RESUMO Tendo o Livro I da “República” de Platão como seu horizonte de referência, este artigo pretende, enquanto apresenta sumariamente as posições defendidas por Sócrates e Trasímaco sobre a justiça, examinar suas principais implicações para nós, no sentido de estabelecer algumas pistas sobre como responder à pergunta feita em seu título, a saber, “como devemos viver?”. ABSTRACT Having Book I of Plato's "Republic" as its reference horizon, this paper intends, while briefly presenting the positions on justice, as held by Socrates (...) and Thrasymachus, to examine their main implications to us, aiming to establish some clues about how to answer the question made in its title, namely, "how should one live?". (shrink)

Resumo Busca-se, a partir do exame dos compromissos existenciais implicados pela prática filosófica dos dois pensadores, estipular uma série de convergências entre ambos. Porque tal associação parece improvável, se se tem em vista o combate dado por Nietzsche a formulações substantivas do repertório filosófico tradicional talvez autorizadas por Sócrates, importará oferecer ao final um balanço da reflexão também quanto a isso.We aim, starting from the examination of the existencial commitments implied by both thinkers’ philosophical practice, to define a series of (...) convergences between them. Once this association seems unlikely, considering the combat fought by Nietzsche against substantial formulations pertaining to tradicional philosophical repertoire maybe authorised by Socrates, it will matter to offer a final balance on the reflection also about that. (shrink)

We intend to present a conjecture on the relation between this book and the rest of Nietzsche´s works and indicate the lines in which direction one may develop it. Thus, projecting a continuist reading of these works, we consider that The birth of tragedy brings in itself “seeds”, traces and even entire formulation blocks that indicate the main research ways to be followed by the philosopher along his whole life. That is: ab ovo, nietzschean thinking will consist of examination of (...) intuitions, themes and ideas already present since his public debut, continuously resumed along different perspectives, so they could surrender all they can through this succession of their conceptual and poetic reworking. (shrink)

Um tópico de interesse permanente em relação a Sócrates é a determinação dos melhores termos para o entendimento da articulação entre sua vida e sua prática filosófica. O presente artigo busca ensaiar uma discussão introdutória desta questão. Nesse sentido, parte-se de uma restituição, em largos traços, do testemunho das três principais fontes diretas, avança-se daí até algumas formulações atuais centradas no tema do exame para, por último, considerar a matéria à luz da morte de Sócrates e dos desdobramentos que seu (...) exemplo quanto a isso ensejou, já no âmbito das escolas helenísticas. (shrink)

The purpose of our article is to contemplate, from an aesthetic-artistic vision, the principles of the Universal Declaration on Bioethics and Human Rights, adopted by UNESCO in 2005. As a result of a restful, attentive and calm look (contemplation), we believe that the development of a line of thought capable of proposing answers to the great questions posed by the current existential and historical paradigm shift requires an effort of transdisciplinary dialogue. On the one hand, reason, as a specific and (...) differential faculty of the human being, must overcome the limits of its reduction to mere empirical scientism and redefine itself as a reason with an open horizon. On the other hand, the creation of works of art and the aesthetic experience constitutes a way of understanding the complexity and multiplicity of reality. Based on two classic works of art: "The kidnapping of the Sabinas" (Da Cortona) and "Liberty leading the people" (Delacroix) we propose a bio-aesthetic experience on the two fundamental axes on which the principles of the Declaration of UNESCO navigate, which are the centrality of the person and of society. Knowing and deepening such principles, through bio-aesthetic contemplation, is shown as a valid educational instrument, which entails the art of stimulating the capacity to reverberate the beauty existing in the world when good is manifested in human behavior and recognizing the transforming power of art, which facilitates a pedagogical and comprehensive assimilation of the principles of the UNESCO Declaration. (shrink)

Trata-se de examinar, a propósito da crítica de Hume ao Ensaio de Ferguson sobre a história da sociedade civil, o alcance e os limites da noção de civilização, tão importante para o pensamento das Luzes que a própria palavra foi forjada, pela primeira vez, nessa época. The aim of the article is to study the scope of the notion of civilization as it occurs in Hume's reading of Ferguson's Essay on history of civil society. The importance of the topic in (...) the philosophy of the Enlightenment is such that the very word was coined in the 18th Century. (shrink)

