While another von Hagens style public autopsy should not be encouraged, the public should nevertheless be able to experience such events as a public autopsy.During 2002 and 2003 there was considerable discussion about the work of Gunter von Hagens, famed for his Body Worlds exhibition,1 which was publicised extensively and with considerable success. The exhibition is a tribute to, and celebration of, his method of preserving organic life through the process of plastination, developed by von Hagens in the 1980s. The (...) process entails a form of preservation, whereby body parts are dehydrated and filled with polymer resin, making them more robust than conventional formaldehyde does.While it was in the United Kingdom, the exhibit was housed at a back street gallery in Brick Lane, London, though the exhibition has toured throughout the world. Despite many millions having flocked to see the exhibition, the reasons for its success are open to interpretation and have provoked strong opinions from the medical community as to whether this physician ought to be entitled to create exhibits from real bodies. Von Hagens would argue that these works are justifiable because they have artistic merit. Others would claim that viewers are being brought to the gallery by the immense publicity. Alternatively, one might suppose that those who attend the exhibition do so mainly because of a fascination with the extraordinary and with the grotesque. Indeed, such fascination with death, and human remains specifically, was the focus of a meeting hosted by the Institute of Ideas and the Royal College of Physicians in May 2003, which was entitled Morbid Fascinations: the Body and Death in Contemporary Culture.The controversy arising from the Body Worlds exhibition pales in comparison, however, to von Hagens’s most recent performance—the first “public autopsy” in Britain …. (shrink)

This thesis develops a hermeneutic philosophy of science to provide insights into physics education. -/- Modernity cloaks the authentic character of modern physics whenever discoveries entertain us or we judge theory by its use. Those who justify physics education through an appeal to its utility, or who reject truth as an aspect of physics, relativists and constructivists, misunderstand the nature of physics. Demonstrations, not experiments, reveal the essence of physics as two characteristic engagements with truth. First, truth in its guise (...) as correspondence enables a human being to prepare for the distinctive event of physics. -/- Second, the event of physics occurs in human perception when someone forces a hidden reality to disclose an aspect of itself. Thus, the ground of physics is our human involvement with reality achieved by way of truth. -/- To support this account of physics, the thesis reports phenomenological investigations into Isaac Newton’s involvement with optics and a secondary school physics laboratory. These involve interpretations of Heidegger’s theory of beings, schema and signification. The project draws upon, and contributes to, the hermeneutic phenomenology of modern physics, a tradition in continental philosophy that begins with Immanuel Kant, and advances particularly from Martin Heidegger to Patrick Heelan. -/- The thesis advocates an ontological pedagogy for modern physics which has as its purpose each individual student’s engagement with reality and truth. Students may achieve this through demonstrations of phenomena that will enable them to dwell with physics, an experience that contrasts with their embroilment in modernity, and which perpetuates nature’s own science. (shrink)

The animal entertainment industry includes different practices. Some consist in torturing an animal to death, as in bullfighting and countless other popular traditions, while others involve watching an animal in captivity, which can be another form of torture. Perhaps the most profitable practice is forcing very intelligent animals to perform the same routine several times daily in zoos and aquariums containing marine mammals, or in circuses containing terrestrial mammals. These businesses then present the animals in whatever way that makes (...) the practice appear less immoral, claim to have education and conservation as their mission, and present their entertainment businesses as altruistic charities. Disseminating their misleading discourse is unethical. (shrink)

The infamous story of a young office clerk called Meursault has long entertained literary critics, scholars, musicians, artists and school teachers for the light and shadow that it reveals around and on the human condition. His character has been lauded as existential hero and rebuked as lacking agency. In this article, his story, in Camus’ The outsider, is explored as an educational challenge to a society to reflect on the territory it occupies, and the ways in which the sociopolitical (...) machinery deals with perceived anomalies. The article explores notions of normalcy and ordinariness in relation to Meursault’s thinking and experience in order to consider the idea of what lies outside, or beyond, thinking about education. The argument here is that Meursault’s failure to intervene in his own life challenges both the ways in which we are ordinarily educated and the ways in which we ordinarily resist our education. (shrink)

