In this paper I interpret Montaigne’s essay, “On Educating Children”, as a pedagogical text through its performance of a distinct epistolary function, one that addresses the letter-recipient for the purpose of shaping the ideas, actions, and beliefs of that individual. At the same time, I also read “On Educating Children” within the context of the wider project of Montaigne’s Essays, which, as I suggest, is an ethical-aesthetic project of self-fashioning and self-cultivation. The net result is an interpretation of teaching as (...) an ethical-aesthetic practice of the self, one that is in concert with the interpretation of Montaigne’s writing of the Essays as a similar practice of the self. In order to build this case, I employ Michel Foucault’s fourfold schema of ethical subjectivity, mapping that schema onto “On Educating Children”, so as to reveal a unique pedagogy of self-formation—a pedagogy that works as much upon the self of the teacher as it does the self of the student. (shrink)

This essay attempts to retrieve the notion of ‘common sense’ within the writings of Descartes and Montaigne. I suggest that both writers represent distinct traditions in which the notion is employed. Descartes represents a modernist tradition in which common sense is understood to be a cognitive faculty, while Montaigne represents a humanist tradition in which common sense is understood as a political virtue. I also suggest that both writers work with the notion as a way of responding to diversity in (...) the world. The paper concludes with a discussion of how the notion of common sense employed by Descartes and Montaigne emerges out of the scholastic tradition and the assertion that both writers are responding to the educational consequences of scholasticism. I also discuss how the reconstruction of Descartes in this paper can provide some ground for raising new questions about the Cartesian project and educational philosophy. Finally, I gesture toward the idea that the humanist tradition with its understanding of common sense as political virtue can provide benefit for contemporary responses to diversity. (shrink)

This essay attempts to retrieve the notion of ‘common sense’ within the writings of Descartes and Montaigne. I suggest that both writers represent distinct traditions in which the notion is employed. Descartes represents a modernist tradition in which common sense is understood to be a cognitive faculty, while Montaigne represents a humanist tradition in which common sense is understood as a political virtue. I also suggest that both writers work with the notion as a way of responding to diversity in (...) the world. The paper concludes with a discussion of how the notion of common sense employed by Descartes and Montaigne emerges out of the scholastic tradition and the assertion that both writers are responding to the educational consequences of scholasticism. I also discuss how the reconstruction of Descartes in this paper can provide some ground for raising new questions about the Cartesian project and educational philosophy. Finally, I gesture toward the idea that the humanist tradition with its understanding of common sense as political virtue can provide benefit for contemporary responses to diversity. (shrink)

Reimagining the call to teach: A witness to teachers and teaching, by David T. Hansen, Teachers College Press, 2021, 192 pp., USD29.95 (pbk), ISBN 978-0807765463David Hansen and the call the teach:...

David Hansen and The Call to Teach takes stock of the far-reaching impact of Hansen's teaching and scholarship. The essays in this volume explore the influence Hansen's work has had on our understanding of a whole host of important themes, including the moral dimensions of teaching, educational research, teacher education, and the philosophy of education.

In this paper I provide an introduction to the special issue on the Philosophical Novel for Children by pointing to a lacuna in the theoretical field of philosophy for/with children, suggesting that the field is in need of more research on the philosophical novel given its status as the curricular centerpiece of Matthew Lipman’s vision of P4/WC. I describe the genesis of the idea for this special issue, emerging as it did first from a series of questions and experiences which (...) I encountered while working with Lipman’s philosophical novels as a P4/WC practitioner, then through a scholarly exploration of Lipman’s model theory of the philosophical novel for children, and culminating in the presentation of several of the papers published here at a special symposium on the philosophical novel for children at a meeting of the American Philosophical Association. I conclude with a preview of the papers in this special issue, highlighting several shared themes and concerns. (shrink)

