In this paper we consider the prospects for an account of good argument that takes the character of the arguer into consideration. We conclude that although there is much to be gained by identifying the virtues of the good arguer and by considering the ways in which these virtues can be developed in ourselves and in others, virtue argumentation theory does not offer a plausible alternative definition of good argument.

_Critical Thinking_ is a much-needed guide to thinking skills and above all to thinking critically for oneself. Through clear discussion, students learn the skills required to tell a good argument from a bad one. Key features include: *jargon-free discussion of key concepts in argumentation *how to avoid confusions surrounding words such as 'truth', 'knowledge' and 'opinion' *how to identify and evaluate the most common types of argument *how to spot fallacies in arguments and tell good reasoning from bad *topical examples (...) from politics, sport, medicine, music *chapter summaries, glossary and exercises _Critical Thinking_ is essential reading for anyone, student or professional, seeking to improve their reasoning and arguing skills. (shrink)

In this paper we argue that while a full-blown virtue-theoretical account of argumentation is implausible, there is scope for augmenting a conventional account of argument by taking a character-oriented turn. We then discuss the characteristics of the good epistemic citizen, and consider approaches to nurturing these characteristics in critical thinking students, in the hope of addressing the problem of lack of transfer of critical thinking skills to the world outside the classroom.

The California Critical Thinking Dispositions Inventory is a commonly used tool for measuring critical thinking dispositions. However, research on the efficacy of the CCTDI in predicting good thinking about students’ own deeply held beliefs is scant. In this paper we report on preliminary results from our ongoing study designed to gauge the usefulness of the CCTDI in this context.

The rhetorical function of whataboutism is to redirect attention from the specific case at hand. Although commonly used as a rhetorical move, whataboutisms can appear in arguments. These tend to be weak arguments and are often instances of the tu quoque fallacy or other fallacies of relevance. In what follows, I show that arguments involving a whataboutist move can take a wide variety of forms, and in some cases, they can occur in good arguments. I end by considering how whataboutist (...) arguing in social justice contexts can be harmful to arguers and to the audiences for their arguments. (shrink)

This paper considers the use of Derek Jarman’s film “Wittgenstein” as a valuable resource for those writing upon, thinking about, and teaching Wittgenstein’s philosophy, especially in understanding Wittgenstein’s approach to questions about language and its relationship to reality. The paper begins by considering the role biography plays in philosophical scholarship and how, in the case of Wittgenstein, this has a particularly significant role. Next, the paper describes the form and content of the film before moving to a discussion of strategies (...) for using the film in class. Finally, the paper concludes by arguing that the film is a Wittgensteinian one as it illustrates Wittgenstenian themes by showing them rather than telling them. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Drama on the Run:A Prelude to Mapping the Practice of Process DramaPamela Bowell (bio) and Brian Heap (bio)In the current educational climate prevailing in a number of countries, increased emphasis is being placed on the concept of "the artist in schools." Funding is being channeled to support a range of initiatives and schemes that are designed to bring arts professionals from all the art forms into the classroom where (...) they place their artistic talents, knowledge, and insights alongside the pedagogic skills of the teacher.We see exciting projects in which artists work with children in school—visual artists to create murals, musicians to compose and perform operas, dancers to choreograph new ballets, and actors and directors to devise plays. Many of the outcomes are of high quality, and the children who have been fortunate enough to be involved have enjoyed the experiences and have gained a great deal from them. This would seem to be a state of affairs to be applauded unreservedly, as such projects surely enrich the lives of the pupils and schools in which they take place. In one sense, of course, this is undeniably true, and we have no intention of suggesting otherwise. However, in reality, this is a much more complex situation. It raises a number of key issues for us as educational practitioners who work in the field of applied theatre, sharing with others, as Judith Ackroyd describes, "a belief in the power of the theatre form to address something beyond the form itself."1The most critical issue is the perceived separation of the artist from the teacher that can sometimes be encouraged by artists in schools projects. We sense a dangerous precedent here. It becomes all too easy for two erroneous assumptions to be made, namely that teachers cannot be considered to be artists in their own right, while artists on the other hand can be accorded [End Page 58] the status of teacher. In our own experience too, the nature of educational funding can be extremely volatile, subject to all kinds of shifts in the prevailing political and economic climate, as well as adjustments to the ways in which funding is applied according to the social and educational priorities of the time. Too frequently, education falls victim to what might be described as "the-flavor-of-the-month syndrome."Those who are involved with teacher education, both pre- and in-service, make superhuman efforts to respond with alacrity to the new demands as courses are reviewed and reorganized accordingly. The trainees of the next generation find themselves with a new "party line" to toe as their courses conform to the new priority. This is all well and good—until the priority changes and gaps suddenly appear in the knowledge or skills or understanding of teachers. What was received wisdom becomes a deficit model as focus changes, and the circle is now expected to be squared.Under these circumstances, it would seem a more prudent policy to train teacher-artists who would have the ability to meld their pedagogical understanding and skill with an aesthetic craft and sensibility than to rely on visiting artists as the "natural" or "normal" providers of arts education. This would ensure not only that teachers would make better, more informed use of visiting artists but also that children's expertly guided engagement with the arts would be a permanent and enduring aspect of their regular schooling rather than a "special" event subject to the vagaries of arts funding or policy. This might seem an easy statement to make for people such as ourselves, who have spent whole careers working as teacher-artists within the field of drama in education. But it might seem an altogether more daunting prospect for teachers, or intending teachers, who are not specialists in the arts.Having spent a great deal of our respective careers working in teacher education, we are very conscious of this possibility. To this end, our research collaboration has been centered on exploring and coming to understand more fully, clearly, and precisely how the teacher functions as an artist within the particular genre of applied theatre known as process drama. Embedded within the increase of our... (shrink)

Now with Venn Diagrams, expanded Extended Examples (nice work, Robert), and the latest trends in Rhetoric, post-truth etc. (nice work, Tracy).

