This paper addresses the rift between the teacher’s sense of self as a causal agent and the experience of being in lack of control in the classroom, by way of Hans Vaihinger’s philosophy of ‘as if.’ It is argued that understanding agential control in terms of a valuable educational fiction—a practical (ethical) fiction in Vaihinger’s vocabulary—can offer a way of bridging this rift and can help teachers make sense of the tension between their felt need to strive for control (...) and their experience of suffering from lack of control. A fiction, it is argued, is different from an illusion in that fictions can be affirmed without being believed. Unlike illusions, valuable fictions can be recognized as fictions and still retain some of their affective power over us, thereby allowing us to act ‘as if.’ In education, this is helpful as it means that we can make use of valuable fictions without assuming that these have to be protected from the critical gaze of non-believers. In fact, we can openly acknowledge that we rely on fictions as this is part and parcel of being a human being with a limited cognitive ability. (shrink)

This paper addresses the rift between the teacher’s sense of self as a causal agent and the experience of being in lack of control in the classroom, by way of Hans Vaihinger’s philosophy of ‘as if.’ It is argued that understanding agential control in terms of a valuable educational fiction—a practical (ethical) fiction in Vaihinger’s vocabulary—can offer a way of bridging this rift and can help teachers make sense of the tension between their felt need to strive for control (...) and their experience of suffering from lack of control. A fiction, it is argued, is different from an illusion in that fictions can be affirmed without being believed. Unlike illusions, valuable fictions can be recognized as fictions and still retain some of their affective power over us, thereby allowing us to act ‘as if.’ In education, this is helpful as it means that we can make use of valuable fictions without assuming that these have to be protected from the critical gaze of non-believers. In fact, we can openly acknowledge that we rely on fictions as this is part and parcel of being a human being with a limited cognitive ability. (shrink)

This book is a philosophical enquiry into the educational consequences of Spinoza’s political theory. Spinoza’s political theory is of particular interest for educational thought as it brings together the normative aims of his ethical theory with his realistic depiction of human psychology and the ramifications of this for successful political governance. As such, this book aims to introduce the reader to Spinoza’s original vision of civic education, as a project that ultimately aims at the ethical flourishing of individuals, (...) while being carefully tailored and adjusted to the natural limitations of human reason. -/- Readers will benefit from a succinct introduction to Spinoza’s political philosophy and from an account of civic education that is based on careful exegetical work. It draws conclusions only hinted at in Spinoza’s own writings. (shrink)

Saul Smilansky's Illusionism suggests that some false beliefs are important enough to warrant the indefinite perpetuation of illusions in order to protect the larger moral community from breaking down. In this article I suggest that this position actualises an old educational paradox where education is expected to protect the common moral community (even if this means maintaining some illusions), and at the same time promote the pursuit of truth. Taking Smilansky's position of Illusionism as a starting point, I argue (...) that while Illusionism highlights and addresses an important problem—that sometimes false beliefs can function to maintain social stability where the truth threatens to unsettle it—relying on indefinite illusions is problematic from an educational point of view. It is difficult to justify that education, being at least in part motivated by truth-seeking, should (or even could) be grounded in illusion. Taking seriously the fact that a dimension of education concerns maintaining social stability, I suggest that Spinoza's notion of fiction can complement Smilansky's view in that it can be conceived in terms of an instrument for maintaining social stability and promoting truth-seeking without assuming that one end is pursued at the expense of the other. (shrink)

The first chapter of this book is entitled ‘A “biographical positioning”’. It gives an account of philosophical seminars held at the Institute of Education nearly forty years ago, where Professor Bridges first developed his interest in, and talent for, philosophy of education. These were indeed seminal, guided by Richard Peters, Paul Hirst, Robert Dearden, John and Patricia White, and Ray Elliot, and influencing a generation of philosophers of education who were strategically employed in university departments and (then) colleges of education. (...) But so what? What has that narrative got to do with the significance and validity of philosophical argument and with our understanding of educational research? (shrink)

(2006). American Educational Studies Association, 2005 George Kneller Lecture: Second Generation Memory and the Phenomenological Structure of Intergenerational Remembrance in Ernest Gaines's Fictional Life-World. Educational Studies: Vol. 40, No. 3, pp. 226-245.

