This chapter contains sections titled: Teaching as vocational environment Batch processing, kitsch culture, and other obstacles to teacher vocation The syntax of educational claims The shape of humanistic conversation Horizons of educational inquiry Teacher education for practical wisdom.

Currently, there is a resurgence of interests in phenomenology in education. This article sheds light on the importance of hermeneutical phenomenology in teaching and learning based on the lived experience of a Sioux Indian adolescent boy, elicited from an ethnographic case study conducted at an alternative high school in the US. Employing narrative inquiry, this article seeks phenomenological ways of understanding students' lived experiences and explores the meaning of the pedagogical practice of hermeneutical phenomenology in education. I delve into (...) how hermeneutical understanding of the phenomena of students' lived experience can catapult both students and teachers into the personal growth and development in a reciprocal way. It is my hope that such an understanding will facilitate an educational aim that focuses on the ontology of being and becoming while students' existence is brought to the center of teaching and learning. (shrink)

Currently, there is a resurgence of interests in phenomenology in education. This article sheds light on the importance of hermeneutical phenomenology in teaching and learning based on the lived experience of a Sioux Indian adolescent boy, elicited from an ethnographic case study conducted at an alternative high school in the US. Employing narrative inquiry, this article seeks phenomenological ways of understanding students' lived experiences and explores the meaning of the pedagogical practice of hermeneutical phenomenology in education. I delve into (...) how hermeneutical understanding of the phenomena of students' lived experience can catapult both students and teachers into the personal growth and development in a reciprocal way. It is my hope that such an understanding will facilitate an educational aim that focuses on the ontology of being and becoming while students' existence is brought to the center of teaching and learning. (shrink)

Western aesthetics has privileged contemplation as a necessary condition for authentic aesthetic experience. In contrast, I argue that the adequacy of aesthetic comportment must be measured by the self-presentation of the object in question, shaped by the place from which such presentations issue. Thus, the specific character of many forms of art, particularly in urban contexts, solicits a kind of “distracted” engagement rather than contemplative attention. Distraction is a positive mode of aesthetic engagement. I begin with a critical account of (...) the formalist theories of Kant and Bell as examples of this privileging of contemplative hermeneutics. I then consider Walter Benjamin’s theory of mimesis as a basis for a more fruitful account of aesthetic form, of which certain “distractive” artworks serve as examples. Distraction is an appropriate response to certain presentations, in the face of which absorption would be a kind of aesthetic failure. (shrink)

Normal 0 false false false MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} The constructionist approach of philosophy includes an epistemic dimension and a pragmatic emphasis on the interdependence between knowledge and action in the social areas. Appreciative approach to philosophy is based on the work of David Cooperrider on “Appreciative Inquiry”, which is a form of pragmatic discourse that substitutes the focus (...) on the problem with the focus on successful elements of previous experience of individuals, groups, organizations or communities. This experience can be integrated in the philosophical discourse starting from Plato's dialogues and maieutic method promoted by Socrates. Hermeneutic of the real seen as a philosophical reflection on the daily positive experiences falls into tradition of philosophical search of the ultimate meaning of reality. The appreciative speech starts from a postmodern view by a constructivist and constructionist approach, through which reality itself is a social construction generated by successive negotiations on accepted interpretations. Appreciative philosophy is centered on a semiotics grid that seeks positive qualities of existence and its strengths. Appreciative theology reveals a collaborative process between humanity and divine that catalyzes transformations in human being giving them life including eternal life. The communion human-Divinity is seen as a divine-human co-creation. (shrink)

The purpose of this study is to develop a system of corporate ethics based on an understanding and interpretation of the ethical demand of human beings who are in relation with each other according to Emmanuel Levinas' teachings and the responsibility the human being has to and for herself and others whom she encounters based on Paul Ricoeur's teachings on human action, text and hermeneutics. While the philosophies to which we will be referring may not overtly present a normative (...) ethic, we shall convey them in such a way that is reasonably germane to the development of our system of corporate ethics that would, indeed, demonstrate why (and, perhaps, how in some instances) the human being must act in response to the demand of the other whom she encounters. -/- We must not abandon the discussion as it relates to the economy but rather include it in a broader and more comprehensive dialogue about working to promote, support and protect the human dignity of all people using the advancements of technology to improve the human condition. The broader discussion must include but not be limited to developing a working definition of corporate ethics. To engage in discussions about the economy as an indicator for human success, we must speak openly and honestly about all stakeholders that participate and are affected by the economy. Without forsaking other stakeholders, we find the corporation - the entity whose actions have the farthest reaching and, in some cases, longer lasting impact on the human condition - to be an appropriate point of departure for this endeavor. (shrink)

Humility is widely regarded as a moral excellence and telos, hence, openly inculcated-instructed. Character education in and for humility, however, sits uncomfortably against today’s pedagogical maxims such as self-esteem and self-assertiveness. This article looks into this and other tensions from the perspective of humility as experience (phenomenon) instead of humility as goal. Surveying humility qua experience can help us to understand how the mind directs toward objects of cognition with their content, meaning and axiology. Husserl’s phenomenology and its theory (...) of intuition suggests that humility is a personal belief (doxa) that moral agents construct out of their lived-experiences. Through iterations of similar lived-experiences, humility can become a habitus and, arguably, episteme. This process is detailed by intersecting experience of humility with intentionality, phenomenological reduction, and intersubjectivity. It is argued that, in contemporary education, ‘experience’ is widely accepted as learning content and teaching method. Humility as experience has significant implications for the main schools in curriculum studies, namely traditionalists, conceptualists and phenomenologists. This article claims that inculcating humility poses ethical challenges, and the role of education should instead be to explain and present to learners the phenomenological reality of humility. (shrink)

The idea for this article was developed in ecumenical discussion regarding the worrisome developments in some neo-Pentecostal ministries where stories of snake-eating, petrol-drinking, false prophecies and so on were being alleged. A burning question during the discussion was: what is it with the hermeneutic of experience that makes it possible for such stories to arise? Furthermore, how can this situation be remedied? The researchers set to answer this question by conducting a literature study on the subject of hermeneutics of (...) African Indigenous Churches, neo-Pentecostalism and Mission Pentecostalism. The inclusion of AICs and Mission Pentecostalism follows the scholarly consensus led by Allan Anderson in which all three together constitute African Pentecostalism. This article offers a critical reflection on the corrosive role of fundamentalist-inspired exclusivism, judgementalism and pride, which feed ignorance of the basic oneness of African Pentecostal Christianity. It concludes that abuse abounds in the divisions and maintenance of the above-mentioned fundamentalist attitudes and raises the necessity of creating awareness of belonging to one community. This community’s historical experience of the activity of the Spirit and Scripture may serve as critical input into its hermeneutic, hopefully lessening if not eradicating abuse. (shrink)

