This text is the first Polish translation of Joan Riviere’s renowned article Womanliness as a Masquerade, first published in 1929 in The International Journal of Psychoanalysis. The title of the work refers to the dreams of a patient whose story Riviere recounts in the article. In her dreams, figures appear wearing masks to avoid disaster and harm. The titular “womanliness,” according to Riviere, is akin to such a mask—adopted to conceal masculinity and prevent retribution should its presence be revealed. Riviere (...) posits that women desiring masculinity might don a “mask of womanliness” to evade anxiety and potential punishment from men. The text is particularly significant as it blurs the boundary between what could be considered authentic womanliness and masquerade. Riviere further argues that both masquerade and womanliness serve as defensive mechanisms to protect against anxiety and should not be seen as primary forms of sexual enjoyment. This work has resonated profoundly within psychoanalytic and philosophical circles. It influenced Jacques Lacan—both in his early and later teachings—regarding femininity and its connections to castration and the phallus. Sixty years after its publication, the article became a cornerstone of third-wave feminist thought, inspiring scholars like Judith Butler and her poststructuralist perspective on gender performativity. Today, the text continues to be a critical reference not only in feminist, queer, and gender studies but also for philosophical and psychoanalytic inquiries. Thinkers like Alenka Zupančič, exploring the philosophical dimensions of sex, frequently draw upon Riviere's analyses, even when critically engaging with them. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:104 Feminist Studies 44, no. 1. © 2018 by Feminist Studies, Inc. Estelle Carol The Chicago Women’s Graphics Collective: A Memoir In 1973, the Chicago Women’s Graphics Collective worked in an old run-down second-floor office on Belmont Avenue, which we shared with the main offices of the Chicago Women’s Liberation Union (CWLU).1 They call it New Town now, but in 1973, there wasn’t much new about it. We (...) weren’t the only artists in the building though; downstairs was a tattoo parlor. Still, it was better than having the studio located in my apartment on Newport Street, where there were silkscreen tables in the dining room and a bathroom that doubled as a darkroom. My bedroom door opened directly into the dining room and usually reeked of the foul chemicals we used to make the posters. Just one OSHA inspection would have shut us down forever, but it was not until later that we learned about the dangers of long-term exposure. On Newport Street, the apartment was right next to the Ravenswood Branch of the “L,” and it shook like the aftershock of a California earthquake each time a train passed. But we were in the midst of a women’s revolution, and our priorities were clear. 1. The Chicago Women’s Graphics Collective (WGC) was a “workgroup” of the CWLU from the very start. There were about 25 workgroups and other groups within the CWLU. CWLU outreach to recruit new members got a lot of new women into WGC. WGC, Women’s Liberation Rock Band, and Womankind Newspaper were the cultural arms of the CWLU. Cultural outreach to attract new CWLU members and new feminists to the movement in general was critical to the CWLU’s success. In Celebration of Amazons, 194. All posters designed and silkscreened collectively by the Chicago Women’s Liberation Union, www.cwluherstory.org. Courtesy of CWLU Herstory Project. All posters are on silkscreen. Turning Through Time, Workwoven, 195. Sisterhood Is Blooming, Springtime Will Never Be the Same, 190. Chicago Women’s Labor History, 194. International Women’s Day (reprinted from a Cuban poster). ABOVE Healthcare Is for People, Not for Profit, 195. OPPOSITE Abortion Is a Personal Decision, Not a Legal Debate, 190. ABOVE Healthcare Is for People, Not for Profit, 195. OPPOSITE Abortion Is a Personal Decision, Not a Legal Debate, 190. OPPOSITE Chicago Maternity Center, 192. ABOVE Lesbian Pride, 192. Mountain-Moving Day, 192. ABOVE Detail from Mountain-Moving Day, 192. OPPOSITE Women Unite, Take Back the Night, 199. Lipstick and Blood (reprinted from a Cuban design). Women Are Not Chicks, 191. Liberation School for Women, 192. Boycott Red Coach Lettuce, 192. Working Women Unite, 195. International Women’s Day, Many Waves But One Ocean, 192. Estelle Carol 121 If you look at Chicago Women’s Graphics Collective posters, you’ll rarely see a person’s name on them, because we decided early on that art had been done all wrong by men. It was based on egotism and the cult of the individual—the great-men-of-art syndrome. So we decided to throw all that out, and art now had to be a collective experience. So every poster that we created had to be done by committee. Every one. We had a system in which any one of the collective could get an idea or a phrase or an image and decide to do a poster. They would ask two or three other members to be their assistants and to help develop the idea. And then in little teams they would physically create the poster in silk screen. It had to be a collective process. There’s no way that one single woman could really do it because we were using very primitive reproduction methods, and we needed at least three people to run the silk screen. The silk screens were all hand printed. No machines. If a poster was more than one color, it had to be hand printed, one color at a time, so it was very, very labor intensive. And... (shrink)

