Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.

This article is both a personal response to Samuel Beckett’s Waiting for Godot and an examination of the concept within literature of making the strange familiar and making the familiar strange. It discusses the educative force and potential of Beckett’s strangers in a strange world by examining my own personal experiences with the play. At the same time the limitations of Beckett’s theatre are explored through the contrast with the work of Berthold Brecht, who sought to make the familiar strange (...) as a method of political enquiry to facilitate the transformation of the capitalist state. Parallels are drawn between the possibilities of both theatre and education as tools for social transformation and change. (shrink)

This paper critically discusses D. Z. Phillips’ use of literary works as a resource for philosophical reflection on religion. Beginning by noting Phillips’ suggestion, made in relation to Waiting for Godot , that the possibilities of meaning that we see in a literary work can reveal something of our own religious sensibility, I then proceed to show what we learn about Phillips from his readings of certain works by Larkin, Tennyson, and Wharton. Through exploring alternative possible readings, I argue that, (...) although Phillips’ discussions are of considerable philosophical interest, they undermine his claim to be deploying a purely contemplative hermeneutical method. (shrink)

In some recent discussions the implications of postmodernism for education have been wrongly conceived. An alternative approach is offered and this is used as a means for challenging any grand design in the provision of schooling and in the conception of education. Through this, ideas of the whole person implicit in much educational theory and practice (including personal and social education) are questioned. With some reference to the work of Stanley Cavell an attempt is made to show the sort of (...) thinking which might inform education, avoiding both the relativistic and complacent excesses of postmodernism and the explicit systematic planning of the grand design. (shrink)

This thesis explores and describes the comic features of Samuel Beckett’s prose works. It explores fundamental questions about Beckett’s humour. On the one hand, it investigates the nature of humour, and, on the other, it investigates what counts as humour in Beckett. This twofold investigation requires ‘attuning’ philosophy and literary criticism, where questions and tools of each discipline mutually sharpen and refine each other. Chapter 1 evaluates philosophical accounts of humour and identifies Incongruity Theory as the theory offering the best (...) account of humour. According to this theory, a necessary and not sufficient condition for comic amusement is the perception of an incongruity. Chapter 2 starts exploring what counts as humour in Beckett by examining where comic incongruities are located. By doing so, this chapter puts the Incongruity Theory to the test, and, evaluates the analytical tools ordinarily used in describing humour. This exploration uses Ruby Cohn’s seminal description of Beckett’s humour as a springboard. This chapter individuates a comic layer which Cohn’s description has overlooked – the ‘comic of language acts’. Chapter 3 analyses Beckett’s texts in order to describe the comic devices that depend on the performance of language acts. In order to do so, the discussion makes use of Austin’s Theory of Speech Acts. As a result, this chapter develops a set of tools able to capture ‘the comic of language acts’, a comic layer which crucially shapes Beckett’s writing. Chapter 4 demonstrates how to make use of the set of tools developed in Chapter 3 by examining three key works of Beckett – More Pricks than Kicks, Watt, and Molloy. This examination leads to the individuation of three movements at the level of illocutionary acts – ‘twists’, ‘convolutions’, and ‘oscillations’ – which are informative of Beckett’s writing and of the experience of reading these works. (shrink)

We live in an era that normalized absurdism and abnormality. From successive devastating economic and environmental havoc, the world is now before a pandemic with a lethal footprint throughout the planet. The pandemonium became global. This paper situates the current COVID-19 pandemic within the context of an endless multi-plethora of devastating sagas pushing humanity into an unimaginable great regression. In doing so, the paper examines, how such pandemic reflects the very colors of an intentional epistemological blindness that frames Eurocentric reasoning, (...) which crippled the political economy of global capitalism deepening and accelerating a never-ending and non-stop crisis that started in 2008. The paper explores also the social construction of the current pandemic and argues for alternatives ways to think and to do education and curriculum theory alternatively to challenge Modern Western Eurocentric reasoning. In doing so, advances itinerant curriculum theory as a just approach, a just alter-curriculum ‘theory now’, one that respects the world’s pluri-epistemological diversity, and aims to walk way from utopias framed within the borders determined by coloniality towards an anti-decolonial climax, and ‘heretopia’. (shrink)

The aim of the article is to show the open nature of Morton Feldman’s late works despite the traditional form in which they were written. The analysis has been set in a wide context, including music, art and literature as well as philosophy and science.

O artigo procura situar a interpretação proposta por Theodor W. Adorno para a peça "Fim de partida", de Samuel Beckett, no contexto de sua concepção de autonomia da arte. Segundo a hipótese do trabalho, o conceito de autonomia subjaz ao diagnóstico histórico de Adorno a respeito do gênero dramático, o qual justifica sua leitura da peça como uma paródia do drama. O artigo busca mostrar os acertos dessa leitura perante a recepção inicial da peça, e também seus limites, uma vez (...) que resulta em uma abordagem da experiência teatral focada primordialmente na consideração do texto teatral, em detrimento da encenação. This article aims to situate the interpretation proposed by Theodor W. Adorno for Samuel Beckett’s play "Endgame" in the context of his conception of the autonomy of art. According to the hypothesis of this essay, the concept of autonomy underlies Adorno’s historic diagnostic about the dramatic genre, which justifies his analysis of the play as a parody of drama. The article seeks to demonstrate the successes of this reading in face of the play’s early reception, as well as its limitations, since it results in an approach to the theatrical experience primarily focused on regarding the theatrical text, at the expense of the staging. (shrink)