The plodding rate of change within higher education makes it ill-suited to anticipate the challenges rapidly looming in government and corporate sectors. This prospectus outlines those challenges and describes a bold solution. If implemented, it would signal a less hidebound, more adroit institution of higher education to better serve students, business, and society, while fostering a new future for higher education.

The purpose of this study is to analyze the relationship between psychology and modern art design education in colleges, and to provide the basis for improving the quality of art education in colleges. Based on the relevant theory, the characteristics of educational psychology and art psychology and the correlation between them were analyzed from the angle of art education. According to the characteristics of college students' psychological development, the significance of art psychology-related courses was analyzed. Through the form of (...) questionnaire, a total of 200 students were randomly selected from Xi'an Academy of Fine Arts and Xi'an University of Science and Technology, respectively. A total of 400 questionnaires were issued, and 382 valid questionnaires were recovered. The results show that almost all students in two colleges think pedagogy and educational psychology are the theoretical basis for art teachers, while less than one-third of students in Xi'an University of Science and Technology think that art psychology is the theoretical basis for art teachers. The difference between the students' aesthetic and life values in the two colleges is significant. In the 15 directions of life values, there are significant differences in five directions: spirit—material, enrichment—emptiness, enthusiasm—apathy, hope—despair, and dedication—acceptance. It shows that the psychological and values of college students are changeable, and the educators should pay attention to the education in the related fields of psychology. This exploration was conducted based on educational psychology, which is of great significance for improving the educational level of art psychology in colleges and enable students to form correct aesthetic standards and life values. (shrink)

As the first President of the Royal Academy of Arts, Joshua Reynolds played a pivotal role in shaping the course of British art in the 18th century. In these discourses, Reynolds reflects on the nature of art, the role of the artist, and the importance of aesthetic education. With insightful commentary on the works of the Old Masters and a wealth of practical advice for aspiring artists, this volume is a must-read for anyone interested in the history of art (...) or art theory. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Auth: University College London, Distributed by Viking.

About the Author James Elkins is E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. His many books include Pictures and Tears, How to Use Your Eyes, and What Painting Is, all published by Routledge. Michael Newman teaches in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, and is Professor of Art Writing at Goldsmiths College in the University (...) of London. His publications include the books Richard Prince: Untitled (couple) and Jeff Wall, and he is co-editor with Jon Bird of Rewriting Conceptual Art. (shrink)

The purpose of this study was to understand the influence mechanism of college students’ entrepreneurial intention in view of the increasing number of college students at present to alleviate college students’ employment competition. The psychological factors that influence the entrepreneurial tendency of art graduates were analyzed and studied. First, venture capital and factors affecting entrepreneurial performance were analyzed. Second, the coefficient calculation is carried out for college students majoring in art through the regression analysis of the (...) logistic model. Finally, a team entrepreneurial performance questionnaire was designed, and team reward levels were discussed. The results show that the logistic model can well reflect the real situation of the respondents. The significance level of the entrepreneurial team was 0.02, which was correlated. Additionally, corresponding suggestions were put forward according to the questionnaire results. Clear team goals, assignment of tasks to members, good pressure resistance, and psychological quality of members are necessary qualities for successful entrepreneurship. This conclusion provides a certain theoretical basis for the current college students’ entrepreneurial learning and a reliable inspiration for helping college students to successfully start a business. (shrink)

In the 19th century, a gradual reform of art education began, which achieved its peak in the 1930s. This process manifested itself in the form of schools with an explicit anti-academic spirit – the Bauhaus in Europe and Black Mountain College in the United States. In this paper, I contend that such attempt at reform has never repeated again after the Black Mountain College case, where the combination of John Dewey’s educational principles, Josef Albers’ peculiar conception of art (...) instruction, and the college founders’ ideas concerning the essentiality of art for contemporary democratic societies created a unique environment for the development of an experimental form of art education. Examining this innovation with regard to the current situation of teaching art and the humanities, I argue that - despite a process of reform lasted more than a hundred years - art education still manifests residues of the old, conservative academic spirit, while art schools show features of exclusivity or even elitism. The pursuit for a wholesome social position of art, on the other hand, was the most striking endeavour of many brilliant thinkers in 19th and 20th century, something that art educators and art theoreticians of the 21st century must take this into a serious consideration. (shrink)

