Educational Theory, Volume 72, Issue 1, Page 103-108, February 2022.

Growing interest in Pacific issues has meant a surge in Pacific research across the globe. Sadly, some research on Pacific people has been done without Pacific knowledge, wisdom and culture. As Pacific researchers, we understand the importance of outputs that interweave our ancestral and cultural wisdom, whilst centring and privileging our people’s narratives. Through the birth of our Moanaroa Pacific Research group, we explore the importance of a research collective which decolonises and re indigenises research as we know it.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Transforming Music EducationCarolyn LivingstonEstelle R. Jorgensen, Transforming Music Education ( Bloomington, IN: Indiana University Press, 2003)Estelle Jorgensen's vision of the transformation of our profession is lofty but not ostentatious, exacting but not rigid. The dream she unveils in her latest book, Transforming Music Education, "challenges music educators to raise their expectations of themselves, their colleagues, their students, and their publics; to look beyond the ordinary; and (...) to aspire to distinction in every facet of its enterprise" (145). A powerfully convincing writer, Jorgensen, author of In Search of Music Education, begins appropriately in her preface by detailing the reasons why music education needs to be transformed. Many of her students and former students at Indiana University are not only satisfied with the status quo in music education, but demonstrate reluctance about even considering the need for change. Others, she has found, long for improvement, having encountered paternalistic administrators, loneliness, fear, and a loss of enjoyment in teaching and in music. Although the author is happy for the former group, she empathizes with the latter. "Gone are the hope, joy, and love of connecting with students or of the art that led them to teaching in the first place," she writes. "In their place I hear the voices of weariness, discouragement, and ennui" (x). [End Page 211]In addition, Jorgensen has observed the anti-intellectualism abroad in education, evident in a variety of symptoms. One of the most troubling is the idolization of scientific research resulting in a loss of interest in philosophical and historical inquiry. She decries the "declining regard for the long and distinguished narratives of education and for the critical insights that would help guard the profession against repeating past mistakes and making ill-conceived plans. Pretentious jargon invoked by educational scientists and theorists often cloaks a paucity of ideas frequently unintelligible to the teachers it is supposed to benefit, and few teachers read it," she asserts (x).Pointing out that we have lost much of our culture other than that promoted in the popular media, Jorgensen reminds us that, after graduation, high school students no longer play their instruments and that some churches now project words to hymns on large screens for parishioners no longer willing or able to read from a hymnal. She is as appalled as the rest of us by restaurant employees' attempts to sing "Happy Birthday" to celebrating patrons, and she notices that even consumers of culture increasingly rely on media opinions for assistance with choices about art exhibits, books, recordings, and performances.The resegregation of schools, the "back to basics" movement, and public apathy about education are other indicators that transformation is needed. If these reasons are not enough, Jorgensen states that ongoing renewal will always be a necessity for education. Since education is often defined as the process by which culture is transmitted, musicians and artists, as purveyors of culture, Jorgensen believes, can create a humane and holistic music education to serve as a model for education in general. "To conceive of music education as enculturation... requires placing culture at the heart of education," she states. "Regarding music along with other arts as important manifestations of human expression suggests that they should be central and essential to a complete education" (9).The purpose of each chapter is clear from its beginning, and the chapters are concisely summarized. The first, "Setting the Stage," discusses several problems of our present society as they affect education. Jorgensen considers possible resistance to transformation and the need for support from organizations like MENC and NASM. She maintains that transformation can only be achieved through the cooperation of many groups and individuals. One of the most difficult problems would seem to be the one that occurs when groups who have previously been oppressed, such as members of female, economic, ethnic, racial, religious, or other minorities, achieve a measure of power and then begin to behave toward others as their oppressors behaved toward them. She cites the work of Paulo Freire who believes that this phenomenon can only be eradicated through emancipatory education.Jorgensen gives homage to past and present music educators who have already recognized the need for change. She makes the point... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Coleridge, Schiller, and Aesthetic EducationGary PetersColeridge, Schiller, and Aesthetic Education, by Michael John Kooy. New York: Palgrave, 2002, 241 pp.Who reads Friedrich Schiller today? With the Aesthetic Education of Man struggling to remain in print in the English-speaking world (at least in the UK, from where I am writing this) it would seem fewer and fewer readers are prepared to engage with (or be educated by) (...) this once influential aestheticization of the world; and as for Marcuse on Schiller, or the young(er) Frederic Jameson on Schiller and Marcuse, they, too, seem to be speaking from another era, an ancient time when the humanist utopian promise could still be taken seriously. Promises are made to be broken, of course, especially the promesse de bonheur, but are we right to feel betrayed by the assorted Schillerians who so passionately raised our hopes, only to fall silent when they were so comprehensively dashed? Perhaps betrayal is putting it too strongly, but the fact remains that we seem to have ended up with a notion of aesthetic education that educates nobody, not even those within art education who need it more than most. But then perhaps the whole notion of aesthetic education as a promise is itself fundamentally flawed, the product of a political reading—the politicization of the aestheticization of the world—that casts the lessons of the aesthetic into the future rather than engaging with the event of the artwork as it erupts in a "now," which is aporetic in the extreme, and thus ill-equipped [End Page 119] to radicalize the unradic1al mind or mobilize the immobile.Clearly, Michael John Kooy reads Schiller today, but, having said that, it is never made entirely clear who he is writing for. Indeed, we may ask, does he have much of an audience at all or is he speaking too long and too late into the vacuum left by the collapse of humanist optimism? His own position is an interesting one, as both a