This paper aims to call attention to the potential of using film in engineering ethics education, which has not been thoroughly discussed as a pedagogical method in this field. A review of current approaches to teaching engineering ethics reveals that there are both learning outcomes that need more attention as well as additional pedagogical methods that could be adopted. Scholarship on teaching with film indicates that film can produce ethical experiences that go beyond those produced by both conventional methods of (...) teaching engineering ethics and more arts-based methods such as fiction, as well as connect ethics learning outcomes and issues to the lifeworld of a person. The paper further illustrates the potential of using Miyazaki Hayao’s film The Wind Rises for highlighting a range of ethical issues pertaining to engineering. It also discusses the important role educators play in how film can be used effectively in the classroom. Synthesizing a range of sources from film theory to the use of film in business and medical education, the paper makes the case for using film in engineering ethics education and calls for more research on the use of this method. (shrink)

A testimony to what I perceive to be the accomplishments of Dahlbeck’s (2021) Spinoza: Fiction and Manipulation in Civic Education is that, as I turn the over the last page, contemplating the total...

Drawing from Nietzsche, I explore the topic of aesthetic education. Even though Nietzsche never formally uses the term “aesthetic education” in his works, this is a novel initiative of my own doing based on what I think he would have to say on the topic. Just as Nietzsche adopted his own experimental approach or style, in a sense, my intention is to experiment with a narrative, which takes the form of a fictional dialogue between Nietzsche and a student. To make (...) sense of what Nietzsche has to say on the topic, I examine certain aspects of his thought as they relate to art, aesthetics, creative activity, creativity, the important role of Bildung (self-cultivation), and other associated areas of interest. This essay critically discusses and analyzes the narrative in relation to Nietzsche's appropriation of the mythical figure of Dionysus, as well as the tragic wisdom it is supposed to incarnate. As such, I argue that Dionysian wisdom is an exposition of the paradoxical characteristics of the creative life that has significant ramifications for aesthetic education. (shrink)

" Faites mieux : soyez raisonnable, et ne raisonnez point avec votre élève, surtout pour lui faire approuver ce qui lui déplaît ; car amener ainsi toujours la raison dans les choses désagréables, ce n'est que la lui rendre ennuyeuse, et la décréditer de bonne heure dans un esprit qui n'est pas encore en état de l'entendre. Exercez son corps, ses organes, ses sens, ses forces, mais tenez son âme oisive aussi longtemps qu'il se pourra. " Rousseau, Emile.

We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and (...) television: a satirical movie such as Dr. Strangelove does not morally educate in the same way as a realistic series such as The Wire. We argue that this is also true of pornography: inegalitarian depictions of sex are not invariably responsible for consumers' adoption of inegalitarian attitudes toward sex in reality. Given that pornographic works of different genres may harm in different ways, different feminist criticisms are appropriate for different genres of pornography. (shrink)

The essay approaches the relationship between education, didactic content and transamazonic geography. Objective to question the sharing of the sensitive present in the current format of geocartographic contents in the textbooks, as well as to express, in an embryonic state, the possibility of another sharing, centered in the emerging geography of the places on the verge of the Transamazonica Paraense, especially students and teachers in vicinal , Valuing localized expressions as paths of educational geocartography. Methodologically, the text is part (...) of the action-research movement inspired by the existential phenomenological atmosphere. I conclude as a suggestion of deepening that: the transamazonic between-places, materialized in the vicinities, is ignored as a space for the creative existence of other regional narratives; Generalizing geographical fictions must be confronted with other fictions, in view of the differentiation and creation of new positions and interpretability criteria of the Amazônia; The corporal engagement and the experiences in the field require description, interpretation and understanding, already begun, but not yet affirmed in terms of the production of dialogical content with what already circulates via didactic books; It is central to focus the subjectivity and corporeality of individuals / collectives as creative powers of the space culture, not just recipients of that culture. (shrink)

This book is a philosophical enquiry into the educational consequences of Spinoza’s political theory. Spinoza’s political theory is of particular interest for educational thought as it brings together the normative aims of his ethical theory with his realistic depiction of human psychology and the ramifications of this for successful political governance. As such, the book aims to introduce the reader to Spinoza’s original vision of civic education, as a project that ultimately aims at the ethical flourishing of individuals, (...) while being carefully tailored and adjusted to the natural limitations of human reason. This author-meets-critics includes scholars in philosophy, education and Spinoza studies. (shrink)

