The title incorporates the assumption that the 'human' in education is being threatened by certain processes. The guiding questions are: What are these processes and what constitutes the 'human' in education? Which activities characteristically performed by human beings are so central that they seem definitive of a life that is truly human and which changes or transitions in educational thinking are compatible with the continued existence of a being as a member of human kind and which are not? It is (...) argued that the present debate on education is still dominated by the language of performance and global economic comparison. Educational practice must and will have to help the individual through a confluence of insights in his/her journey through life to form independent judgement. (shrink)

This paper describes findings of a research inquiry into the lived experience of homelessness in Peel, a suburban region located in the Greater Toronto Area in Ontario, Canada. It is based on the data from a collaborative project undertaken by members of the Faculties of Health and Education of York University with two local community organizations. The dominant theme of the narratives was that suburban homelessness is similar to being engulfed in a grotto of poverty , isolated from the rest (...) of the community and invisible to it. Once entrapped in the grotto, it is almost impossible to escape from it. There were four sub-themes: (a) falling into the grotto , (b) living/struggling in the grotto , (c) envisioning escape routes from the grotto, and (d) beauty, community and hope in the grotto . Following a discussion of the findings, researchers describe strategies to address homelessness through promotion of social justice for all. (shrink)

English summary: In "Also Spoke Zarathustra," Nietzsche referred to, considerably more than in his other writings, the sum-total of the western tradition and condensed within it our cultural heritage in a stupendous synthesis, which he configured in a curious space of citations, parodies, and echoes. Already the colorful singularity makes the text an important bearer and filter of tradition and a model case, on which literary and philosophical approaches, confronted with the question of cultural memory and Nietzsche's reassessment of it, (...) are able to mutually compliment and illuminate each other. This anthology documents a spectrum of possible avenues into Nietzsche's chief work, into his characteristic dynamic of recreation, and to the specific forms in which he actualized the compression of western tradition in "Zarathustra." The pathos of "Zarathustra," Nietzsche's parody, and the concept of cryptomnesia (the forgotten memory), in which the transvaluation of tradition is placed within the horizon of productive forgetting, are therefore special challenges for literary studies as well as the thinking of the present. German description: In 'Also sprach Zarathustra' bezieht sich Nietzsche weit mehr als in anderen Schriften auf den Fundus der abendlandischen Uberlieferung und verdichtet mithin unser kulturelles Erbe in einer riesigen Synthese, die sich als eigentumlicher Spielraum von Zitaten, Parodien und Anklangen konfiguriert. Gerade die schillernde Singularitat dieser Synthese macht den Text zu einem bedeutenden Trager und Filter der Tradition und somit zu einem Modellfall, an dem sich literaturwissenschaftliche und philosophische Zugangsweisen, die sich mit der Frage nach dem kulturellen Gedachtnis und dessen Umwertungspraxis bei Nietzsche konfrontieren, erganzen und gegenseitig beleuchten konnen. Der Sammelband dokumentiert ein Spektrum moglicher Zugange zu Nietzsches Hauptwerk, zu seiner charakteristischen Dynamik der Neuschopfung und zu den spezifischen Formen, in denen sich die Verdichtung der Tradition im 'Zarathustra' artikuliert. Das Pathos Zarathustras, Nietzsches Parodie und der Kryptomnesie-Begriff, der die Umwertung der Tradition in den Horizont eines produktiven Vergessens stellt, werden dabei zu besonderen Herausforderungen der Literaturwissenschaft sowie des Denkens der Gegenwart. (shrink)

What triggers the act of creating? What role do sensory cues, environmental factors, and interdisciplinary exchanges play in this? The semiotic theories of Jacob von Uexküll, a Baltic German biologist, served as an important starting point in addressing these questions. In 1934 he proposed the concept of the Umwelt as a means to assess the behaviour of humans and animals, their realm of experience, and capacity to act. An investigation into the complexity of these Umwelten, from the natural world to?inner (...) worlds? and?time worlds?, is carried out by theorists, artists, and architects such as Andrés Jaque, Esther Venrooy, Bart Decroos, Isolde Vanhee, Joseph Kohlmaier, and more. (shrink)