In education, art has often been perceived as entertainment and decoration and is the first subject to go when there are budget cuts or test-score pressures. Drawing on Emmanuel Lévinas's idea of the primacy of radical alterity that breaks the totality of our being, enables self-transformation and ethics, and ensures community as a totality of singularities, and on Maurice Blanchot's expansion of radical alterity to art, Guoping Zhao argues that the role of art in education must be reconsidered and (...) greatly expanded. Art as alterity takes students beyond where they are and what they have, and teaches them to appreciate and respect difference and diversity. If art as alterity is so essential to human subjectivity and society, and if education is conceived as a process of human growth and formation, art as alterity is essential to education and needs to be more seriously engaged and more fully integrated into the whole educational process instead of being isolated in arts education. Zhao concludes the essay by pondering the pedagogical implications of such a reconsideration of art as alterity in education. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE EDUCATOR IN THE FACE OF REFORM Enrique Gómez León It might be claimed that all the reforms ofthe educational systems of the wealthy nations of the West aim to accomplish the motto of the French Revolution: Liberty, Equality, Fraternity. The principle goal of school today is the formation ofcitizens. Laws enshrine this sacred purpose, and politicians repeat it in every conceivable declaration oftheir programs. Public schools are (...) ofcourse part and parcel ofthe State. It is the ideals ofthe State that govern the educational process, and this in a double sense: schools should train pupils in these values, and at the same time reproduce these values in their functional processes. A quick glance at the characteristics of any high school allows us to recognize the values in question: a)Freedom of expression for teachers and pupils; freedom ofprograms, or rather the multiplication of subjects to be taught, since schools should represent every facet of our complex reality; freedom also from etiquette, from formal rules of behavior regarding what to wear, the way to speak up, how to address teachers; freedom, finally, from parents, who abandon to schools the role of primary and fundamental educator. b)Equality, a benefit ofdemocratization, which bears with it the obligation ofschooling for all; boys and girls study the same contents, and there is no exclusion for economic or religious reasons, nor for intellectual ones. c)Fraternity nowadays cashes out as tolerance, a true fetish word in the contemporary world. It is a tolerance which implies an absolute laicity so as to allow the expression ofevery kind ofbelief, or its lack, and which implies the right to speak far beyond what science allows, and yet to fall far short of what it demands, since emotion and sentiment demand their place alongside, or above, truth. The indubitable goodness of these objectives, these ideals—which no one would dare to criticize in public—does not manage to hide a spreading sense ofmalaise: teachers complain that pupils learn less and less, discipline problems increase; adolescents complain that school doesn't frighten them Enrique Gómez León97 any more, it'sjust boring; parents complain that there are no longer any good manners, their children are wasting their time; the newspapers deplore the increase of violence in the schools. Often the motives behind these complaints are quite banal: teachers focus on their own convenience and resist change; comparisons with the past are no longer valuable, since now everybody has become a product of schooling; most adolescents, above all, are extraordinarily entertained by school, where they meet up with their friends; parents forget that they had already scandalized their own parents with their astounding new mores; newspapers are slaves to the moment, obliged every day to forget what happened yesterday. We should not overlook the bad reasons for complaining about the malaise, but we should equally give it its due attention. I would like to bring out some arguments underlying it, as described from the position ofa teacher ofadolescents who loves and enjoys his profession. This malaise does not spring from resistance to the ideals of our era—liberty, equality, fraternity—but from the experience of a surprising fact: the more one exalts that slogan, the more the intellectual task of the school recedes into the background. As a consequence, freedom is reduced to lack of direction, equality to simple indifference, and fraternity to a paralyzing absence ofany meaningful boundaries. School, then—we are still talking about the state education system—may tend to produce what it is trying to avoid: a society both less free and more unequal. It is the apprehension of this future that provokes some disquieting questions among teachers: What use is this? What am I doing? What might I be able to do? In other words: What power do I have? So as to bring out some elements for discussion, and with the goal also of justifying the preceding hypothesis, I am going to approach the problem by first drawing away from it. In this way I hope to gather the necessary "élan" to underline two points—among many others—which, in my opinion, deserve more thought. Mircea Eliade repeats on several occasion this... (shrink)

The teaching of akhlāq (moral values) in Islamic Education lessons is one of the important aspects in the Integrated Curriculum for Secondary Schools in Malaysia. Its purpose is to develop the potential of the individual in a holistic, balanced and integrated manner, encompassing the intellectual, spiritual, emotional and physical aspects in order to create a balanced and harmonious human being with high moral standards. The aim of this article is to examine teachers' perceptions of the teaching of akhlāq at secondary (...) school level. Data were collected from 22 respondents about the process of teaching and learning akhlāq, the school environment and the internal and external factors that might influence the students' akhlāq. The study found that most of the Islamic Education teachers interviewed were satisfied with the process of teaching and learning akhlāq in their schools. Despite a few weaknesses in terms of implementation, they believed that school activities, religious activities and school regulations at their schools gave positive and significant contributions to the development of students' akhlāq. It was also found that peers, negative attitudes among some teachers, parents and local communities, the mass media, entertainment centres and the demands of jobs had negative influences on the students' akhlāq. (shrink)

