The raison d’être of the humanities is widely held to reside in its unique ability to generate critical thinking and critical thinkers. But what is “critical thinking?” Is it a generalized mode of...

A collection of essays written by arts and humanities scholars across disciplines, this book argues that higher education has been compromised by its uncritical acceptance of our culture's standards of productivity, busyness, and speed. Inspired by the Slow Movement, contributors explain how and why university culture has come to value productivity over contemplation and rapidity over slowness. Chapter authors argue that the arts and humanities offer a cogent critique of fast culture in higher education, and reframe the discussion (...) of the value of their fields by emphasizing the dialectic between speed and slowness. (shrink)

This paper investigates how an introductory philosophy course influences the moral and political development of undergraduate students in a Liberal Arts university in Central Asia. Within a context of rapid changes characteristic of transitional societies—reflected in the organization of higher education—philosophy provides students with the means to reason about moral and political values in a way that overcomes the old ideological tenets as well as contemporary reluctance to theoretical inquiry. Studying philosophy provides a remedy for deficiencies in both secondary (...) and higher education, by improving general reading and reasoning skills, that enable the development of moral reasoning. Furthermore, familiarity with major works of moral and political philosophy can help students comprehend the patterns of social change, as well as surmount the issue of unsatisfactory theoretical foundations for social science. (shrink)

This article provides an account of a collaborative teaching and learning project conducted in the English programme at the University of Tasmania in 2015. The project, Blended English, involved the development, implementation, and evaluation of learning and teaching activities using online and mobile technologies for undergraduate English units. The authors draw on the project’s findings from survey and focus group data, and staff reflective practice and peer review, to make the case for increasing technology-enhanced teaching and learning (...) in English literary studies. The blended approach described in this article has the capacity to enhance disciplinary learning; increase accessibility for students in remote and regional areas; facilitate deeper scholarly enquiry; and encourage staff to develop innovative, collaborative, and flexible teaching and learning practices. Appendix 1 presents examples of the project’s practical outcomes, as well as outlines of and reflections on three of the activities develop... (shrink)

In Faculty Misconduct in Collegiate Teaching, higher education researchers John Braxton and Alan Bayer address issues of impropriety and misconduct in the teaching role at the postsecondary level. Braxton and Bayer define and examine norms of teaching behavior: what they are, how they come to exist, and how transgressions are detected and addressed. Do faculty members across various collegiate settings, for example, share views about appropriate and inappropriate teaching behaviors, as they share expectations regarding actions (...) related to research? And what mechanisms are utilized to correct inappropriate behavior on the part of college and university teachers? The authors' work is based on survey results obtained from faculty members at research universities, liberal arts colleges, and two-year community, junior, and technical colleges. Braxton and Bayer's focus is on undergraduate teaching in four disciplines: biology, history, mathematics, and psychology. In their analyses, the authors examine how individual, disciplinary, and institutional differences influence professorial behavior. In contrast to the more explicitly understood and enforced rules of conduct in research, the authors find that teaching norms are informally defined and observed. They argue that a formal code of ethics for undergraduate teaching would serve the dual purpose of improving undergraduate education and elevating the status of college teaching. A groundbreaking study of contemporary academe, Faculty Misconduct in Collegiate Teaching is required reading for all university and college instructors and administrators. (shrink)

_Education as Mutual Translation_ examines Hindu Vedantist and Yoruba philosophical concepts of self and mutuality with others, in a contemporary higher art education context. It suggests that resilient, original voices emerge more successfully from awareness of social interactions, than from individualism.

In the experience of building towards communism in our country we have witnessed the rising role and specific weight of art and aesthetic culture in the general system of developing a communist morale in Soviet people. A number of factors requires emphasis here:First, it is perfectly clear that, under the conditions of the building of communism, becoming a professional cannot mean confining oneself to education in one's field but presumes that the individual acquire a high general level of culture, that (...) he be capable of rapidly mastering knowledge and skills in related occupations, and that he have the ability to think and behave in a nonstereotyped fashion. (shrink)

This article is targeted at analyzing the advantages of using the case study method in the course of Business English at Scientific Research University - Higher School of Economics in Saint Petersburg. Cases offer a lot of opportunities for developing academic skills in reading, writing, listening and making presentations. Students get not only linguistic skills but also non-linguistic competences. Students are taught to work in teams, to analyze the data given in the task, to make decisions. Communicative and (...) managerial skills are obtained as well. Special attention is paid to making team presentations. It is vital to mention that analysis and case solving can be compared to a play where students are actors trying to come up with a solution of a problem using the information given. This approach stimulates students to be more creative, decisive, communicative and goal-oriented. This method helps to achieve better results in developing academic skills while studying Business English. In this article, the importance of Russian companies’ problems analyses is pushed forward. (shrink)

Although the AAMC requires annual reporting of medical humanities teaching, most literature is based on single-school case reports and studies using information reported on schools’ websites. This study sought to discover what medical humanities is offered in North American allopathic and osteopathic undergraduate medical schools. An 18-question, semi-structured survey was distributed to all 146 member schools of the American Association of Medical Colleges and the American Association of Colleges of Osteopathic Medicine. The survey sought information on required and (...) elective humanities content, hours of humanities instruction, types of disciplines, participation rates, and humanities administrative structure. The survey was completed by 134 schools. 70.8% of schools offered required and 80.6% offered electives in humanities. Global health and writing were the most common disciplines. Schools required 43.9 mean and 30 median hours in humanities. In the first two years, most humanities are integrated into other course work; most electives are offered as stand-alone classes. 50.0% of schools report only 0-25% of students participating in humanities electives. Presence of a certificate, concentration or arts journal increased likelihood of humanities content but decreased mean hours. Schools with a medical humanities MA had a higher number of required humanities hours. Medical humanities content in undergraduate curriculum is lower than is indicated in the AAMC annual report. Schools with a formal structure have a greater humanities presence in the curriculum and are taken by more students. (shrink)

This book investigates transdisciplinary, arts-based approaches to developing innovative and pertinent higher education pedagogy. Introducing timely critical thinking strategies, the author addresses some of the key issues facing educators today in an increasingly complex digital, technological and ecological world. The author combines emerging ideas in the New Materialism and Posthumanism schools of thought with arts-based teaching and learning, including Practice-as-Research, for Social Science contexts, thus exploring how this approach can be used to productively create new pedagogical strategies. Drawing (...) on a rich repertoire of real-life examples, the volume suggests transferrable routes into practice that are suitable for lecturers, researchers and students. This practical and innovative volume will appeal to researchers and practitioners interested in Posthuman and New Materialist theories, and how these can be applied to the educational landscape in future. (shrink)

Anti-Academy examines the ideas, processes, workshops and legacies of three radical educational models in 1960s Japan, the USA and Denmark. Comprised of three sections, each relating to one of these school's programmes, Anti-Academy explores life at Bigakko, Tokyo, The Intermedia Programme at the University of Iowa, and Ex-School, Copenhagen. Anti-Academy is a comprehensive interpretation of how these three academies situated themselves on the peripheries of the art world, existing in opposition to the mainstream, and responding to the political and social (...) climate, location and cultural context of the day.Published alongside an exhibition of the same name, 21 November 2013 - 18 February 2014. (shrink)

Arts and Humanities in Higher Education, Volume 21, Issue 1, Page 74-93, February 2022. This study seeks to investigate aspects of the relationship between the core academic activities of teaching and research in higher education, through a theoretically enriched discussion of the design of an innovative popular music module on Adele’s 25 album and its delivery to first-year undergraduates on a general-purpose music degree during the academic years 2015–21. Drawing on autoethnographic approaches, it contemplates the challenges (...) associated with the execution of a module on genuinely contemporary topics, outlining the case for the importance of ensuring that university curricula remain up-to-the-minute as well as exploring strategies by which to realise this aspiration in the absence of a body of academic literature that might ordinarily have provided strong foundations for the content of such teaching. These lines of inquiry lead to consideration of broader questions concerning the evolving relationship between teaching and research in light of the substantial changes that have taken place within the UK higher education sector in recent years, as well as the possibilities for teaching-led research, developed exclusively for and in the academic classroom, as an alternative to the more traditional research-led teaching. (shrink)

This article offers an account of online experimentation and innovation that has taken place in the English department of the University of Wolverhampton from 2003 to 2005. Focusing on an introductory first-year module and two third-year modules, it explores how and to what extent a virtual learning environment can enhance the teaching of English literary studies in higher education. Using a ‘blended learning’ model of English teaching, in which face-to-face and online teaching are integrated, the (...) class='Hi'>study examines how VLEs can be incorporated into a coordinated assessment regime within individual modules, and considers the strategies for implementing VLE assessment in a staged progression across an English programme. The authors argue that online activities need to be both integrated into English courses and assessed.When balanced properly, VLE work offers no ‘easy option’ for students but effectively complements more traditional forms of assessment in English, such as essays and exams. (shrink)

This article addresses the complex issue of lecturers’ subject knowledge and teaching. It explores the subject knowledge models of Banks, Leach and Moon and of Grossman, Wilson and Shulman . The article then delineates how these can be used in the development of robust teaching models of the subject. It also suggests how these models can be used to develop a scholarly view of teaching and how this may impact on student transition and development. The article emerges (...) from a study of teaching and learning in English Literature departments within the UK higher education sector, but it draws conclusions and offers recommendations applicable to teaching across the Arts and Humanities in and beyond the UK context. (shrink)

