The history of philosophy is replete with attempts at invoking rationality as a means of directing and even subduing human desire and emotion. Understood as that which moves human beings to action, desire and emotion come to be associated with human freedom and rationality as a means of curbing that freedom. Plato, for instance, takes for granted a separation between thought and action that drives a wedge between our rational ability to exercise self-discipline and the free expression of desire and (...) emotion. Hobbes, on the other hand, replaces our internal ability for rational self-control with the external authority of the political State. So long as freedom and control are pitted against one another, human beings are incapable of attaining a symbiosis of these two elements of human action so essential to realizing true democracy. Unlike Plato, John Dewey sees in democracy the greatest potential for individual and social life. The purpose of this dissertation is to demonstrate how the educational philosophy of Dewey, which culminates in an educational aesthetic, appeals to and makes the most of the symbiosis of freedom and self-control, emotion and reason. Dewey’s educational aesthetic not only offers an alternative to traditional methods of education, but also demonstrates how the goal of a democratic way of life is made feasible by means of intelligently guided self-discipline—a form of self-control guided by intelligence that is not a constraint upon freedom, but instead embodies greater opportunity for freedom. I trace the basis for this synthesis, in the social-political and pedagogical principles of John Locke and Jean-Jacques Rousseau. Both Locke and Rousseau offer educational theories that begin turning our attention toward the essential partnership required of rationality and emotion. Dewey's educational aesthetic is then considered as a response to alienating forms of education that continue to pit control and freedom against one another, and which thwart the intellectual and emotional development necessary for autonomy and democratic forms of social organization. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Education in the Virtues: Tragic Emotions and the Artistic ImaginationDerek L. Penwell (bio)IntroductionThe profoundly thoughtful—not to mention extensive—character of the scholarship historically applied to the nature of the difference between Plato and Aristotle on the issue of the tragic emotions raises the obvious question: What new is there left to say? In this article I seek to hold together two separate issues that have occupied much of (...) the scholarship on this topic but that typically have not been considered together: (1) What is the moral value of the tragic emotions? and (2) If the tragic emotions are morally significant, how can we engage tragedy without viewing it instrumentally? By approaching the tragic emotions in this way, I hope to suggest an Aristotelian analysis of tragedy that appreciates tragedy's ability to expand our resources for confronting an often chaotic world, while at the same time avoiding the notion of art as merely useful in the pursuit of larger moral projects.Plato, in Republic X, offers his seminal critique of art and the artist in relationship to the ideal republic. In particular, poetry comes under harsh criticism for encouraging emotions, which, according to Plato, ought to be kept under strict control. In the end, Plato reluctantly declares that poets must be banished as a way of preserving the order and moral integrity of the republic. Poetry, if permitted, will make "pleasure and pain the twin kings in your city in place of established custom and the thing which has always been generally accepted as best—reason."1Aristotle challenges his old teacher, Plato, in his treatise on tragedy in the Poetics. To say that Aristotle challenges Plato, however, is not say that he confronts Plato directly; rather the scope of Aristotle's argument addresses the issue of poetry, which Plato had denounced in the Republic. Specifically, Aristotle calls into question Plato's account of the value of the emotions. [End Page 9] Whereas Plato contends that emotions are a potentially disruptive force, the power of which must always be controlled by reason, Aristotle maintains, as I will argue, that the cultivation of the appropriate emotional response (that is, the correct emotional response at the correct time) is essential to the development of virtue. Moreover, according to Aristotle's view, the cultivation of appropriate emotional response has implications not only for the development of individual virtue but also for the health of the body politic.I must be careful to point out that I am not attempting to elicit Aristotle's endorsement for a view that says reason is not somehow responsible for properly informing the emotions. Aristotle's position with respect to emotions—while different from Plato's in the belief that emotions can be educated—still identifies reason both as the faculty that differentiates us as a species as well as the faculty that occupies the primary place in establishing knowledge and directing action. My goal in the first section of this article is much more modest: I only wish to argue that an Aristotelian critique of Plato on emotions suggests the beginnings of a way of viewing emotions, such that emotions have a significant role to play in moral development.2However, the nature of Aristotle's argument in his implicit response to Plato raises the important question of whether the view of art he advances (in particular, of tragedy) is purely an instrumental one—a question to which I will attend in the second section. Does Aristotle understand art as a tool in the service of some higher good, such as moral education? Art, if this is the case, loses its integrity as an end in itself. Inasmuch as Aristotle believes that art is conducive to moral education, he is in danger of being charged with inhabiting the dubious aesthetic stance that art is always the means to some higher end. That is to say, it could be argued that the theory of art that Aristotle places on offer is what R. W. Beardsmore calls moralism3 and what Berys Gaut calls ethicism.4 Moralism at its most radical is the aesthetic position that finds art as merely a useful tool in dressing... (shrink)

