Providing high-quality education for students with emergent proficiency in the language of instruction (referred to here as multilingual students) presents a challenge to inclusion for educational systems the world over. In Austria, a new German language support model was implemented in the school year 2018/19 which provides language support in separate classrooms up to 20 h a week. Since its implementation, the model has been strongly criticized for excluding multilingual students from the mainstream classroom, which is argued to reinforce the (...) educational disadvantages that they face. The study presented here provides unprecedented qualitative insight into how schooling for students within the so-called German language support classes (GLSC) was organized during the COVID-19 pandemic. It builds on results of a previous large-scale quantitative study (n= 3,400 teachers), which was conducted during the first lockdown (spring 2020) and indicated a high risk of exclusion for marginalized students, especially for multilingual students in GLSC. To gain deeper insights into the situation of these students during school closures, 37 teachers who work in these classes at both primary and lower-secondary schools in Vienna were interviewed, of which 18 interviews were considered for analysis. The interviews focus on the situation during the first and second school closures in the city of Vienna. A thematic analysis of the interview data reveals teachers’ perceptions of aspects which harmed or promoted inclusion for students in GLSC during these periods of school closure. Teachers’ perceptions of the most harming factors for students included strong language barriers between teachers and students, restricted access to technical equipment and supportive learning spaces, and low parental engagement. A development that promoted inclusion of these students was the option to allow them to come to school during the second school closure. Since existing studies on the schooling of students during school closures have hardly addressed the situation of students in GLSC, this study contributes to closing this research gap. (shrink)

This paper summarizes (in German) recent tendencies in the philosophy of the life sciences.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Susanne Langer in Focus: The Symbolic MindMary J. ReichlingRobert E. Innis, Susanne Langer in Focus: The Symbolic Mind (Indiana University Press: Indianapolis, 2009)The very first sentence of this book establishes the author's goal: "to bring as clearly as possible the total range of Susanne Langer's work 'into focus'" (p. xi). Such an aim strains credulity when one is familiar with the depth, breadth, and complexity (...) of Langer's philosophy as it encompasses her complete works. Yet, Innis manages to trace the development of Langer's thought from its roots in her earliest work, The Practice of Philosophy, through the intervening books, and concluding with her theory of mind and the three volumes of Mind: An Essay on Human Feeling. Susanne Langer in Focus is the most comprehensive analysis of the progression of Langer's thought I have found to date. It is a project of Herculean proportion and one which Innis accomplishes quite well in a lucid and scholarly, though sometimes pedantic, manner despite some matters that I wish to pursue more fully.However it is important to note at the outset that Innis sharply limits his use of secondary sources and prefers to restrict involvement with "scholarly quarrels" thus choosing not to engage with Langer's detractors (p. xi). This was a disappointment for me because I share Innis's advocacy with respect to Langer's aesthetic theory and would appreciate a voice as knowledgeable and well grounded [End Page 213] as his taking on some of these arguments. Nevertheless, Langer has long been popular among musicians and music educators who will find here a sensitive and penetrating presentation of Langer's aesthetic theory and an analysis of music specifically as a paradigm for that theory.The text is divided into nine chapters preceded by an interesting biographical sketch of Langer. It appears to me that these chapters group nicely into three sections, my division, not Innis's. The first includes chapters one and two concerned with the origins of Langer's philosophy and symbol theory as found in The Practice of Philosophy, Introduction to Symbolic Logic, and to some extent, Philosophy in a New Key. The second embraces chapters three, four, and five giving primary consideration to her non-discursive or presentational symbolism, symbolic transformation, ritual, myth, and art as found in Philosophy in a New Key and Feeling and Form. The third section, chapter six, seven, and eight, is devoted to Langer's trilogy, the three volumes of Mind. A short ninth chapter concludes the book with Innes's perspective on the dimensions and position of Langer's philosophical undertaking in the broader context of philosophy in general.That said, I now wish to offer my take on some of the fruits of Innes's harvest examining each of the orchards (sections) in turn. At the outset, Innis stresses Langer's view of the position and purpose of philosophy stating that it embraces all the rational sciences in a systematic study of meaning. In fact for Langer, the logical analysis is to philosophy what observation is to science, a first step. This relation, as a kind of dialectical tension between philosophy and science, especially with respect to method, is one of Langer's major contributions as Innis points out much later in his concluding chapter. What I find quite helpful, though, is Innis's explanation of Langer's concept of a type of understanding that is non-discursive. This provides an epistemological basis for the nature of myth and art, so critical, in my opinion, to grasping Langer's theory of music as a symbol of feeling. (But I am ahead of Innis.)Innis shows that Langer's theory is grounded empirically in the psychology of perception and imagination because these allow the perceiver to abstract meaning from the form that embodies it. He continues illuminating and clarifying several terms such as abstraction, projection, semblance, virtual image, imagination, illusion, and more. His discussion of metaphor, primarily as it relates to Langer's theory of presentational symbolism, is extremely well done. His emphasis on metaphor as more than a mode of inquiry is particularly significant. Few, if any, writers about Langer... (shrink)