The current times call for reforms in educational processes. The Covid-19 pandemic had an unforeseen impact on the educational system in all countries. This need for change requires new pedagogies and new methods for teaching and learning. Understanding the need for change is essential for the formulation of adaptive proposals, as well as for the generation of training activities to complement the teaching curriculum. New educational practices lead to a vision of educational quality, with new approaches that allow (...) the continuous integration of knowledge and permanent interaction with the student. This paper presents an analysis of the new teaching methodologies in times of confinement due to the pandemic caused by Covid-19. Keywords: Teaching methodologies, educational system, learning process. References [1]É. Tremblay-Wragg, C. Raby, L. Ménard y I. Plante, «El uso de estrategias didácticas diversificadas por cuatro profesores universitarios: ¿qué contribución a la motivación de aprendizaje de sus alumnos?,» Docencia en educación superior, vol. 26, nº 21, 2021. [2]L. Czerniewicz, R. Mogliacci, S. Walji, A. Cliff, B. Swinnerton y N. Morris, «Enseñanza y aprendizaje académico en el nexo: desagregación, mercantilización y digitalización en la educación superior,» Teaching in Higher Education, vol. 26, nº 2021, p. 16, 2021. [3]S. Dogan y A. Adam, «Aumentar el efecto del desarrollo profesional en la instrucción efectiva a través de comunidades profesionales,» Docentes y docencia: teoría y práctica, vol. 26, nº 3-4, pp. 326-349, 2020. [4]I. M. Torres Salas, «La enseñanza tradicional de las ciencias versus las nuevas tendencias educativas,» Educare, vol. 14, nº 1, pp. 131-142, 2010. [5]B. Fabio, J. Antonio Palomino y J. González Henríquez, «Evaluación y contraste de los métodos de enseñanza tradicional y lúdico,» Revista de Educación física y deportes, vol. 13, nº 94, pp. 29-36, 2008. [6]Y. Benítez y C. Mora, «Enseñanza tradicional vs aprendizaje activo,» Revista Cubana de Física, vol. 27, nº 2A, pp. 175-179, 2010. [7]P. Morales Bueno y V. Landa Fitzgerald, «Aprendizaje basado en problemas,» Theoria, vol. 13, nº 1, pp. 145-157, 2004. [8]R. Gil-Galván, I. Martín-Espinosa y F. Gil-Galván, «University student perceptions of competences acquired through problem-based learning,» Educación XXI, vol. 24, nº 1, pp. 271-295, 2020. [9]E. Ortiz Cermeño, «El aprendizaje basado en problemas,» Perfiles Educativos, vol. 41, nº 164, pp. 208-213, 2019. [10]E. Araos-Baeriswyl, C. Moll-Manzur, Á. Paredes y J. Landeros, «Aprendizaje invertido: un enfoque pedagógico en tiempos de pandemia,» Rev. Atención Primaria, vol. 53, nº 1, p. 117, 2021. [11]V. León-Carrascosa, M. Belando-Montoro y S. Sánchez-Serrano, «Design and validation of a questionnaire to evaluate the service-learning methodology,» Rev.Estudios sobre educación, vol. 39, nº 1, pp. 247-266, 2020. [12]J. Collado-Ruano, M. Ojeda, M. Malo y D. Amino, «Educación, arte e interculturalidad: El cine documental como lenguaje comunicativo y tecnología innovadora para el aprendizaje de la metodología I + D + I,» Rev. Texto livre, vol. 13, nº 3, pp. 376-393, 2020. [13]P. M. Bueno y V. Landa Fitzgerald, «Aprendizaje basado en problemas,» Theoria, vol. 13, nº 1, pp. 145-157, 2004. [14]J. A. Martí, M. Heydrich, M. Rojas y A. Hernández, «Aprendizaje basado en proyectos: Una experiencia de innovación docente,» Universidad EAFIT, vol. 46, nº 158, pp. 11-21, 2010. [15]L. Rojas y N. M. Jaimes, «Canvas LMS y el trabajo colaborativo como metodología de aprendizaje en entornos virtuales,» de Congreso Ibérico de Sistemas y Tecnologías de la Información, CISTI, Bogotá, Colombia, 2020. [16]B. Bordel y P. Mareca, «Results and Trends in educational MOOCs in the engineering area with MIRIADAX platform. A case study,» de 15th Iberian Conference on Information Systems and Technologies, CISTI 2020; Seville; Sevilla, España, 2020. [17]K. Vermeir y G. Kelchtermans, «Innovative practice as interpretative negotiation.A case-study on the kamishibai in Kindergarten.,» Teachers and Teaching: Theory and Practice, vol. 26, nº 3-4, pp. 248-263, 2020. [18]B. Tucker, «The Flipped Classroom: Online instruction at home frees class time for learning,» Education Next, vol. 1, nº 1, pp. 82-84, 2012. [19]M. V. Ledo, N. R. Michelena, N. N. Cao, I. d. R. M. Suárez y M. N. Vialart Vidal, « Aula invertida, nueva estrategia didáctica,» Educación Médica Superior, vol. 30, nº 3, pp. 678-688, 2016. [20]Metodologías activas por medio de las TIC, [Online]. Available: https://www.campuseducacion.com/blog/recursos/articulos-campuseducacion metodologias-activas-por-medio-de-las-tic/?cn-reloaded=1. [Last access: February 14, 2021]. (shrink)

Arts and Humanities in Higher Education, Ahead of Print. This article challenges what is now a common assumption in Higher Education; that teaching for employability will result in enabled and empowered graduates. Drawing upon empirical data, and Foucault’s concept of subjectification, we argue that discourses of employability instead encouraged museum, gallery and heritage postgraduate students at one UK-based institution to perceive themselves as subjects ‘lacking’ the resources needed for work – an understanding of self that formed prior (...) to study, which then permeated the entire learning and teaching experience. Moreover, we note that the trajectory from ‘lacking student’ to ‘employable graduate’ is often reliant upon an accrual of assets not openly available to all. As such, the article sounds a note of caution with regards the rhetoric of employability within Higher Education, while giving voice to students’ perspectives and anxieties around employability. (shrink)

This article feeds into the discussion of transitional issues begun in Volume 2 of Arts and Humanities in Higher Education. It draws on research into A-level students' expectations of university English and how these compare to the experiences of first-year students, university lecturers and A-level teachers. The data presented are drawn from innovative focus group sessions which gave pre-higher education and first-year university students a range of exercises to encourage them to focus on their expectations and experiences of (...) studying English. These data were supplemented with teacher and lecturer interviews. The article concentrates on students' expectations of independent study and the experience of reading. The findings show that there is a mismatch between student expectations and the realities of university study. It is hoped that the outcomes of this research will contribute to a more informed transition from school to university by informing students' expectations before they enter university. (shrink)

A satisfactory accounting of the current state of classical studies, at least in an American setting, requires consideration of the vitality of the connections between classics—understood as the study of the ancient civilizations of Greece and Rome as revealed in their languages, literature, art, architecture, and political institutions— and the disciplines of history, philosophy, literary criticism, political science, religious studies, archaeology, and art history. I argue that the relationship between classics and philosophy, at least in the context of American (...) higher education, is marred by a significant degree of parochialism—as classicists deprecate the value of philosophical analysis, and as philosophers fail to avail themselves of the linguistic and literary expertise typically possessed by the professional classicist. To address these problems, I propose instituting approaches to research and teaching that foster an appreciation of expertise across disciplinary boundaries—team-taught or interdisciplinary courses and multi-disciplinary graduate seminars, conferences, and workshops. (shrink)