This contribution takes as its point of departure the spatial turn in law and the notion of spatial justice. It traces the term ‘spatial justice’ as introduced through the Spatial Planning and Land Use Management Act and it looks at the underlying view of space that has influenced the spatial turn in law. It furthermore investigates the ways in which the spatial turn in law has been influenced by the thinking of Henri Lefebvre, who relies on a Leibnizian conception of (...) space. Lastly the link between Leibniz and legal positivism is considered in order to reach the final conclusion in the form of a caution against merely adding the language of spatial justice to an approach to space that remains caught up in abstract space. This will only further entrench existing fault lines in society. For this conclusion the work of Roger Berkowitz is central. Berkowitz argues convincingly that the work of Leibniz was central in the development of legal positivism, despite Leibniz in general being considered as a natural law thinker. The same applies to spatial justice theory, where the work of Leibniz is central: it may present the possibilities of another law – the law as it ought to be. The law conceptualised as ‘ought’ instead of ‘is’ would promote reconciliation. Alternatively, spatial justice can simply present the law as it ‘is’ and reconfirm and deepen the chasms in our world. (shrink)

ABSTRACT Universities worldwide are beginning to counter the prevailing neo-liberal ideology by paying renewed attention to the moral development of students and fostering their life purposes. This mixed methods study investigates the life purposes of higher education students in four institutions in the Netherlands (nDutch = 663) and Finland (nFinnish = 846). Based on quantitative data, we identified four purpose profiles: purposeful, self-oriented, dreamer, and disengaged. Qualitative data showed that students’ willingness to contribute to a better world was not particularly (...) prominent. An exception was found in the data of a Dutch research university working with a specific worldview and value base and emphasizing moral education. We conclude that universities need to put more effort into educating young professionals whose life purpose goes beyond their self-interest and who are willing and able to address pressing societal and global problems. This particularly includes professionals in the domains of technology and economy. (shrink)

It has often been noted that liberal democracies are facing a serious political crisis. A common reaction to this situation is to call for more comprehensive or more effective liberal democratic education. This volume discusses some of the most important challenges to and critiques of the paradigm of liberal democratic education. In doing so, it offers novel insights into how liberal democratic education can be amended, extended or qualified to address the special challenges of the current political moment.

BackgroundMultiple sclerosis, the most common neurological disease that causes disability in youth, does not only affect physical functions but is also associated with cognitive impairment, fatigue, depression, and anxiety and can significantly impact health-related quality of life. Since MS is generally diagnosed at a young age—a period of great significance for personal, relational, and professional development—adaptation can become highly challenging. Therefore, enhancing the competence of young people to adaptively cope with these potential challenges is of utmost importance in order to (...) promote their potentialities and talents. It has been shown that psychological interventions targeting MS patients can enhance resilience and HRQoL and that regular physical activity and social engagement can improve psychological well-being. However, literature on the development of global interventions based on the bio-psycho-social model of the disease is missing. Even less attention has been paid to interventions dedicated to young adults with MS and to the involvement of patients in the development of such programs.AimsIn collaboration with MS patients, this study aims to develop a bio-psycho-social intervention for YawMS, aiming to improve their HRQoL and to explore its feasibility, acceptability, and effects.MethodsTo tailor the intervention to the specific needs of YawMS, “patient engagement principles” will be adopted in the co-creation phase, performing a web survey and focus groups with patients and healthcare professionals. In the intervention phase, a pilot sample of 60 young adults with MS will be enrolled. The co-created intervention, composed of group sessions over a 12-week period, will cover psycho-social strategies and include physical activities. Adopting a longitudinal, pre–post evaluation design, self-report questionnaires measuring HRQoL and other bio-psycho-social features will be administered, the quantity and quality of PA will be measured, and a questionnaire developed by the authors will be used to evaluate the feasibility and acceptability of the ESPRIMO intervention. (shrink)

Sorti à l’occasion de l’exposition Splendeurs et misères. Images de la prostitution 1850-1910, qui s’est tenue au musée d’Orsay de septembre 2015 à juin 2016, cet ouvrage entend explorer la question de la prostitution en multipliant les approches, les regards et les sensibilités. S’il se situe résolument dans le champ de l’histoire de l’art, ce livre fait plus que prolonger le propos de l’exposition et de son catalogue en invitant à s’interroger sur « les notions de scandale, de saleté ou (...) de... (shrink)