ABSTRACT When one thinks about the ethics of abortion, one inevitably thinks about rights, since it is in terms of the concept of rights that much of the debate has been conducted. This is true of overtly feminist as well as non‐feminist accounts. Indeed, some early feminist writers – Judith Jarvis Thomson and Mary Ann Warren, for example – employ a model of rights that is indistinguishable, or virtually indistinguishable, from that of their non‐feminist counterparts. However, more recent feminist writers (...) have developed a different understanding of ‘a woman's right to choose.’ In this paper, I will begin by outlining the non‐feminist debate over the moral permissibility of abortion. I will suggest that this debate is irresolvable, since at its heart is an ‘essentially contested concept’, that of personhood. I will then consider the way in which some feminist writers have attempted to reconceive the terms of the abortion debate and suggest an expanded account of women's right to abortion, drawing on the work of Susan Sherwin. Finally, I will argue that there is a further element to a ‘woman's right to choose’ that expands on and provides a conceptual link between the feminist and non‐feminist understanding of abortion. (shrink)

The seventeenth and eighteenth centuries are arguably the most important period in philosophy’s history, given that they set a new and broad foundation for subsequent philosophical thought. Over the last decade, however, discontent among instructors has grown with coursebooks’ unwavering focus on the era’s seven most well-known philosophers—all of them white and male—and on their exclusively metaphysical and epistemological concerns. While few dispute the centrality of these figures and the questions they raised, the modern era also included essential contributions from (...) women—like Margaret Cavendish, Elisabeth of Bohemia, Mary Wollstonecraft, and Émilie Du Châtelet—as well as important non-white thinkers, such as Anton Wilhelm Amo, Julien Raimond, and Ottobah Cugoano. At the same time, there has been increasing recognition that moral and political philosophy, philosophy of the natural world, and philosophy of race—also vibrant areas of the seventeenth and eighteenth centuries—need to be better integrated with the standard coverage of metaphysics and epistemology. -/- A New Modern Philosophy: The Inclusive Anthology of Primary Sources addresses—in one volume—these valid criticisms. Weaving together multiple voices and all of the era’s vibrant areas of debate, this volume sets a new agenda for studying modern philosophy. It includes a wide range of readings from 34 thinkers, integrating essential works from all of the canonical writers along with the previously neglected philosophers. Arranged chronologically, editors Eugene Marshall and Susanne Sreedhar provide an introduction for each author that sets the thinker in his or her time period as well as in the longer debates to which the thinker contributed. Study questions and suggestions for further reading conclude each chapter. At the end of the volume, in addition to a comprehensive subject index, the book includes 13 Syllabus Modules, which will help instructors use the book to easily set up different topically structured courses, such as "The Citizen and the State," "Mind and Matter," "Education," "Theories of Perception," or "Metaphysics of Causation." -/- And an eresource offers a wide range of supplemental online resources, including essay assignments, exams, quizzes, student handouts, reading questions, and scholarly articles on teaching the history of philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 17-29 [Access article in PDF] Intersections Form, Feeling, and Isomorphism Mary J. Reichling University of Louisiana at Lafayette These three concepts hold meanings that differ among musicians and aestheticians. In this essay I shall explore them in the writings of Susanne Langer. Contemporary musicians and aestheticians continue today to engage Langer albeit some favorably and others with disdain. Whatever their reasons, (...) she remains a dominant force in the philosophy of music.1 My purpose is not to defend her against her detractors, but rather to examine and to elucidate various aspects of these three concepts in her writing, as they are fundamental to an understanding of her aesthetic theory and to the construction of a philosophy of music and music education.First, I consider the broad and complex notion of form and the various ways Langer employs it in her aesthetic theory. Next, the rather all-encompassing idea of feeling as Langer conceives it is studied in relation to the form of the musical work. The intersection of form and feeling in the concept of isomorphism concludes the discussion. [End Page 17] Form In her various writings Langer uses several adjectives associated with the word "form" which seem to organize well into three groups. The first concerns the dynamic, living, organic, and vital qualities of form; the second speaks to its logical and abstract nature; and the last relates to the emotional or feeling aspect of form including expressive and significant characteristics.2 These groupings overlap and intertwine, but focusing on each specifically rather than all as a totality offers important insights.Form as dynamic, living, organic, and vital suggests metaphorical reference. Obviously the form is not physically, biologically, alive; reference is to the apparent movement, growth, and aliveness of the musical form as it is heard or performed. Thus this idea of form implies an actual performance to be realized or perceived. Langer is sometimes criticized for giving little attention to the actual making of music, that is, performance, yet her theory assumes music as heard. Essential to perceiving a dynamic form or hearing a feeling is a processual event, namely, performance or listening to a performance. Rarely a professional musician or gifted amateur might be able to engage this concept of form by reading through a score and hearing the music in imagination.Dynamic form parallels Eduard Hanslick's notion of tonend bewegte Formen. One might object that Hanslick and Langer are in conflict as Hanslick opposes while Langer supports the conviction that form is expressive of feeling, but that is moving beyond the matter at hand and suggests a superficial reading of both Hanslick and Langer. Hanslick asserts emphatically that music's meaning is not the arousal of emotion but does not deny feeling in music; Langer holds the same view. But Hanslick allows that "the words content and form are used not in the purely logical, but in an artistic sense." To me this suggests that he recognizes a nonliteral or metaphorical interpretation. He writes about the relationship of musical tones as "fraught with significance... congruity and opposition, their separating and combining, their soaring and subsiding-this is what comes in spontaneous forms before our inner contemplation and pleases us as beautiful." Certainly this parallels Langer's description of dynamic form.3 What is significant is that both philosophers are addressing the fluid, processual, active, movement-of-notes-through-time nature of musical form.The premise that forms are created by motion, are dynamic, is easily grasped by offering some examples. Fast cameras are able to take a series of photos of the movements of a pianist's hands giving still pictures of the moving forms created while performing a given passage.4 Alternately, forms are created by the movements of clouds or fog through the mist and early light; they are, in effect, quite literally moving forms. Cartoon characters generate moving forms through the [End Page 18] use of many drawings or more recently by means of computer animation. Time is a dynamic or moving form which we divide into hours... (shrink)