literary theorist and a philosopher; one of the real strengths of the book is Kooy's pursuit of philosophical ideas in the body of Schiller's and Coleridge's dramatic and poetic work, often to good effect, but, to ask the question again, who is listening? Philosophers? Writers? Professional academics or the nonacademic audience that one would assume was always the intended beneficiary of the concept of aesthetic education?To attempt to think around some of these questions, without necessarily trying to answer them, we might start by considering who the philosophical audience for this book might be. My guess is that the philosophy of education, the subgenre of philosophy that might benefit from an aesthetic education itself, will be largely deaf to the message running through these pages. Long dominated by an ethical, religious, and liberal political agenda, the philosophy of education in its hegemonic Anglo-American guise has never made much room for the aesthetic, particularly in its "continental" radical incarnation—far too woolly, idealist, utopian, far too "arty." So, not much of an outlet here, but, having said that, the recent Anglo-American fascination with the very "continental" notion of Bildung might prove to be a fruitful point of contact, and Kooy does devote some useful pages and a substantial epilogue to a discussion of this thorny subject. There is a problem here, however, in that while Kooy is excellent when thinking through the dissonance between the teleological purposiveness of Schiller's and Coleridge's conceptions of universal history, so important to their notion of aesthetic education as a cultural model, and the very different self-substantiating autonomy of Bildung, he is much less engaged with the more fundamental pedagogical issues that arise within the particularity of the teaching encounter: How is the necessary autonomy of aesthetic education to be taught without thereby jeopardizing that very autonomy? It is at this point that a philosophical audience (one engaged in continental philosophy, that is) might have expected a more thorough account of the deeply problematical relationship between the Schillerian notion of aesthetic education and the aesthetics to be found in Kant's Critique of Judgement, its acknowledged source. This is not... (shrink)

Feeling Power is a bold and provocative book whose breadth of inquiry is stunning. Author Megan Boler sets out to rescue emotions from their devalued and obscure political status by showing that they are both a site of social control and also a site for political resistance. She situates her inquiry within the context of education, convinced that classrooms, especially within higher education, constitute significant locations of social and political struggle. -/- Boler takes the reader on a wide-ranging (...) interdisciplinary exploration where she analyzes various discourses to show how emotions get visibly and invisibly addressed in education and how emotions reflect particular historical, cultural, and social arrangements. Her broad conception of emotion resonates with philosophical accounts that view emotions as (partially) cognitive as well as with accounts that give emotions a role in moral judgments and ethical reasoning. -/- In Part I, Boler builds upon the work of feminist theorists, such as Elizabeth Spelman (1989, 1991), Alison Jaggar (1989), Sandra Bartky (1990), and Sue Campbell (1997), and uses key concepts drawn from poststructural theorists to develop a theoretical framework for revealing and explicating the myriad ways in which the "politics of emotion," shaped by different scholarly disciplines, functions in public education to enforce social control of the nation's citizens. Through astute, gender-sensitive historical critiques of the mental hygiene and character education movements, and a close analysis of Daniel Goleman's (1995) contemporary notion of emotional intelligence, Boler shows how we are taught to internalize and enact emotional rules, and roles, that serve to maintain society's particular stratifications of gender, race, and class. The chapters on emotional intelligence and the emotional literacy curricula founded on this concept are, I think, among the best in the book. Together they constitute a persuasive example of the power of Boler's method of discourse analysis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Isocrates and Civic EducationRobert G. SullivanIsocrates and Civic Education. Edited by Takis Poulakis and David Depew. Austin: University of Texas Press, 2004. Pp. x + 277. $50.00, hardcover.Henry Burrowes Lathrop, in his magisterial Translations from the Classics into English from Caxton to Chapman, adopted a distinctly apologetic tone for having included in that book a lengthy gloss of Isocrates' writings. He felt constrained to do so, noting, (...) "This fairly long exposition has been necessary, since Isocrates is little read nowadays." Well, of course, "nowadays" Isocrates is read a great deal, and he is generally considered to be one of the more important figures in the classical rhetorical tradition. There are a variety of reasons for the revival of Isocrates' fortunes; he has always been accepted as an exemplar of style, and has exerted strong influences in a number of historical eras, but he is seen increasingly as an original and significant rhetorical theorist. However, the strongest attraction to scholars of our era is the connection by Isocrates of two concepts, rhetorical discourse and civic education, in what he called hê tôn logôn padieia. At the nexus of these ideas is not merely a historically interesting aspect of classical rhetorical theory but an important link between rhetorical theory and political practice, of heightened importance to a democratic culture.The volume under consideration gathers some of the best informed contemporary scholars to address this confluence. The ten essays include work by classicists, philosophers, and rhetoricians, all of whom are working in an explicitly interdisciplinary posture. The volume is divided into five thematic sections, with two essays contributed on each of the themes, each pair addressing different aspects of Isocrates' notion of civic education.The first section addresses the shape and purpose of the Isocratean program of civic education. The central question addressed by these essays is fundamental. If we grant the generality that Isocrates has a program of civic education, what are the particular goals of his pedagogy? Simply put, what civic virtues can one expect to acquire from an education in the Isocratean system? For Josiah Ober the route to the answering of this question is a careful and extraordinarily interesting reading of Isocrates great apologia, Antidosis. Ober sees Isocrates attempting to develop in his students a "complex and integral identity" (39) that will allow them to remain both true to themselves and useful to the city, a careful blending of soul-craft and state-craft. Takis Poulakos focuses on the epistemological foundation of Isocratean practice by making a careful account of Isocrates' use of the term doxa. Poulakos does an excellent [End Page 