The expression ‘a university without research is a dignified high school’ is becoming a both local and global concern in the academia. The purpose of this paper is to assess the extent to which collaborative research methodologies can enhance integration of faculties of arts and humanities in the universities in Malawi for knowledge development and transfer. It has been argued over and over that universities are spotlighted by their outstanding work in research, developing and sharing ideas, new inventions and creativity (...) within the spectrum of partnership development. While striving for partnership through collaborative research approaches, research activities still remain an area of concern in institutions that offer diverse tertiary education in Malawi. The question of how can these institutions or faculties engage each other in collaborative research methodologies in the quest of knowledge development and transfer remains crucial and relevant The study analyzed strengths, weaknesses, threats and opportunities of the existing research methods in Arts and Humanities and how the two disciplines can create a space for amalgamation so that research findings can benefit both disciplines. The study reveals that collaboration in various disciplines is a challenge owing to variations of conceptual analyses and the deficiency of technical no-how of both teaching staff and students as well as tools for data collection and analysis as may be emphasized in each of the areas of study; Arts and Humanities. Furthermore, while other institutions of higher learning have research ethics committees for checks and balances as a collaborative tool, some institutions do not know that this committee plays a crucial role in the field of research. Within this backdrop, there is need to develop research collaborations within an institution or with other institutions of higher learning that have a well-defined research profile for mutual benefits as far as collaborative research methodologies are concerned. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 41-57 [Access article in PDF] The Subordination of Aesthetic Fundamentals in College Art Instruction Randall Lavender we smile at a hasty philosopher who assures his disciples that art is about to be replaced with philosophy. 1Opportunities for college students of art and design to study fundamentals of visual aesthetics, integrity of form, and principles of composition are limited today by a (...) number of factors. With the well-documented prominence of postmodern critical theory in the world of contemporary art (and itsquestionable effects on higher education in art and design), the study of aesthetic fundamentals is largely subordinated to a multitude of conceptual, theoretical, and expressive priorities recycled from the art world. 2 Contemporary idea-based priorities tend to obviate, in the minds of many artists who teach, the "need" for aesthetic fundamentals in college art curricula. But as Rudolph Arnheim suggests, art is not easily replaced by ideas alone. For no matter how interested artists, instructors, or students may be in ideas, theory, or self-expression, today's college art/design students need to gain a solid grounding in aesthetic fundamentals early in their college art educations in order to become adept and well-informed makers of art and/or design.In this essay I argue for the value of aesthetic fundamentals in the education of artists and designers, and outline a series of factors that contribute to the subordination of aesthetics in college art instruction. I examine introductory-level college art/design curricula, including a pair of courses that are intended to provide students with visual, compositional, and/or aesthetic fundamentals, and explore why instructors, even in these courses, too often bypass such fundamentals in their teaching. Specifically, I discuss the ways in which traditions of art education, mixed with artist/teachers' own art training, lead to a virtual dismissal of aesthetic fundamentals. Certain assumptions that professional artists often bring to their teaching and how these contribute to the problem are examined. I identify a historical phenomenon [End Page 41] that plays a key role in the subordination of aesthetic fundamentals — the schism between "art" and "design." I suggest an approach for embracing aesthetic fundamentals in college art instruction that preserves students' individual and cultural differences, while at the same time enabling them to make aesthetic decisions in their work, and to discern aesthetic quality in each other's work. Finally, I conclude that students can fully succeed in more advanced explorations of the complex and controversial realm of contemporary art issues, and certainly in the applied arts, only after receiving a solid, balanced, and inclusive grounding in the profound aesthetic power of clear organizing principles of visual information. The Value of Aesthetic Fundamentals Why are aesthetic fundamentals — that is, principles and elements of visual organization — actually important to the education of college art students? Among other reasons, they are important because professional artists do somehow have to learn to make their work aesthetically convincing, even if they must manage other challenges as well, including "newness," historical relevance, and significance of idea. The National Association of Schools of Art and Design shares this reasoning, as evidenced by their requirement that B.F.A. students acquire "essential competencies," including becoming "visually literate," developing an "understanding of basic design principles, concepts, media, and formats," and "mastery of basic foundation techniques." 3 The problem we face in educating artists today is that the range of challenges inherent to a career in the art world often results in aesthetic considerations being assigned a low priority in visual arts curricula. Many contemporary artists teaching in college art programs see themselves as all but immune to the realm of visual aesthetics; they subscribe instead to the prevalent postmodern dictum that aesthetics are superfluous. As this way of thinking permeates college art instructors' thinking to an ever-greater extent, students of art and design find themselves increasingly distanced from aesthetic training, and from the aesthetic experience. This distancing is a loss to students.Students lose when aesthetic fundamentals are neglected because for all the effort they might make... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 41-57 [Access article in PDF] The Subordination of Aesthetic Fundamentals in College Art Instruction Randall Lavender we smile at a hasty philosopher who assures his disciples that art is about to be replaced with philosophy. 1Opportunities for college students of art and design to study fundamentals of visual aesthetics, integrity of form, and principles of composition are limited today by a (...) number of factors. With the well-documented prominence of postmodern critical theory in the world of contemporary art (and itsquestionable effects on higher education in art and design), the study of aesthetic fundamentals is largely subordinated to a multitude of conceptual, theoretical, and expressive priorities recycled from the art world. 2 Contemporary idea-based priorities tend to obviate, in the minds of many artists who teach, the "need" for aesthetic fundamentals in college art curricula. But as Rudolph Arnheim suggests, art is not easily replaced by ideas alone. For no matter how interested artists, instructors, or students may be in ideas, theory, or self-expression, today's college art/design students need to gain a solid grounding in aesthetic fundamentals early in their college art educations in order to become adept and well-informed makers of art and/or design.In this essay I argue for the value of aesthetic fundamentals in the education of artists and designers, and outline a series of factors that contribute to the subordination of aesthetics in college art instruction. I examine introductory-level college art/design curricula, including a pair of courses that are intended to provide students with visual, compositional, and/or aesthetic fundamentals, and explore why instructors, even in these courses, too often bypass such fundamentals in their teaching. Specifically, I discuss the ways in which traditions of art education, mixed with artist/teachers' own art training, lead to a virtual dismissal of aesthetic fundamentals. Certain assumptions that professional artists often bring to their teaching and how these contribute to the problem are examined. I identify a historical phenomenon [End Page 41] that plays a key role in the subordination of aesthetic fundamentals — the schism between "art" and "design." I suggest an approach for embracing aesthetic fundamentals in college art instruction that preserves students' individual and cultural differences, while at the same time enabling them to make aesthetic decisions in their work, and to discern aesthetic quality in each other's work. Finally, I conclude that students can fully succeed in more advanced explorations of the complex and controversial realm of contemporary art issues, and certainly in the applied arts, only after receiving a solid, balanced, and inclusive grounding in the profound aesthetic power of clear organizing principles of visual information. The Value of Aesthetic Fundamentals Why are aesthetic fundamentals — that is, principles and elements of visual organization — actually important to the education of college art students? Among other reasons, they are important because professional artists do somehow have to learn to make their work aesthetically convincing, even if they must manage other challenges as well, including "newness," historical relevance, and significance of idea. The National Association of Schools of Art and Design shares this reasoning, as evidenced by their requirement that B.F.A. students acquire "essential competencies," including becoming "visually literate," developing an "understanding of basic design principles, concepts, media, and formats," and "mastery of basic foundation techniques." 3 The problem we face in educating artists today is that the range of challenges inherent to a career in the art world often results in aesthetic considerations being assigned a low priority in visual arts curricula. Many contemporary artists teaching in college art programs see themselves as all but immune to the realm of visual aesthetics; they subscribe instead to the prevalent postmodern dictum that aesthetics are superfluous. As this way of thinking permeates college art instructors' thinking to an ever-greater extent, students of art and design find themselves increasingly distanced from aesthetic training, and from the aesthetic experience. This distancing is a loss to students.Students lose when aesthetic fundamentals are neglected because for all the effort they might make... (shrink)

Knowledge under cover -- Pedagogies of liberal humanism -- Making sense otherwise -- Mis/taking the universal.

Much debated in the curriculum content of cultural studies, the subject of intentionality and interpretation has not been given as much attention in terms of teaching and learning in higher education (HE). Various modernist and postmodernist approaches differ considerably, and these inevitably inform lecturers’ notions, whether consciously or unconsciously. Of particular concern is how such ideas influence teaching, learning, and assessment in creative disciplines such as art, design, music, and creative writing. In this paper approaches to intentionality (...) and interpretation in a fine art studio practice (FASP) curriculum and the effects of imbalance in this relationship on students’ learning experiences .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Changing Theories of Undergraduate Theatre Studies, 1945–1980Anne Berkeley (bio)IntroductionThe history of theatre study in American undergraduate education is a story of prodigious quantitative success. Although it took two centuries to secure the right to perform plays at American colleges, it took only eighty years for the curriculum to grow from a few isolated courses at the turn of the twentieth century to well over 14,000 in the 1970s.1 (...) By far the steepest growth occurred during the unprecedented expansion of higher education between 1945 and 1979. But academic theatre's meteoric rise after the war years conceals more problematic qualitative achievements. Throughout its ascendancy, vexing questions persisted concerning the quality, standards, and evaluation of theatre programs. In academic journals and books, theorists explored with alacrity broad opportunities for educational theatre in the university. But they also bickered constantly about objectives and practices and their role in academe, ultimately providing a decidedly ambivalent assessment of accomplishment.According to Oscar G. Brockett, the fundamental questions are, What place, if any, should theatre have in a university? and, For what are students being educated?2 This study traces answers to these questions given by scholars and educators between 1945 and 1979.3 It explores the connections between the scholarship about theatre studies and the programs that developed, what scholars and educators wanted it to become, and what it became in the context of liberal arts education. These years are important because they are the golden age of higher education, a time of unprecedented expansion. Following World War II the G.I. Bill greatly increased student enrollment, and academic and research programs surged. At this time, the [End Page 57] university's governing interests were established by the politics of the Cold War, and the desire to surpass the Soviet Union at everything motivated the expansion of higher education.4 The National Defense Education Act of 1958 and the Higher Education Facilities Act of 1963 (legislation made possible by a prosperous economy) injected vast financial resources into program development, and federal programs such as the National Endowment for the Humanities (NEH) and the National Endowment for the Arts (NEA) were established.An earlier study of theatre curriculum between, roughly, the Civil War and the Second World War provides a useful background against which to interpret the data for this later period.5 From the earlier study we learn that academic theatre suffered from religious hostility for two centuries but that by the end of the nineteenth century there were extracurricular dramatic clubs and productions. The emergence of the modern research university brought with it the expansion and diversification of knowledge, the differentiation of the colonial college's general curriculum into discrete disciplines, and the departmentalization of the curriculum. As principles and aims for liberal arts education, and the bachelor of arts degree, began to take shape, reconstruction of the curriculum included the introduction of departments of speech and literature, which included dramatic curricula.6 Academic theatre first began in classical and later modern language departments as a way of teaching literature in another language; later speech and English departments added courses in oral interpretation and playwriting.After George Pierce Baker opened the theatre department at Yale in 1925, theatre became an autonomous field of study in increasing numbers of universities. During this early period several developments took place: curriculum for theatrical studies developed out of extra-curricular theatre, theatre was identified and justified as a humanistic study, the seeds were planted for the university's eventual role in nonprofit and professional regional theatres, and the study of theatre as a legitimate academic discipline was developed. During this period, too, most theorists argued that theatre was one of the liberal arts and should be taught as part of the humanities. Late in the period there developed a small but increasingly vocal group of scholars and teachers who began to argue that theatre departments should teach technical skills of theatrical performance as well as humanistic inquiry. Thus was born the so-called craft or culture dichotomy: should educational theatre emphasize the crafts of performance or the humanism that prevailed in general (unspecialized) liberal study?The Forties and Fifties: The Curriculum Diversifies... (shrink)

This article challenges what is now a common assumption in Higher Education; that teaching for employability will result in enabled and empowered graduates. Drawing upon empirical data, and Foucaul...

Take part... and you will bear witness to the semiotic nature of human animals. This event, commented by Charbel Niño El-Hani (Federal University of Bahia) and chaired by Elma Berisha (Lyceum Institute), is part of the activities of the 2022 International Open Seminar on Semiotics: a Tribute to John Deely on the Fifth Anniversary of His Passing, cooperatively organized by the Institute for Philosophical Studies of the Faculty of Arts and Humanities of the University of Coimbra, the Lyceum Institute, the (...) Deely Project, Saint Vincent College, the Iranian Society for Phenomenology at the Iranian Political Science Association, the International Association for Semiotics of Space and Time, the Institute for Scientific Information on Social Sciences of the Russian Academy of Sciences, the Semiotic Society of America, the American Maritain Association, the International Association for Semiotic Studies, the International Society for Biosemiotic Studies, the International Center for Semiotics and Intercultural Dialogue, Moscow State Academic University for the Humanities and the Mansarda Acesa with the support of the FCT - Foundation for Science and Technology, I.P., of the Ministry of Science, Technology and Higher Education of the Government of Portugal under the UID/FIL/00010/2020 project. *** Jamin Pelkey is Associate Professor and Program Director in the Department of Languages, Literatures and Cultures at Ryerson University, Toronto, where he is also an active faculty member in the Ryerson-York graduate program in Communication & Culture. He serves as Co-Editor of Semiotica, Vice President of the International Association for Cognitive Semiotics, and executive board member for the International Cognitive Linguistics Association, the International Society for Biosemiotic Studies, and the Semiotic Society of America. Jamin’s research explores semiotic dimensions of language evolution and embodied cognition. He is the recipient of the 2017 Mouton d’Or Award for best article in Semiotica and has edited or co-edited twelve collections in linguistics, anthropology, and semiotics, including Tropological Thought and Action (2022), Cognitive Semiotics (2019), Applied Brand Semiotics (2018), Archaeology of Concepts (2018), Sociohistorical Linguistics in Southeast Asia (2017), Virtual Identities (2016), and The Semiotics of Paradox (2015). His authored books include Dialectology as Dialectic (2011) and The Semiotics of X (2017). He is currently editing Bloomsbury Semiotics, a major reference work in four volumes. *** Charbel N. El-Hani is full professor in the Institute of Biology, Federal University of Bahia, Brazil. Coordinator of the LEFHBio - History, Philosophy, and Biology Teaching Lab and the INCT IN-TREE - National Institute of Science and Technology in Interdisciplinary and Transdisciplinary Studies in Ecology and Evolution. Between January 2020 and July 2021, he was visiting researcher at the CES - Centre for Social Studies of the University of Coimbra, Portugal. He works in the areas of philosophy of biology, ecology, ethnobiology and science education research. *** Homepage: https://www.uc.pt/fluc/uidief/io2s Auditorium: https://www.uc.pt/fluc/uidief/io2s/auditorium *** Technical support assured by Robert Junqueira. The cover image for the video was designed by Zahra Soltani. (shrink)