Media and Moral Education demonstrates that the study of philosophy can be used to enhance critical thinking skills, which are sorely needed in today’s technological age. It addresses the current oversight of the educational environment not keeping pace with rapid advances in technology, despite the fact that educating students to engage critically and compassionately with others via online media is of the utmost importance. -/- D’Olimpio claims that philosophical thinking skills support the adoption of an attitude she calls critical perspectivism, (...) which she applies in the book to international multimedia examples. The author also suggests that the Community of Inquiry – a pedagogy practised by advocates of Philosophy for Children – creates a space in which participants can practise being critically perspectival, and can be conducted with all age levels in a classroom or public setting, making it beneficial in shaping democratic and discerning citizens. -/- This book will be of interest to academics, researchers and postgraduate students in the areas of philosophy of education, philosophy, education, critical theory and communication, film and media studies. (shrink)

Neste artigo pretendemos analisar a organização da regulamentação e fiscalização de atividades relacionadas à saúde pública, atentando para as mudanças no contexto histórico. Em nossa investigação, apontamos a importância das primeiras grandes epidemias de febre amarela e de cólera no Brasil em meados do século XIX que contribuíram para a centralização das ações do governo imperial. Também consideramos as mudanças na oferta de assistência à saúde, identificando os grupos sociais mais vulneráveis na sociedade escravista. Documentos governamentais, legislação e escritos médicos (...) do período constituem as principais fontes sistematizadas e analisadas. (shrink)

Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing us (...) the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)

In this paper, I offer a defence of aesthetic education in terms of aesthetic experience, claiming that aesthetic experience and art appreciation is a vital component of a flourishing life. Given schools have an important role to play in helping prepare young people for their adult lives, it is crucial they should consider how best to equip students with the means to achieve a flourishing life. It is on these grounds I defend arts education as compulsory across the curriculum. In (...) order to adopt this position, I firstly critically engage with two competing defences of including the arts on the curriculum on the basis of firstly, the role art has to play in supporting self-expression, and secondly, a defence of the arts in relation to their role in supporting moral improvement. After explaining why these arguments fail to do the work required to defend aesthetic education as thoroughly as is needed, I turn to the defence based on aesthetic experience because it allows for a defence of the arts to be made on the basis of art’s distinctive value. (shrink)

This article explores the meeting of two approaches towards philosophy and education: the philosophy for children approach advocated by Lipman and others, and Schmid’s philosophical concept of Lebenskunst. Schmid explores the concept of the beautiful or good life by asking what is necessary for each individual to be able to develop their own art of living and which aspects of life are significant when shaping a good and beautiful life. One element of Schmid’s theory is the practical application of philosophy (...) through the notions of Bildung, reflection, prudence and practical wisdom, as well as the requirement for each individual to take responsibility for actively shaping their life as an artwork. In this sense, each person is the artist responsible for living their own beautiful life. We argue that there are useful parallels between Schmid’s concept of the art of living and P4C, such as the ideal of a holistic philosophy that is “lived.” The pragmatic approach of P4C focuses on the embodied learner who practices critical, caring and creative thinking. Both P4C and Schmid’s theory are reminiscent of the Aristotelian notion of practical wisdom, which allows for an approach to an education for life that prepares students to develop their own art of living. (shrink)

Trust is vital for individuals to flourish and have a sense of well-being in their community. A trusting society allows people to feel safe, communicate with each other and engage with those who are different to themselves without feeling fearful. In this paper I employ an Aristotelian framework in order to identify trust as a virtue and I defend the need to cultivate trust in children. I discuss the case study of Buranda State School in Queensland, Australia as an instance (...) of successful school reform that reinstates trust in an educational setting. Buranda makes use of the community of inquiry (CoI) pedagogy practiced by advocates of philosophy for children (P4C). Educators may create a safe space in the classroom by using the CoI and giving children the chance to voice their ideas and build upon, as well as question, those of others in a democratic and respectful manner. Through this pragmatic dialogue, trust may be established, along with a sense of belonging that supports well-being in the classroom as well as in life. (shrink)

