L’article propose d’éclairer le différend philosophique entre Schiller et Fichte, en mettant en évidence leurs conceptions respectives de la Bildung et le lien qui s’y noue entre esthétique et politique. L’objectif est de confronter la philosophie schillérienne de la Bildung développée dans ses Lettres sur l’éducation esthétique de l’homme à la reprise à la fois positive et restrictive que fait Fichte, principalement dans ses écrits de la période d’Iéna, de certaines thématiques de cet ouvrage et de la stratégie de résistance (...) culturelle qui s’y déploie, pour mettre en lumière le rapport inverse qui opère, chez l’un et l’autre, entre esthétisation de la politique et politisation de l’esthétique. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Coleridge, Schiller, and Aesthetic EducationGary PetersColeridge, Schiller, and Aesthetic Education, by Michael John Kooy. New York: Palgrave, 2002, 241 pp.Who reads Friedrich Schiller today? With the Aesthetic Education of Man struggling to remain in print in the English-speaking world (at least in the UK, from where I am writing this) it would seem fewer and fewer readers are prepared to engage with (or be educated (...) by) this once influential aestheticization of the world; and as for Marcuse on Schiller, or the young(er) Frederic Jameson on Schiller and Marcuse, they, too, seem to be speaking from another era, an ancient time when the humanist utopian promise could still be taken seriously. Promises are made to be broken, of course, especially the promesse de bonheur, but are we right to feel betrayed by the assorted Schillerians who so passionately raised our hopes, only to fall silent when they were so comprehensively dashed? Perhaps betrayal is putting it too strongly, but the fact remains that we seem to have ended up with a notion of aesthetic education that educates nobody, not even those within art education who need it more than most. But then perhaps the whole notion of aesthetic education as a promise is itself fundamentally flawed, the product of a political reading—the politicization of the aestheticization of the world—that casts the lessons of the aesthetic into the future rather than engaging with the event of the artwork as it erupts in a "now," which is aporetic in the extreme, and thus ill-equipped [End Page 119] to radicalize the unradic1al mind or mobilize the immobile.Clearly, Michael John Kooy reads Schiller today, but, having said that, it is never made entirely clear who he is writing for. Indeed, we may ask, does he have much of an audience at all or is he speaking too long and too late into the vacuum left by the collapse of humanist optimism? His own position is an interesting one, as both a literary theorist and a philosopher; one of the real strengths of the book is Kooy's pursuit of philosophical ideas in the body of Schiller's and Coleridge's dramatic and poetic work, often to good effect, but, to ask the question again, who is listening? Philosophers? Writers? Professional academics or the nonacademic audience that one would assume was always the intended beneficiary of the concept of aesthetic education?To attempt to think around some of these questions, without necessarily trying to answer them, we might start by considering who the philosophical audience for this book might be. My guess is that the philosophy of education, the subgenre of philosophy that might benefit from an aesthetic education itself, will be largely deaf to the message running through these pages. Long dominated by an ethical, religious, and liberal political agenda, the philosophy of education in its hegemonic Anglo-American guise has never made much room for the aesthetic, particularly in its "continental" radical incarnation—far too woolly, idealist, utopian, far too "arty." So, not much of an outlet here, but, having said that, the recent Anglo-American fascination with the very "continental" notion of Bildung might prove to be a fruitful point of contact, and Kooy does devote some useful pages and a substantial epilogue to a discussion of this thorny subject. There is a problem here, however, in that while Kooy is excellent when thinking through the dissonance between the teleological purposiveness of Schiller's and Coleridge's conceptions of universal history, so important to their notion of aesthetic education as a cultural model, and the very different self-substantiating autonomy of Bildung, he is much less engaged with the more fundamental pedagogical issues that arise within the particularity of the teaching encounter: How is the necessary autonomy of aesthetic education to be taught without thereby jeopardizing that very autonomy? It is at this point that a philosophical audience (one engaged in continental philosophy, that is) might have expected a more thorough account of the deeply problematical relationship between the Schillerian notion of aesthetic education and the aesthetics to be found in Kant's Critique of Judgement, its acknowledged source. This is not... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy—Aesthetics—Education:Reflections on DanceTyson Lewis (bio)To create is to lighten, to unburden life, to invent new possibilities of life. The creator is legislator—dancer.—Gilles Deleuze, Pure ImmanenceThe Italian philosopher Giorgio Agamben is perhaps best known for his ongoing interest in the problem of "biopower." Taking up where Michel Foucault ended, Agamben argues that the principle political and philosophical questions of the moment concern the connections between life and power. In (...) this sense, he stands in diametric opposition to one of the leading French intellectuals of our times: Alain Badiou. For Badiou, the key question of the present is not so much power and the body as it is the ethics of truth. According to Agamben, Badiou's project has abandoned thinking about the biopolitics of life and as such is both philosophically and politically suspect. But does Agamben's critique prematurely dismiss Badiou? In other words, does his critique prevent us from recognizing the precise location of biopolitics in Badiou's work? It is my contention that we must read Badiou not against but from within a biopolitical framework in order to realize both the validity of Agamben's criticism and its limitations. In fact, it is through the critical lens of biopolitical theory that we can begin to see the unique links in Badiou's thinking between aesthetics, the body, and education. In conclusion, I argue that Agamben provides insights missed by Badiou's reduction of the animal body to the disavowed grounds for the grace and beauty of truth, while at the same time Badiou provides Agamben's own theory of biopolitics with a unique educative practice: the practice of dance.Here I would like to justify this philosophical inquiry for educational theorists. With the fate of art-based educational programs uncertain in the [End Page 53] face of standardization, it is perhaps time to reassess legitimating claims for retaining arts education programs. By reading Badiou through Agamben, I hope to provide a new reason for advocating the centrality of dance in educational programs and assert the inherently educative qualities of movement-based curricula. Second, I hope to suggest in my conclusion that dance is an important form of educational practice antithetical to current forms of capitalist "bioproduction." As such, I will link together my own theory of dance education with the critical pedagogical tradition in order to anchor the "utopian imagination" in a practice of the body. This is an attempt to fill in a rather vague sphere of critical pedagogical research and theory: aesthetic practice. Overall, this article will bring together two important philosophical traditions—Agamben's biopolitical theory and Badiou's theory of truth—in order to examine their relation to education and, in turn, how education is a central concept for thinking through contemporary continental philosophical traditions.Biopower and Event: Situating the Subject in Relation to TruthMichel Foucault first coined the theoretical concept "biopower" in his work on the history of sexuality.1 In order to understand Foucault's meaning we must first separate biopower from sovereign power, which is characterized by the "right to decide life and death."2 The sovereign—which for Foucault is not simply a form of territorial rule but is a principle of power relations—decides who lives and who dies. Power here is the power of the sword that marks the body directly through overt forms of public torture and violence. But in the classical age and with the rise of capitalist social relations, the form and function of power switched. Famously, Foucault wrote that the highest function of power "was perhaps no longer to kill, but to invest life through and through."3 This new form of power—whose concern was no longer death but the maintenance and regulation of life—operates on two interconnected levels. First, biopower conceives of the body as a machine, which must be disciplined in order to be made more efficient. Here, power acts as microphysics, training the individual body in order to reach a high level of social efficiency. Second, on the macro level, biopower transforms the populous into a population that has to be carefully regulated in terms of propagation rates, health levels... (shrink)