The Suparṇādhyāya or “The Tale of the Eagle” is a Sanskrit poem dating approximately to the latter part of the first millennium BCE. While the text itself does not become a significant part of the Sanskrit literary tradition, the story it tells does, though in forms preserved in other literature. This paper attempts to understand the purpose of the Suparṇādhyāya and the context for which it was composed. It argues that the text was originally created as an entertainment for (...) young brahmin males who were memorizing the Veda under the direction of a teacher in a Vedic school. It concludes that the text was recited during days off from Veda study not only as an entertainment, but also as an encouragement to continue that study and as an education in the power and importance of the texts the students were memorizing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Neo-Baroque Aesthetics and Contemporary EntertainmentTheodore GracykNeo-Baroque Aesthetics and Contemporary Entertainment, by Angela Ndalianis. Cambridge, MA, and London: MIT Press, 2004, 323 pp., $34.95 cloth.Like the cliché about not judging a book by its cover, the prominence of the term "aesthetics" in a book's title is no indication of what one will find inside. Has the term become so elastic that it will now cover everything cultural? Or (...) is it the case, as in Angela Ndalianis's discussions of theme park rides and computer games, that the term applies to anything that has a parallel in earlier practices covered by this rubric? Ndalianis may be stretching it too far, for the book in question emphasizes parallels with baroque practices that predate Alexander Baumgarten's 1735 proposal to use "aesthetics" as the name of an emerging discipline concerned [End Page 115] with perception. We are alternately informed that the book explores the poetics, semiotics, and the "logic of contemporary media." But because Ndalianis holds that recent visual media involve a "specific system of perception" that arises from a "radical cultural transformation" (22-23), the term "aesthetics" may be as good as any other in conveying her purposes. For she is not concerned with artistic style—presumably the province of art historians. She is theorizing broadly about visual media by examining an assortment of media strategies found in the two eras and aims to identify their common "morphology" (19). Her sources are Fredric Jameson, Walter Benjamin, and Gilles Deleuze rather than, say, Kendall Walton, Noël Carroll, or Gregory Currie.Ndalianis's main idea is that there is a strong but not exact parallel between our own times and the visual forms favored in the seventeenth century. (For Ndalianis, the baroque period stretches from 1492 to the 1680s.) The two epochs involve similar cultural sensibilities and artistic practices, so if we understand baroque art and visual media, we will better understand what is going on in contemporary media. In short, the framing assumption is Shelley's dictum that art is the expression of the spirit of its time. More specifically, the design of modern entertainment media is argued to be very similar to a wide range of baroque entertainment and representational practice. But the similarity is not due to either awareness or imitation of baroque style. Each "logically emerged as a result of systemic and cultural transformations" peculiar to its own time (17). The similar "logic" of each period is thus seen as evidence that there are parallels in the "general tendencies" and consequent "dominant cultural sensibilities" of the two periods (17-21). Because hindsight is more reliable than precognition, a backward glance at the baroque may help us to better grasp our own historical and cultural context.Having outlined these proposals in a lengthy introduction, Ndalianis offers five chapters, each devoted to a specific parallel. All five chapters share a similar strategy. A different aspect of neo-baroque communication is highlighted, and one type of baroque art or entertainment is compared and contrasted with its neo-baroque counterpart, with at least one neo-baroque example explored in considerable detail.The introduction focuses on Jurassic Park (both the film and the theme park ride). Chapter 1 focuses on neo-baroque "narrative strategies," as first Don Quixote and its sequel and then the palace at Versailles are compared to the various Alien films and comic books. The main focus is "serial" art as an outgrowth of capitalism, generating "an aesthetics of repetition" enriched by its "rampant self-reflexivity" (69). Chapter 2 shifts to the baroque love of labyrinthine structure, with its "enforced circuitousness, planned chaos, choice among paths, intricacy, complexity, and an invitation to the audience to engage reflexively" in exploring the labyrinth (84). Ndalianis's baroque case is Pietro de Cortona's elaborate painted ceiling for the Palazzo Barberini in Rome. The neo-baroque counterpart is the Doom video game and its sequel, Doom II. Inexplicably, for a book with numerous illustrations, there are no visuals to display Doom for those unfamiliar with such games. Chapter 3 examines baroque cartography as a background for discussing geographic discovery and colonization, leading to the neo-baroque... (shrink)

The dominant conception of educational equality in the United States is meritocratic: an individual's chances of educational achievements should track only talent and effort, not social class or other morally irrelevant factors. The meritocratic conception must presuppose that natural talent and effort can be isolated from social class — and environmental factors in general — if it is to provide guidance in the world of educational policy and practice. In this article Kenneth R. Howe challenges that presupposition (...) and related elements of the meritocratic conception having to do with the role of competition and education as a positional good. Howe argues that, in use, the meritocratic conception unavoidably distributes education based on developed talent and motivation that cannot be isolated from the effects of social class, thus masking the real basis of the distribution and contributing to the perpetuation of illicit group privilege. Howe then entertains and rejects several rejoinders to his critique, including that the meritocratic conception might eliminate the presupposition of isolatable natural talent. Finally, Howe sketches an alternative conception of educational equality based on Elizabeth Anderson's adaptation of Rawls's “democratic equality.”. (shrink)

The present paper is about the author’s current research on children’s education in urban contexts. It departs from the rising offer of programmes for school children in out-of-school contexts (e.g. museums, libraries, science centres). It asks what makes these practices educational (and not just interesting, entertaining and/or audience building). Based on Biesta ( 2006a , 2010 ) theory of education, the author frames and analyses the educational characteristics of, and possibilities of articulating, in and out-of-school educational practices. (...) This paper aims at understanding if the occasional outing from primary school premises promotes interruptions in the humanist foundations of school. In order to analyse relations between different institutions and professionals (to be) engaged in educational activities and programmes, Nóvoa ( 2002 , 2009 ) essays will be brought to the discussion, namely his conception of the ‘Public Space of Education’—as a space where culture, education, arts, sports and leisure are shared responsibilities, and where diverse institutions are networked aiming towards societal pluralism. I argue for the possibility of using cities’ public spaces as contexts with a worldly quality to complexify children’s education. Nevertheless, I draw attention to the unbearable educational lightness that these practices may carry if they do not go beyond the praise of chance; as well as to their unsustainable weight if they perpetually repeat school’s normal orders and add up rational discourses. (shrink)

The present paper is about the author’s current research on children’s education in urban contexts. It departs from the rising offer of programmes for school children in out-of-school contexts (e.g. museums, libraries, science centres). It asks what makes these practices educational (and not just interesting, entertaining and/or audience building). Based on Biesta (2006a, 2010) theory of education, the author frames and analyses the educational characteristics of, and possibilities of articulating, in and out-of-school educational practices. This paper aims (...) at understanding if the occasional outing from primary school premises promotes interruptions in the humanist foundations of school. In order to analyse relations between different institutions and professionals (to be) engaged in educational activities and programmes, Nóvoa (2002, 2009) essays will be brought to the discussion, namely his conception of the ‘Public Space of Education’—as a space where culture, education, arts, sports and leisure are shared responsibilities, and where diverse institutions are networked aiming towards societal pluralism. I argue for the possibility of using cities’ public spaces as contexts with a worldly quality to complexify children’s education. Nevertheless, I draw attention to the unbearable educational lightness that these practices may carry if they do not go beyond the praise of chance; as well as to their unsustainable weight if they perpetually repeat school’s normal orders and add up rational discourses. (shrink)