This essay argues that making a diagnosis in medicine is essentially a hermeneutic enterprise, one in which interpretation skills play a major part in understanding a disease. The clinical encounter is an event comprised of two voices; one is the voice of science which is grounded in empiricism, the other is that of human experience, which is grounded in story-telling and the interpretation of those stories.Using two voices, one from the Diagnostic and Statistical Manual of Mental Disorders-III-Revised, which describes alcohol (...) abuse and alcohol dependence, and the other, that of Claire, a character in Edward Albee's play, A Delicate Balance, who is conversing with her brother-in-law, Tobias, I apply principles from Hans-Georg Gadamer's hermeneutics to the clinical diagnostic process. The essay will demonstrate that we overlook an enormous amount of information about alcoholism by an overreliance on objective data and that our hope for understanding alcoholics is in listening to their voices, and sharing the interpretation of their experiences with them. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

Objective To study how doctors care for their patients, both medically and as fellow humans, through observing their conduct in patient–doctor encounters. Design Qualitative study in which 101 videotaped consultations were observed and analysed using a Grounded Theory approach, generating explanatory categories through a hermeneutical analysis of the taped consultations. Setting A 500-bed general teaching hospital in Norway. Participants 71 doctors working in clinical non-psychiatric departments and their patients. Results The doctors were concerned about their patients' health and how (...) their medical knowledge could be of service. This medical focus often over-rode other important aspects of the consultations, especially existential elements. The doctors actively directed the focus away from their patients' existential concerns onto medical facts and rarely addressed the personal aspects of a patient's condition, treating them in a biomechanical manner. At the same time, however, the doctors attended to their patients with courteousness, displaying a polite and friendly attitude and emphasising the relationship between them. Conclusions The study suggests that the main failing of patient–doctor encounters is not a lack of courteous manners, but the moral offence patients experience when existential concerns are ignored. Improving doctors' social and communication skills cannot resolve this moral problem, which appears to be intrinsically bound to modern medical practice. Acknowledging this moral offence would, however, be the first step towards minimising the effects thereof. (shrink)

In a phenomenology of acting, Phillip Zarrilliconsiders acting as a 'question' to be explored in the studio, and then reflected upon. This book is a vital response to Jerzy Grotowski's essential question: "How does the actor 'touch that which is untouchable?'" Phenomenology invites us to listen to "the things themselves", to be attentive to how we sensorially, kinaesthetically, and affectively engage with acting as a phenomenon and process. Using detailed first-person accounts of acting across a variety of dramaturgies and performances (...) from Beckett to newly co-created performances to realism, it provides an account of how we 'do' or practice phenomenology when training, performing, directing, or teaching. Zarrilli brings a wealth of international and intercultural experience as a director, performer, and teacher to this major new contribution both to the practices of acting, and how we can reflect in depth on those practices. An advanced study for actors, directors, and teachers of acting thatis ideal for both the training/rehearsal studio and research, a phenomenology of acting is an exciting move forward in the philosophical understanding of acting as an embodied practice. n reflect in depth on those practices. An advanced study for actors, directors, and teachers of acting thatis ideal for both the training/rehearsal studio and research, a phenomenology of acting is an exciting move forward in the philosophical understanding of acting as an embodied practice. (shrink)

The goal of this dissertation is to provide a critique of Jurgen Habermas's communication-theoretic proposal for a discourse ethics. In doing so, I confront the theory of communicative rationality with the pronounced intention of letting discourse ethics take, as Habermas puts it, its orientation for an intersubjective interpretation of the categorical imperative from Hegel's theory of recognition. My objections to this attempt to provide a critical theory with normative grounds generally relate to what I see as a too excessive formalism, (...) and a tendential repression of the dimension of ethical ontology. ;Although Habermas insists that agents always bring their lifewordly conditions of existence--their particular identities and histories--with them when they engage argumentatively to redeem validity claims, the discourse model has throughout its effective history been notoriously helpless when engaging with the internally related issues of motivation and the cognitive problems of judgment and context-sensitive application. In analyzing the principle of universalizability , I show why it is necessary to construct a dialectical relationship between morality and issues of the good life, and to introduce a notion of reflective judgment. Moreover, I argue for a detachment of moral theory from the quasi-transcendental grounding in formal structures of rationality. ;In the course of my successive interpretative confrontations with discourse ethics, I formulate a hermeneutic approach. One important upshot of this is that discourse ethics will be situated closer to Habermas's early suggestions towards a critical hermeneutics. This is a conception which emphatically promotes an internal link between judgment, action and argumentation. Another consequence relates to the need for a realist realignment of discourse ethics. I suggest that reflection and moral discourse, starting from the particularity of concrete cases but ultimately aiming towards universality , should be involved, not in a process of further disintegration of ethical life , but in a process of healing, in which universality serves a memorial, imaginative and communicative function: it creates a conceptual reservoir for interpreting our complex moral experiences, and ultimately for gaining knowledge of the self and its intricate bonds and attachments to others. (shrink)

The Bhagavad Gītā has inspired more interpretive controversy than any other religious scripture in India’s history. The Gītā, a philosophical and spiritual poem of approximately seven hundred verses, is part of the ancient Sanskrit epic, the Mahābhārata. In the Gītā, the Lord Kṛṣṇa, who appears in the form of a charioteer, imparts spiritual teachings to the warrior Arjuna and convinces him to fight in a just war that entails the slaughter of many of Arjuna’s own relatives and loved ones. Śaṅkara, (...) the great eighth-century champion of the Advaita school of philosophy, wrote the first extant commentary on the Gītā. In this commentary, Śaṅkara interpreted the Gītā strictly in accordance with Advaita.. (shrink)