One of the vexed questions in the philosophy of wonder and indeed education is how to ensure that the next generation harbours a sense of wonder. Wonder is important, we think, because it encour- ages inquiry and keeps us as Albert Einstein would argue from ‘being as good as dead’ or ‘snuffed-out candles’ (Einstein 1949, 5). But how is an educator to install, bring to life, or otherwise encourage a sense of wonder in his or her stu- dents? Biologist Rachel (...) Carson suggests that exploring nature and specifically undertaking walks along the rocky coast of Maine would keep alive a person’s inborn sense of wonder (Carson 1984). Philosopher Jesse Prinz thinks that exposure to art will encourage wonderment because artworks, as he puts it, are “inventions for feeding the appetite that wonder excites in us” (Prinz 2013). Weird fiction (a subgenre of speculative fiction) – and in particular the work of one of its greatest exponents, the early-20th-century American author How- ard Phillips Lovecraft – is likewise a catalyst for wonder. The reason behind this is that Lovecraft’s ‘wonder-stories’ are densely packed with wonder per design; and in support of this claim I shall in what is to come 1) provide a brief introduction to Lovecraft and weird fiction; 2) present a working definition of wonder; and 3) clarify what is meant by something being ‘densely packed with wonder’ via bringing to the fore evidence of Lovecraft’s literary wonder- mongery. The paper ends with some reflections on the notion of ‘dark wonder’, why this peculiar label might be suitable for the kind of wonder we find in Lovecraft’s work, and why exposure to ‘dark wonder’ can be edifying, and in that sense educational. (shrink)

What happens if we think of children's play as a form of great art that we turn to and return to for inspiration, for education? If we can see play as art, then what and how can we learn from children's play or from playing with them? What can philosophy, or philosophers, learn from children's play? In this essay Viktor Johansson gives examples of what and when children can teach philosophers through play or, more specifically, how children's play can teach (...) philosophers about the relation between fiction and reality. It begins by exploring the educational relation between fiction and reality in recent revivals of literary humanism. Johansson gives examples from a preschool project of how children use fiction picture books and create new fiction in their play, and how they do so in ways that relate to previous philosophical considerations of literary fiction. To explore this, the essay enters into conversation with the work of Iris Murdoch on the playfulness of art. Through, and in contrast to, Murdoch's work, Johansson establishes that play can be great art through its nonpurposefulness and its use of skill and imagination. Moreover, turning to children's play becomes a method for attending to what Ludwig Wittgenstein calls philosophy's “natural history,” that is, a historicization of philosophical thinking that enables philosophers to learn from children. Johansson concludes by showing that encounters between fiction and play, and with children playing, can be an educational embroilment, not only between teacher and child, but between teacher, child, the visual, the material, and the philosophical in which all learn from one another. (shrink)

How is it that we can be moved by what we know does not exist? In this paper, I examine the so-called 'paradox of fiction', showing that it fatally hinges on cognitive theories of emotion such as Kendall Walton's pretend theory and Peter Lamarque's thought theory. I reject these theories and acknowledge the concept-formative role of genuine emotion generated by fiction. I then argue, contra Jenefer Robinson, that this 'éducation sentimentale' is not achieved through distancing, but rather through the engagement (...) of our emotions. Literature does this, I claim, by its uniquely perspicuous presentations of emotional concepts, and the cognitive pleasure that such 'presentations' prompt in us. (shrink)

Research linking reading literary fiction to empathy supports health humanities programs in which reflective writing accompanies close readings of texts, both to explore principles of storytelling and to promote an examination of biases in care. Little attention has been paid to the possible contribution of guided fiction-writing in health humanities curricula toward enhancing cultural competence among health professionals, both clinical and community-based. Through an analysis of the short story “Pie Dance” by Molly Giles, juxtaposed with descriptions of specific writing exercises, (...) this paper explains how the demands of writing fiction promote cultural competency. (shrink)

Journal Name: Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique Volume: 2013 Issue: 195 Pages: 305-329.

