Philosophy and curriculum planning.--The nature and structure of curriculum objectives.--Liberal education and the nature of knowledge.--Realms of meaning and forms of knowledge.--Language and thought.--The forms of knowledge re-visited.--What is teaching?--The logical and psychological aspects of teaching a subject.--Curriculum integration.--Literature and the fine arts as a unique form of knowledge.--The two-cultures, science and moral education.--Morals, religion and the maintained school.

It is a very great honor to address my friends and colleagues as president of the American Society for Aesthetics, an organization that plays a unique role in a field that is, at once, a major traditional branch of philosophy and also central to disciplines often regarded as remote from philosophy, as well as depending crucially on their contributions.

In lieu of an abstract, here is a brief excerpt of the content:Justifying the Arts:Drama and Intercultural EducationMike Fleming (bio)IntroductionFor teachers of arts subjects, questions about justification can be tiresome in the same way that contemporary aestheticians may feel fatigue about defining art.1 Providing justification can feel more like an exercise in rhetoric than theoretical enquiry, induced more by political necessity than intellectual challenge. If the value of the arts is not self-evident, it is difficult to advance arguments to convince (...) those who have no knowledge or affinity with them. Not that many educationists admit to falling into the latter category. As Eisner has said, nobody wants to be seen as a philistine.2 Yet to those with a deep commitment to the value of the arts in education and wider society, the arts are rarely thought to be taken as seriously as they should be.3 This paper will describe five approaches to the question of justifying the arts before examining the specific case of drama and intercultural education.Approaches to Justifying the Teaching of the ArtsFaced with questions of justification, providing a list of reasons for teaching the arts is one approach but not the only one. Instead, looking for broader categories of justification within possible lists (e.g., between art and entertainment, feeling and cognition) exposes differences of emphasis more easily. Exploration of the tension between such concepts as "creating" and "responding" may help get behind bland claims of the kind that the arts can "develop creativity." In this way, the relevance of aesthetic theory, which often centers on the tension between competing concepts, can be demonstrated more readily. Another approach to the question of justification is to reject the idea that the arts should serve instrumental goals at all by advancing an argument in favor of their intrinsic rewards. A fourth approach is to [End Page 54] question whether it is appropriate to seek justification for the arts as a generic concept, rather than looking instead at individual art forms; the benefits of dance may be different in certain respects from those of visual arts. Finally, a priori enquiry could be abandoned altogether in favor of seeing what teachers actually say about their reasons for teaching the arts. Each of these positions will be examined briefly.Mortimer includes physical education and personal and social education among the areas of benefit he attributes to the arts.4 Within five broad categories, he describes further subcategories, amounting to more than seventeen reasons for teaching the arts. He also claims that the arts are a way of developing life skills and attitudes that are transferable across the curriculum and are a way of contextualizing other learning. It is easy to sympathize with someone who is passionate about the arts and concerned that they should be seen as a "fundamental" not as a "frill," but such general claims do not always bring clarity or insight. It is difficult for example to see how poetry "encourages physical confidence in balance." A visit to a children's home may be more fruitful in "developing sensitivity to others." The benefit of "using imagination and creativity" (a catchall phrase that on its own says very little) may in practice find tension with other stated benefits such as "discriminating, selecting, editing." The latter concepts suggest a more constrained, skills-oriented form of teaching rather than an approach that encourages free flow of imagination. Long lists of justifications can obscure theoretical differences and from a tactical point of view in the political arena can appear overblown. They are well meant but not always helpful. Nor do they go far in explaining the deep importance of the arts in so many people's lives.The influential Gulbenkian report in the United Kingdom was wide-ranging in its claims but reinforced the idea of the arts as being an alternative to academic study and what it termed "logico-deductive thought."5 "Society," it argued, "needs and values more than academic abilities." In the 1980s, many writers were keen to free themselves from the influence of narrow theories of self-expression to embrace a wider discipline-based approach but continued to underplay the cognitive dimensions of work in art.6 Of course an emphasis... (shrink)

In this article I posit translation as philosophical operation that disrupts commonsense meaning and understanding. By defamiliarising language, translation can arrest thinking about a text in a way that assumes the language is understood. In recent work I have grappled with the phrase 'ways of knowing', which, for linguistic and conceptual reasons, confuses discussions about epistemological diversity. I here expand this inquiry by considering languages in which more than one equivalent exists for the English verb 'to know'. French, for example, (...) has both savoir and connaître , and German has wissen and kennen . This interlinguistic translation thus allows for a reconsideration of the inquiry into the phrase 'ways of knowing': do problems arise with 'ways of knowing-in-the sense-of connaître ', or with 'ways of knowing-in-the-sense-of savoir ', or both? Displacement is, more generally speaking, a method used by philosophers. Shifting the concept or phenomenon under consideration into a different context or discursive register allows one to defamiliarise it and see it in terms of something else. Through translation, whether interlinguistic or interdiscursive, philosophers ask what questions and understandings become possible when we see A in terms of B. (shrink)

Kant's attempt to establish the principles behind the faculty of judgment remains one of the most important works on human reason.

This article critically examines current ways of justifying a place for the arts in general education and develops an alternative position. First, justifications relying on the positive non-artistic outcomes of art education are represented and problems exposed. Next, I discuss and criticise the position of John White, who takes the arts to promote self-knowledge, ethical contemplation and social cohesion. Then I develop a new account of artistic value based on the concept of fulfilment.

Written with clarity, wit, and rigor, _The Philosophy of Art_ provides an incisive account of the core topics in the field. The first volume in the new _Foundations of the Philosophy of the Arts_ series, designed to provide crisp introductions to the fundamental general questions about art, as well as to questions about the several arts. Presents a clear and insightful introduction to central topics and on-going debates in the philosophy of art. Eight sections cover a wide spectrum of topics (...) such as the interpretation of art, the relation between art and moral values, and the expression and arousal of emotion through art. Pedagogical features include full-color illustrations, vibrant examples, thought-provoking discussion questions and helpful suggested readings. (shrink)

When we defend aesthetic education in instrumental terms or rely on clichés of creativity and imagination, we win at best a pyrrhic victory. To make a lasting place for the arts in education, we must critique the transmission model of education and the instrumentalist view of life that undergirds it. To help us perceive anew the nature and value of the aesthetic, I explore John Dewey's distinction between recognition and perception. Through a series of examples drawn from painting and poetry, (...) I embody Dewey's theory and describe a number of artistic strategies for interrupting recognition and cultivating perception. (shrink)