Poverty, understood as basic capability deprivation, can only be solved through a process of expanding the freedoms that people value and have reason to value. This process can only begin if the capability to imagine and aspire for an altenative lifestyle worthy of human dignity is cultivated by an education program that develops both the capability to reason and to value. These two facets play a major role in the creative exercise of human agency. This program of humane education can (...) only come from an adequate description of the human agent as a persona that seeks to actualize itself based on his/her understanding of the good. Education must therefore seek to cultivate the capability to have an adequate conception of the good (normative) as well as the capability to constantly re-evaluate one’s conception of the good (evaluative) in order to freely and reasonably choose a life that one values and has reason to value. Education must therefore entail not merely the development of skills nor specialization in a particular field but must concentrate on the integration of the human person as a whole which leads to self-creative praxis. (shrink)

This paper shows that philosophy and contemplation are integral parts of leisure and of a fully conscious educative experience. Through examination of the concepts of philosophy, the philosopher, and contemplation, it will be proposed that leisure is a necessary condition for philosophy and for education. To conceptually bring together philosophy and education with leisure, the act of teaching as “an overflow of contemplation,” following Yves Simon’s definition, will be considered. Supporting the philosophical view of education as constituting an inward transformation (...) of the individual, from which he or she can better regard the world and his or her place in it, a serious theory of education rooted on leisure is a timely and valuable idea to consider. (shrink)

J. R. R. Tolkien’s four functions of fantasy stories, as developed in his Andrew Lang lecture “On Fairy Stories” (1939), have become a key conceptual tool for discussing human beings’ attraction to fantasy stories, particularly when attempting to push the analysis beyond the literary into the aesthetic, and beyond the aesthetic into the existential. Applying this interpretive key to an analysis of the expanding genre of post-apocalyptic fiction reveals that post-apocalyptic stories, despite superficial differences, are surprisingly close to fairy stories (...) in their aesthetic core and orientation, and that post-apocalyptic stories are well-suited to fulfill—albeit with their own distinctive aesthetic feel—the functions of Enchantment, Recovery, Escape and Consolation. Furthermore, in exploring the function of Consolation, a number of motifs come to surface that suggest the presence of a religious dimension common to many of the most celebrated exponents of the genre. (shrink)