This paper endeavors to explore and expand the communicative potential of silence from non-Western cultural spaces, of Asian-indigenous worldviews as hermeneutical key to critical and cosmic consciousness. Specifically, it speaks of the llokano cosmic Nakem (cosmic self or cosmic sense of being). At the core of the llokano Nakem is a cosmic impulse that situates this indigenous culture's resilience within the dissipating ecological integrity. Just like in other Asian classical texts, e.g., Taoism where it speaks of a heavenly Dao which (...) is the origin and the law that sustains everything in the world, the Ilokano cosmic self lays at core of cultural belief-an ontology that is deeply founded on the tradition of silence. By seeking out a decisive break from dominant frameworks, this paper argues for the possibility of articulating alternative cultural and linguistic experiences as a political imperative towards a democratized world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Teaching Aesthetics and Aesthetic Teaching:Toward a Deweyan PerspectiveDavid A. Granger (bio)The educational writings of John Dewey continue to be invoked by scholars in education on a regular basis and in relation to a wide variety of issues, from social learning theory and situated cognition to constructivism and whole-language literacy instruction. More recently, this scholarship has begun to expand to include books and essays that look to (...) tie Dewey's aesthetics to his work in education in a substantive way. Notably, this is not something that Dewey attempted himself, since his major work in aesthetics, Art as Experience, was not published until he was seventy-five, and he seemingly had neither the time nor means at that point in his life to develop this link to his satisfaction. In addition, many educators are only familiar with Dewey's more explicitly educational writings, most of which came earlier in his career and tend to speak more of the merits of science than of art. As a result, scholars in education have only recently begun to examine the possible significance of Dewey's aesthetics for the practices of teaching and learning.1It is still the case, however, that writers on Dewey have traditionally focused their critical energies on his expansive claims for "the method of science" as a vehicle for solving numerous educational and social problems, and as the only authentic means of learning about our everyday world. Such critical attention is not, I believe, without warrant; though Dewey's use of "science" was a very loose and liberal one, he was a staunch critic of the positivistic model of science often presumed by these writers. Nonetheless, this critical focus has unfortunately led many writers to dismiss or marginalize the Dewey who, for instance, proclaims in "Art in Education—and Education in Art" that theModern preoccupation with science and with industry based on science has been disastrous; our education has followed the model that [End Page 45] they have set. It has been concerned with intellectual analysis and formularized information.... It is disastrous because it has fixed attention upon competition for control and possession of a fixed environment rather than upon what art can do to create an environment.... It is disastrous because civilization built upon these principles cannot supply the demand of the soul for joy, or freshness of experience; only attention through art to the vivid but transient values of things can effect such refreshment.2As Dewey sees it, science and other forms of knowledge are properly "handmaidens" to art, intellectual tools for enhancing the overall quality and value of human life and activity.3 This means that they are largely subordinate to the direct qualitative meaning of experience. They are, Dewey says, transformed in aesthetic experience in that they are "merged with non-intellectual elements to form an experience worth while as an experience."4 Art objects may well be the most potent and ready source of such enhanced, aesthetic experience, being intentionally created to refine and intensify in certain ways the experience of the perceiver. But they are not, to Dewey's way of thinking, the sole or even principal medium of the aesthetic. Art, he tells us, is best seen more liberally as "a quality that permeates an experience," whereby, in any number of life contexts, the meanings of objects and events become "the matter of a clarified, coherent, and intensified or 'impassioned' experience" (AE, 329, 295). If all of this can be taken to mean that art or the aesthetic, and not science, is paradigmatic of optimal human experience, then current efforts to integrate Dewey's aesthetics with his thinking about education are an important endeavor and one that should bear considerable fruit. Then, too, much of the popular literature in art and aesthetic education, which situates art and the aesthetic squarely within the cognitive domain of experience, is significantly at odds with Dewey's radically holistic and vigorously anti-elitist aesthetics.5Accordingly, this article will explore the idea of aesthetic education—conceived in its broadest sense—using a mainly Deweyan lens. Moreover, it will do so by examining everyday classroom practices as they are informed by the general... (shrink)

ABSTRACT In this study, the learning experiences of four elementary school teachers who were basketball coaches were explored. Specifically, the learning experiences gained through observing professional basketball coaches’ sessions were examined by employing van Manen’s hermeneutic-phenomenological approach, which focuses on the thematic analysis of lived experiences. Previous coaching studies that have focused on the professional development of coaches have revealed that observing elite coaching sessions could be a major source of practical coaching knowledge because coaches could learn from experienced coaches. (...) Quantitative studies of this learning effect have revealed that observers learn new coaching methods from a general perspective. However, this study revealed that teachers give specific meaning and value to observed phenomena from the perspective of personal interest based on their coaching or teaching beliefs. This learning was interpreted from a multifaceted perspective, which was evident from their coaching interests and questions. This study disclosed that teachers reflect on their coaching philosophy, methods and attitude. Furthermore, even if teachers generally tend to highlight their coaching methods, this has a qualitatively complex nature because the meaning and value given to coaching methods varied in each teacher’s reflection. The perspective of problem-solving highlighted how to answer their personal questions based on practical coaching problems by observing a coaching session. Discovering the methodological differences between the observation session and the daily coaching session were highlighted. (shrink)

The purpose of this qualitative case study was to gain an in-depth understanding of how three award-winning secondary economics teachers demonstrated their pedagogical content knowledge (PCK), specifically horizon content knowledge, specialized content knowledge, knowledge of content and teaching, and knowledge of content and students. The teachers consistently connected economic content to other grades, subjects, and economic concepts and skills. Economic content was also regularly used to prepare students for citizenship, including casting more informed votes and understanding current events. However, (...) authentic discussions, including ones about controversial issues, were mostly lacking. An emphasis was placed on developing students’ economic reasoning skills, including real-world applications of the economic way of thinking and decision-making models. Additionally, active learning instructional practices were frequently incorporated, and economic content was almost always related to students’ interests and experiences. A detailed description of a first step toward a practice-based theory of PCK in secondary economics concludes the article. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

In this essay, Miriam argues for a phenomenological-hermeneutic approach to the radical feminist theory of sex-right and compulsory heterosexuality. Against critics of radical feminism, she argues that when understood from a phenomenological’ hermeneutic perspective, such theory does not foreclose female sexual agency. On the contrary, men's right of sexual access to women and girls is part of our background understanding of heteronormativity, and thus integral to the lived experience of female sexual agency.

This paper discusses what constitutes good teaching, taking as its cue the ‘aesthetic’ concept treated in everyday aesthetics and ‘internal good’ accounted by McIntyre. Teaching is viewed as practice, not merely as a basic action, due to its epistemological nature as everyday work. What everyday aesthetics teaches us is that even in the practice of teaching, sensory experiences such as comfort, familiarity, discomfort, ordinariness, etc. can be viewed as aesthetic experience. This kind of aesthetic experience constitute intuition (...) supporting ’good teaching’ that confirmed by examining Dreyfus et al. This ‘good teaching’ sensitivity is not specific to the individual practitioner, but is considered to be an ‘in-practice value (internal good?)’ (McIntyre) shared by the community of practice. From the aesthetic perspective, this value could be called ‘aesthetic value in practice’. In the teaching community of practice, ‘good teaching’ is both ‘beautiful teaching’ and ‘ethically good’ teaching. Teaching should be seen as a relational practice, and for this reason, The Ethico-Aesthetics of Teaching should be constructed. (shrink)

