ABSTRACT With a particular focus on the experience of young people in higher education, this paper turns to the philosophical work of Cora Diamond to open up new ways of conceptualising mental health. We claim that Diamond offers a compelling insight into that experience of human difficulty so often subsumed by a medicalised vocabulary. We propose that she offers philosophically astute perceptions of the related human attempts at deflection. And we situate this reading of Diamond against a broader understanding of (...) the contemporary university as a place of institutional darkness. In developing this general discussion, we place ourselves within a very particular context. We draw on the narratives of a number of third-level students in Ireland, who shared their experiences as part of a hermeneutic phenomenological study into the lived experience of mental health difficulties. (shrink)

The Slow Professor: Challenging the Culture of Speed in the Academy was published in 2016 to critical acclaim. Rejecting outright the marketisation of the modern university, the book proposed a countercultural approach which denounced the seductive imperatives to overwork and competition and called on academics to make a more deliberate moral choice. In this paper, I critically engage with The Slow Professor's ethical vision. I draw on the work of writers Sally Rooney, John Williams and David Foster Wallace in careful (...) exploration of ‘slowness’ and its cognate terms. I am interested not only in the importance of slowness for university academics but for students in the 21st century university. These students, as pointed out recently by Bruce Macfarlane, are made to carry a plethora of conflicting identities and yet it is perhaps more important that we begin to demand less of our students and not more. Thus, in an era of audit and accountability, this paper explores the possibilities for a less frenetic approach to university teaching and learning. (shrink)

The Slow Professor: Challenging the Culture of Speed in the Academy was published in 2016 to critical acclaim. Rejecting outright the marketisation of the modern university, the book proposed a countercultural approach which denounced the seductive imperatives to overwork and competition and called on academics to make a more deliberate moral choice. In this paper, I critically engage with The Slow Professor's ethical vision. I draw on the work of writers Sally Rooney, John Williams and David Foster Wallace in careful (...) exploration of ‘slowness’ and its cognate terms. I am interested not only in the importance of slowness for university academics but for students in the 21st century university. These students, as pointed out recently by Bruce Macfarlane, are made to carry a plethora of conflicting identities and yet it is perhaps more important that we begin to demand less of our students and not more. Thus, in an era of audit and accountability, this paper explores the possibilities for a less frenetic approach to university teaching and learning. (shrink)

I argue in this paper for the rich and subtle connections between moral philosophy and literature as they are articulated and explored in the work of the contemporary American philosopher, Cora Diamond. In its significance for broader educational debates—specifically, debates regarding the value of the arts and humanities in a context of global economic collapse—Diamond's work is strikingly original. I argue that it offers much more to educators than the related work of her Anglo-American contemporaries, among them Martha Nussbaum and (...) Richard Rorty. In development of my position, I read Diamond's 2008 essay, The Difficulty of Reality and the Difficulty of Philosophy, withA Girl is a Half-formed Thing, the debut novel of Irish writer Eimear McBride. (shrink)

I argue in this paper for the rich and subtle connections between moral philosophy and literature as they are articulated and explored in the work of the contemporary American philosopher, Cora Diamond. In its significance for broader educational debates—specifically, debates regarding the value of the arts and humanities in a context of global economic collapse—Diamond's work is strikingly original. I argue that it offers much more to educators than the related work of her Anglo-American contemporaries, among them Martha Nussbaum and (...) Richard Rorty. In development of my position, I read Diamond's 2008 essay, The Difficulty of Reality and the Difficulty of Philosophy, with A Girl is a Half-formed Thing, the debut novel of Irish writer Eimear McBride. (shrink)

With specific reference to the teaching of Irish and English in Ireland, I am concerned in this paper with the experiences of language dispossession and language pedagogy. Drawing on Jacques Derrida’s key concepts of ‘hospitality’ and ‘monolingualism’, I argue that in Ireland the first of these experiences cannot be separated from the second. Taking into consideration its colonial past as well as the changing linguistic profile of its present, Ireland is at once ‘host’ and ‘hostage’ to the English language and (...) this deconstructing identity has important ramifications for the country’s systematic teaching of English as well as Irish. The primary philosophical text guiding my discussion is Derrida’s ‘Monolingualism of the Other’. (shrink)

This paper re-examines the tension between professional and liberal education by revisiting The Idea of the University (1852), the seminal mid-nineteenth century treatise of John Henry Newman. In returning to Newman’s classic text, we are interested in the significance of his lectures for a contemporary Higher Education increasingly under pressure to be ‘useful:’ on this understanding, ‘useful’ denotes an arguably limited and utilitarian sense where the university guarantees its students a well-paying job on graduation. In pressing on this distinction between (...) ‘the useful’ and ‘the useless’ – a distinction that continues to plague discourse on the contemporary university – our paper focuses on the experiential and pedagogical aspects of education that find recurring emphasis in Newman’s classic work: aspects of place, of community, and of the teacher–student relationship. (shrink)

Journal of Philosophy of Education, Volume 56, Issue 1, Page 51-54, February 2022.