No Current Hegelian theories of recognition assume a concept of the subject as always being available for harming. This emphasis placed on vulnerability, whose validity is not being called into question as such here, leave a certain number of elements on the nature of the harm threatening the person expecting recognition unclarified, especially the fact that it cannot be perpetrated without the victim being aware. At the same time, it fails to address the nature of the relationship of recognition, omitting (...) from consideration the exercise of power and the mechanisms inherent to this relationship. These omissions, as I show, cause a particular dimension of recognition-driven struggles to be neglected, a dimension which I will refer to as the politics of exit. (shrink)

Carnal Knowledge is an outcome of the renewed energy and interest in moving beyond the discursive construction of reality to understand the relationship between what is conceived of as reality and materiality, described as the "material turn." It draws together established and emerging writers, whose research spans dance, music, film, fashion, design, photography, literature, painting and stereo-immersive VR, to demonstrate how art allows us to map the complex relations between nature and culture, between the body, language and knowledge. These writings (...) are unique in the field because they represent the authors' commitment to a new materialism through the creative arts. The questions they address include: Does the material turn in the creative arts take a different turn from continental epistemology, philosophy and the humanities? How does the agency of matter, the material nature of artistic practice and the notion of "truth to materials" affect what we understand as the "new materialism?" In engaging with these questions the book offers perspectives on the emergence of this exciting fresh field of new materialism. (shrink)

L’article propose une étude lexico-syntaxique de la polysémie du nom truc en français, qui connaît cinq types d’emplois différents, dont certains le rapprochent de noms sous-spécifiés et/ou de noms généraux. L’analyse s’appuie sur un vaste corpus de données attestées et sur une batterie de patrons syntaxiques permettant à la fois de départager et de caractériser les différentes acceptions du nom truc. Il est ainsi montré que chaque type d’emploi de ce nom en tant que Nss se caractérise par une construction (...) privilégiée, tout en en admettant une ou plusieurs autres. Il s’avère en effet que chacun des sens du substantif truc peut être défini par une conjonction de propriétés discriminantes de nature syntaxique et sémantique. (shrink)

With the COVID-19 pandemic, governments implemented successive lockdowns that forced employees to work from home to contain the spread of the coronavirus. This crisis raises the question of the effects of mandatory work from home on employees’ well-being and performance, and whether these effects are the same for all employees. In the present study, we examined whether working at home may be related to intensity, familiarity with WFH, employees’ well-being and creativity. We also examined whether the psychological profile of employees, (...) combining preference for solitude and associated personality variables from the Big Five, may influence the effects of WFH. The data were collected via an online survey from November 13th to December 15th 2020 among 946 employees from various organizations during the second lockdown in France. In addition to identifying two distinctive psychological profiles for employees having to WFH, results revealed that those with a “Solitary” profile reported higher loneliness at work, higher levels of stress, and lower levels of job satisfaction and work engagement than those with an “Affiliative” profile. It was also found that employees with a “Solitary” profile perceived themselves as less creative and produced objectively fewer ideas than individuals with an “Affiliative” profile. The present study suggests the necessity to distinguish the profiles of teleworkers and to offer a stronger support for the less affiliative employees when working from home. (shrink)