Qualitative and quantitative research on the impact of medical and health humanities teaching in baccalaureate education is sparse. This paper reviews recent studies of the impact of medical and health humanities coursework in pre-health professions education and describes a pilot study of baccalaureate students who completed semester-long medical humanities courses in the Division of Medical Humanities & Bioethics at the University of Rochester. The study format was an email survey. All participants were current or former baccalaureate students (...) who had taken one or more courses in literature and narrative in medicine, bioethics, history of medicine, and/or visual arts and healthcare during the past four years. The survey gathered numerical data in several areas: demographic information, career plans, self-reported influence of coursework on educational and career plans, and self-reported influence of coursework on intellectual skills and abilities. It also gathered narrative commentary that elaborated on students’ responses to the numerically-based questions. Notable findings from preliminary analysis of the data include higher scores of self-reported impact of the coursework on specific habits of mind and on preparedness for intended career rather than on gaining admission to future educational programs. Discussion of the results focuses on several potential future directions this type of study might take, including multi-center, longitudinal, and sequential approaches. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Teacher as Public ArtSheila Wright (bio)I entered the public art arena as an idealist optimist. Now, two decades later, I am a pragmatist realist. How did my dream of a populist marketplace turn into a nightmare?—Richard Posner, Artist vs. PublicLike Posner, many faculty members enter the academy as idealists, optimistic that their goals for and the promise of higher education will be fulfilled and their quest for knowledge (...) inspired, only to discover years later that they have become pragmatist realists.1 For many, change is necessary for survival, career success, and fulfilling dreams. At what point, however, might otherwise idealistic, visionary, and highly capable people become oppressed, disillusioned, and/or marginalized as professors? Under what conditions do professional dreams of transforming education and critical pedagogy become frustrated by rigid adherence to the status quo? How might initial aspirations of achieving a higher education become politicized and racialized as seemingly inescapable nightmares?For some faculty—particularly those of color and, especially, women working in historically white institutions—the assault on dreams occurs not only in nightmares during sleep but as monochrome, white-mares while awake.2 So, what does it mean just to be a professor in an environment where the simple quest to teach, conduct research, and serve can be frustrated by faulty, stereotypical, and often hostile assumptions, attitudes, and reactions to gender and skin? How might professors in these circumstances [End Page 83] respond to social constructions that manifest as body politics and racialized consciousness while simultaneously celebrating their identity, inner spirit, and cultural self—their ideals and visions? How do professors in these situations respond to institutional policies and practices and the social, cultural, and political nuances of place? Further, how can professors learn from their experiences and strive for meaningful transformation without the risk of being viewed as an "other," "unorthodox," an "activist," or worse?In this article "teacher as public art" is used as a metaphor to describe and explain the all-too-common perceptions and experiences of professors of color, especially women, within the academy. More specifically, this article reports findings from a qualitative study focused on what it means to be a woman of color in the academy. The findings presented are consistent with those encountered in a growing body of literature on the topic. Like other work in this area, an analysis of historical contexts can provide a critical link to understanding the cultural nuances framing the formation of professors' work identities. Triangulated data for this study included a visual art exhibition, personal reflections on the experiences of teaching in higher education, and formal research involving women faculty of color. Data were analyzed and interpreted based on literature defining the three worlds of professorship (scholarship, teaching, and service). The presentation of results and findings included here is intended to encourage further conversation regarding the retention, promotion, and tenure of faculty of color.Information and PerspectiveHighlighted throughout this discussion are (1) the relevance of locating self within the context of people and place; and (2) the importance of bringing meaning, authenticity, and credibility to teaching and research through continued reflection, self-assessment, and inquiry. The case presented is essentially a first attempt to accomplish these goals using self-study, personal experience, and public knowledge as an integrated vehicle for professional transformation. As both the researcher and a participant, the process required that I be simultaneously subjective and objective in order to examine the multiplicity of dialogues related to the professional self. In other words, the process required that I honor the voice of the person within—for example, artist, professor, woman, person of color—while, as a researcher, at the same time honoring the voices of those who participated in the study. As someone who came late to the academy (I was forty when I received my first tenure-track position), I drew for this study not only upon my prior experience and identity as a professor and educational researcher but also upon a myriad of pre-academy experiences and identities as, for example, an artist, art educator, administrator, and aspiring social reformer. The dynamic relationship [End Page 84] between those various identities facilitated and sustained a more cohesive... (shrink)

The Universal Design for Learning guidelines were extensively studied to understand inclusive learning and teaching in higher education. However, to date, there have been few studies that approached UDL-based asynchronous university courses from the needs satisfaction perspective in self-determination theory. To address this gap, researchers designed and implemented two 15-week asynchronous online courses based on UDL. They then tested their effectiveness with college freshmen by adopting a sequential explanatory mixed method. The study aimed to examine whether asynchronous (...) instruction based on UDL catered to inclusion and diversity across gender and academic background and whether the instructional design supported learner engagement and needs satisfaction. The findings showed that both male and female students as well as Arts and Sciences students equally engaged in the courses and perceived the needs support from the course design. However, the study also found that although universal design supported autonomy and competence, it nonetheless failed to fully satisfy learners’ relatedness needs. The researchers concluded by discussing empirical and theoretical implications. (shrink)

Nowadays ethics plays a vital role in numerous professions. Due to social requirements and technical advances, changes in the accreditation rules in legal, economic, medical and engineering education have emerged in many countries, often requiring the inclusion of an ethics requirement in such professional programmes. In this work, the authors demonstrate that such changes are absolutely necessary in the legal profession in Lithuania. Specifically, the record low level of prestige of the judiciary and lawyers in the Lithuanian society and the (...) fact that lawyers are often accused of legal nihilism, clannish behaviour, and protectionism, demand that legal ethics assumes a far greater role in Lithuanian legal education. It is necessary to stress that the topic of lawyers’ ethical violations and the consequences of such violations is discussed in the society in only in a fragmentary, and not transparent manner; moreover, the significance of ethics in the education and training of lawyers has not been properly evaluated either. Especially having in mind Lithuania’s Soviet heritage (during most of the Communist era there was almost no education on those issues), it becomes obvious that legal ethics must be continuously stressed in the legal profession’s education and development. The importance and relevance of this topic is primarily determined by the current evaluation of lawyers in Lithuania, which shows that lawyers do not fulfil the expectations of the society. This raises a question whether law graduates indeed acquire this system of ethical values as part of the process of obtaining the knowledge and skills that are necessary for a modern lawyer. While analysing the Lithuanian legal documents governing the requirements for legal studies, it has been noticed that a course in legal ethics or lawyer’s professional responsibility is not compulsory either in the qualification requirements for judges, or in the Ruling of the Constitutional Court of 20 February 2008 on legal education for those who want to assume the position of a judge according to the order of law. In the description of legal study programmes, courses on professional ethics are designated as an optional non-legal subject, which is quite different from the legal education systems of other countries, where this type of course is compulsory for future lawyers. Even if this course is taught at Lithuanian higher education establishments, it is limited to the analysis of cases and legal regulation. Insufficient attention to this issue obviously creates the erroneous impression that it is of secondary importance for a lawyer. It should be noted that legal ethical standards, the development of lawyers’ value systems and other problematic questions related to legal ethics have not attracted attention of the Lithuanian scholars either. Therefore, this is a question of the utmost importance for legal education and requires additional research. In global educational and other academic literature, much is being discussed about the methods of teaching ethics, and the place of ethical subjects in study programmes and assessment. It is well worth supporting the research on the development of lawyers’ value systems, in that the lack of such values may influence the evaluation of the practicing lawyers’ satisfaction with their job, self-confidence and belief in the importance of their profession. Obtaining social-ethical attitudes and perspectives helps future lawyers gain more trust in their professional identity and the correctness of their professional work. The main conclusions drawn from the research are the following: (1) the university can and needs to contribute to the development of students’ value systems and this is one of the most important content requirements within the legal study programmes; (2) while teaching ethics, the primary focus must be not on the legal acts regulating ethics, which are changing over time, but on the aim of helping that students themselves have an increased sense of selfawareness and sensitivity to ethical issues in law practice, recognise and understand ethical dilemmas arising in the law, recognise the dominant attitudes in the society towards the role of a lawyer and motivate them to reconsider and discuss the value bases of such attitudes and their change; (3) a course on legal ethics – no matter how perfect it would be – is not the only way to develop a personal value system. In this context, the importance of liberal arts education should be accentuated. Given the research conducted, there is a clear link between the development of moral awareness and the person’s education in general. (shrink)

