This paper focuses on an especially urgent challenge to the legitimacy of the common school ideal—a challenge that has hardly been addressed within contemporary debates within liberal philosophy of education. The challenge arises from claims to accommodation by queer people and queer communities—claims that are based on notions of queerness and queer identity that are seriously underrepresented within contemporary liberal political and educational theory. The paper articulates a liberal view of personal autonomy that is constituted by a conception of practical (...) reasoning rooted in thick communal experiences. It is argued that common schools concerned with equal concern for the autonomy of all children must attend to the specific communal requirements needed to developing the autonomous practical reasoning of queer children—requirements for what is termed a sense of ‘futurity’. Five practical recommendations for common schools are briefly outlined. The paper concludes with some reflections on the divergent and convergent interests of queer theory and liberalism, and considers some possibilities for a partial reconciliation of the two theoretical perspectives. (shrink)

An education for cultural coherence tends to the child’s well-being through identity construction and maintenance. Critics charge that this sort of education will not bode well for the future autonomy of children. I will argue that culturally coherent education, provided there is no coercion, can lend itself to eventual autonomy and may assist minority children in countering the negative stereotypes and discrimination they face in the larger society. Further, I will argue that few individuals actually possess an entirely coherent identity; (...) rather, most of us possess hybrid identities that lend themselves to multiple, not necessarily conflicting allegiances. (shrink)

An overarching aim of education is the promotion of children's personal well-being. Liberal educationalists also support the promotion of children's personal autonomy as a central educational aim. On some views, such as John White's, these two goals—furthering well-being and cultivating autonomy—can come apart. Our primary aim in this paper is to argue for a species of a stronger view: assuming preferentism as our axiology, we suggest that there is an essential association between the autonomy of our springs of action, such (...) as desires and beliefs, on the one hand, and personal well-being, on the other. If we are right about this link, then we have at our disposal a partial (non-instrumental) validation of the liberal ideal of autonomy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetics, Education, the Critical Autonomous Self, and the Culture IndustryMarianna Papastephanou (bio)IntroductionE Lucevan le Stelle disconnected both from Tosca and Puccini becomes incidental music and brings strong recollections of the detergent advertisement it once coated. Last Year in Marienbad has caused some of the deepest yawn relief to many hopefuls for the title of the sophisticated who wished to cash out the film's cultural and social capital. A painting (...) by a well-known artist in the living room of a middle-upper-class residence often matches the colors of the carpet, and a piece of African art in the corner testifies to the hosts' cosmopolitan respect for otherness and the proper dose of hybridity in their selfhood. The young of the family are said to search for freedom from the puritan lifestyle in Ecstasis. Or, they rebel against the oppressive order of the system through idolizing music bands of an unconventional style and, as a matter of fact, of "unconventional" wealth accumulated precisely through the systemic exploitation of their idolization. The whole family, including the discontented young, will unite in the enjoyment of a new movie in which, just as in hundreds before it, police detectives can solve cases only after their suspension from duty and foreigners prefer to converse in perfect English when they are alone. What all members of the family are sure of by the end of the day, some of them through the prism of heavy drinking and others in the sober appreciation of the latest reality show, is that they exercised once again their free will in all instances. For they oriented their desires, treated as natural and self-posited, to objects they initially lacked but "autonomously" and "critically" found and selected from a rich and all-encompassing marketplace of culture. [End Page 75]How are art, its education, and its educational ideals of autonomy and critique related to this particular cultural reality that I have highlighted? Pseudo-individualism, escapism, Ersatzbefriedigung, fetishization, reification, and educationalization are some of the terms Adorno employed to approach the reality of artistic production and reception in capitalist times while preserving the distance that art offers for critiquing reality.1 In contrast with the above-sketched reality, in Adorno's ultimate aesthetic vision through art the self is not supposed to "forget in dreams the present world, but to change it by the strength of an image."2 Adorno attacks the drive toward a "totally administered" society—that of late capitalism—which "reduces every aspect of present-day life to the dead level of conformist popular 'taste' as dictated by a wholesale culture industry given over to the purposes of mass indoctrination."3 Fundamentally, the culture industry hinders the formation of autonomous, critical, and independent individuals.4I shall argue that such a theoretical framework gives us additional insight through which to combat what has already been perceived in pedagogical discourse as educational inability to cultivate reflective and critical subjectivities. Instead of autonomy, education nurtures narcissism. and instead of critique, it promotes appeasement5 —all the more so when education succumbs to the culture industry or fails to encourage students' critical stance to its imperatives.My position here is that by reclaiming their own valuable connection to reflective artistic experience and reception, aesthetic theory and art education can contribute to a reconceptualization of autonomy and critique and, perhaps more importantly, to a reorientation of educational practice.6 Adorno's aesthetics is exceptionally relevant to this aim because his work exemplifies in a unique way the necessary awareness of the antinomic qualities of autonomy and critique, their ineluctable dependence on society and culture, and their secret culpability in domination. Moreover, Adorno's cultural criticism comprises an unsurpassable diagnosis of those social pathologies that leads away from critical and reflective subjectivity and offers conceptual means for setting a critical eye on some current impoverished practices of teaching art. Above all, Adorno's aesthetic theory displays a remarkable topicality regarding contemporary positions on purely artistic concerns and contentions. Thus, the current neglect of his work in aesthetic educational theory7 must be dealt with since accommodation of such aesthetics within art educational discourse will serve significantly the latter's... (shrink)