adults. While the film does not engage explicitly with formal education, it raises several questions central for understanding education as formation, highlighting the generational aspects of educational relations and pointing to the importance of an adult world taking responsibility for the formation and upbringing of the younger generation. Departing from a discussion on the role of formation (...) and intergenerational relations in Rousseau and Arendt, we will draw on the film's portrayal of an adult world in crisis in order to discuss some of its possible consequences for understanding education in terms of intergenerational relations and formation. This involves raising questions about the educational consequences of the absence of recognisably responsible adults and it involves investigating how this absence might impact our understanding of education as the formation and upbringing of educated human beings. (shrink)

Only yesterday aesthetics stood accused of concealing cultural games of social distinction. Now it is considered a parasitic discourse from which artistic practices must be freed. But aesthetics is not a discourse. It is an historical regime of the identification of art. This regime is paradoxical, because it founds the autonomy of art only at the price of suppressing the boundaries separating its practices and its objects from those of everyday life and of making free aesthetic play into the promise (...) of a new revolution. Aesthetics is not a politics by accident but in essence. But this politics operates in the unresolved tension between two opposed forms of politics: the first consists in transforming art into forms of collective life, the second in preserving from all forms of militant or commercial compromise the autonomy that makes it a promise of emancipation. This constitutive tension sheds light on the paradoxes and transformations of critical art. It also makes it possible to understand why today's calls to free art from aesthetics are misguided and lead to a smothering of both aesthetics and politics in ethics. (shrink)

This book offers a multidisciplinary collection of historiographical case studies which in various ways explore the question of the modes of interrelation between 'change' and 'continuity' in historical narratives in Western cultural history."--Introduction, p. [1].

Thought's Last Chances : On Being Bound and Free.