In lieu of an abstract, here is a brief excerpt of the content:Merging Traditional Technique Vocabularies with Democratic Teaching Perspectives in Dance EducationA Consideration of Aesthetic Values and Their Sociopolitical ContextsBecky Dyer (bio)IntroductionConventional aesthetic values in dance traditionally have been wed to long-established authoritarian teaching approaches in American professional dance companies and university dance programs. Developed over time from a mixture of enduring cultural tastes, aesthetic ideals, and historical influences, aesthetic values play a significant role in teaching (...) and learning processes in the classroom, although the impact of their presence on learning is often indiscernible or paid little attention. As dance educators in higher education make efforts to move toward more democratic teaching perspectives, they often find themselves philosophically lodged between established approaches to teaching traditional, codified vocabularies and aesthetics and more contemporary, student-centered, and democratically oriented perspectives to teaching and learning dance. Attention to the sociopolitical contexts of dance training gives practitioners opportunities to consider aesthetic values of dance from differing cultural vantage points and the perspectives by which these values are taught and learned.Each learning circumstance in dance is a complex weaving of personal and social experience involving individuals, communities, movers, and viewers. Movement aesthetic values emerge from personal and communal morals and ideals as well as social mores of the body, which create contextual lenses for experiencing, interpreting, and making meaning of movement vocabularies created and perpetuated in dance communities. It is important that teachers who seek to incorporate more democratically oriented, student-centered teaching perspectives become mindful of ways social values and perceptual/contextual frameworks impact personal [End Page 108] and communal practices in dance. Approaches to learning technique that consider sociocultural factors of dance movement aesthetics—wherein teachers and learners are led to recognize and reflect upon personal, social, and aesthetic values embodied in movement and embedded in movement vocabularies—can lead teachers and learners to better understand the significance of learning in dance as it relates to personal and social worlds beyond the classroom.This article will suggest how movement analysis from a socially contextualized perspective can inform understanding about the significance of sociopolitical contexts and aesthetic values in Western dance training. Perspectives of movement analysis will provide groundwork for discussing perceivable ways to address discrepancies between democratic and authoritarian teaching viewpoints and to challenge the prominent linking of conventional aesthetic values and vocabularies, as well as codified techniques, to authoritarian practices. The discussion will address relationships between pedagogical perspectives and ideologies held by teachers concerning the place and worth of conventional aesthetic values and the nature of aesthetic experiences in the dance technique classroom, and the potential understandings and meanings their students construct.Foundations of Movement Analysis: The Ideas and Practices of Rudolf LabanRecognizing embedded personal and social aesthetic values in movement is an important initial stage in developing more critically reflective practices that promote meaning, agency, and student interest in learning. The task is challenging because the only values accessibly evident to the bystander, and often the mover, are visual ones. Yet, as Rudolf Laban (1879-1958) suggested, intangible values also inspire movement. Laban created a theoretical framework—referred to as Laban Movement Analysis—for movement exploration, description, and analysis to consider both noticeably apparent and less-tangible values of movement by investigating movement phenomena and factors that generate them.1 The praxis-oriented system involves reflecting on movement observations, considering emotional and mental facets of movement, and taking into account experiential bodily perspectives of the mover.2Although one of Laban's fundamental purposes for developing a descriptive vocabulary for movement was to facilitate the mastery of dance technique,3 his teaching emphasized the "harmonious expressiveness of the whole individual," as he aimed to facilitate dancers' ability to understand and use their bodies in order to discover individual ways of expressing themselves and communicating.4 Laban's attitudes toward training were in sharp contrast to approaches of the day, yet interestingly, they were not [End Page 109] opposed to them. For example, common dance gestures and postures were expanded into free exploration and studied from diverse points of view rather than a narrow range of perspectives, aesthetic values, and movement qualities.5Laban's theory of "Effort," which he linked to emotions as well as... (shrink)

In the experience of building towards communism in our country we have witnessed the rising role and specific weight of art and aesthetic culture in the general system of developing a communist morale in Soviet people. A number of factors requires emphasis here:First, it is perfectly clear that, under the conditions of the building of communism, becoming a professional cannot mean confining oneself to education in one's field but presumes that the individual acquire a high general level of culture, that (...) he be capable of rapidly mastering knowledge and skills in related occupations, and that he have the ability to think and behave in a nonstereotyped fashion. (shrink)

Knowledge under cover -- Pedagogies of liberal humanism -- Making sense otherwise -- Mis/taking the universal.