174] job of cutting through the thicket of Isocratean nuance and correctly identifies the theoretically charged notion of doxa as being both the process and product of informed conjecture.The next six essays are, in essence, comparative, laying Isocratean concepts of civic virtue and pedagogy against those of the sophists, Aristotle, and Plato. John Poulakos deftly separates Isocrates' purposes and pedagaogy from the sophists Protagoras and Gorgias. Particularly striking is the distinction Poulakos draws between how Isocrates and the sophists conceived of the power of language. The sophists, having a "dynastic" conception of language, imagine that mastering rhetoric gives one direct access to tyranical power over the individual psyche. Isocrates, less sure of (or perhaps ethically nervous about) language's capacity for political witchcraft, adapts a "hegemonic" notion of logos as acivilizing force, a means of leadership toward good ends. Ekaterina Haskins contrasts the "playful iconoclasm" of Gorgias with the "political responsibility" of Isocrates (85) in the varying ways they make use of the mythopoetic tradition. Davis Konstans contributes an extremely interesting examination of important matters upon which Isocrates and Plato find themselves in agreement, notably the deficiencies of Athenian democracy and the preferred role of the intellectual in society. Konstans' position is very stimulating, if at first glance counterintuitive, as the greater part of modern scholarship has aimed to force these two figures into opposing camps. Kathryn Morgan also begins her essay by focusing on those things Plato and Isocrates agreed upon, noting that both were deeply dissatisfied with conventional civic education in Athens. From this, Morgan turns to... (shrink)

Despite his ceaseless efforts to purge his fellow citizens of their unfounded opinions and to bring them to care for what he believes to be the most important things, Plato's Socrates rarely succeeds in his pedagogical project with the characters he encounters. This is in striking contrast to the historical Socrates, who spawned the careers of Plato, Xenophon, and other authors of Socratic dialogues. Through an examination of Socratic pedagogy under its most propitious conditions, focusing on a narrow class of (...) dialogues featuring Lysis and Alcibiades, this book answers the question: "why does Plato portray his divinely appointed gadfly as such a dramatic failure?". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:258 HISTORY OF PHILOSOPHY and diversity"-- ("it is useless to deny or even minimize the incongruities and the contradictions" in Rousseau's statements, as Burgelin says in another book). Instead he puts the finger on the one trait that sets this piece of rationalism (or anti-rationalism, as some would say) apart from all others: not sentiment verging on the mystical, but egocentrism, existentially founded and unique. Rousseau, taking a stand (...) outside the battling parties, outside his own religion, becomes more and more "une existence solitaire en face d'une autre existence, qui le regarde," that "other existence" which he calls God. Alas, the descent from such existential heights is swift. Soon the solitary thinker will be enmeshed again in unsolitary speculations about those very issues he had left behind in his flight into the self. Where will this strange pilgrim's progress end? In 1769, seven years before his death and feeling the cold breath of old age upon him, Jean-Jacques wrote: "In my childhood I believed by authority, in my youth by feeling, in my mature age by reason; now I believe because I have always believed." Burgelin cites this as proof that Rousseau never ceased to believe. Maybe so. But is this the point? What the passage defines is the pilgrim's irreversible religious itinerary. On cannot but ask what the next inevitable stop on the road would have been. Waiting for Godot? "Whoever makes an effort to find in Rousseau's work an explicit philosophy... runs into a very peculiar difficulty, for a philosophy is defined above all by its coherence, and [Rousseau] himself warns us against his own methods." With these words Pierre Burgelin opened his monumental work, La philosophic de l'existence de ].-]. Rousseau (1952). It is in the several pertinent chapters of this earlier work that the reader will find what the present book withholds: a philosophical analysis as rigorous as it is profound and comprehensive, the best analysis we have to Rousseau's religious thought. Professor Burgelin's new book merely proves that not even he can do justice to Jean-Jacques without explaining him. GREGORSEBBA Emory University l~mile ou de l'dducation. Par Jean-Jacques Rousseau. Introduction, bibliographic, notes, et index analytique par Francois et Pierre Richard. gdition illustr~e. (Paris: ~ditions Garnier Fr~res, 1962. Pp. 1 + 664 [1].) While the new Pldiade edition of Rousseau, a model of contemporary French scholarship, makes its slow, stately way towards completion, the well-known yellow Classiques Garnier keep coming out in new editions or simply in new dress. This 12mile is a handsomely produced, very readable BOOK REVIEWS 259 reissue of the 1939 Garnier edition, with reproductions of eighteenthcentury engravings on themes of Rousseau. They add rich period flavor to this strange work in which a hypermodern intelligence talks the language of three centuries ago. There are useful notes, the detailed subject index is exceptionally well laid out, the spacious bibliography is ample for Rousseau 's sources and influence, but its meager twentieth-century section should have been reworked and brought up to date. The Introduction, too, can still be read with much profit, even though its critical standpoint is now antiquated, eloquent proof of the effectiveness of Rousseau scholarship in the last two decades. For its price this is a very handy, serviceable edition to have until the Biblioth~que de la PMiade catches up with Garnier Fr~res. Emory University GREGOR SEBBA Kant's Theory o[ Knowledge. By Graham Bird. (New York: The Humanities Press, 1962. Pp. x + 210. ~5.50.) In the Preface the author states that he has two main objectives in his book: To pursue one central argument through the Critique of Pure Reason and to discuss Kant's views in terms of a modern philosophical idiom. Bird follows this programme out through most of the book, departing from it on only one occasion, in Chapter 11 (pp. 181-188) in which he discusses and criticizes Strawson's theory of personality (as presented in his book Individuals, chap. 3). The space given to Strawson does not, however, constitute a serious digression from the main argument because it comes at the end of a chapter devoted... (shrink)

Summary: This is a provocative book for those who have closely aligned themselves with a specific research or pedagogical paradigm. The underlying theme of the book is to encourage multiple approaches to educational research that will inform practice... Although the book is more about eclecticism than constructivism, it can serve as a basis for many discussions on educational research as it is and where it should go.