In his pioneering sociological theory, which makes phenomenological concepts fruitful for the social sciences, Alfred Schütz has laid foundations for a characterization of an manifold of distinct domains of experience. My aim here is to further develop this pluralist theory of experience by buttressing and extending the elements of diversity that it includes, and by eliminating or minimizing lingering imbalances among the domains of experience. After a critical discussion of the criterion-catalogue Schütz develops for the purpose of characterizing different cognitive (...) styles, I move on to examine its application to one special style, the lifeworld. I appeal, on the one hand, to Husserl's characterization of the lifeworld as a world of perception, and on the other hand to the layer-model of the lifeworld developed by Schütz and Thomas Luckmann. A consequence of this approach is that the lifeworld appears as a socially definable context that is detached from other experiences but on an equal footing with them with respect to their claim of validity. The term "lifeworld" does not denote a category that encompasses culture or nature but refers to a delimited action-space. Finally, I draw upon Schütz' s criterion-catalogue to characterize two domains of experience outside of the lifeworld, which play a central role for the process of differentiation of experience in modernity and for the phenomenological analysis of types of experience: experimental science and subjectivity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. 757 Ramzi Fawaz How to Make a Queer Scene, or Notes toward a Practice of Affective Curation Let me begin with two stories. In spring of 2013 I organized a semester -long, undergraduate film series at George Washington University titled “Acting Up: Queer Film and Video in the Time of AIDS.” At semester ’s end, after participants (...) had watched nine films about the AIDS epidemic —among them classic AIDS documentaries, activist videos, and mainstream Hollywood productions—I chose to conclude the series with the 1991 documentary Silverlake Life: The View from Here. Silverlake Life documents a year in the lives of Tom Joslin and Peter Friedman, a gay couple living in Los Angeles in the late 1980s who share an HIV diagnosis. At the time I made the selection, I did not realize that Silverlake Life documents one of the most devastating lived experiences of the AIDS epidemic ever filmed: during the course of taping, Tom, the initial documentarian, becomes gravely ill and dies on camera while lying in bed after a week-long convalescence. Reviewing this scene before our official screening, I found myself overwhelmed by intense feelings of anxiety. On the one hand, I felt a deep responsibility to expose my students to the aesthetic and political work of this daring documentary, and on the other, to protect them from witnessing forms of suffering that might traumatize them more than illuminate the social history of AIDS. When we convened to discuss the film, many students expressed how devastated they were by what they had seen. Rather than shutting down conversation, however, the depth and intensity of their viewing 758 Ramzi Fawaz experience galvanized an extraordinary conversation about the ethics of documenting the lives (and deaths) of people with AIDS. What they witnessed expanded the very possibilities of what they could feel about issues of collective concern such as the AIDS epidemic, while also transforming their ability to reconsider productive encounters with pain, suffering, and trauma. In my fear of negatively impacting students, I had forgotten both their capacity to respond with generosity and openness to traumatic images as well as my own careful curation of nine previous films and the attendant conversations held around them, which had laid a groundwork of shared affective openness to difficult content. One year later, as a newly minted assistant professor of English at the University of Wisconsin, Madison, I taught a large lecture course on American fantasy. In the fourth week of class, I screened The Wizard of Oz as part of a unit on the Hollywood musical, and I devoted a lecture to a gay and lesbian interpretation of this classic film. I highlighted the movie ’s camp aesthetics, its gender play and drag elements, and its derailing of traditional heterosexual romance plots. As a gay man well versed in queer media scholarship, I took it for granted that this was a pleasurable but patently obvious interpretation of a film that I assumed most people recognized for its exuberant and visually spectacular gayness. Yet as I spoke, I sensed a visceral tension build in the room. Half the students seemed mesmerized by the possibility of a queer aesthetic underlying the movie, while the other half frowned at me in silent fury, outraged by my daring to desecrate the presumed innocence of a childhood escape. The seething resentment of this latter group was confirmed for me when, weeks later, my teaching assistants disclosed that numerous students had expressed feelings of anger and frustration that my interpretation had “ruined” their pleasure in a beloved film of their youth. This circumstance prompted me to confront my students the following week: microphone in hand, I strolled the room and asked students to account for their feelings of discomfort. I wanted them to explain why their personal pleasure in The Wizard of Oz hinged on the diminishment of alternative viewing possibilities, including unexpected queer delights in transparently “straight” narratives. Students were clearly jolted out of their complacent belief that no one would hold them accountable for their perspective, or that their view might have political or ethical consequences: yet the resistance of some to being called... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Other Side of Nothingness: Toward a Theology of Radical OpennessPaul O. IngramThe Other Side of Nothingness: Toward a Theology of Radical Openness. By Beverly J. Lanzetta. Albany: State University of New York, 2001. 182 pp.The central thesis of The Other Side of Nothingness is that apophatic mystical experience offers Christians a theology of humility sensitive to religious pluralism, which in turn is a means of (...) overcoming the "pains of spiritual oppression" caused by religious intolerance and doctrinal imperialism. The book's argument is that "mystical consciousness" overturns the dogmatic truth claims of "conventional theology" by preparing the self for the experience of radical openness to "divinity," however "divinity" is theologically named in the "conventional theology" of humanity's religious traditions. The book's author, Beverly J.Lanzetta, draws on a variety of Christian mystical texts to support her claims: Meister Eckhart, Gregory of Nyssa, Pseudo-Dionysius, Teresa of Avila, Bonaventure, and the anonymous author of the Cloud of Unknowing. She also makes comparative references to Hindu, Buddhist, and Sufi traditions, along with contemporary writers such as Abraham Joshua Heschel, Mahatma Gandhi, Thomas Merton, Howard Thurman, and Dorothy Day to illustrate her claim that apophatic mystical experience—the experience of the utter [End Page 306] annihilation of the self—draws the mystic to a place beyond a tradition's historical and normative self-understanding to new dimensions of the Sacred and, sometimes, to new "revelatory paradigms." The revelatory paradigm Lanzetta believes she has discovered in the evidence she cites is that "the divine nature itself is pluralistic, non-absolute, and is continually the source of new religious traditions," by which she means something similar to what John Cobb calls "creative transformation." For her, this is the antidote to religious imperialism and the exclusivism of conventional theology, meaning "non-mystical theology," which she argues is the source of religions fanaticism in all religions traditions, particularly in Christianity.There is much to admire about Lanzetta's take on mysticism and its importance for undercutting theological absolutism of the sort one encounters in the Christian Right or in certain radical movements within contemporary Islam. Her analyses of the mystical texts she cites to support her arguments are carefully crafted and accurately express the theologies of the Christian mystics who are the foci of her own theological reflection. Her writing style is elegant and clearly expresses the passion with which she embraces her views. I especially liked her focus on kenotic Christology in her description of the "Apophatic Christ" who "bears the generosity of speech and teaches an ethic of radical openness," which Lanzetta claims is also an openness to truths found outside Christian tradition. "All are called not to his name, his ministry, or even to his person, but are called to sustain the tension between the saying and the unsaying, and between the living and the dying, in which God's nonviolent heart yearns for unconcealment" (p. 90). Indeed, this is the heart of Christian mystical experience of Christ, particularly attested to in the writings of Maguerite Porete and Hildegard von Bingen. Yet kenotic Christologies are also found in nonmystical theology, which Lanzetta tends to lump together pejoratively under her category "conventional theology." Consequently, as much as I admire this book and agree with its essential conclusions—but for different reasons—my trouble with this work originates in Lanzetta's assertion of a hard dualism between mystical theology and "ordinary theology," a dualism that undermines her arguments and conclusions. My concern is threefold.First, mystical experience is primarily a matter of consciousness in the sense that something previously unknown and unexperienced is suddenly "there." This unanticipated presence is as real to the mystic's perspective as everyday experiences are, which is why mystics so often speak of being empowered to "see" or "touch" or "taste" what has been up to now imperceptible. If the experience is apophatic in structure—a usually brief moment of awareness in which all subject-object duality is overcome so that the mystic isn't aware of a self separated from what the self experiences or even that there is an "experience happening"—the mystic is neither thinking, feeling, or interpreting. That is... (shrink)

: In this essay, Miriam argues for a phenomenological-hermeneutic approach to the radical feminist theory of sex-right and compulsory heterosexuality. Against critics of radical feminism, she argues that when understood from a phenomenological-hermeneutic perspective, such theory does not foreclose female sexual agency. On the contrary, men's right of sexual access to women and girls is part of our background understanding of heteronormativity, and thus integral to the lived experience of female sexual agency.