Hoe kan de behoefte om 'hartstochtelijk uitdrukking te geven' aan de geestesgesteldheid die teweeggebracht is door het lezen van een wijsgerige verhandeling tegelijkertijd de aanzet vormen tot een eenvoudig muzikaal concept, of zelfs, zoals Wagner zelf stelt, 'mijn minst gecompliceerde muzikale conceptie'? Magee analyseert dit probleem waarmee hij geconfronteerd wordt naar aanleiding van de opera Tristan en Isolde.

In his autobiography, Mein Leben, Wagner tells us that it was partly his reading of Schopenhauer's The World as Will and Representation , and the need to give ‘rapturous expression’ to the ‘frame of mind produced’ by that reading, that gave him the initial conception of Tristan and Isolde.

During the years preceding the composition of Tristan and Isolde, Wagner's aesthetics underwent a momentous turnaround, principally as a result of his discovery of Schopenhauer. Many of Schopenhauer's ideas, especially those regarding music's metaphysical significance, resonated with patterns of thought that had long been central to Wagner's aesthetics, and Wagner described the entry of Schopenhauer into his life as 'a gift from heaven.' Chafe argues that Wagner's Tristan and Isolde is a musical and dramatic exposition of metaphysical ideas (...) inspired by Schopenhauer. The first part of the book covers the philosophical and literary underpinnings of the story, exploring Schopenhauer's metaphysics and Gottfried van Strassburg's Tristan poem. Chafe then turns to the events in the opera, providing tonal and harmonic analyses that reinforce his interpretation of the drama. Chafe acts as an expert guide, interpreting and illustrating the most important moments for his reader. Ultimately, Chafe creates a critical account of Tristan, in which the drama is shown to develop through the music. (shrink)

Chafe argues that Wagner's Tristan and Isolde is a musical and dramatic exposition of metaphysical ideas inspired by Schopenhauer. The book is a critical account of Tristan, in which the drama is shown to develop through the music.

In Death-Devoted Heart Roger Scruton argues that Tristan und Isolde has profound religious meaning. Blending philosophy, criticism and musicology, he shows the work is as relevant today as it was to Wagner's contemporaries. Scruton's analysis touches on the nature of tragedy, the significance of ritual sacrifice, and the meaning of redemption.

A tale of forbidden love and inevitable death, the medieval legend of Tristan and Isolde recounts the story of two lovers unknowingly drinking a magic potion and ultimately dying in one another's arms. While critics have lauded Wagner's Tristan and Isolde for the originality and subtlety of the music, they have denounced the drama as a "mere trifle"--a rendering of Wagner's forbidden love for Matilde Wesendonck, the wife of a banker who supported him during his exile in Switzerland.Death-Devoted (...) Heart explodes this established interpretation, proving the drama to be more than just a sublimation of the composer's love for Wesendonck or a wistful romantic dream. Scruton boldly attests that Tristan and Isolde has profound religious meaning and remains as relevant today as it was to Wagner's contemporaries. He also offers keen insight into the nature of erotic love, the sacred qualities of human passion, and the peculiar place of the erotic in our culture. His argument touches on the nature of tragedy, the significance of ritual sacrifice, and the meaning of redemption, providing a fresh interpretation of Wagner's masterpiece. Roger Scruton has written an original and provocative account of Wagner's music drama, which blends philosophy, criticism, and musicology in order to show the work's importance in the twenty-first century. (shrink)

I det sidste 10-år har der været et bemærkelsesværdigt opsving i det brede publikums interesse for middelalderperioden. Dette gælder så vel for historiske fremstillinger som for skønlitterære tekster, der i disse år i forrygende tal og tempo oversættes til de moderne hovedsprog.