Recent sociological studies, like Robert Bellah’s Habits of the Heart, support the claim that Americans retain an ideal of isolated self-sufficiency. Yet the material conditions of our culture require ideals that shun exclusiveness and encourage associated living. The result of this dissonance is that Americans tend to approach their own and others’ values in a way that boils down to irrational personal preference. …Such is the cultural predicament that a theory of moral education must ultimately confront. In this essay (...) I articulate a Deweyan theory of moral understanding that makes our moral decisions and social commitments intelligible, enabling us to give empirically warranted, substantive justifications for our valuations. I argue that an emphasis on educating moral imagination could gradually lead our culture beyond its fossilized individualistic ideals. I further argue that any theory of moral education that ignores moral imagination is empirically irresponsible. (…). (shrink)

Eric Booth has completed the curriculum for today’s classical music performers in The Music Teaching Artist’s Bible: Becoming a Virtuoso Educator (2009). This book could handily serve as the text for a class designed to help music performance majors learn about the items that are usually ignored within today’s skill-based music performance degrees offered in most American universities and conservatories. Booth makes the case that many classically trained performing musicians unknowingly do more harm than good for their audiences and careers. (...) He repeatedly states that a better understanding of the issues addressed in his book will equal more gigs and employment for musicians while providing better experiences for .. (shrink)

Toward the end of his monograph The Craftsman, the American philosopher Richard Sennett describes two different ways of building a house.1 The designer of the first house is the philosopher Ludwig Wittgenstein, and the designer of the second house is the architect Adolf Loos. Though both men embrace the same principles of the New Realism—"purity," "simplicity," and "honesty"—the results of these two builders are fundamentally different. Wittgenstein was not satisfied at all with his abode in the end. Though he says (...) it has "good manners," he accuses it of lacking a great deal of "primordial life." Therefore the Jewish philosopher will never build a house again, apart from his hut in Norway and his one house on the .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Art, Artists and Pedagogy. Philosophy and the Arts in Education ed. by Christopher Naughton, Gert Biesta, David R. ColeAnnette ZiegenmeyerChristopher Naughton, Gert Biesta, and David R. Cole, eds., Art, Artists and Pedagogy. Philosophy and the Arts in Education (New York: Routledge, 2018)The question about the role and purpose of the arts in education in the twenty-first century is an important issue being currently discussed in (...) various publications.1 Despite many valuable approaches about how to reflect on the challenges arts and education face today, no adequate and sustainable solution seems to have been worked out yet.In their book Art, Artists and Pedagogy, Christopher Naughton, Gert Biesta and David R. Cole (editors) and other co-authors explore new ways to rethink arts education in the twenty-first century via two main philosophies in education. The first one is based on Gert Biesta’s work, The Rediscovery of Teaching, that focuses on the relation of the arts to the world and on what kind of society we may wish to envisage by using concepts such as “grown-up-ness” and “middle ground.”2 The second one is based on Gilles Deleuze and Félix Guattari, who provide a theoretical framework to look more deeply into the influence of state and global capital when taking decisions on how art education should develop in the future. Within their different positions, both philosophies also complement each other by sharing some relevant aspects concerning, for example, the value of arts in society. [End Page 104]Besides the editors who are leading academics in the arts, philosophy, and education, most of the co-authors are established professors and senior lecturers from Australia, New Zealand, Canada, and the USA. Considering the fact that the book is intended for educators who teach the arts at different age-levels in schools and universities or for artists working in the community, it is surprising that there are not more voices of contemporary artists and teachers integrated in the publication to capture the philosophical discourse being perceived from their viewpoints. This could add an interesting counterpoint to the philosophical approaches and thus widen the perspective on the subject.The book comprises fifteen chapters which can be read either individually or sequentially. In the introductory chapter, Biesta reflects on the potential of the arts in an era of growing economization of education. Representing the exploration and transformation of our desires, the arts can thus become a positive force for the ways in which we seek to exist in the world in grown-up modes. As a consequence, Biesta suggests an “approach of resistance in how we engage with others and how we come to terms with our own desires and those of the others.”3 He sees the work of the teacher as “interruptive” in that it raises the question about which desires appear to be helpful towards existing in a grown-up way in the world.4Many articles in the book use aspects of Biesta’s philosophy as a (methodological) starting point and lens to further develop their approach. To begin with, Mary Ann Hunter reflects on Biesta’s concept of “interruption” by examining how school partnerships with artists can be valued as a necessary interruption.5 According to Hunter, the way artists act “unteacherly” presents a chance to interrupt the regulatory practices of schooling and to thus ameliorate some of the negative impacts of assessment-focused teaching. Julianne Moss and Anne-Marie Morrissey also refer to Biesta, but concentrate on issues of identity and subjectivity by showing how the teacher comes to terms with herself, her desires, and those of the students (by mitigating her own knowledge and skills with those of her class). Robyn Ewing and John Saunders focus on the concept of grown- up-ness. With reference to a drama project with children from a primary school in the context of an Australian teacher professional learning program, Ewing and Saunders show that the process of co-creating drama work with children provides an open space within teaching where “transformative learning” can be experienced. Nico de Vos focuses on another interesting aspect by bringing in the philosophical idea of bodily connectedness in... (shrink)

