The recent development within moral psychology has contributed to change the understanding of how people in general make moral judgements. The results suggest that moral judgements typically involve two cognitive processes, rapid emotional responses and slow acts of rational thinking, where the significance of the latter traditionally has been overemphasized. It is possible to argue that the division in moral psychology has a counterpart in an ethics of care which distinguishes between intuitive acts of natural care and deliberate choices of (...) ethical care. The purpose of this paper is thus to discuss if and how the recent development within moral psychology can be used to understand an ethics of care as a moral pedagogical model. We will argue that the findings in moral psychology can contribute to the interpretation and application of an ethics of care which can benefit the understanding of both theories in an educational context. (shrink)

"Critique is a form of thinking and acting. It is determined by its objects, yet never accesses them immediately but is always mediated through its own forms of (re)presentation. Since the end of the 18th century, there has been a dynamization and fluidization of the understanding of form, as topoi such as the break, the marginalization, the tearing and opening indicate. However, these multifarious attempts to "build on the structure through demolition" (Benjamin) testify to the dependence of all articulation on (...) the forms of (re)presentation ["Darstellung"]. As a philosophical problem, the question of form arises in critical theory from Marx to Adorno. Since the 1960s, literary practices have proliferated which generate their critical statements less argumentatively than through the programmatic use of formal means. At the same time, the writing self, along with its attitudes, reflections, affects and instruments, visibly enters the critical scene - whereas the theatrical scene as a stage of critique has been contested intensively during the 20th century. This volume examines how the interdependence of critique, object, and form translates into critical stances, understood as learnable, reproducible gestures, which bear witness to changing conditions and media of critical practice. With contributions by Maria Fusco, Eva Geulen, Thomas Glaser, Birgit M. Kaiser, Sami Khatib, Sebastian Kirsch, Chris Kraus, Holger Kuhn, Oona Lochner, Isabel Mehl, Bettine Menke, Beate Söntgen, Heiko Stubenrauch, Kathrin Thiele, Lynne Tillman, Masha Tupitsyn, Mimmi Woisnitza."-Publisher's website. (shrink)