While classical schools today typically exhibit a carefully considered approach to the linguistic arts of the trivium, the equally important mathematical arts of the quadrivium have received relatively little consideration. This being so, mathematics is often approached in ways that are not distinctly classical. This article seeks to establish the importance of the quadrivial arts as a means of ascending from lower to higher things. Though most know Plato’s comparison of a lack of education to being imprisoned in a (...) cave, relatively few are familiar with the role the quadrivial arts play in ascending from the cave. Because the mathematical arts cultivate and direct the imagination, they enable students to move beyond sensible particulars to the formation of forms and figures by the mind. Thus, the mathematical arts help free us from an undue preoccupation with lower things and direct us toward the pursuit of knowledge and what truly is. (shrink)

In the 2007–8 academic year, the Hebrew University – Hadassah Medical School established a three-year Medical Humanities program. We developed a spiral curriculum addressing three main concepts: moral reasoning, professionalism, and the social and cultural context of medicine, each of which is revisited during the entire period of studies on a higher level. The courses—encompassing topics applicable to medicine in general as well as subjects of special significance to physicians in Israel—are taught in a combination of frontal lectures, small (...) group discussions, and early clinical exposure. Our interdisciplinary faculty includes physicians, nurses, social workers, psychologists, lawyers and members of the Faculty of Humanities. We believe that teaching the medical humanities enables graduating physicians to utilize the latest scientific and technological knowledge more empathetically and humanely, reminding them that medicine is not confined to mere tending to the sick, but includes an ethical philosophy common to all physicians who remain true to their art. (shrink)

Research on authentic learning has been predominantly focussed on skills-based training: there is a paucity of research on models of authentic learning available for adaptation in the humanities undergraduate classroom. In this article, I will seek to address this gap by proposing that legal trials are ideal models for designing authentic learning scenarios in undergraduate teaching and learning contexts, with a specific focus on the humanities. First, I discuss why and how the structure of legal trials can produce authentic (...) learning environments. Second, I present an undergraduate classroom project that combined two disciplinary fields – Shakespearean drama and criminal law – in an effort to enhance student learning and engagement. I outline how the authentic learning scenario was implemented and evaluated and, finally, reflect on the barriers, challenges and potentially transformative effect of authentic learning environments on students and educators. This new intervention combines legal studies... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Revisiting Vygotsky and Gardner:Realizing Human PotentialNinah Beliavsky (bio)The two individuals who have had a tremendous influence on my own theories and my own philosophy of education are the Russian psychologist, intellectual, and social activist Lev Semenovich Vygotsky (1896-1934), and the leading American developmental psychologist Howard Gardner (b. 1944). The philosophies of Vygotsky and Gardner have much in common, even though their lives have been separated by different continents, different (...) political regimes, different languages, different cultures, and almost a century of innovative research in the fields of psychology and education.I argue that Vygotsky's ideas should be viewed through the prism of Gardner's theory of Multiple Intelligences. The combination of these concepts can shed new light on education—on teaching and learning. By doing so, we would enable the students to reach a higher level of cognitive development.This article intends to suggest that Vygotsky's dream of maximizing the Zone of Proximal Development can be realized by utilizing Gardner's approach of nurturing the students' combination of intelligences. This idea of teaching and learning will allow educators to teach ahead of development, to teach for understanding, to motivate and promote the students' creativity and imagination, and to encourage their personal, social, and academic growth.Lev VygotskySeventy-two years have passed since Vygotsky died on June 11, 1934. He was only thirty-seven years old. "Vygotsky was a product of his time: an intellectual, [End Page 1] a Jew, [one] who took as much pleasure in thinking through the intricacies of speech impediments and language acquisition as he did in contemplating Shakespeare's Hamlet or the psychology of Art."1 Fundamental to Vygotsky's theory was the idea that higher mental functions, such as thinking, logical memory, and human consciousness, have their origins in human social life.Vygotsky believed that culture should be passed down to future generations in a Socratic, rather than a dogmatic, way. He believed that everyone should be given the tools to live up to their highest potential. For Vygotsky, psychological development could not be separated from human history and human culture. The notion of development as growing out of the interactions of human beings with one another, especially the interaction of adults and children, offers a collectivist vision of human psychological growth that is especially different from American ideas of individualism and predetermined stages of psychological growth.2 Vygotsky believed that the child has to be exposed to the array of intellectual and cognitive "tools" developed over the centuries by human beings—tools such as language, mathematics, music, and art.He stressed that systematic instruction in the formal disciplines—Latin, Greek, mathematics, and composition—is beneficial to the development of students' mental facilities in general. Studying the formal disciplines would lead to higher-order thinking and thus enhance "scientific" concepts. In other words, the systematic learning of scientific concepts in one field translates into developmental changes, abstract thinking, and greater logical thinking and logical flexibility. Recently, this notion is being welcomed by American psychologists. For example, in one study in the United States a group of American psychologists demonstrated that specialized training in medicine, law, and psychology seems to have an effect on real-life problem solving requiring statistical and logical reasoning.3In American educational psychology, Vygotsky is famous for his concept of the Zone of Proximal Development (ZPD). Behind this is the notion that a child's cognitive development occurs within a social milieu. The teaching-learning process (instruction) does not occur in isolation. The role of instruction for enhancing cognitive development is a joint activity—a collaborative effort between the child and a more knowledgeable partner, such as an older sibling, a parent, a teacher, etc. Therefore, the analysis of cognitive functioning requires studying how a child's social interaction with more competent peers of their culture is mastered and internalized. In other words, to understand a child's cognitive development, we need to examine specific patterns of social interaction in which the child participates.4The most detailed description of the concept of ZPD can be found in a lecture entitled "Dinamika umstvennogo razvitia sckol'nika v svjazi s obucheniem," delivered by Vygotsky at the... (shrink)

Henri Delacroix is a French philosopher, religious scholar and psychologist, a student and follower of Bergson. He began his activity with the study of mysticism. Following the thesis “An Essay on Speculative Mysticism in Germany in the 14th Century”, where the author analyzed the teachings of Meister Eckhart and the associated intellectual movement, he published several other works where he examined other historical and national forms of mysticism. Describing different types of mystical intuition, conducting a detailed psychological analysis, Delacroix (...) interpreted the higher forms of mystical experience, contrary to the opinions of some researchers, as an expression of deep inner life and not as a special type of neurosis. His work Studies in the History and Psychology of Mysticism: the Great Christian Mystics was highly appreciated by contemporaries, and the approach he proposed to this subject gradually gained recognition and became classical. In his philosophical and psychological works, Delacroix acted as an opponent of associationism and mental atomism. He developed the treatment of consciousness as an entity, considering the various forms and manifestations of consciousness and the unconscious in their interconnection and mutual influence. He paid special attention to the relationship between language and thinking as well as child psychology and the psychology of art. In his book Language and Thinking, Delacroix, relying on the concept of F. de Saussure, developed the distinction of language and speech proposed by the latter. (shrink)

This essay argues for a new approach to teaching criticism on undergraduate English, Cultural Studies and Literature degrees. I critique two attempts to make critical activity comprehensible to students , and I argue that these belong to an authoritarian or state-sponsored pedagogy which fails to tap into the wide variety of traditional, social and generic forms that criticism can take. I suggest that by comparison with the world of beginning novelists, dramatists or poets, literary criticism lacks a writing community. (...) In discussing how this difficulty can be overcome, I emphasize the rational bewilderment of students when confronted with an essay to write. My conclusion is that the writing lives of student critics, and the critics that students read, should be brought into closer, more productive association along thelines of practice and performance in music and art. (shrink)

Alexis de Tocqueville (1805–1859) was convinced that without a new possibility for transcendence, democracies would be ill-prepared to allow for actual freedom. In Democracy in America, his study of the United States, he explained that when self-interest was enlightened, individuals would tend to identify their personal benefits with the well-being of the community. By transcending their individualistic tendency to self-enclose, they would contribute to forming and maintaining a real sovereignty of the people. However, unless the “doctrine of self-interest well (...) understood” was aided by a higher ideal, by itself it would eventually fall short, thus paving the way for new forms of despotism. Religion, and more specifically, reformed versions of Christianity, seemed to effectively elevate the outlook of the early Americans. As I will argue, however, Tocqueville ultimately held that those versions lacked the profundity and stability required to resist the strong materialistic and individualistic tendencies of people living in a democracy. Tocqueville’s apparent, if anxious-ridden, preference for Catholicism as the more adequate civil religion resonates with important aspects of Augustine’s theory of the Two Cities, the earthly and the heavenly city. For both Tocqueville and Augustine, the Roman Church’s stable doctrine was what could more successfully teach mankind the truth about their limited condition, hence making them more capable of learning the “art of being free.”. (shrink)