Presenting the challenges that face digital age citizens as philosophical, as opposed to technological, this paper explores the underpinning structure of digital civics through an overview of its four foundational pillars and their informing scholarship. Through this framework and the literature that supports it, a set of five key concepts are identified as a useful guide for developing digital civics initiatives, including policy and educational interventions. In closing, this work urges the further exploration of the conceptual underpinnings of digital civics (...) to improve future formulations of digital civics and digital citizenship endeavours. (shrink)

This essay examines Alfred North Whitehead's claim that education should be construed as religious, and by extension, that music education should be religious. The analysis of questions relating to Whitehead's understanding of the notion of "religious," the defensibility of his claim, and its implications for notions of spirituality and music education and the practical work of music education is cast against the backdrop of the constitutional prohibition of the establishment of religion in the United States.

Examines the philosophy in the poetry of Edwin Arlington Robinson in two parts. Part one looks at the sources of Robinson's idealism and part two covers philosophical analyses of his works.

As the media wrestle with ethical and legal problems in coverage of AIDS stories, such as privacy, terminology, and disclosure, a question is raised about the educational role the media will assume in the face of this health threat. Despite health department hopes for candor in dealing with the threat, blunt?language ads and commercials have been rejected by most New York City media and legislation may restrict the extent to which media deal with the question. Though the media alone cannot (...) bear the burden of AIDS education, they must provide point?man services. (shrink)

A tissue is a geometrical, space-filling, random cellular network; it remains in this steady state while individual cells divide. Cell division is a local, elementary topological transformation which establishes statistical equilibrium of the structure. We describe the physical conditions to maintain stationary the epidermis (of mammals or of the cucumber), in spite of the fact that cells constantly divide and die. Specifically, we study the statistical equilibrium of the basal layer, a corrugated surface filled with cells, constituting a two-dimensional topological (...) froth. Cells divide and detach from the basal layer, and these two topological transformations are responsible for the stationary state of the epidermis. The topological froth is capable of responding rapidly and locally to external constraints, and is a good illustration of the plasticity of random cellular networks.Statistical equilibrium is controlled by entropy, both as a measure of disorder and as information, and is characterized by observable relations between average cell shapes and sizes. The technique can be applied to any random cellular network in dynamical equilibrium. Mitosis as the dominating topological transformation and the fact that the distribution of cell shapes is very narrow are the only inputs specific to biology. (shrink)

First published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.

Two common themes emerge in our writings over the past several decades. Estelle Jorgensen has focused partially and significantly on models and metaphors that undergird music education.1 Iris Yob has examined the role of higher education generally and music education specifically in creating positive social change.2 At times, and against the backdrop of recent writing on music education, social change, and social justice,3 we each have explored topics in the other's area of interest.4 Neither of us, however, has systematically (...) brought together the two themes: building practices on grounding metaphors for developing music education as a means for promoting the common good. In this paper, our conversation explores... (shrink)

