(2001). Autonomous Learners and the Learning Society: systematic perspectives on the practice of teaching in Higher Education. Educational Philosophy and Theory: Vol. 33, No. 3-4, pp. 381-395.

Leading scholars address Paul Ricoeur's last major work, Oneself as Another.

This collection, the first of its kind, brings together specially commissioned academic essays to mark fifty years since the death of John Kennedy Toole.

Although pioneering studies using statistical methods in geographical data analysis were published in the 1930s, it was only in the 1960s that their increasing use in human geography led to a claim that a ‘quantitative revolution’ had taken place. The widespread use of quantitative methods from then on was associated with changes in both disciplinary philosophy and substantive focus. The first decades of the ‘revolution’ saw quantitative analyses focused on the search for spatial order of a geometric form within an, (...) often implicit, logical positivist framework. In the first of three reviews of the use of quantitative methods in human geography, this progress report uncovers their origin with regard to the underlying philosophy, the focus on spatial order, and the nature of the methods deployed. Subsequent reports will outline the changes in all three that occurred in later decades and will chart the contemporary situation. (shrink)

Although pioneering studies using statistical methods in geographical data analysis were published in the 1930s, it was only in the 1960s that their increasing use in human geography led to a claim that a ‘quantitative revolution’ had taken place. The widespread use of quantitative methods from then on was associated with changes in both disciplinary philosophy and substantive focus. The first decades of the ‘revolution’ saw quantitative analyses focused on the search for spatial order of a geometric form within an, (...) often implicit, logical positivist framework. In the first of three reviews of the use of quantitative methods in human geography, this progress report uncovers their origin with regard to the underlying philosophy, the focus on spatial order, and the nature of the methods deployed. Subsequent reports will outline the changes in all three that occurred in later decades and will chart the contemporary situation. (shrink)

The role of imagery in encoding event-based prospective memories has yet to be fully clarified. Herein, it is argued that imagery augments a cue-to-context association that supports event-based prospective memory performance. By this account, imagery encoding not only improves prospective memory performance but also reduces interference to intention-related information that occurs outside of context. In the current study, when lure words occurred outside of the appropriate responding context, the use of imagery encoding strategies resulted in less interference when compared with (...) a standard event-based intention condition. This difference was eliminated when participants were not given a specific context to associate their intention . These results support a cue-to-context association account of how imagery operates in certain event-based prospective memory tasks. (shrink)