Preface -- Introduction -- The burden of English -- Who claims alterity? -- How to read a "culturally different" book -- The double bind starts to kick in -- Culture: situating feminism -- Teaching for the times -- Acting bits/identity talk -- Supplementing Marxism -- What's left of theory? -- Echo -- Translation as culture -- Translating into English -- Nationalism and the imagination -- Resident alien -- Ethics and politics in Tagore, Coetzee, and certain scenes of teaching -- Imperative (...) to re-imagine the planet -- Reading with Stuart Hall in "pure" literary terms -- Terror: a speech after 9/11 -- Harlem -- Scattered speculations on the subaltern and the popular -- World systems and the creole -- The stakes of world literature -- Rethinking comparativism -- Sign and trace -- Tracing the skin of day. (shrink)

A discussion of Hegel's aesthetics in light of Schiller's theory of aesthetic education--and which links aesthetics to politics, ethics, and the project of enlightenment.

정치철학에서 세련된 정치(polite politics)란 덕, 도덕적 감정, 미적 취향 등을 중심으로 한 정치적 실천을 의미한다. 이 글의 목적은 세련된 정치를 논하는 과정에서 흄의 도덕감정론과 그의 정치철학의 관계를 해명하고자 하는 것이다. 이를 위해 나는 흄이 『인성론』에서 제안한 공감을 기반으로 한 도덕 감정론이 정치철학에서 정치 체제의 건전성을 위해 불충분하다고 주장하면서, 『도덕, 정치, 문예 에세이』에서 도덕적·미적 교육과 지역 정치의 권한 부여를 통해 시민의 제한된 도덕적 감각을 확장하고자 했음을 보인다. 구체적 논의의 방향은 다음과 같다. 첫째, 나는 흄이 『인성론』 3권의 도덕 감정론에서 제시한 공감을 기반으로 (...) 한 자연적 덕과 인위적 덕을 통한 해결책이 정치 체제의 건전성을 위해 불충분하다고 보았다고 주장한다. 자연적 덕은 국가 전체의 응집력을 유지하기에 충분하지 않고 오히려 지역 공동체를 위한 것이다. 인위적인 덕은 사람들이 자신을 이 더 큰 전체 중 일부로 보도록 훈련하는 데 필요하다. 이 지점에서 우리는 미적 교육의 가치의 필요성을 알 수 있는데, 이는 개인에게 자신의 특정 부분, 자신의 지역성이 전체에 어떻게 들어맞을 수 있는지를 깨닫게 할 수 있다. 둘째, 흄은 『도덕, 정치, 문예 에세이』에서 도덕적, 미적 교육을 통하여 시민의 제한된 도덕 감각을 확장하고자 하였는데, 여기서 ‘취향’이 중요한 역할을 한다는 사실을 밝힌다. 셋째, 흄은 지역 정치의 권한 부여를 통하여 시민의 제한된 도덕 감각을 확장할 것을 제안하였는데, 이는 그가 『인성론』에서 주장한 이론철학으로서 도덕감정론을 『도덕, 정치, 문예 에세이』에서 현실적으로 제도적 보안을 통해 실행 가능한 원리가 되게 하려는 시도였다고 본다. 나는 『에세이』에서의 그의 주장은 철학과 현실의 차이를 실감하면서도 실행 가능한 최선의 방책을 제시하는 것이라고 주장한다. (shrink)

The aesthetic functional education of film art lies in the fact that Chinese people of their background in traditional culture, can be influenced and infected by truth, goodness, and beauty through excellent film works and develop empathy in the ritualized activity of watching movies. The animation film "30,000 Miles from Chang’an" combines historical narrative previous historical cultural and artistic aesthetics, presenting a colorful world of aesthetic education. The film is based on traditional poetry, and is conducive to unique (...) narrative art techniques, presenting history and reality to the audience to the extensive greatest. The audience cannot appreciate the prosperity of the heyday of the Tang Dynasty from the film pictures only appreciate the charm of Tang Dynasty poetry, which enhances the audience's understanding and recognition of Chinese traditional culture. This movie provides the audience with an animated film with an opportunity to explore information about the original history that is told as a true story through this film through the traditional culture of China and enrich the audience's aesthetic experience and cultural literacy. Interestingly, the film system of China and the socialist film system were established at this stage and exerted a continuous influence on the political, economic, social, and cultural fields. (shrink)

Abstract:The purpose of this introduction is to set out the scope and content of this special issue of the Journal of Aesthetic Education, which takes Aesthetic Education through Narrative Art as its subject. I begin by delineating the “aesthetic” itself and then identifying the denotation of “aesthetic education” with which the issue’s authors are concerned. This is followed by a characterization of “narrative art” that belies my preference for representation rather than art and draws attention to (...) the multiple modes of representation that constitute complex narratives. I next turn to the title of the special issue, an abridged version of Aesthetic Education through Narrative Art and its Relevance for the Humanities, which is an installation research project funded by the Croatian Science Foundation to investigate the relationship between aesthetic and artistic values on the one hand and ethical, political, and social values on the other. The project is multidisciplinary among philosophy, criminology, film studies, and cognitive science, and three of the authors are members of the project team. I conclude by introducing each of the six articles, which employ two approaches, one from philosophical aesthetics and the other from critical criminology. (shrink)

A classic of 18th-century thought, Schiller’s treatise on the role of art in society ranks among German philosophy’s most profound works. An important contribution to the history of ideas, it employs a political analysis of contemporary society—and of the French Revolution, in particular—to define the relationship between beauty and art. Schiller’s proposal of art as fundamental to the development of society and the individual remains an influential concept, and this volume offers his philosophy’s clearest, most relevant expression. Translated and (...) with an introduction by Reginald Snell. (shrink)