BackgroundRich in different kind of potent cells, embryos are used in modern regenerative medicine and research. Neurobiologists today are pushing the boundaries for what can be done with embryos existing in the transitory margins of medicine. Therefore, there is a growing need to develop conceptual frameworks for interpreting the transformative cultural, biological and technical processes involving these aborted, donated and marginal embryos. This article is a contribution to this development of frameworks.MethodsThis article examines different emotional, cognitive and discursive strategies used (...) by neurobiologists in a foetal cell transplantation trial in Parkinson’s disease research, using cells harvested from aborted embryos. Two interviews were analysed in the light of former observations in the processing laboratories, using the anthropologist Mary Douglas’s concept of pollution behaviour and the linguist, philosopher, psychoanalyst and feminist Julia Kristeva’s concept of the abjective to explain and make sense of the findings.ResultsThe findings indicate that the labour performed by the researchers in the trial work involves transforming the foetal material practically, as well as culturally, from trash to treasure. The transformation process contains different phases, and in the interview material we observed that the foetal material or cells were considered objects, subjects or rejected as abject by the researchers handling them, depending on what phase of process or practice they referred to or had experience of. As demonstrated in the analysis, it is the human origin of the cell that makes it abjective and activates pollution discourse, when the researchers talk of their practice.ConclusionsThe marginal and ambiguous status of the embryo that emerges in the accounts turns the scientists handling foetal cells into liminal characters in modern medicine. Focusing on how practical as well as emotional and cultural strategies and rationalizations of the researchers emerge in interview accounts, this study adds insights on the rationale of practically procuring, transforming and utilizing the foetal material to the already existing studies focused on the donations. We also discuss why the use and refinement of a tissue, around which there is practical consensus but cultural ambiguity, deserves further investigation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 64-66 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Anne Sinclair Indiana University Mary Reichling's exploration of form, feeling, and isomorphism in the writings of Susanne Langer accomplishes its goal to examine and elucidate aspects of these concepts. I find several of the ideas presented very engaging. Musical form and feeling (...) are very real to me in my experience as a music and liturgy director in the Catholic Church. I wholeheartedly agree with the concept of the processual nature of both, which has been well articulated. In my life experience, the musical form, the feeling inherent in it, and its process of coming to life in a given moment, is a near-weekly event. The church continually solemnizes life events, and musical form is an integral part of that solemnization. My response centers on the following claim: "Feeling is not a product but a process, it follows that the feeling ends when the music stops"; and question, "How can it be educational?"The example of the drama, King Lear, is very interesting. Indeed, as we get caught up in the action of the production, we become connected to the feelings and lives of the characters. I agree that it might be easier to experience feeling in a drama or epic, rather than in the visual arts, or in our sonorous art. The drama connects us to the human condition and we "feel" for the characters. In my position [End Page 64] as a liturgist, I find myself in a situation similar to that of the director of a play. Indeed, at times there is a very fine line between drama and good liturgy. However, in the liturgy we are connecting with real lives, the lives of our assembly members, not the lives of fictitious characters. Good musician liturgists strive to give voice to the emotions of the assembly. While I admit this is not always accomplished in weekly Sunday liturgies, I think especially of funeral liturgies where the music strives to speak of the hope and promise of eternal life for the departed loved one and also of the feelings of grief experienced by the assembled family and friends.I take issue with the idea "that the feeling stops when the music does." Throughout the body of the paper, Reichling highlights Langer's ideas on music's "sonorous image of feeling in an imaginatively perceptible form" and her use of the terms "semblance," "illusion," and "virtual" in regard to feeling. However, in contemplating the points brought forth, I mentally wrestled with the idea of feeling stopping when the music did. Could this position be held because it was based on what might be referred to as a "virtual" experience (for example, a musical concert or show) rather than a "real-life" moment?During the process of this contemplation, I had the