Martha A. Hall’s artists’ books documenting her experience of living with breast cancer offer future health professionals a unique opportunity to sit in the patient’s position of vulnerability and fear. Hall’s books have become a cornerstone of our medical humanities pedagogy at the Maine Women Writers Collection because of their emotional directness and their impact on readers. This essay examines the ways that Hall’s call for conversation with healthcare providers is enacted at the University of New England and provides a (...) model for how such works might be used at other educational institutions to encourage empathy between practitioners and patients by engaging in conversations about anger, fear, and other common reactions to life-threatening illness. We explore the unruly nature of Martha A. Hall’s narratives of illness and care, as well as how the form of the books themselves engages the reader in a deep relationship with Hall’s personal pain and her humanity itself. We explore, too, the cumulative effect of these powerful books on readers who handle them regularly, as we do in our roles as professor and archivist. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Divine and Artistic Ideal:Ideas and Insights for Cross-Cultural Aesthetic EducationMing Dong Gu (bio)IntroductionPeople in different cultural traditions would praise an excellent work of art as a masterpiece that has attained the status of the divine. This is a practice inherited from the ancient past. In high antiquity, when people did not have sufficient knowledge of artistic creation, they attributed creative inspirations and superb art to gods. (...) In ancient Greece people believed that all the arts were created by the Muses, daughters of the supreme god Zeus.1 Accordingly, they viewed divine creation as the highest order of representation and used the divine as the yardstick to measure artistic excellence. In early Greek thought Plato, through the mouth of Socrates, praised Homer as "the best and most divine of all."2 Citing the exquisite lyric poetry by Tynnnichs of Chalcis as evidence, he declared, "the god would show us, lest we doubt, that these lovely poems are not of man or human workmanship, but are divine and from the gods, and that the poets are nothing but interpreters of the gods, each one possessed by the divinity to whom he is in bondage."3In the Chinese tradition similar ideas existed from high antiquity. In early Chinese thought there is a parable in Zhuangzi's (369–286 BC) philosophical writing. It narrates how a skillful carpenter was commissioned by a king to make an ornate music stand. When the stand was finished, people, struck by the life likeness of the carved birds and animals on the stand, believed that he was able to make such superb art work because he was endowed with the divine power of gods.4 In literary criticism Yan Yu (fl. 1180-1235), a literary theorist whose views have exerted a lasting impact on Chinese poetry and poetics, proclaimed the divine to be the ultimate standard for [End Page 88] the poetic art: "There is only one ultimate achievement in poetry: it is called 'entering the divine.' When poetry enters the domain of the divine, it has reached its perfection and limit. Nothing can be added to it!"5 In other traditions, if people want to pass the highest praise for an excellent work of art, a simple exclamation, "That is divine!" would be sufficient.Thus, across cultures art has been related to the divine. Without reference to it, aesthetic conceptions of art and artistic creation would not be what they are today. This is because in many traditions the divine used to be viewed as the ultimate aesthetic ideal, and aesthetics is full of notions, ideas, and concepts related to it, without which artistic criticism and aesthetic education would be in a much impoverished state. The divine in art, however, is a slippery category in aesthetics that has been intuitively explored since high antiquity. In this article I will examine some critical and theoretical data on the divine, divine creation, and divine spirit in artistic representation from the Chinese and Western traditions and explore how the Chinese and Western traditions employ ideas of the divine for artistic conceptions and aesthetic education. On the basis of comparison and contrast, I will try to obtain some rational insights into the relationship between artistic creation and the divine in terms of logical analysis. Finally, I will make some efforts to reconceptualize the insights drawn from both traditions and explore to what extent the divine is still relevant to present-day aesthetics, how an aesthetic ideal may be conceived according to ideas of the divine in artistic representation, and in what ways an artwork may be considered to have entered the divine realm of the artistic ideal.God, Nature, and the Artistic IdealDespite vast differences in aesthetic conceptions, we can observe a discernable movement in the Chinese and Western notions of the divine in art from theistic and intuitive characterization to rational and logical conceptualization. This movement is characterized by a shift in emphasis from a personal god to impersonal nature, and from divine creator to human creator. Chinese and Western traditions started with a similar concern: What is the aesthetic ideal in artistic representation? Both traditions believe that the artistic ideal is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to David Elliott’s “Music Education as/for Artistic Citizenship”Richard ColwellThe September issue of the Music Educators Journal contained an article by David Elliott entitled “Music Education as/for Artistic Citizenship”1 that I believe warrants considerable discussion by individuals conversant with the philosophy of music education in 2014.The journal is not known for its coverage of philosophy and an article in the Music Educators Journal is (...) likely to influence far more individuals than the Wayne Bowman and Anna Lucia Frega Oxford Handbook of Philosophy in Music Education. Some of the statements may be misleading and/or readers unfamiliar with philosophy may misunderstand the present rationale for music education in the schools. There is a difference between advocacy and philosophy.Elliott has long been a close friend and I have admired his writings for decades. The article struck me as misplaced in MEJ and I immediately contacted Elliott about it. He replied that the article was based on a speech he had recently given and that the editors of the journal had asked that it be included in an early edition. [End Page 105]The basic thrust of the article appears to be philosophical with Elliott’s argument for praxial music education and his worry about teaching great works and great artists under some rubric connected with aesthetic education. I do not think this is what he means as he would support musical criticism. The attempt to reach the public directly through multiple approaches assumes that criticism is artificial and public taste natural.The opening paragraphs suggest that music education can be used in the service of additional or alternative aims and these appear to be unlimited. The basic ideas seem to contradict Elliott in his chapter on Music Education Philosophy in the McPherson andWelch Oxford Handbook of Music Education (2012) where he states, that “if everything counts, then nothing counts (p 68).” The MEJ article is a long-list of possibilities with an emphasis on three themes—music making for the betterment of social well-being, music making for social justice, and the infusion of school music with an ethic of care—three areas he felt were under-emphasized in his classic text Music Matters.Thus, there are a number of areas where I would seek clarification realizing that describing music education philosophy in fifty minutes is impossible if not misleading.The title indicates a plea for artistic citizenship. One can easily find artistic citizenship in every country in the world: Venezuela is a present example where artistic citizenship is promoted through social programs using great music supported by the World Bank and others and resulting in a reasonable type of citizenship based on the poll numbers for ex-President Chavez. I assume that Elliott supports the West-East Divan Orchestra project that brings together students from Mid-East countries where artistry for great music has little to do with the political and religious citizenships of sending countries.Valid examples are cited for protest songs that have addressed injustices through the centuries and against government practices. If the point is that music can expand our horizons, great. When possible, I would suggest that music be used that leads to greater growth: growth in musical understanding or in this instance, positive citizenship. Music can have both political and social meanings and the music used should have a positive objective in mind. Elliott might conclude that music education is divorced from the real world and too often it is. Dewey wanted a connection and that connection would have included making music for one’s own satisfaction or playing in the town band as well as listening to live and recorded music that dominated the first half of the 20th century.What seems important in education, in music, and in philosophy is that we build on the best ideas and writings available to us. Culture can be changed and may need to be. Kurt Vonnegut learned as a prisoner during WWII that culture [End Page 106] was as separate from the brain as a Model T Ford, and it could be tinkered with. It is an easy jump from there to believing that a culture can... (shrink)