As social and political beings, we are able to flourish only if we collaborate with others. Trust, understood as a virtue, incorporates appropriate rational emotional dispositions such as compassion as well as action that is contextual, situated in a time and place. We judge responses as appropriate and characters as trustworthy or untrustworthy based on these factors. To be considered worthy of trust, as an individual or an institution, one must do the right thing at the right time for the (...) right reasons, and the action should have its intended effect. By focussing on character, including a moral agent’s emotional disposition, virtue ethicists offer a more holistic account of trust than that explained by a deontic adherence to one’s duty as governed by a social contract. I will apply this understanding to educational institutions, particularly primary and secondary schools that serve a vital role in society. One of the main roles schools perform is to assist in character formation so that students, through practice, learn to be trusting and trusted citizens of society. I offer the philosophy in schools’ methodology of the community of inquiry as one example of how such practice may be facilitated in the classroom. (shrink)

Social media is a key player in contemporary political, cultural and ethical debates. Given much of online engagement is characterised by impulsive and emotive responses, and social media platforms encourage a form of sensationalism that promotes epistemic vices, this paper explores whether there is space online for moral responses. This paper defends the need for moral engagement with online information and others, using an attitude entitled ‘critical perspectivism’. Critical perspectivism sees a moral agent adopt a critical eye, supplemented by a (...) caring disposition, when engaging with interactive digital media and the stories of others that are technologically mediated. Such an ethical attitude is required given our globally connected, technological world features new versions of recognisable challenges to democracy and the reasonableness of citizens. There is a vital role for educationalists to play in teaching and making space and time for students to practice being critically perspectival. (shrink)

There is a debate within philosophy of literature as to whether narrative artworks should be judged morally, for their ethical value, meaning and impact. On one side you have the aesthetes, defenders of aestheticism, who deny the ethical value of an artwork can be taken into consideration when judging the work’s overall aesthetic value. Richard Posner backs artists such as Oscar Wilde who famously wrote, ‘there is no such thing as a moral or an immoral book. Books are well written, (...) or badly written. That is all’. On the other side of the debate are proponents of ethical criticism such as Martha Nussbaum, Wayne Booth, Noël Carroll and Mary Devereaux. This article examines the educational implications of each position and ultimately defends the importance of moral education alongside aesthetic education. Given artworks are powerful vehicles for moral sentiments and meaning, it is important that viewers are taught to engage critically with art’s ethical features as well as aesthetic features. In this way, educational concerns pose a challenge to the position of aestheticism. (shrink)

While some may argue that universities are in a state of crisis, others claim that we are living in a post-university era; a time after universities. If there was a battle for the survival of the institution, it is over and done with. The buildings still stand. Students enrol and may attend lectures, though let’s be clear—most do not. But virtually nothing real remains. What some mistakenly take to be a university is, in actuality, an ‘uncanny’ spectral presence; ‘the nagging (...) presence of an absence … a “spectralized amnesiac modernity with its delusional totalizing systems”’. It is the remains and remnants of the university.[1]Overstatement? Perhaps. We think many if not most administrators, at all levels, will likely dissent. So too will many if not most teachers and students. Trying to determine whether this is correct, or to what extent, by consulting polls and reading opinion pieces in various education journals and professional papers is likely to be of little help. In any case, it is the hypothesis, along with closely related ones, and concerns about what can be done in the circumstances, that have generated this special issue.This special issue highlights and illustrates that most of the contested issues regarding educational theory and practice central to how universities and schools should be, and how they should be run, are first and foremost questions of value rather than fact. They are questions regarding what we want, but more importantly what we should want, from our universities and schools; about what they should be and what students, teachers and administrators should be doing to facilitate this.[1] See Cox and Levine and Boaks, Cox and Levine. (shrink)

A partir da crítica nietzschiana do sujeito, o artigo pretende analisar os mecanismos de produção de si presentes nas sociedades midiáticas contemporâneas como uma manifestação do niilismo. Embora de­corrente da fluidez e fragmentação do sujeito, as formas atuais de construção de si permanecem ligadas à busca de identidade e surgem como uma forma contemporânea de crença no sujeito. Para o homem contemporâneo, não se trata de afirmar a liquidez do eu, mas de curar-se dela. Palavras-chave: Nietzsche; subjetividade; modernidade.

