The global coronavirus disease 2019 (COVID-19) pandemic has caused significant uncertainty for students and teachers. During this time, teacher and student creative beliefs and affect play a supportive role in adaptively managing stress, finding joy, and bouncing back from inevitable setbacks with resilience. Developing an adaptive orientation to creativity is a critically important step in helping teachers deal with the challenges and stress of reaching their students through distance learning, especially the most marginalized. This study aims to understand how teacher (...) creativity linked to well-being in the face of COVID-19-related school shutdowns and how teachers planned to adapt creatively to distance learning through the guidance of a summer creative teaching training institute. Results from this sequential mixed method study demonstrated important relationships. Creative self-efficacy in teaching related to teacher buoyancy in the face of setbacks. Creative growth mindset related to teachers’ general positive affect in teaching. Lowered creative anxiety related to reduced effects of secondary traumatic stress and general negative affect in teaching. Environmental support and encouragement for creativity in schools may be foundational for teacher well-being by enhancing teachers’ dispositional joy, general positive affect, and reducing general negative affect. Results suggested additional stress and loss of creativity for most teachers due to the COVID-19 pandemic alongside substantial capacity for creative adaptations with the support of training for creativity in teaching and learning. (shrink)

In these interviews from 1982 and 1985, I ask Beauvoir about her philosophical differences with Jean-Paul Sartre on the issues of voluntarism vs social conditioning and embodiment, individualism vs reciprocity, and ontology vs ethics. We also discuss her influence on Sartre's work, the problems with the current English translation of The Second Sex, her analyses of motherhood and feminist concepts of woman-identity, and her own experience of sexism.

In these interviews from 1982 and 1985, I ask Beauvoir about her philosophical differences with Jean-Paul Sartre on the issues of voluntarism vs social conditioning and embodiment, individualism vs reciprocity, and ontology vs ethics. We also discuss her influence on Sartre's work, the problems with the current English translation of The Second Sex, her analyses of motherhood and feminist concepts of woman-identity, and her own experience of sexism.

Divergent models applied to the chronology of Australian science leave us with two particular problems unresolved: was late-nineteenth-century science in this peripheral setting becoming more or less dependent on its British fountainhead, and what is the meaning of the reportedly narrow, utilitarian focus of ‘colonial science’? This paper argues that a complex interplay of imperial and local imperatives makes neat classification and periodization of Australia's scientific development a hazardous venture. Compounding the complexity is the nature of the relationship between science (...) and technology, a factor largely ignored in the historiography of Australian science. Contrary to common assumptions, an empirical focus on science-technology links suggests that scientific and technological dependencies were not running in parallel, but out of phase, with science as the laggard. Indeed, it appears that science in late-nineteenth-century Australia may have developed more from its interaction with technological systems than from its own internal dynamics. (shrink)

In November 1996, Catherine Clément and Julia Kristeva began a correspondence exploring the subject of the sacred. In this collection of those letters Catherine Clément approaches the topic from an anthropologist's point of view while Julia Kristeva responds from a psychoanalytic perspective. Their correspondence leads them to a controversial and fundamental question: is there anything sacred that can at the same time be considered strictly feminine? The two voices of the book work in tandem, fleshing out ideas and blending together (...) into a melody of experience. The result is a dialogue that delves into the mysteries of belief -- the relationship between faith and sexuality, the body and the senses -- which, Clément and Kristeva argue, women feel with special intensity. Although their discourse is not necessarily about theology, the authors consider the role of women and femininity in the religions of the world, from Christianity and Judaism to Confucianism and African animism. They are the first to admit that what they have undertaken is "as impossible to accomplish as it is fascinating." Nevertheless, their wide-ranging and exhilarating dialogue succeeds in raising questions that are perhaps more important to ask than to answer. (shrink)

In premodern China, elite painters used imagery not to mirror the world around them, but to evoke unfathomable experience. Considering their art alongside the philosophical traditions that inform it, _The Great Image Has No Form_ explores the “nonobject”—a notion exemplified by paintings that do not seek to represent observable surroundings. François Jullien argues that this nonobjectifying approach stems from the painters’ deeply held belief in a continuum of existence, in which art is not distinct from reality. Contrasting this perspective with (...) the Western notion of art as separate from the world it represents, Jullien investigates the theoretical conditions that allow us to apprehend, isolate, and abstract objects. His comparative method lays bare the assumptions of Chinese and European thought, revitalizing the questions of what painting is, where it comes from, and what it does. Provocative and intellectually vigorous, this sweeping inquiry introduces new ways of thinking about the relationship of art to the ideas in which it is rooted. (shrink)

In premodern China, elite painters used imagery not to mirror the world around them, but to evoke unfathomable experience. Considering their art alongside the philosophical traditions that inform it, _The Great Image Has No Form_ explores the “nonobject”—a notion exemplified by paintings that do not seek to represent observable surroundings. François Jullien argues that this nonobjectifying approach stems from the painters’ deeply held belief in a continuum of existence, in which art is not distinct from reality. Contrasting this perspective with (...) the Western notion of art as separate from the world it represents, Jullien investigates the theoretical conditions that allow us to apprehend, isolate, and abstract objects. His comparative method lays bare the assumptions of Chinese and European thought, revitalizing the questions of what painting is, where it comes from, and what it does. Provocative and intellectually vigorous, this sweeping inquiry introduces new ways of thinking about the relationship of art to the ideas in which it is rooted. (shrink)