Even though music and visual art have often been performed or installed together in the same places, sound-as-art entered the gallery space only after composers explored the idea of visualizing music, encouraging artists to use scores, sounds, and noises as plastic material. While it’s true that sound poetry was practiced by Futurist and Dadaist artists in the late nineteenth century1 and that Marcel Duchamp was working with the musical score from as early as 1913,2 it took almost another forty years, (...) and the work of avant-garde composers such as John Cage, to open up the definition of music and push sound towards visual art.The story is familiar: In 1952, with the first... (shrink)

ABSTRACT Nationalism developed in Iraq before the creation of the modern state. As elsewhere, the basic European idea of modern nationalism took root quickly and widely, but it took the form of Arab/iraqi nationalism and Kurdish proto‐nationalism in the first decade of state formation. Shi‘i, Sunni, and leftist/liberal variants of nationalism evolved in the decades that followed—but all were forms of Iraqi nationalism, in which the legitimacy of the Iraqi state was taken for granted. Those who assumed that religious differences (...) would be fatal to the viability of the Iraqi state have overlooked the evolution of Iraqis’ senses of identity, and the power of nationalist identification. (shrink)

Carrie Tarr _Diane Kurys_ Manchester and New York: Manchester University Press/St Martin's Press, 1999 ISBN: 0719050952 162 pp.

A study was conducted to investigate the perceptions of academic dishonesty in fifth-grade students. Two methods were used to gather data: a sorting task, which was used to indirectly assess the students' perceptions, and a rating scale task, which was used to externally validate the results of the sorting task. Results of the multidimensional scaling analysis yielded two dimensions, the first being tests/homework and papers, and the second, more ambiguous appearing to differentiate based on seriousness.

This paper suggests looking at cuisines of poverty as practical and political systems practiced by urban and rural Palestinian citizens of Israel. It is an important and interesting case study within which political and economical considerations govern and enhance the development, change, and acceptance of culinary knowledge. Cuisines of poverty operate in two simultaneous arenas. As systems of practical knowledge, they repeatedly center on the ability to maintain the traditional kitchen, turning it into a tool-kit out of which information is (...) recruited upon need. Simultaneously, cuisines of poverty reveal the inter-connection between the culinary discourse and the political one. It is where issues such as access to land, national and ethnic identity, and means to participation in the dominant culture are of major concern. The analysis of cuisines as operating on two complementary discourses contributes to the understanding of the relationship between food and the arena of power. (shrink)

Looks at fifty of the twentieth century's most significant contributors to the debate on education. Each essay gives key biographical information, an outline of the individual's principal achievements and activities, an assessment of his or her impact and influence and a list of their major writings and suggested further reading.

In this paper, I consider pedagogical moments when the project of pedagogy is to _not understand_, as understanding would entail complicity with dehumanization. I explore the slipperiness of understanding and parse when understanding is helpful and when it reinscribes structures of dehumanization. I examine when it might be important in music education pedagogy to foster a refusal to understand, specifically in cases of extreme suffering that might occur in projects of dehumanization, atrocity, and genocide. Then, I explore the ethics embedded (...) in different forms of understanding and consider why not understanding is sometimes the ethical path and tease out the complexities of such refusals to understand. Subsequently, I focus on what music might contribute to this pedagogical approach. I then explore and critique empathy and the project of empathy in education. Ultimately, I consider the role of discomfort in music education to facilitate these kinds of refusals. I center the work of several scholars in this discussion: Sherene Razack (Dark threats and White knights: The Somalia Affair, peacekeeping, and the new imperialism University of Toronto Press Toronto, ON, 2004, Rev Educ Pedag Cult Stud 29 (4): 375-394, 2007), Megan Boler (Feeling power: Emotions and education. Routledge, New York, NY, 1999), Jennifer Geddes (Hypatia 18 (1):104-115, 2003), Charlotte Delbo (_Auschwitz and after_. Yale University Press, New Haven, 1995/2014), Hannah Arendt (Eichmann in Jerusalem: A report on the banality of evil. Penguin Books, New York, NY, 1963/2006), Marie Hållander (Ethics Educ 10(2): 175-185, 2015, Stud Philos Educ 38: 467–480, 2019), Barbara Applebaum (Being White, being good: White complicity, White moral responsibility, and social justice pedagogy. Lexington Books, New York 2010, White educators negotiating complicity: Roadblocks paved with good intentions. Lexington Books, New York, NY, 2022), and Liora Gubkin (Teach Theol Relig 18(2): 103–120, 2015). (shrink)