There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a sub-category of Art proper, it is worth re-considering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. T. W. Adorno, for example, critiques film as ‘mass-cult’; mass produced culture which presents a ‘flattened’ version of (...) reality. Adorno worries about the passivity encouraged in viewers. Films are narrative artworks, received by an audience in a context, making the focus on the reception of the work important. The dialogue held between Adorno and Walter Benjamin post-WWII is interesting because, between them, they consider both the possible positive emancipatory and negative politicization effects of film as a mass produced and distributed story-telling medium. Reading Adorno alongside Benjamin is a way to highlight the role of the critical thinker who receives the film. Arguing that the critical thinker is a valuable citizen, this paper focuses on the value of critical thinking in the reception of cinematic artworks. It achieves this by reconsidering Adorno and Benjamin 's theories of mass art. (shrink)

Laura D'Olimpio argues that aesthetic education ought to be a compulsory part of education for all students, from pre-primary through to high school, as it is essential that young people have the opportunity to make art, experience and understand art and be informed as to the artistic history and aesthetic theories that have shaped their own culture and others. The book defends arts education on the basis of art's distinctive value and centrality to human experience. It also engages with topics (...) such as the art teacher's role in the classroom, curricula concerns and gleaning moral meanings from artworks. (shrink)

This volume investigates the role of the arts in character education. Bringing together insights from esteemed philosophers and educationalists, it looks to the arts for insight into human character and explores the arts' relationship to human flourishing and the development of the virtues. Focusing on the moral value of art and considering questions of whether there can be educational value in imaginative and non-narrative art, the nine chapters herein critically examine whether poetry, music, literature, films, television series, videogames, and even (...) gardening may improve our understanding of human character, sharpen our moral judgement, inculcate or refine certain skills required for virtue, or perhaps cultivate certain virtues themselves. Bringing together research on aesthetics, ethics, moral and character education, this book will appeal to students, researchers and academics of philosophy, arts, and education as well as philosophers of education, morality, aesthetics, and teachers of the arts. (shrink)

In A Theory of Moral Education, Michael Hand defends the importance of teaching children moral standards, even while taking seriously the fact that reasonable people disagree about morality. While I agree there are universal moral values based on the kind of beings humans are, I raise two issues with Hand’s account. The first is an omission that may be compatible with Hand’s theory; the role of virtues. A role for the cultivation of virtues and rational emotions such as compassion is (...) vital in accounting for the emotional aspect of morality. The second issue pertains to Hand’s foundational premise of human beings’ rough equality. Following Martha Nussbaum, I argue that contractarian approaches must be critically evaluated to ensure the social contract properly includes and accounts for the human dignity of those who are typically excluded from the benefits of society. Hand’s justificatory arguments rely upon a contractarian premise, and the contract itself needs scrutiny and adjustment if it is to support a viable theory of moral education. (shrink)

The Affect of good artworks can be difficult to explain or describe, particularly in relation to conceptual art. The experiential process of engaging with an artwork involves the spectator perceiving the physical art object as well as receiving a concept. For an aesthetic experience to result, or for the viewer to be affected, the artist must be skilled and the receiver must adopt the relevant attitude. Many theorists argue that the correct attitude to adopt is one that is objective and (...) ‘disinterested’. I argue that a ‘loving’ attitude, in the Iris Murdoch / Martha Nussbaum sense derived from an ethics of care / virtue ethics framework is also appropriate when engaging with art in order to achieve an aesthetic affect. This open, caring attitude requires the receiver to be receptive to the concepts contained within the work as well as its formal features. If the concepts implored are ethical or social, a disinterested attitude may impede the appropriate up-take of intended affect. Therefore, I argue that pure aesthetes are misguided when they take their ‘disinterested’ attitude too far and argue that ethical judgements do not apply to art qua art. If the artist is making an ethical point, or if the concept involved relies on ethics, then a caring critique is not a contradiction in terms; the viewer is encouraged to adopt multiple perspectives in order to get closer to an objective whole. I will explore the notion of affect through the art of a contemporary, conceptual Western Australian artist, Steven Morgana. (shrink)