Although Judith Butler regards recognition as the theme unifying her work, one finds a striking absence of dialogue between her and the authors of the normative theories of recognition – Honneth, Habermas, Ricoeur, etc. In the present article I seek to call into question this sentiment, shared by the two sides, of a radical theoretical heterogeneity. First I seek to show that the theory of performativity which Butler developed initially, contrary to all expectations, sets her relatively apart from the tradition (...) to which she conforms (the French reading of Hegel), and brings her closer to the proposition represented by the normative theories of recognition in general, and that of Honneth in particular. Then I highlight how the recent modulations in her theory, through the appearance of the idea of a constitutive vulnerability, which enables her to found an ethics, undermine for once and for all the claim of irreducibility maintained by each of the two theories in relation to the other. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 1-20 MuseSearchJournalsThis JournalContents[Access article in PDF]"This-with-That": A Dialectical Approach to Teaching for Musical ImaginationEstelle R. JorgensenAmong the various approaches to music education, my dialectical and epistemological view offers a way of thinking about music and education and deciding how to go forward in teaching and learning music. 1 In this article I show how this particular philosophical perspective can play out in (...) teaching for the development of musical imagination in a particular musical piece, in particular, Johannes Brahms's Intermezzo, op. 118, no. 2. Three questions lie at the center of this analysis: What is meant by my dialectical approach? 2 How is musical imagination implicated, for example, in a performer's reading of this Intermezzo? How ought one to teach for the development of musical imagination?My response to the first of this trio of questions is predicated on my previous writing, most recently in Transforming Music Education and an essay, "Four Philosophical Models of the Relationship of Theory and Practice." 3 My response to the second applies Mary Reichling's model of images of imagination to a reflection on my approach to this Brahms Intermezzo—a piece I have played over a musical lifetime—with reference to a few of its more obvious features. 4 And my response to the third builds on my extension of Vernon Howard's analysis of learning in Transforming Music Education by drawing on Alfred North Whitehead's elegant model of teaching and learning formulated almost a century ago in his The Aims of Education and Other Essays, again with reference to the self-same piece. 5 In addressing these questions, I show how my dialectical approach can work practically and how the various tensions between aspects of imagination can play out in opposite, even paradoxical, modes of teaching for musical imagination. [End Page 1]What Is Meant by My Dialectical Approach?In choosing a "this-with-that" approach rather than a both/and synthesis or either/or approach to the choices between alternatives in music education, I recognize that in the phenomenal world, educational decisions (as with decisions in other areas of life) are often difficult to arrive at and problematic in their outcomes. I see dialectics as seepages and tensions that arise between alternatives viewed comparatively. 6 These alternatives are not always logically compatible, equally feasible, or easily reconcilable. Rather, resolutions are made on the basis of incomplete information, consequences that flow from decisions are often unexpected, some things are easier to meld than others, and constituent value judgments are sometimes dissonant, even impossible, to reconcile logically and practically. My interest is in describing the epistemological quandaries in which musician-teachers and their students sometimes find themselves practically speaking. I do not seek a "one-size-fits-all" approach because it is impossible to realize practically even if it could be shown to be desirable. Music instruction takes place in the phenomenal world—a world of sometimes messy or fuzzy categories in which the teacher's and student's interests often lie at the margins, where one thing seems to become another 7 —and I seek to describe my own approach to tackling the sorts of practical dilemmas in which I find myself as teacher and student. As such, I am preoccupied with the question, How does one decide what to do as a music teacher or learner?For me, the best angle from which to address this question has been from a dialectical perspective. I came to this position as I reflected on my experience as a music teacher. 8 Things in the phenomenal world were never as simple as the theoretical models upon which I drew supposed. I was often faced with choices, and these choices were sometimes easily made and sometimes not. This practical experience resonated with that of others on a similar journey. For example, I. A. Richards remarks that Socrates enjoyed the friendship of those who were able to see both the "one-and-the-many... (shrink)