As bellicose nationalism continues to intensify in Western societies, letting loose ever more violent eruptions of hostility toward migrants and mid-wifing such astonishing developments as the Brexit vote and the Trump candidacy, the problem of how to theorize and mobilize a transformative politics of migrant justice has rarely seemed more pressing. Jacques Rancière’s writings offer resonant terms with which to meet the philosophical challenges of this urgent moment. Rancière’s conceptualization of political subordination in terms of defining “the part that has (...) no part” is intuitively well suited to thinking through both the dense interplays of inclusion and exclusion that structure migrant lives and the... (shrink)

Currently, advanced art education is in the process of developing (doctorate or PhD) research programs throughout Europe. Therefore, it seems to us urgent to explore what the term research actually means in the topical practice of art. After all, research as such is often understood as a method stemming from the alpha, beta or gamma sciences directed towards knowledge production and the development of a certain scientific domain. How is artistic research connected with those types of scientific research, (...) taking into account that the artistic domain so far has tended to continually exceed the parameters of knowledge management? One could claim that the artistic field comprises the hermeneutic question of the humanities, the experimental method of the sciences, and the societal commitment of the social sciences. Will that knowledge influence the domain, the methodology, and the outcome of artistic research? Another major topic concerns not only the specificity of the object of knowledge of artistic research but above all whether and how artistic research and its institutional programs will influence topical visual art, its artworks and its exhibitions. These complex problematics with their various points of view and management models are mapped out through the contributions of theorists, curators, and institutions, from Belgium, France, Great-Britain, Italy, The Netherlands, Finland, Germany, and Sweden. May these contributions be a constructive impetus for a versatile debate which may influence the future role of advanced art institutions and the position of artistic research in the next decade. (shrink)

This volume has been brought together to generate new ideas and provoke discussion about what constitutes arts education in the twenty-first century, both within the institution and beyond. Art, Artists and Pedagogy is intended for educators who teach the arts from early childhood to tertiary level, artists working in the community, or those studying arts in education from undergraduate to Masters or PhD level.

This paper is an invited response to a one published by David Elliott in The Music Educator in 2012 in which music teachers were enjoined to encourage children to use music’s expressive power as a political tool in pursuit of social justice. While in agreement with him that this can be an appropriate use of music, there is a curious avoidance of controversy in Elliott’s article that might frustrate that end in that nothing is said about whether students should be (...) prompted to critically examine sacred myths, such as the American Dream or historical narratives, and pedagogical practices that might limit their understanding of social problems. Much of my response is given to consideration of some of the possible reasons for Elliott’s avoidance of controversy, including an over-emphasis on “doing” or “making” music that might leave little curricular time for the kinds of study and controversy and debate that are essential to understanding social (in)justice. (shrink)

