Marxian education scholars have successfully established critical media literacy as a specific response to concerns about contemporary media's problems and possibilities with regard to youth. This development has made a significant contribution to the intersection of media, critical theory, and pedagogy. Yet, the theoretical foundations of critical media literacy limit its capacity to confront the trajectory of contemporary media and communication technologies. Here, Kip Kline offers Jean Baudrillard's media theory as a possible corrective to the undertheorization of media at the (...) level of form that contributes to the inefficacy of critical media literacy. (shrink)

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)

Marxism and philosophy [1923].--The present state of the problem of 'Marxism and philosophy' [1930].--Introduction to the Critique of the Gotha Programme [1922].--The Marxism of the First International [1924].

Richard Janko's acclaimed translation of Aristotle's _Poetics_ is accompanied by the most comprehensive commentary available in English that does not presume knowledge of the original Greek. Two other unique features are Janko's translations with notes of both the _Tractatus Coislinianus_, which is argued to be a summary of the lost second book of the Poetics, and fragments of Aristotle’s dialogue On Poets, including recently discovered texts about catharsis, which appear in English for the first time.

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 sub-category of Art proper, it is worth re-considering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. T. W. 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-WWII is interesting because, between them, they consider both the possible positive emancipatory and negative politicization effects of film as a mass produced and distributed story-telling 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)

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)

Bertolt Brecht is internationally known as one of the most influential dramatists, directors, and theater theorists of the twentieth century and also, within German culture, as one of its most innovative modern poets and prose stylists. Whereas Brecht’s contributions to a Marxist aesthetics of drama, theater, poetry, and prose are widely acknowledged, he is less well known as a major thinker on ethical issues, mostly because of his materialist orientation, which conflicts with ethical traditions rooted in metaphysics. Against these traditions, (...) Brecht envisioned an “ethics for the satisfaction of needs”1 and claimed that “material needs as ethical, ethical ones as material, this is not grasped.”2 This.. (shrink)

Journal of Philosophy of Education, EarlyView.