In J.M. Coetzee’s novel The Schooldays of Jesus (2016), the question of finding the ‘right education’ for a young child is a central and recurring theme. In particular, the novel presents us with t...

Education and Free Will critically assesses and makes use of Spinoza’s insights on human freedom to construe an account of education that is compatible with causal determinism without sacrificing the educational goal of increasing students’ autonomy and self-determination. Offering a thorough investigation into the philosophical position of causal determinism, Dahlbeck discusses Spinoza’s view of self-determination and presents his own suggestions for an education for autonomy from a causal determinist point of view. -/- The book begins by outlining the free (...) will problem in education, before expanding on a philosophical understanding of autonomy and how it is seen as an educational ideal. It considers Spinoza’s determinism and discusses his denial of moral responsibility. Later chapters consider the relationship between causal determinism and autonomy, the educational implications of understanding free will and how free will can be utilised as a valuable fiction in education. -/- This book will be of great interest to academics and postgraduate students in the field of education, especially those with an interest in moral education and philosophy of education. It will also be of interest to those in the fields of philosophy and psychology and specifically those focusing on the free will problem, on Spinoza studies, and on the relation between moral psychology and external influence. (shrink)

This article lies at the intersection of two problems: the one concerning the potential of fictional works to inform us about our social reality and foster our understanding of its various aspects, and the one concerning their potential to engage with philosophical issues. I bring these two together by analyzing the hit television series Law and Order: Special Victims Unit. According to my interpretation, the series is informative about our social world, and it raises philosophical concerns about it. This makes (...) it well-equipped to fulfill the educative function attributed to mass art by Noël Carroll, and to stand out as an example of what he calls popular philosophy. To support this interpretation, I rely on contemporary views regarding the nature of our engagements with fictional narratives. I then explore how philosophical concerns are generated and I elaborate on the role they have in deepening one’s understanding of one’s social circumstances. I further show how the series provides innovative and independent philosophical knowledge by means specific to the medium of generic serialized fiction. The central part of my argument is an analysis of the narrative strategies which enable the informative and philosophical aspects of the series to generate the series’ educative function. (shrink)

In the classical era, imagination garnered poor press: fooling the senses, perverting judgment, subverting reason, skewing social relations, and generally providing wrong ideas about the way things are; it was a faculty of which to beware. Occasionally it was recognized as not being entirely without value—Descartes, for example, insisted on its great usefulness as a figurational function in simplifying the work of the understanding in geometry. The traditional tendency in philosophy, though, was to denigrate imagination for its misleading nature and (...) negative effects and to dwell on its limits as a faculty bound to the body. Indeed, its first function is to represent to the mind things previously perceived by the senses as images in their likeness. But as imagination has neither the same vividness nor the same order as sensation, it is potentially misleading, since in fact images look only approximately the same as their models. Above all, however, imagination was reproached to be potentially misleading for its second function, the creation of images or entire fictions bearing no relation whatsoever to reality, which made it dangerously capable of nourishing all manner of superstition and fantasy. Within such a context, Berkeley’s conception of the imagination hardly seems original at first glance. But as I will propose, in its creative guidance of reason, imagination plays an important and distinctive role in Berkeley’s scientific, moral, and religious discussions. Rather than focusing solely on the representational character of imagination, then, I suggest that we attend also to the way in which Berkeley appeals to the imaginative aspects of reason itself. In this way, we can better appreciate the educational presuppositions of human freedom. (shrink)

Using selections from writers like Margaret Atwood, Octavia Butler, Marion Zimmer Bradley, Karen Joy Fowler, Ursula K. Le Guin, James Tiptree jr., and many others, this collection shows how the imagined worlds of science fiction create hold experiments for testing feminist hypotheses and for interpreting philosophical questions about humanity, gender, equality and more. Four main themes: Part 1, 'Human nature and reality', concentrates on whether there is an intrinsic difference between males and females. Part 2, 'Dystopias: the worst of all (...) possible worlds', portrays misogynistic societies uncomfortably familiar to the early 21st-century reader. Part 3, 'Separatist utopias: worlds of difference', assembles stories that scrutinize both the virtues and vices of separatism. In Part 4, 'Androgynous utopias: worlds of equality', the authors create worlds that anticipate the consequences, good and bad, of perfect sexual equality in education, intelligence, capability, and reproduction. (shrink)