In the 19th century, a gradual reform of art education began, which achieved its peak in the 1930s. This process manifested itself in the form of schools with an explicit anti-academic spirit – the Bauhaus in Europe and Black Mountain College in the United States. In this paper, I contend that such attempt at reform has never repeated again after the Black Mountain College case, where the combination of John Dewey’s educational principles, Josef Albers’ peculiar conception of art (...) instruction, and the college founders’ ideas concerning the essentiality of art for contemporary democratic societies created a unique environment for the development of an experimental form of art education. Examining this innovation with regard to the current situation of teaching art and the humanities, I argue that - despite a process of reform lasted more than a hundred years - art education still manifests residues of the old, conservative academic spirit, while art schools show features of exclusivity or even elitism. The pursuit for a wholesome social position of art, on the other hand, was the most striking endeavour of many brilliant thinkers in 19th and 20th century, something that art educators and art theoreticians of the 21st century must take this into a serious consideration. (shrink)

In the 19th century, a gradual reform of art education began, which achieved its peak in the 1930s. This process manifested itself in the form of schools with an explicit anti-academic spirit – the Bauhaus in Europe and Black Mountain College in the United States. In this paper, I contend that such attempt at reform has never repeated again after the Black Mountain College case, where the combination of John Dewey’s educational principles, Josef Albers’ peculiar conception of art (...) instruction, and the college founders’ ideas concerning the essentiality of art for contemporary democratic societies created a unique environment for the development of an experimental form of art education. Examining this innovation with regard to the current situation of teaching art and the humanities, I argue that - despite a process of reform lasted more than a hundred years - art education still manifests residues of the old, conservative academic spirit, while art schools show features of exclusivity or even elitism. The pursuit for a wholesome social position of art, on the other hand, was the most striking endeavour of many brilliant thinkers in 19th and 20th century, something that art educators and art theoreticians of the 21st century must take this into a serious consideration. (shrink)

In the 19th century, a gradual reform of art education began, which achieved its peak in the 1930s. This process manifested itself in the form of schools with an explicit anti-academic spirit – the Bauhaus in Europe and Black Mountain College in the United States. In this paper, I contend that such attempt at reform has never repeated again after the Black Mountain College case, where the combination of John Dewey’s educational principles, Josef Albers’ peculiar conception of art (...) instruction, and the college founders’ ideas concerning the essentiality of art for contemporary democratic societies created a unique environment for the development of an experimental form of art education. Examining this innovation with regard to the current situation of teaching art and the humanities, I argue that - despite a process of reform lasted more than a hundred years - art education still manifests residues of the old, conservative academic spirit, while art schools show features of exclusivity or even elitism. The pursuit for a wholesome social position of art, on the other hand, was the most striking endeavour of many brilliant thinkers in 19th and 20th century, something that art educators and art theoreticians of the 21st century must take this into a serious consideration. (shrink)

Taking the Royal College of Barcelona (1760–1843) as a case study, this paper shows the development of modern surgery in Spain initiated by the Bourbon Monarchy when they founded new kinds of institutions as academic activities to spread scientific knowledge. Antoni Gimbernat was the most famous internationally recognised Spanish surgeon. He was trained as a surgeon at the Royal College of Surgery in Cadiz and was later appointed Professor of Anatomy at the College of Barcelona. He then (...) became Royal Surgeon of King Carlos IV, and with that esteemed position in Madrid, he worked relentlessly to improve the quality of the Royal Colleges in Spain. Learning human body structure by performing hands-on dissections in the anatomical theatre has become a fundamental element of modern medical education. Gimbernat favoured the study of natural sciences, the new chemistry of Lavoisier and experimental physics in the academic programmes of surgery. According to the study of a very relevant set of documents preserved in the library, the so-called “juntas literarias”, among the main subjects debated in the clinical sessions was the concept of human beings and diseases in relation to the development of the new experimental sciences. These documents showed that chemistry and experimental physics were considered crucial tools to understand the unexplained processes that occurred in the diseased and healthy human body and in a medico-surgical context. It is important to stress that through these manuscripts, we can examine the role and the reception of the new sciences as they were applied to the healing arts. (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: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)

Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

The Liberal Arts model of undergraduate education within small, internationally-focused University Colleges is becoming increasingly popular in Europe. This trend is most notable in the Netherlands, where the liberal arts model is acclaimed as filling a gap in Dutch undergraduate education at conventional research universities. This paper explores the status of the Dutch University College as simultaneously continuing the liberal arts tradition of the US, with its civic and pedagogic values, and providing a truly modern education (...) preparing students to find innovative and inter-disciplinary solutions to the complex problems which define contemporary society. It concludes that the traditional role of a liberal arts education in cultivating intellectual rather than vocation skills does not have to exclude its appeal as providing the skills necessary for professional success in global sectors of the 21 st century knowledge economy. (shrink)