In this paper, I consider whether there are limits to virtuous argumentation in certain situations. I consider three types of cases: 1) arguing against denier discourses, 2) arguing with people who make bigoted claims, and 3) cases in which marginalised people are expected to exercise virtues of argument from a position of limited agency. For each type of case, I look at where limits to arguing responsibly might be drawn. I argue that there are situations in which we might withdraw (...) from engagement for practical reasons and others in which withdrawing or refraining from engagement is a responsible way to deal with a particular position. Finally, I argue that in the third type of case, expecting the marginalised to argue as though on even terms with the positions of the dominant risks perpetrating argumentative harm. (shrink)

In this paper, I consider whether there are limits to virtuous argumentation in certain situations. I consider three types of cases: 1) arguing against denier discourses, 2) arguing with people who make bigoted claims, and 3) cases in which marginalised people are expected to exercise virtues of argument from a position of limited agency. For each type of case, I look at where limits to arguing responsibly might be drawn. I argue that there are situations in which we might withdraw (...) from engagement for practical reasons and others in which withdrawing or refraining from engagement is a responsible way to deal with a particular position. Finally, I argue that in the third type of case, expecting the marginalised to argue as though on even terms with the positions of the dominant risks perpetrating argumentative harm. (shrink)

At several points in his later writings Wittgenstein discusses imaginary forms of life and ways of thinking that appear queer or alien from our point of view; concepts so different from ours that those who think from within them seem to be alternatives to us. In this paper I argue that reflection on the notions of difference and possibility in play here shows that imaginary cases of alien conceptual schemes or forms of life such as those considered by Wittgenstein are (...) not all cases of concepts that are entirely unintelligible for us; rather they may represent possible, albeit distant, ways of thinking for us. Such cases serve to aid imaginative reflection on our own case(s). By making us appreciate the possibility of the strange, they help us better to appreciate the arbitrariness of the familiar. I end the paper by considering what the implications of this reading of Wittgenstein’s position might be for Donald Davidson’s rejection of conceptual relativism. (shrink)

Part of the job of the philosophy teacher, and in particular the critical thinking teacher, is to encourage students to critically examine their own beliefs. There are some beliefs that are difficult to think critically about, even for those who have critical thinking skills and are committed to applying them to their own beliefs. These resistant beliefs are not all of a kind, and so a range of different strategies may be needed to get students to think critically about them. (...) In this paper we suggest some such strategies. (shrink)

This paper considers the use of Derek Jarman’s film “Wittgenstein” as a valuable resource for those writing upon, thinking about, and teaching Wittgenstein’s philosophy, especially in understanding Wittgenstein’s approach to questions about language and its relationship to reality. The paper begins by considering the role biography plays in philosophical scholarship and how, in the case of Wittgenstein, this has a particularly significant role. Next, the paper describes the form and content of the film before moving to a discussion of strategies (...) for using the film in class. Finally, the paper concludes by arguing that the film is a Wittgensteinian one as it illustrates Wittgenstenian themes by showing them rather than telling them. (shrink)

My starting point for this paper is a problem in critical thinking pedagogy—the difficult of bringing students to a point where they are able, and motivated, critically to evaluate their own deeply held beliefs. I first interrogate the very idea of a deeply held belief, drawing upon Wittgenstein’s idea of a framework belief—a belief that forms part of a ‘scaffolding’ for our thoughts—or of a belief that functions as a hinge around which other beliefs pivot. I then examine the role (...) of deeply held beliefs, thus conceived, in our ways of being in the world, exploring the extent to which engagement with others whose deeply held beliefs differ from ours may be possible through imaginative ‘travel’. Finally, I reflect upon the extent to which these imaginative moments also offer up opportunities for critical reflection upon our own deeply held beliefs and, thus, the possibility of changing or adapting those beliefs. (shrink)

My starting point for this paper is a problem in critical thinking pedagogy—the difficult of bringing students to a point where they are able, and motivated, critically to evaluate their own deeply held beliefs. I first interrogate the very idea of a deeply held belief, drawing upon Wittgenstein’s idea of a framework belief—a belief that forms part of a ‘scaffolding’ for our thoughts—or of a belief that functions as a hinge around which other beliefs pivot. I then examine the role (...) of deeply held beliefs, thus conceived, in our ways of being in the world, exploring the extent to which engagement with others whose deeply held beliefs differ from ours may be possible through imaginative ‘travel’. Finally, I reflect upon the extent to which these imaginative moments also offer up opportunities for critical reflection upon our own deeply held beliefs and, thus, the possibility of changing or adapting those beliefs. (shrink)