Gilles Deleuze and Felix Guattari’s work has been mined by writers about music and music education such as Ian Buchanan, Marcel Swiboda, Marianne Kielian-Gilbert, and Elizabeth Gould, as they have reflected on how music and music education should be construed. 1 Our present task is to examine critically Deleuze and Guattari’s ideas in our reading of their book A Thousand Plateaus: Capitalism and Schizophrenia, with a view to determining the merits of their ideas as a basis for a philosophy of (...) music education. 2 As such, we ask three principal questions: What are Deleuze and Guattari asking us to believe? What is our assessment of their contributions and detractions? What are the implications of our analysis for.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Music, Myth, and EducationThe Case of The Lord of the Rings Film TrilogyEstelle R. Jorgensen (bio)In probing the interrelationship of myth, meaning, and education, I offer a case in point, notably, Peter Jackson's film adaptations and Howard Shore's musical scores for J. R. R. Tolkien's The Lord of the Rings trilogy—The Fellowship of the Ring, The Two Towers, and The Return of the King.1 Intersecting literature, film, and music (...) allows me to explore various perspectives or ways of meaning making associated with this myth. I then trace some of the implications of the analysis for musical and general education.I am particularly interested in the musical connections with myth evident in societies around the world and well established in the anthropological, ethnomusicological, and philosophical literatures. For example, Steven Feld finds the myth of the muni bird to be foundational to a New Guinea society in shaping musical expression and communal beliefs and practices.2 Likewise, as Lewis Rowell argues, Western music is rooted in and acquires its own mythos of person, power, and musical instruments; Dionysius, Apollo, Lachesis, Clotho, Atropos, Orpheus, Guido of Arezzo, St. Cecilia, and Thomas Mann's Doctor Faustus are among those whose impact on music are legendary, formative, and figurative.3 Associations of particular myths with operatic, orchestral, and choral repertoire in the Western classical tradition also abound, such as Wagner's operatic setting of the Lay of the Nibelung and Sibelius's evocation of the Finnish Vālhālla. Music and myth are interconnected especially in the film music of our time, for example, The Lord of the Rings trilogy, Titanic, and the Star Trek and Star Wars series.In The Lord of the Rings, my present focus, Shore's musical scores help to highlight the mythic character of Tolkien's narrative, bridge the externally perceived phenomenal world and the internal and subjective "inner world," interrelate the experience of time—especially past and present—and evoke a sense of wonder and awe that otherwise may be forgotten in pervasively [End Page 44] materialistic societies. Music's role in kindling reverence goes to the heart of what these films share that make them mythic—transcendence, profundity, ambiguity, narrativity, and an aesthetic and didactic character that arouse awe, mystery, and a heightened sense of the human condition. Here, music is primarily representational,4 serving functional as well as aesthetic/artistic roles in expressing such mythic themes as the contest between good and evil (in which good is often more fragile and the odds sometimes insurmountable) and the inevitability of death, in which human beings are often at the whim of capricious gods, natural forces, and their own weakness. It adds emotional and intellectual feeling to the visual images, pointing particular attention to specific scenes and representing the tensions built or released as the narrative and visual images unfold.Music's role in blurring past and present is particularly interesting since it is an art of time. The Lord of the Rings evokes an earlier time of crisis in Middle-earth, when the survival of humanity was in jeopardy. The soundtrack assists the moviegoer to make connections between times and travel imaginatively through time, thereby bringing alive the past and imagined future in the present moment. Boundaries between past and present become fuzzier, and one is helped in moving from one time to another. Leitmotifs are of particular interest in helping to make the ambiguity of the narrative more easily accessible and comprehensible, even at risk of oversimplifying matters—a quality evocative of music's use in the speech-song performances of the Iliad, among other ancient stories.Tolkien's fairytale is not couched for children, as is his earlier The Hobbit, but written unabashedly for adults.5 The Fellowship of the Ring can be seen as an epic fairytale with "a kind of religious significance."6 In her analysis of "life symbols"—or artistic, ritualistic, and mythic systems that are read "non-discursively," having no assigned connotation and therefore felt and grasped imaginatively and intuitively—Susanne Langer suggests that fairytales are a genre below that of myth in the continuum between dream and myth. For her, "myth has … a... (shrink)

Evidence from our research on young children's temporal understanding supports Hoerl & McCormack's view that young children rely on a temporal updating system to change representations over time. We propose that the shift from temporal updating to temporal reasoning is enabled by children's expanding representations of event sequences, along with developments in language, memory, and other cognitive competencies.

Une réflexion consacrée à la signification de la peine en droit. L'auteur propose une redéfinition du crime en situation problème, supposant un changement de regard sur l'autre, même coupable d'un acte délictueux ou criminel. (Electre).

