Within the rough ground that is the field of education there is a complex web of ethical obligations: to prepare our students for their future work; to be ethical as educators in our conduct and teaching; to the ethical principles embedded in the contexts in which we work; and given the Southern context of this work, the ethical obligations we have to this land and its First Peoples. We put out a call to colleagues whose work has been concerned with (...) the pedagogies of professional ethics, the ethical burdens of institutional injustice, and the application of ethical theory to education’s applied fields. In the responses we received it can be seen that ethical concerns in education are broad ranging, covering terrain varying from the preparation of preservice teachers, ethics in higher education, early childhood and care, educational leadership, relational and communicative ethics. Perhaps it could also be argued that this paper demonstrates Gibbon’s observation that ‘Assumptions about the particularity of this time as new and ripe with opportunity to make a difference through philosophy of education are not new and there’s much to learn from the persistence of wanting to imagine that they are’. However, while the field of ethics is perennially concerned with human relations and pedagogical interventions to improve these, the responses collected here show that educational ethics is far from static. Educational ethics is a field that continues to develop in response to changing contexts. (shrink)

Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing us (...) the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)

This article is a collective writing experiment undertaken by philosophers of education affiliated with the PESGB (Philosophy of Education Society of Great Britain). When asked to reflect on questions concerning the Philosophy of Education in a New Key in May 2020, it was unsurprising that the effects of the coronavirus pandemic on society and on education were foremost in our minds. We wanted to consider important philosophical and educational questions raised by the pandemic, while acknowledging that, first and foremost, it (...) is a human tragedy. With nearly a million deaths reported worldwide to date, and with everyone effected in one way or another by Covid-19, there is a degree of discomfort, and a responsibility to be sensitive, in reflecting and writing about it academically. Members of this ‘Covid Collective’ come from various countries, with perspectives from Great Britain and Ireland well represented, and we see academic practice as a globally connected enterprise, especially since the digital revolution in academic publishing. The concerns raised in this article relate to but move beyond Covid-19, reflecting the impact of neoliberalism [and other political developments] on geopolitics with educational concerns as central to our focus. (shrink)

In this paper, I offer a defence of aesthetic education in terms of aesthetic experience, claiming that aesthetic experience and art appreciation is a vital component of a flourishing life. Given schools have an important role to play in helping prepare young people for their adult lives, it is crucial they should consider how best to equip students with the means to achieve a flourishing life. It is on these grounds I defend arts education as compulsory across the curriculum. In (...) order to adopt this position, I firstly critically engage with two competing defences of including the arts on the curriculum on the basis of firstly, the role art has to play in supporting self-expression, and secondly, a defence of the arts in relation to their role in supporting moral improvement. After explaining why these arguments fail to do the work required to defend aesthetic education as thoroughly as is needed, I turn to the defence based on aesthetic experience because it allows for a defence of the arts to be made on the basis of art’s distinctive value. (shrink)

As social and political beings, we are able to flourish only if we collaborate with others. Trust, understood as a virtue, incorporates appropriate rational emotional dispositions such as compassion as well as action that is contextual, situated in a time and place. We judge responses as appropriate and characters as trustworthy or untrustworthy based on these factors. To be considered worthy of trust, as an individual or an institution, one must do the right thing at the right time for the (...) right reasons, and the action should have its intended effect. By focussing on character, including a moral agent’s emotional disposition, virtue ethicists offer a more holistic account of trust than that explained by a deontic adherence to one’s duty as governed by a social contract. I will apply this understanding to educational institutions, particularly primary and secondary schools that serve a vital role in society. One of the main roles schools perform is to assist in character formation so that students, through practice, learn to be trusting and trusted citizens of society. I offer the philosophy in schools’ methodology of the community of inquiry as one example of how such practice may be facilitated in the classroom. (shrink)

There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a subcategory of Art proper, it is worth reconsidering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. Adorno, for example, critiques film as ‘mass-cult’, mass-produced culture which presents a ‘flattened’ version of reality. Adorno worries (...) about the passivity encouraged in viewers. Films are narrative artworks, received by an audience in a context, making the focus on the reception of the work important. The dialogue held between Adorno and Walter Benjamin post-Second World War is interesting because, between them, they consider both the possible positive emancipatory and negative politicization effects of film as a mass produced and distributed storytelling medium. Reading Adorno alongside Benjamin is a way to highlight the role of the critical thinker who receives the film. Arguing that the critical thinker is a valuable citizen, this paper focuses on the value of critical thinking in the reception of cinematic artworks. It achieves this by reconsidering Adorno and Benjamin’s theories of mass art. (shrink)