This study examined people’s ability to predict and postdict their performance on an event-based prospective memory task. Using nonfocal cues, one group of participants predicted their success at finding animal words and a different group predicted their ability to find words with a particular syllable in it. The authors also administered a self-report questionnaire on everyday prospective and retrospective memory failures. Based on the different strategies adopted by the two groups and correlations among the dependent variables, the authors concluded that (...) people do have a basic awareness of their prospective memory abilities, but that this awareness is far from accurate. The importance of metamemory concerning one’s prospective memory is discussed in terms of how it influences the strategies that people might choose for actually completing their various everyday intentions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pragmatist Aesthetics and New Visions of the Contemporary Art Museum:The Tate Modern and the Baltic Centre for Contemporary ArtAngela Marsh (bio)John Dewey mandated the repositioning of our experience of art within the realm of the everyday, and recognized the importance of art objects principally with regard to how they operate within an experience as "carriers of meaning."1 In this quote from Art as Experience, Dewey illustrates the segue (...) between art and the perceiver, and his belief that within the profound art experience, lived dichotomies are healed:In art as an experience, actuality and possibility or ideality, the new and the old, objective material and personal response, the individual and the universal, surface and depth, sense and meaning, are integrated in an experience in which they are all transfigured from the significance that belongs to them when isolated in reflection.2Although the ephemeral nature of Dewey's definition of art-as-experience — hinged upon immediacy and the subjective heuristics of the perceiver — may seem difficult to capture and apply, the practicality of the concept, Richard Shusterman argues, lies in its "transformative potential," as a way to reconceive the place of art and its function in our world:Defining art as experience, I argue, also has value in widening the realmof art by challenging the rigid definition between art and action that is supported by definitions that define art as mimesis, poiesis, or the narrow practice as defined by the institutional art world. In other words, I argue that Dewey's definition of art as experience has a very fruitful transformational potential.3By defining art as experience, Dewey also sought to dissolve the binary structures of aesthetic rifts: art and life, high art and low art, body and mind, subject and object, self and world, emphasizing the holistic action in our engagement with art.4 But according to Dewey, the divisor of art from life and thus to blame for the aesthetic barrenness of our lived reality is the museum institution, as Shusterman describes: [End Page 91]The compartmentalization and spiritualization of art as an elevated "separate realm" set "upon a far-off pedestal," divorced from the materials and aims of other human effort, has removed art from the lives of most of us, and thus impoverished the aesthetic quality of our lives.(PA, 19)However, we must keep in mind that Art as Experience was published in 1934. Today, new approaches towards encounter and engagement within public museums are taking form and gaining momentum, with unprecedented directorial visions and mandates designed to nurture and make accessible art-based experiences among diverse audiences — where art and life can meet via multiple approaches. Theoretical synchronicities between pragmatist approaches to aesthetics and fruitful museum experiences can be suggested upon consideration of various innovative programs and approaches initiated at the Tate Modern in London and the Baltic Center for Contemporary Art in Gateshead. The overwhelming success of both venues could signify a reengagement of the general public with contemporary art, fed by "democratic," participatory approaches to exhibiting and programming art that make the museum more accessible to the various mixed publics it serves. In light of these new museological developments, Dewey's polemic oppositions between his conceptualizations of the museum experience and "art-as-experience" should be reexamined and possibly redefined.Dewey was entirely opposed to the concept of "art for art's sake." By exonerating art of any functional value — deeming it "fine" — art was elevated to a position separate from life, and thus rendered impotent to effect a lived aesthetic experience (which is how, Dewey would argue, the arts function most powerfully — as the purveyors of heightened experience). As Shusterman describes:The underlying motive for such attempts to purify art from any functionality was not to denigrate it as worthlessly useless, but to place its worth apart from and above the realm of instrumental value...and this freedom from use would be its defining and ennobling feature.(PA, 9)Dewey (and Shusterman) thus maintained that the very power construct that put the "fine" in art did so by removing the aspect of function from it. As previously stated, Dewey blamed museum institutions for removing art from its... (shrink)

Bringing together the expertise of rhetoricians in English and communication as well as media studies scholars, Arguments about Animal Ethics delves into the rhetorical and discursive practices of participants in controversies over the use of nonhuman animals for meat, entertainment, fur, and vivisection. Both sides of the debate are carefully analyzed, as the contributors examine how stakeholders persuade or fail to persuade audiences about the ethics of animal rights or the value of using animals.

