The manifesto presented in Philip Kitcher's exhaustive appraisal of contemporary American education—and the case for its potential reform—is so wide-ranging that it is not possible to do justice to its every component. Instead, I will speak to one of its parts in an attempt to recognize what I take to be the value of the whole. My aim is to address the section on the role of the arts in formal education, and the nature of aesthetic experience within that, to (...) test whether we can take the arts from their current state of being subject to Adam Smith's model of market utility, to being appreciated for their necessary and organic vitality. Kitcher provides strong arguments for exposure to the arts as leading to invaluable aesthetic experiences for young people. By extension—and at times by contrast—I will explore the possibility that the ‘aesthetic’ in aesthetic education does not just come into force with the student's encounter with art works or creative activity in the classroom, but should be integral also to the development of a particular sensibility amongst educators (i.e. the aesthetic education of the educators) for the shape and form of a ‘good’ education, according to its context and circumstance. It is through this sensibility that we might rediscover the necessity of the arts in schools at a time when their importance has been significantly devalued. (shrink)

In this paper we consider some of the problems inherent in the attempt to define and circumscribe an exclusively ‘educational love’, as presented by Joris Vlieghe and Piotr Zamojski in a recent paper for this journal. In seeking to move beyond the confusing interpersonal relations involved in student-centred discourses on teaching, the authors aim to articulate an ‘educational love’ that is more oriented towards subject matter than the student subject. In the process, the concept of love itself becomes increasingly abstract (...) and open to interpretation. Further, the attempt to reconcile these elements in an uncomplicated ‘love for the object’, following the example of Alain Badiou's St Paul, constitutes an injustice to the other subjects—the students—involved in the teaching situation. We consider the ways in which such abstractions might sit with student teachers, to demonstrate how and why the intersubjective dimension—with some of the possible emotive messiness that is implied therein—must not fade from view, if we are to avoid conceiving of education as something that can be purified of individual interest, motivation and desire. (shrink)

This paper explores the conceptual history of academic freedom and its emergence as a substantive right that pertains to either the academic or the university. It is suggested that historical reconceptualisations necessitated by contingent circumstance may have led to academic freedom being seen as a form of protection for those working within universities whose national legislation recognises the right to teach and research without external interference, rather than as a responsibility to the wider society or to peers in other parts (...) of the world, who do not enjoy the privilege of that right. I explore the value of academic freedom as both right and responsibility, particularly taking into consideration the ethical implications for both at the international level in higher education. (shrink)

This paper proceeds from the premise that film can be educational in a broader sense than its current use in classrooms for illustrative purposes, and explores the idea that film might function as a form of education in itself. To investigate the phenomenon of film as education, it is necessary to first address a number of assumptions about film, the most important of which is its objective character under study. The objective study of film holds that the meaning of film (...) awaits its correct interpretation according to an informed viewer. I suggest that theoretical modes of interpretation in this vein really amount to attempts to control meaning via a particular lens, rather than allowing films to present meaning in necessarily ambiguous, and thus sometimes unsettling, ways. Situating film as the object of study in this way continues a tradition of empiricism or naturalism in thought that both Maurice Merleau-Ponty and Ludwig Wittgenstein sought to critique as psychologism. Whilst no claim is made for reconceiving of Wittgenstein as phenomenologist, a dialogue between the Remarks on the Philosophy of Psychology and the Phenomenology of Perception reveals sympathies in attempts made by both to overcome a metaphysics of the perceived or experienced object, thereby broadening the educational reach of film. (shrink)

This paper proceeds from the premise that film can be educational in a broader sense than its current use in classrooms for illustrative purposes, and explores the idea that film might function as a form of education in itself. To investigate the phenomenon of film as education, it is necessary to first address a number of assumptions about film, the most important of which is its objective character under study. The objective study of film holds that the meaning of film (...) awaits its correct interpretation according to an informed viewer. I suggest that theoretical modes of interpretation in this vein really amount to attempts to control meaning via a particular lens, rather than allowing films to present meaning in necessarily ambiguous, and thus sometimes unsettling, ways. Situating film as the object of study in this way continues a tradition of empiricism or naturalism in thought that both Maurice Merleau-Ponty and Ludwig Wittgenstein sought to critique as psychologism. Whilst no claim is made for reconceiving of Wittgenstein as phenomenologist, a dialogue between the Remarks on the Philosophy of Psychology and the Phenomenology of Perception reveals sympathies in attempts made by both to overcome a metaphysics of the perceived or experienced object, thereby broadening the educational reach of film. (shrink)

To speak of democracy is often to speak less of a fact than of a hope. In his introduction to Democracy in America, Alexis de Tocqueville admitted that ‘… in America I saw more than America; I sought the image of democracy itself, with its inclinations, its character, its prejudices and its passions, in order to learn what we have to fear or to hope from its progress’. De Tocqueville recognised that democracy's success would rely on its constant promotion, the (...) affirmation and revaluation of its terms and conditions, such that it sustains the investedness of its (voluntary) participants. This paper considers the work of Stanley Cavell as inheriting the tone of de Tocqueville's romantic will to democracy, particularly in the discovery of its analogous image in ‘remarriage comedy’. I look first at the ways in which popular pictures of (in this case, American) democracy on film sustain an expression of hope for a better set of relations amongst equal and consenting participants, an expression that is identified as romantic in nature. By contrast, I will also discuss how representations of democracy's reality on screen—pictures that sit outside comfortable generic expectations, and reveal those moments in which interest in democratic participation or values has ebbed or is dormant—have as much to tell us about democracy's character as more idealist expressions of what it might be or become. (shrink)

Journal of Philosophy of Education, EarlyView.