With the development of society, the rapidly developing social environment has played a significant role in the particular group of college students. College students will inevitably suffer setbacks and psychological obstacles in their studies and daily life. This work aims to ameliorate college students’ various mental illnesses caused by anxiety and confusion during the critical period of status transformation. Educational psychology theory, aesthetic theory, and poetry appreciation are applied to the mental health education of college students to obtain a satisfying (...) psychological healing effect. First, this work summarizes the connotation and characteristics of college student’s mental health and defines educational psychology. Secondly, the long tradition of Chinese poetry teaching is introduced. Besides, the theoretical basis of poetry therapy and aesthetic psychology is expounded, and foreign poetry is discussed. In addition, poetry appreciation is used to promote personality shaping and psychological healing of college students based on the theory of educational psychology and poetry appreciation psychotherapy. In addition, mental health education for college students is studied from the perspectives of psychological health, mental health education, college students’ mental health education, and appreciation of ancient poetry. In addition, the principle and significance of college students’ mental health education are discussed from the perspective of poetry appreciation. Finally, an experimental study is conducted on college students and patients in a specific hospital department by issuing questionnaires to verify the practical application effect of this method in psychotherapy. The survey results indicate that the scores of college students who have completed a one-semester poetry appreciation course in different dimensions of mental disorders are lower than those of those who have not completed the course. At the same time, in the scores of 16 personality traits, the positive trait scores of the experimental group are higher than those of the control group. Comparing scores before and after class also reflects the positive effect of poetry appreciation intervention on college students’ personality shaping. It can be concluded that poetry appreciation has a strong effect on promoting college students’ mental health and personality shaping and improving college students’ psychological problems. (shrink)

Thinking through the body: educating for the humanities -- The body as background -- Self-knowledge and its discontents: from Socrates to somaesthetics -- Muscle memory and the somaesthetic pathologies of everyday life -- Somaesthetics in the philosophy classroom: a practical approach -- Somaesthetics and the limits of aesthetics -- Somaesthetics and Burke's sublime -- Pragmatism and cultural politics: from textualism to somaesthetics -- Body consciousness and performance -- Somaesthetics and architecture: a critical option -- Photography as performative process -- (...) Asian ars erotica and the question of sexual aesthetics -- Philosophy as awakened life : everyday aesthetics of embodiment in American transcendentalism and Japanese Zen practice -- Somatic style. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 41-57 [Access article in PDF] The Subordination of Aesthetic Fundamentals in College Art Instruction Randall Lavender we smile at a hasty philosopher who assures his disciples that art is about to be replaced with philosophy. 1Opportunities for college students of art and design to study fundamentals of visual aesthetics, integrity of form, and principles of composition are limited today by (...) a number of factors. With the well-documented prominence of postmodern critical theory in the world of contemporary art (and itsquestionable effects on higher education in art and design), the study of aesthetic fundamentals is largely subordinated to a multitude of conceptual, theoretical, and expressive priorities recycled from the art world. 2 Contemporary idea-based priorities tend to obviate, in the minds of many artists who teach, the "need" for aesthetic fundamentals in college art curricula. But as Rudolph Arnheim suggests, art is not easily replaced by ideas alone. For no matter how interested artists, instructors, or students may be in ideas, theory, or self-expression, today's college art/design students need to gain a solid grounding in aesthetic fundamentals early in their college art educations in order to become adept and well-informed makers of art and/or design.In this essay I argue for the value of aesthetic fundamentals in the education of artists and designers, and outline a series of factors that contribute to the subordination of aesthetics in college art instruction. I examine introductory-level college art/design curricula, including a pair of courses that are intended to provide students with visual, compositional, and/or aesthetic fundamentals, and explore why instructors, even in these courses, too often bypass such fundamentals in their teaching. Specifically, I discuss the ways in which traditions of art education, mixed with artist/teachers' own art training, lead to a virtual dismissal of aesthetic fundamentals. Certain assumptions that professional artists often bring to their teaching and how these contribute to the problem are examined. I identify a historical phenomenon [End Page 41] that plays a key role in the subordination of aesthetic fundamentals — the schism between "art" and "design." I suggest an approach for embracing aesthetic fundamentals in college art instruction that preserves students' individual and cultural differences, while at the same time enabling them to make aesthetic decisions in their work, and to discern aesthetic quality in each other's work. Finally, I conclude that students can fully succeed in more advanced explorations of the complex and controversial realm of contemporary art issues, and certainly in the applied arts, only after receiving a solid, balanced, and inclusive grounding in the profound aesthetic power of clear organizing principles of visual information. The Value of Aesthetic Fundamentals Why are aesthetic fundamentals — that is, principles and elements of visual organization — actually important to the education of college art students? Among other reasons, they are important because professional artists do somehow have to learn to make their work aesthetically convincing, even if they must manage other challenges as well, including "newness," historical relevance, and significance of idea. The National Association of Schools of Art and Design shares this reasoning, as evidenced by their requirement that B.F.A. students acquire "essential competencies," including becoming "visually literate," developing an "understanding of basic design principles, concepts, media, and formats," and "mastery of basic foundation techniques." 3 The problem we face in educating artists today is that the range of challenges inherent to a career in the art world often results in aesthetic considerations being assigned a low priority in visual arts curricula. Many contemporary artists teaching in college art programs see themselves as all but immune to the realm of visual aesthetics; they subscribe instead to the prevalent postmodern dictum that aesthetics are superfluous. As this way of thinking permeates college art instructors' thinking to an ever-greater extent, students of art and design find themselves increasingly distanced from aesthetic training, and from the aesthetic experience. This distancing is a loss to students.Students lose when aesthetic fundamentals are neglected because for all the effort they might make... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:34 Feminist Studies 47, no. 1. © 2021 by Feminist Studies, Inc. James Bliss Defense, Redemption, Care: Black Feminist and Queer Studies Literary theory continues to be received by some as if it were an alien or antagonistic presence from whose leaden and reductive grasp it is imperative to keep literature protected. It is rare, however, that it is the literary, as such, that is being protected, rather than (...) a certain comfortable accommodation with it—not irreducible strangeness and surprise, but the security of knowing that one’s expectations will be fulfilled and one’s competence as a reader rewarded. The pleasures of accommodation and immediate assimilation are the first that theory asks us to forego—which may do as much to make it seem forbidding and “inhumane” as anything it actually proposes. —Elizabeth W. Bruss1 I. Theory Not for the first time, we find ourselves building new genres. Pursuing new writings. Not for the first time, the theoretical and the literary envelope, eclipse, and rearticulate one another. What’s more, the theoretical has been a mode of artistic practice for so long that every page is a palimpsest, a sedimentation of sedimentations of conceptual frames— swirled, spiraling genealogies. Fluent in invented tongues, in the idioms 1. Elizabeth W. Bruss, Beautiful Theories: The Spectacle of Discourse in Contemporary Criticism (Baltimore, MD: Johns Hopkins University Press, 1982), 483. 35 James Bliss Books Discussed in This Essay Black Feminism Reimagined: After Intersectionality. By Jennifer C. Nash. Durham, NC: Duke University Press, 2019. None Like Us: Blackness, Belonging, Aesthetic Life. By Stephen Best. Durham, NC: Duke University Press, 2018. Sensual Excess: Queer Femininity and Brown Jouissance. By Amber Jamilla Musser. New York: NYU Press, 2018. Queer Times, Black Futures. By Kara Keeling. New York: NYU Press, 2019. of invention, in the fluid looseness of disintegrated discourses, our works turn singular. The monograph as signature. The page promises to freeze the text, the object, the artwork, the lifeworld, the performance, and in that stillness to teach us its movements. New moves, secret passageways, lines of escape and gaps in the walls of institutions that die, dissolve, and ossify around and inside us. And here we are. The permanent apocalypse that racial capitalism has been for most life has reached the quadrangles of the college campus. What are we even doing anymore? In the great and dreadful remaking of higher education, as students face permanent indebtedness as the cost of entry into a world without work, what is the ethical impetus for our researches and the systems within which we publish? What are the ethics of critical cultural studies in a debt mine? By what arithmetic do we benefit the students we teach to “steal from the university ” when the university is so much more adroit at stealing from them (and us)? At the same time that the contours of our professional lives are, apparently, unraveling, we find ourselves in (another) new renaissance in Black studies and Black study. We find ourselves within (another) new moment of textual production around the trio of race/gender/sexuality— that is, around Blackness or around Black feminism. 36 James Bliss Or, Black invention—where the Black female, femme, feminine, and maternal operate as synecdochic figures for a species of poiēsis.2 In the 1980s, Jacques Derrida wryly called California the “state of theory” as a function of its tectonic instability.3 In the 2010s, Blackness became the state of theory as a function of its coincidence of death and life, ending and beginning, absence and excess, apocalypse and invention. Blackness, in this instance, is as material as it is metaphor, a projection of meaning across both the great ephemeral skin and the body as flesh. This piece emerges from a sense of the necessity and the hazards of an intellectual history of a moment during which, to take a suggestive phrase from Jared Sexton, “Blackness is theory itself, anti-blackness the resistance to theory.”4 But already language presents an issue. What is the relationship between Sexton’s “theory” and the “theory” found in the epigraph from Elizabeth Bruss? Or, between Sexton’s “theory” and Lewis R. Gordon’s “theory,” as Sexton borrows from Gordon’s “Theory in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 41-57 [Access article in PDF] The Subordination of Aesthetic Fundamentals in College Art Instruction Randall Lavender we smile at a hasty philosopher who assures his disciples that art is about to be replaced with philosophy. 1Opportunities for college students of art and design to study fundamentals of visual aesthetics, integrity of form, and principles of composition are limited today by (...) a number of factors. With the well-documented prominence of postmodern critical theory in the world of contemporary art (and itsquestionable effects on higher education in art and design), the study of aesthetic fundamentals is largely subordinated to a multitude of conceptual, theoretical, and expressive priorities recycled from the art world. 2 Contemporary idea-based priorities tend to obviate, in the minds of many artists who teach, the "need" for aesthetic fundamentals in college art curricula. But as Rudolph Arnheim suggests, art is not easily replaced by ideas alone. For no matter how interested artists, instructors, or students may be in ideas, theory, or self-expression, today's college art/design students need to gain a solid grounding in aesthetic fundamentals early in their college art educations in order to become adept and well-informed makers of art and/or design.In this essay I argue for the value of aesthetic fundamentals in the education of artists and designers, and outline a series of factors that contribute to the subordination of aesthetics in college art instruction. I examine introductory-level college art/design curricula, including a pair of courses that are intended to provide students with visual, compositional, and/or aesthetic fundamentals, and explore why instructors, even in these courses, too often bypass such fundamentals in their teaching. Specifically, I discuss the ways in which traditions of art education, mixed with artist/teachers' own art training, lead to a virtual dismissal of aesthetic fundamentals. Certain assumptions that professional artists often bring to their teaching and how these contribute to the problem are examined. I identify a historical phenomenon [End Page 41] that plays a key role in the subordination of aesthetic fundamentals — the schism between "art" and "design." I suggest an approach for embracing aesthetic fundamentals in college art instruction that preserves students' individual and cultural differences, while at the same time enabling them to make aesthetic decisions in their work, and to discern aesthetic quality in each other's work. Finally, I conclude that students can fully succeed in more advanced explorations of the complex and controversial realm of contemporary art issues, and certainly in the applied arts, only after receiving a solid, balanced, and inclusive grounding in the profound aesthetic power of clear organizing principles of visual information. The Value of Aesthetic Fundamentals Why are aesthetic fundamentals — that is, principles and elements of visual organization — actually important to the education of college art students? Among other reasons, they are important because professional artists do somehow have to learn to make their work aesthetically convincing, even if they must manage other challenges as well, including "newness," historical relevance, and significance of idea. The National Association of Schools of Art and Design shares this reasoning, as evidenced by their requirement that B.F.A. students acquire "essential competencies," including becoming "visually literate," developing an "understanding of basic design principles, concepts, media, and formats," and "mastery of basic foundation techniques." 3 The problem we face in educating artists today is that the range of challenges inherent to a career in the art world often results in aesthetic considerations being assigned a low priority in visual arts curricula. Many contemporary artists teaching in college art programs see themselves as all but immune to the realm of visual aesthetics; they subscribe instead to the prevalent postmodern dictum that aesthetics are superfluous. As this way of thinking permeates college art instructors' thinking to an ever-greater extent, students of art and design find themselves increasingly distanced from aesthetic training, and from the aesthetic experience. This distancing is a loss to students.Students lose when aesthetic fundamentals are neglected because for all the effort they might make... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Changing Theories of Undergraduate Theatre Studies, 1945–1980Anne Berkeley (bio)IntroductionThe history of theatre study in American undergraduate education is a story of prodigious quantitative success. Although it took two centuries to secure the right to perform plays at American colleges, it took only eighty years for the curriculum to grow from a few isolated courses at the turn of the twentieth century to well over 14,000 in the 1970s.1 (...) By far the steepest growth occurred during the unprecedented expansion of higher education between 1945 and 1979. But academic theatre's meteoric rise after the war years conceals more problematic qualitative achievements. Throughout its ascendancy, vexing questions persisted concerning the quality, standards, and evaluation of theatre programs. In academic journals and books, theorists explored with alacrity broad opportunities for educational theatre in the university. But they also bickered constantly about objectives and practices and their role in academe, ultimately providing a decidedly ambivalent assessment of accomplishment.According to Oscar G. Brockett, the fundamental questions are, What place, if any, should theatre have in a university? and, For what are students being educated?2 This study traces answers to these questions given by scholars and educators between 1945 and 1979.3 It explores the connections between the scholarship about theatre studies and the programs that developed, what scholars and educators wanted it to become, and what it became in the context of liberal arts education. These years are important because they are the golden age of higher education, a time of unprecedented expansion. Following World War II the G.I. Bill greatly increased student enrollment, and academic and research programs surged. At this time, the [End Page 57] university's governing interests were established by the politics of the Cold War, and the desire to surpass the Soviet Union at everything motivated the expansion of higher education.4 The National Defense Education Act of 1958 and the Higher Education Facilities Act of 1963 (legislation made possible by a prosperous economy) injected vast financial resources into program development, and federal programs such as the National Endowment for the Humanities (NEH) and the National Endowment for the Arts (NEA) were established.An earlier study of theatre curriculum between, roughly, the Civil War and the Second World War provides a useful background against which to interpret the data for this later period.5 From the earlier study we learn that academic theatre suffered from religious hostility for two centuries but that by the end of the nineteenth century there were extracurricular dramatic clubs and productions. The emergence of the modern research university brought with it the expansion and diversification of knowledge, the differentiation of the colonial college's general curriculum into discrete disciplines, and the departmentalization of the curriculum. As principles and aims for liberal arts education, and the bachelor of arts degree, began to take shape, reconstruction of the curriculum included the introduction of departments of speech and literature, which included dramatic curricula.6 Academic theatre first began in classical and later modern language departments as a way of teaching literature in another language; later speech and English departments added courses in oral interpretation and playwriting.After George Pierce Baker opened the theatre department at Yale in 1925, theatre became an autonomous field of study in increasing numbers of universities. During this early period several developments took place: curriculum for theatrical studies developed out of extra-curricular theatre, theatre was identified and justified as a humanistic study, the seeds were planted for the university's eventual role in nonprofit and professional regional theatres, and the study of theatre as a legitimate academic discipline was developed. During this period, too, most theorists argued that theatre was one of the liberal arts and should be taught as part of the humanities. Late in the period there developed a small but increasingly vocal group of scholars and teachers who began to argue that theatre departments should teach technical skills of theatrical performance as well as humanistic inquiry. Thus was born the so-called craft or culture dichotomy: should educational theatre emphasize the crafts of performance or the humanism that prevailed in general (unspecialized) liberal study?The Forties and Fifties: The Curriculum Diversifies... (shrink)

Be aware... and you will be mindful of a notable ambiguity in semiotics as well as of those who have masterfully strived to transcend it. This event, commented on by Elize Bisanz (Texas Tech University) and chaired by William Passarini (Institute for Philosophical Studies), is part of the activities of the 2022 International Open Seminar on Semiotics: a Tribute to John Deely on the Fifth Anniversary of His Passing, cooperatively organized by the Institute for Philosophical Studies of the Faculty of (...) Arts and Humanities of the University of Coimbra, the Lyceum Institute, the Deely Project, Saint Vincent College, the Iranian Society for Phenomenology at the Iranian Political Science Association, the International Association for Semiotics of Space and Time, the Institute for Scientific Information on Social Sciences of the Russian Academy of Sciences, the Semiotic Society of America, the American Maritain Association, the International Association for Semiotic Studies, the International Society for Biosemiotic Studies, the International Center for Semiotics and Intercultural Dialogue, Moscow State Academic University for the Humanities and the Mansarda Acesa with the support of the FCT - Foundation for Science and Technology, I.P., of the Ministry of Science, Technology and Higher Education of the Government of Portugal under the UID/FIL/00010/2020 project. *** Ionut Untea is currently a fellow-in-residence at the Akademie Schloss Solitude, in Stuttgart, where he is researching on the semioethic and aesthetic coordinates of the “social compact” and intercorporeal relationships. In 2021, he has taught a course entitled “Intercultural Philosophy: Semiotic Approaches and Aesthetic Themes” as a Visiting Professor at Università degli Studi di Bari Aldo Moro. Since 2016, he has been teaching History of Western Philosophy and Semiotics at Southeast University, Nanjing. He previously taught at the University of La Rochelle, and was a postdoctoral fellow of the Foundation for Interreligious and Intercultural Research and Dialogue (FIIRD) at the University of Geneva. He obtained his doctorate in 2013 at Ecole Pratique des Hautes Etudes (EPHE), in Paris. He holds Romanian citizenship, having obtained his first degrees in philosophy and theology at the University of Bucharest. His focus is on the modern and contemporary intersections between semiotic, moral, political and religious thought. He has published recently “Peircean and Confucian Interpretations of Self-Development: Semiotic, Normative and Aesthetic Aspects,” Philosophy East and West 72.1: January 2022: 188–209. His recent work has appeared in academic journals such as The American Journal of Semiotics (2021), Semiotica (2021), Ethical Perspectives (2021, 2019), Philosophical Forum (2019), Journal of Aesthetic Education (2020), Politics and Religion (2019), The Monist (2018). *** Dr. Bisanz's education includes an MA (Philosophy) from the University of Lüneburg in Germany; Graduate Studies in Jacques Derrida's philosophy Seminars at l'École des Hautes Études en Sciences Sociales, Paris; a Ph.D. (History of Communication Sciences) from the Technische University of Berlin; and a post-doc Habilitation Degree (Image Studies), from the University of Lüneburg. Bisanz has published several interdisciplinary books reflecting her educational background; these include a major European edition of Peirce's writings The Logic of Interdisciplinarity: Charles S. Peirce, The Monist Series (Akademie-Verlag, Berlin, 2009), which was realized with the aid of research and publication grants from State and private endowments; Prolegomena to a Science of Reasoning: Phaneroscopy, Semeiotic, Logic, which is a collection of manuscripts by Peirce on reasoning (Peter Lang Publishers, Berlin, 2016); Overcoming the Iconic Turn: Cultural Concepts of Images [in German: Die Überwindung des Ikonischen: Kulturwissenschaftliche Perspektiven der Bildwissenschaft] (transcript Verlag, Hamburg, 2010). Bisanz is a member of the advising board of the Deutsche Gesellschaft für Semiotik and chair of the society's subdivision for Cultural Studies. Since her Fulbright scholarship in 2006 at Texas Tech University, Bisanz has been an active member of the Institute for Studies in Pragmaticism. She has organized several international congresses dedicated to Peirce and interdisciplinary research. *** Homepage: https://www.uc.pt/fluc/uidief/io2s Auditorium: https://www.uc.pt/fluc/uidief/io2s/auditorium *** Technical support assured by Robert Junqueira. The cover image for the video was designed by Zahra Soltani. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Revisiting Vygotsky and Gardner:Realizing Human PotentialNinah Beliavsky (bio)The two individuals who have had a tremendous influence on my own theories and my own philosophy of education are the Russian psychologist, intellectual, and social activist Lev Semenovich Vygotsky (1896-1934), and the leading American developmental psychologist Howard Gardner (b. 1944). The philosophies of Vygotsky and Gardner have much in common, even though their lives have been separated by different continents, different (...) political regimes, different languages, different cultures, and almost a century of innovative research in the fields of psychology and education.I argue that Vygotsky's ideas should be viewed through the prism of Gardner's theory of Multiple Intelligences. The combination of these concepts can shed new light on education—on teaching and learning. By doing so, we would enable the students to reach a higher level of cognitive development.This article intends to suggest that Vygotsky's dream of maximizing the Zone of Proximal Development can be realized by utilizing Gardner's approach of nurturing the students' combination of intelligences. This idea of teaching and learning will allow educators to teach ahead of development, to teach for understanding, to motivate and promote the students' creativity and imagination, and to encourage their personal, social, and academic growth.Lev VygotskySeventy-two years have passed since Vygotsky died on June 11, 1934. He was only thirty-seven years old. "Vygotsky was a product of his time: an intellectual, [End Page 1] a Jew, [one] who took as much pleasure in thinking through the intricacies of speech impediments and language acquisition as he did in contemplating Shakespeare's Hamlet or the psychology of Art."1 Fundamental to Vygotsky's theory was the idea that higher mental functions, such as thinking, logical memory, and human consciousness, have their origins in human social life.Vygotsky believed that culture should be passed down to future generations in a Socratic, rather than a dogmatic, way. He believed that everyone should be given the tools to live up to their highest potential. For Vygotsky, psychological development could not be separated from human history and human culture. The notion of development as growing out of the interactions of human beings with one another, especially the interaction of adults and children, offers a collectivist vision of human psychological growth that is especially different from American ideas of individualism and predetermined stages of psychological growth.2 Vygotsky believed that the child has to be exposed to the array of intellectual and cognitive "tools" developed over the centuries by human beings—tools such as language, mathematics, music, and art.He stressed that systematic instruction in the formal disciplines—Latin, Greek, mathematics, and composition—is beneficial to the development of students' mental facilities in general. Studying the formal disciplines would lead to higher-order thinking and thus enhance "scientific" concepts. In other words, the systematic learning of scientific concepts in one field translates into developmental changes, abstract thinking, and greater logical thinking and logical flexibility. Recently, this notion is being welcomed by American psychologists. For example, in one study in the United States a group of American psychologists demonstrated that specialized training in medicine, law, and psychology seems to have an effect on real-life problem solving requiring statistical and logical reasoning.3In American educational psychology, Vygotsky is famous for his concept of the Zone of Proximal Development (ZPD). Behind this is the notion that a child's cognitive development occurs within a social milieu. The teaching-learning process (instruction) does not occur in isolation. The role of instruction for enhancing cognitive development is a joint activity—a collaborative effort between the child and a more knowledgeable partner, such as an older sibling, a parent, a teacher, etc. Therefore, the analysis of cognitive functioning requires studying how a child's social interaction with more competent peers of their culture is mastered and internalized. In other words, to understand a child's cognitive development, we need to examine specific patterns of social interaction in which the child participates.4The most detailed description of the concept of ZPD can be found in a lecture entitled "Dinamika umstvennogo razvitia sckol'nika v svjazi s obucheniem," delivered by Vygotsky at the... (shrink)

During the later years of his life, the late Professor Alexander devoted much of his time to the study of our aesthetic and moral experience. In regard to the latter, Alexander was impressed by Adam Smith's treatment of the Moral Sentiments and especially with what he considered his sure insight in seeking for the ground of obligation in the causes of conduct, rather than in its effects. These causes were the passions. In this he was in sympathy with his (...) contemporary Hobhouse, who asserted with conviction that action rested on impulse feeling, and that it was useless to look for anything whether it was called Practical Reason or anything else, that stood outside the body of impulse feeling and controlled it. I think it was the considered opinion of Alexander, as it was that of Hobhouse, that if Psychology had anything to teach us bearing upon Morals, it was that the springs of human conduct must be looked for in our inherited tendencies with their associated emotions. Fear, sorrow, joy, repulsion, curiosity, pugnacity, self-assertion, the sex instinct, and acquisitiveness and constructiveness, are present, not only in men of all living races, but also in most of the higher animals. These specific tendencies and emotions, with certain complex passions such as admiration, reverence, scorn and the rest; together with one or two general tendencies such as sympathy and imitativeness, arising out of the nature of mental processes, must have played a leading role in the determination of human conduct, both in its lower and higher grades. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 54-63 [Access article in PDF] Movement Class as an Integrative Experience:Academic, Cognitive, and Social Effects Svetlana Nikitina I believe the benefits of this type of course reach beyond the obvious possibilities of professional and academic achievement. The degree of personal discovery, creativity, self-development and insight are immeasurable. I am particularly referring to my experience here at Harvard. Claire Mallardi, from course syllabus (...) Performing arts courses at research institutions such as Harvard University are often seen as extracurricular with only tangential or imperceptible effect on students' academic interests. Yet, when I interviewed biology, math, or neuroscience concentrators who took Claire Mallardi's Movement for Actors and Directors course at Harvard in the spring of 2000, most of them told me that it was one of the most meaningful experiences in their academic development, and, according to one psychology concentrator, "the best psychology course" she ever took. In spite of boundaries separating the arts courses from hard and soft sciences, in students' experience the connections run deep. What were those connections that students made from their dance class experience to their academic and social development? And, what in the teaching and nature of the course supported this highly integrative experience that allowed students to reach beyond mastering an artistic medium and become better learners in general? These were the two major questions that guided this study.Why am I interested in the integrative quality of arts education? I am highlighting the academic importance of performing arts programs to suggest to university administrators and instructors in other disciplines the "immeasurable" personal and academic value of such courses whose place is often seen as marginal. Perhaps also, pedagogy used for integration in this course into the academic fabric of the institution could provide models for other courses and curricula that are trying to be integrative or interdisciplinary in a more self-conscious way. And, there are more and more such [End Page 54] courses on every college campus these days. Moriel Blaisdell in Preparing Faculty for the New Conceptions of Scholarship for example, cites "integrative studies" programs among most important trends in higher education today with their goal "to synthesize, to look for new relationships between the parts and the whole, to relate the past and future to the present, and to ferret out patterns of meaning that cannot be seen through traditional disciplinary lenses." 