Ferrarese develops our thinking about the social conditions of caring for others, while arguing for an understanding of morality that is materialist and political - always-already political.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 130-140 [Access article in PDF] Western Classical Music and General Education Estelle R. Jorgensen Indiana University Thinking about transforming music, I address issues relating to the role of musicians in higher education and Western classical music in general education. I am concerned about this music because it is marginalized in general education and the civic spaces of public life. Where once (...) it held a privileged place, it seems now to have acquired (in some quarters at least) a negative connotation as a bastion of elitism and privilege. Instead, popular musics (with a nod to musics of other cultures) have pride of place in much elementary and secondary music education and in many university and college offerings designed for students whose principal fields of study lie outside music. An all-too-common musical illiteracy or, at best, elementary level of musical literacy and aurality renders Western classical music inaccessible to the general public just as the pervasiveness of popular music renders it inaudible and invisible. Bridges to past, less accessible, and esoteric traditions are also too few or in disrepair. Julian Johnson laments the diminished stature of Western classical music and argues for its values in today's world. 1Music teachers of all stripes urgently need to address this marginalization of Western classical music as a matter of public policy. If caring for and fostering [End Page 130] diversity in the natural world is a good, then it is reasonable to expect that fostering diversity in the cultural world is likewise a good. If preventing the extinction of natural species is a matter of public policy, then surely preventing the extinction of musics among other cultural traditions is at least as important. Social transformation has within it the seeds of conservation, or the preserving of past traditions, just as it also suggests profound and ongoing planned and unintended change. When any music such as Western classical music is sidelined, music education policy makers need to ask, Is this multi-cultural, multi-ethnic, multi-faceted music important to keep, foster, and change? What does it have to contribute in the present world? Is it being cared for sufficiently? If it needs to change, how ought it be changed? What principles can be helpful to music teachers in caring for, fostering, and changing it? These are compelling public policy questions for our time. A Quarrel and Its Aftermath In 1963, participants in the Yale Seminar asked some of these very difficult questions of music education policy makers. MENC leaders took exception to the seminar and its conclusions; although some outstanding music teachers were participants, the organization had not been invited and the seminar was not its idea. 2 Instead of addressing directly some of the important criticisms of school music education and music teacher education raised in the seminar, the MENC mounted its own rival Tanglewood Symposium in 1967. Participants in this symposium faulted music in higher education for its failure to admit "talented and capable high school music students [to] the privilege of advanced study," the "[c]ompartmentalization and lack of communication between various segments of the music field," its lack of relation to "the musical heritage of American culture," and its failure to ensure arts courses in general education. 3 The symposium contributed to a populist stance focused on the myriad vernacular traditions of the world, thereby diminishing the role and presence of Western classical music and highlighting popular and vernacular musics at MENC conferences and in the elementary and secondary schools in the United States. Subsequent attempts to renew the Western classical tradition and raise the musical expectations of teachers and their students in the nation's schools exemplified in the Juilliard Repertory, Manhattanville Music Curriculum Project, and Comprehensive Musicianship Program seem not to have made a lasting impact. And the differing criticisms and visions of the Yale Seminar and Tanglewood Symposium have yet to be critically engaged.Summarizing criticisms made of school music repertoire in the report of the Yale Seminar to the Office of Education, U.S. Department of Health, Education, and... (shrink)

This paper aims to refute the idea whereby giving consideration to vulnerability can only lead to an ethics, or is only relative to a politics derived from morality. I first shed some light on the seeming impossibility experienced by a large number of contemporary theories of vulnerability to fully think the political. Second, I define what one overlooks in the political when one simply considers it as a sphere of implementation of moral principles. Finally, I interpret care theories as an (...) attempt to overcome the difficulty of thinking the political from the viewpoint of vulnerability, and I define the political as a movement of reengaging with and transforming what is already instituted. (shrink)