Returning to the origins of education, Becoming Pedagogue explores its role in today's society by reuniting philosophy with pedagogy. It investigates the aesthetics, ethics and politics of childhood, education and what a teacher really does, enabling educators to define and perform their profession as per its historical and intellectual roots. Reflecting on the practice, science and knowledge-tradition of pedagogy as well as abstract and formalist discourse at all levels, Olsson's work evokes real and free aspects of educational experiences and events. (...) Through a close reading of French philosopher Henri Bergson's major works, historical and contemporary pedagogical resources as well as the pedagogy developed in the early childhood centres in Reggio Emilia, Italy, it develops a critical-cum-creative methodology that both analyses the present educational situation as well as creates new pedagogical alternatives. Using brand new perspectives as well as practical examples of what teachers do, Becoming Pedagogue will provide students, educators and researchers tools for critiquing simplified ideas of what a teacher is as well as giving them inspiration to experiment with alternative ways of teaching. (shrink)

Built upon the principle that divides and elevates humans above other animals, humanism is the cornerstone of a worldview that sanctifies inequality and threatens all animal life. Adorno, Politics, and the Aesthetic Animal analyses this state of affairs and suggests an alternative--a way for humanity to make itself into a new kind of animal. Theodor W. Adorno has been accused of leading critical theory into a blind alley, divorced from practical social and political concerns. In Adorno, Politics, and (...) the Aesthetic Animal, Caleb J. Basnett argues that by placing the problem of the human/animal distinction at the centre of Adorno's thought, we discover a new Adorno, one whose critique of domination is in dialogue with classic concerns of political thought forged by Aristotle, including questions of humanist political education and the role of art. Through a close reading of primary sources, Basnett identifies the principal conceptual structure entwined with the understanding of human life as antagonistic to other animals, and outlines how forms of aesthetic experience disrupt this problematic concept in favour of a reconceptualization of what we call human. His analysis displaces the centrality of the human and attempts to open up a space for its transformation, both in terms of how humans relate to each other and in how humans relate to other animals. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Symposium Art and Aesthetic Education in Times of Terror: Negotiating an Ethics and Aesthetics of Answerability Deanne Bogdan University of Toronto Claudia Eppert Louisiana State University Candace Yang Louisiana State University Charlene Morton University of Prince Edward Island The terrorist attacks of 1 1 September 2001 have created a climate of loss and fear among many in the western world. Some educators have maintained that any discussion ofthese (...) events so soon after they have happened threatens to dishonor the memory ofthe victims and is too difficult because ofour emotional unsettlement. These concerns are warranted; any discussion would indeed need to be mindful ofthem. The predominant position ofthis symposium, however, is that these events have created such chaos and uncertainty that we are faced with the immediate challenge not of disavowing or deferring discussion but rather of determining the initial terms of an ethical answerability. Thesymposiumparticipants seek to initiate such a difficult conversation in the hope that aspects of it might offer a productive resource forclassroompracticeanddailylivingas we find our way through grief and moral confusion. Thediscussion centers ontheroleaesthetics and aesthetic education haveplayed and continue to play in responding to these events and their aftermath. In particular, it considers the terms on which the arts might variably serve as a vehicle for consolation and healing, for honoring the victims of this event, and for educating present and future generations about what happened and about the requirements ofpeace. Furthermore, the challengefacedbythearts andaestheticeducation in addressingNorthAmerica's psychic and social needs is increased in recognition that these challenges are occurring in a context heavily infused with senseless violence and nationalist rhetoric. This context makes evident the need for artists and educators to help map an ethical and spiritual terrain for re-evaluating the "American way of life," national identities, and democracy itself. It is amappingthat shouldnot takeplace outsidethe arena ofthe political, but should respond to and intervene in it. It is a mapping, therefore, directed toward helping find"a wayofdevelopingapraxis ofeducational consequence that opens the spaces necessary for the remaking ofa democratic community " (Maxine Greene, The Dialectic ofFreedom [New York: Teachers College Press, 1988], 126). The papers in this symposium were originally presented as a panel discussion at a special session of the Philosophy of Education Society (PES) annualmeeting,Vancouver,BritishColumbia, in April 2002.©Philosophy ofMusic Education Review 10, no. 2 (Fall 2002): 124-139.... (shrink)

This book provides a radical rethinking of the prominent Indian thinker Rabindranath Tagore, exploring how his philosophy of education relates to the ideas of Western theorists such as Kant, Plato and Aristotle. Tagore's thoughts on pedagogy, university and formal education are subjected to a fascinating critique within Ghosh's transcultural framework, referencing a wide range of thinkers across varying time periods, places, and cultures, and developing a greater sensitivity to other traditions, languages, and forms of thinking and writing. The book changes (...) the way we have so far thought about the educationist Tagore, and will be of interest to scholars and specialists of literature, Indian history, and philosophy of education. It is political, deeply philosophical and has a transcultural take on our understanding of a variety of issues relating to Tagore and to philosophy of education in general. (shrink)

A notion of "good work," derived from William Morris and the Arts and Crafts Movement but also part of a wider tradition in philosophy (associated with pragmatism and Everyday Aesthetics) understanding the global significance of, and opportunities for, aesthetic experience, grounds both art making and appreciation in the organization of labor generally. Only good work, which can be characterized as "authentic" or as unalienated conditions of production and reception, allows the arts to thrive. While Arts and Crafts sometimes promotes (...) a limited aesthetic (both theoretically and stylistically) around handicraft, a good-work aesthetic theory encompasses a broader range of working methods and materials without compromising the core Arts and Crafts "authenticity" principles of control over production and creative autonomy. Moreover, it gives weight to the equally important role of spectators by linking their aesthetic education to good work in their working lives and, in turn, to the success of artworks. The theory delivers insights into the nature of works as collaborative projects and the developmental courses, participatory and esoteric, open to the arts generally; and it is a robust counter to anti-aestheticism and intellectualism in the theory and practice of the arts. William Morris and the artist-craftsmen and -women of the Arts and Crafts Movement have a theory of art and the aesthetic that has an importance beyond their own artistic work and its achievements. Morris delivered lectures on the arts in many British towns and cities in the 1870s, 1880s, and 1890s; these were published as Hopes and Fears for Art and later as a volume of his collected works.1 The movement codified and publicized its practices through various societies and organizations like the Arts and Crafts Exhibition Society and Charles Ashbee's Guild and School of Handicraft, each producing its own literature, which ranged from practical handbooks to political exhortations. Later, William Lethaby's lectures, often to organizations that were part of the movement, were published as Form in Civilisation.2 To that extent, then, a Morrisian or Arts and Crafts aesthetic theory has to be constructed from sources that were necessarily rhetorical, as well as being practical and theoretic. Morris and Lethaby were explicitly aiming to influence current artistic practice through their lectures to audiences usually composed of artists, architects, civic leaders, and so on (and this no doubt at least partly accounts for their neglect in philosophical aesthetics). Still, I will argue that this reconstructed theory is sufficiently coherent and sophisticated to be worth investigating for its relevance to contemporary debates in analytic aesthetics, particularly against those arguing for art as a nonaesthetic activity (of which the seminal text remains Arthur Danto's "The Artworld"), and for its arguments for art's connections (as an activity of both making and experiencing artworks) with other life experiences.3 In these respects, then, in the history of aesthetics it is a forerunner of, or at least has intellectual associations with, pragmatist aesthetics (yet it is often unacknowledged within that paradigm, so neither Dewey's Art as Experience nor the more recent pragmatist works by Richard Shusterman cite Morris) and shares ground associated with the Everyday Aesthetics movement.4In arguing for the theoretic and historic significance of a Morrisian aesthetic, I take encouragement and a lead from Paul Guyer's recent acknowledgement of the neglect of Morris in accounts of the history of philosophical aesthetics. Guyer names Morris, along with Schiller, Ruskin, and Dewey, as properly understanding the full significance of the distinctive character of aesthetic experience. As Guyer writes, they understood that aesthetic experience is distinctive in its freedom from our most immediate obsessions with purpose and utility, but that the freedom it thereby allows us is not a freedom for the simple contemplation of beauty with no further concerns or implications, but rather a freedom to develop our imaginative and cognitive capacities, to gain knowledge of ourselves and others, and to imagine new ways of life, a freedom that is valued not simply for its own sake but also because of the benefits the developments of these capacities can bring to the rest of our lives. (shrink)