Be aware... and you will be mindful of a notable ambiguity in semiotics as well as of those who have masterfully strived to transcend it. This event, commented on by Elize Bisanz (Texas Tech University) and chaired by William Passarini (Institute for Philosophical Studies), is part of the activities of the 2022 International Open Seminar on Semiotics: a Tribute to John Deely on the Fifth Anniversary of His Passing, cooperatively organized by the Institute for Philosophical Studies of the Faculty of (...) Arts and Humanities of the University of Coimbra, the Lyceum Institute, the Deely Project, Saint Vincent College, the Iranian Society for Phenomenology at the Iranian Political Science Association, the International Association for Semiotics of Space and Time, the Institute for Scientific Information on Social Sciences of the Russian Academy of Sciences, the Semiotic Society of America, the American Maritain Association, the International Association for Semiotic Studies, the International Society for Biosemiotic Studies, the International Center for Semiotics and Intercultural Dialogue, Moscow State Academic University for the Humanities and the Mansarda Acesa with the support of the FCT - Foundation for Science and Technology, I.P., of the Ministry of Science, Technology and Higher Education of the Government of Portugal under the UID/FIL/00010/2020 project. *** Ionut Untea is currently a fellow-in-residence at the Akademie Schloss Solitude, in Stuttgart, where he is researching on the semioethic and aesthetic coordinates of the “social compact” and intercorporeal relationships. In 2021, he has taught a course entitled “Intercultural Philosophy: Semiotic Approaches and Aesthetic Themes” as a Visiting Professor at Università degli Studi di Bari Aldo Moro. Since 2016, he has been teaching History of Western Philosophy and Semiotics at Southeast University, Nanjing. He previously taught at the University of La Rochelle, and was a postdoctoral fellow of the Foundation for Interreligious and Intercultural Research and Dialogue (FIIRD) at the University of Geneva. He obtained his doctorate in 2013 at Ecole Pratique des Hautes Etudes (EPHE), in Paris. He holds Romanian citizenship, having obtained his first degrees in philosophy and theology at the University of Bucharest. His focus is on the modern and contemporary intersections between semiotic, moral, political and religious thought. He has published recently “Peircean and Confucian Interpretations of Self-Development: Semiotic, Normative and Aesthetic Aspects,” Philosophy East and West 72.1: January 2022: 188–209. His recent work has appeared in academic journals such as The American Journal of Semiotics (2021), Semiotica (2021), Ethical Perspectives (2021, 2019), Philosophical Forum (2019), Journal of Aesthetic Education (2020), Politics and Religion (2019), The Monist (2018). *** Dr. Bisanz's education includes an MA (Philosophy) from the University of Lüneburg in Germany; Graduate Studies in Jacques Derrida's philosophy Seminars at l'École des Hautes Études en Sciences Sociales, Paris; a Ph.D. (History of Communication Sciences) from the Technische University of Berlin; and a post-doc Habilitation Degree (Image Studies), from the University of Lüneburg. Bisanz has published several interdisciplinary books reflecting her educational background; these include a major European edition of Peirce's writings The Logic of Interdisciplinarity: Charles S. Peirce, The Monist Series (Akademie-Verlag, Berlin, 2009), which was realized with the aid of research and publication grants from State and private endowments; Prolegomena to a Science of Reasoning: Phaneroscopy, Semeiotic, Logic, which is a collection of manuscripts by Peirce on reasoning (Peter Lang Publishers, Berlin, 2016); Overcoming the Iconic Turn: Cultural Concepts of Images [in German: Die Überwindung des Ikonischen: Kulturwissenschaftliche Perspektiven der Bildwissenschaft] (transcript Verlag, Hamburg, 2010). Bisanz is a member of the advising board of the Deutsche Gesellschaft für Semiotik and chair of the society's subdivision for Cultural Studies. Since her Fulbright scholarship in 2006 at Texas Tech University, Bisanz has been an active member of the Institute for Studies in Pragmaticism. She has organized several international congresses dedicated to Peirce and interdisciplinary research. *** Homepage: https://www.uc.pt/fluc/uidief/io2s Auditorium: https://www.uc.pt/fluc/uidief/io2s/auditorium *** Technical support assured by Robert Junqueira. The cover image for the video was designed by Zahra Soltani. (shrink)

Kick off the year right... and you will find yourself capable of recognizing the depth and breadth of John's genius. This event, commented on by Bujar Hoxha (South-East European University) chaired by Elma Berisha (Lyceum Institute), is part of the activities of the 2022 International Open Seminar on Semiotics: a Tribute to John Deely on the Fifth Anniversary of His Passing, cooperatively organized by the Institute for Philosophical Studies of the Faculty of Arts and Humanities of the University of Coimbra, (...) the Lyceum Institute, the Deely Project, Saint Vincent College, the Iranian Society for Phenomenology at the Iranian Political Science Association, the International Association for Semiotics of Space and Time, the Institute for Scientific Information on Social Sciences of the Russian Academy of Sciences, the Semiotic Society of America, the American Maritain Association, the International Association for Semiotic Studies, the International Society for Biosemiotic Studies, the International Center for Semiotics and Intercultural Dialogue, Moscow State Academic University for the Humanities and the Mansarda Acesa with the support of the FCT - Foundation for Science and Technology, I.P., of the Ministry of Science, Technology and Higher Education of the Government of Portugal under the UID/FIL/00010/2020 project. *** Eero Tarasti, professor of musicology at the University of Helsinki (chair) in 1984-2016. He was President of the IASS/AIS - International Association for Semiotic Studies, 2004-2014 and is now its Honorary President. In 2016 he has founded the Academy of Cultural Heritages. He studied music in Sibelius Academy, Helsinki, and then in Vienna, Paris, Rio de Janeiro and Bloomington. He got his PhD from the University of Helsinki (1978) after studies in Paris with Claude Lévi-Strauss and A. J. Greimas. He is one of the founders and the director of the international research group Musical Signification since 1984.Tarasti has become Honorary Doctor at Estonian Estonian Academy of Music and Theatre, New Bulgarian University (Sofia), Indiana University (Bloomington), University of Aix-Marseille, and Gheorghe Dima National Music Academy in Cluj-Napoca, Rumania. He has published about 400 articles, edited 50 anthologies, and written 30 monographs; among them one finds: Myth and Music (1979), A Theory of Musical Semiotics (1994), Heitor Villa-Lobos (1996), Existential Semiotics (2000), Signs of Music (2003), Fondéments de la sémiotique existentielle (2009), Fondamenti di semiotica esistenziale (2010), Semiotics of Classical Music (2012, in French 2016), Sein und Schein, Explorations in Existential Semiotics (2015), and Transcending Signs: Essays in Existential Semiotics (2023); two novels: Le secret du professeur Amfortas (2002) and Retour à la Villa Nevski (2014, in Italian L’heredità di Villa Nevski 2014, in Finnish Eurooppa/Ehkä 2016). He has supervised 150 PhDs in Finland and abroad. *** Dr. Bujar Hoxha is a full professor of Communication Sciences at the South-East European University in Tetovo and Skopje, North Macedonia. His teaching courses include communication theory, introduction to communication sciences, and Semiotics of Mass Communication. His main scientific interests are structural semiotics, semiotics of passions, semiotics of disabilities, and existential semiotics. He gained his PhD from the University of Skopje in 2008 on the semiotics of Umberto Eco. Out of his creative and intellectual work, one can number two published novels, a book, as well as several scientific articles published in prestigious scientific journals, such as: “Semiotics of Precision and Imprecision” (2016) and “Multilingualism and Sameness vs Otherness in a Semiotic Context”, (2018) both in de Gruyter Mouton's Semiotica, Berlin and Boston, as well as “On the Applicability of the Semiotics of Passions” (2018) and “The Signs’ Behavior in Autistic Children: Semiosis of an Unspoken Language” (2021), both in the Humanities Bulletin, issued by London Academic Publishing, London, United Kingdom. Recently, Dr. Hoxha has published a monograph entitled: Umberto Eco’s Semiotics: Theory, Methodology and Poetics, issued by Cambridge Scholars Publishing in January 2022, New Castle upon Tyne, UK. *** Homepage: https://www.uc.pt/fluc/uidief/io2s Auditorium: https://www.uc.pt/fluc/uidief/io2s/auditorium *** Technical support assured by Robert Junqueira. The cover image for the video was designed by Zahra Soltani. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 54-63 [Access article in PDF] Movement Class as an Integrative Experience:Academic, Cognitive, and Social Effects Svetlana Nikitina I believe the benefits of this type of course reach beyond the obvious possibilities of professional and academic achievement. The degree of personal discovery, creativity, self-development and insight are immeasurable. I am particularly referring to my experience here at Harvard. Claire Mallardi, from course syllabus (...) Performing arts courses at research institutions such as Harvard University are often seen as extracurricular with only tangential or imperceptible effect on students' academic interests. Yet, when I interviewed biology, math, or neuroscience concentrators who took Claire Mallardi's Movement for Actors and Directors course at Harvard in the spring of 2000, most of them told me that it was one of the most meaningful experiences in their academic development, and, according to one psychology concentrator, "the best psychology course" she ever took. In spite of boundaries separating the arts courses from hard and soft sciences, in students' experience the connections run deep. What were those connections that students made from their dance class experience to their academic and social development? And, what in the teaching and nature of the course supported this highly integrative experience that allowed students to reach beyond mastering an artistic medium and become better learners in general? These were the two major questions that guided this study.Why am I interested in the integrative quality of arts education? I am highlighting the academic importance of performing arts programs to suggest to university administrators and instructors in other disciplines the "immeasurable" personal and academic value of such courses whose place is often seen as marginal. Perhaps also, pedagogy used for integration in this course into the academic fabric of the institution could provide models for other courses and curricula that are trying to be integrative or interdisciplinary in a more self-conscious way. And, there are more and more such [End Page 54] courses on every college campus these days. Moriel Blaisdell in Preparing Faculty for the New Conceptions of Scholarship for example, cites "integrative studies" programs among most important trends in higher education today with their goal "to synthesize, to look for new relationships between the parts and the whole, to relate the past and future to the present, and to ferret out patterns of meaning that cannot be seen through traditional disciplinary lenses." 1One of the most daring experiments in universities now, and the one to which the integrative dance course could speak directly, is interdisciplinary teaching in neuroscience, for example. Neuroscience proceeds from the belief in the inherent unity of mind and body and attempts to discover the nature of the relationship between them. In a different way and with a different goal than arts courses, neurosciences also try to cross the boundary of subjective and objective experience, mind and body, physical technique and personal interpretation, which are at the heart of teaching and learning in the performing arts. While not being prescriptive, I would like to suggest that perhaps close attention to the pedagogy and integrative experiences of students in the performing arts courses could provide some insights for pioneering bridge-making in other academic areas as well.I would like to propose that what lies at the core of integrative capacity of a performing arts course, like the one Claire Mallardi teaches at Harvard, is the inherent tendency of the arts to transcend the boundary of body with the mind, and to seek unity of self as both the subject and the object. In a dance, in the words of Margaret H'Doubler, the body is seen "as the outer aspect of personality, for it is the agent through which we receive impressions from the external world and by which we communicate our meaning." 2 This basic translation between body and mind, mental and physical, artistic and academic that went on in Mallardi's class, resulted in integrative and transformational experiences for her students. "I never until this class — comments one student — equated emotions with movement or... (shrink)