Albinism in Tanzania causes fierce health-related stigma. Little research has focused on the impact of stigma reduction strategies aiming to reduce albinism related stigma. Therefore, this research assessed the impact of two short video interventions among high school students in Tanzania on their attitude towards people with albinism: a contact intervention (n = 95) and an education intervention (n = 97). A mixed method design was used. Directly before and after the interventions impact was measured among all participants through the (...) Albinism Social Distance Scale for Adolescents (ASDS-A), knowledge items, and entertainment items. After these measurements focus group discussions were conducted, 16 in total (n = 80). Both interventions caused a significant increase in the levels of correct knowledge about albinism. The education intervention entailed a significant positive change in attitude measured through the ASDS-A, whereas the contact intervention did not have a significant effect. In terms of entertainment value, the respondents were more enthusiastic about the contact intervention. The study suggests that education interventions on their own can be a successful tool in decreasing albinism related stigma. Additionally, qualitative findings show many positive outcomes for the contact intervention. Therefore, we would recommend using a combination of these two interventions, which has also proved successful in the past. However, more research on the effect of a combination of the two strategies is recommended. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 32-41 [Access article in PDF] Does Art Education Dream of Disneyland? [Figures] Introduction What image can we present when challenged to illustrate art education in the form of a scheme? The word "illustration" literally means to build understanding through an explanatory diagram. In art education or anything [End Page 32] else, the use of a visual image to understand a certain system (...) can be interpreted as a question of human sensitivity and recognition. Translating minute nuances or peculiarities of information into a vibrant image is, however, a confusing and difficult exercise. In this essay, I attempt to portray those elements crucial to the teaching and learning process of art education using Disneyland as a structural as well as a functional metaphor. The Happiest Place on Earth? Disneyland is depicted as "a dream world" and "the happiest place on earth." As described in various incisive essays, Disneyland is a symbol of modern American culture, an ultimate form of the consumer society or the hegemony of entertainment. 1 To start with, the structural elements of this epitome of Walt Disney's vision are outlined.Walt Disney created Main Street USA (the World Bazaar) to make all visitors feel as if they are the leading character in a Disney film, walking through the main street of life. He attempted to remove the ugliness of everyday life from his dream space by eradicating the back streets of the real world. The design of the buildings along Main Street originates from Walt Disney's hometown. The sense of distance within the Disney complex is enhanced by using a smaller scale for the upper stories of buildings and a progressively narrowing street.Sleeping Beauty's Castle (or Cinderella Castle at Tokyo Disneyland) lies beyond Main Street and is modeled on Neuschwanstein Castle in Fussen,South Bayern, Germany. The road leading to the castle ascends slightly which amplifies the anticipation factor for visitors. Sleeping Beauty's Castle is the centerpiece of Disneyland and functions as the hub to guide visitors to various lands. Several attractive spaces radiate from this hub, forming a total of six areas.On the extension line from the Entrance via Sleeping Beauty's Castle lies Fantasyland where Walt Disney has reproduced the world of animation based on European legends and fables. Toontown lies beyond Fantasyland. This is a world of familiar characters, such as Mickey, Minnie, and Goofy. Traveling clockwise, Tomorrowland is next where all kinds of imaginary worlds await visitors. Adventureland, on the opposite side of Main Street, offers worlds of different cultures and spaces for adventure. Beyond Adventureland lies Westernland, designed to invite visitors to return to the Wild West.It is possible to form a hypothesis that there are three axes connecting the six lands. Those axes run through Sleeping Beauty's Castle that acts as the hub and two opposing areas on the same axis with the Castle being the point of symmetry.The first axis could be the axis of "reality." If Main Street is considered to be the "crawling approachway" from the everyday sphere to dreamland,Fantasyland, offering playful space of extraordinary imagination, is set [End Page 33] against the ordinary space for everyday life. The second axis is the axis of "relationship" which connects individual persons to society. Toontown presents a world of fraternity and is a place where people bonded by kinship or friendship can trust each other and feel at ease. Frontierland, located on the opposite side of this axis creates a solitary space where people leave family and friends for the adventure of traveling to unknown lands. The third and final axis is that of "time" from the past to the future. Tomorrowland is a future world based on fantasy and imagination where prophecies becomereality. On the opposite side of this axis lies Westernland embodying the history and traditions of the American past.It is possible to regard each area of Disneyland, structured by these different worlds, as a metaphor to reflect the basic content and structure of art education in the context of the general curriculum. In fact... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 32-41 [Access article in PDF] Does Art Education Dream of Disneyland? [Figures] Introduction What image can we present when challenged to illustrate art education in the form of a scheme? The word "illustration" literally means to build understanding through an explanatory diagram. In art education or anything [End Page 32] else, the use of a visual image to understand a certain system (...) can be interpreted as a question of human sensitivity and recognition. Translating minute nuances or peculiarities of information into a vibrant image is, however, a confusing and difficult exercise. In this essay, I attempt to portray those elements crucial to the teaching and learning process of art education using Disneyland as a structural as well as a functional metaphor. The Happiest Place on Earth? Disneyland is depicted as "a dream world" and "the happiest place on earth." As described in various incisive essays, Disneyland is a symbol of modern American culture, an ultimate form of the consumer society or the hegemony of entertainment. 1 To start with, the structural elements of this epitome of Walt Disney's vision are outlined.Walt Disney created Main Street USA (the World Bazaar) to make all visitors feel as if they are the leading character in a Disney film, walking through the main street of life. He attempted to remove the ugliness of everyday life from his dream space by eradicating the back streets of the real world. The design of the buildings along Main Street originates from Walt Disney's hometown. The sense of distance within the Disney complex is enhanced by using a smaller scale for the upper stories of buildings and a progressively narrowing street.Sleeping Beauty's Castle (or Cinderella Castle at Tokyo Disneyland) lies beyond Main Street and is modeled on Neuschwanstein Castle in Fussen,South Bayern, Germany. The road leading to the castle ascends slightly which amplifies the anticipation factor for visitors. Sleeping Beauty's Castle is the centerpiece of Disneyland and functions as the hub to guide visitors to various lands. Several attractive spaces radiate from this hub, forming a total of six areas.On the extension line from the Entrance via Sleeping Beauty's Castle lies Fantasyland where Walt Disney has reproduced the world of animation based on European legends and fables. Toontown lies beyond Fantasyland. This is a world of familiar characters, such as Mickey, Minnie, and Goofy. Traveling clockwise, Tomorrowland is next where all kinds of imaginary worlds await visitors. Adventureland, on the opposite side of Main Street, offers worlds of different cultures and spaces for adventure. Beyond Adventureland lies Westernland, designed to invite visitors to return to the Wild West.It is possible to form a hypothesis that there are three axes connecting the six lands. Those axes run through Sleeping Beauty's Castle that acts as the hub and two opposing areas on the same axis with the Castle being the point of symmetry.The first axis could be the axis of "reality." If Main Street is considered to be the "crawling approachway" from the everyday sphere to dreamland,Fantasyland, offering playful space of extraordinary imagination, is set [End Page 33] against the ordinary space for everyday life. The second axis is the axis of "relationship" which connects individual persons to society. Toontown presents a world of fraternity and is a place where people bonded by kinship or friendship can trust each other and feel at ease. Frontierland, located on the opposite side of this axis creates a solitary space where people leave family and friends for the adventure of traveling to unknown lands. The third and final axis is that of "time" from the past to the future. Tomorrowland is a future world based on fantasy and imagination where prophecies becomereality. On the opposite side of this axis lies Westernland embodying the history and traditions of the American past.It is possible to regard each area of Disneyland, structured by these different worlds, as a metaphor to reflect the basic content and structure of art education in the context of the general curriculum. In fact... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