In lieu of an abstract, here is a brief excerpt of the content:Pragmatist Aesthetics and New Visions of the Contemporary Art Museum:The Tate Modern and the Baltic Centre for Contemporary ArtAngela Marsh (bio)John Dewey mandated the repositioning of our experience of art within the realm of the everyday, and recognized the importance of art objects principally with regard to how they operate within an experience as "carriers of meaning."1 In this quote from Art as Experience, Dewey illustrates the segue (...) between art and the perceiver, and his belief that within the profound art experience, lived dichotomies are healed:In art as an experience, actuality and possibility or ideality, the new and the old, objective material and personal response, the individual and the universal, surface and depth, sense and meaning, are integrated in an experience in which they are all transfigured from the significance that belongs to them when isolated in reflection.2Although the ephemeral nature of Dewey's definition of art-as-experience — hinged upon immediacy and the subjective heuristics of the perceiver — may seem difficult to capture and apply, the practicality of the concept, Richard Shusterman argues, lies in its "transformative potential," as a way to reconceive the place of art and its function in our world:Defining art as experience, I argue, also has value in widening the realmof art by challenging the rigid definition between art and action that is supported by definitions that define art as mimesis, poiesis, or the narrow practice as defined by the institutional art world. In other words, I argue that Dewey's definition of art as experience has a very fruitful transformational potential.3By defining art as experience, Dewey also sought to dissolve the binary structures of aesthetic rifts: art and life, high art and low art, body and mind, subject and object, self and world, emphasizing the holistic action in our engagement with art.4 But according to Dewey, the divisor of art from life and thus to blame for the aesthetic barrenness of our lived reality is the museum institution, as Shusterman describes: [End Page 91]The compartmentalization and spiritualization of art as an elevated "separate realm" set "upon a far-off pedestal," divorced from the materials and aims of other human effort, has removed art from the lives of most of us, and thus impoverished the aesthetic quality of our lives.(PA, 19)However, we must keep in mind that Art as Experience was published in 1934. Today, new approaches towards encounter and engagement within public museums are taking form and gaining momentum, with unprecedented directorial visions and mandates designed to nurture and make accessible art-based experiences among diverse audiences — where art and life can meet via multiple approaches. Theoretical synchronicities between pragmatist approaches to aesthetics and fruitful museum experiences can be suggested upon consideration of various innovative programs and approaches initiated at the Tate Modern in London and the Baltic Center for Contemporary Art in Gateshead. The overwhelming success of both venues could signify a reengagement of the general public with contemporary art, fed by "democratic," participatory approaches to exhibiting and programming art that make the museum more accessible to the various mixed publics it serves. In light of these new museological developments, Dewey's polemic oppositions between his conceptualizations of the museum experience and "art-as-experience" should be reexamined and possibly redefined.Dewey was entirely opposed to the concept of "art for art's sake." By exonerating art of any functional value — deeming it "fine" — art was elevated to a position separate from life, and thus rendered impotent to effect a lived aesthetic experience (which is how, Dewey would argue, the arts function most powerfully — as the purveyors of heightened experience). As Shusterman describes:The underlying motive for such attempts to purify art from any functionality was not to denigrate it as worthlessly useless, but to place its worth apart from and above the realm of instrumental value...and this freedom from use would be its defining and ennobling feature.(PA, 9)Dewey (and Shusterman) thus maintained that the very power construct that put the "fine" in art did so by removing the aspect of function from it. As previously stated, Dewey blamed museum institutions for removing art from its... (shrink)

Scholars have a history of crossing intellectual borders (Abbott, 2001). In particular, educators draw from a diversity of intellectuals upon which to base our understanding of, for example, schools and society, curriculum content, teaching, and learning. In addition to icons such as Marx, James, Freud, and Dewey, the works of the Frankfurt School (e.g., Horkheimer, Adorno, Marcuse), Foucault, Gilligan, Derrida, Gramsci, West, Arendt, and Fraser, just to name a few, have been used to guide our scholarship and practice. However, with (...) the exception of few scholars (e.g., Peters & Ghiraldelli, 2001), one of America's most controversial scholars,1 Richard Rorty, has been largely ignored. This situation is unfortunate .. (shrink)

Educational policy and social sciences researchers have been studying dishonest behaviors among students for a long time. In this bibliometric study we examine the extant literature on academic dishonesty until 2017. We also analyze the specific case of the literature on plagiarism since it is arguably one of the most common academic dishonest behavior. We aim at identifying the intellectual structure of the field of academic dishonesty and plagiarism. Results show that Donald L. McCabe and Richard L. Marsh appear (...) as the most productive authors. Furthermore, Whitley, 235–274, 1998) “Factors associated with cheating among college students: A review”, and Pennycook, 201–230, 1996), entitled “Borrowing others’ words: Text, ownership, memory, and plagiarism” are the most cited publications on academic dishonesty and on plagiarism, respectively. Additionally, a strong connection between the McCabe and Treviño articles emerged from the co-citation analysis on academic dishonesty, and also a strong relationship between Pennycook, 201–230, 1996) and Pecorari, 317–345, 2003), suggesting that these articles are strongly connected. Results suggest that these are the most influential authors and articles of the field. (shrink)