Abstract:In this article, I transpose the word "love" for "be" in Hamlet's existential question in his soliloquy concerning life and death penned by William Shakespeare, "To be or not to be: That is the question." Thinking through the ethical imperatives of love and its ancillary values of friendship, desire, and devotion in Western classical music and music education, I sketch critically the role of love in this musical tradition and its transmission and transformation. I then trace some of the implications (...) of this analysis for musical education. (shrink)

Disability results from the interaction between individual and environmental characteristics (Fougeyrollas et al., 1998). The products and services offered to the consumers with disabilities are part of these environmental characteristics and play a role in the process of producing disability. For these products and services to better answer the needs of consumers and in a logic of empowerment, consumers with disabilities can participate in the design of innovative products. This is called co-design. This participation comes up against a number of (...) practical (Allen, McGrenere & Purves, 2007; Brulé, Bailly & Gentes, 2015; Magnier et al., 2012) and methodological (Hendriks, Slegers & Duysburgh, 2015; Plos, 2011) obstacles. These obstacles have been studied mainly by disability, leading to managerial recommendations that are supposed to be valid regardless of the product. However, the observation of 38 cases of co-design projects at the TechLab of APF France handicap shows that this is not the case: different products bring different challenges in terms of co-design, few of which are related to disabilities. In particular, we identify three types of obstacles to co-design within product testing phases: obstacles related to the installation of the innovative product, organizational obstacles and obstacles related to the impact of products on people’s lives. We provide solutions to overcome these obstacles and maximize the participation of consumers with disabilities in product innovation processes. (shrink)

Since all theories of knowing deal with the being of subjects, objects, instruments and environments, they can be viewed as onto-epistemological. This chapter examines key ideas that emerge from the work of Julia Kristeva – 'the speaking subject', 'materiality of language' and 'heterogeneity' – to demonstrate how ontology and epistemology are inextricably entwined in knowledge production. Kristeva also affirms both the agency of matter and the dimension of human/subjective agency implicated in cultural production. This is contrasted with Gilles Deleuze and (...) Felix Guattari’s account creative practice. The article also draws on the artistic work of researcher-practitioner Brian Martin, and his account of the relationship between Indigenous Australian art and culture to demonstrate that in an Indigenous world view, the real, the immaterial, the imaginary and the representational occur concurrently. (shrink)