Barbarians at the Gates of the Public Library is a philosophical and historical analysis of how the rise of consumerism has led to the decline of the original mission of public libraries to sustain and promote democracy through civic education. Through a reading of historical figures such as Plato, Helvetius, Rousseau, and John Stuart Mill, the book shows how democracy and even capitalism were originally believed to depend upon the moral and political education that public libraries (and other institutions of (...) rational public discourse) could provide. But as capitalism developed in the 20th century it evolved into a postmodern consumerism that replaced democracy with consumerism and education with entertainment. Public libraries have mistakenly tried to remain relevant by shadowing the rise of consumerism, but have instead contributed to the rise of a new barbarism and the decline of democracy. (shrink)

Background:The nurses’ moral sensitivity is the first step to make right decisions in difficult moral situations. Therefore, its education and promotion is highly important.Research objectives:The aim of this study was to examine the impact of poetry-based ethics education on the nurses’ moral sensitivity.Research design and methods:This was a semi-experimental study. The sample consisted of 108 nurses who were selected by convenience sampling method and randomly assigned to three groups: intervention with poetry (G1), who read a booklet about values and principles (...) of professional ethics as well as poems related to these subjects for 1 month; intervention without poetry (G2), who only read the booklet without any poetry; and control group (G3), who did not receive any intervention. Data were collected by Moral Sensitivity Questionnaire that was completed by the participants prior to the intervention (T1), 1-month post-intervention (T2), and 2-month post-intervention (T3). Data were analyzed by SPSS 16 software.Ethical considerations:This study was conducted in accord with the principles of research ethics and regulations relating to informed consent.Findings:Changes in the mean score of total moral sensitivity were significantly higher in G1 than in G2, which was in turn significantly higher than in G3. This increase was significant from T1 to T2 and T2 to T3 (P < 0.001). In all subscales, there was a significant difference between the mean changes in the three groups, so that in these subscales, the mean changes in G1 were significantly higher than those in other groups.Discussion:In line with previous studies, our results showed the effectiveness of poetry-based education on the transfer of educational concepts and increase moral sensitivity scores with greater lasting effect.Conclusion:The use of interdisciplinary subjects such as poetry, due to its entertaining, fun, and lasting effect on minds; level of awareness; and actions of nurses, can help raise nursing moral sensitivity. (shrink)

In entertaining stories of teachers, children, parents and principals Ackerly shows leadership in action and defines the elements of educational cultures, how culture is the delivery system for education, and how individuals can be leaders and create the culture of whatever group they are in.