Riassunto: L’uomo ha sempre riflettuto su se stesso e sulla sua identità e la sua riflessione si è strutturata attraverso molteplici forme espressive. Le domande esistenziali nascono nell’uomo con il suo esistere. Il pensiero filosofico occidentale ha egemonizzato il campo filosofico e antropologico imponendo le proprie categorlie di pensiero come le uniche razionali e scientifiche in nome di una presunta superiorità legata a un’idea di sviluppo fondata su un modello prettamente economico. In questo articolo si cercherà di decostruire le certezze (...) scientifiche del pensiero filosofico occidentale e analizzare criticamente il suo primato evidenziando come esistano diverse forme e rappresentazioni dell’esistenza umana. Il pensiero filosofico africano ci offre una prospettiva di lettura dell’essere che contrasta con la visione antropologica occidentale, ma allo stesso tempo ha una sua dignità e coerenza logica fondata su presupposti antropologici propri. Nata come resistenza al dominio del pensiero filosofico e antropologico occidentale, la filosofia africana si è sviluppata e contaminata dalle riflessioni che l’hanno preceduta. Non esiste un pensiero puro, poiché tutte le riflessioni umane sono ibride e nascono dall’incontro e dallo scontro con le altre posizioni filosofiche. Forse è venuto il tempo per riformulare il pensiero filosofico e antropologico da un punto di vista interculturale.: Man has always reflected on himself and his identity. His reflection has been structured through multiple forms of expression. In fact, existential questions arise in man with his existence. Western philosophical thought has dominated the philosophical and anthropological field by imposing its own categories of thought as the only rational and scientific ones, in the name of an alleged superiority linked to an idea of development based on a purely economic model. This article attempts to deconstruct the scientific c certainties of Western philosophical thought and critically analyzes its primacy by highlighting how there are different forms and representations of human existence. African philosophical thought offers a perspective that contrasts with the Western anthropological vision, having its dignity and its logical coherence based on its own anthropological assumptions. Born as resistance to the domination of Western philosophical and anthropological thought, African philosophy has developed and has been contaminated by the reflections that preceded it. All human reflections are hybrid and arise from the encounter and confrontation with other philosophical positions. Perhaps the time has come to reformulate philosophical and anthropological thought from an intercultural point of view. (shrink)

This paper explores Matthew Lipman's notion of the philosophical text as model. I argue that Lipman's account of the philosophical text is one that brings together the expository and narrative textual forms in a distinctive way--not one in which the tension between the expository and the narrative is overcome once and for all, but in such a way that the expository and the narrative are brought into relationship within the very form of narrative itself. Drawing upon Michel Foucault's reading of (...) Descartes "Meditations," I argue that Lipman's philosophical novels serve both a demonstrative and ascetic function, allowing us to situate Lipman's novels in the history of philosophical discourse, as well as point to the task of creating philosophical texts, and curriculum, in the future. (shrink)

En el Canto V del Infierno, uno de los pasajes más universalmente conocidos de la Divina Comedia, Dante sugiere la fuerza corruptora de la literatura, desencadenante del adulterio de Paolo y Francesca. Este esquema en que lo literario se convierte en motivo de perdición, reaparece en casos tan conocidos como el de Don Quijote y otros menos conocidos como el dickensiano Nicodemus Boffin de Nuestro común amigo. Estos escritores dejan traslucir en sus obras sus inquietudes respecto a una influencia que (...) simultáneamente buscan y temen sobre los lectores. Sus «libros dentro de los libros» pueden ser interpretados como una vacuna con la que el escritor quiere proveer al lector de las herramientas para protegerse de los efectos perversos de una literatura recibida en clave romántica. Proponemos, siguiendo especialmente a Renato Poggioli, John Freccero o René Girard, una interpretación antirromántica que subraya la actualidad de la arquitectura moral de la Divina Comedia y su ascendencia sobre varios clásicos de la literatura moderna posterior. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Three Moments in the Crisis of Exemplarity: Boccaccio-Petrarch, Montaigne, and CervantesKarlheinz StierleIn his recent book History as Topic Peter von Moos denies that there was any crisis for the exemplum in the Renaissance. 1 He strongly argues against my essay on “History as exemplum,” where I pointed out that in Montaigne, as earlier in Boccaccio, the pragmatic form of exemplum is put into question. 2 My main interest in (...) this essay, however, was not to mark a break between Middle Ages and Renaissance but to understand the way in which the correlation between sententia and exemplum was transformed into a more complex relation between moral reflection and particular case. Undoubtedly, since Valerius Maximus and his Factorum et dictorum memorabilium libri, there has always been, as in John of Salisbury’s Policratius, the possibility of questioning the exemplary truth of the exemplum by opposing it to a never-ending wealth of counter-examples. This, however, never puts into question the idea of exemplarity itself. The validity of the exemplum as a rhetorical form of narration that tends towards its own conceptual or ideological structure has an anthropological basis. It presupposes that over time, there is more analogy in human experience than diversity, or that in all situations of civil and political life the pole of equality is stronger than that of difference.Boccaccio’s novella is precisely the narrative form that puts this anthropological basis into question. Each novella in the Decameron is essentially a [End Page 581] particular variant of a more general conceptual scheme. The stress of narration, however, is not on the scheme itself but on the autonomy of the variant. Basically the novella is a form of rewriting in the mode of retelling, thus bringing an elementary narration to higher complexity. 3 Each of the “vari casi,” mostly of love-affairs, is a confrontation of exemplarity and contingency. It is the power of contingency or fortuna that brings forth the specific particularity of each novella. The art of the writer Boccaccio, whose primary fiction is oral story-telling, consists in giving aesthetic evidence to this particularity. Reading, not listening, is the form of reception that corresponds to this structure. That Boccaccio adds the other title “Il Prencipe Galeotto” to the Decameron is an allusion to Dante’s Divine Commedy where in the famous episode of Paolo and Francesca (Inf. V), Galeotto becomes the personification of the allegory of reading and its seduction.Contingency, or, in Boccaccio’s own medieval terms, fortuna, is the real poet of the novella. That is why the most important scenes of the novellas are those where the power of contingency comes to light: at the sea and in the city. The particular shape of novella, which results from a balance between contingency and significant configuration, emerges from contingency itself. Its configuration is a particular case of contingency, one that by its immanent structural elegance is aesthetically gratifying. It nevertheless leaves open the question whether there might not be a power of a superior kind behind contingency. Because there is an ambiguity between contingency and sense, the exemplary status of each story is, ironically, placed in question. Contingency overcomes exemplarity; however, it never triumphs definitely. The impact on the exemplum by contingency not only gives to each narrative case its difference or even autonomy, it also opens up a new temporal dimension. The exemplum seems to move in an essential time where all time-aspects are controlled and functionalized by a dominating conceptual structure. In the novella time becomes a primary structure. “Or avviene che” is the narrative formula for this new quality of narrative time, becoming a time of disruption and instability where things and situations may change in a moment for the better or for the worse.I would like to illustrate the structure of the Boccaccian novella by at least one exemplary case. Almost in the middle of the book—which means in the middle of its temporal space of ten days—we find the novella of Federigo degli Alberighi, considered to be one of Boccaccio’s finest (V, 9). Federigo, in a world of merchants and trade, is the perfect nobleman who ruins himself by his... (shrink)