1One of the most daring experiments in universities now, and the one to which the integrative dance course could speak directly, is interdisciplinary teaching in neuroscience, for example. Neuroscience proceeds from the belief in the inherent unity of mind and body and attempts to discover the nature of the relationship between them. In a different way and with a different goal than arts courses, neurosciences also try to cross the boundary of subjective and objective experience, mind and body, physical technique and personal interpretation, which are at the heart of teaching and learning in the performing arts. While not being prescriptive, I would like to suggest that perhaps close attention to the pedagogy and integrative experiences of students in the performing arts courses could provide some insights for pioneering bridge-making in other academic areas as well.I would like to propose that what lies at the core of integrative capacity of a performing arts course, like the one Claire Mallardi teaches at Harvard, is the inherent tendency of the arts to transcend the boundary of body with the mind, and to seek unity of self as both the subject and the object. In a dance, in the words of Margaret H'Doubler, the body is seen "as the outer aspect of personality, for it is the agent through which we receive impressions from the external world and by which we communicate our meaning." 2 This basic translation between body and mind, mental and physical, artistic and academic that went on in Mallardi's class, resulted in integrative and transformational experiences for her students. "I never until this class — comments one student — equated emotions with movement or... (shrink)

I have based my psychological hypotheses on studies in perception and in personality. Research in these two areas began independently, but by the late forties the supposedly unconnected processes came to be seen as different aspects of one process. For instance, a low tolerance for perceptual ambiguity and cognitive dissonance was found to be significantly correlated with lack of emotional responsiveness, dogmatism, and authoritarianism; conversely, a high tolerance for perceptual ambiguity and cognitive dissonance was found to be significantly correlated with (...) tolerance of emotional ambivalence, openness to new experience, and a liberal world view.1 Later studies, primarily those conducted in the sixties, then established strong correlations between these findings and information-processing styles. Information processing involves three stages: first, stimuli are selected from the environment ; these stimuli are then arranged into "dimensions"; finally, if two or more dimensions result, they are compared and/or combined according to certain rules. H. M. Schroder and his colleagues have established correlations between personality styles and styles of information processing.2 For example, an intolerant personality—that is, one with a low integration index—"identifies and organizes stimuli in a fixed way, and the rules derived from existing schemata are explicit in defining this one way" . What psychologists call an "abstract personality" and identify in terms of "flexibility" or "tolerance of ambiguity"—what in literary studies is most conveniently called "negative capability"—is not necessarily characterized as lacking rules but rather as possessing a greater number of conflicting rules on a lower level which may be accommodated by rules on a higher level. · 1. See Jerome S. Bruner and David Krech, eds., Perception and Personality, 2nd ed. and Robert R. Blake and Glenn V. Ramsey, eds., Perception: An Approach to Personality . Although, as Else Frenkel-Brunswick says, "rigidity in one respect may go with flexibility in another," she also adds: "There is some indication that in the case of distinct intolerance of emotional ambivalence one may as a rule be able to locate at least some aspects of intolerance of cognitive ambiguity although these may often be more apparent on a higher level than that of perception proper" The present essay, since it is one section of a projected larger study, deals with the issues inherent in this approach in only a limited fashion. One could, for instance, quote whole essays in this branch of psychology dealing with ambiguity and point to their relevance for some aspects of literary study and the teaching of literature. Ambiguity, of course, is also a central term in New Criticism. See William Empson, Seven Types of Ambiguity and Ernst Kris and Abraham Kaplan, "Aesthetic Ambiguity," in Psychoanalytic Explorations in Art, ed. Kris , pp. 243-64.· 2. H. M. Schroder, M. J. Driver, and S. Streufert, "Levels of Information Processing," in Thought and Personality, ed. Peter B. Warr , pp. 174-91. All citations to this work will appear in the text. Reuven Tsur, senior lecturer in Hebrew literature at Tel-Aviv University, is the author of several books in Hebrew on medieval and modern Hebrew poetry and, in English, A Perception-Oriented Theory of Metre. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 475 whereas in some texts Aquinas explicitly teaches that the higher senses of vision and hearing are the ones that mainly (praecipue, principaliter) lead to aesthetic experience.t5 Moreover, the statement that only in the thirteenth century was the question of the distinction between the higher and lower senses explicitly raised (p. l13f.), is true only if the author meant to exclude the pre-medieval or patristic (...) as well as the ancient period of philosophy.16 Finally, there is one technical weakness in this book that cannot be left unmentioned. The overwhelming majority of references are not to the original medieval texts treated and/or quoted in the three-volume edition, but to the number of volume and page in that edition. Thus the reader must be both familiar with French and in possession of the original three-volume work, or remain hopelessly frustrated every time he wishes to consult the original texts or at least know which texts are being mentioned. Yet, if one knows French, he does not need the English translation; and if he is also fortunate enough to have access to the original three-volume version, he will not need the abridged version of the original work at all. For this reason, should there be a second edition of this translation, the references should be changed from the l~tudes to the original medieval works. Although the negative remarks are more lengthy in this review than the positive evaluation is, it would be a grave mistake to conclude from this that the defects outweigh the value of the book. As a matter of fact, upon finishing the reading of this translation of De Bruyne's work, this reviewer was left with the conviction that, in the final balance, the reader can only greatly benefit from this work, and we all owe gratitude to the translator for having made this highly informative work available in the English language. FRANCIS J. KOVACH University of Oklahoma 1~ Summ. theol. I-II,27,1,ad 3; In Psalm. 