Empirical evidence advancing the theory of anthropogenic climate change and resultant policy action has been framed through the perspectives of scientists, economists and politicians; the ultimate objective being to minimise the risk of dangerous climate change through the reduction of GHG emissions. However, policies designed to reduce carbon pollution have utilised cost benefit analysis , largely ignoring ethical implications of such actions. This has resulted in a climate debate that sidelines the moral and social considerations of the suggested actions designed (...) to reduce the impact of dangerous climate change. Special interest groups have focussed on subjective interpretations of objective statistics, resulting in an extreme polarisation of viewpoints, pitting climate change deniers against politico-economic rationalists, with climate scientists largely sitting on the sidelines. There has, however, been a recent shift in the science of climate change acknowledging that, “many profound ethical questions are hidden in scientific and economic arguments about various climate change policy proposals” ‘White Paper on the Ethical Dimensions of Climate Change’, Rock Ethics Institute, Penn State University). We wish to promote an inter-disciplinary approach to the ethical considerations of climate change and situate the debate within a ‘real world’ context to enable people to link evidence and resultant policy to their own moral responsibility as ‘global citizens’. By placing reliable scientific information within a holistic framework, scientific outcomes with a high level of certainty may be conveyed within a wider perspective that includes ethical and social considerations, resulting in a stronger claim for practical outcomes with respect to climate change solutions. This can be used to support policies that are practical as well as moral. (shrink)

Much of the current philosophy of film literature follows Walter Benjamin’s optimistic account and sees film as a vehicle for screening philosophical thought experiments, and offering new perspectives on issues that have relevance to everyday life. If these kinds of films allow for philosophical thinking, then they are like other so-called ‘high’ artworks in that they encourage social, political and economic critique of social norms. Yet, most popular films that are digested in large quantities are not of a high aesthetic (...) or moral quality. Theorists who conceive of cinema as a means of thinking must firstly reply to the objections that most films simply do not encourage active, intelligent, imaginative participation. Prior to the publication of Deleuze’s cinema books, theorists such as T. W. Adorno feared the advent of the Hollywood Studio film as akin to Nazi propaganda. Dismissed as elitist, their concern was that mass produced and distributed artworks portrayed the depicted social norms as immutable reality. If the imagination cannot enter and engage with the messages depicted through the filmic medium, i.e. through montage or similar ‘shock’ techniques, then viewers cannot critique the moral and social status quo screened; instead, they simply receive it, and it is reinforced. If we consider how passive cinematic viewers are, voyeuristically ensconced in a darkened theatre, we can see the concern here. If only some films allow for critique of social, political and economic norms in society, and these films are attended by those viewers who are already critical viewers, then how is film more generally a tool for thinking? If we are to honestly discuss the filmic medium, we must acknowledge the Hollywood blockbusters that stifle imaginative engagement with their narratives and often depict stereotypes. I argue that we need to read Adorno alongside Benjamin, in order to acknowledge the positive as well as negative attributes of films. In doing this we see the need to focus on the critical attitude of the viewer, as well as the moral messages of the film, particularly when we consider what the majority of consumers willingly ingest uncritically. Adorno and Benjamin both offer a historical account of art whereby their aesthetics require audience reception and are linked to experience. The way art is tied to human experience and the world of sensory perception is through language. Language allows the communication of ideas or referents which convey meaning via signs that contain some kind of ‘truth’ in the form of a cognitive component that must be interpreted. While there are many different stories being told in contemporary culture, the focus on the critical thinker, the interpreter of the narrative, is vital. (shrink)

