We are only beginning to understand the significance of the issues which our environmental situation raises, and their implications for philosophy of education have yet to receive the depth of consideration they merit. This paper argues that certain strands of environmental concern invite us to reconsider the metaphysical basis of education. Having identified some senses in which education is properly construed as metaphysical, it explores questions posed for the conceptions of knowledge, truth, personhood and morality in which education is rooted, (...) and for the versions of reality and the relationship to nature in which it invites pupils to participate. (shrink)

We are only beginning to understand the significance of the issues which our environmental situation raises, and their implications for philosophy of education have yet to receive the depth of consideration they merit. This paper argues that certain strands of environmental concern invite us to reconsider the metaphysical basis of education. Having identified some senses in which education is properly construed as metaphysical, it explores questions posed for the conceptions of knowledge, truth, personhood and morality in which education is rooted, (...) and for the versions of reality and the relationship to nature in which it invites pupils to participate. (shrink)

_Imagination_ is an outstanding contribution to a notoriously elusive and confusing subject. It skillfully interrelates problems in philosophy, the history of ideas and literary theory and criticism, tracing the evolution of the concept of imagination from Hume and Kant in the eighteenth century to Ryle, Sartre and Wittgenstein in the twentieth. She strongly belies that the cultivation of imagination should be the chief aim of education and one of her objectives in writing the book has been to put forward reasons (...) why this is so. Purely philosophical treatment of the concept is shown to be related to its use in the work of Coleridge and Wordsworth, who she considers to be the creators of a new kind of awareness with more than literary implications. The purpose of her historical account is to suggest that the role of imagination in our perception and thought is more pervasive than may at first sight appear, and that the thread she traces is an important link joining apparently different areas of our experience. She argues that imagination is an essential element in both our awareness of the world and our attaching of value to it. (shrink)

It seems often to have been assumed by art theorists and aestheticians that concepts of art and the aesthetic are related, if not actually identical. In recent times, however, David Best has criticized this widespread assumption in the interests of marking a quite radical distinction between artistic and aesthetic concerns. But this claim may be considered problematic in turn, not only in terms of its denial of the conventional conception of art as implicated in the production of aesthetic effects, but (...) also because it obscures our understanding of the objectivity of aesthetic judgement – and hence, ultimately, of the rational basis of artistic appreciation and endeavour. In the light of some critical attention to Joseph Dunne’s recent work on practical reason in Aristotle, the following paper argues that a suitably modified notion of phronesis may provide the key to understanding the relationship of aesthetic sensibility to artistic knowledge. (shrink)

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