occasion to attend the funeral of a friend's husband. This funeral occurred in a faith tradition other than Catholicism and I participated in the service as a member of the congregation. My friend is a music educator, her husband had been a musician, and both had been active in the music ministry of their church for nearly thirty years. As one might imagine, music was a central element in the solemnization of this man's life. The music was brought to life by an extraordinary group of musicians, including many graduate students and faculty members of the Indiana University School of Music. The music was superb and each piece had relevance to the life being celebrated as well as to the moment at hand, saying goodbye. The choir was wonderful, sharing movements from both the Brahms and Fauré Requiems, which were very moving. The soloist was renowned soprano, Sylvia McNair, an "adopted" member of the family since her days years ago as an Indiana University graduate student. Musical form and feeling came together in a powerful way for me during her singing of Fauré's Pie Jesu as she... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 67-70 [Access article in PDF] Response to Mary J. Reichling, "Intersections: Form, Feeling, and Isomorphism" David Stevenson Vassalboro, Maine Mary J. Reichling's essay regarding the three concepts, form, feeling, and isomorphism, is lucid, well structured, and aptly supported by research of other music education philosophers. She states her purpose in the opening paragraph: "to examine and to elucidate various aspects of these (...) three concepts in her [Susanne Langer's] writing, as they are fundamental to an understanding of her aesthetic theory and to the construction of a philosophy of music and music education."A philosophy of music education must be the focus in all ensuing debate, and must remain of paramount importance. Arguments, especially dialectic arguments, are not won or lost; they merely strip away the outer garments until more and more of the truth is exposed. My thoughts regarding Reichling's essay are offered in this vein.Reichling amply makes the point that music is a dynamic moving form. She asserts that "Langer argues that form is not separable from content," clarifying further by saying that "By content Langer is designating the form's import or meaning." And she offers other examples of dynamic, moving forms, among them, "forms created by movements of clouds or fog through the mist and early light." [End Page 67]At this point, perhaps interjecting the notion of perception is in order. I would suggest that the cloud formations offer no content or meaning outside of the viewer's perceptions or imagination. Music (art), being the nebulous subject that it is, ensconced in subjectivity and steeped in perception, both interpersonal and intrapersonal at the same time, exists to be taken by individuals, each at his or her own level of accomplishment, understanding, and interest. Therefore, does the meaning inhere in the form, as Langer and Reichling assert, or is it assigned by the listener (in the case of music) or by the viewer (in the case of the cloud formation)? "If the doors of perception were cleansed every thing would appear to man as it is: infinite."1 William Blake's observation notwithstanding, the truth is that perception is the only thing that we have with which to view our existence. I believe that there is such a thing as absolute truth, and that reality does exist. However, we mere mortals lack the ability to view the world through anything other than our own perceptions. The knowledge or meaning gained through contemplation of the form is, in all likelihood, quite different for each observer.Likewise, imagination and conceptual ability play a role in interpreting what the senses have perceived. Langer, and by quotation, Reichling, offers the notion of a red dot placed on the rim of a spinning wheel that appears to the viewer as a red circle. "When the spinning stops, the form, the red circle, evaporates. Did it really exist? Does it have ontological status? Is it merely an illusion?" I asked my students to close their eyes and imagine a spinning wheel with a red dot placed on the rim. I asked them, "As the wheel spins, do you see the dot?" The answer was that they saw a red circle. Did they really see a red circle, or even a spinning wheel? Of course not, we were in a music classroom. Yet they were able to conceptualize or imagine the image, and I would suggest that that carries more weight in the realm of art than does actual ontological status.The problem with the experiment of the preceding paragraph is that "Langer argues that form is not separable from content, writing that it is not possible 'to divorce the logical form from its one embodiment or expression.'" In the subsequent paragraph Reichling states, When the music stops, when the ballet is concluded, when the play ends, when the wheel stops spinning, memory may remain but the content (content as meaning-my parenthetical interjection), the feeling, the red circle, the image the dancer created is gone. Is this illogical or has knowledge... (shrink)