This essay brings together critical perspectives from the discrete traditions of artists’ books and the medical humanities to examine artists’ books by three contemporary artists – Penny Alexander, Martha A. Hall and Amanda Watson-Will – that treat experiences of illness and wellbeing. Through its focus on a multimodal and multisensory art form that has allegiances with, but is not reduced to, narrative, the essay adds to recent calls to rethink key assumptions of illness narrative study and to challenge utilitarian approaches. (...) In particular, it draws attention to the aesthetic and imaginative elements of illness communication by exploring how artists’ books represent lived experiences in a distinctively palpable way and offer an “intimate authority” that extends beyond narrative legitimacy or a form of struggle against the medical gaze. By interrogating narrative’s dominance in medical humanities research, the essay further expands awareness of illness experiences that resist conventional forms of representation (such as chronic illness), and of alternative reflective practices within healthcare education that encourage engagement with both mind and body. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in (...) order to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in (...) order to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in (...) order to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

This chapter contains sections titled: A blind spot in the educational imagination The hunger artist The very idea of a helping profession This ripeness of self.

If you are interested in art, you engage in artistic evaluation, thinking of one work as being better than another; one artist as being better than another; some works and some artists as being great, mediocre, or poor; and, perhaps, thinking of some forms or genres of art as being superior to others in that works within the favored form or genre have achieved or can aspire to a higher artistic value than is possible for those less favored. (...) The greatest philosophical challenge to this practice—a challenge that, if successful, would have wide-ranging consequences outside philosophy, in particular in undermining the status of the practice of art criticism—would maintain that it is, all of it, taken at face value.. (shrink)

Since its existence, art objects have always been different from other objects in terms of perception and interpretation and have preserved their mystery for both the artist and the audience. This mystery was tried to be supported by various theories by the artist and the audience, and defined and defined with concepts such as spiritual development, spirituality and intuition. There is an ambiguity especially regarding intuition. The concept of intuition seems to be trapped in a bridge between the physical world (...) and the superphysical world. The concept of intuition has been interpreted together with the teachings of Theosophy and Buddhism and turned into an educational theory in today's art-based studies. In our age, interpretations beyond reality are increasing and unfortunately faced with the danger of losing the ground of reality. Art is a type of knowledge and knowing. Due to this feature, the compatibility of surreal discourses with this type of knowledge is discussed in this article, and on the other hand, it is tried to show how concepts such as synesthesia and intuition become possible on the basis of reality, based on the artistic experiences of world-famous artists. (shrink)

This entry surveys issues at the intersection of art and morality. Particular emphasis is placed on whether, and in what way, the moral character of a work of art influences its artistic value. Other topics include the educational function of art and artistic censorship.

This text introduces readers to definitions and examples of arts-based educational research, presents tensions and questions in the field, and provides exercises for practice. It weaves together critical essays about arts-based research in the literary, visual, and performing arts with examples of artistic products of arts-based research (arts for scholarship's sake) that illuminate by example. Each artistic example is accompanied by a scholARTist's statement that includes reflection on how the work of art relates to the scholar's research interests (...) and practices. Arts-Based Research in Education: Foundations for Practice: helps the reader understand what arts-based research is - tracing the history of the field and providing examples; includes end-of-chapter questions to engage students in practicing arts-based inquiry and to generate class discussion about the material; features a diverse range of contributors -- very established scholars in educational and social science research as well those new to the field; represents a variety of voices - scholars of color, queer and straight orientations, different ages, experience, and nationalities; and presents beautiful illustrations of visual art, data-based poems, plays, short stories, and musical scores. First-of its kind, this volume is intended as a text for arts-based inquiry, qualitative research methods in education, and related courses, and as a resource for faculty, doctoral students, and scholars across the field of social science research methods. (shrink)

Ce livre prend position sur les enjeux et les visées des oeuvres d'art en matière de vérité et de morale : il répond, par un retour sur l'époque des Lumières, aux questions contemporaines sur l'idée d'un perfectionnement moral de l'individu (S. Cavell, M. Nussbaum, S. Laugier). Car les Lumières ont remis au coeur de la création artistique les émotions, les affects et les sentiments, mues par la conviction de l'efficacité d'une éducation esthétique de l'homme, d'une éducation sensible par le sensible, (...) en l'occurrence par les oeuvres. La vérité a-t-elle un sens en matière artistique? Notre besoin d'art est-il lié à notre conviction qu'elles nous rendent meilleurs et nous font mieux connaître le monde? L'autonomie de l'oeuvre, la liberté du créateur, la dévaluation de tout canon au nom d'un global turn qui contraint au relativisme rendent aujourd'hui difficile l'affirmation d'une vérité. (shrink)

En bannissant les poètes de la Cité, Platon inaugurait une longue querelle entre philosophes et artistes. De fait, les artistes ont aimé se proclamer " instaurateurs ", " éducateurs ", " voyants ", " tenants de l'avant-garde ". Depuis Hölderlin, qui n'a en tête le poète-philosophe, depuis Nietzsche le philosophe-artiste? Pourtant le philosophique ne peut, sans renoncer au concept, être réduit à une poétique... Il est décisif d'articuler, aujourd'hui, les places philosophiques et artistiques. Au cours de ce séminaire, celles-là se (...) sont ancrées chez le Suger du XIIè siècle, dans la religion de l'art du XIXè siècle, dans la religion de l'art du XIXè siècle, chez les futuristes, les musiciens dodécaphonistes, Brecht, Pessoa ou Manoel de Oliveira. Au fond, il s'agit de penser nos configurations actuelles. (shrink)