44,2. ~6 Cf. Plato, Hipp. maL 298 A; Gorg. 474 D; Leg. XII, 961 D; Aristotle, De an. III,3, 429a 3; Augustine, De lib. arb. II,7, 16-19; 14,38; De ord. II,ll, etc. Le origini del metodo analitico: il Cinquecento. By Angelo Crescini. (Udine: Del Bianco, 1965. Published by the Istituto di Filosofia, Facnlt~ di Lettere e Filosofia of the Universit~ degli Studi di Trieste. Pp. 340. L 5,000) Professor Crescini has certainly picked a topic of great interest upon which to write. Recent students of Renaissance logic such as N. W. Gilbert, V. Mufioz Delgado, W. Ong, G. Papuli, W. Risse, and C. Vasoli have pointed out the vitality and significance associated with the development of the logical thought of the period. The general question of methodology has produced an enormous scholarly literature in recent years,I but much remains to be done before we fully understand how various methodologies have evolved and what relation philosophical discussions of method have had to the actual practice of science. Therefore, it would be most desirable to have a 1 For further information see Laurens Laudan, "Theories of Scientific Method from Plato to Mach: A Bibliographical Review," History of Science 7 (1968), 1-63. 476 HISTORY OF PHILOSOPHY detailed, comprehensive, and accurate study of the evolution of analytic method during the sixteenth century, particularly in view of the significance taken on by such a methodology with the 'rise of modern science'. With such a background in view the reviewer comes to this volume in anticipation of being generally enlightened on various matters. Unfortunately, Crescini's book is on the whole disappointing, although nearly everyone will find the odd bit of information of which he was not previously aware. It definitely does not, however, establish a solid foundation for later studies. The book is organized into three principal parts, dealing with the development of the analytic method in logic (pp. 21-188), in the natural sciences (pp. 189-284), and in mathematics (vv. 285-328). The first section treats discussions of the topic among writers on logical subject, under which heading are included 'humanist' logicians such as... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IntroductionLori A. Custodero and Anna NeumannIn this symposium, three scholars present the genesis, meaning, and artfulness of creative work and its realization as aesthetic experience within three educational fields. Lori A. Custodero, working out of music education, provides a perspective emanating from an aesthetic of childhood wonder and playfulness; David T. Hansen, writing out of philosophy of education, discusses how being fully present in the teaching moment leads (...) to meaningful experience; and Anna Neumann, who writes out of the field of higher education studies, represents scholars as engaged in intellectual pursuits, often framed aesthetically, and as struggling to hold on to precious time for creation. Aware of the inherent tensions in learning environments from child care centers to graduate schools, we address ways in which our research has revealed people's sustained pursuit of imagined possibilities, oftentimes amidst perceived impediments.Creative work involves imagining possibilities whereby individuals, alone and together, pose personally relevant questions and pursue fluent pathways of inquiry within the shared meanings of cultural context. At its finest, such work is artful, simultaneously responding to and emanating from immediate circumstance and past experience. It is malleable and vulnerable and compelling, fusing familiar images and surprising perceptions into new "equilibria... stable, even though moving" whereby "changes interlock and sustain one another."1 As scholars and teachers committed to learning, we strive to create and discern meaning between established understandings and emerging ideas and images. As we dance between reception and action, between insight and "onsight,"2 fully attentive to the perceived potentials in our work, we move toward synchrony, experiencing the aesthetic. The realizations that arise from experiences such as these — new or newly reconfigured words, sounds, images, movement, and ideas — express new balances of sense and feeling and, sometimes, beauty. Whether in the shared, artfully expressive vocalizations between the newborn infant and mother or in the scientist's finessing patience with elegant mathematical imagery, creative work invites a drawing together of what we know and what we struggle to know. Over time, the interplay of this work and its realization, [End Page 33] what Dewey refers to as "movement and culmination,"3 creates a momentum that serves to define lives as aesthetic.We have created this symposium as a space for considering the meanings of the aesthetic in lives — from its earliest instantiations in the experiences of infants and young children, to its developed expression in the professional (in this case, intellectual) efforts of adults pursuing scholarly careers, to its representation in teaching as intergenerational fusions of knowledge, learning, and lives. We see the aesthetic as both native and learned; as individually held and formed and felt, and as collectively created and voiced, the product of lives in intersection; as marking bounded moments in time (those instants of compelling "present-ness") and as spreading through years, well beyond bounded present-ness, perhaps as memory. Yet while striving to define the aesthetic in lives, we also strive to understand lives, individually and interactively, as lodgings for the aesthetic, as locations that give shape, form, and voice to beauty and insight, to creativity and learning. As we explore the lives in which the aesthetic finds its home, and within which it forms, we wonder about the extent to which the aesthetic may, in its turn, illuminate the strivings of those lives, including human desires to create, know, learn, understand, sense. We are then collectively concerned with the meanings of the aesthetic in lives and about the lives themselves as "moving spaces" within which the aesthetic can grow.We pursue this theme, centered on the power of the aesthetic to illuminate human lives, out of a realization that current understandings of what it means to be human — and especially what it means to learn and create — have been framed within the rubrics of the social sciences, certainly in productive ways. And yet we suggest that the artful, though powerful in its abilities to voice emotion and beauty, has not been employed as intensively as it might in efforts to understand what it means to create and learn as virtues of human existence, as perhaps the ultimate of human strivings. We hope that these symposium papers will help invigorate such... (shrink)

During the later years of his life, the late Professor Alexander devoted much of his time to the study of our aesthetic and moral experience. In regard to the latter, Alexander was impressed by Adam Smith's treatment of the Moral Sentiments and especially with what he considered his sure insight in seeking for the ground of obligation in the causes of conduct, rather than in its effects. These causes were the passions. In this he was in sympathy with his (...) contemporary Hobhouse, who asserted with conviction that action rested on impulse feeling, and that it was useless to look for anything whether it was called Practical Reason or anything else, that stood outside the body of impulse feeling and controlled it. I think it was the considered opinion of Alexander, as it was that of Hobhouse, that if Psychology had anything to teach us bearing upon Morals, it was that the springs of human conduct must be looked for in our inherited tendencies with their associated emotions. Fear, sorrow, joy, repulsion, curiosity, pugnacity, self-assertion, the sex instinct, and acquisitiveness and constructiveness, are present, not only in men of all living races, but also in most of the higher animals. These specific tendencies and emotions, with certain complex passions such as admiration, reverence, scorn and the rest; together with one or two general tendencies such as sympathy and imitativeness, arising out of the nature of mental processes, must have played a leading role in the determination of human conduct, both in its lower and higher grades. (shrink)