Written in broad strokes, this paper attempts to draw form Krishnamurti’s life and teachings, a hermeneutics of the human soul’s quest-journey towards transcendent wholeness. It begins with an attempt to frame K’s “process” (the name given to the painful ordeals in his youth that many believe were the catalyst responsible for his metamorphosis) through a variety of disciplines and cultural perspectives, some of which underscore the impasse of scientific objectivity and the limits of phenomenalist categories in general. It then (...) explores the procedures and conceits of present technologies of self-transformation via pseudomeditative body work and suggests that this subject can only be confirmed by an experience so intimately and subversively (to its own object) subjective that it risks undermining its own legitimacy in the face of our body-phobic Cartesian cultural ethos that holds sacrosanct the mind-body split. -/- It then explores the deeper origins and history of this problem from the pre-Socratics to the misconceptions of modern mathematics about the proper place of metaphor and paradox and underscores how present day false consciousness fails to discriminate between a “noumenal” world and its conditioned “phenomenal” counterfeit copy. It ends with a brief meditation on K’s process. (shrink)

Bernard Stiegler highlights many of the problems faced by education with respect to the ‘bringing forth’ of knowledge on an individual, collective, and technical level in the Anthropocene. These problems include the short-circuiting of dreams, automatization of thought, and toxic digital networks. Stiegler’s φάρμακον seeks to treat the toxicity of the Anthropocene with a care-ful hermeneutic approach that is directed towards the disautomatized, inventive, co-individuating knowledge act. This paper first explores Stiegler’s Anthropocene and his development of Heideggerian ποίησις in terms (...) of the challenge of the ‘bringing forth’ of knowledge acts, which are illustrated by free software. It then explores, through the additional example of free radio, of Félix Guattari’s work in free radio, the problem and possibility of creative co-individuating ex-pression in the Anthropocene by expanding on Stiegler’s emphasis on the importance of hermeneutics. This raises the question of how to read Stiegler’s own ex-pression of the future of knowledge. Next, the paper reviews Stiegler’s educational project involving a dis-automatizable hermeneutic web. Finally, the paper gives an autoethnographic account of an attempt to ‘bring forth’ learning through the implementation of free software in local, online classrooms. The free software example does not solve the problem of the Anthropocene but does raise the question of our responsibility to choose our digital tools care-fully and the importance of maintaining the possibility of co-individuating ex-pression like the kind that is remembered in song and which online education should remind us of. (shrink)

This is a study of the way in which Levinas approaches the experience of human expression from two perspectives: firstly, as a pre-thematic or pre-cognitive “experience,” which requires that he revisit Husserl's pre-objective intentionality and explore the relationship between the upsurge of sensation and its “intentionalization” as consciousness self-temporalizing. Thereafter, Levinas must contend with the implications of his own writing, which includes his claims for the face. This implies that he must grapple with criticism to the effect that he is (...) providing a hermeneutics of face-to-face encounters. Levinas acknowledges that his writing is a “dramatique des phénomènes” and not a phenomenology of actions. How, then, to avoid charges of arbitrary description? How to step outside the primordiality of “the phrase” or the conceptualization that threatens claims to “pure” phenomenology? This is really what is at stake in Levinas's second great work. In this essay, I explore the role that “substitution” plays in weaving together conceptuality and phenomenality. I contrast this with other forms of “dramatization,” from narrative witnessing, to minimalist sculpture. (shrink)

Should we give moral standing to machines? In this paper, I explore the implications of a relational approach to moral standing for thinking about machines, in particular autonomous, intelligent robots. I show how my version of this approach, which focuses on moral relations and on the conditions of possibility of moral status ascription, provides a way to take critical distance from what I call the “standard” approach to thinking about moral status and moral standing, which is based on properties. It (...) does not only overcome epistemological problems with the standard approach, but can also explain how we think about, experience, and act towards machines—including the gap that sometimes occurs between reasoning and experience. I also articulate the non-Cartesian orientation of my “relational” research program and specify the way it contributes to a different paradigm in thinking about moral standing and moral knowledge. (shrink)

In this article, I describe an approach to teaching ancient practical ethics that encourages learners to engage actively with the ideas under consideration. Students are encouraged to apply a range of practical exercises to their own lives and to reflect both independently and in collaboration with others on how the experience impacts their understanding of the theories upon which such exercises are built. I describe how such an approach is both in keeping with the methods advocated by the philosophers (...) of ancient Greece and Rome, and also well supported by a wide range of contemporary educational research. I suggest that such active learning strategies encourage students towards a deeper and more nuanced understanding of the philosophical theories under consideration. Practical recommendations for incorporating such an approach into the teaching of applied philosophy are given. I finish by considering the impact such an approach may have on student motivation. (shrink)

This book explains that the natural and only quite wholesome way of teaching is to let the child's desire for knowledge operate in the schoolboy and guide the teacher. This means that without foregoing discipline, nor cutting ourselves off from tradition, we must continue experiments already being started in our elementary schools. These are based on the chastening fact that children learn best before we adults begin to teach them at all: and hence that however uncongenial the task may (...) be, we must conform our teaching methods to those of Nature. The attempt has often been made before. But in this book there is a rare combination of intuitive insight and practical sagacity. The author refused to believe that the collapse of the desire for knowledge between seven and seventeen years of age is inevitable. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A New Direction for Comparative Studies of Buddhists and Christians:Evidence from Nāgārjuna and John of the CrossAbraham Vélez de CeaIs Nāgārjuna's emptiness a means to point out the inadequacy of logic and concepts to express the nature of the Ultimate Reality? Similarly, are John of the Cross's concepts of nothingness and emptiness examples of the apophatic path to God? In sum, is emptiness in Nāgārjuna and John of the (...) Cross comparable to the Christian via negativa and the apophatic path to God?If you answered yes to any of these questions, I believe you might be interested in reading this article carefully. You are not alone; in fact most if not all previous discussions of Nāgārjuna and John of the Cross in the field of Buddhist-Christian studies have assumed an affirmative answer to the former questions. The comparisons of D.T. Suzuki, Thomas Merton, and the Kyoto school between the Christian God and Buddhist emptiness, as well as the comparisons of members of the Masao Abe–John Cobb group, have greatly contributed to this apophatic interpretation of emptiness. The enormous contributions of D. T. Suzuki, Thomas Merton, the Kyoto school, and the Abe-Cobb group to the field of Buddhist-Christian studies cannot be sufficiently praised and appreciated. However, the future of Buddhist-Christian studies and Buddhist-Christian dialogue requires a new comparative direction, a shift from comparative theory to comparative praxis, from doctrinal comparisons to more ethical and spiritually relevant comparisons.This new direction provides Buddhist-Christian studies with a more practical orientation necessary for the urgent needs of our planet as well as for the needs of a growing number of members of different religions with pluralist attitudes. By pluralist attitudes, I do not mean a relativistic standpoint, but rather an attitude of intellectual humbleness and dialogical openness toward other religions. That humble and dialogical openness seeks neither to proselytize nor to create a new religion. Rather, the objective is to build bridges of understanding and solidarity among religious communities and to be personally enriched by the contributions of all religions.In order to justify the need for this new and more practically oriented comparative [End Page 139] direction, it is imperative to review previous scholarship in the field of Buddhist-Christian studies. A comprehensive analysis of all past scholarship would be too ambitious a goal for the purpose of this article. Thus, in the first part of this article I limit myself to reviewing those questionable hermeneutical tendencies that I have identified in former Buddhist-Christian discussions of John of the Cross and Nāgārjuna. In the second part, I continue the justification of this new direction for Buddhist-Christian studies by providing a specific example, namely, a comparison of the instrumental ethical function of emptiness in Nāgārjuna and John of the Cross.Hermeneutical Tendencies in Previous Buddhist-Christian Studies of John of the Cross and NāgārjunaHermeneutical Tendencies in Comparisons of John of the Cross and BuddhismIn the case of John of the Cross, I have identified three questionable hermeneutical tendencies. The first one is to exaggerate the similarity between John of the Cross and Buddhism. Take, for example, what Thomas Merton—whose pioneering work on Buddhist-Christian dialogue deserves careful study—said in 1968: "Frankly, I would say that Zen is nothing but John of the Cross without the Christian vocabulary" (quoted in Nugent 1996: 53). This comparison suggests that the teachings of Zen and John of the Cross are virtually identical, neglecting important differences between them.Similarly, Christopher Nugent compares John's experience of one's own true self to the experience of Buddha-nature, and describes satori as a fusion of all and nothing, and the coincidence of opposites. For Nugent, John of the Cross is not only a Zen master, but also "more Taoist than dualist" (1996: 62–64). These comparisons of John of the Cross to Zen and Taoism concepts fail to bring justice to his ideas. John of the Cross cannot be categorized a nondualist because he maintains a clear distinction between God and creatures. Similarly, from an ethical... (shrink)