Un sujet peu exploré dans la phénoménologie husserlienne est encore à ce jour le champ des émotions, longtemps minoré. Or la publication du volume des Husserliana 'Sentiment et valeur' montre que-les émotions sont un thème qui préoccupa Husserl durant toute sa vie. La raison de cette invisibilité est moins son manque d'importance aux yeux du phénoménologue que la difficulté de lui trouver une place cohérente. Si les actes cognitifs (perceptifs, judicatifs, mémoriels, imaginatifs) représentent souvent le cas d'étude privilégié eu égard (...) à la visée de connaissance qui y apparaît en majeur, les affects (émotions, volitions, valeurs) obéissent à une autre logique ou, du moins, à une logique plus complexe : non seulement descriptive, mais aussi génétique-dynamique. Ce qui se joue avec les émotions est moins la connaissance d'un objet que les tensions, les satisfactions et les déceptions propres aux processus vécus des forces psychiques et de leurs valeurs pour le sujet. Un tel défi est ici relevé. On identifie les lieux où les émotions entrent en scène en esthétique, dans la pragmatique de l'action et en philosophie de l'esprit, en lien avec sciences cognitives et phénoménologie. Dès lors se profile une ligne directrice nouvelle autour de la complexité de la dynamique émotionnelle et de l'obsolescence conséquente du clivage cognition-émotion"--Page 4 of cover. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 54-63 [Access article in PDF] Movement Class as an Integrative Experience:Academic, Cognitive, and Social Effects Svetlana Nikitina I believe the benefits of this type of course reach beyond the obvious possibilities of professional and academic achievement. The degree of personal discovery, creativity, self-development and insight are immeasurable. I am particularly referring to my experience here at Harvard. Claire Mallardi, from course syllabus (...) Performing arts courses at research institutions such as Harvard University are often seen as extracurricular with only tangential or imperceptible effect on students' academic interests. Yet, when I interviewed biology, math, or neuroscience concentrators who took Claire Mallardi's Movement for Actors and Directors course at Harvard in the spring of 2000, most of them told me that it was one of the most meaningful experiences in their academic development, and, according to one psychology concentrator, "the best psychology course" she ever took. In spite of boundaries separating the arts courses from hard and soft sciences, in students' experience the connections run deep. What were those connections that students made from their dance class experience to their academic and social development? And, what in the teaching and nature of the course supported this highly integrative experience that allowed students to reach beyond mastering an artistic medium and become better learners in general? These were the two major questions that guided this study.Why am I interested in the integrative quality of arts education? I am highlighting the academic importance of performing arts programs to suggest to university administrators and instructors in other disciplines the "immeasurable" personal and academic value of such courses whose place is often seen as marginal. Perhaps also, pedagogy used for integration in this course into the academic fabric of the institution could provide models for other courses and curricula that are trying to be integrative or interdisciplinary in a more self-conscious way. And, there are more and more such [End Page 54] courses on every college campus these days. Moriel Blaisdell in Preparing Faculty for the New Conceptions of Scholarship for example, cites "integrative studies" programs among most important trends in higher education today with their goal "to synthesize, to look for new relationships between the parts and the whole, to relate the past and future to the present, and to ferret out patterns of meaning that cannot be seen through traditional disciplinary lenses." 1One of the most daring experiments in universities now, and the one to which the integrative dance course could speak directly, is interdisciplinary teaching in neuroscience, for example. Neuroscience proceeds from the belief in the inherent unity of mind and body and attempts to discover the nature of the relationship between them. In a different way and with a different goal than arts courses, neurosciences also try to cross the boundary of subjective and objective experience, mind and body, physical technique and personal interpretation, which are at the heart of teaching and learning in the performing arts. While not being prescriptive, I would like to suggest that perhaps close attention to the pedagogy and integrative experiences of students in the performing arts courses could provide some insights for pioneering bridge-making in other academic areas as well.I would like to propose that what lies at the core of integrative capacity of a performing arts course, like the one Claire Mallardi teaches at Harvard, is the inherent tendency of the arts to transcend the boundary of body with the mind, and to seek unity of self as both the subject and the object. In a dance, in the words of Margaret H'Doubler, the body is seen "as the outer aspect of personality, for it is the agent through which we receive impressions from the external world and by which we communicate our meaning." 2 This basic translation between body and mind, mental and physical, artistic and academic that went on in Mallardi's class, resulted in integrative and transformational experiences for her students. "I never until this class — comments one student — equated emotions with movement or... (shrink)