Nel 2011 il National Theatre di Londra celebrava il trentesimo anniversario della produzione dell’ Oresteia (Agamennon, Choefori e Eumenides) con una grande mostra che raccontava il lungo processo di creazione di uno degli allestimenti più famosi del teatro inglese degli ultimi quarant’anni; si tratta dell’adattamento e della traduzione della Trilogia di Eschilo a opera del poeta e scrittore inglese Tony Harrison, con la regia di Peter Hall (direttore del Teatro Nazionale dal 1973 al 1988) e le scene e le maschere (...) di Jocelyn Herbert. Questa mostra curata da Cathy Courtney, arrivava sette anni dopo la grande esposizione dedicata alla scenografa inglese intitolata Jocelyn Herbert at the National (2004).Il presente saggio racconta il lungo percorso creativo che ha portato alla definizione, oltre che di un’originale traduzione, anche di un particolare allestimento scenico che prevedeva l’uso di maschere per i soli attori uomini, create dalla Herbert, una delle più famose stage designer britanniche. I materiali preparatori sono stati messi a disposizione online negli ultimi anni, grazie a un progetto di digitalizzazione del National Theatre in collaborazione con Google Culture Institute. Proprio alle maschere della Herbert e alle diverse proposte e trattamenti della maschera greca in chiave contemporanea è dedicato un contributo critico finale che le affianca comparativamente sia a quelle del mascheraio e studioso di teatro greco classico Ferdinando Falossi, sia alle maschere video digitali e fotografiche create rispettivamente da Teatrino Giullare e da Marzio Emilio Villa. (shrink)

In the last two decades, some authors in the philosophy for children movement have theorized that the community of philosophical inquiry can be a form of spiritual practice, of the care of the self, or a wisdom practice (De Marzio, 2009; Gregory, 2009, 2013, 2014;Gregory & Laverty, 2009). Yet, it is unclear if philosophy for children is, by itself, a form of spiritual education, or if it requires some sorts of modification to be one. And, if it is or (...) can be a form of spiritual education, we can interrogate in what ways and to what extent is it one. It is these questions that this text aims to explore. To do so, we will first clarify the meaning of spiritual education through the presentation of two authors who have explicitly written on that topic. The first is Parker J. Palmer, who has developed a perspective on what it means to reclaim the spiritual roots of education, derived from his study and practice of Quaker spirituality. The second is Pierre Hadot, who has explored how the practice of philosophy in Western antiquity was a form of spiritual exercise. From our presentation of these two authors will emerge a particular perspective of what spiritual education means. In the last section of the text we will use this presentation to examine in what ways philosophy for children can be a form of spiritual education and if requires adaptations to be one. (shrink)