ObjectivesThe global COVID-19 pandemic in 2020 heavily affected the arts and creative industries due to the instigation of lockdown measures in the United Kingdom and closure of venues. However, it also provided new opportunities for arts and cultural engagement through virtual activities and streamed performances. Yet it remains unclear who was likely to engage with the arts at home during lockdown, how this engagement differed from patterns of arts engagement prior to COVID-19, and whether home-based (...) class='Hi'>arts engagement was related to people’s ability to cope with their emotions during lockdown. This study was therefore designed to address these questions.MethodsWe used data collected in late May from the United Kingdom COVID-19 Social Study run by University College London. Multivariate regressions were used for the analysis. Identified factors included demographic factors, socio-economic position, psychosocial wellbeing and health conditions, adverse events/worries, and coping styles.ResultsFour types of home-based arts engagement were identified during the COVID-19 pandemic: digital arts and writing, musical activities, crafts, and reading for pleasure. Our results show that the strongest predictors of the engagement were age, education attainment, social support, and emotion-focused or supportive coping styles. In particular, younger adults, non-keyworkers, people with greater social support, people who had lost work, those who were worried about catching the virus, and those with an emotion-focused, problem-focused or supportive coping style were more likely to have increased arts engagement during lockdown. Arts activities were used as approach and avoidance strategies to help cope with emotions, as well as to help improve self-development.ConclusionOverall, our study suggests that while some people who engaged in the arts during the COVID-19 pandemic were those who typically engage under normal circumstances, the pandemic has also created new incentives and opportunities for others to engage virtually. Additionally, this study highlights the value of the arts as coping tools during stressful situations. (shrink)

The question whether the study of education and teacher education belong at a liberal arts college deserves careful consideration. In this essay Bruce Kimball analyzes and finds unpersuasive the three principled rationales that are most often advanced on behalf of excluding educational studies, teacher education, or both from a liberal arts college. Specifically, Kimball argues that no principled definition of the conventional liberal arts disciplines excludes the study of education without barring other fields now regarded (...) as legitimate, and consistency demands that all such fields be excluded if any are. In addition, teacher education, even if considered as merely “craft know-how” or as professional training, cannot be excluded from liberal arts colleges without arbitrarily classifying it as suspect and subjecting it to strict scrutiny. But the question of whether educational studies or teacher education fit any asserted definition of liberal education does not finally resolve the question of whether they belong in a liberal arts college. Kimball concludes by suggesting that there are moral and prudential reasons for liberal arts colleges to offer teacher education and, concomitantly, the study of education, even apart from the unpersuasive objections that they do not fit a definition of liberal education. (shrink)

This study aims to alleviate the current tense employment situation and study the entrepreneurial situation of teachers and students in colleges and universities. Firstly, based on the educational concept of Science Technology Engineering Arts Mathematics, Ideological and Political Education is added to psychological capital to explore the effect of the combination of the two on entrepreneurial performance. An entrepreneurial performance impact model is constructed, and the questionnaire is set. Secondly, the influence of psychological capital combined with IPE on sports (...) morality is explored, and a sports morality questionnaire is designed. Finally, the questionnaire results are analyzed. The results showed that most of the participants in the survey are under the age of 25. The 25- to 29-year-olds are the smallest among those surveyed. The respondents who participated in the survey had the most undergraduate degrees, accounting for 43.4%. The 40 items on entrepreneurial performance this time obey a normal distribution, and the scale has good reliability and validity. The main factor analysis results obtained by principal component analysis include 6 factors. Their total explanatory power exceeds 67%, and the six factors screened out this time are well represented. The model tolerance is between 0.45 and 0.5, and the Variance Inflation Factor value is less than 10. The scale does not suffer from multi-collinearity issues. IPE significantly strengthens the effect of psychological capital on entrepreneurial performance. The influences of various sports on sportsmanship, bravery, self-confidence, and self-transcendence are significantly different, and the P value is less than 0.001. The difference in aggressiveness is less than 0.01, indicating that it is very significant. Different sports have significant differences in the cultivation of sports morality, and the P value is less than 0.05. The differences in self-discipline are also significant, and there are extremely significant differences in compliance with rules, and the P value here is less than 0.001. There are no significant differences in sporting qualities. IPE combined with psychological capital has a significant impact on entrepreneurial performance. These contents provide references for the entrepreneurship education of teachers and students in colleges and universities. The contribution lies in expanding the research on psychological capital in entrepreneurial performance and laying a foundation for the combination of psychological capital and IPE. (shrink)