It can hardly be denied that play is an important tool for the development and socialisation of children. In this article we argue that, through dramaturgical play in combination with pedagogical tools such as the Community of Inquiry (CoI), in the tradition of Philosophy for Children (P4C), students can creatively think, reflect and be more aware of the impact their gestures (Schmid 2000b) have on others. One of the most fundamental aspects of the embodied human life is human interaction that (...) is based on expressions, what Schmid calls gestures. Through self-reflection, one’s set of gestures can be developed into a deliberate ‘life-performance’; a conscious, selected and coherent work of art (Schmid, 2000b, p. 332). Drawing on Nietzsche’s idea of living artistically, we explore how Schmid’s philosophy of the art of living, P4C and the liberal arts, with a focus on drama education, can work together to develop (self-) reflective, reasonable citizens who are able to develop their own art of living while respecting and supporting the development of the good and beautiful life of others. (shrink)

Laura D'Olimpio argues that aesthetic education ought to be a compulsory part of education for all students, from pre-primary through to high school, as it is essential that young people have the opportunity to make art, experience and understand art and be informed as to the artistic history and aesthetic theories that have shaped their own culture and others. The book defends arts education on the basis of art's distinctive value and centrality to human experience. It also engages with topics (...) such as the art teacher's role in the classroom, curricula concerns and gleaning moral meanings from artworks. (shrink)

While some may argue that universities are in a state of crisis, others claim that we are living in a post-university era; a time after universities. If there was a battle for the survival of the institution, it is over and done with. The buildings still stand. Students enrol and may attend lectures, though let’s be clear—most do not. But virtually nothing real remains. What some mistakenly take to be a university is, in actuality, an ‘uncanny’ spectral presence; ‘the nagging (...) presence of an absence … a “spectralized amnesiac modernity with its delusional totalizing systems”’. It is the remains and remnants of the university.[1]Overstatement? Perhaps. We think many if not most administrators, at all levels, will likely dissent. So too will many if not most teachers and students. Trying to determine whether this is correct, or to what extent, by consulting polls and reading opinion pieces in various education journals and professional papers is likely to be of little help. In any case, it is the hypothesis, along with closely related ones, and concerns about what can be done in the circumstances, that have generated this special issue.This special issue highlights and illustrates that most of the contested issues regarding educational theory and practice central to how universities and schools should be, and how they should be run, are first and foremost questions of value rather than fact. They are questions regarding what we want, but more importantly what we should want, from our universities and schools; about what they should be and what students, teachers and administrators should be doing to facilitate this.[1] See Cox and Levine and Boaks, Cox and Levine. (shrink)

In "The Imagination of Disaster," written at or close to the height of the Cold War, Sontag ruminates on what America's interest in, if not preoccupation with, science fiction films tell us about ourselves.1 Their popularity cannot be explained in terms of their entertainment value alone; or if it can, then why audiences found such films entertaining is something that itself needs explanation. Almost all films in the hero genre are also science fiction and are concerned with disasters of one (...) kind or another. What Sontag has to say about disaster in the 1950s can easily be applied to the seemingly insatiable desire for hero films today. Her account is useful in explaining both what our attractions... (shrink)

Philosophy in Schools: An introduction for philosophers and teachers edited by Sara Goering, Nicholas J Shudak and Thomas E Wartenberg. Taylor & Francis, New York, NY. ISBN: 9780415640633. The edited collection Philosophy in Schools: An introduction for philosophers and teachers is exactly that; an introduction to the central ideas of the Philosophy in Schools movement, with tips and strategies as to how to implement Philosophy for Children in your classroom or educational space. With 25 chapters, this handy edition includes the (...) writings of 31 academics and well known practitioners of P4C worldwide. While all the voices contributing to this volume are positive and optimistic as they exalt the benefits of P4C, the diversity comes in the form of the various ways in which the numerous authors have practiced philosophy with participants of different ages, cultural and socio-economic backgrounds. There is a mix of theory and pedagogy, with a focus on the pragmatic reality of doing philosophy with young people. (shrink)

Splitter commences this book by telling the reader that it was a pedagogical incident that led him to write it. Presenting a philosophical seminar series on the topic of ‘identity’ to bright undergraduate students in America from a range of disciplines heightened his realisation that we don’t all use the word in the same way to refer to the same thing. We wouldn’t normally think too much about it, assuming that identity, especially one’s own, is an obvious, assumed entity. However, (...) it is not, really, the closer you examine the concept. Which is precisely what Splitter goes on to do. (shrink)

Philosophy in Schools: An introduction for philosophers and teachers edited by Sara Goering, Nicholas J Shudak and Thomas E Wartenberg. Taylor & Francis, New York, NY. ISBN: 9780415640633. The edited collection Philosophy in Schools: An introduction for philosophers and teachers is exactly that; an introduction to the central ideas of the Philosophy in Schools movement, with tips and strategies as to how to implement Philosophy for Children in your classroom or educational space. With 25 chapters, this handy edition includes the (...) writings of 31 academics and well known practitioners of P4C worldwide. While all the voices contributing to this volume are positive and optimistic as they exalt the benefits of P4C, the diversity comes in the form of the various ways in which the numerous authors have practiced philosophy with participants of different ages, cultural and socio-economic backgrounds. There is a mix of theory and pedagogy, with a focus on the pragmatic reality of doing philosophy with young people. (shrink)