It is sometimes said that we are strangers to ourselves, bearers of internal alterity, as well as to each other. The profounder this strangeness then the greater the difficulty of giving any systematic account of it without paradox: of supposing that our obscurity to ourselves can readily be illuminated. To attempt such an account, in defiance of the paradox, is to risk knowingness: a condition which, appearing to challenge our alterity but in fact often confirming it, holds an ambiguous place (...) in the ?ethics of belief? and has largely escaped philosophical attention. Like alterity, knowingness can only be approached indirectly. Charles Dickens, in David Copperfield, is exemplary in the way he handles these themes. (shrink)

Renewed interest in the relationship between music education and cultural identity draws its vigor from strongly divergent sources. Globalized education and globalized musical culture supply new paradigms for understanding the central tasks of music education and their responsibility to a multicultural ethic of diversity, hybridity and difference. Yet recent anthropological studies of musical cognition and development emphasise both the centrality of ethnic and cultural particularism to the formation of musical awareness and the transcultural, factors in which such particularism is embedded. (...) These seemingly contrasting perspectives on the relationship of music to culture and identity offer a fertile context for redefining the place of music education in the curriculum. (shrink)

ABSTRACTHow can we deal with the apparent contradiction between the normative ideals of critical theory and the practice of the current university system? To answer this question, I consult three classical criticisms of the university system: At the beginning of the nineteenth century, the French educator Joseph Jacotot formulated a pedagogical critique of the disciplinary effects of the educational system; at the beginning of the twentieth century, German historian Franz Rosenzweig articulated an ethical critique of the hegemonic educational system’s distance (...) from life; and at the beginning of the twentyfirst century, British feminist Sara Ahmed proposed a political critique of the oppressing functions of academic institutions. Taken together, these critiques can serve as an orientation for critical intellectual practice even within the academic system. Finally, I try to describe the relation between critical theory and the university thus evolving by utilising Stefano Harney’s and Fred Moten’s concept o... (shrink)

This article looks into the workings of educational authority. While scholarly debate in education usually promotes authority as either good or bad, the same debate seldom asks questions about how authority works. This article is, then, an answer to the question ‘How?’ How does educational authority operate? It operates, it is suggested, in much the same way that literary authority operates. To make the case for educational authority as literary authority, the paper uses the philosophical work of Jacques Derrida and (...) the literary work of Franz Kafka. (shrink)

The idea that educational research should be 'scientific', and ideally based on randomised control trials, is in danger of becoming hegemonic. In the face of this it seems important to ask what other kinds of educational research can be respectable in their own different terms. We might also note that the demand for research to be 'scientific' is characteristically modernist, and thus arguably local and temporary. It is then tempting to consider what non-modernist approaches might look like. The purpose of (...) this article is to sketch a case for one particular reaction against modernist thinking: romanticism. How might our understanding (apprehension, sense) of education be changed by readmitting the insights and perspectives of romanticism? And, crucially, what confidence could we have in educational research that was thus inspired and that took the 'romantic turn'? (shrink)

Renewed interest in the relationship between music education and cultural identity draws its vigor from strongly divergent sources. Globalized education and globalized musical culture supply new paradigms for understanding the central tasks of music education and their responsibility to a multicultural ethic of diversity, hybridity and difference. Yet recent anthropological studies of musical cognition and development emphasise both the centrality of ethnic and cultural particularism to the formation of musical awareness and the transcultural, factors in which such particularism is embedded. (...) These seemingly contrasting perspectives on the relationship of music to culture and identity offer a fertile context for redefining the place of music education in the curriculum. (shrink)