Of the requisites for economic development, human capital is the most “policy-proof,” is the one which developed nations can most effectively render on large scale, and is that which American colleges of Agriculture are uniquely equipped to render. Graduate study in agricultural economics is a popular choice of third world students as it occupies a pivotal position between agricultural science and the liberal arts, giving it substantial relevance to economic development. It is necessary to understand the history, economics, sociology, (...) and psychology of the institutions that are central to economic development. Graduate programs in agricultural economics have fallen short of their potential to contribute to human capital and hence to the process of economic development. It is recommended that these programs capitalize on the disciplinary ties to both agricultural science and to the liberal arts, and in particular, 1) place greater emphasis on international aspects of macroeconomics, 2) include in the study of microeconomics more realistic treatment of what prices and markets can and cannot accomplish, and 3) emphasize the importance of effective communication in preparing returning third world students for their responsibilities in bridging the gap between research and policy. (shrink)

Higher education is seeing renewed calls for strengthening ethics education, yet there remains a dearth of research on the state of ethics education across undergraduate curricula. Research about ethics in higher education tends to be localized and often isolated to fields of graduate study. In contribution to a contemporary, landscape understanding of ethics education, we collected data on the placement and prevalence of ethics instruction within the general education curricula at 507 major U.S. colleges and universities. Our findings suggest that (...) 1) most schools in our study’s population do not explicitly require ethics as a part of their general education curricula; and 2) a school’s religiosity and research status are positively associated with explicitly requiring ethics instruction for its undergraduate student body. (shrink)

Shortly after John Andrew Rice, the eccentric classics professor and fire-brand advocate of progressive education, was dismissed from Rollins College for, among other things, teaching his students to “do as they please,”1 he drafted a sort of pedagogical manifesto announcing a new, and fundamentally new kind of, liberal arts school. The “Preliminary Announcement of Black Mountain College” describes this radical educational paradigm in largely contrarian terms, as the antithesis to traditional higher learning. This new college would (...) be one without exams, without grades and required courses, and without typical hierarchy of academic administration. Beyond this negative agenda, however, Rice makes one positive... (shrink)

Not too long ago the trustees of my college decided to update the artistic holdings of our campus, and to this end they set out to acquire a contemporary work of art for permanent display in the College art museum. Not being timid, the trustees wanted a challenging, cutting-edge work, preferably from the West Coast, but they felt they lacked the expertise to find and buy the right piece. As it happened, a few of them had heard of (...) my interest in modernism and its philosophical challenges, and so I found myself with an unusual assignment: I was to fly to Los Angeles with a ten thousand dollar check and bring back something distinguished, a unique object to be discussed and appreciated for years to come. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 537 tion of his three dialogues, and of course there are several references to Hume's intern= parable Dialogues. The bibliographic essay is useful with respect to general works and period pieces but unfortunately does little to help those who are seeking further help in understanding an individual writer. Professor France's work is an invaluable guide nevertheless for those who realize that authors, even philosophers, do not write (...) in a cultural vacuum. NICHOLASCAPALDI Queens College, CUNY Die Auseinandersetzung yon ldealismus und Realismus in Fichtes Wissenscha/tslehre. By Ingeborg Schfissler. (Frankfurt am Main: Vittorio Klostermann, 1972. Pp. 182. DM 24.50) For Fichte scholars this closely argued and well organized study of the foundations of Fichte's Wissenscha/tslehre is simply a must. American philosophers generally, however, will not become Fichte enthusiasts after reading this book. But this is not the fault of the authoress, but of Fichte. The key question which Dr. SchiJssler raises is, What role does realism play in Fichte's transcendental idealism? With this question in mind she examines Fichte's "foundation of the entire theory of science" of 1794-1795 and related matters, and the "theory of science" of 1804, together with the lecture of 1813. As Fichte originally saw the task of philosophy it was to explain theoretical, i.e., scientific, consciousness in terms of its own foundation. In 1804, however, the task was conceived as presentation of absolute truth; and in 1813, Fichte tried to understand the theory of science as a theory of appearances. Dr. Schfissler's thesis is that all three approaches are necessary; that, in fact, the changes in Fichte's conception of what a theory of science is or ought to be are grounded in the nature of transcendental philosophy itself. The book is not something one reads for relaxation; its sustained and detailed arguments militate against that. But it is a highly illuminating study, and well worth the effort of careful analysis. W. H. WE~mSTBR Florida State University The Manifold in Perception. Theories of Art.from Kant to Hildebrand. By Michael Pedro. (Oxford: Clarendon Press, 1972. Oxford-Warburg Studies) This is a survey of theories of art of Kant, Schiller, Herbart, Hildebrand, Schopenhauer and Fiedler. One may question the value of a re-statement of this sort, over simply another reading of the works of the authors themselves. Pedro's answer may be found in the Preface and again in a more extended statement in the conclusion. "German aesthetic theory from Kant through to the end of the nineteenth century seemed to contain valuable critical ideas quite absent from contemporary philosophical writing." Pedro's attempt has been to "re-locate notions in current use, like 'aesthetic detachment', within the sustained systematic discourse of which they were once part. This seemed a way both of uncovering a number of assumptions which have been constraining writing on art for some time, and of clarifying a number of crucial insights of earlier theorists." The author's account is almost entirely expository, its negative critical questions being limited almost exclusively to Herbart. Yet even here, when the author indicates that Herbart's theory of mind "exhibits certain very basic logical difficulties," he adds that 538 HISTORY OF PHILOSOPHY "they are difficulties which have a particular importance in the discussion of art.... " Podro's clarification is largely made through the asking of questions which the authors themselves did not ask and then suggesting answers to these questions in the light of what the authors did say. The two chapters on Schiller form the core of the book. Schiller's theory of art and aesthetic education of man is placed as central to Podro's account of an aesthetic tradition beginning with Kant and ending with Fiedler. The "tradition" detailed in Podro's book is described as having two underlying assumptions. The first was that any account of art must indicate distinctive or at least characteristic uses of our perception, uses which if not exclusive to art are at least necessary to it, and which are seen in art in a particularly striking way. The second assumption was that art involves our attitudes, in the sense of our serious purposes as... (shrink)