This book investigates the relation between mathematics and philosophy in Kant with special focus on the doctrine of the magnitudes. Without doubt, Moretto, who is himself both a mathematician and a philosopher, achieves final results on this matter, because not only does he provide an immanent interpretation of all parts of Kant’s systematic construction of magnitudes, he also provides a detailed history of Kant’s development. Kant gave courses on mathematics during the first eight years of his teaching at Königsberg (...) and warmly recommended the study of mathematics to his most gifted disciples. He himself expressed a profound admiration for it. He wrote in The Only Possible Argument in Support of a Demonstration of the Existence of God that infinitesimal analysis, or, as he calls it, “higher geometry... in its account of the affinities between various species of curved lines,” reveals many of “the harmonious relations which inhere in the properties of space in general.... All these relations, in addition to exercising the understanding by means of our intellectual comprehension of them, also arouse the emotions, and they do in a manner similar to or even more sublime than that the contingent beauties of nature stir our feelings”. In On the Form and Principles of the Sensible and Intelligible World, Kant wrote that pure mathematics “provides us with a cognition which is in the highest degree true, and, at the same time, it provides us with a paradigm of the highest kind of evidence in other cases”. Besides, the mathematician-philosophers of the Leibniz-Wolff school, J. A. Eberhard, J. C. Schwab, J. G. E. Maaß at Halle, and A. G. Kästner at Göttingen, were among the very first to move critiques against the Critique of Pure Reason by focusing on the problem of the foundation of mathematics. They defended Leibniz against Kant, which prompted Kant to start a mathematical school of his own at Königsberg, and J. Schultz, J. G. K. C. Kiesewetter, and C. G. Zimmermann were Kant’s most notable defenders. Finally, one should not forget that it was in order to introduce a completely new set of ideas concerning the philosophy of mathematics that Kant laid out not only the distinction between analytical and synthetical judgments, but also the whole of the transcendental aesthetics. In fact, Kant proposed giving foundation to rational absolute numbers by means of synthetical a priori judgments; he also considered all arithmetical judgments as synthetical a priori; and by dedicating two antinomies to infinite series he suggested analogies to the representation of infinite series of irrational numbers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Teacher as Public ArtSheila Wright (bio)I entered the public art arena as an idealist optimist. Now, two decades later, I am a pragmatist realist. How did my dream of a populist marketplace turn into a nightmare?—Richard Posner, Artist vs. PublicLike Posner, many faculty members enter the academy as idealists, optimistic that their goals for and the promise of higher education will be fulfilled and their quest for knowledge (...) inspired, only to discover years later that they have become pragmatist realists.1 For many, change is necessary for survival, career success, and fulfilling dreams. At what point, however, might otherwise idealistic, visionary, and highly capable people become oppressed, disillusioned, and/or marginalized as professors? Under what conditions do professional dreams of transforming education and critical pedagogy become frustrated by rigid adherence to the status quo? How might initial aspirations of achieving a higher education become politicized and racialized as seemingly inescapable nightmares?For some faculty—particularly those of color and, especially, women working in historically white institutions—the assault on dreams occurs not only in nightmares during sleep but as monochrome, white-mares while awake.2 So, what does it mean just to be a professor in an environment where the simple quest to teach, conduct research, and serve can be frustrated by faulty, stereotypical, and often hostile assumptions, attitudes, and reactions to gender and skin? How might professors in these circumstances [End Page 83] respond to social constructions that manifest as body politics and racialized consciousness while simultaneously celebrating their identity, inner spirit, and cultural self—their ideals and visions? How do professors in these situations respond to institutional policies and practices and the social, cultural, and political nuances of place? Further, how can professors learn from their experiences and strive for meaningful transformation without the risk of being viewed as an "other," "unorthodox," an "activist," or worse?In this article "teacher as public art" is used as a metaphor to describe and explain the all-too-common perceptions and experiences of professors of color, especially women, within the academy. More specifically, this article reports findings from a qualitative study focused on what it means to be a woman of color in the academy. The findings presented are consistent with those encountered in a growing body of literature on the topic. Like other work in this area, an analysis of historical contexts can provide a critical link to understanding the cultural nuances framing the formation of professors' work identities. Triangulated data for this study included a visual art exhibition, personal reflections on the experiences of teaching in higher education, and formal research involving women faculty of color. Data were analyzed and interpreted based on literature defining the three worlds of professorship (scholarship, teaching, and service). The presentation of results and findings included here is intended to encourage further conversation regarding the retention, promotion, and tenure of faculty of color.Information and PerspectiveHighlighted throughout this discussion are (1) the relevance of locating self within the context of people and place; and (2) the importance of bringing meaning, authenticity, and credibility to teaching and research through continued reflection, self-assessment, and inquiry. The case presented is essentially a first attempt to accomplish these goals using self-study, personal experience, and public knowledge as an integrated vehicle for professional transformation. As both the researcher and a participant, the process required that I be simultaneously subjective and objective in order to examine the multiplicity of dialogues related to the professional self. In other words, the process required that I honor the voice of the person within—for example, artist, professor, woman, person of color—while, as a researcher, at the same time honoring the voices of those who participated in the study. As someone who came late to the academy (I was forty when I received my first tenure-track position), I drew for this study not only upon my prior experience and identity as a professor and educational researcher but also upon a myriad of pre-academy experiences and identities as, for example, an artist, art educator, administrator, and aspiring social reformer. The dynamic relationship [End Page 84] between those various identities facilitated and sustained a more cohesive... (shrink)

With rare exception, research on approaches to interpretation in teaching and learning has not been extensive, and, in studio learning, it is vastly underresearched. The issue of the student’s intentionality in higher education, as the artist or author of the work, is complex and contentious. While in a dated study, authorial intentionality was found to be a crucial consideration for learning in art making in the United States,1 in criticism, it has been greatly reduced as a criterion (...) of importance,2 which is perhaps why in previous research I found this difference playing out awkwardly in assessment situations.3 Increasingly, art education literature has explored, and expanded on, traditional approaches... (shrink)

Much debated in the curriculum content of cultural studies, the subject of intentionality and interpretation has not been given as much attention in terms of teaching and learning in higher education (HE). Various modernist and postmodernist approaches differ considerably, and these inevitably inform lecturers’ notions, whether consciously or unconsciously. Of particular concern is how such ideas influence teaching, learning, and assessment in creative disciplines such as art, design, music, and creative writing. In this paper approaches to intentionality (...) and interpretation in a fine art studio practice (FASP) curriculum and the effects of imbalance in this relationship on students’ learning experiences .. (shrink)