This is the first book to bring a philosophical lens to issues of socio-political and cultural importance in twenty-first century Ireland. While the social, political, and economic landscape of contemporary Ireland has inspired extensive scholarly debate both within and well beyond the field of Irish Studies, there is a distinct lack of philosophical voices in these discussions. The aim of this volume is to enrich the fields of Philosophy and Irish Studies by encouraging a manifestly philosophical exploration of contemporary issues (...) and concerns. -/- The essays in this volume collectively address diverse philosophical questions on contemporary Ireland by exploring a variety of themes, including: diaspora, exile, return; women’s bodies and autonomy; historic injustices and national healing; remembering and commemoration; institutionalisation and containment; colonialism and Ireland as "home"; conflict and violence; Northern Ireland and the peace process; nationalism, patriotism, and masculinities; ethnicity, immigration, and identity; and translation, art and culture. -/- Philosophical Perspectives on Contemporary Ireland marks a significant contribution to contemporary theorizations of Ireland by incorporating both Irish and transatlantic perspectives. It will appeal to a broad audience of scholars and advanced students working in philosophy, Irish Studies, feminist theory, history, legal studies, and literary theory. Beyond academia, it will also engage those interested in contemporary Ireland from policy and civil society perspectives. (shrink)

In 1998, Richard Rorty drew attention to a cultural tendency, most obvious in the contemporary novel, toward self-mockery or disgust. Citing the recent novels of Neal Stephenson (Snow Crash) and Leslie Marmon Silko (Almanac of the Dead), Rorty observed in this late twentieth-century writing a palpable condescension toward national pride. This was a literature in which it was no longer considered appropriate to take pride in one’s citizenship or nation, a writing “of rueful acquiescence in the end of American hope.”2 (...) Rorty’s fondness for binary oppositions led subsequently to a contrast between this contemporary writing and the socialist novels of the early twentieth century. Books by John Steinbeck, Upton .. (shrink)

In his seminal work, The Courage to Teach: Exploring the Inner Landscape of a Teacher's Life, Parker J. Palmer brings to critical attention not teaching methodologies or teaching techniques but the very identity and integrity of the person who teaches. In an extended meditation on the life of the teacher at all educational levels, Palmer chooses to foreground the significance of personhood, of self-knowledge and self-expression. The questions most commonly asked in teaching, he expands, relate to the "what," the "how," (...) and the "why" but very seldom do we train our gaze on the "who." Very seldom do we... (shrink)

Theodor Adorno’s “Late Style in Beethoven” is the first philosophically sophisticated attempt to chronicle, if not fully characterize, movements of the mature artwork. With direct reference to Beethoven’s third and final phase, Adorno offers a complex formulation of aging and artistry. He attempts to capture, ambitiously, the content and internal structure of the late artwork, the forms to which that internal structure is responsible, the artistic conventions governing that structure, the sociohistorical conditions in which the work was produced and, finally, (...) the personality of the late artist. Foremost among these formulations is the idea of late style as putatively strange and difficult. Works of the... (shrink)

This paper engages the philosophical concepts of subjectification and acknowledgment in conversation with Philip Pullman’s young adult novel, Northern Lights. Our particular focus is Lyra Belacqua, Pullman’s central character. Precarious in her vulnerability and in her unknown significance, we read Lyra as usefully negotiating the dangerous transition from childhood to adolescence. In her negotiation of this complex liminality, we argue that Lyra models those difficult-to-define moments encountered by children as they learn to be in and of the world. Situating our (...) reading in a Philosophy of Education discourse, we draw theoretically from the work of Gert Biesta and Stanley Cavell. With Biesta as the primary focus of our paper, we generalize beyond Northern Lights to argue that the reading of fiction constitutes “a weak educational event” in Biesta’s intriguing understanding of that phrase. Partly as a theoretical framing for the Pullman text, we begin with an outline of Biesta’s philosophy. (shrink)

Martha Nussbaum is one among a number of contemporary American philosophers to suggest the writing of philosophy as central to its achievement. Nussbaum urges that philosophical writing is not neutral, that form and style centrally influence content. Like Richard Rorty, Nussbaum sees no sharp distinction between literary criticism and philosophy. Like Stanley Cavell, she finds in literature an edifying response to philosophical anxiety. Taking her pronouncements on philosophical style as its primary point of departure, this paper interrogates Nussbaum’s own standing (...) as “philosophical stylist.” This description is meant to signal both the centrality of language and writing to her conceptions of philosophy and her own writing as exhibiting flair and elegance as well as an irreducibility to paraphrase. With particular attention to Nussbaum’s Love’s Knowledge , I will argue that it is in the philosopher’s formal pronouncements or principles, rather than in her philosophical practice, that foregrounding of style is most apparent. In development of this argument, Cavell will emerge as a key figure of comparison. (shrink)

Martha Nussbaum is one among a number of contemporary American philosophers to suggest the writing of philosophy as central to its achievement. Nussbaum urges that philosophical writing is not neutral, that form and style centrally influence content. Like Richard Rorty, Nussbaum sees no sharp distinction between literary criticism and philosophy. Like Stanley Cavell, she finds in literature an edifying response to philosophical anxiety. Taking her pronouncements on philosophical style as its primary point of departure, this paper interrogates Nussbaum’s own standing (...) as “philosophical stylist.” This description is meant to signal both the centrality of language and writing to her conceptions of philosophy and her own writing as exhibiting flair and elegance as well as an irreducibility to paraphrase. With particular attention to Nussbaum’s Love’s Knowledge, I will argue that it is in the philosopher’s formal pronouncements or principles, rather than in her philosophical practice, that foregrounding of style is most apparent. In development of this argument, Cavell will emerge as a key figure of comparison. (shrink)