The COVID-19 pandemic has caused tremendous loss starting from early this year. This article aims to investigate the change of anxiety severity and prevalence among non-graduating undergraduate students in the new semester of online learning during COVID-19 in China and also to evaluate a machine learning model based on the XGBoost model. A total of 1172 non-graduating undergraduate students aged between 18 and 22 from 34 provincial-level administrative units and 260 cities in China were enrolled onto this study and asked (...) to fill in a sociodemographic questionnaire and the Self-Rating Anxiety Scale twice, respectively, during February 15 to 17, 2020, before the new semester started, and March 15 to 17, 2020, 1 month after the new semester based on online learning had started. SPSS 22.0 was used to conduct t-test and single factor analysis. XGBoost models were implemented to predict the anxiety level of students 1 month after the start of the new semester. There were 184 and 221 students who met the cut-off of 50 and were screened as positive for anxiety, respectively, in the two investigations. The mean SAS scores in the second test was significantly higher than those in the first test. Significant differences were also found among all males, females, and students majoring in arts and sciences between the two studies. The results also showed students from Hubei province, where most cases of COVID-19 were confirmed, had a higher percentage of participants meeting the cut-off of being anxious. This article applied machine learning to establish XGBoost models to successfully predict the anxiety level and changes of anxiety levels 4 weeks later based on the SAS scores of the students in the first test. It was concluded that, during COVID-19, Chinese non-graduating undergraduate students showed higher anxiety in the new semester based on online learning than before the new semester started. More students from Hubei province had a different level of anxiety than other provinces. Families, universities, and society as a whole should pay attention to the psychological health of non-graduating undergraduate students and take measures accordingly. It also confirmed that the XGBoost model had better prediction accuracy compared to the traditional multiple stepwise regression model on the anxiety status of university students. (shrink)

Enduring disparities in choice of college major constitute one of the most significant forms of gender inequality among undergraduate students. The existing literature generally equates major choice with career choice and overlooks possible variation across student populations. This is a significant limitation because gender differences in major choice among liberal arts students, who attend college less for specific career training and more for broader learning objectives, are just as great as among those choosing pre-professional majors. This study (...) addresses this gap by examining how privileged men and women at an elite, liberal arts university select their fields of study. Drawing on in-depth interviews, findings contradict the prevailing assumption of a unitary model of major choice as career choice by revealing a plurality of gendered meanings around choosing a field of study. Majors may play an important part in the construction of an intellectual identity as much as a means of career preparation. How students approach the choice relates to both gender and social background. For privileged students, traditional gendered associations with bodies of knowledge hold salience in their decision making as well as expectations of reproducing future elite family roles. This research also illuminates how gendered processes of choosing fields of study take place in relationship to particular institutional contexts. (shrink)