The ‘liberal utopia’ presented by Richard Rorty in Contingency, Irony, and Solidarity is a unique attempt to address the ancient problem of the relationship between individual and society or, in Rorty's terms, that between the private and the public. This article examines Rorty's influential conception of education and asks: can his book be regarded as utopian? Is it possible to establish an education for democracy on his ‘postmodern’ premises? I conclude that Rorty's attempt to separate private from public and to (...) promote a fusion between irony and solidarity is tantamount to founding human existence on an aestheticising orientation. This entangles Rorty in self-contradiction and raises educational and political problems which remain unresolved. (shrink)

The poet and dramatist Friedrich Schiller was also a profound philosopher, who described his work On the Asethetic Education of Man as 'the best thing that I have done in my life'. This impassioned treatise analyses politics, revolution and human nature to define the relationship between beauty, art and morality. Expressed as a series of letters to a patron, it argues that only an aesthetic education--rather than government reform, religion or moral teachings--can achieve a truly free society, and must (...) be placed at the heart of human experience. One of the most important works of German philosophy, its arguments remain as arresting and inspiring as when they were first written. (shrink)

The paper examines the “prehistory” in the 18th century of the theory of Bildung. Pedagogical historiography commonly traces the theory back to the influence of Anthony Ashley Cooper, third Earl of Shaftesbury, who is held to be the founder of the concept of “innere Bildung; on the grounds that Shaftesbury’s concept of “inward form” was translated into German as Bildung. The study focuses on the reception of Shaftesbury’s writings in the German-speaking realm in the 17th century in order to discover (...) the contexts of discourse in which this reception took place and to find out what significance the various discourses had for the formulation of a German “theory of Bildung.” What is revealed are varied influences of a religious, literary theory, and aesthetics nature that give indications as to why the construct of Bildung has remained diffuse and excessive in the German tradition up to the very present. It is also shown that the concept, in comparison to other discourses, found its way into the pedagogical discourse relatively late, which may be another reason for the difficulties that the German theory of Bildung continues to present to the science of pedagogy. (shrink)

Friedrich Schiller, German poet, dramatist, philosopher and publisher, was a prominent contributor to the educational neo‐humanistic concept of Bildung at the threshold to Romanticism. Schiller assigns a pivotal role to the aesthetic education arguing that aesthetic activity reconciles sensuousness and reason and thereby creates the precondition of knowledge and morality. The article examines elitist and sexist traits in Schiller's work and whether they are constitutive to his theory of aesthetics and education. By identifying problems in the philosophical foundations (...) of the concept of Bildung the authors wish to contribute to its ongoing reconstruction in the Nordic Countries. (shrink)

This collection of essays explores the possibilities of studying educational matters with the tools of narrative and literature. Written over the course of the 1980s and 1990s, these essays trace the literary turn in educational research toward forms of literary journalism, critical storytelling, and postmodern narrative. The articles are presented as biographical evidence of the author's ongoing quest for forms of educational research that are well-suited to the enormously complex nature of educational encounters. This collection includes both theoretical dissertations and (...) actual case studies of schools and school people. (shrink)

This essay explores aesthetics, affect, and educational politics through the thought of Gilles Deleuze and Jacques Rancière. It contextualizes and contrasts the theoretical valences of their ethical and democratic projects through their shared critique of Kant. It then puts Rancière's notion of dissensus to work by exploring it in relation to a social movement and hunger strike organized for educational justice in Chicago's Little Village neighborhood. This serves as a context for understanding how educational provisions are linked to the (...) class='Hi'>aesthetic distribution of perception within the neoliberal city. It also serves as a powerful example of how these orders of perception are resisted and subverted at the local level by aesthetic and affective means. Through the Little Village hunger strike the essay argues that while Rancière allows us to recognize the aesthetic dimensions of the political, he falls short in addressing tactical and/or affective considerations. The essay concludes by seeking to extend the critical efficacy of Rancière's dissensus through a rendering of tactical affect within Deleuzian metaphysics. (shrink)

This paper draws on insights from Jacques Rancière's writing on politics and aesthetics to offer new perspectives on debates in education and the arts. The paper addresses three debates in turn; the place of contemporary art in schools and gallery education, the role of art in democratic education and the blurring of boundaries between participatory art and community education. I argue that Rancière's work helps to illuminate some essentialist assumptions behind dichotomous arguments about contemporary art in the classroom—both over-hyped claims (...) about its value, and exaggerated fears about its threat to educational values alike. On democratic education I argue that his work highlights the importance of the aesthetic dimensions of democratic learning and, on art and community education, I issue caution against readings of Rancière's work that frame his contribution as a ‘rehabilitation‘ of the aesthetic. Although each debate is tackled discretely, the paper advances the overall argument that attention to equality in Rancière's work—both aesthetic and political—is vital when applying his philosophy to debates that occupy the boundaries of education, politics and art. (shrink)

