_The Routledge Education Studies Reader_ provides an authoritative overview of the key aspects of education for students beyond the introductory stages of a degree programme in Education Studies, enabling students to deepen their understanding. A blend of modern-classic and contemporary readings, based on a combination of empirical research and established theory, provide coverage of the following: globalisation and the impact of new technologies educational policies and society curriculum and pedagogy assessment professional learning learning beyond schools. In order to encourage engagement (...) with the literature, each reading is introduced by the editors. Key questions accompany every reading, enabling the student to reflect on the piece. Suggestions for further reading are made and explained throughout. _The Routledge Education Studies Reader_ is an essential resource for students of Education Studies, especially during years 2 and 3 of the undergraduate degree. It will prove useful to other students and professionals interested in the study of education. _The Routledge Education Studies Textbook_ is an academically comprehensive and appropriately challenging textbook that can be used alongside this Reader. (shrink)

Embodied cognition pertains to the consequences on thought and emotion of living with our particular human sensory and motor systems. The consequences are quite varied, and researchers across the cognitive sciences have made great discoveries in line with this principle. However, while we offer this principle, it is necessarily broad, and searching for a single unifying theme has not brought researchers together behind a clearly defined endeavor. Rather than attempt to do so, we embrace the variation and specificity in research (...) endeavors across the cognitive sciences to forge a practical sense in which embodied cognition can be a useful paradigm within which to think and work. This topic, The Future of Embodied Cognition, includes contributions from eight sets of authors communicating how embodied cognition has and will influence specific approaches within their disciplines. Through this format, the lessons from each contribution can be easily shared with colleagues across disciplines. As these lessons continue to be shared, a paradigm that is of practical use will emerge, and its coherence across disciplines will follow. To illustrate the practical aspect of this approach, in this introductory paper, we take one lesson from each contribution that must be shared and illustrate how each lesson can apply to a single, specific topic of study. (shrink)

Could there be an implicature whose content is not propositional? Grice's canon is somewhat ambivalent on this question, but such figures as Sperber & Wilson, Davis, and Lepore & Stone presume that there cannot be, and argue that this causes glaring failures within the Gricean programme. Building on work by McDowell and Buchanan, I argue that, on the contrary, the notion of non-propositional implicature is very much worth investigating. I show how the notion has promise to illuminate the content of (...) many sorts of complex utterance—from the cases of verbal irony, metaphorical usage, slurring, insinuation, and (some kinds of) humour, to various others which involve expressive or evaluative content. (shrink)

In the last thirty years, work in analytic philosophy of art has flourished, and it has given rise to considerably controversy. Stephen Davies describes and analyzes the definition of art as it has been discussed in Anglo-American philosophy during this period and, in the process, introduces his own perspective on ways in which we should reorient our thinking. Davies conceives of the debate as revealing two basic, conflicting approaches--the functional and the procedural--to the questions of whether art can be defined, (...) and if so, how. As the author sees it, the functionalist believes that an object is a work of art only if it performs a particular function (usually, that of providing a rewarding aesthetic experience). By contrast the proceduralist believes that something is an artwork only if it has been created according to certain rules and procedures. Davies attempts to demonstrate the fruitfulness of viewing the debate in terms of this framework, and he develops new arguments against both points of view--although he is more critical of functional than of procedural definitions. Because it has generated so much of the recent literature, Davies starts his analysis with a discussion of Morris Weitz's germinal paper, "The Role of Theory in Aesthetics." He goes on to examine other important works by Arthur Danto, George Dickie, and Ben Tilghman and develops in his critiques original arguments on such matters of the artificiality of artworks and the relevance of artists' intentions. (shrink)

In this chapter, the author begins with Arthur Danto's reflections upon art and evolution in his 1985 David and Marianne Mandel Lecture in Aesthetics presented at the Annual Meeting of the American Society for Aesthetics. “Primitive” artifacts influenced modernist artists because the “conceptual complexity and aesthetic subtlety” of such artifacts revealed to them artistic possibilities that transcended the “prevailing aesthetic canons” of late nineteenth‐century European art. Danto's argument has drawn widespread criticism, many of his critics, including Vogel herself, questioning (...) the role played in that argument by the anthropological thought experiment. Danto might be more sympathetic to Gell, who prefaces his own proposal by rebuking anthropologists of art for remaining in the thralls of a “reactionary” aesthetic conception of art. (shrink)

The paper examines Danto's ideas about the “birth of art” from three perspectives: his concept of a natural aesthetic instinct; his concept of the birth of art “in a narrow sense,” in the transfiguration of substitutes (an event or possibility that he dates and places in various ways); and his concept of the constant birth of art, “in a larger sense,” among “artists‐outside‐the artworld.” The paper comments on these notions, some of their sources, and some of their interest and implications, (...) from an art historian's perspective. (shrink)

The pioneering work of Johann Winckelmann (1717-1768) identified a homoerotic appreciation of male beauty in classical Greek sculpture, a fascination that had endured in Western art since the Greeks. Yet after Winckelmann, the value (even the possibility) of art's queer beauty was often denied. Several theorists, notably the philosopher Immanuel Kant, broke sexual attraction and aesthetic appreciation into separate or dueling domains. In turn, sexual desire and aesthetic pleasure had to be profoundly rethought by later writers. Whitney Davis follows how (...) such innovative thinkers as John Addington Symonds, Michel Foucault, and Richard Wollheim rejoined these two domains, reclaiming earlier insights about the mutual implication of sexuality and aesthetics. Addressing texts by Arthur Schopenhauer, Charles Darwin, Oscar Wilde, Vernon Lee, and Sigmund Freud, among many others, Davis criticizes modern approaches, such as Kantian idealism, Darwinism, psychoanalysis, and analytic aesthetics, for either reducing aesthetics to a question of sexuality or for removing sexuality from the aesthetic field altogether. Despite these schematic reductions, sexuality always returns to aesthetics, and aesthetic considerations always recur in sexuality. Davis particularly emphasizes the way in which philosophies of art since the late eighteenth century have responded to nonstandard sexuality, especially homoeroticism, and how theories of nonstandard sexuality have drawn on aesthetics in significant ways. Many imaginative and penetrating critics have wrestled productively, though often inconclusively and "against themselves," with the aesthetic making of sexual life and new forms of art made from reconstituted sexualities. Through a critique that confronts history, philosophy, science, psychology, and dominant theories of art and sexuality, Davis challenges privileged types of sexual and aesthetic creation imagined in modern culture-and assumed today. (shrink)