My chief claim is that no one could understand the meaning of either 'consciousness' or 'unconsciousness' unless his consciousness had been interrupted on at least one occasion. I consider various attempts that might be made to teach the meanings of these terms to a person who had never lost consciousness, And I show how these attempts fail. The ideas of consciousness and unconsciousness can occur only to a person in whose experience there has been a gap.

Hermeneutics is the systematic exploration of the structure of cultural meaning mediated through the experience of the sign. At its foundations there is language. But language is more than a catalogue of forms of signification; it is radically the experience of the sign in those relations with others which constituteintersubjectivity. What is the experience of the sign or the experience of signifying? At the level of structural linguistics, the sign signifies in virtue of its form.The sign is to that (...) extent a relational concept; it is diacritical — formed by the systematic relations which give it value as a linguistic element. Yet while fundamentally true, the diacritical description of the sign presupposes the experience of the sign. The diacritical description of the sign which has become the hallmark of linguistic studies of meaning since Saussure assumes the intersubjective nature of the sign and that the recognition of meaning in language is perceptual in character. There is then a deeper dimension of the sign upon which its understanding rests: the exploration of the intersubjective and perceptual structure of the moment of signifying.To firmly come to grips with the nature of interpretation and the nature of the questions which form the problematic of hermeneutics, it is necessary, therefore,to go beneath the formal structure of the sign to the material experience of the sign where that formal structure becomes the modality of linguistic meaning. The foundations of hermeneutics rest upon the most concrete experience of the sign which is the experience of the sign within the folds of the flesh and in thelanguage of desire. The reflections which follow are an interrogation of those two dimensions. They form, in the manner of phenomenology, constitutionalstudies for they raise the question of the primitive experience within which the sign is constituted as a signifying experience. (shrink)

Liberatory thought in Latin American philosophy leads to the question of the reinterpretation of historical time consciousness. In the following pages I first introduce the challenge as articulated out of Latin American thought, particularly with reference to Enrique Dussel and Aníbal Quijano, and then I develop a reinterpretation of historical time consciousness in its happening as understood through Hans-Georg Gadamer’s discussion of effected historical consciousness in Truth and Method. As already marked by this trajectory, this essay is not comparative, but, (...) through a dialogue with these thinkers, seeks to rethink the temporalizing-historical movement that is historical consciousness as a possible path to engaging in and understanding liberatory philosophy. (shrink)

The Association of Staff Developers in Philosophy for Children came into being in 1988. It was the result of staff developers feelin a need to be a part of an ongoing community of inquiry among themselves concerning problems of staff development, drawing upon our collective experience as staff developers, and recognizing our autonomy as philosophers. At the San Antonio Symposium in April of 1989, an Excutivr Board of 5 persons was elected: Marie Hungerman, Gerard Potvin, Cynthia Duque, Ron Reed, Ann (...) Sharp, and myself, Dale Cannon, as President, One of our decisions at that meeting was to solicit reports from different Centers of Philosophy for Children on their experience with different formats of staff developement and publish them in Analytic Teaching. The longer range goal was inclusion in a projected resource manual for staff development. (shrink)

The diversity of learning differences in today's college classrooms raises an array of difficult questions that pedagogical theory and practice have yet to address. The trend toward more individualized instruction presents a puzzle when considered alongside this new diversity, particularly in the context of classical ideals of liberal education. Drawing on the surprisingly timely educational writings of John Dewey, this essay attempts to sketch a pedagogical vision for the 21st century that shifts the focus back toward the process (...) of learning itself, and that grounds learning in the personal experience of the learner without compromising the larger goals of liberal education. Meeting the challenges presented by diverse learners may hold the key to reinvigorating higher education as a whole. (shrink)

In this article, the author once again reflected on her personal and existential experience of frequent visits to African countries as well as to Israel-Palestine. The article focuses on the issues of outsiders becoming effective allies to the cultures they are visiting, teaching and researching by listening to other understandings and interpretations of biblical texts, Jesus' parables specifically. It is an appropriate tribute to Yolanda Dreyer because of Prof. Dreyer's involvement and significant contributions in issues of social justice, both (...) academically and experientially. (shrink)

This paper intends to present the transformational-empowering possibilities of cross-cultural hermeneutics on the Trinitarian language toward ritual hermeneutics on Trinitarian language. Cross-cultural means the reciprocal interpretive movement from a certain culture to another culture. It also means making an effort to understand how the perspectives and experiences of the other culture differ from one’s own. The different cultural experiences and perspectives produce different interpretations, which are to be valued and respected. Cross-cultural hermeneutics does not seek a (...) unified Meaning by conquering others who are alien, different, or weak. Cross-cultural hermeneutics affirms diversity, yet it requires critical engagement of different cultures. Particularly, the critical engagement of different cultures includes unavoidable decisions about which interpretations are appropriate and what criteria should govern such decisions. The cross-cultural hermeneutics of the Trinitarian language as a critical reflection on hermeneutics is articulated in two synchronized dynamic movements of interpretation: diversifying Meaning of the Trinitarian language and harmonizing meanings of the Trinitarian language. It is also important to note that the Trinitarian language-event does not always occur every time the Trinitarian language is spoken. However, one of the certainties I have in developing the main themes of the paper is that authentic cross-cultural hermeneutics about the Trinitarian language can let the Trinitarian language be “the House of Trinitarian Being” across different cultures in the event of communal relationships where the Triune God is worshipped in terms of the Trinitarian language. Namely, the worshiping communal relationship can be the event of time and place where the authentic hermeneutics of the Trinitarian language can happen. For this reason, I draw attention to the performance character of Trinitarian language in ritual narrative and participation in which fixed identities and relationships are eventually transformed as participants submit their identities to the divine. (shrink)