Marsh borrows Richard McKeon's methodological notion of the "problematic" approach to intellectual history. Concentrating on their dialectical character, English criticism from 1650-1800 is explored in the writings of the third Earl of Shaftesbury, Mark Akenside, David Hartley, and James Harris.—D. J. B.

Marsh borrows Richard McKeon's methodological notion of the "problematic" approach to intellectual history. Concentrating on their dialectical character, English criticism from 1650-1800 is explored in the writings of the third Earl of Shaftesbury, Mark Akenside, David Hartley, and James Harris.—D. J. B.

Global fatalities related to COVID-19 are expected to be high in 2020–2021. Developing and delivering a vaccine may be the most likely way to end the pandemic. If it were possible to shorten this development time by weeks or months, this may have a significant effect on reducing deaths. Phase II and phase III trials could take less long to conduct if they used human challenge methods—that is, deliberately infecting participants with COVID-19 following inoculation. This article analyses arguments for and (...) against such methods and provides suggested broad guidelines for regulators, researchers and ethics committees when considering these matters. It concludes that it may be possible to maintain current ethical standards yet still permit human challenge trials in a context where delay is critical. The implications are that regulators and researchers need to work together now to design robust but short trials and streamline ethics approval processes so that they are in place when applications for trials are made. (shrink)

This article revisits a famous staple of the Vergilian tradition, Servius's heavily contested scholion on the actress Volumnia Cytheris's theatrical rendition of Vergil's sixth Eclogue. By shifting the focus of inquiry from the strictly historical question ‘ did it happen?’ it cuts through, identifies and disentangles a nexus of prejudices which have led to the devaluing of Servius's information. The sidelining or dismissal of this piece of evidence, I argue, has more to teach us about our own culturally entrenched and (...) discipline-inherited assumptions than about what could have happened in late Republican Rome. Scrutiny of the evidence on the stage re-mediation of high poetry suggests it is entirely plausible that Cytheris would have performed a theatricalized version of Vergil's masterpiece. Indeed at the very heart of the story lies the convergence between élite poetry and the world of professional stage artists. Moreover, Cytheris's possible performance of a repertoire that coincides with the mythological core of pantomime dancing in its artistic maturity opens pivotal questions concerning what Plutarch aptly calls the “full association and mutual entanglement” between the arts of poetry and dance. Taking Servius seriously gives us the impetus to explore more decisively dimensions of Roman life that have been messily sidelined as a result of the systematic privileging of “texts” in our surveys of Roman intellectual landscapes over the centuries. Even if Servius's extract turned out to be no more than a “myth”, an “anecdote”, as such narratives go, this is an incredibly helpful one, provided we are willing to press it into the service of larger inquiries regarding the “circulation” of cultural energy between élite and popular culture. (shrink)

Although the universal human rights paradigm has been problematic for women and indigenous peoples, both groups have made advances by framing their demands within a human rights perspective. Indigenous women, however, have frequently found themselves marginalized by women’s movements and indigenous movements alike, particularly when they make demands for rights as indigenous women—not just as members of one group or the other. This article takes the case of Mapuche women in Chile to examine the politics of gender and human rights (...) for indigenous women. Their efforts to articulate their concerns, vis-à-vis Mapuche men, nonindigenous women, and the state, have entailed assertions of their own version of women’s rights, one that responds specifically to their reality as Mapuche women. (shrink)

The lucid presentation makes the book an ideal introduction to both philosophy and Darwinism, as well as a substantive contribution to topics of intense current ...

