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.

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)

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)