One of the most traditional ways to teach philosophy in secondary school is a historical approach”, which takes a historicist view of philosophy and uses teaching practice based on teacher-centred lessons and textbook study by students. Only recently a debate on different approaches to teach philosophy is developing, considering the discipline as practical and dialogical activity to be fostered in the classroom. What could mean “doing philosophy” in the classroom from an instructional perspective? What are the premises and constraints which (...) allow the transformation of philosophy from a discipline to a community activity? In this paper a teaching model based on cultural-historical theory is proposed and discussed. The model is composed by three level of specification of the activity, from lower to higher, which correspond to three different analysis plans of the philosophical practice in an instructional context. Each level is composed by seven fundamental dimensions which highlight the meanings, the constraints, and the tools implied and developed in philosophizing as socio-cultural activity. Finally, if and how Philosophy for Children should be considered an activity respondent to the model and its educational aims is discussed. (shrink)

Improvising involves participants adopting attitudes and dispositions that make them welcoming towards what happens, even when it is unforeseen. How is the discourse on improvisation and a disposition to improvise in the community connected to the concept of inquiry? What type of reasoning can be developed? This paper aims to reflect on two different perspectives. On the one hand, we consider the feasibility of improvising inquiry in the community, promoting inquiry as an activity that can be developed extemporaneously when teacher (...) and students form a community with an “improvising” habitus. On the other hand, we underscore the intrinsic improvisational dimension of inquiry that takes shape in philosophical dialogue in the community. To develop these two educational and formative perspectives, participants students and particularly teachers must first acquire a “readiness” for improvisation which is a sort of complex attitude. Some results of previous research on improvisation are presented to explain and emphasize the features of this complex disposition. Teachers who improvise suddenly open a window on events happening in the community, serving as an example for the class which is invited to do the same. Teachers thus become improviser-facilitators within the community, embracing the feature of a new jazz-pedagogy at the same time. (shrink)

This study deals with an exploratory research about understanding of art in students of different age, grades and kind of schools attended. In particular, we analysed how beliefs and reflections about art and aesthetical experiences expressed during a cross-age interview, changed in elementary school children involved for two years in a UE Project titled “Philosophy and European Contemporary Art”. The activities are based on guided philosophical discussions, transforming the classroom in a “community of inquiry”, according to the methodology of “Philosophy (...) for Children” program . The elementary school group was tested pre and post the program activities. A qualitative analysis of the students’ answers was carried out, considering the data with respect to the five stages of art understanding defined by Micheal Parsons which correspond to different beliefs about art in the subjects. (shrink)