The greatest intensity of “live” life is captured from as close as possible in order to be borne as far as possible away. Jacques Derrida. Echographies of Television . Rainer Ganahl has made a study of studying. As part of his extensive autobiographical art practice, he documents and presents many of the ambitious educational activities he undertakes. For example, he has been videotaping hundreds of hours of solitary study that show him struggling to learn Chinese, Arabic and a (...) host of other languages. The stacked boxes of tapes are then presented like minimalist monoliths, dense archives of effort. About fifteen years ago, Ganahl began photographing the lectures that he attends. At the time, he hadn’t seen anyone else doing it, so besides his spare selection of images of the speaker and the audience, much of the time the lectures would just pass into memory, undocumented, or recorded in writing alone. Since then, he has felt the transition to digital cause a significant shift in his process. At the same time, he has seen the habit become ubiquitous as others photograph, record, and videotape the lectures all around him. In keeping with the theme of this inaugural issue of continent. , can we propose each small grouping of photographs that result an isthmus stretching between two disparate bodies of mind? The first being the body of the lecture as spelled out in the title of each work – the experience of the event in all its constituent parts. The second is the body of the recipient, the listener, in this case an artist, who plays a minimal role just beyond the prescripted behavior of sitting and listening. He uses a gesture of documentation to draw a line between himself and the event, creating an artwork. Františka + Tim Gilman: As we mentioned before, the theme of the magazine for this issue is "isthmus." It seems like a very good way into your work, and it leads us to ask what connection you see between your photographs of the lecture and the lecture itself? Rainer Ganahl: The relationship is of course a concrete, pictorial one, or if you want a mimetic one but also an abstract one because the photographs carry the title of the lecture, the names of the lecturers, the site, the institution and the time of the lecture. Photos are fixed moments of time and can reproduce images displayed and reproduce visuals presented at a moment but they don’t come with time based recordings that video or sound takes are offering. What remains of a lecture is usually just the memory, some notes and all the announcements of it. In my case I end up with a visual product I declare as my artwork. It might not differ from any snapshot taken by any other student or member of the audience but I do this in a semi-systematic way with certain rules and procedures I have set up. While I am at a lecture I am mainly focusing on the lecture itself. Last night I went to one of Slavoj Žižek which demanded quite some concentration. I even was asking him a question at the end. I took photos as well but still didn’t lose track of the lecture. I didn’t walk around, I was not preoccupied by where I was sitting and what light I was having like some of the other photographing and filming people in the room who came and left, moved around and tried to capture him from this and that angle, from close and far. I just sat there and concentrated on the lecture and yet managed to take about 30 or so images of him, the public around me and of the film clips he presented. Once the lecture is over the story changes: it all becomes a question of the images, their selection, their visual qualities, their labeling and archiving. The function of the images also change: not only do they stand for an intellectual event in a row of lectures that become part of my intellectual history within many possible such histories but they also have to function as art, something not everybody else with images of lecturers demands of their images. This is my specific claim as an artist to impose them as artworks. And as with all artistic propositions the offer can be accepted or rejected. I basically spend my life trying to do exactly that: making what I declare as art, offering something to anybody interested in it as my art, an offer that is not and will never be accepted as such by all people. F+T: What are your criteria for selection, i.e. how do you choose which lectures to photograph, by lecturer, by topic, or do you photograph any and every lecture you can? RG: As everything in my life, I go by my interest which is the result of many factors. If I am aware of a lecturer, read his books or appreciate his works my interest of attending his much higher than if I am not aware of it. I usually don’t go to lecturers simply based on their subjects—something that can happen of course, if the subject, the title of the lecture is promising or at the heart of my interest. Sometimes I also wait for years to get a change to photograph certain people but I do that in a very low-level “keep your ears up” mentality and not in a systematic scanning of all channels and possibilities. I do not go into philosophy departments and photograph everybody teaching there. I go with the flow—and unfortunately a great deal of great talks I also miss because I hear too late of them. Often, I also stumble into them by traveling, by getting emails from friends and by simply being in the right spot at the right time. Somehow you could look at my lecture par cours as some kind of loose intellectual flâneurism . If you know of interesting lectures and events, please, let me know. F+T: Is your selection of images more of a production or post-production method? That is, do you take a lot of photos and select only a few images from each lecture, or do you take them very selectively? Do you have a particular methodology for the selection of images? RG: This all changed a bit with the arrival of digital photography. In the beginning I had to pay a lot of money for film developing. Hence, I was taking either one role - 36 images - or half a role - 13 images - depending on who talked and whether they projected images. With the unlimited capacity of digital imaging I easily end up between 30 and 150 images of one event still depending of whether images are presented or not. In the first years of that project when I wasn’t fully aware yet of what I was doing, I printed at least 2 images of any lecture and sometimes three or even four, a choice that was also constrained by costs. But again, since I have a web site and since images can easily be selected and presented on my web site without generating remarkable costs I have now more and more pain to reduce them to less than ten or eight images for an event. Now, before I have them printed which really is expensive, I can present them already as artwork on my web site without any immediate costs. Thus the economic factor is at the end of the chain which enables me to be more ‘generous’ and include more images. Over the last years I have been mostly selecting at least four photographs for a lecture unit but recently also as many as ten. But so far only one set above four images has been actually printed and sold. What might sound even more shocking is the likely fact that if a curator or a collector demands me to reduce the number of images due to costs, I might compromise at this current stage if the images have not been yet printed or published outside my own web site. This means that to a certain degree any selection that has only seen publication on my web site and not yet been produced runs the risk to change in numbers of images included. Needless to say, I am the last one that finally makes a decision and I do honor all given earlier decision if those were final. F+T: How do you feel the act of photographing the lecture affects your reception of the contents of the lecture? And your recollection afterwards, do you remember the lecture more having photographed it, or just having sat and listened? RG: As mentioned above, I get very little distraction from photographing since I can multitask well and do not obsess about the quality of the image: I photograph from where I am and listen with my ears and not my eyes. I am not sure whether the images serve as a mnemonic devise to the content of the lecture if there are no images involved but they at least remind me that the lecture existed, the title of the lecture and the name of the people and institutions involved. The titles of the hundreds of lectures I took during the past 15 years can also be read as an essay of theoretical life in that period. This will be come more and more visible as time passes by. These images age much better than I do. F+T: You mentioned at the outset of our discussions that you started this practice some time ago and have seen the practice of photographing lecturers become more commonplace. Why do you think that this shift has taken place? RG: The answer is very simple. Photographing is now free of any charge and hence omnipresent. You buy a phone or any other personal digital assistant and it has a camera integrated in it whether you want it or not. There is no need to develop images and there is no hassle to keep images, to distribute images, to organize images and save them. It is all virtual, not creating any costs and doesn’t require any efforts. You don’t spend twenty dollars for photo-developing anymore, you don’t need to walk anymore to your pharmacy or your photo shop to drop off and return to pick up and pay. You don’t need to go to the post office to send somebody a picture. You have a program like Photoshop already built into your camera. Photographing is now a thing for everybody—with functioning cameras made for two year olds. It is technically now nearly impossible to make bad images. The image quality is virtually guaranteed by cheap, high performing, mini-computers packed into miniscule cameras. With all these technological changes, we are undergoing now a cultural paradigm shift that includes permanent recording (not only still image taking) of everything. I wonder even whether babies are just born to be photographed—at least a process where the first photograph is right there. What is interesting now, is how the law is trying to catch up. I am experiencing and expecting more restrictions on photographing and recording—something already in place in many museums and in certain galleries—as the recording devices become more and more invisible and undetectable. It is an interesting cat and mouse play and will end up with some of us that are photographing the world around us in court. The world has become very transparent and everybody is contributing to it with social networking technologies—like twitter and Facebook—that are designed to monitor and communicate every step we make in our lives. F+T: Why did you start the practice? As a way to remember, or to capture the experience of the lecture and the environment there? RG: A couple of years earlier I started to photograph my own reading seminars as part of my art work with results that surprised me positively. I really liked these images of students and people discussing heavy non-fiction with me. The reading seminars justified this kind of pictorialism. Then in 1995 I had the chance to attend an entire seminar by Edward Said entitled “The Representation of Intellectuals at Columbia University,” which really gave me the idea to start this series. Why not also photograph these lectures I visit all the time since this really is a way of representing intellectuals? F+T: The constellation of images and the title seem like a kind of portrait, do you agree? If so, is it a portrait of the speaker, of yourself, or of the event? RG: Well, to follow up on the previous question the lectures are more than just portraits of lecturers since I include not only the speakers but also the audience, an audience that is not named or specifically highlighted as is the speaker. So if we stick with the metaphor of the portrait we would have to extend it also to the environment, the class room, the lecture hall, the arrangements of seats or benches, tables, lecture stands and other stuff typically seen on my images. Often the walls are decorated or even tagged with graffiti or posters and other stuff. There is a big difference between a small seminar room at the English Department of Columbia University, full with books and cabinets and a lecture room at a Paris or Frankfurt university that accommodates 50 to 150 people. We should, maybe, also distinguish between lectures that are one time events—mostly open to the public, free of charge or paid—and events that are weekly, closed to the public and held mostly in universities that can cost fortunes or be paid by the State as it is still predominantly the case in continental Europe. All this, of course, is not necessarily announced in the title of the lecture and is subject to information that isn’t visible on the images. To a certain degree we see also portraits of a general privilege when it comes to the public of certain institutions that are highly selective and extremely costly without forgetting that most of the lectures are dealing with theory, art, philosophy and other highbrow subjects. In general, I would say we see very little if we don’t know already what’s going on, who the lecturer, the institutions, the context are in which we subsequently can zoom into variants like sexual, racial, or age-related make-up without ignoring clothing fashions, hair styling, body mannerisms, gadgets and stuff. F+T: Do you see a relation between this body of work and your other work, for example your language studies? RG: Everything I do is “unfortunately” related. I say unfortunately because this makes my work not so easy to grasp. The relationship to the language studies is relatively clear since both are originally grounded in the domain of education and knowledge production. Nearly all my work comes across that nexus where knowledge and power are addressed. I was at one point wondering what the relationship was to some of my earlier indexical work where I was happy alone with footnotes from books painted on the walls: I came to understand that both are just different manifestations of knowledge and information. F+T: Do you foresee continuing the series indefinitely, or is there an end to it? RG: I think that I will continue this series indefinitely or to be more precise, as long as I go listen to lectures and want to learn something which brings me to your previous question: What do the reading seminars, language studies, historical research and lecture hopping have in common: I learn something. Further Reading Rainer Ganahl’s website William Kaizen. “ Vulgar Politics .” art&education . April 2009. Web. Smith, Roberta. “ Rainer Ganahl: ‘Language of Emigration & Pictures of Emigration .’” New York Times April 23 2010. Web. (shrink)