The argument is that Bildung has occupied Habermas from the earliest writings. In these writings he criticizes the idea of being educated as an expression of innate abilities and emphasizes instead the significance of the social conditions of the upbringing. This is the subject of the first section. The second section provides a presentation of the ideology-critical analysis of Bildung found in Habermas’s doctoral thesis on The Structural Transformation of the Public Sphere. The basic critique is that the ideal of (...) individual Bildung is too tightly connected to economic and political dominance, but still the ideal contains some truth. The third section maps his relatively sparse comments regarding Bildung in the subsequent decades. Significant here is Knowledge and Human Interest, where he works himself out of the philosophy of consciousness framework towards the Theory of communicative action. This becomes the communicative approach, which becomes the framework of Habermas’ discussion of Bildung, both in relation to philosophical ethics – discourse ethics – and in more specific discussions, such as what is the role of the university in modern society. Finally just a few words on the political philosophy and the philosophy of law, which Habermas presents in Between Facts and Norms, where he once again allows Bildung have a positive normative significance, but now in a collective communicative perspective. (shrink)

This book responds to the need for new ways of defining the aims and forms of education, in an age that has seen the ideals of progress and growth lead the planet and its inhabitants to the brink of extinction. Arguing that contemporary ideas of performance and accountability counter 'the heart' of education, the book calls for a retuning of education that encourages the young generation to study objects and ideas for their own sake, rather than to appease established and (...) conventional notions in society - therefore stepping into a common space of reflection and study. Chapters examine exactly why and how we educate, and offer the alternative of engaging with educational questions, not determined by the logic of progress and growth but with an objective of creating a relation to the world around us. Using the works of Hannah Arendt combined with the tradition of Allgemeine Pädagogik to argue for a new conception of Bildung, the book encourages a method that emphasises outrospection over introspection. Ultimately questioning modern-day education, the book redirects and retunes education away from being wholly concerned with achievement and growth, and will therefore be of interest to students, researchers and academics in the fields of philosophy of education, education and curriculum studies, education policy and politics, and sociology of education. (shrink)

The paper discusses Ralph Waldo Emerson’s thought in relation to the German Bildung tradition. For many, Bildung still signifies a valuable achievement of modern educational thought as well as a critical, emancipatory ideal which, frequently in a rather nostalgic manner, is appealed to in order to delineate problematic tendencies of current educational trends. Others, in an at times rather cynical manner, claim that Bildung through its successful institutionalization has shaped vital features of our present educational system and has thus served (...) its time and lost its critical potential. When thinking through Emerson’s variations on Bildung I argue against the nostalgic appeals to Bildung that the criticism against it has to be taken seriously. Against the cynical assessment of Bildung having run its course, I will hold that with Emerson we can develop the idea of an ‘aversive education’ as a call for Bildung to be turned upon itself, allowing to revive it as a conceptual tool for transformation, drawing particular attention to its political dimension. (shrink)

This study explores Nietzsche's political education as a means of understanding his wider political thought. Incorporating biographical details of Nietzsche's own education, it outlines the course of political education that Nietzsche recommends as an antidote to the crisis in Western European culture. Heilke begins by examining Nietzsche's formulation of this crisis, especially his conceptions of "Romantic Pessimism," "Socratism," and Christianity. For Nietzsche, only a properly ordered education could resolve the problem of how one can transform a society (...) whose fundamental cultural and political premises one rejects. Through education Nietzsche sought to establish a new political and social system founded upon the principles of tragedy and grounded in the aesthetic tradition of German Romanticism. Nietzsche's Tragic Regime focuses on Nietzsche's political philosophy until his resignation from his post as professor in 1876, with attention also to the later writings. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dostoevsky and Schiller:National Renewal Through Aesthetic EducationSusan McReynoldsDostoevsky's novels pivot upon scenes of spiritual transformation, moments of revelation that resolve dilemmas for which no logical solution can be found. Raskolnikov, for example, analyzes his crime from philosophical and sociological angles until he almost dies; he is saved by his dream of the plague and by the image of Sonia's face. When insight and progress come to Dostoevsky's fictional (...) characters, they come as dream, memory, and rapture before images of beauty and suffering. The choice between spiritual and logical solutions confronting Dostoevsky's characters is also a choice between Russia and the West. The rationalism and corollary doctrine of egoism that drives characters like Svidrigailov, Stavrogin, and Ivan Karamazov to madness and death are clearly associated in Dostoevsky's novels with Western philosophy. The ability to surrender to the beneficial power of images is associated with characters like Dmitry Karamazov, who is able to accept the primacy of spiritual truth—the truth of his need for expiation—over the fact of his legal innocence of his father's murder. The breadth of spirit that renders Dmitry receptive to the truth revealed in his dream image of the suffering child is clearly identified in The Brothers Karamazov as a distinctively Russian national trait.The contrast between reason, death, and the West, on the one hand, and receptiveness to imagistic truth, salvation, and Russia, on the other, [End Page 353] drives the plots of Dostoevsky's novels. This familiar feature of Dostoevsky's art is first articulated in texts unfamiliar to most readers; the historical essays of the early 1860s that were among his first published works after his return from exile. In 1849, Dostoevsky was arrested as a member of the Petrashevsky Circle, an association dedicated to disseminating the tenets of Western socialism in Russia. For his participation in the Circle, Dostoevsky was initially condemned to death; the sentence was commuted to four years of hard labor in Siberian prison camp, to be followed by an indefinite period of military service in Siberian exile.When Dostoevsky returned to St. Petersburg and public life in 1860, he and his older brother Mikhail launched the journal Time. Mikhail served as editor. Dostoevsky would publish The Insulted and Injured and Notes from the House of the Dead in its pages, in addition to numerous essays dedicated to contemporary literature and events. The essays on Russia and Europe published in Time were a creative workshop in which some basic features of his later novels—most notably the contrast between Western positivism and Russian spirituality, conceived as the capacity to embrace imagistic revelations of the truth—were first developed. The pressure of Dostoevsky's developing artistic craft is clearly apparent in these non-fictional texts from the early 1860s, which narrate modern Russian and European history as a story structured by a dual plot of death and redemption.Before Dostoevsky wrote novels structured around the contrast between characters like Dmitry and Ivan Karamazov, he wrote essays structured around the contrast between Russia and Western nations like France and England. Before Crime and Punishment portrayed Raskolnikov's resurrection as the surrender to images offering glimpses of something that eludes rational analysis, Dostoevsky's essays in Time predicted national renewal for Russia through her embrace of the truths conveyed by the images of fine art. Some essays in Time compose a plot of national rebirth through the effects of artistic images for Russia, but others admonish readers with what Dostoevsky believed would be the terrible consequences of positivism for the West. Winter Notes on Summer Impressions, published in Time in 1863, casts France and England as mortally ill victims of a materialist worldview that can only grasp the challenges of modernity as scientific and political problems. The spiritual solutions that will be revealed to Russia through images of beauty, Dostoevsky warns, will elude nations ensnared in rational approaches to their problems. [End Page 354]Throughout his post-exile life, Dostoevsky believed that political improvement results from changes in the moral condition of individuals, inner changes that are catalyzed by images, not reached through rational deliberation. In 1861, he writes of the Imperial edict... (shrink)