: According to Kuhn, theory choice is not governed by algorithms, but by values, which influence yet do not determine theory choice. Cladistic hypotheses, however, seem to be evaluated relative to a parsimony algorithm, which asserts that the best phylogenetic hypothesis is the one that requires the fewest character changes. While this seems to be an unequivocal evaluative rule, it is not. The application of the parsimony principle is ultimately indeterminate because the choice and individuation of characters that figure in (...) parsimony computations are indeterminate. The cladistic approach is Kuhnian because the application of parsimony depends on persuasion, background, training and tradition. (shrink)

Reason and Ethics in Hobbes's Leviathan JOHN DEIGH HOBBES'S ETHICS teaches the ways of self-preservation. Its lessons are arranged in a system of rules that Hobbes understood to be the laws of nature. These two themes, self-preservation and natural law, have inspired opposing inter- pretations of Hobbes's text. The historically dominant and still prevailing interpretation, which develops the former theme, is that Hobbes's ethics is a form of egoism. A later and less popular interpretation, which develops the latter theme, is (...) that his ethics is a system of absolutes, "a strict deontology. ''1 These two interpretations represent a dispute between what I will call ortho- doxy and dissent in Hobbes scholarship. The dispute chiefly turns on two questions: What is the basis of Hobbes's ethics? and How stringent are the rules it comprises?' Orthodoxy takes Hobbes's ethics to be based on his moral psychology, specifically, his theory of motivation. That theory, on the orthodox reading, is thoroughly egocentric. It holds that all voluntary action springs from self- interest.3 Hence, on this reading, one can attribute to Hobbes the view that a I am grateful to Ed Curley, Bernard Gert, Richard Kraut, Connie Rosati, and Ira Singer for their helpful comments on an earlier draft of this essay. ' A. E. Taylor, "The Ethical Doctrine of Hobbes," Philosophy a 3 : 406-24, esp. 408. ' One can find the orthodox interpretation in Henry Sidgwick's Outline of the History.. (shrink)

"All art should become science and all science art; poetry and philosophy should be made one." Friedrich Schlegel's words perfectly capture the project of the German Romantics, who believed that the aesthetic approaches of art and literature could reveal patterns and meaning in nature that couldn't be uncovered through rationalistic philosophy and science alone. In this wide-ranging work, Robert J. Richards shows how the Romantic conception of the world influenced (and was influenced by) both the lives of the people (...) who held it and the development of nineteenth-century science. Integrating Romantic literature, science, and philosophy with an intimate knowledge of the individuals involved—from Goethe and the brothers Schlegel to Humboldt and Friedrich and Caroline Schelling—Richards demonstrates how their tempestuous lives shaped their ideas as profoundly as their intellectual and cultural heritage. He focuses especially on how Romantic concepts of the self, as well as aesthetic and moral considerations—all tempered by personal relationships—altered scientific representations of nature. Although historians have long considered Romanticism at best a minor tributary to scientific thought, Richards moves it to the center of the main currents of nineteenth-century biology, culminating in the conception of nature that underlies Darwin's evolutionary theory. Uniting the personal and poetic aspects of philosophy and science in a way that the German Romantics themselves would have honored, The Romantic Conception of Life alters how we look at Romanticism and nineteenth-century biology. (shrink)

Recent scientific approaches to aesthetics include evolutionary theories about the origin of art behavior, psychological investigations into human aesthetic experience and preferences, and neurophysiological explorations of the mechanisms underlying art experience. Critics of these approaches argue that they are ultimately irrelevant to a philosophical aesthetics because they cannot help us understand the distinctive conceptual basis and normativity of our art experience. This criticism may seem plausible given the piecemeal nature of these scientific approaches, but a more comprehensive naturalistic framework can (...) help us understand the conceptual basis and normativity of art. In particular, the ecology of art, an understanding of how individuals interact within particular environments, can help us understand the engineered art niches in which we create and experience art. Each niche is associated with a particular deme, or set of individuals that interact within that niche, and a set of cognitive, epistemic, and pedagogical technologies that form the conceptual basis of a niche-dependent normativity. This is to be contrasted with the niche-independent normativity revealed by many of the scientific approaches. This framework, and the conflicting streams of normativity it reveals, allows us to better understand conflicts in normativity and the implausibility of unequivocal and universal normative principles. (shrink)

The prelims comprise: Introduction The Implications Conclusion Note.