In this highly original book, Russell Blackford discusses the intersection of science fiction and humanity’s moral imagination. With the rise of science and technology in the 19th century, and our continually improving understanding of the cosmos, writers and thinkers soon began to imagine futures greatly different from the present. Science fiction was born out of the realization that future technoscientific advances could dramatically change the world. Along with the developments described in modern science fiction - space societies, conscious machines, and (...) upgraded human bodies, to name but a few - come a new set of ethical challenges and new forms of ethics. Blackford identifies these issues and their reflection in science fiction. His fascinating book will appeal to anyone with an interest in philosophy or science fiction, or in how they interact. (shrink)

The idea that fictions may educate us is an old one, as is the view that they distort the truth and mislead us. While there is a long tradition of passionate assertion in this debate, systematic arguments are a recent development, and the idea of empirically testing is particularly novel. Our aim in this chapter is to provide clarity about what is at stake in this debate, what the options are, and how empirical work does or might bear on (...) its resolution. We distinguish between merely influencing people’s opinions and providing genuine learning, where the latter requires that the source of the change in opinion should be reliable. Other important ideas here are the extent to which authors of fiction may be considered to provide testimony, or something like it, and the possibility of recognizing an unstated purpose in the project of the fictional work. We ask whether fictions can furnish us not merely with ideas but with reasons for believing them, perhaps by constituting thought experiments. We consider whether the focus should be on understanding rather than on knowledge, and whether fictions can inform us about the qualities of another’s experiences. We briefly describe some experimental work of recent decades and suggest that the evidence for learning from fiction is currently meagre. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 216-223 [Access article in PDF] Notes and Fragments Genre Fiction and "The Origin of the Work of Art" Nancy J. Holland I FIRST, A CONFESSION. Like, I suspect, many of my readers, I am an unpublished fiction writer. Unlike most of the closet fiction writers in academia, however, I write genre fiction. The question that immediately follows is how that writing is related to (...) the intellectual work I do in philosophy.This question, of course, is open to a broad range of answers, from the possibility that the two aren't related at all, to potential Freudian answers it might take years of therapy to unearth. Teaching informs one's life, however, as much as the reverse, and in teaching Martin Heidegger's "The Origin of the Work of Art" to my Metaphysics class last year, I began to understand at least one dimension of the appeal that writing genre fiction has for me as a philosopher.But first, let me explain what I mean by genre fiction. In what follows, I will be referring primarily to four forms of genre fiction that have clear roots in the nineteenth century in Western Europe and North America: two gender-segregated genres, the western and the romance, and two gender-marked genres, science fiction and detective novels. I will be comparing these to two other forms of "popular culture" that also developed in the nineteenth century and have, I would argue, similar relationships to the older, more "legitimate," more elite art forms which they closely resemble: photography 1 and popular music, [End Page 216] especially those forms of popular music such as ragtime, blues, jazz, and rock that are informed by the African-American experience in the United States. 2These "low brow" art forms all appear to have arisen out of the growth of the middle class in developing parts of the world during the nineteenth century and the correlative confluence of greater leisure, greater aggregate prosperity, and higher levels of education across a broader spectrum of society. Further, these art forms all combine the surface appearance of their respective "high brow" correlate arts with the reassurance of repetition that is the cornerstone of the folk arts with which they are also correlated. Each of these forms of popular culture balances itself, then, between a demand for more and more "works of art" (and/or class aspirations based on the appearance of such) and a demand for the familiar in a rapidly changing, materially challenging world.Thus, photography gives us a frozen and thereby purified visual reality, an icon of memory to which we can return at will. The truth it reveals is most often starker than that of folk painting and portraiture, but also gives the appearance of being free from the subjectivity of the artist. Great iconic photographs such as the kiss on V-E day, I have heard it said, become more real than the reality they encapsulated.Popular music similarly combines often amazing musical complexity (which is not unknown, although rarer, in western folk music) with the reassurance of a form that not only repeats itself within a song, but also between songs of the same genre. Thus, blues can be recognized by both the minor chords in its melodies and the characteristic rhyme pattern of its lyrics. Moreover, most western popular music, even to some extent free-form jazz, has a familiar and reassuring beginning-middle-end structure, both melodically and dynamically, that locates a listener immediately within the song's "story-arc." 3This same beginning-middle-end structure is one clear hallmark of genre fiction. Another is repetition. We all immediately know the plot of a detective novel or science fiction adventure: where it will begin, what the key stages of the story will be, and how it will end—not just happily, but with a specific form of reassuring outcome, be it the victory of well-intentioned intelligence over cunning evil or humanity's ability to survive even the most alien (and so most familiar) of threats. At... (shrink)