Discussion of Wittgenstein's Tractatus is currently dominated by two opposing interpretations of the work: a metaphysical or realist reading and the 'resolute' reading of Diamond and Conant. Marie McGinn's principal aim in this book is to develop an alternative interpretative line, which rejects the idea, central to the metaphysical reading, that Wittgenstein sets out to ground the logic of our language in features of an independently constituted reality, but which allows that he aims to provide positive philosophical insights into (...) how language functions. McGinn takes as a guiding principle the idea that we should see Wittgenstein's early work as an attempt to eschew philosophical theory and to allow language itself to reveal how it functions. By this account, the aim of the work is to elucidate what language itself makes clear, namely, what is essential to its capacity to express thoughts that are true or false. However, the early Wittgenstein undertakes this descriptive project in the grip of a set of preconceptions concerning the essence of language that determine both how he conceives the problem and the approach he takes to the task of clarification. Nevertheless, the Tractatus contains philosophical insights, achieved despite his early preconceptions, that form the foundation of his later philosophy. -/- The anti-metaphysical interpretation that is presented includes a novel reading of the problematic opening sections of the Tractatus, in which the apparently metaphysical status of Wittgenstein's remarks is shown to be an illusion. The book includes a discussion of the philosophical background to the Tractatus, a comprehensive interpretation of Wittgenstein's early views of logic and language, and an interpretation of the remarks on solipsism. The final chapter is a discussion of the relation between the early and the later philosophy that articulates the fundamental shift in Wittgenstein's approach to the task of understanding how language functions and reveal the still more fundamental continuity in his conception of his philosophical task. (shrink)