Researchers have increasingly been creating chimeras – combinations of cells from two species – raising profound ethical, social and scientific controversies. Such research could lead to the creation of animals such as pigs that contain human organs for transplantation, yet public fears have emerged. Scientists have thus called for enhanced public education and discussion, but these efforts require comprehension of the nature of public concerns. While arguments have viewed chimeras as either “good” or “bad,” artists have long depicted chimeras (...) in ways that can inform these discussions. Chimeras have a long history – the term itself is from Greek mythology – and have generated complex and ambivalent responses, reflecting deep questions regarding who we are as humans. Images across disparate cultures suggest how humans have long seen species boundaries as fluid but in differing ways. These images suggest that emotional, not just rational, utilitarian perspectives need to be addressed and that challenges may arise in altering views of all individuals. Nonetheless, public messages could draw on historic examples of positive such combinations. Thus, artistic representations can aid scientists, policymakers, educators and members of the public-at-large recognize and better comprehend and address the discomforts chimeras can foster. (shrink)

The importance of the outlined problem lies in the fact that professional training of future fine arts teachers should take into account the trends of recent general scientific, socio-cultural and moral-aesthetic processes. Analysis of the professional training system in the context of the requirements of postmodern society gives grounds to claim that it requires significant updating. In particular, individualization and democratization of education, interdisciplinarity, departure from traditional patterns of professional training, rethinking of pedagogical ideas and postulates in the context (...) of quality assurance, etc. are paramount. The article defines the structure of artistic and pedagogical competence of a fine arts teacher. Its structural elements ) and pedagogical component and ways of their formation are determined. Ways to improve professional training of future fine arts teachers taking into account the postmodern features of higher education development (ensuring continuity of creative education; updating the scope of professional training; the use of information technology in the process of professional training of future fine arts teachers; emphasis of the educational programme on personal and creative development, self-fulfilment of students of artistic specialties. Development of pedagogical conditions for formation of artistic and pedagogical competence in future fine arts teachers and organization of a pedagogical experiment in order to determine their effectiveness seems promising. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 38-52 [Access article in PDF] Artist-Audience Communication: Tolstoy Reclaimed Saam Trivedi Whoever is really conversant with art recognizes in [Tolstoy's What is Art?] the voice of the master.1There has to be some presumption that, as one of the greatest artists who ever lived, Tolstoy might actually have known what he was talking about.2It is widely accepted in contemporary Anglo-American aesthetics that, (...) despite Tolstoy's own literary achievements, his "moralism" about art is a view without much merit. For the most part, I concur with this current consensus about Tolstoy. However, despite the many flaws in his view, I think Tolstoy was on to something, after all. In particular, I believe a concept of artist-audience communication similar to what Tolstoy had in mind can be fleshed out so as to avoid the problems that Tolstoy ran into, while reclaiming the insights in his view.3In what follows, I begin by suggesting briefly that recognizing a quasi-Tolstoyan concept of artist-audience communication may have important implications for how we should approach artworks, and thus also for aesthetic education. Next, I spell out this concept. I then offer trenchant criticisms of Tolstoy's view. Finally, I point out affinities between Tolstoy's concept and mine, while also distinguishing my concept of artist-audience communication from Tolstoy's concept of artistic communication. It will emerge, I hope, that while I disagree more than agree with Tolstoy, the issues where I agree with him may be more significant. Artist-Audience Communication I begin by discussing briefly how talk of a quasi-Tolstoyan artist-audience communication bears relevance for how we should approach artworks, and thus has relevance for aesthetic education. If I am right, then in approaching [End Page 38] and experiencing artworks, we should seek a correct experiential understanding of them that is shared between the artist and audience, and between ourselves and other members of the audience. This does not meanthat we seek what the artist did intend in creating the artwork, as actual intentionalism would have us do. Rather, as members of a competent audience, we should first analyze what a given artwork means by attending to the work itself.4 This includes the broad art-historical context of production (including the period, style, category, or genre of the work; the artist's public persona; the oeuvre of the artist; works by the artist's contemporaries; the social, cultural, and political milieu of the artist; and so on) and the public conventions that apply to it. In cases of irony, satire, and allusion, we may also need to broaden the context and appeal to artistic intentions. Then we should attribute this "work-meaning" to the historical artist as part of what she or he could have intended, so long as this was historically possible. If this historically possible work-meaning coincides with what she or he did intend in that artistic intentions are successfully realized in the work, then we have a real sharing of a correct, experiential understanding of the work between artist and audience, and thus real communication between them in the sense of artist-audience communication explained above. On the other hand, if what the artist did intend is not realized in the work and thus does not coincide with work-meaning as part of what she or he could have intended, then we still have at least a minimal, hypothetical sharing and communication insofar as our correct, experiential understanding of the work is shared with what the artist could have intended.This bears relevance for aesthetic education, assuming one of the purposes of aesthetic education is to teach children and other newcomers to art how to appreciate artworks.5 In teaching people how to appreciate artworks, I suggest we emphasize the shared, communicative aspects of the experience of artworks when they are understood more or less correctly. We should tell them that they should seek to communicate with the artist via the artwork, trying to understand the artwork correctly in the very experience of the... (shrink)