The Aesthetic Dimensions of Educational Administration and Leadership provides an aesthetic critique of educational administration and leadership. It demonstrates the importance of aesthetics on all aspects of the administrative and leadership world: the ways ideas and ideals are created, how their expression is conveyed, the impact they have on interpersonal relationships and the organizational environment that carries and reinforces them, and the moral boundaries or limits that can be established or exceeded. The book is divided into three sections. (...) · Section I examines various philosophical traditions in aesthetics as they inform administrative life, focussing on major modern traditions arising from Kant, romanticism and Nietzsche, Collingwood, the pragmatic school, and critical theory. · Section II explores four aesthetic sources for administrative critique - architecture, literature, film, and movement - as they serve both to understand the social construction of administration and leadership and provide a critique of values, roles, power and authority. · Section III examines more topical and applied problems of charisma, heroism, and authority in practice, concluding with a discussion of the aesthetic analysis of politics and power within the context of contemporary educational administration and leadership theory. While presenting a significant departure from conventional studies in the field, the international contributors reflect a continuity of thought on the creation, use and abuse of administrative and leadership authority from the writings of Plato through to contemporary theory. This book should appeal to school administrators and leaders and those aspiring to these roles. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Graham McPhail, “Too Much Noise in the Classroom? Towards a Praxis of Conceptualization,” Philosophy of Music Education, 26, No. 2 (2018): 176–98.Patrick K. Freer“Are you all right, Sir?” asked the head trainer. I was on the treadmill at the gym, reading Graham McPhail’s “Too Much Noise in the Classroom?”1 as I worked up a sweat. Apparently I got so engaged by McPhail’s writing that my heart rate (...) spiked sufficiently to trigger a warning monitor at the front desk. I suspect not many others at the gym would agree that McPhail’s article qualifies as a pulse-racing, spine-tingling thriller. Still, I found the article to be revelatory in its content, scope, and style. In this brief essay, I will provide a few contextual and reflective comments regarding elements of his argument, state why I feel McPhail’s article is important, and describe two examples of how I plan to use his article as a framework for the consideration of philosophical concepts in music education.NOISE“Noise” is a curious word. The term has etymological origins in the Latin “nausea” with its connotations of discomfort and it gradually became associated [End Page 87] with “discord” or “quarrel” during the medieval period.2 The “noise” referenced in McPhail’s article title is akin to statistical noise in a research study: random data points that are discordant with the underlying facet being revealed or examined. McPhail likens this concept of noise to some current conversations about music education’s curricular and pedagogical foundations, specifically those centered on the aesthetic versus paraxial debates and with “political, emancipatory, and social justice aspirations.”3 McPhail writes that resultant pedagogies can unwittingly inhibit intended musical outcomes when “teachers decide not to ground knowledge in use in the systems of meaning from which they are derived.”4 These systems of meaning, McPhail offers, are concentrated in music’s “universal or context-independent concepts”5 from which arise the questions “what are these systems of meaning?” and “how can we make them meaningful for students?”6 These questions imply distinctions between epistemology and pedagogy and they necessitate consideration of a child’s cognitive growth in order for the answers to guide a teacher toward the development of meaningful educative processes in classrooms.7CURRICULUM AND PEDAGOGYA central point of McPhail’s argument is that proponents of postmodern approaches to music education occasionally conflate pedagogy with curriculum. This can be seen in our professional journals, for example, when authors position music as the means to any number of activist ends rather than focusing on the teaching and learning of music through emancipatory principles.8 McPhail argues, correctly in my view, that music’s praxis should inform the various pedagogies we might employ when teaching music, while the conceptualization of music provides the core content of what it is we are to teach in the first place. That curricular dilemma, how versus what, is the crucible necessary to balance our conversations about equity and relevance in—and to—music education. It is possible to realize approaches to pedagogy that embrace vernacular musics, reflect social issues, and promote consciousness of action and reaction. These approaches should certainly be thought provoking, engaging, and relevant to the lives of students. But, without a defined curricular plan for guiding students to musical understandings that cumulatively build toward increasing levels of expertise, it is unlikely that the music education endeavor will be as efficient or empowering as it might otherwise be.In a 2014 essay, McPhail wrote that schools can offer the conceptual grounding that expands possibilities for students through “knowledge that is context-independent rather than context-dependent.”9 McPhail argues that this approach to teaching invokes principles of social justice itself as it provides formal knowledge [End Page 88] that students can then apply to informal contexts beyond the classroom. McPhail offers in his earlier work that “if the boundaries between informal knowledge and the more formal knowledge offered in the school are dissolved students may be at a loss to see what school can actually offer them.”10PEDAGOGY AND CHILD DEVELOPMENTMcPhail identifies music’s underlying, related concepts as one of three... (shrink)

Considering citizenship education specifically in relation to deliberative politics, first, I focus on the role that Habermas in Between Facts and Norms allots to opinion and will formation as a kind of Bildung, emphasizing the collective aspect of discursive formation in the state as well as in civil society. Secondly, even though I have stressed the crucial role of deliberation in the formation to virtue, I recognize that Habermas attempts to combine the republican call for civic virtue with the liberal (...) claims to have rights. Thirdly, I emphasize that also for Habermas Bildung in some sense constitutes the truth of human being, although it is not specified in detail. Fourthly, I argue that democratic citizenship education would benefit from a substantial notion of Bildung, but that Habermas does not support such an argument. Recognizing that Habermas’s idea of collective formation is restricted to providing justice in terms of politics and law, and bearing in mind the alienation in fact produced within the multitudes of modern capitalist and militarist society, I conclude by expressing the fear that Habermas’s account of democratic formation will not be sufficiently attractive to contemporary democratic citizens and thus unable to function as a normative ideal. (shrink)

This collection illuminates the concept of Bildung in the works of Fichte, Schiller, Humboldt, and Nietzsche. Besides seeking to work out the theoretical contour of aesthetic education in the 18th and 19th centuries, the contributions attempt to make reason known to itself in the interdisciplinary study of Bildung, a concept important in fields as diverse as pedagogy, philosophy, and art. Moreover, a detailed examination of the concept of aesthetic education opens new perspectives on education debates in the present. (...) ". (shrink)

The opposition between learning as a process of self-cultivation and learning as a form of vocational training for the workplace is becoming ever more deeply entrenched in the twenty-first-century university. In language education in particular, the distinction between these two competing aims influences the way in which educators approach curriculum design and inevitably shapes the attitudes learners bring to the classroom. In this article, we contest what we see as the overly simplistic opposition between Bildung and Ausbildung by deploying a (...) conception of play that suspends the pragmatic demands of everyday existence. We argue that when learning activities are envisaged as a form of free-flowing, playful exploration, skills-based language training can be understood as an experience of Bildung in which the language learner creatively renegotiates their own identity through an encounter with both their own values and those of the target culture. (shrink)

The book examines the trajectory of joint philosophical-pedagogical concepts within the framework of the dialogue between Hannah Arendt and Martin Heidegger, put in the context of questions concerning the nature of modernity.