Linguist, critic, poet, psychologist, I. A. Richards was one of the great polymaths of the twentieth century. He is best known, however, as one of the founders of modern literary critical theory. Richards revolutionized criticism by turning away from biographical and historical readings as well as from the aesthetic impressionism. Seeking a more exacting approach, he analyzed literary texts as syntactical structures that could be broken down into smaller interacting verbal units of meaning. Practical Criticism, first published in (...) 1929, is a landmark volume in demonstrating this method.Practical Criticism was born of an experiment Richards undertook to discern the psychological foundations of reading and interpretation and a means for readers to discover how they think and feel about poetry. He submitted thirteen poems for analysis, without date or author given, to some four hundred of his Cambridge students. Poets of stature went in undifferentiated from obscure and forgotten figures. The results were mixed at best, with many of the interpretations shockingly bad. These readings were based, in large part, not on the texts themselves but on then-current opinions, presuppositions, theories, and beliefs. The results led Richards to define a set of interrelated mental obstacles to intelligent and accurate reading including "irrelevant associations," "stock responses," "sentimentality," and a general misunderstanding of the purpose or "doctrine" of poetry.Richards' concerns in Practical Criticism went well beyond the merely formal. In the humanist tradition, he believed that the ability to read critically and use language truthfully was culturally regenerative, a necessary skill in the modern world of mass-produced art and advertising. This classic volume will be of interest to teachers of literature, cultural studies specialists, and intellectual historians. (shrink)

Logical psychologism is the position that logic is a special branch of psychology, that logical laws are descriptíons of experience to be arrived at through observation, and are a posteriori.The accepted arguments against logical psychologism are effective only when directed against this extreme version. However, the clauses in the above characterization are independent and ambiguous, and may be considered separately. This separation permits a reconsideration of less extreme attempts to tie logic to psychology, such as those defended by Mill and (...) Boole. It also provides the basis for a reexamination of the relationship between logic and psychology, and raises the possibility of a deeper investigation into the nature of logic itself. (shrink)

Contrary to Block's assertion, “identity-crowding” does not provide an interesting instance of object-seeing without object-attention. The successful judgments and unusual phenomenology of identity-crowding are better explained by unconscious perception and non-perceptual phenomenology associated with cognitive states. In identity-crowding, as in other cases of crowding, subjects see jumbled textures and cannot individuate the items contributing to those textures in the absence of attention. Block presents an attenuated sense in which identity-crowded items are seen, but this is irrelevant to the debate about (...) phenomenal experience of an object in the absence of object-attention. Finally, even unconscious object perception in identity-crowding likely involves an attention-like selective process. (shrink)

Robert P. George, Making Men Moral: Civil Liberties and Public Morality Oxford: Clarendon Press, 1993, xvi + 241 pp.

Central to this essay is the understanding that varied communities may have an inherent and unrecognised culture of their own and this culture may be detrimental to their core. Bioethics constitutes one such community and is embedded in norms and values comprising its own culture. I use exclusion of religion or simply ‘irreligion’ as an example of a cultural element that may be established and so shape the culture of bioethics. Irreligious bioethics includes both overt religious preclusion and the more (...) pervasive form of religious marginalisation. This norm is narrated into the culture of bioethics with justifications sustaining it. Irreligious bioethics is inadmissible as it claims illegitimate neutrality, is a misuse of expertise and results in a variety of harms. As bioethics is influential in society, those engaged should be critically reflective and aware of harmful cultural elements whilst also possessing the honesty, courage and capacity to change them. (shrink)