This paper applies a Ricœurian ethics in a two-fold personal/societal critique, choosing as a case study the representation of an “other” in a newspaper article. The personal critique uses a historical narrative as a window. Through it, we see hysterical stories about national enemies—in this case the Greek Cypriots—imposing themselves upon the developing consciousness of a growing child. I describe my awakening—through Ricœur’s idea of the creativity of language—from the spell of these dominant normative national narratives to the possibility of (...) re-reading them creatively. Ricœur’s blueprint for engagement with such narrative structures holds out the promise of reading them in an ethical manner, and this is achievable through his linguistic hospitality. From there, this study, analyzing the ethical predicaments of mainstream journalism from the perspective of critical media studies, problematizes the issue of otherness in the news. The example taken up, a current Turkish newspaper article covering a Turkish Cypriot Parliamentarian’s remarks in session regarding the experiences of 1974 Cyprus, reveals how this otherization is actually constructed under the name of the journalistic profession. This essay then borrows a Ricœurian ethical perspective with a view to making news language more hospitable, repositioning both news organizations and news items alike within Ricœur’s ethical paradigm of leading a good life with and for others within just institutions. This conceptualization of the news item itself as a just institution is a change that journalists could make in order to bring the news more in line with a Ricœurian sense of ethics and away from the current dominant practices in mainstream journalism. (shrink)

Meaningful work is both a moral issue and an economic one. Studies show that workers’ experience of meaninglessness in their jobs contributes to job dissatisfaction which has negative effects to business. If having a meaningful work is essential for the well-being of workers, providing them with one is an ethical requirement for business establishments. The essay aims to articulate an account of meaningful work in the Catholic social teachings. CST rejects the subjectivist and relativist notion of work which affirms the (...) absolute freedom of individuals to choose their commitment and goals, even if this includes experiencing satisfaction in dehumanizing work. First, the paper will present a summary account of some of the current views on meaningful work from the objective-normative approach. This will be followed by a systematic treatment of the meaning and value of work in the CST, the similarities and differences it has with alternative views, and its implications for the way we promote meaningful work. The paper will argue that by recognizing the subjective and objective dimensions of work and affirming that although the two are inseparable, the former takes priority over the latter; CST develops a holistic, comprehensive, and coherent account of meaningful work which overcomes some of the difficulties that are usually encountered in dealing with this issue from a purely objective approach. (shrink)

This volume first contrasts the emphasis on the author and that of the text -- two emphases that concentrate primarily upon the intention of the author and the ..

Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such claims, I argue that Gadamer’s reflections on art exhibit a genuine appreciation for alterity not unrelated to his hermeneutical approach to the other. Thus, by bringing Gadamer’s reflections on our experience of art into conversation with key aspects of his (...) philosophical hermeneutics, we are able to better assess the viability of Gadamer’s contributions to contemporary discussions of difference and alterity. -/- Sections two through six focus on key concepts in Gadamer’s account of art’s dynamic ontology and our experience of art. Such concepts include the play structure of art, hermeneutic identity, tarrying with a work, and contemporaneity. The opening sections provide not only a discussion of these central themes, but they also (1) draw attention to the various ways in which difference and otherness are integral to Gadamer’s account, and (2) utilize relevant musical examples that prepare the reader for a more focused discussion of a Gadamerian approach to free jazz in section seven. By highlighting how Gadamer’s understanding of art possesses a dialogical play structure, is characterized by identity and difference, requires actively engaged spectators and auditors, and is amenable to what many criticize as an unintelligible musical expression, viz. free jazz, Gadamer’s project is shown as other-affirming and open to ambiguity and dynamism. That is, the essential structures and concepts characterizing Gadamer’s reflections on art are likewise central to his overall hermeneutical project, and hence are not rightly described as un-attuned to difference or other-negating. Rather, Gadamer’s philosophical project upholds difference, since it requires a dialogical interplay between self and other that creates the possibility for a transformative experience. (shrink)

The objective of this article is to present and analyze some theses ad­vanced in "Lectures 3"1 by Paul Ricoeur. The book is devoted to the boundaries of philosophy, to non-philosophical sources of philosophy and finally to the other par excellence of philosophy - to religion. The book is composed of a series of essays divided thematically into three parts. The first part deals with Kant's and Hegel's philosophy of religion. Then in the course of the book the author gradually moves (...) away from the philosophical logos to arrive at a point where recourse to the exegesis of the Bible becomes for him indispensable. (shrink)

