First published in 2012. Routledge is an imprint of Taylor & Francis, an informa company.

Animal tracks, word magic, the speech of stones, the power of letters, and the taste of the wind all figure prominently in this intellectual tour de force that returns us to our senses and to the sensuous terrain that sustains us. This is a major work of ecological philosophy that startles the senses out of habitual ways of perception.

Knud Ejler Løgstrup’s _The Ethical Demand_ is the most original influential Danish contribution to moral philosophy in this century. This is the first time that the complete text has been available in English translation. Originally published in 1956, it has again become the subject of widespread interest in Europe, now read in the context of the whole of Løgstrup’s work. _The Ethical Demand_ marks a break not only with utilitarianism and with Kantianism but also with Kierkegaard’s Christian existentialism and with (...) all forms of subjectivism. Yet Løgstrup’s project is not destructive. Rather, it is a presentation of an alternative understanding of interpersonal life. The ethical demand presupposes that all interaction between human beings involves a basic trust. Its content cannot be derived from any rule. For Løgstrup, there is not Christian morality and secular morality. There is only human morality. _The Ethical Demand _is of the highest relevance to contemporary debate, especially around those issues raised by Levinas. It will exert a steadily increasing influence both in theology and philosophy. (shrink)

Argues that educators should help students piece together authentic narratives about themselves and about society, and not to focus so much on teaching students to process information.

This article explores how using the creative arts in teaching in higher education can engage and empower individuals who learn in different ways, and who may have been excluded from traditional forms of learning which value cognitive and verbal means of learning and assessment. Drawing on an evaluation of a creative arts module in higher education, which used drama, movement, music, and visual art as teaching methods, the article first outlines a case for the kind of learning it is possible (...) to engender through the creative arts. The second part exemplifies the argument in illustrating how use of the creative arts in teaching influenced the students’ learning. The article concludes by arguing that, given the current emphasis on inclusive education, an opportunity exists to use the creative arts as a bridge to facilitate inclusion and open doors to those previously disenfranchised in the education system. (shrink)