Personhood is ascribed on others, such that someone who is recognized to be a person is bestowed with certain civil rights and the right to decision making. A rising question is how severely brain-injured patients who regain consciousness can also regain their personhood. The case of patients with locked-in syndrome is illustrative in this matter. Upon restoration of consciousness, patients with LIS find themselves in a state of profound demolition of their bodily functions. From the third-person perspective, it can be (...) expected that LIS patients might experience a differential personal identity and may lose their status as persons. However, from the patients’ perspective, it is uncontested that they retain their personal identity and that they consider themselves to be persons. We here include results from a survey with patients with LIS aimed at identifying the primary expectations of patients for their care by non-medical professionals. Based on these first-hand reports, we argue that personhood in LIS is progressively regained as the widening circle of others recognizes them as persons. (shrink)

À partir des résultats d’une recherche qualitative et participative ayant impliqué des personnes qui vivent avec un problème de santé mentale, des intervenants et des gestionnaires de milieux de pratique en santé mentale et visant à explorer les représentations d’une intégration sociale jugée réussie, cet article propose une analyse et une réflexion sur les conditions de possibilité d’une société suffisamment bonne et inclusive pour les personnes vivant avec un problème de santé mentale. L’élargissement du prisme de la reconnaissance sociale s’est (...) dégagé comme une condition essentielle à cet égard qui, elle-même, implique certaines conditions, avec en particulier un travail de reconnaissance de la différence en tant que telle et la mise à distance d’une logique d’utilité. (shrink)

Against a certain contemporary style of thinking that wishes to go beyond finitude entirely, I propose a finite praxis modeled after Jean-Luc Nancy’s finite thinking. I argue that the desire to imm...

Le Comité consultatif de Bioéthique de Belgique fête ses 15 ans et établit le bilan de ses activités: ses avis ont-ils aidé les parlementaires et ministres à se former une opinion sur des sujets délicats? Ont-ils proposé des réponses aux questions auxquelles sont confrontées les comités d'éthique médicale des hôpitaux? Comment y ont évolué certaines valeurs traditionnellement fondatrices de notre société? À l'avenir, quels sont les enjeux éthiques que le grand public souhaiterait voir traités par le Comité?

Introduction -- From natural philosophy to theories of method -- Explanations, laws, and theories -- Change and the effect on scientific realism -- Science, society, and values -- Conclusion -- Glossary.

La correspondance de Pline le Jeune, publiée au II e siècle de notre ère, regorge de références à la mission de l’avocat. Bien que l’activité d’avocat ne soit pas la seule exercée par l’auteur, elle occupe une partie très importante de son temps, comme il le reconnaît lui-même, et remplit une fonction essentielle au sein de la société romaine. En assurant la défense des droits des femmes et des hommes qui le sollicitent, l’avocat s’assure de placer la justice et le (...) droit au cœur de la société et participe ainsi au renforcement du lien social. Une telle mission ne peut, selon Pline le Jeune, être confiée qu’à des hommes dont les qualités humaines sont supérieures et qui appartiennent de facto à la noblesse romaine. L’avocat plinien s’illustre par une noblesse de rang et d’âme. (shrink)