In this inaugural lecture, delivered at the University of Birmingham in January 2014, I sketch the outline of a theory of moral education. The theory is an attempt to resolve the tension between two thoughts widely entertained by teachers, policy-makers and the general public. The first thought is that morality must be learned: children must come to see what morality requires of them and acquire the motivation to submit to its authority. The second thought is that morality is controversial: there (...) is deep uncertainty about both the requirements of morality and the reasons to comply with them. I draw distinctions between two kinds of moral education and between two kinds of moral inquiry . I argue that some basic moral standards are robustly justified and that schools should promote subscription to these standards by means of both moral formation and directive moral inquiry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Justifying the Arts:Drama and Intercultural EducationMike Fleming (bio)IntroductionFor teachers of arts subjects, questions about justification can be tiresome in the same way that contemporary aestheticians may feel fatigue about defining art.1 Providing justification can feel more like an exercise in rhetoric than theoretical enquiry, induced more by political necessity than intellectual challenge. If the value of the arts is not self-evident, it is difficult to advance arguments to convince (...) those who have no knowledge or affinity with them. Not that many educationists admit to falling into the latter category. As Eisner has said, nobody wants to be seen as a philistine.2 Yet to those with a deep commitment to the value of the arts in education and wider society, the arts are rarely thought to be taken as seriously as they should be.3 This paper will describe five approaches to the question of justifying the arts before examining the specific case of drama and intercultural education.Approaches to Justifying the Teaching of the ArtsFaced with questions of justification, providing a list of reasons for teaching the arts is one approach but not the only one. Instead, looking for broader categories of justification within possible lists (e.g., between art and entertainment, feeling and cognition) exposes differences of emphasis more easily. Exploration of the tension between such concepts as "creating" and "responding" may help get behind bland claims of the kind that the arts can "develop creativity." In this way, the relevance of aesthetic theory, which often centers on the tension between competing concepts, can be demonstrated more readily. Another approach to the question of justification is to reject the idea that the arts should serve instrumental goals at all by advancing an argument in favor of their intrinsic rewards. A fourth approach is to [End Page 54] question whether it is appropriate to seek justification for the arts as a generic concept, rather than looking instead at individual art forms; the benefits of dance may be different in certain respects from those of visual arts. Finally, a priori enquiry could be abandoned altogether in favor of seeing what teachers actually say about their reasons for teaching the arts. Each of these positions will be examined briefly.Mortimer includes physical education and personal and social education among the areas of benefit he attributes to the arts.4 Within five broad categories, he describes further subcategories, amounting to more than seventeen reasons for teaching the arts. He also claims that the arts are a way of developing life skills and attitudes that are transferable across the curriculum and are a way of contextualizing other learning. It is easy to sympathize with someone who is passionate about the arts and concerned that they should be seen as a "fundamental" not as a "frill," but such general claims do not always bring clarity or insight. It is difficult for example to see how poetry "encourages physical confidence in balance." A visit to a children's home may be more fruitful in "developing sensitivity to others." The benefit of "using imagination and creativity" (a catchall phrase that on its own says very little) may in practice find tension with other stated benefits such as "discriminating, selecting, editing." The latter concepts suggest a more constrained, skills-oriented form of teaching rather than an approach that encourages free flow of imagination. Long lists of justifications can obscure theoretical differences and from a tactical point of view in the political arena can appear overblown. They are well meant but not always helpful. Nor do they go far in explaining the deep importance of the arts in so many people's lives.The influential Gulbenkian report in the United Kingdom was wide-ranging in its claims but reinforced the idea of the arts as being an alternative to academic study and what it termed "logico-deductive thought."5 "Society," it argued, "needs and values more than academic abilities." In the 1980s, many writers were keen to free themselves from the influence of narrow theories of self-expression to embrace a wider discipline-based approach but continued to underplay the cognitive dimensions of work in art.6 Of course an emphasis... (shrink)