Immanuel Kant’s conception of ethics and aesthetics, including his philosophy of judgment and practical knowledge, are widely discussed today among scholars in various fields: philosophy, political science, aesthetics, educational science, and others. His ideas continue to inspire and encourage an ongoing interdisciplinary dialogue, leading to an increasing awareness of the interdependence between societies and people and a clearer sense of the challenges we face in cultivating ourselves as moral beings.Early on in his career, Cavell began to recognize the strong (...) connection between Kant’s aesthetics (as it finds its expression in the Critique of the Power of Judgment) and the claims of ordinary language.. (shrink)

"[A] positive contribution to the discourse on aesthetics from a cross-cultural perspective. It should be required reading for any academic who teaches and writes on aesthetics and the philosophy of art... There is much to be inspired by, and to learn from."- The Journal of Aesthetics and Art Criticism The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art provides an extensive research resource to the burgeoning field of Asian aesthetics. Featuring leading international scholars and teachers whose work (...) defines the field, this unique volume reflects the very best scholarship in creative, analytic, and comparative philosophy. Beginning with a philosophical reconstruction of the classical rasa aesthetics, chapters range from the nature of art-emotions, tones of thinking, and aesthetic education to issues in film-theory and problems of the past versus present. As well as discussing indigenous versus foreign in aesthetic practices, this volume covers North and South Indian performance practices and theories, alongside recent and new themes including the Gandhian aesthetics of surrender and self-control and the aesthetics of touch in the light of the politics of untouchability. With such unparalleled and authoritative coverage, The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art represents a dynamic map of comparative cross-cultural aesthetics. Bringing together original philosophical research from renowned thinkers, it makes a major contribution to both Eastern and Western contemporary aesthetics. (shrink)

Marcuse emphasizes a dialectical relationship between aesthetics and politics. Art promotes liberation through the education of sensibility and critique of reality—the Great Refusal—while still embodying elements of the ideological system of domination. Thus, although art itself cannot change the world, it can move people to social change. In this respect, the Great Refusal serves an important political role in challenging the Establishment. This paper argues for the continued theoretical relevance of the Great Refusal and for its practical possibilities in (...) transforming society. (shrink)

Pursuing the Forms: Equality and Excellence in Plato's Republic and Symposium -- Equality and Excellence in the Education of Cyrus -- Splendid Equality in the Nicomachean Ethics: Munificence -- How Excellence Bows to Equality in Aristotle's Politics -- First Among Equals: Philosophers, Statesmen, and Citizens in Spinoza's Democracy -- Excellence and Equality in Fénelon's Telemachus -- The Seductive Danger of Equality and Excellence: The Moderating Wisdom of Montesquieu's Science of Ovidian Metamorphosis -- Equality and Excellence in Rousseau's Emile, Book III (...) -- Hegel's Evaluation of Liberalism: Equality of Rights without Human Excellence -- Democracy, Nobility, and Freedom: The Political and Moral Aesthetics of Tocqueville -- Does Kierkegaard Have a Concept of Excellence? -- Nietzsche: The Indignity of Equality -- The Good and the Excellent: John Rawls's Egalitarian Liberalism. (shrink)

This article is an investigation of two apparently contradictory impulses in Oakeshott's writings about liberal education. On the one hand, he implied that it was primarily ‘aesthetic’, something undertaken for its own sake with no practical consequences. On the other hand, he often implied that a student might undergo a moral transformation in the process of becoming educated. This article attempts to reconcile both these ideas in Oakeshott's thought, and to show that they are coherent within the German Bildung (...) tradition. (shrink)

Cet article examine les enjeux des théories de la Bildung chez Kant et Schiller, et leur confrontation mutuelle avec la philosophie de l’autre. On propose une voie interprétative médiane qui ne part pas de l’opposition trop réductrice entre la morale et l’esthétique, ni ne lit Schiller comme étant foncièrement opposé à Kant pour des raisons soit morales, soit éducatives, mais situe plutôt la principale contribution de Schiller dans la sphère de la moralisation. Cette approche éclaire plus adéquatement la manière dont (...) la théorie schillérienne de la Bildung répond aux questions fondamentales laissées ouvertes par les conceptions de Kant. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Democracy and Music Education: Liberalism, Ethics, and the Politics of PracticeHeidi WesterlundPaul G. Woodford, Democracy and Music Education: Liberalism, Ethics, and the Politics of Practice ( Bloomington, Indiana University Press, 2005)Paul G. Woodford's Democracy and Music Education needs to be warmly welcomed in the field of philosophy of music education. It contributes to the discussion centering on ethics and music education—a discussion that after multiculturalism, pluralism, praxialism, and (...) other recent "isms" still awaits its appearance in a stronger sense. Woodford writes that the aim of the book is to enhance democratic ends by inviting music educators to contribute "to wider intellectual and political conversations about the nature and significance of music in our lives and those of our children."1Woodford borrows ideas from many thinkers creating an interesting synthesis and lines of thought throughout the book. His main resource in developing a liberalist music education is, however, along the ideas of the American pragmatist and educational philosopher, John Dewey. Woodford's choice is well thought out. Dewey deserves to be redeemed and recognized in music education, not the least because of various distorted interpretations of his views that have commonly been accepted in the profession in the past. Woodford argues that the music appreciation movement, which aimed at developing good musical taste equally in all children, has not in any particular way been a Deweyan democratic movement. Music educators have not acknowledged their role as agents in the [End Page 235] transformation of school and society. Instead, he states, they have continued to subscribe to the older aesthetic and utilitarian rationales and yet neither approach prepares students "to question and challenge authority and thereby to transform musical society."2It is noteworthy that Woodford does not elaborate on Dewey's central concept, experience, but unexpectedly draws upon concepts such as abstract reason or the autonomous individual to reconstruct music education. Critical conversation becomes celebrated against performance-oriented music education. The book leaves open the discussion between utilitarian and aesthetic rationales and carefully avoids Dewey's notion of the aesthetic and experimentation, which could have brought new angles in understanding his notion of democracy and its relation to the social and musical.3 Woodford tries to maintain a middle ground in the North American philosophical battlefield of music education stating that music educators "should listen more closely to one another while avoiding extremes."4 His critique targets critical theorists, radical feminist writers, and modernist as well as postmodernist ideas, while Woodford himself seeks a middle way between laissez-faire and elitist or autocratic concepts of music education.As a whole, Woodford's conceptual toolkit for promoting ethical aspects in music education are less akin to Dewey's thoughts and more to the Greek philosophers and their notions of virtues. Woodford writes, "democracy depends on the existence of good faith and generosity of spirit, of character and love for one's fellow men and women."5 These virtues are "the glue that can bind us together as society."6 How is this achieved in music education? Teaching love becomes a practical problem: explaining love requires it to be modelled and experienced, Woodford writes. However, he leaves this cornerstone of his conceptual scheme to rest on the notion of intellectual conversation.Allow me to explain briefly in what way Dewey's philosophical project differs from the Greek philosophical ethos and why abstract reason and intellectual conversation are not central concepts in Dewey's pragmatism (this does not mean that they cannot be celebrated as Woodford has done). For Dewey, the virtue of love signifies devotion, interest, and courage since genuine interest challenges us to overcome the obstacles that stand in the way.7 Interest and devotion are not just attitudes or intellectual modes in the sense of mental states, but linked to doings and active transactions with and in the environment. Interest is co-extensive with action and devotion with dedication to shared projects. This devotion to shared doings and their significance is the socially inclusive ethical side that Dewey brought to the individualistic humanistic theory of self-realization and to the theory of experience. The vision of humanistic self-realization, as has been presented in... (shrink)