I have based my psychological hypotheses on studies in perception and in personality. Research in these two areas began independently, but by the late forties the supposedly unconnected processes came to be seen as different aspects of one process. For instance, a low tolerance for perceptual ambiguity and cognitive dissonance was found to be significantly correlated with lack of emotional responsiveness, dogmatism, and authoritarianism; conversely, a high tolerance for perceptual ambiguity and cognitive dissonance was found to be significantly correlated with (...) tolerance of emotional ambivalence, openness to new experience, and a liberal world view.1 Later studies, primarily those conducted in the sixties, then established strong correlations between these findings and information-processing styles. Information processing involves three stages: first, stimuli are selected from the environment ; these stimuli are then arranged into "dimensions"; finally, if two or more dimensions result, they are compared and/or combined according to certain rules. H. M. Schroder and his colleagues have established correlations between personality styles and styles of information processing.2 For example, an intolerant personality—that is, one with a low integration index—"identifies and organizes stimuli in a fixed way, and the rules derived from existing schemata are explicit in defining this one way" . What psychologists call an "abstract personality" and identify in terms of "flexibility" or "tolerance of ambiguity"—what in literary studies is most conveniently called "negative capability"—is not necessarily characterized as lacking rules but rather as possessing a greater number of conflicting rules on a lower level which may be accommodated by rules on a higher level. · 1. See Jerome S. Bruner and David Krech, eds., Perception and Personality, 2nd ed. and Robert R. Blake and Glenn V. Ramsey, eds., Perception: An Approach to Personality . Although, as Else Frenkel-Brunswick says, "rigidity in one respect may go with flexibility in another," she also adds: "There is some indication that in the case of distinct intolerance of emotional ambivalence one may as a rule be able to locate at least some aspects of intolerance of cognitive ambiguity although these may often be more apparent on a higher level than that of perception proper" The present essay, since it is one section of a projected larger study, deals with the issues inherent in this approach in only a limited fashion. One could, for instance, quote whole essays in this branch of psychology dealing with ambiguity and point to their relevance for some aspects of literary study and the teaching of literature. Ambiguity, of course, is also a central term in New Criticism. See William Empson, Seven Types of Ambiguity and Ernst Kris and Abraham Kaplan, "Aesthetic Ambiguity," in Psychoanalytic Explorations in Art, ed. Kris , pp. 243-64.· 2. H. M. Schroder, M. J. Driver, and S. Streufert, "Levels of Information Processing," in Thought and Personality, ed. Peter B. Warr , pp. 174-91. All citations to this work will appear in the text. Reuven Tsur, senior lecturer in Hebrew literature at Tel-Aviv University, is the author of several books in Hebrew on medieval and modern Hebrew poetry and, in English, A Perception-Oriented Theory of Metre. (shrink)

The internationalization of higher education is a growing reality in state and private universities. Theological schools that wish to impart religious values in addition to liberal arts and discipline specific curriculum may experience cultural barriers that prevent the successful teaching of religious ideologies. This study investigates the implications of the filial piety as a value that Chinese learners bring to Western classrooms and how the comparing of Confucian filial piety to similar values in biblical theology serves as (...) a means for cultural exchange and moral development. Confucian teachings of filial piety, affective domain learning, and biblical teachings of family and society are explored. The study concludes with suggestions of how to integrate similar teachings of two different cultures in order to teach religious values. (shrink)

With an emphasis on self-study and the connections between the personal and the professional domain, the authors reflect upon their teaching practice on a postgraduate theatre-based course using the research methodology of a/r/tography. The aim was to develop understanding of teacher/student roles and how these can affect learning. Through researcher reflexivity, focus groups and questionnaires, data were captured from students/participants responding to a video of the researcher’s solo performance work. The research presents itself through three a/r/tographic renderings. First, (...) the experience of seeing tutors in unfamiliar roles is considered. Second, the impact of witnessing tutors taking risks as a performer and being vulnerable is discussed and, lastly, the work illuminates new ways of opening up as teachers. The authors explore how the student’s/participant’s perception of them as tutors seemed to change after witnessing them as artists and how this impacted upon student’s learning for their own assessed performance pieces. (shrink)

With rare exception, research on approaches to interpretation in teaching and learning has not been extensive, and, in studio learning, it is vastly underresearched. The issue of the student’s intentionality in higher education, as the artist or author of the work, is complex and contentious. While in a dated study, authorial intentionality was found to be a crucial consideration for learning in art making in the United States,1 in criticism, it has been greatly reduced as a criterion (...) of importance,2 which is perhaps why in previous research I found this difference playing out awkwardly in assessment situations.3 Increasingly, art education literature has explored, and expanded on, traditional approaches... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IntroductionLori A. Custodero and Anna NeumannIn this symposium, three scholars present the genesis, meaning, and artfulness of creative work and its realization as aesthetic experience within three educational fields. Lori A. Custodero, working out of music education, provides a perspective emanating from an aesthetic of childhood wonder and playfulness; David T. Hansen, writing out of philosophy of education, discusses how being fully present in the teaching moment leads (...) to meaningful experience; and Anna Neumann, who writes out of the field of higher education studies, represents scholars as engaged in intellectual pursuits, often framed aesthetically, and as struggling to hold on to precious time for creation. Aware of the inherent tensions in learning environments from child care centers to graduate schools, we address ways in which our research has revealed people's sustained pursuit of imagined possibilities, oftentimes amidst perceived impediments.Creative work involves imagining possibilities whereby individuals, alone and together, pose personally relevant questions and pursue fluent pathways of inquiry within the shared meanings of cultural context. At its finest, such work is artful, simultaneously responding to and emanating from immediate circumstance and past experience. It is malleable and vulnerable and compelling, fusing familiar images and surprising perceptions into new "equilibria... stable, even though moving" whereby "changes interlock and sustain one another."1 As scholars and teachers committed to learning, we strive to create and discern meaning between established understandings and emerging ideas and images. As we dance between reception and action, between insight and "onsight,"2 fully attentive to the perceived potentials in our work, we move toward synchrony, experiencing the aesthetic. The realizations that arise from experiences such as these — new or newly reconfigured words, sounds, images, movement, and ideas — express new balances of sense and feeling and, sometimes, beauty. Whether in the shared, artfully expressive vocalizations between the newborn infant and mother or in the scientist's finessing patience with elegant mathematical imagery, creative work invites a drawing together of what we know and what we struggle to know. Over time, the interplay of this work and its realization, [End Page 33] what Dewey refers to as "movement and culmination,"3 creates a momentum that serves to define lives as aesthetic.We have created this symposium as a space for considering the meanings of the aesthetic in lives — from its earliest instantiations in the experiences of infants and young children, to its developed expression in the professional (in this case, intellectual) efforts of adults pursuing scholarly careers, to its representation in teaching as intergenerational fusions of knowledge, learning, and lives. We see the aesthetic as both native and learned; as individually held and formed and felt, and as collectively created and voiced, the product of lives in intersection; as marking bounded moments in time (those instants of compelling "present-ness") and as spreading through years, well beyond bounded present-ness, perhaps as memory. Yet while striving to define the aesthetic in lives, we also strive to understand lives, individually and interactively, as lodgings for the aesthetic, as locations that give shape, form, and voice to beauty and insight, to creativity and learning. As we explore the lives in which the aesthetic finds its home, and within which it forms, we wonder about the extent to which the aesthetic may, in its turn, illuminate the strivings of those lives, including human desires to create, know, learn, understand, sense. We are then collectively concerned with the meanings of the aesthetic in lives and about the lives themselves as "moving spaces" within which the aesthetic can grow.We pursue this theme, centered on the power of the aesthetic to illuminate human lives, out of a realization that current understandings of what it means to be human — and especially what it means to learn and create — have been framed within the rubrics of the social sciences, certainly in productive ways. And yet we suggest that the artful, though powerful in its abilities to voice emotion and beauty, has not been employed as intensively as it might in efforts to understand what it means to create and learn as virtues of human existence, as perhaps the ultimate of human strivings. We hope that these symposium papers will help invigorate such... (shrink)

It is one thing to lament the financial pressures put on universities, quite another to face up to the poverty of resources for thinking about what universities should do when they purport to offer a liberal education. In Powers of the Mind, former University of Chicago dean Donald N. Levine enriches those resources by proposing fresh ways to think about liberal learning with ideas more suited to our times. He does so by defining basic values of modernity and then considering (...) curricular principles pertinent to them. The principles he favors are powers of the mind—disciplines understood as fields of study defined not by subject matter but by their embodiment of distinct intellectual capacities. To illustrate, Levine draws on his own lifetime of teaching and educational leadership, while providing a marvelous summary of exemplary educational thinkers at the University of Chicago who continue to inspire. Out of this vital tradition, Powers of the Mind constructs a paradigm for liberal arts today, inclusive of all perspectives and applicable to all settings in the modern world. (shrink)

Dialectics is the theory and method of cognition of reality, the science of the most general laws of development of nature, society and thought. The term "dialectics" has had different uses in the history of philosophy. Socrates regarded dialectics as the art of revealing the truth through the clash of opposing opinions, a means of conducting scholarly conversation leading to true definitions of concepts . Plato termed dialectics a logical method which, when employed in the analysis and synthesis of concepts, (...) provides knowledge of that which truly exists — the idea — the movement of thought from lower to higher concepts. The Sophists put the word "dialectics" in bad odor, calling it the art of presenting the false and dubious as the true , while the Megarians called dialectics the art of dispute . In Aristotle's philosophy, dialectics is a means of proof when one begins from propositions that are obtained from others, and the truth of which is unknown. Aristotle distinguished 3 types of inference: apodictic, which is suitable for scientific proof; dialectic, which is employed in argument; and eristic. In dialectical proof the point of departure is probable judgments, from which one arrives at probable conclusions. It is only by accident that truth may be found by dialectical inference. Eristic inference is inferior to dialectic, for it leads to conclusions that are only apparently true . In medieval philosophy the term "dialectics" was employed in the widest variety of meanings. Duns Scotus called dialectics a special teaching on the real; while Abelard called it the art of distinguishing between truth and falsehood . The term "dialectics" was employed in the sense of "logic" and sometimes it was understood to be the art of discussion. (shrink)