The author outlines a spiritually oriented model of cosmic education inspired by Advaita Vedanta philosophy. The description of the general principles of this Nondual Vedantic Cosmic Education (NVCE) will be preceded by a brief review of the writings of two Indian authors, Vivekananda and Aurobindo, who led the revitalisation of nondual vedantic philosophy. In order to utilize the nondual vedantic spiritual wisdom as a curriculum substrate for teaching/learning processes in classrooms, the NVCE model uses some core ideas from Ken (...) Wilber’s Integral Theory, which can serve as an interface theory between nondual vedantic philosophy and this new conception of cosmic education. NVCE will be organized around three main curriculum realms: a) “Purifying the mind”, b) “Controlling the Mind” and c) “Expanding the Mind”. These three curriculum realms are shown to respectively correspond with three processes in Wilber’s Integral Theory, such as a) Show Up, b) Wake Up and c) Grow Up), and also with the four classical yogas mentioned in the wisdom traditions of Hinduism: a) Bakhti Yoga and Karma Yoga, b) Raja Yoga and c) Jnana Yoga. The author holds that this world has no future unless spirituality becomes the substrate of educational processes. In NVCE, which is a proposal to raise the educational building from spiritual pillars, to educate is to guide others and ourselves on the path that leads to the nondual experience. From the nondual vedantic perspective, cosmic education is the path through which human beings progressively dissolve their limited individualities into the nature of God. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward a Theoretical Framework for the Study of Humor in Literature and the Other ArtsJerry Farber (bio)With a clearer understanding of the way humor works, we might be better able to give it the attention it deserves when we study and teach the arts. But where do we turn to find a theoretical framework for the study of humor—one that will help to clarify the role that humor (...) plays in the arts and that will help us as well to understand differences in the way individual perceivers respond to humor in art?A superiority theory of humor emerged in classical times and more or less held the stage through the seventeenth century; now, however, though an occasional attempt to revive it is still made,1 superiority theory is usually regarded as far too narrow in scope to be useful as a general account of humor. What are commonly referred to as "release" (or, occasionally, "relief") theories— and associated with Spencer and Freud—were for a time very influential, but are somewhat narrow too in their own way, and furthermore, as Noël Carroll puts it, "have the liability of presupposing hydraulic views of the mind that are highly dubious."2 Incongruity theory, which has been around in one form or another since at least the eighteenth century, dominates contemporary humor theory but is still widely regarded as not quite there yet. And so humor remains somewhat mysterious and elusive. Or not even that. It may be that most people, even teachers in the arts, bypass theory entirely and simply accept humor as a given: an unanalyzable fact of human life. I've sometimes wondered if it may be that we don't want to understand humor, either because we're afraid that this understanding will spoil the game or, just possibly, because we sense that, as a consequence of it, we may discover things about ourselves that we would prefer not to know.Is a well-founded, broadly inclusive theoretical framework for the study and teaching of humor in the arts achievable? I want to propose that it is if [End Page 67] we take incongruity theory a few steps further, integrating an analysis of the humorous situation (that is, what we perceive: the caricature, the witty dialogue, the bit of stage business) with an analysis of what goes on in the perceiver (the humor experience itself).A General Theory of HumorIncongruity theory, though clearly the front-runner these days, continues to be problematic, making too much sense for us to discard it, but not quite enough sense to get us where we need to go. Thus, Carroll concludes his recent overview of this theoretical tradition: "Though promising, the Incongruity Theory of Humor remains a project in need of further research."3 Reading this we may find ourselves wondering, just as we might about some writer or performer who's been on the scene for a good long time, how much longer this centuries-old theoretical approach gets to remain "promising."What have been the major problems associated with incongruity theory? For one thing, it doesn't tell us much about the affective dimension of humor.4 Neither does it satisfactorily explain differences in the way individual perceivers respond. The major weakness of incongruity theory, however, has been a failure to account adequately for all of those instances of incongruity that are not funny: for example, brainteasers, logic problems, and puzzles. One way of dealing with this problem has been to keep adding on exclusionary clauses until the category has been pared down satisfactorily. In other words, humor is based on incongruity, provided that we exclude situations that inspire fear, or are disgusting, or are perceived instrumentally, or are regarded primarily as a puzzle, and so on. But, of course, this is patchwork. What we need is a humor theory where stipulations such as these don't have to be added on, because they follow logically from the theory itself.It's been proposed repeatedly that the incongruous elements in humor are likely to be connected in some way, though some of the terms that have been advanced to identify this connection are unnecessarily limiting if... (shrink)

"The classic and recent essays gathered here will challenge scholars in the natural sciences, philosophy, sociology, anthropology, and women’s studies to examine the role of racism in the construction and application of the sciences. Harding... has also created a useful text for diverse classroom settings." —Library Journal "A rich lode of readily accessible thought on the nature and practice of science in society. Highly recommended." —Choice "This is an excellent collection of essays that should prove useful in a wide range (...) of STS courses." —Science, Technology, and Society "... important and provocative... "—The Women’s Review of Books "The timeliness and utility of this large interdisciplinary reader on the relation of Western science to other cultures and to world history can hardly be overemphasized. It provides a tremendous resource for teaching and for research... "—Ethics "Excellent." —The Reader’s Review "Sandra Harding is an intellectually fearless scholar. She has assembled a bold, impressive collection of essays to make a volume of illuminating power. This brilliantly edited book is essential reading for all who seek understanding of the multicultural debates of our age. Never has a book been more timely." —Darlene Clark Hine These authors dispute science’s legitimation of culturally approved definitions of race difference—including craniology and the measurement of IQ, the notorious Tuskegee syphilis experiments, and the dependence of Third World research on First World agendas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Rebirth of Cool:Toward a Science SublimeE. David Wong (bio)We love and hate "the cool." As educators, few things are more coveted than being recognized as teaching the "coolest" class in the school. We look forward to the rare moment when students gasp in awe or scream in amazement. However, in the quiet that returns after the last student rushes out the classroom door, we may feel (...) an uneasy ambivalence. Perhaps we admonish ourselves that serious science is substantial, enduring, and intellectual. We wonder whether our "cool" class was merely superficial, fleeting, and mindless.In this article I examine the cool—this idea we love and hate—and assert its importance in science education. I acknowledge that some experiences can be engaging but are superficial and unimportant—this is the "merely cool." By contrast, some experiences are deeply moving because we feel a growing capacity to perceive meaning and value in the world—this is the "sublimely cool." I draw from philosophy, literature, psychology, and aesthetics to build connections between cool and sublime experiences. By highlighting the surprisingly substantial connection between the cool and sublime, I hope to bring greater depth to the meaning of "cool," this imprecise, but honest, term. I also take care to define sublimely cool experiences in science as having a direct relationship with subject-matter understanding. It is true that the full meaning of aesthetic experiences extends beyond the grasp of words and conceptualization; however, it is equally true that knowledge and reason are central to all worthwhile experiences. The expansion of meaning and perception, not just intense sensation or emotion, is the heart of the sublimely cool experience. Nobel laureate physicist Richard Feynman provides a personal example of how his knowledge of science enhances his sublimely cool experience of Nature: "Poets say science takes away from the beauty of the stars—mere globs of gas atoms. Nothing is 'mere.' I too can see the stars on a desert night, and feel them. But do I see less or more? The [End Page 67] vastness of the heavens stretches my imagination—stuck on this carousel my little eye can catch one-million-year-old light."1Cool as a Sign of Compelling Experience"Cool" is an intriguing expression for it is at once both crude and incisive. On the one hand, "cool" is a colloquial term used by people of all ages and backgrounds in many contexts to describe many things. So wide and informal is its use that "cool" may seem trite and banal. "Cool" is rarely chosen carefully when used: indeed, it is more often an unintentional, reflexive utterance.Thus, the more one thinks before speaking, the less likely "cool" will be used. Nonetheless, because it is an impulsive expression, "cool" may be all the more honest. Dewey made a similar point in his observation of the word "beauty": "Beauty... is properly an emotional term, though one denoting a characteristic emotion. In the presence of a landscape, a poem or a picture that lays hold of us with immediate poignancy, we are moved to murmur or to exclaim 'How beautiful.' The ejaculation is a just tribute to the capacity of the object to arouse admiration that approaches worship."2 With "just tribute" Dewey emphasizes the honesty of the term. By "admiration that approaches worship," Dewey reminds us that the spontaneous uttering of "beautiful" is a sign that a powerful experience has been had. I will make a similar argument that the term "cool"—although common and ordinary—can signal the having of a compelling experience. As a compelling experience, the cool becomes an important resource for teachers.Dewey goes on to describe how the meaning of "beauty" has, unfortunately, lost its value to aesthetic theoreticians: "Beauty is at the furthest remove from an analytic term, and hence from a conception that can figure in theory as a means of explanation or classification. Unfortunately, it has been hardened into a peculiar object; emotional rapture has been subjected to what philosophy calls hypostatization, and the concept of beauty as an essence of intuition has resulted. For purposes of theory, it then becomes an obstructive term."3Because of the way they are... (shrink)