Narrative representations can change our moral actions and thoughts, for better or for worse. In this article, I develop a theory of fictions' capacity for moral education and moral corruption that is fully sensitive to the diversity of fictions. Specifically, I argue that the way a fiction influences our moral actions and thoughts importantly depends on its genre. This theory promises new insights into practical ethical debates over pornography and media violence.

Greater emphasis on ethical issues is needed in science, technology, engineering, and mathematics (STEM) education. The fiction for specific purposes (FSP) approach, using optimistic science fiction texts, offers a way to focus on ethical reflection that capitalizes on role models rather than negative examples. This article discusses the benefits of using FSP in STEM education more broadly, and then explains how using optimistic fictions in particular encourages students to think in ethically constructive ways. Using examples of science fiction texts (...) with hopeful perspectives, example discussion questions are given to model how to help keep students focused on the ethical issues in a text. Sample writing prompts to elicit ethical reflection are also provided as models of how to guide students to contemplate and analyze ethical issues that are important in their field of study. The article concludes that the use of optimistic fictions, framed through the lens of professional ethics guidelines and reinforced through ethical reflection, can help students to have beneficial ethical models. (shrink)

Philosophers and psychologists have argued that fiction can ethically educate us: fiction supposedly can make us better people. This view has been contested. It is, however, rarely argued that fiction can morally “corrupt” us. In this article, we focus on the alleged power of fiction to decrease one's prejudices and biases. We argue that if fiction has the power to change prejudices and biases for the better, then it can also have the opposite effect. We further argue that fictions (...) are more likely to be a bad influence than a good one. (shrink)