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)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Willing and Nothingness: Schopenhauer as Nietzsche's EducatorDaniel SchumanChristopher Janaway, Editor. Willing and Nothingness: Schopenhauer as Nietzsche's Educator. New York: Oxford University Press, 1999. Pp. 293. Cloth, $65.00.Considering how many English language studies of Nietzsche's thought exist, it is quite remarkable that more has not been written on the question of the influence that Arthur Schopenhauer, his self-described "educator," had on his philosophy. The essays in this important volume (...) go a long way toward filling this vacancy in Nietzsche (and Schopenhauer) scholarship. Christopher Janaway has assembled an impressive group of articles that, taken together, effectively reveal the complexity and depth of Nietzsche's Schopenhauerian inheritance. This collection is both focused and comprehensive. These essays deal with almost all of the major points of agreement and contention between these two philosophers without exaggerating the influence of Schopenhauer on Nietzsche.In his introduction and contributing essay, Janaway highlights some of the general ways in which Schopenhauer exerted an influence on Nietzsche throughout his philosophical development. Janaway argues that despite Nietzsche's steadfast rejection of Schopenhauer's metaphysics there are important ways in which he remained indebted to his mentor even in his later works. For instance, though Schopenhauer embraces the mystical ideal of freeing the intellect from the will, it is his view that in the phenomenal realm the intellect is essentially an instrument of the will. According to Janaway, this claim that the intellect must be "rooted in a living, striving entity" had a profound [End Page 133] influence on Nietzsche's later thought, especially on his 'perspectivism' (35). The second essay in this volume, contributed by Maudemarie Clark, makes the similar claim that Nietzsche's ideas regarding truth and knowledge are grounded in the naturalistic conception of intellect he inherited from Schopenhauer. Clark claims Schopenhauer's philosophy, once divested of its more extreme metaphysical aspects, can be understood as a form of empiricism in which all knowing is "rooted in affect" (74). This is an idea that Clark also takes to be at the heart of Nietzsche's perspectivism.Other essays deal with two issues that were of primary importance to both Schopenhauer and Nietzsche: aesthetics and morality. Ivan Soll compares their respective aesthetic theories and argues that their views regarding the significance of art are not as dissimilar as Nietzsche himself claimed. They both see art "through the lens of life" and as a way of responding to the suffering that characterizes human existence. However, whereas Schopenhauer sees art as a means of denying the will to life, Nietzsche sees it as means of affirming life in the face of suffering. Like Soll, David Cartwright argues that Nietzsche embraces Schopenhauer's stance on the pervasiveness of suffering in human life. From this standpoint he examines both Nietzsche's criticisms and appropriation of certain elements of Schopenhauer's moral philosophy. Cartwright cleverly argues that Nietzsche's scathing critique of Schopenhauer's asceticism and morality of Mitleid actuallyrelies upon Schopenhauer's methodology and incorporates elements of his pessimism.Pessimism is dealt with in more detail in the essays by Kathleen Higgins and David Berman. Higgins claims that Schopenhauer's and Nietzsche's basic conceptions of will are actually quite similar. Both philosophers understand and interpret life in fundamentally voluntaristic terms. However, the two philosophers part ways when it comes to how will is characterized. Schopenhauer's pessimism and Nietzsche's relative optimism, Higgins claims, spring more from a difference in the temperament of the two thinkers, rather than a difference in their conceptions of will. In his essay, David Berman reinforces Higgins' view that Schopenhauer and Nietzsche share the same basic understanding of will even though their evaluations of it differ. However, Berman claims that Nietzsche came to see Schopenhauer as a closet epistemological optimist whose purported pessimism was "being used to protect and insulate him from the world's pain" (190). It is Berman's view that Nietzsche's self-proclaimed recognition of Schopenhauer's pessimism as a kind of "self-deceived" optimism actually cleared the way for Nietzsche to develop his philosophy of power and life affirmation. Whereas Schopenhauer retreats into the false comfort of resignation and denial, Nietzsche's... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:258 HISTORY OF PHILOSOPHY and diversity"-- ("it is useless to deny or even minimize the incongruities and the contradictions" in Rousseau's statements, as Burgelin says in another book). Instead he puts the finger on the one trait that sets this piece of rationalism (or anti-rationalism, as some would say) apart from all others: not sentiment verging on the mystical, but egocentrism, existentially founded and unique. Rousseau, taking a stand (...) outside the battling parties, outside his own religion, becomes more and more "une existence solitaire en face d'une autre existence, qui le regarde," that "other existence" which he calls God. Alas, the descent from such existential heights is swift. Soon the solitary thinker will be enmeshed again in unsolitary speculations about those very issues he had left behind in his flight into the self. Where will this strange pilgrim's progress end? In 1769, seven years before his death and feeling the cold breath of old age upon him, Jean-Jacques wrote: "In my childhood I believed by authority, in my youth by feeling, in my mature age by reason; now I believe because I have always believed." Burgelin cites this as proof that Rousseau never ceased to believe. Maybe so. But is this the point? What the passage defines is the pilgrim's irreversible religious itinerary. On cannot but ask what the next inevitable stop on the road would have been. Waiting for Godot? "Whoever makes an effort to find in Rousseau's work an explicit philosophy... runs into a very peculiar difficulty, for a philosophy is defined above all by its coherence, and [Rousseau] himself warns us against his own methods." With these words Pierre Burgelin opened his monumental work, La philosophic de l'existence de ].-]. Rousseau (1952). It is in the several pertinent chapters of this earlier work that the reader will find what the present book withholds: a philosophical analysis as rigorous as it is profound and comprehensive, the best analysis we have to Rousseau's religious thought. Professor Burgelin's new book merely proves that not even he can do justice to Jean-Jacques without explaining him. GREGORSEBBA Emory University l~mile ou de l'dducation. Par Jean-Jacques Rousseau. Introduction, bibliographic, notes, et index analytique par Francois et Pierre Richard. gdition illustr~e. (Paris: ~ditions Garnier Fr~res, 1962. Pp. 1 + 664 [1].) While the new Pldiade edition of Rousseau, a model of contemporary French scholarship, makes its slow, stately way towards completion, the well-known yellow Classiques Garnier keep coming out in new editions or simply in new dress. This 12mile is a handsomely produced, very readable BOOK REVIEWS 259 reissue of the 1939 Garnier edition, with reproductions of eighteenthcentury engravings on themes of Rousseau. They add rich period flavor to this strange work in which a hypermodern intelligence talks the language of three centuries ago. There are useful notes, the detailed subject index is exceptionally well laid out, the spacious bibliography is ample for Rousseau 's sources and influence, but its meager twentieth-century section should have been reworked and brought up to date. The Introduction, too, can still be read with much profit, even though its critical standpoint is now antiquated, eloquent proof of the effectiveness of Rousseau scholarship in the last two decades. For its price this is a very handy, serviceable edition to have until the Biblioth~que de la PMiade catches up with Garnier Fr~res. Emory University GREGOR SEBBA Kant's Theory o[ Knowledge. By Graham Bird. (New York: The Humanities Press, 1962. Pp. x + 210. ~5.50.) In the Preface the author states that he has two main objectives in his book: To pursue one central argument through the Critique of Pure Reason and to discuss Kant's views in terms of a modern philosophical idiom. Bird follows this programme out through most of the book, departing from it on only one occasion, in Chapter 11 (pp. 181-188) in which he discusses and criticizes Strawson's theory of personality (as presented in his book Individuals, chap. 3). The space given to Strawson does not, however, constitute a serious digression from the main argument because it comes at the end of a chapter devoted... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:258 HISTORY OF PHILOSOPHY and diversity"-- ("it is useless to deny or even minimize the incongruities and the contradictions" in Rousseau's statements, as Burgelin says in another book). Instead he puts the finger on the one trait that sets this piece of rationalism (or anti-rationalism, as some would say) apart from all others: not sentiment verging on the mystical, but egocentrism, existentially founded and unique. Rousseau, taking a stand (...) outside the battling parties, outside his own religion, becomes more and more "une existence solitaire en face d'une autre existence, qui le regarde," that "other existence" which he calls God. Alas, the descent from such existential heights is swift. Soon the solitary thinker will be enmeshed again in unsolitary speculations about those very issues he had left behind in his flight into the self. Where will this strange pilgrim's progress end? In 1769, seven years before his death and feeling the cold breath of old age upon him, Jean-Jacques wrote: "In my childhood I believed by authority, in my youth by feeling, in my mature age by reason; now I believe because I have always believed." Burgelin cites this as proof that Rousseau never ceased to believe. Maybe so. But is this the point? What the passage defines is the pilgrim's irreversible religious itinerary. On cannot but ask what the next inevitable stop on the road would have been. Waiting for Godot? "Whoever makes an effort to find in Rousseau's work an explicit philosophy... runs into a very peculiar difficulty, for a philosophy is defined above all by its coherence, and [Rousseau] himself warns us against his own methods." With these words Pierre Burgelin opened his monumental work, La philosophic de l'existence de ].-]. Rousseau (1952). It is in the several pertinent chapters of this earlier work that the reader will find what the present book withholds: a philosophical analysis as rigorous as it is profound and comprehensive, the best analysis we have to Rousseau's religious thought. Professor Burgelin's new book merely proves that not even he can do justice to Jean-Jacques without explaining him. GREGORSEBBA Emory University l~mile ou de l'dducation. Par Jean-Jacques Rousseau. Introduction, bibliographic, notes, et index analytique par Francois et Pierre Richard. gdition illustr~e. (Paris: ~ditions Garnier Fr~res, 1962. Pp. 1 + 664 [1].) While the new Pldiade edition of Rousseau, a model of contemporary French scholarship, makes its slow, stately way towards completion, the well-known yellow Classiques Garnier keep coming out in new editions or simply in new dress. This 12mile is a handsomely produced, very readable BOOK REVIEWS 259 reissue of the 1939 Garnier edition, with reproductions of eighteenthcentury engravings on themes of Rousseau. They add rich period flavor to this strange work in which a hypermodern intelligence talks the language of three centuries ago. There are useful notes, the detailed subject index is exceptionally well laid out, the spacious bibliography is ample for Rousseau 's sources and influence, but its meager twentieth-century section should have been reworked and brought up to date. The Introduction, too, can still be read with much profit, even though its critical standpoint is now antiquated, eloquent proof of the effectiveness of Rousseau scholarship in the last two decades. For its price this is a very handy, serviceable edition to have until the Biblioth~que de la PMiade catches up with Garnier Fr~res. Emory University GREGOR SEBBA Kant's Theory o[ Knowledge. By Graham Bird. (New York: The Humanities Press, 1962. Pp. x + 210. ~5.50.) In the Preface the author states that he has two main objectives in his book: To pursue one central argument through the Critique of Pure Reason and to discuss Kant's views in terms of a modern philosophical idiom. Bird follows this programme out through most of the book, departing from it on only one occasion, in Chapter 11 (pp. 181-188) in which he discusses and criticizes Strawson's theory of personality (as presented in his book Individuals, chap. 3). The space given to Strawson does not, however, constitute a serious digression from the main argument because it comes at the end of a chapter devoted... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Handbook of Research and Policy in Art EducationCharles M. DornHandbook of Research and Policy in Art Education, edited by Elliot Eisner and Michael Day. Mahwah, N.J.: Lawrence Erlbaum, 2004, 879 pp., $90.00 paper.The Handbook of Research and Policy in Art Education is an 875-page compendium of articles addressing nearly every conceivable issue in the field and is, if nothing else, a valuable tour de force for (...) any reader who wants to come up to speed on issues in the field. It is not, however, either strictly a handbook or a complete exploration of either art education policy or research. This in no way diminishes its potential value as a source for policy issues and research that are of significant concern to the field.The publication presents 36 individual or joint authored chapters on (1) historical currents in art education, (2) policy perspectives impacting the teaching of art, (3) learning in the visual arts, (4) teaching and teacher education, (5) forms of assessment in art education, and (6) emerging visions of the field. Each of the six sections begins with a short introductory statement by the researcher responsible for reviewing the essays in that session. These section editors include F. Graeme-Chalmers, Ralph Smith, Anna Kindler, Enid Zimmerman, Elisabeth Soep, and Arthur Efland. Forty-one authors contributed to the book's contents, all of which have nationally recognized expertise in handling the topic discussed.Editors Elliot Eisner and Michael Day view the book as an effort to bring together research and theory, policy, and concepts that guide and give shape to what people in art education try to accomplish—which is, of course, a rather ambitious goal. Even the editors admit the Handbook meets some but not all of these competing orientations. They also claim that the Handbook serves as an assertion that art education is a scholarly field, perhaps even to a fault through mostly ignoring qualitative issues regarding goals, expressive art form, and aesthetics. Also, the editors admit that the Handbook will be a disappointment, which is true, especially with respect to its emphasis on rationales rather than policy problems, on assessment appreciation rather than policy and research, on assessment in art education history as a record of events rather than as policy windows, and on emerging visions as older forms of social and political discourse rather than policy issues, implementation, and evaluation.Nevertheless, the