Cet article décrit et analyse du point de vue de leurs évolutions majeures, les finalités des formations en alternance des maisons familiales rurales, une des principales institutions privées de l’enseignement agricole technique en France. Cette pédagogie de l’alternance est issue du syndicalisme agricole qui a défini les modes d’intervention des agents de formation, appelés les moniteurs. L’alternance, construite au départ contre l’enseignement primaire public, avait pour principal but de restaurer la famille paysanne en tant qu’instance éducative légitime, considérée comme détentrice (...) du monopole de la transmission des savoirs agricoles. Toutefois, à partir des années 1960, cette finalité initiale disparaît. Avec la massification scolaire, les formations en alternance jouent désormais un rôle d’école de la seconde chance oscillant entre une fonction de professionnalisation et une fonction de remédiation scolaire. Au cours d’une troisième période, identifiée à partir des années 1990, au moment de la création des maisons familiales urbaines, ces deux fonctions vont se rejoindre, ce dont témoigne l’évolution du rôle de moniteur : il devient un adulte référent et un « tuteur » pour des jeunes en difficulté se préparant à entrer dans la vie d’adulte. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Four Philosophical Models of the Relation Between Theory and PracticeEstelle R. JorgensenSince music education straddles theory and practice, my purpose is to sketch the strengths and weaknesses of four philosophical models of the relationship between theory and practice. I demonstrate that none of them suffices when taken alone; each has something to offer and its own detractions. And I conclude with four suggested ways in which the analysis can (...) be helpful to music teachers and those interested in their work.Clarifying what is meant by theory and practice raises a nest of conceptual problems. Concerning theory, it may be tempting to equate the terms "theory" and "philosophy." Among their shared properties, these terms deal with conceptual and abstract entities that, from the Enlightenment at least, have been held to be distinct from the phenomenal world. They also clarify ideas and distinguish one concept from another. Among their different purposes, the object of philosophy is the asking of questions in a search for wisdom or truth whereas theory is formulated for explanatory purposes, especially within the frame of scientific propositions that can be refuted through empirical observations. The tests of philosophy are, therefore, those of symbolic logic evidenced in principles such as [End Page 21] internal consistency, correspondence with evidence (deductive, inductive, or analogical), and coherence within a unity or whole. Although logical criteria may also be important in formulating and testing theory,1 it is tested and refuted primarily through means of qualitative descriptions and quantitative assessments of observable phenomena.Regarding practice, one is also confronted with an ambiguous construct that may be interpreted descriptively (what is done in the phenomenal world or taken to be the general state of affairs) or normatively (what is desirable or ideal). There is also the distinction between the practice of a seasoned performer and practice in the sense of striving towards the mastery of a competent and expert practice. In this regard, Vernon Howard distinguishes between "practice" (or the skills exemplified by proficient or expert performers) and "practise (or acquiring the level of mastery of proficient or expert performance)."2 For him, the ambiguous and paradoxical nature of artistic practice highlights the complexity of degrees of attaining mastery of skills or exemplary practice and the diverse array of skills ranging from habit to critical thinking involved in the practice of any art. Although each practice is distinguished by its own belief systems, rituals, expectations, and commonsense, boundaries between differing practices are sometimes "soft" or fuzzy, as one seeps into another.3 Consequently, it is often difficult to distinguish one from another at the margins where one practice becomes another.DichotomyThe notion of theory and practice as independent or a dichotomous relationship between the phenomenal world on the one hand and the mind and spirit on the other has its roots in the ancient world. For Plato, the world of "appearances," referring to the phenomenal world understood by imagination (eikasia) and belief (pistis), should be distinguished from the higher, abstract "intelligible world" grasped through thinking (dianoia), knowledge (episteme), and intelligence (noesis).4 René Descartes' later bifurcation of the inner and outer worlds and inversion of Platonic values and understandings resulted in the ascendancy of careful and deliberate observation of the phenomenal world over philosophical reflection.5 His ideas helped to set the stage for the Enlightenment and the Industrial, Scientific, and Information Revolutions. Empiricism, science, and technology gradually displaced philosophy as primary ways of knowing the phenomenal world and understanding the nature of mind, human cognition, feeling, and being. Making hard-boundaried distinctions between within and without one's self, the phenomenal world and the world of spiritual things, and theory and practice were important insights. These distinctions provided for limits on the sorts of ways in which truth could be known. Reasoned deliberation [End Page 22] and imaginative thought have particular usefulness in the world of theory while sensory perception and careful observation are especially useful in the phenomenal world of practice. So while the scholar might speculate about phenomena, observational tools are also useful in coming to know and understand them. Reason and observation each have particular strengths, and it ought not be assumed that philosophy or scientific observation... (shrink)

In [T. Brihaye, C. Michaux, C. Rivière, Cell decomposition and dimension function in the theory of closed ordered differential fields, Ann. Pure Appl. Logic .] the authors proved a cell decomposition theorem for the theory of closed ordered differential fields which generalizes the usual Cell Decomposition Theorem for o-minimal structures. As a consequence of this result, a well-behaving dimension function on definable sets in CODF was introduced. Here we continue the study of this cell decomposition in CODF by proving three (...) additional results. We first discuss the relation between the δ-cells introduced in the above-mentioned reference and the notion of Kolchin polynomial in differential algebra. We then prove two generalizations of classical decomposition theorems in o-minimal structures. More exactly we give a theorem of decomposition into definably d-connected components and a differential cell decomposition theorem for a particular class of definable functions in CODF. (shrink)