This article explores the relationship between democracy, citizenship and scholarship through the notion of voice. The conception of voice in current policy operates governmentally, and shores up an identity ordered according to existing classifications and choices rather than destabilising it, and enabling critique. Rather than leading to an empowerment then the notion of voice, found in policy, research and practice, constitutes a depoliticisation of citizenship. The work of Ralph Waldo Emerson, Stanley Cavell and Michel Foucault is drawn upon here to (...) explore an understanding of voice constituted in seeking a different way of accounting for ourselves, a different relation of the self to the self and others than is demanded by the current order. This is explored in relation to thought and scholarship as expressions of one's voice and thus of one's citizenship. (shrink)

In this article, I attempt to bring some colour to a discussion of fraught topics in education. Though the scenes and stories (from education and elsewhere) that feature here deal with racism, the discussion aims to say something to such topics more generally. The philosophers whose work I draw on here are Stanley Cavell and Judith Butler. Both Butler and Cavell develop (or depart from) J.L. Austin's theory of the performative utterance. Butler, following Derrida, argues that in concentrating on the (...) illocutionary force of utterances (their capacity to do things), Austin fails to account for the force of words themselves. The iterability of language means that words are never at one with themselves. They carry their old contexts with them as they enter into new ones. This has important consequences for ethical issues that pertain to what Butler calls the ?performativity? of gender and race. Though we are performed by language, this performance has a dynamic quality that leads to the reshaping of identity. In contrast, for Cavell, the disappointing aspect of Austin's thought relates to the latter's neglect of the perlocutionary effect of language ? what is done ?by words?. By taking on this project, Cavell embraces the unconventional aspects of language characterised by ?passionate? expression and exchange. Butler and Cavell approach the performative utterance from different directions. In the last part of this article, the significance of this difference is discussed in relation to the provision of a moral education with regard to tackling issues surrounding racism. (shrink)

Drawing from Stanley Cavell's distinct understanding of skepticism, this paper first considers current and incessant obsession with notions of or related to ‘educational standards,’ ‘school effectiveness and improvement,’ ‘evidence-based education,’ ‘performance indicators’ and ‘performativity’ in various educational policies and discourses as consequences resulting from our very human desire to overcome or solve skepticism. Insidiously, this has led to the creation of a strict and distinct conception of what a good teacher should be. Ironically, this human desire to overcome skepticism, which (...) led to this particular good teacher model, has ‘dehumanized’ the teacher. In this light, this paper further proposes Cavell's distinction between perfectionism and perfectability as a possible alternative response to this austere ‘good teacher model’ which has dominated discourses on the teaching profession. His discussion on skepticism and moral perfectionism hopefully leads to a more holistic and democratic concep.. (shrink)

In this paper I consider one aspect of how student writing is supported in the university. I focus on the use of the 'writing frame', questioning its status as a vehicle for facilitating student voice, and in the process questioning how that notion is itself understood. I illustrate this by using examples from the story of the 1944 Hollywood film Gaslight and show that apparent means of facilitating voice can actually contribute to a state of voicelessness. The paper considers what (...) recovery of voice entails and the role of the 'voice coach' both in the film, and in the classroom. Drawing on the work of Stanley Cavell, his readings of Gaslight and of the American writers Thoreau and Emerson, I explore the themes of crisis and transformation in relation to the self and society. Thoreau's notion of the father tongue and his metaphor of the axe are considered in relation to the concept of voice and are shown to be suggestive of a mature relationship to language and of an Emersonian self-reliance that is denied by the mere technical skill and mastery learning of some current approaches to academic writing. (shrink)

This paper begins with a discussion of Stanley Cavell’s philosophy of language learning. Young people learn more than the meaning of words when acquiring language: they learn about (the quality of) our form of life. If we—as early childhood educators—see language teaching as something like handing some inert thing to a child, then we unduly limit the possibilities of education for that child. Cavell argues that we must become poets if we are to be the type of representatives of language (...) that education calls for. In the final section of the paper I discuss the work of Lucy Sprague Mitchell, someone who developed an approach to language teaching that overlaps in interesting ways with Cavell’s approach in The Claim of Reason. (shrink)

The documentary film is a popular curriculum tool, and the goal of this paper is to expand the educational significance of the documentary genre I argue that current understandings of this genre are limited and limiting, and offer an alternative perspective on the genre. This alternative will be built from Stanley Cavell’s philosophy of education, in particular, his understanding of the role that ‘representativeness’ plays in teaching and learning.

This paper highlights the philosophical and educational significance of expression in Ludwig Wittgenstein's Philosophical Investigations. When the role of expression is highlighted, we will be better able to appreciate Stanley Cavell's insistence that: (i) Wittgenstein offers ways of responding to, though not a refutation of, the problem of skepticism concerning other minds, and (ii) Wittgenstein's writing style is an important aspect of his philosophy. The educational implications of this appreciation will be explored with reference to the lives of adolescences.

Dissonant Voices has a twofold aspiration. First, it is a philosophical treatment of everyday pedagogical interactions between children and their elders, between teachers and pupils. More specifically it is an exploration of the possibilities to go on with dissonant voices that interrupt established practices – our attunement – in behaviour, practice and thinking. Voices that are incomprehensible or expressions that are unacceptable, morally or otherwise. The text works on a tension between two inclinations: an inclination to wave off, discourage, or (...) change an expression that is unacceptable or unintelligible; and an inclination to be tolerant and accept the dissonant expression as doing something worthwhile, but different. The second aspiration is a philosophical engagement with children’s literature. Reading children’s literature becomes a form of philosophising, a way to explore the complexity of a range of philosophical issues. This turn to literature marks a dissatisfaction with what philosophy can accomplish through argumentation and what philosophy can do with a particular and limited set of concepts for a subject, such as ethics. It is a way to go beyond philosophising as the founding of theories that justify particular responses. The philosophy of dissonance and children’s literature becomes a way to destabilise justifications of our established practices and ways of interacting. The philosophical investigations of dissonance are meant to make manifest the possibilities and risks of engaging in interactions beyond established agreement or attunements. Thinking of the dissonant voice as an expression beyond established practices calls for improvisation. Such improvisations become a perfectionist education where both the child and the elder, the teacher and the student, search for as yet unattained forms of interaction and take responsibility for every word and action of the interaction. The investigation goes through a number of picture books and novels for children such as Harry Potter, Garmann’s Summer, and books by Shaun Tan, Astrid Lindgren and Dr. Seuss as well narratives by J.R.R. Tolkien, Henrik Ibsen, Jane Austen and Henry David Thoreau. These works of fiction are read in conversation with philosophical works of, and inspired by, Ludwig Wittgenstein and Stanley Cavell, their moral perfectionism and ordinary language philosophy. (shrink)

Education happens all the time, in all places, and during all our lives. We all know that. However, the moment we hear the word “education,” our minds wander back to school. Schools and other educational institutions offer formal education and thus formalize the concept, turning it into a quasi-technical term that goes well with “policy,” “criteria,” “evaluation forms,” and all the rest of the modern educational vocabulary. The growing formalization of concepts is in line with a verificationist ideology that thrives (...) in formal education: methods and outcomes need to be tested; we need a scientific language that measures what students learn in a scientific way; science is a priority anyway, for it informs us of what lies beyond our ordinary conception of the world. Among the goals of education after all is to teach us a more accurate way to describe the world, leaving vulgar common sense behind. Drawing from Wittgenstein's arguments on rule following, I will argue against such temptations to attack common sense. (shrink)