Handbook addresses a number of important policy issues, providing well-developed and valuable views of the field by a variety of important authors and, in some cases, with some rarely seen insights into the nature of the field. I will only review the most salient ideas of the chapter authors in each of the six sections and then comment on what I believe are promising, and sometimes somewhat troubling, directions pointed out in the chapters, including what promises have not been fulfilled. [End Page 111]Section I, on historical currents, includes chapters by F. Graeme Chalmers; Mary Ann Stankiewicz, Pat Amburgy, and Paul Bolin; and John Howell White. Chalmers provides a very thorough overview of the literature on the history of art education, including what he calls the broad perspectives on art education, history, and research interests of art education historians. Overall, he references nearly 300 publications. Stankiewicz, Amburgy, and Bolin then address specific movements in nineteenth-century art education and art, including a brief history of the social function of art, drawing instruction in schools, industrial drawing, manual training, the arts and crafts movement picture study, and progressive education with over 120 references. White, who follows, provides a similar review of major forces, focusing mainly on art education influences in the twentieth century, addressing the contributions of various art educators, arts organizational leaders, artists, government initiatives, and the critical and divergent influences of key post–WW II art education writers. He also documents his work with nearly 300 sources.Section II, on policy perspectives, contains seven chapters, including ones by Ralph Smith; Samuel Hope; Constance Bumgarner Gee; Lois Hetland and Ellen Winner; H. Gene Blocker; and E. Louis Langford and Kelly Scheffer. In Section II, Sam Hope outlines the power of policy and its effect... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Musician and Teacher: An Orientation to Music EducationBrent GaultPatricia Shehan Campbell (with chapters contributed by Steven M. Demorest and Steven J. Morrison), Musician and Teacher: An Orientation to Music Education (New York, NY: W. W. Norton and Company, 2008)If one were to review the course content of undergraduate music education programs at various colleges and universities, an "Introduction to Music Education" or "Foundations of (...) Music Education" course would most likely be included. This course often serves a variety of functions for a given program. It can provide students with an overview of the various instructional settings found in the music education profession and introduce theoretical information regarding student development and learning. Foundation courses often review historical and philosophical information, allow students to develop their own justifications regarding why music should be part of a school program, and present information regarding practical issues in the music teaching profession including assessment, planning for instruction, use of technology, and working with diverse learning situations.Because the curricular content within given foundation courses can be quite varied, finding a text that is broad enough to cover the myriad of topics that might be addressed in this type of course yet detailed enough to make each topic meaningful is a true challenge. While no single text can truly meet all needs [End Page 213] that are unique to each instructional setting, Patricia Shehan Campbell's Musician and Teacher: An Orientation to Music Education is an example of a text that succeeds in both providing a broad view of the music education profession while also presenting specific and meaningful information related to each topic addressed within its pages.One of the unique aspects of this book is Campbell's attempt throughout the text to discuss music education from personal, theoretical, and global perspectives. Many of the chapters utilize case descriptions of music education students and practicing teachers to highlight the theoretical ideas discussed in the text. In addition, Campbell relates learning theories and instructional approaches not only to instructional settings within the United States but throughout the world so that the reader can see both similarities and differences in how music is experienced in each setting.The first six chapters of the text deal with general principles related to the music education profession. An opening chapter sets the stage by discussing the decision to become a music educator, relating this decision to the personal stories of five individuals, and describing the qualities that can lead to a successful career in music education. The second chapter, "Great Minds on Music Education," provides an overview of the philosophical arguments for music education. Campbell uses this chapter to relay the ideas of perennial figures commonly identified with music education philosophy including John Blacking, Christopher Small, Bennett Reimer, Keith Swanwick, David Elliott, and Estelle Jorgensen, and adds to this a description of the views of political leaders, scholars, and thinkers throughout the world. In addition to discussing the views of Plato, Aristotle, Boethius, and Lowell Mason, Campbell also includes the ideas of Hildegard von Bingen, Akbar the Great (India), Chulalongkorn (Thailand), and Nelson Mandela to provide a richer portrait of how members of cultural communities throughout the world experience and value music.Continuing with this global perspective, Campbell uses the third chapter to discuss the ways that communities transmit music via formal, nonformal, and natural learning. These three ways of transmitting knowledge are similar to the ideas she described related to Bateson (Learning I, II, and III) and Merriam (enculturation, training, and schooling) in Lessons from the World. 11 After defining these approaches to learning, Campbell describes several learning contexts both past (Medieval Europe) and present (West Africa) to illustrate how formal, nonformal, and/or natural learning is utilized. The cross cultural comparison continues in Chapter Four, as Campbell describes various systems of music education in Africa, Asia, Australia, Europe, North America, and South America to illustrate similarities and differences related to standards for education, goals for instruction, and allotment of instructional time and resources.After providing this global view related to approaches to learning and systems [End Page 214] of instruction, the fifth chapter attempts to personalize music education through vignettes of music programs... (shrink)

BackgroundEthical problems in everyday healthcare work emerge for many reasons and constitute threats to ethical values. If these threats are not managed appropriately, there is a risk that the patient may be inflicted with moral harm or injury, while healthcare professionals are at risk of feeling moral distress. Therefore, it is essential to support the learning and development of ethical competencies among healthcare professionals and students. The aim of this study was to explore the available literature regarding ethics education (...) that promotes ethical competence learning for healthcare professionals and students undergoing training in healthcare professions.MethodsIn this integrative systematic review, literature was searched within the PubMed, CINAHL, and PsycInfo databases using the search terms ‘health personnel’, ‘students’, ‘ethics’, ‘moral’, ‘simulation’, and ‘teaching’. In total, 40 articles were selected for review. These articles included professionals from various healthcare professions and students who trained in these professions as subjects. The articles described participation in various forms of ethics education. Data were extracted and synthesised using thematic analysis.ResultsThe