This paper revisits the scope of Catherine Malabou’s thinking as a development of the ontological turn in continental philosophy. It puts this excursion of thinking alongside an account of education in modernity as the apotheosis of biopower. It aligns biopower, as manifest in education, as form of ‘technological enframing’. In this it challenges the dominant assumption that education is somehow, ultimately, independently of its manifest form, a force for good. Foregoing the idealist addiction to education as redemption, then, it sees (...) Malabou’s contribution as significant in terms of a fundamental, ontological rethinking of education and the social politics of our time. It is argued that Malabou’s contribution offers a significant contribution to rethinking education as biopower and clearing away the dominant, redemptive myths of modern and contemporary ontotheology. This is a position never entertained in the field of philosophy of education. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 21-38 MuseSearchJournalsThis JournalContents[Access article in PDF]Attractions to Violence and the Limits of EducationPaul DuncumThe effects of violent media fare upon young people are of great concern for educators and parents alike. Recently, some visual art educators have attempted to deal with the issue under the rubric of visual culture. 1 Adopting a critical position toward media violence, they have developed programs that (...) attempt to encourage in their students a view of citizenship that rejects an easy use of violence as the solution to resolving real life issues. In consideration of these attempts, this article examines media violence—not to comment upon the efforts of other art educators but to point to the exceptionally difficult, perhaps intractable, forces faced by any form of educational intervention.There can be no doubting that violence—defined as involving intentional physical harm—is highly popular in mass media entertainment and is increasingly gory. Tartar refers to Shakespeare's term "violent delights" 2 as an oxymoron, but delight in violence is exactly what many people appear to find. There appears to be no contradiction in Shakespeare's term—Shakespeare being no stranger to the idea—only a succinctly expressed observation of a particular taste that is both long-standing and nowadays evident in an increasingly visceral, violent mass media.This article addresses three questions: First, what is it about displays of violence that is so appealing? Where is the pleasure in watching bodies being blown apart? Where is the delight in watching barbarous torture, slaughter, and death? What is the lure, the attraction? Or, since one of my arguments will be that there are qualitatively different kinds of violence, is it more appropriate to ask what are the attractions of violence? Second, why are violent spectacles becoming more and more intense? Why are representations of violence becoming increasingly visceral? Third, what are we doing to ourselves by exposing ourselves to so much violent mass media? [End Page 21] What is the societal significance, the real world consequences, of being attracted to violent imagery?There are many kinds of violent spectacles. This article deals exclusively with violence in current mediated popular forms of entertainment, principally television, film, video, and computer games. It is not narrowly concerned with intentionally aestheticized images, for example, through the use of slow motion or when the soundtrack to images of mass slaughter switches from the mayhem on screen to the souring beauties of operatic singing. Such images are included here, but the article deals with an inclusive range of representations of violence typically found in some degree to be pleasurable by large sections of the public. Specifically, four kinds of violence are examined: comic, transgressive, retaliatory, and gratuitous.Of course, not everyone is attracted to violence, and most popular entertainment is not violent. 3 The best-selling video games are violent, 4 but violent films and videos are far outweighed by nonviolent fare, especially comedies. 5 Nevertheless, much media fare is violent. Studies conducted in the mid-to-late 1990s concluded that 60 percent of U.S. television programs contained violence, 40 percent of which was offered as humorous. 6 By the age of eighteen a child has seen around 200,000 violent acts on television, including 40,000 murders. 7 This includes 3 to 5 violent acts per hour on prime time and 20 to 25 per hour during Saturday morning cartoons.Sensory AttractionProfessional critics of film and video often talk about the aesthetic qualities of media violence—for example, of "balletic spectacle" and "orgiastic energy." 8 The New York Times film critic's review of Sam Peckinpah's 1969 film The Wild Bunch, a milestone in cinematic violence, wrote of the climatic massacre as a "blood ballet" and that the director "first highlights the horror of the mindless slaughter and then—and this is what really carries horror—makes it beautiful, almost abstract." 9 Virtually the same words were used recently by eminent U.S. film critic Roger Ebert with regard to Tarrantino's exceptionally... (shrink)

Can on-line ‘place-based learning’ be more than a facsimile or ritual? Using a phenomenology of my pandemic practice, I investigate the meaning of ‘place-based learning:’ entertaining Aristotle’s seminal thought on place as a container to venture into contemporary phenomenological inquiries where places and things are not only conceptually implicated by each other, but immanent and potentially powerful elements in learning experiences. Bonnett’s (2021) ecologizing of education shows that authentic forms must be embodied and emplaced in order to open learners to (...) the more in situ, deeply-contextualized and yet ‘transcendental’ and ‘ecstatic’ reception of the more-than-human realm of nature (as what comes-forth, phusis). But this Heideggerian narrative with which I resonate poses challenges for students and place-based educators. Wittgenstein’s philosophical approach, itself modelled on place-based investigation of language (our ‘home city’), draws me back from metaphysical inclinations to dwell constructively on ordinary discourses rooted in educational practices. (shrink)

ABSTRACT At the heart of our current environmental predicament lies the issue of our relationship with nature. Michael Bonnett’s educational rehabilitation of nature, which might be called a ‘metaphysical’ turn in nature-related issues, brings us back to the core question of educational-philosophical thinking: how we are to understand ourselves and our relation to the world. In this paper, by confronting his environmental philosophy of education with what John McDowell, in his debate with Hubert Dreyfus, terms the ‘pervasiveness thesis’ (...) – that conceptual rationality in a relevant sense pervades human lives – I try to offer an analytical supplement to the notion Bonnett entertains: that a phenomenological project to ‘retrieve’ nature and ‘ecologise’ education can have massive implications for the character of philosophy of education and the whole enterprise of education. I also argue a confluence of their nature-related ideas adds an educational nuance to the traditional picture of human beings as rational animals. (shrink)

Aestheticism is broader in scope than the philosophy of art. It is also broader than the philosophy of beauty, in that it applies to any of the responses we might expect works of art or entertainment to elicit, whether positive or negative. That is why the articles in this collective volume aim to highlight the various reverberations of aestheticism on literature and education over the centuries.

Alcoholism is endemic in Nigeria’s traditional religion and society. This abuse is especially common at New Yam festivals, Ekpe, Ekpo and Nmanwu masquerades festivals, burial rituals, birth, marriage and naming ceremonies. Some claim that this is driven by specific beliefs and activities in African culture, such as beliefs in ancestors, libation, hospitality and entertaining guests and strangers and the desire to maintain the cultural traditions of the ancestors. Alcohol abuse has generated major health and social issues for abusers, their families (...) and society, plunging families, towns and tribes into crises and conflicts that bring economic and political retrogression. This research studied how the African traditional religion encourages alcohol misuse and how to decrease it for national development. This study was on Nigeria’s South-South region. The study uses qualitative and ethnographic research methodologies, including key informants, in-depth and focus group interviews and the reward deficiency syndrome as a theoretical framework. Although African Traditional Religion (ATR) supports alcohol usage, greed, a lack of self-control, peer pressure, indiscipline and lack of moral upbringing led to alcohol misuse, which harms the person, family, community and country as a whole. Education and enlightenment are a remedy to free alcoholics and utilise them for national integration and development.Contribution: Some say Africans drink a lot because their religious heritage promotes drinking, leading to abuse. However, peer pressure, selfishness, a lack of self-control, bad parenting and not religion push persons with reward deficiency syndrome into alcoholism, according to this research. (shrink)