Emily Carr, often called Canada’s Van Gogh, was a post-impressionist explorer, artist and writer. In _Artist Emily Carr and the Spirit of the Land_ Phyllis Marie Jensen draws on analytical psychology and the theories of feminism and social constructionism for insights into Carr’s life in the late Victorian period and early twentieth century. Presented in two parts, the book introduces Carr’s émigré English family and childhood on the "edge of nowhere" and her art education in San Francisco, London and (...) Paris. Travels in the wilderness introduced her to the totem art of the Pacific Northwest coast at a time Aboriginal art was undervalued and believed to be disappearing. Carr vowed to document it before turning to spirited landscapes of forest, sea and sky. The second part of the book presents a Jungian portrait of Carr, including typology, psychological complexes, and archetypal features of personality. An examination the individuation process and Carr’s embracement of transcendental philosophy reveals the richness of her personality and artistic genius. Artist Emily Carr and the Spirit of the Land provides captivating reading for analytical psychologists, academics and students of Jungian studies, art history, health, gender and women’s studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Artist as Professional in JapanKazuyo Nakamura and Akio OkazakiThe Artist as Professional in Japan, edited by Melinda Takeuchi. Stanford, Calif.: Stanford University Press, 2004, 262pp., $45.00 cloth.With the increase of cross-cultural academic exchange in our time, more accurate information on art from other cultures has become more easily available, and curriculum development of art education directed toward multiculturalism has been brought to realization. There is need (...) emerging among art educators for academic resources for teaching cross-cultural subject matters, and The Artist as Professional in Japan provides historical information helpful in gaining a critical understanding of the nature of Japanese art discourse. The volume is edited from a fresh sociocultural perspective by Melinda Takeuchi, professor of Japanese art at Stanford University.Takeuchi, noticing that few scholarly books on the profession of Japanese artists are available to students of art history in the United States, set about the volume in concerted efforts with her colleagues. The volume consists of individual case studies on different Japanese artists; they are well-known sculptors, painters, potters, printmakers, and architects and are recognized in Japan as representative in different eras from the seventh to the twentieth century. Running through the individual studies, there is a concern for political forces that shaped art discourse and the identity of the Japanese artist. The following questions are asked: What degree of control did the artists exercise over their métier? What were some of the dynamics operating in the production, consummation, and evaluation of art and artist? How was the image of the artist formed during various periods? Working with these questions, seven case studies address issues of canon formation of art by looking into the terrain of the meaning of a critical word, Shoku-nin; it literally means people (nin) with an occupation (shoku) and denotes the collective artisan class.Different art historians and art theorists take a unique approach for developing each case study in the volume. Donald F. McCallum's study in chapter 2 is on the Buddhist Icons of the Shaka Triad during the Asuka Period (ca.590-ca.650), and it is asked what were the political forces working on the production of the [End Page 118] icons. In contrary to orthodox view, it is argued that the icons were produced not by an individual sculptor named Tori-busshi but by the guilds of which the supervisor was Tori. Also, it is argued that the icons were produced with the patronage of soga clan, the dominant political force of the time, not by the imperial family, including Shotoku Taishi.Karen L. Brock in chapter 3 examines the case of E'nichibo Jonin (active ca.1211-ca.1243), the painter of Saint Myoe. The case shows that the ateliers of temples, such as Kozanji in Kyoto, played a central role in producing and distributing sacred images. This study makes clear that few individual painters, such as those named ebusshi, participated in the formation of the canon of Japanese painting, but collective political forces, such as Kozanji ateliers, exercised power in bringing out sacred objects.In chapter 4 Melinda Takeuchi takes up the case of Tosa Mitsunobu (1434-ca.1523), an artisan painter active in Kyoto court circles. It shows a historical fact particular to Japanese art discourse—that later artists manipulated the names of earlier ones for professional or cultural merits. Taking notice of the fact that Mitsunobu's name late became synonymous with a production unit that shares secret techniques of products, Takeuchi concludes, "In the end, the name of an artist transcends time, space, materiality, and ultimately discourse itself" (101).The study of Louise Allison Cort in chapter 5 is on the case of Morita Kyuemon in the seventeenth century, a warrior trained as a potter and running the Odo pottery in the Tosa domain. By exploring the motivations of the Tosa domain in trying to transform local products into refined and stylish pottery worthy of formal presentation to other domain rulers (daimyo), to government officials, and to the shogun in Edo, this chapter demonstrates how both the potter and the ruler actively sought to join the aesthetic mainstream of their own day.In... (shrink)