Considering the German idea of Bildung, I argue that it is a central concern of Habermas. First, he criticized the idea of being educated as a sign of innate abilities, emphasizing instead the significance of the social conditions of the upbringing. Subsequently, inspired by Adorno, he performed an analysis of Bildung, based on critique of ideology, in The Structural Transformation of the Public Sphere. The basic critique is that Bildung is too tightly connected to societal dominance, but still the ideal (...) holds some truth. His comments on Bildung over the subsequent years are sparse. However, in Knowledge and Human Interest he works his way out of the framework of philosophy of consciousness, which results in the Theory of Communicative Action, and with this approach he can discuss Bildung in relation to discourse ethics and the role of the university. In this new version, Bildung finally becomes crucial to Habermas' political philosophy in Between Facts and Norms. (shrink)

Introduces classical and contemporary philosophical ideas of education in various areas, including intellectual, moral, aesthetic, religious, political, vocational, physical, and special education, from a historical perspective. Chapters treat the history of ideas in each area and the history of ideas in practice. Annotation copyright Book News, In.

What good is art? What is the point of a university education? Can philosophers contribute anything to social liberation? Such questions, both ancient and urgent, are the pulse of reformational philosophy. Inspired by the vision of the Dutch religious and political leader Abraham Kuyper, reformational philosophy pursues social transformation for the common good. In this companion volume to Religion, Truth, and Social Transformation, Lambert Zuidervaart presents a socially engaged philosophy of the arts and higher education. Interacting with the ideas (...) of leading Kuyperian thinkers such as Calvin Seerveld and Nicholas Wolterstorff, Zuidervaart shows why renewal in the arts needs to coincide with political and economic transformation. He also calls for education and research that serve the common good. Deeply rooted in reformational philosophy, his book brings a fresh and inspiring voice to current discussions of religious aesthetics and Christian scholarship. Art, Education, and Cultural Renewal is a testament to the practical and intellectual richness of a unique religious tradition, compelling in its call for social solidarity and cultural critique. (shrink)

In the first monograph on Lyotard and education, Derek R. Ford approaches Lyotard's thought as pedagogical in itself. The result is a novel, soft, and accessible study of Lyotard organized around two inhuman educations: that of "the system" and that of "the human." The former enforces an interminable process of development, dialogue and exchange, while the latter finds its force in the mute, secret, opaque, and inarticulable. Threading together a range of Lyotard's work through four pedagogical processes-reading, writing, voicing, and (...) listening-the author insists on the distinct educational logics that can uphold or interrupt different ways of being-together in the world, touching on a range of topics from literacy and aesthetics to time and political-economy. While Inhuman Educations can serve as an introduction to Lyotard's philosophy, it also constitutes a singular, provocative, and fresh take on his thought. (shrink)

Immanuel Kant’s moral philosophy, political philosophy, and philosophy of judgement have been and continue to be widely discussed among many scholars. The impact of his thinking is beyond doubt and his ideas continue to inspire and encourage an on-going dialogue among many people in our world today. Given the historical and philosophical significance of Kant’s moral, political, and aesthetic theory, and the connection he draws between these theories and the appropriate function and methodology of education, it is (...) surprising that relatively little has been written on Kant’s contribution to education theory. Recently, however, internationally recognized Kant scholars such as Paul Guyer, Manfred Kuehn, Richard Velkley, Robert Louden, Susan Shell, and others have begun to turn their attention to Kant’s writings on education and the role of education in cultivating moral character. _Kant and Education: Interpretations and Commentary_ has gathered these scholars together with the aim of filling this perceived void in Kant scholarship. All of the essays contained within this volume will examine either Kant’s ideas on education through an historical analysis of his texts; or the importance and relevance of his moral philosophy, political philosophy, and/or aesthetics in contemporary education theory. (shrink)

Agonistic recognition in education has three interlinked modes of aesthetic experience and self-presentation where one is related to actions in the public realm; one is related to plurality in the way in which it comes into existence in confrontation with others; and one is related to the subject-self, disclosed by ‘thinking. Arendt’s conception of ‘thinking’ is a way of getting to grips with aesthetic self-presentation in education. By action, i.e., by disclosing oneself and by taking initiatives, students and (...) teachers constitute their being. The way Arendt theorizes action (vita activa) makes it essentially unpredictable and destabilizing, which does not seem to fit into what should be expected from education. In the article I will argue that it should have a place by virtue of the debate, challenge and contest it offers. But education should also be defined from a specific kind of contemplation called ‘thinking’ to become the cultivation of a faculty of judgment in education—thinking (vita contemplativa) as a common virtue in education. Arendt’s demarcation between truth and meaning does from the point of view of agonistic recognition in education call for ‘thinking’ as a qualification of political and moral meaning–the ‘taste’ to be established in the individual, by individual judgements but always judged in relation to members of a community. (shrink)