Amid the social background of China where the Internet has penetrated into every corner of an adolescent’s life, we were concerned of the role of Internet usage in influencing the educational gap among social classes. We investigated the mediating role of Internet usage preference for entertainment in the relationship between the family socioeconomic status and the adolescent’s academic achievement and explored the moderating role of future orientation in the relationship. A total of 614 junior high school students were (...) recruited to complete a questionnaire survey, including questionnaires for family SES, Internet usage preference, and adolescent future orientation. The results showed that the relationship between family SES and academic achievement was mediated by Internet usage preference for entertainment; the indirect effect was moderated by future orientation, such that the negative association between family SES and Internet usage preference for entertainment was only indicated in adolescents with low future orientation; and the direct association between family SES and Internet usage preference for entertainment was moderated by future orientation. (shrink)

The present study investigated the cross-cultural variations in parents' views on the role of play in child development and the primary purpose of preschool education from Ethiopia and Hungary. It also examined the cross-cultural variations in preschoolers' executive functions, the frequency of their engagement in home activities, and the role of these activities in the development of EF skills. Participants included 266 preschoolers with their parents. The independent samples t-test showed that Ethiopian parents view fostering academic skills for preschooler significantly (...) more important than their Hungarian counterparts do. We also found that while Ethiopian parents hold the belief that academic and cognitive development is the major purpose of preschool education, Hungarian prioritize social-emotional development and entertainment. Additionally, preschoolers in Ethiopia were reported to engage in academic and arts and crafts activities after preschool significantly more frequently than their Hungarian counterparts. On the contrary, preschoolers in Hungary were found to engage in fine-motor activities, solitary play, sports and other physical activities significantly more frequently than their Ethiopian counterparts. No significant differences were found in EF skills between preschoolers from Ethiopia and Hungary. Results from hierarchical regression analyses showed that, after accounting for age and SES, preschoolers' frequency of pretend play and their parents' play support beliefs were found to be small to medium-sized predictors of inhibitory control skills in both samples. However, children's frequency of having breakfast at home was another significant predictor in the Ethiopian sample only. The frequency of participation in arts and crafts and other fine-motor activities were found to be important predictors of preschoolers' visual-spatial working memory skills in the Ethiopian and the Hungarian samples, respectively. We also found that, after controlling for SES, parental play support was an important factor associated with preschoolers' shifting skills only in the Hungarian sample. Based on the findings, we made important conclusions. (shrink)

Currently, the Internet has become a part of the everyday life of human beings. The way of communication between people has changed and social networks are dominating in the lives of everyone. One of the most used social networks is Facebook, but besides that it is used for communication and entertainment, Facebook can also be used for learning. Therefore, the main issue of this paper is the use of Facebook for educational approaches by students and teachers. Case studies (...) are the challenges of integration of Facebook in High Education in the municipality of Kumanovo in the Republic of North Macedonia in 2016. Special emphasis is devoted in usage of Facebook in schools as the main questions were whether students use Facebook to ask for help for assignments or any material, and do teachers use Facebook to post assignments and to communicate with students. To understand this, there are conducted two questionnaires, one to students and one to teachers and interviews with school principals, and finally responses of people who participated have been analyzed. The result is that by joining Facebook in education, students are more motivated to learn, Facebook helps students to learn by sharing knowledge with each other and by using Facebook at school, teachers will find it easier to inform students. (shrink)

In memory of Anthony C. Yu who read and commented on an early version of this article.In the comparative philosophy of art, there is a widely accepted view that, while classical Western aesthetic theory emphasizes the unity of beauty and truth, classical Chinese aesthetic theory focuses on the unity of beauty and goodness. Indeed, one striking feature of Chinese aesthetics is its emphasis on moral education and didacticism. Although Western tradition also emphasizes the importance of moral education in art as (...) early as Plato, there had appeared, after Horace and Philip Sidney, a dualist paradigm, which, while giving emphasis to both didacticism and entertainment, tends to put priority on the latter. By.. (shrink)

Introduction. Non-institutional humanities, philosophical practice, and informal education are “a family like” phenomena that are outside the social institution of science and education and are adjacent to socio-cultural activities and social work. The purpose of the article is to outline the contours of the informal educational creative industry in the postmodern society, which combines non-institutional humanities, philosophical practice, and informal education. Methods. The author uses the methods of autobiographical reflection, comparative analysis, empirical observation and analysis of the primary sources (...) of non-institutional humanities. Scientific novelty of the research. The transition to nonmaterial work of the postmodern era is the reason for the relevance of the area under study. The growing demand of a contemporary for such issues as the meaning of life, happiness, the growth of the precariat, the ousting of philosophy from formal education constitute a new social reality that determines the novelty of the research in the informal educational creative industry. Results. The author classifies non-institutional humanities according to the spheres of its existence and the strategies of subject genesis presented in the teachings. The concept of dedifferentiation is considered as an explanation of the area under study in postmodernism. The specificity of the philosophical approach in the work of a practicing philosopher is considered. Conclusions. The author connects the prospects of the informal educational creative industry with institutionalization in the way of leisure, entertainment, and other personal services. The author makes conclusions about the differences between formal and informal education, and indicates the risks and opportunities for the development of the informal philosophical sector. (shrink)