The problem-oriented approach to teaching first-time philosophy students makes course design simple and makes the course content quickly recognizable to students, yet it fails to challenge them as readers and fails to convey the complex historical and social contexts out of which philosophical inquiry emerges. Presenting philosophical problems without context makes it harder for students to relate course material to their own lives and risks alienating students. In contrast, the authors argue, an interrogative and narrative approach to teaching philosophy facilitates (...) students’ ability to relate personally to philosophical texts and problems. This paper details a course designed by the authors which begins by studying the concept of narrative and subsequently frames the history of philosophy as a story with a setting (the intellectual conversation produced by canonical figures), characters (the philosophers themselves), theme (e.g. the question “How ought I to live?”), and plot (e.g. answers to the question “What is wisdom?”). Simultaneously, in addition to class structures which encourage questions, reading questions are assigned in order to make question-asking central to how students and teachers approach a text. Included are examples of the reading questions, as well as the authors’ method for using these questions and suggestions for how to motivate students to use them. (shrink)

This paper incorporates the work that Jeffrey Gold, Jim Robinson, and Jonathan Schonsheck have done into an innovative method for teaching Plato’s Allegory of the Cave. The method involves breaking students into small groups and asking them to draw three images that depict the plot of the Allegory of the Cave. In addition to giving a description of this activity and detailing the pedagogical benefits, the paper considers possible objections to this exercise and suggests that this method provides a model (...) that can be used to teach other highly descriptive images that are found in philosophical texts. (shrink)

This paper assesses the educational benefits of showing films in philosophy courses in four ways. First, a Socratic justification is given for why contemporary films are an effective means for raising philosophical questions, illustrating important philosophical concepts, and making philosophy more accessible. Second, the authors discuss several specific ways that films can be used to teach philosophy in introductory and upper-level courses. Third, the authors describe two ways that films can be effectively incorporated into a course: by showing them during (...) the classroom lecture period and by integrating films with assignments. Finally, the authors respond to four different types of objections to the use of films in the philosophy classroom. (shrink)

In this paper, we describe Blackboard’s Online Journal program and explain how we use the online journal in a variety of philosophy courses. We outline our pedagogical motivation for using online journals and analyze how online journals help to improve our students’ ability to read, write and think philosophically. We analyze the strengths and weaknesses of online journals in comparison to online discussion boards. Finally, we address several concerns that philosophy teachers may have about using online journals.

This paper assesses the educational benefits of showing films in philosophy courses in four ways. First, a Socratic justification is given for why contemporary films are an effective means for raising philosophical questions, illustrating important philosophical concepts, and making philosophy more accessible. Second, the authors discuss several specific ways that films can be used to teach philosophy in introductory and upper-level courses. Third, the authors describe two ways that films can be effectively incorporated into a course: by showing them during (...) the classroom lecture period and by integrating films with assignments. Finally, the authors respond to four different types of objections to the use of films in the philosophy classroom. (shrink)

Though largely unknown today, “Ned Buntline” (Edward Zane Carroll Judson) was one of the most influential authors of 19th-century America. He published over 170 novels, edited multiple popular and political publications, and helped pioneer the seafaring adventure, city mystery and Western genres. It was his pirate tales that Tom Sawyer constantly reenacted, his “Bowery B’hoys” that came to define the distinctive slang and swagger of urban American characters, and his novels and plays that turned an unknown scout into Buffalo (...) Bill, King of the Border Men. But before “Ned Buntline” became a mainstay of the popular press, he had been on his way to becoming one of the nation’s highbrow literary elites. He was praised by the leading critics, edited an important literary journal, and his stories appeared in the era’s most prestigious publications. This study examines how and why “Ned Buntline” moved from prestigious to popular authorship and argues that the transformation was precipitated by one very specific event: in 1846, Edward Z. C. Judson was lynched. A close examination of Judson’s life, writing, and the coverage of him in the newspapers of the day (including the remarkable story of how he survived a lynching) demonstrates that the same issues that led to his lynching also led to his rebirth as a new kind of American author. (shrink)

New York in the mid-1950s was a time of detectives, G-men, mobsters, and crime photographers. Weegee fit this last profile perfectly. Speed Graphic camera in hand, he dashed around the city responding to the police radio, recording accidents, arrests, fires, and murders. This volume in the J. Paul Getty Museum's In Focus series examines approximately fifty of the ninty-five Weegee prints in the collection, surveying his photojournalism as well as additional works that picture life in the Bowery, Greenwich Village, (...) and Harlem. Judith Keller, Associate Curator in the Department of Photographs, provides an introduction to Weegee and commentary on the plates. The photographer was the subject of a colloquium at the Getty Museum on August 27, 2004, where the author was joined by David Featherstone, Michael Hargraves, Weston Naef, Miles Orvell, Ira Richer, Colin Westerbeck, and Cynthia Young in discussing his life and work. This conversation, captured here in an edited transcript, traces Weegee's transition from crime photography to social documentarian, with special attention paid to his publications, including Naked City. William McCleery, in the foreword to that book, calls Weegee "an Artist" with "his own conception of what constitutes beauty." With the issuance of this In Focus installment, readers can again share in Weegee's conception. (shrink)

This present volume is the twenty-ninth in the Re-Reading the Canon series, the title of each of which volumes begins Feminist Interpretations of . . . . Surprisingly, the volume on Augustine has appeared relatively late in the series. The editor has collected eleven essays plus a poem on feminist interpretations of the bishop of Hippo, who has certainly exerted a powerful influence on the view of women in the Western Christian churches of all major denominations. Besides the essays, Stark (...) has provided a substantial introduction to the volume in which she touches upon the principal events of Augustine's life and briefly sketches the main points of each essay.The feminist interpretations of Augustine included in the volume represent a broad spectrum running from quite radical to fairly moderate or even tame approaches. In "Augustine, Sexuality, Gender, and Women," Rosemary Radford Ruether presents a call to critique the views of Augustine from which women and men have suffered for over 1500 years in Western Christianity. Anne-Marie Bowery argues in "Monica: The Feminine Face of Christ" that Augustine's portrait of Monica allows us to "reframe the masculine image of the divinity" that is. (shrink)