An inquiry into the current ways of knowing, their ramifications, and institutional and noninstitutional artistic practices that provide channels for education from below. Artistic Ecologies: New Compasses and Tools aims to both analyze and speculate about potentials of artistic ecologies, collective learning, and engaged pedagogies to engender new institutionalities. Going beyond tensions between individuals and institutions, Artistic Ecologies examines avenues for collective learning. If learning for life is emancipation—understood not just as a matter of power (...) but of freedom—the essential question that emerges is: What knowledge makes us free and how can institutions help produce it? In search of an answer, this publication’s textual and visual contributions explore sites and practices through which new institutionalities can emerge. Artistic Ecologies comprises essays analyzing current ways of knowing and their ramifications (Marina Garcés, Yayo Herrero and Pirate Care) and portraying alternative ways of forming knowledge through institutional and non-institutional artistic practices (DAAR—Decolonizing Architecture Art Research, Yael Davids, Max Jorge Hinderer Cruz, The Sensing Salon). Artistic contributions in various formats—poems, drawings, visual essays—by Luna Acosta, CAConrads, Eva Ďurovec, Teuta Gatolin, Margherita Isola, and Jammers illustrate heterodox channels for questioning the dominant forms of knowledge and educating from below. (shrink)

Academics from diverse disciplines are recognizing not only the procedural ethical issues involved in research, but also the complexity of everyday “micro” ethical issues that arise. While ethical guidelines are being developed for research in aboriginal populations and low-and-middle-income countries, multi-partnered research initiatives examining arts-based interventions to promote social change pose a unique set of ethical dilemmas not yet fully explored. Our research team, comprising health, education, and social scientists, critical theorists, artists and community-activists launched a five-year research partnership (...) on arts-for-social change. Funded by the Social Science and Humanities Research Council in Canada and based in six universities, including over 40 community-based collaborators, and informed by five main field projects, we set out to synthesize existing knowledge and lessons we learned. We summarized these learnings into 12 key points for reflection, grouped into three categories: community-university partnership concerns, dilemmas related to the arts, and team issues. In addition to addressing previous concerns outlined in the literature, we identified power dynamics hindering meaningful participation of community partners and university-based teams that need to be addressed within a reflective critical framework of ethical practice. We present how our team has been addressing these issues, as examples of how such concerns could be approached in community-university partnerships in arts for social change. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somaesthetics, Education, and the Art of DancePeter J. Arnold (bio)This essay has two related purposes. The first is to explicate what dance as an art form should minimally comprise if it is to be taught as a distinctive aspect of education in the school curriculum. The second and main purpose is to argue that dance, if taught in accordance with what is outlined, is not only an (...) efficacious means in the development, understanding and promotion of somaesthetics, a new term in aesthetic theory, but an example of itsvery embodiment. Put differently it will be upheld that the practice of danceis not only an excellent vehicle in the promotion of somaesthetics but a paradigm case of what it is.But what is somaesthetics? Briefly put, in common with the thinking of some noted philosophers in the past, it can be said that somaesthetics is as much concerned with the idea of being a person and living well as with the development of rational thought and the development of the intellect. It emphasizes, in particular, that the soma in the form of its physical skills, senses and pleasures plays no less a part in the living of a full life than conceptual understanding and the imaginative use of language.1 Richard Shusterman, upholding these sentiments, refers to somaesthetics asthe critical and meliorating study of the experience and use of one's body as a locus of sensory aesthetic appreciation and creative self-fashioning. It is....devoted to the knowledge, discourses, practices, and bodily disciplines that structure such somatic care or can improve it.2Although such values and concerns are known to many educationists, they are rarely acted upon or taught in a deliberate or systematic way. Even within the realms of dance and sport more could be done than is done somaesthetically to educate in the interests of what it is to be a whole person. [End Page 48]Before embarking on the task of exemplifying dance as a form of somaesthetics, it will be helpful first to say a little about education and the idea of dance as a valued human practice; and second, to say something about the aesthetic in relation to art.Education and the Art of Dance as a Valued Human PracticeWhat is clear about the idea of dance as an art form is that it is more than the human body making rhythmical and patterned movements in space. It can be more accurately described as a coherent and complex range of actions in which intentions are physically expressed in terms of a meaningful performance that is artistic in nature and not merely aesthetic in appeal.It is my view that these elements of what constitutes dance best come together and are most readily grasped when it is seen as a valued form of human practice. Following Alistair MacIntyre, I take the term "practice" to meanany coherent and complex form of socially established co-operative human activity through which goods internal to that activity are realized in the course of trying to achieve those standards of excellence which are appropriate to, and partially definitive of, that form of activity, with the result that human powers to achieve excellence and human conceptions of the ends and goods involved are systematically extended.3The idea of the arts as forms of practice is helpful in at least two important ways. First, it draws attention to the fact that an art, like medicine, the law, or sport, is a distinctive form of life with its own standards, values, and procedures. Second, it recognizes, in keeping with the idea of education, thatthe internal goods of an activity, like the art of dance, will enlighten and enlarge the powers of the participant. MacIntyre undoubtedly recognizes the connection between the idea of a practice and the concept of education when he observes the proper end of education isto help to discover activities whose ends are not outside themselves — The critical ability which ought to be the fruit of education serves nothing directly except itself, no one except those who exercise it — above all the task of education is to teach the value of activity for its own... (shrink)