This article reflects on the ‘Philosophy and Gender’ project, which introduced the pedagogical technique known as the ‘Community of Inquiry’ into an undergraduate Gender and the Law course at the University of Western Australia. The Community of Inquiry is a pedagogy developed by Matthew Lipman in the discipline of Philosophy that facilitates collaborative and democratic philosophical thinking in the context of teaching philosophy in schools. Our project was to see if this pedagogy could advance two objectives in Gender and the (...) Law at undergraduate level: ‘reflexive thinking’ and ‘standpoint thinking’. We conclude that the Communities of Inquiry had a significant influence on the development of ‘reflexive thinking’ but appeared to have limited influence on the development of ‘standpoint thinking’. Here we provide a practitioner reflection on an exploratory new approach to teaching in a tertiary setting, with a view to setting an agenda for more systematic research in the future. (shrink)

What is knowledge? What makes me, me? Do we have free will? People have been asking such fundamental questions about the nature of reality for centuries, but how can they help us make sense of our existence in a 21st-century world of social media, cyber wars, cloning, artificial intelligence and virtual reality? Short Cuts: Philosophy provides the map you need to travel beyond traditional foundations and explore a diverse array of deep thinkers. Soul-searching questions prompt 'short cut' answers written by (...) experts in their field, with each one the setting-off point for instructions that plot a path through the philosophical landscape. With 'one-stop' graphics visualizing a memorable theory or idea for each concept, and 'route map' glossaries explaining key words and their connections, Short Cuts: Philosophy will help you wrestle with the meaning of ancient and modern philosophical thought. (shrink)

Tradução do texto Panorama do progresso da sociedade na Europa.

Em sua Crítica da Razão Pura, Kant diferencia criteriosamente aparecimento [Erscheinug] de fenômeno [Phaenomenon]. Esta distinção está presente tanto na primeira edição quanto na segunda. Não seguir com rigor este critério, ou o fazê-lo de maneira inadequada, oculta importantes informações e pode ofuscar elementos fundamentais à compreensão da sua argumentação em etapas decisivas. O presente trabalho busca determinar o que Kant entende por cada um destes termos. In his Critic of Pure Reason, Kant judiciously differentiates appearance [Erscheinug] from phenomenon[Phaenomenon]. This (...) distinction is present in first edition as much as in the second. Don’t follow this criterion, ormake it in inadequate way, occult important information and may obfuscating fundamental elements for the understanding of his argumentation in decisive stages. The present work searches to determine what Kant understands foreach one of these terms. (shrink)

Educating against extremism doesn't just involve seeking to prevent individuals from becoming extremists or radicalized, although that, of course, is a significant concern. There is also an important role for education in teaching the rest of us, the general populace, the best way to react and respond when we learn of a terrorist attack or consider the potential risk of violent extremism in our community, or even worldwide, given we are connected globally via technology. In this article, Laura D'Olimpio argues (...) that educators have a central role to play in teaching young people to respond to the news of violent extremism and the worry about terrorists and terrorism in ways that support our sense of community and personal well-being. Among the ways in which educators may support such aims is by educating the emotions. There are practical and moral reasons to temper our fearful reactions, and it is in our best interest to educate pupils to avoid allowing fear of terrorists or violent extremism to interfere with their daily lives and actions. D'Olimpio claims that our best response to extremism, both representationally and practically, is to refuse to be terrified. By not being overwhelmed by fear or altering our day-to-day activities, we not only better support a well-functioning democracy and our own happiness or flourishing, but we also disempower rather than empower extremists. (shrink)

Educating against extremism doesn't just involve seeking to prevent individuals from becoming extremists or radicalized, although that, of course, is a significant concern. There is also an important role for education in teaching the rest of us, the general populace, the best way to react and respond when we learn of a terrorist attack or consider the potential risk of violent extremism in our community, or even worldwide, given we are connected globally via technology. In this article, Laura D'Olimpio argues (...) that educators have a central role to play in teaching young people to respond to the news of violent extremism and the worry about terrorists and terrorism in ways that support our sense of community and personal well-being. Among the ways in which educators may support such aims is by educating the emotions. There are practical and moral reasons to temper our fearful reactions, and it is in our best interest to educate pupils to avoid allowing fear of terrorists or violent extremism to interfere with their daily lives and actions. D'Olimpio claims that our best response to extremism, both representationally and practically, is to refuse to be terrified. By not being overwhelmed by fear or altering our day-to-day activities, we not only better support a well-functioning democracy and our own happiness or flourishing, but we also disempower rather than empower extremists. (shrink)