There seems to be an overall agreement that parents qua parents are, almost by definition, in need of support and hence that there is always a ‘parental deficit’. In order to help parents out many initiatives are taken, predominantly drawing from a technical conception of parenting. This particular conception defines the deficit as a shortage of practical and theoretical knowledge, and conceives of the predicament of parenting or upbringing as something that can be successfully dealt with. Two criticisms are developed (...) in this article. First, this conception of parenting is exposed as a ‘frictionless fiction’ that makes a very strong appeal to many of us, inhabitants of late modern Western societies, perhaps because it promises answers where there are none to be given. Second, a different conception of the parental deficit is developed following Ramaekers and Suissa who spelled out a parental hermeneutical-existential deficit drawing upon Cavell. This specific kind of deficit picks out another kind of support. I develop this alternative by sketching a figure of strong engagement that provides parent support. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Indian Science Fiction: Patterns, History and Hybridity by Suparno BanerjeeBarnita BagchiSuparno Banerjee. Indian Science Fiction: Patterns, History and Hybridity. Cardiff: University of Wales Press, 2020. xiii + 256 pp. E-book, ISBN 9781786836670.Suparno Banerjee’s monograph examines science fiction (henceforth SF) from India, a country that has a rich and fascinating tradition of SF. This is a book that will be of interest and value to scholars and students in (...) higher education of utopia, dystopia, and speculative fiction, and to readers across disciplines interested in SF as a mode. It is quite clear today that Darko Suvin’s canonical definition of SF as cognitive estrangement, an interplay between the familiar and the strange, and its emphasis on the novum that is created in SF, has been enriched with further attention to context, including postcolonial contexts. Whose familiarity in cognition are we speaking about, and what happens when contexts are not necessarily hegemonic Anglo-American or Western ones? Indeed, even in Western contexts, science is not a given, but an element that always has political, historical, and ideological overtones. The novum, too, as with the term utopia, is moored in the contexts of the text.Banerjee’s book is one among several excellent monographs on Indian SF that have been published in the 2020s: Sami Ahmad Khan’s Star Warriors of the Modern Raj: Materiality, Mythology and Technology of Indian Science Fiction (2021) and Upamanyu Pablo Mukherjee’s Final Frontiers: Science Fiction and Techno-Science in Non-Aligned India (2020) come to mind. Khan adopts a refreshing fan’s guide to Indian SF register in his monograph, discussing mythology, materiality, ideology, and technology, and he coins the abbreviation TransMIT to capture his approach. Mukherjee’s book examines how Indian SF syncs with or questions the technological and scientific paradigms of India under Nehru and the Non-Aligned Movement; arguing that Indian SF needs to be seen as semiperipheral, the book also applies concepts from energy humanities [End Page 586] to Indian SF in an arresting way. Suparno Banerjee’s monograph is a solidly grounded work in its clearly explained choice of corpus, and a methodology that elicits particularly generative insights in a number of areas, including the epistemological status of science in Indian SF, the importance of SF written in bhasha or non-English Indian languages, the interplay between past and future in Indian SF, analysis of how Indian SF imaginatively represents the Other, and attention to Indian women writers of SF.Banerjee offers a lucid and useful chronology of Indian SF in four historical periods: 1835–1905, 1905–47, 1947–95, and 1995–2019. The period from 1835 to 1905 offers the first specimens of Indian SF, primarily in the form of future histories that question colonialism, in the utopian mode, and adventure tales and stories with scientific and technological elements. The establishment of a British education system, starting in the 1820s, gave an impetus to the birth of Indian SF. Rokeya Sakhawat Hossain’s “Sultana’s Dream” was published in 1905, a year that heralds the second period lasting until Indian independence. In this period, SF starts appearing not just in the English, Bengali, and Hindi languages, as in the first period, but also in a number of other Indian languages, such as Assamese, Marathi, and Tamil. Children’s and youth magazines develop from the 1920s, spaces where science writing and SF both appear. Nationalist, anticolonial stances emerge, challenging western hegemony, in the 1940s. In the early post-Independence period, the nationalistic elements become even stronger, and SF interacts quite strongly with older forms of fantastic writing such as myths, fairytales, and ghost stories. This third period, Banerjee argues, is the golden age of bhasha SF. From the 1990s English-language SF again becomes very prominent in India and its diaspora, though SF in bhashas continues to flourish.Banerjee examines fiction not just from post-Independence India, but also from colonial British India, and diasporic Indian writing. SF written primarily in Bengali, English, Hindi, and Marathi is examined and, when possible, the book also brings into its ambit of analysis SF written in the languages Assamese, Tamil, Telugu, and Kannada. Reflexivity about the corpus of... (shrink)

Troubling Reason: Notes from Underground Revisited -- Love, Attention and Teaching: The Brothers Karamazov -- Passion as a Quality of Education: The Death of Ivan Ilyich -- Education, Rationality and the Meaning of Life: Tolstoy's Confession -- Pedagogy of the Gaze: An Educational Reading of Lolita -- Education Arrayed in Time: Nabokov and the Problem of Time and Space -- Conclusion: Literature, Philosophy and Education.

This accessible and provocative collection of science fiction acquaints readers with cutting-edge gender controversies in moral and political philosophy. By imagining future worlds that defy our most basic assumptions about sex and gender, freedom and equality, and ethical values, the anthology’s authors not only challenge traditional standards of morality and justice, but create bold experiments for testing feminist hypotheses. Selections are grouped under four main themes. Part 1, "Human Nature and Reality," concentrates on whether there is an intrinsic difference between (...) males and females. Here the authors inspect opposing views on five related questions: What does it mean to be human? What are women and men really like? How significant is the reproductive difference? How do we define the concepts of "woman" and "nature"? Why is language important? Part 2, "Dystopias: The Worst of All Possible Worlds," first portrays misogynistic societies uncomfortably familiar to the early 21st-century reader. Chilling stories of future possibilities follow, including worlds where women and men separate into armies to fight a literal war of the sexes. Part 3, "Separatist Utopias: Worlds of Difference," assembles stories that scrutinize both the virtues and vices of separatism, in order to address the questions Why should women want to separate from men? and What would and should these all-female worlds be like? In Part 4, "Androgynous Utopias: Worlds of Equality," the authors create intriguing worlds that anticipate the consequences, good and bad, of perfect sexual equality in education, intelligence, capability, and reproduction. With selections from such noted writers as Octavia Butler, Marion Zimmer Bradley, James Tiptree Jr., and many others, plus chapter introductions, discussion questions, and recommended reading list, this stimulating collection offers fresh insights on troubling issues by weaving controversial utopian and dystopian designs from the separate threads of opposing positions. (shrink)