Der Band geht interdisziplinar der Frage nach, wie sich Sorge als existenzielle Grundkonstante in modernen Gegenwartsgesellschaften manifestiert. Konzeptuell liegt den Beitragen eine Unterscheidung von drei Dimensionen der Sorge zugrunde: die Sorge um sich, die Sorge um andere und die Sorge um die Umwelt. Diese Dimensionen werden dabei auch in einer genealogischen Perspektive betrachtet. Dadurch wird ein umfassendes Forschungsfeld eroffnet, in dem heterogene empirische Phanomene, komplexe gesellschaftliche Entwicklungen und zentrale ethische Fragestellungen in einer theologischen, sozialwissenschaftlichen und philosophischen Perspektive bearbeitet werden. Ziel (...) des Forschungsfeldes ist es, durch die wechselseitige Bezugnahme dieser Perspektiven Sorge als ein Schlusselkonzept zur Analyse der spatmodernen Gesellschaft zu nutzen und zu etablieren. Die Forschung steht im Kontext zum gleichnamigen Forschungsschwerpunkt am Evangelischen Studienwerk Villigst. Mit Beitragen von Gianna Behrendt, Knut Berner, Andrea Bieler, Anna Henkel, Isolde Karle, Helen Kohlen, Gesa Lindemann, Richard Paluch, Franziska Schade, Katrien Schaubroeck, Stefanie Schniering, Tina Aniko Schroter, Maike Schult, Henk van Gils, Werner Vogd, Micha Werner. (shrink)

ABSTRACT Though Nietzsche's lifelong fascination with Wagner's Tristan and Isolde is well documented, its impact upon the developmental trajectory of his philosophy and in particular, his thinking on the nature of eroticism remains far from obvious. This article examines the previously unheralded influence of Wagner's opera on Nietzsche's various attempts, throughout the 1880s, at forging an alternative conception of erotic desire—a conception no longer subordinated to the pursuit for fusional reconciliation but rather linked to the eternal return and the (...) unconditional affirmation of distance itself. (shrink)

De q870 à188, Nietzsche a souvent rappelé les différences fondamentales entre la rythymique greque et lat rythmique moderne. Son analyses du rythme grec se fonde sur trois sources principales: les métriciens modernes, les Anciens, et les théories de Wagner. En 1870-1871, Nietzsche étudie les Elementa rhythmica d'Aristoxène de Tarente pour critiquer les théories des philologues modernes; il accorde en particulier une place centrale au concept rythmique d'alogia, qu'il oppose à l'eurythmie, notion présentée par Platon et Vitruve. Contrairement à la «rythmique (...) affective» et accentuelle des modernes, la «rythmique temporelle» greque reposair sur l'irrégularité et l'asymétrìc tout autant que sur la régularité arithmétique, ce qui permettait de produire de effets puissants sur le auditeurs. Cependant, Nietzsche aperçoit une survivance de la rythmique greque dans le œuvres de Wagner, notamment dans Tristan et Isolde, L'analyse rythmique d'une scène de ce drame réalisée par Nietzsche en 1870-1871, éclaire alors une grande partie des éloges et des critiques que le philosophe adresse à Wagner jusqu'en 1888, et dont le point commun est de déterminer dans quelle mesure le drame lyrique peut être comparé avec la tragédie greque, genre poétique et musical réunissant alogia et eurythmie.Von 1870 bis 1888 hat Nietzsche oft die Grundunterschiede zwischen griechischer und moderner Rhythmik hervorgehoben. Seine Analyse des griechischen Rhythmus gründet sich auf drei Hauptquellen: die modernen Metriker, die Alten und Wagner. 1870/1871 untersucht Nietzsche Aristoxenos' Elementa rhythmica und kritisiert die Theorien der modernen Philologen. Dabei wird dem rhythmischen Begriff der alogia eine grundlegende Rolle verlichen, den Nietzche dem begriff der Eurhythmic bei Plato und Vitruv entgegensetzt. Im Unterschied zur modernen Affekt-Rhythmik beruhte die griechische Zeit-rhythmik auf der unregelmäßigkeit und Symmetrie. Daraus entstand eine kräftige Wirkung auf die Zuhörer. Obwohl die griechische rhythmik in den zeitgenössischen Werken nicht meher vorhanden ist, finder Nietzsche ihre Spuren bei Wagner, besonders in Tristan und Isolde. Die rhythmische Analyse einer Szene aus diesem Drama , die Nietzsche bis 1888 an Wagner gerichtet hat. Der gemeinsame Charakter beider liegt darin zu bestimmen, inwiefern das lyrische Drama mit der griechischen Tragödie, die alogia und Eurhythmic verbindet, verlichen werden kann. (shrink)

In this classic work, often described as "The History of the Rise, Decline, and Fall of the Love Affair," Denis de Rougemont explores the psychology of love from the legend of Tristan and Isolde to Hollywood.