review identified the need for support to make ethical competence learning possible, which in the long run was considered to promote the ability to manage ethical problems. Ethical competence learning was found to be helpful to healthcare professionals and students in drawing attention to ethical problems that they were not previously aware of. Dealing with ethical problems is primarily about reasoning about what is right and in the patient’s best interests, along with making decisions about what needs to be done in a specific situation.ConclusionsThe review identified different designs and course content for ethics education to support ethical competence learning. The findings could be used to develop healthcare professionals’ and students’ readiness and capabilities to recognise as well as to respond appropriately to ethically problematic work situations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:What's so Important about Music Education?Leonard TanJ. Scott Goble, What's so Important about Music Education? (New York, NY: Routledge, 2010)In What's so Important about Music Education, J. Scott Goble proposes a new philosophical foundation for music education in the United States based on the theory of semiotics by American pragmatist Charles Sanders Peirce. Following a brief summary, I will note several merits in Goble's (...) book before sketching four recommendations for future editions.In Chapter One, Goble notes how the inclusion of non-Western musics in the public schools as espoused in the 1967 Tanglewood Declaration has raised two crucial questions: "Whose music should be included in the curriculum?" and "What is the role or social importance of public school music education in the United States as a postmodern society?" Noting that music education was established in the United States during the modern era, and that the Tanglewood Declaration did not account for vast differences in beliefs about music, Goble argues that there is a need to establish a new philosophical foundation that can accommodate the varied beliefs and practices of diverse cultural groups in postmodern United States.In Chapter Two, Goble sketches and critiques five cultural anthropologists. Of the five, he singles out Clifford Geertz's conception of culture as "semiotic [End Page 201] webs" (p. 20) as the conceptual foundation that is appropriate for this study. He then links Geertz's notion of culture to the semiotic theory of C. S. Peirce which is to become the theoretical underpinning of the book. Subsequently, he unpacks many key Peircian themes: human conceptions are maintained not individually but collectively in cultural groups, provisional truth (as opposed to absolute Truth) is relative and dependent on conceptions of communities, and the scientific method is the sole mode of inquiry by which people in communities may use to satisfy their doubts to formulate beliefs. Most importantly, Goble expounds the "pragmatic maxim" that since humans live in communities united by common beliefs, "the 'clear' meaning of an idea held by a member of the community will almost inevitably stem from the beliefs—or ways of understanding—held by members of that community" (p. 30). Goble concludes the chapter by presenting the Peircian semiotic system of cognition which posits that a "sign" is conceptualized in a triadic relationship: the Sign or "Firstness," the Object or "Secondness," and the Interpretant or "Thirdness" (p. 33).In Chapter Three, Goble considers how music is a sign based on the theoretical framework laid in Chapter Two. Drawing on the work of ethnomusicologists, anthropologists, psychiatrists, and a neuroscientist, he formulates a Peircian pragmatic approach to musical practices which posits that "the musical practices of different cultural communities represent a diverse cluster of community-specific ritualized behaviors involving sound" (p. 252). Furthermore, each of the musical practices "serves those persons who meaningfully participate in it as a means of psychophysiological, psychosocial, and/or sociopolitical equilibration relative to the worldview—or ordered conception of Reality—they tacitly share" (p. 252). For Goble, this pragmatist conception of musical practices is neither ethnocentric, universalist, nor relativist, and can serve as a conceptual framework for all diverse musical practices in postmodern United States.With the Peircian pragmatic conception in mind, Goble examines historical factors that contributed to current conceptions of music in the United States in Chapter Four. He laments that as a result of European Enlightenment and three socio-political phenomena in the United States (the separation of church and state, promotion of no other worldview than democracy, and adoption of democratic capitalism), music is no longer pragmatically oriented but trivialized and pursued by self-serving musicians.In Chapter Five, Goble traces the philosophical justifications for music education throughout the history of the United States. While the sign "musical practice" was conceptualized as "worship" in colonial America, the sign "music" was conceived as "art" during the age of Enlightenment, and as "product" during the age of science and technology. Noting that Bennett Reimer's music education as aesthetic education is limited in its Western focus on music as works [End Page 202] of artistic objects, Goble aligns his Peircian conception along praxial lines—in particular, with... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A History of American Music EducationSondra Wieland HoweA History of American Music Education, 3rd edition, by Michael L. Mark and Charles L. Gary. Lanham, MD: Rowman and Littlefield Education, 2007, 500 pp., $95.00 cloth, $44.95 paper.Mark and Gary's editions of A History of American Music Education are indispensable reading for every music education student, practicing professional music educator, and the general reader who is (...) interested in the development of music teaching in American public schools. Based on excellent secondary sources, this history presents an overview of music education from Colonial America, through the development of textbooks in the nineteenth century and the growth of professional organizations in the early twentieth century, to the expansion of the curriculum and the role of government in education since 1950.This third edition is written by Michael L. Mark, professor emeritus at Towson University in Maryland, and dedicated to the memory of his friend and coauthor, Charles L. Gary.1 Mark has written two other books that complement the history editions. Contemporary Music Education surveys various reform projects since the 1950s, trends in the philosophy of music education, government policies, and the development of new methods.2Music Education: Source Readings includes writings about music education from both the European and American perspectives.3 There are many recent articles and dissertations on the history of music education, but the only recent book is Terese Volk's Music, Education, and Multiculturalism, which describes school programs and materials emphasizing multiculturalism in the twentieth century from a historical perspective.4 Publications in musicology add to our knowledge of the history of music in American society, but musicologists rarely write about music in public schools. Publications on the history of education are helpful in understanding trends in music education, but these publications do not discuss music.The third edition of A History of American Music Education is expanded to 500 pages from the approximately 400 pages of the earlier editions, largely because of new formatting and [End Page 115] spacing that make the third edition easier to read. Each chapter has a reference list in APA style in contrast to the Chicago Manual style of the earlier editions, with endnotes plus a