Incorporating Gadamer and other thinkers from the continental tradition, this essay is a close and detailed hermeneutic, phenomenological, and ontological study of the dialectic practice of Plato’s Socrates—it radicalizes and refutes the Socrates-as-teacher model that educators from scholar academic ideology embrace.
Distinct among contemporary philosophical studies focused on education, this book engages the history of phenomenological thought as it moves from philosophy proper (the European phenomenological-hermeneutic tradition) through curriculum studies. It thus presents the "best of both worlds" for the reader; there is a "play" or movement from philosophy proper to educational philosophy and then back again in order to locate and explicate what is intimated, suggested, and in some cases, left "unsaid" by educational philosophers. This amounts to a work on (...) education-philosophy that elucidates, through various permutations within the unique foci of each essay, the general phenomenological theme of the fundamental ontology of the human being as primordial learner. Reflecting his experience as scholar, teacher, and perennial learner, the author suggests how research in phenomenology might prove beneficial to the enhancement of both the theoretical and practical aspects of education; readers are invited to envision education as far more than merely a means by which to organize an effective learning experience in which knowledge is assimilated and skill sets are efficiently imparted, but rather as a holistic and integrated process in which knowing, acting, and valuing are original ways of Being-in-the-world. (shrink)
The scholarship of New Directions in Curriculum as Phenomenological Text manifests through close readings and interpretations of curriculum theorists and Continental philosophers, presented in the form of 'speculative philosophical essays,' an important form of curriculum thinking-writing all but lost to the general contemporary field of research.
Politics of the Soul in the Alcibiades is an important book that develops an interpretation of the essence of the political (politics of the soul) as eluci-dated through the analysis of Socrates' practice of "self-cultivation" or care for the soul. In the process, it also confronts the issue of the problematic relationship between philosopher and statesman that is present to Plato's dialogues. The analysis contributes the following to ongoing scholarship: (1) It offers a detailed and critical discussion of the neglected (...) and oft times ma-ligned dialogue the Alcibiades; (2) It contributes to the reinterpretation of the traditional view of the Socratic method arguing for elenchus as an expres-sion and instantiation of the normative politics it seeks to define; (3) In de-veloping a unique account of Socratic participatory democracy, it has the subordinate aim of demonstrating the value of Socratic practice over our own impoverished practice of impoverished political discourse. The text is suita-ble for scholars working in the fields of philosophy, ancient Greek philoso-phy, and classical studies. It would serve as an excellent secondary text for graduate level courses reading Plato's dialogues because it contains an ex-tensive and sustained discussion of Socratic method. In addition to graduate students, it is appropriate for college students pursuing courses in philoso-phy in their 3rd or 4th year of study. Laypersons who are intellectually curious about philosophy, particularly those interested in Socrates, will be attracted to this text. (shrink)
The qualities of great works of art, their profundity, their insight into the human condition, are epitomised in Brakhage's films, which are, I argue, from the beginning related to and inseparable from a philosophical attitude toward existence. His films emerge out of an authentic 'existential' mode of attunement, a mind-set wherein the potential for human transcendence is framed and filmed within its intractable relationship to death, the most extreme possibility of non-existence. Brakhage not only views existence in a philosophical manner, (...) beyond this, he engages in philosophical inquiry in a fundamental way through the medium of film. The films arise from and respond to what Karl Jaspers views as the ultimate source of philosophy, namely, 'the will to authentic communication,' which embraces 'wonder leading to knowledge, doubt leading to certainty, forsakenness leading to the self.' This amounts to the philosophical struggle to arrive at a sense of metaphysical coherence and existential familiarity, i.e., the precarious undertsanding of belonging to the world in communion with others. This essay seeks to elucidate and detail, through a series of interpretive gestures, the philosophical themes present to Brakhage's silent films by way of a reading that emerges from the phenomenological-ontological tradition in philosophy. In doing so, I hope to interpret Brakhage's filmic art as conveying a legitimate source of human understanding, which contributes to our interpreting and discoursing about the world and our lives in new and revelatory ways. (shrink)
Democratic deliberation places the burden of self‐governance on its citizens to provide mutual justifying reasons (Gutmann & Thompson, 1996). This article concerns the limiting effect that group identity has on the efficacy of democratic deliberation for equality in education. Under conditions of a powerful majority, deliberation can be repressive and discriminatory. Issues of white flight and race‐based admissions serve to illustrate the bias of which deliberation is capable when it fails to substantively take group identity into account. As forms of (...) Gilbert's (1994) plural subjects, identity group members holding the group identity can experience agency as the freedom to believe together with members of their group. I argue that attending to how group members acquire group beliefs through trust is a reasonable accommodation of group identity in deliberation. (shrink)
James T. Hong’s experimental documentary, The Denazification of MH is neither anapology for Heidegger’s involvement with National Socialism nor a condemnation of thatinvolvement. Rather, the film is a critical philosophical confrontation with Heidegger’s thought and the issue of his involvement withNational Socialism. The film addresses the perennial concern as old as philosophy itself: therelationship between the philosopher’s life and his philosophy. While the film does notadopt a definitive position regarding Heidegger, Nazism, and the issue of personalresponsibility, it does suggest an (...) affirmative response to the question posed by bothLevinas and Blanchot regarding the possibility of philosophizing after Auschwitz.Considering Heidegger’s influence on contemporary philosophy and literary studies,inspiring such films as The Denazification of MH and The Ister , it appears as though it is not only possible, but necessary, to carefully andcritically approach Heidegger in the effort to continue to philosophize in the wake of themost catastrophic event of the 20thcentury, the Holocaust. In his thoroughly researched biography of Martin Heidegger, Rudiger Strafaski states the following regarding thepotential of Heidegger himself to do philosophy in the wake of the German death camps, amatter about which Heidegger remained conspicuously silent. (shrink)
ABSTRACTThis review essay of Shawn Loht’s new book, Phenomenology of Film: A Heideggerian Account of the Film Experience, not only offers an ontological reading of the filmic experience inspired by Heidegger’s philosophy but also contributes substantially to the ongoing debate of whether or not film is a medium that is legitimately philosophical. In addition to confronting unique ideas about film that emerge from Loht’s analysis of Heidegger’s phenomenological ontology of Dasein, including a reading of later Heidegger of the “Turn,” this (...) essay also seeks to think with and then beyond Loht in a way that might inspire readers to further pursue these issues in relation to a potentially reconceived understanding of the practice of film-as-philosophy. (shrink)
Reading Heidegger’s Being and Time, “The Origin of the Work of Art,” and the 1934-35 lecture courses Hölderlin’s Hymns“Germania” and “The Rhine,” the aim of this essay is twofold. First, the essay attempts to elucidate the manner in which the work of art functions as a superlative event of “ truth -happening”, which facilitates the movement of Dasein into the truth of Being as a legitimate member of a community, serving as, “the origin of a people’s authentic historical existence.”1 Second, (...) it explains why this notion of art as the historical manifestation of Being is crucial to understanding the shift, or “ turn,” in Heidegger’s philosophy of the 1930s and 1940s, i.e., it examines the philosophical problems Heidegger rectified when moving from Being and Time, and the conceptual-linguistic constraints of metaphysics and the subject-centered model of Dasein, to the later works on art and poetry. (shrink)