The use of fictional models is extensive and rewarding in modern science. This fact captured the attention of philosophers of science, who are focusing on questions such as the following: is it possible for a fictional model to be explanatory? And, if so, in virtue of what is such a fictional model explanatory? In this paper, I discuss these questions in relation to the realism vs. anti-realism debate in philosophy of science. I focus on work developed by Alisa Bokulich who (...) has argued for the explanatory role played by fictional models, claiming that it can be accommodated by realism in ‘a broad sense’. To this end, Bokulich introduced what she called ‘an eikonic conception’ of explanation, as opposed to the so-called ‘ontic’ conception. This move, Bokulich claims, allows non-causal explanations to be acceptable to a modified version, as opposed to a ‘naïve’ brand of realism. Roughly, a fictional model can capture aspects of reality if it manages to act as a proxy for a theory targeting a physical system. As Bokulich explains with the example of James Clerk Maxwell’s use of mechanical models, this is due to structural correspondences between a model and a theory at a certain level of abstraction. However, Bokulich does not explain how the model grasps reality. In this paper, I fill this missing piece of the puzzle. While I agree with Bokulich on the explanatory function of fictional models, I shall invoke her reading of Maxwell’s work to draw a different conclusion. Specifically, I argue that structural correspondences at various levels form what I call ‘a ladder of abstractions’ which connects aspects of a target system to the corresponding depths of descriptions. Modifying in these terms the scope of ‘representing a system’, I suggest that Bokulich’s proposed modification of realism is obviated. (shrink)

In the study of education, as in many more travelled regions of Classical scholarship, democratic Athens is something of a special case. The cautions formulation is appropriate: in the case of education, surprisingly few studies have sought to establish quite how special Athens was, and those which have, have often raised more questions than they answered. The subject itself is partly to blame. The history of education invites comparison with the present day, while those planning the future of education rarely (...) fail to invoke the past. The place of Classical Athens in European culture has ensured a place for Athenian education in almost every debate from the relation between education and democracy to the value of educationversustraining, and as the original champion of causes as varied as mass education, co-education, and the national curriculum. Desirable as it is to be in demand, such treatment is not calculated to produce the most circumspect account of the subject. The study of education is further hampered by the fact that our knowledge of Athenian culture is so vibrant and diverse in some ways and so partial in others. Plato and Aristophanes present a vivid fictional picture of education in the late fifth century. If we add a few passages from Xenophon and Aristotle, a large number of vases depicting men, women, and children reading, playing the lyre, and doing athletics, and one or two archaeological finds of an educational appearance, it is tempting to take the result as a clear portrait of a society at school. (shrink)

Not so long ago the occasional story would be told in the news that someone with a fascination for all things medical had spent months or even years masquerading as a doctor in a large and anonymous hospital. No doubt the absence of such stories today is due to heightened security and vigilance, partly as a result of the realization among hospital staff that such individuals were indeed at large. No doubt too the number of such cases was due to (...) the opportunity afforded by the freedom of movement of professional staff and the size of the institution in question. For that reason, it is hard to imagine such opportunities existing elsewhere, then or now. Nonetheless, it may be heuristic to think of this situation.. (shrink)

Originally published as one of the Four Dissertations and then included in the 1758 edition of the Essays, the 1757 paper “Of the Standard of Taste” qualifies as David Hume’s official contribution to criticism.1 A few exceptions aside, no real or thorough effort has been taken by its critics to place the essay in the overall context of Hume’s science of human nature.2 Hume has certainly his share of responsibility in this: “Most of these essays were wrote with a View (...) of being published as WEEKLY-PAPERS, and were intended to comprehend the Design both of the SPECTATORS & CRAFTSMEN. But having dropped that Undertaking, partly from LAZINESS, partly from WANT OF LEISURE, and being willing to make Trial of my .. (shrink)