The main intuitions underlying presented analyses may be expressed as follows. Any question corresponds to a certain incomplete image of situation – an image with a gap – and expresses the will of filling this gap. For example, the question "Who loves Isolde?" refers to the image of the situation in which the relation of love occurs; Isolde is the second argument of this relation, and the first argument of it is "empty". Asking "Who loves Isolde?" we (...) express our desire of filling the gap. To identify correctly ontic correlates of questions we ought to accept the view that semantic function of questions consists in indicate a certain image of situation and questioner's attitude to this image. On the basis of these assumptions, semantic functions of questions as well as many other important erotetic notions are explicated. Analyses are illustrated by fragments from Roman Ingarden's famous work "Essential questions" ("Essentiale Fragen"). (shrink)

The paper aims at analyzing some Wagnerian figures in order to show that the influence of Schopenhauer’s philosophy on Wagner is not as strong as commonly held – at least not in his operas. The figures that shall be considered are: Wotan and Brünnhilde, Tristan and Isolde, and finally Parsifal, who appears to be the only Schopenhauerian character of all.

In this classic work, often described as "The History of the Rise, Decline, and Fall of the Love Affair," Denis de Rougemont explores the psychology of love from the legend of Tristan and Isolde to Hollywood. At the heart of his ever-relevant inquiry is the inescapable conflict in the West between marriage and passion--the first associated with social and religious responsiblity and the second with anarchic, unappeasable love as celebrated by the troubadours of medieval Provence. These early poets, according (...) to de Rougemont, spoke the words of an Eros-centered theology, and it was through this "heresy" that a European vocabulary of mysticism flourished and that Western literature took on a new direction.Bringing together historical, religious, philosophical, and cultural dimensions, the author traces the evolution of Western romantic love from its literary beginnings as an awe-inspiring secret to its commercialization in the cinema. He seeks to restore the myth of love to its original integrity and concludes with a philosophical perspective on modern marriage. (shrink)

ZusammenfassungFür die mittelhochdeutschen Romane um 1200 läßt sich eine spezifische sozialgeschichtliche Einbettung annehmen, die Konsequenzen für ein Modell literarischer Kommunikation hat. Im Zusammenspiel von Verfassern, geistlichen Beratern – dem Hofklerus – und zunächst einmal adligen Damen entstehen die Texte, denen eine hofklerikale Perspektive auf Fragen feudaladliger Existenz eignet: Die ästhetisch komplexen volkssprachigen Texte lassen klare Problembezüge erkennen. Im Rahmen dieses Modells literarischer Kommunikation wird der Erec Hartmanns von Aue als Absage an Versuche ritterlicher Selbsterlösung gedeutet, denen der sich der göttlichen (...) Gnade öffnende Wille des demütig Gläubigen gegenübergestellt wird. Der Tristan Gottfrieds von Straßburg scheint mit Blick auf die Protagonisten ein Negativexempel zu entwickeln, wobei durch suggestive Gestaltungsdynamiken das Abrücken der edelen herzen von Tristan und Isolde zunächst verhindert und dann umso stärker forciert wird.A specific social-historical embedding can be assumed for the Middle High German novels around 1200, which has consequences for a model of literary communication: In the interplay of authors, spiritual advisers and first of all noble women, the texts are created for which a courtly-clerical perspective on questions of feudal noble existence is suitable. The aesthetically complex vernacular texts focus on certain problems. In the context of this model of literary communication, Hartmann of Aue’s Erec is interpreted as a rejection of attempts at knightly self-redemption, which are contrasted with the will of the humble believer, which opens up to divine grace. Gottfried of Strasbourg’s Tristan seems to tell of a negative example with regard to the protagonists, whereby the edele herzen move away from Tristan and Isolde only in an aesthetic process of reception. (shrink)