There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a subcategory of Art proper, it is worth reconsidering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. Adorno, for example, critiques film as ‘mass-cult’, mass-produced culture which presents a ‘flattened’ version of reality. Adorno worries (...) about the passivity encouraged in viewers. Films are narrative artworks, received by an audience in a context, making the focus on the reception of the work important. The dialogue held between Adorno and Walter Benjamin post-Second World War is interesting because, between them, they consider both the possible positive emancipatory and negative politicization effects of film as a mass produced and distributed storytelling medium. Reading Adorno alongside Benjamin is a way to highlight the role of the critical thinker who receives the film. Arguing that the critical thinker is a valuable citizen, this paper focuses on the value of critical thinking in the reception of cinematic artworks. It achieves this by reconsidering Adorno and Benjamin’s theories of mass art. (shrink)

ABSTRACTAs our technology rapidly advances, designer babies and other bioethical issues are fast becoming possible. Instead of solely being considered in economic terms, or in terms of accuracy and desirability, ethical questions should also be asked such as ‘is this a good thing to do?’. This article considers whether moral people would ‘design’ and genetically engineer their babies and applies the moral theories of virtue ethics, deontology and utilitarianism to help guide our ethical decision-making in relation to this complex issue. (...) Even if we can do something, we should pause and consider whether or not we should. (shrink)

The point of education is to support students to be able to live meaningful, autonomous lives, filled with rich experiences. The arts and aesthetic education are vital to such flourishing lives in that they afford bold, beautiful, moving experiences of awe, wonder and the sublime that are connected to the central human functional capability Nussbaum labels senses, imagination and thought. Everyone ought to have the opportunity to learn about art, to appreciate and create art, to critique art and to understand (...) how we are connected to the culture of our society. A life without art is unimaginable, and to the extent that people lack aesthetic experiences, their lives are impoverished, not ‘fully human’. Given that the distinctive value of art objects is that they afford aesthetic experience, it is upon this foundation that an argument ought to be mounted as to why schooling needs the arts, specialised teachers, and all students deserve aesthetic education. Therefore, in this paper, I offer a defence of compulsory aesthetic education across the curriculum on the basis of the aesthetic experiences the arts afford, and the central role such experiences play in eudaimonia—the flourishing life. (shrink)

It can hardly be denied that play is an important tool for the development and socialisation of children. In this article we argue that, through dramaturgical play in combination with pedagogical tools such as the Community of Inquiry (CoI), in the tradition of Philosophy for Children (P4C), students can creatively think, reflect and be more aware of the impact their gestures (Schmid 2000b) have on others. One of the most fundamental aspects of the embodied human life is human interaction that (...) is based on expressions, what Schmid calls gestures. Through self-reflection, one’s set of gestures can be developed into a deliberate ‘life-performance’; a conscious, selected and coherent work of art (Schmid, 2000b, p. 332). Drawing on Nietzsche’s idea of living artistically, we explore how Schmid’s philosophy of the art of living, P4C and the liberal arts, with a focus on drama education, can work together to develop (self-) reflective, reasonable citizens who are able to develop their own art of living while respecting and supporting the development of the good and beautiful life of others. (shrink)

This article details Cultural DeCoding, a humanities based high school extension program for gifted and talented Year 11 and 12 students in Western Australia. The brainchild of Dr Annette Pedersen and Dr Angela McCarthy, the program runs for four days across the summer holidays before the start of the school term. The program fills a gap that exists in the education of gifted and talented secondary students who are interested in the humanities. It is comprised of sessions run by academics (...) who facilitate discussion and activities based on their area of research and teaching expertise. The group is deliberately kept small in order to give students a chance to engage deeply and respectfully with like-minded others. The intention is to give these students an experience of what university will be like, and to have a chance to think philosophically; namely, critically, creatively and morally, in collaboration with others. (shrink)