bibliography at the end of each chapter. The material in Mark's third edition is basically the same as the earlier editions, with some expansion of the history of music education after 1950.This book, based on secondary sources, is an overview of the history of music in American public schools, showing the response of education to societal needs during various historical periods. There is an emphasis on the role of national music organizations, especially MENC: The National Association for Music Education (MENC), in advocating for the importance of music for every child. The historical account includes the various justifications for teaching music and discussions of the meaning of music. There were times when music educators were interested in aesthetics, but there were also many times when they were mainly interested in a practical understanding of music and extrinsic motives for including music in the school curriculum.5The first section on "The Western Heritage" (chapters 1-3) briefly covers music in Jewish traditions through the Greek and Roman cultures because the insights of these ancient thinkers influenced all Western societies. The chapter on the Middle Ages through the Reformation shows the role of music as a practical subject, part of the quadrivium with arithmetic, geometry, and astronomy. As music became an integral part of the church, musicians developed methods of teaching note reading. Martin Luther promoted the singing of "good music" in schools and education in the vernacular for the middle classes. With the development of Italian conservatories and the patronage of music by the elite classes of the Renaissance, music training became specialized for musicians working in the church and courts. These various conflicting European opinions of the role of music in society influenced American education.The second section on "The New World" (chapters 4-5) emphasizes the use of music as a means of praising God. Spanish musicians established successful music education programs in Peru and Mexico to promote Christianity. The French brought Christianity to... (shrink)

There has been substantial growth of interest in sustainability in business, management and organisational studies in recent years. This article applies Oswick’s :15–25, 2009) method of bibliometric research to ascertain how this growth has been reflected in scholarly publishing, particularly as it relates to business and management education over the 20 years 1994–2013. The research has found that sustainability as a general topic in business and management studies, as evidenced by scholarly publishing, has accelerated rapidly both in terms of (...) items published and cited. In the mid-2000s, the emphasis of books published in this area began to change from one which advocated ‘sustainable development’ to one which viewed sustainability as a management practice which could help businesses and society simultaneously. The literature on sustainability within the field of management and business education has been smaller, but has enjoyed a similar growth rate which accelerated sharply in the most recent 5 years of the dataset. Most of the scholarly, peer-reviewed articles analysed tend to advocate the inclusion of sustainability on business school curricula, or to demonstrate the various ways in which faculty have integrated sustainability-related principles in their teaching. A smaller amount of research has been undertaken on the learning experiences of the ‘recipients’ of these approaches. There is evidence of an extensive variety of approaches used by educators, but the most significant research need which presented is for more empirically driven studies on how and why business and management students engage with the principles of sustainability. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bilingual Aesthetics:A New Sentimental EducationJane DuranBilingual Aesthetics: A New Sentimental Education, by Doris Sommer. Durham and London: Duke University Press, 2004, 254 pp.Doris Sommer's new work Bilingual Aesthetics is the sort of book that takes one by surprise—and for good reason. Filled with punning twists, and itself a valorizer of word games and magic, this work has not a lot to do with bilingualism (in the standard sense), (...) not a lot to do with aesthetics (again, in the standard academic sense), but a great deal to do with both. Whether the title is read (and Sommer's point is to forward the notion of alternate readings) as the aesthetics of bilingualism or as an account of what a bilingual might make of aesthetics, there is a startling amount of content in the work.Briefly, Sommer essays to make the case that our multicultural society is distinctly better off for being multicultural and multilingual (or at least, in some threatening sense, emergently bilingual) because the literal bilingual has a distinct advantage over her or his monolingual counterpart. The bilingual can play language games, and those games shock, amuse, or jolt—whatever it is that they do, they rouse us out of any state of intellectual torpor into which we might have fallen and they serve to make us all individuals who, in Du Bois' memorable phrase, have "double consciousness."Thus Sommer does in fact mean for her title to be read in at least two ways: Her work attempts to valorize and vindicate a sort of unofficial bilingualism (one of the blurbs on the back of the paperback edition begins by saying "Knowing a second language entails some unease... "), while she also attempts to let us in on the notion that there is an aesthetic that develops from the use of more than one code. Sommer plays remarkably on all these concepts: She is familiar with the standard, overt scholarship on bilingualism—she can cite work by sociolinguists and others. At the same time, as an author known for previous work on literature, especially with regard to Latin America, she is also familiar with much of the standard historical work in aesthetics, including Kant. Citing thinkers such as Kenji Hakuta, William J. Bennett, Wittgenstein, and Elena Poniatowska, Sommer leaves the reader somewhat bedazzled and breathless but better off for having read her work.Her overall thesis, if one may attempt to employ such a phrase, is that bilingualism and code-switching create for us the same sort of uneasiness and inevitable access to the unconscious that works of art and literature produce—and that the edginess that is a concomitant of code-switching is beneficial. Her first chapter "Choose and Lose" reminds Americans that the United States has always been a multilingual place and focuses on how much can be gained from attempting to forward the notion. If there is any difficulty to Sommer's work, it is that she practices what she preaches. Every page demands much of the reader, since every page itself engages in the [End Page 121] sort of rapid-fire twisting and switching that Sommer is trying to support as the ground for a new aesthetic consciousness.Early on, Sommer gives us the following:Complaints about the danger to national coherence [of multi- or bilingualism] can be downright funny.... [One irate journalist wrote:] "How can immigrants identify with America if they can't read Lincoln's words in the language in which they were spoken?(out of many, one) to a multicultural boarding house,...?" No need to be upset at this harangue. It's obviously a joke, even if the author missed it (a common asymmetry in bilingual humor). Notice that the translation from Latin assumes that English-only citizens don't understand the very slogan they hold dear.(p. 26)But of course the joke is to some extent on Sommer and on all of us, as she no doubt intends. It is highly unlikely that the journalist did get the humor, and the only funny part of the entire tirade is that we—assuming we have enough formal education—may be able to make something out of it... (shrink)