In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and others had said (...) similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton’s The Art of Theater is part of this turn—it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4In what follows I shall address a number of issues raised by Hamilton’s work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton’s “ingredients model” and its relation to more traditional accounts of the work/performance relation; the account of theatrical style on offer; and the question of what we have learned from experimental theater.But before I move on to address those aspects of the book’s content in detail, let me say something about the pedagogical significance of this work. Although there are a number of legitimate ways to teach introductory courses on aesthetics and the philosophy of art (for example, by following a historical progression or by structuring it around certain key issues), one increasingly attractive option is to teach a course that focuses on those aforementioned individual arts and their individual problems. So, for example, I used to regularly teach graduate seminars in aesthetics to students enrolled [End Page 51] in a fine arts doctoral program. These students studied music, art education, the visual arts, theater, and dance; the seminars were designed to provide them with a broad foundation in philosophical aesthetics. Since they typically had no background in philosophy, I made the effort to assign readings and topics relevant to their own artistic practices and interests. Providing them with contemporary cutting-edge philosophical material on music and the visual arts was not hard. Kivy’s work, as well as that by Jerrold Levinson, Arthur Danto, Richard Wollheim, and others, makes that fairly easy. And intriguingly—since philosophers are commonly said to have ignored the art of dance—there’s even a decent amount of recent philosophical work on that art form by such authors as Graham McFee, Frances Sparshott, and Noël Carroll and Sally Banes.5 But where to turn to for the theater students? I would often read some of Aristotle’s Poetics with them, but I have to admit that the serious students of the theater that I encountered in those seminars typically knew that text much better than I did. (Still, I hope I challenged their breezy assumptions about catharsis!) We would read Hume on tragedy together—fun, but not really so much about the theater—and sometimes a bit of Nietzsche. But there was never much to give them from contemporary philosophers on the subject—a few articles here and there, of course, but nothing that clearly laid out the big and distinctive issues that the art form of theater raises. Nothing, to put the point a bit differently, that would provide any evidence that there really was a lively and extant philosophy of theater out there, as there are lively and extant philosophies of film, music, literature, and photography. In short, for those attracted to the prospect of teaching aesthetics as the philosophies of arts, the dearth of good work on theater by contemporary philosophers has been a significant source of frustration and even a bit of an embarrassment.The book in question is not the only recent philosophical work on theater. There are fine articles on the topic by David Osipovich, David Saltz, and Paul Woodruff, among others. Hamilton himself has a string of... (shrink)

ABSTRACT GIRMAW ASHEBIR SINSHAW: A comparative analysis of theatre art curriculum for undergraduate in Indonesia and Ethiopia. Thesis. Yogyakarta: Graduate school, Yogyakarta State University, 2018. This research aimed at described: their communality in the theater art curriculum for undergraduate in both of Ethiopia and Indonesia the main objectives are: (1) Exploring the difference between the theatre art curriculum for undergraduate in of Ethiopia and Indonesia. (2) Discovering the similarities between the curriculum of undergraduate theatre art program of (...) Ethiopia and Indonesia. A descriptive qualitative research method was used for its research. It used simple random sampling method to collect data from theatre art curriculum for undergraduate program documents of Ethiopian and Indonesia. The data were gathered by using two different techniques of data collection consisting of document study and open-ended interviews. Document study is the main data collecting technique and interview was used to support the primary technique. During the document study method the data were gathered in library and privately from the different lecturers and scholars that the relative document such like; books, magazines, journals and research papers. The data consist of two types of curriculum documents which are from Ethiopia and Indonesian theatre art curricula for undergraduate program. These data was compared to examine the similarities and difference in terms of the number of semesters, course, size of contents and the graduate profiles. The results of the research show that the theatre art curriculum for undergraduate in Indonesia different from that of Ethiopia. The structures of course arrangement, time management, the course content size, a number of courses and credits are a big deference between these two curricula. Several Indonesian course contents and names are similar to those in Ethiopia but the size of which are different. The courses offered in Ethiopia curriculum are all in the form of course work, while, in Indonesia students do the course work for seven semesters and the last semester is for research. Indonesia has an elective course which is 14 credit hours, and in Ethiopia there is no elective course. With regards to course matters and evaluation methodology, the two countries theatre art curriculums share similarities in terms of the structure, the content and subjective areas of the program. This research can provide the benefit for multiple stakeholders for revising, preparing, evaluating and as a reference for the next studies in the relevant field. (shrink)

The audience occupies a very vita! and significant position within the ambience of the arts in general and theatre in particular. It remains one of the outstanding prerequisites for a complete efficacious and potent theatre experience. Its absence renders the entire activity a no event. Thus its standing within artistic and theatrical parameters is that of uniqueness and indispensability. Effiong Johnson posits that "Not considering the audience in the scheme of the performance is unpardonably a blind stupor which (...) can lead to one predictable outcome: regret!" (215). There can never be a theatre experience or event without the audience. It is considered to be the better half of the event. Their presence, cheers and signs of appreciation encourage performers to break a leg and put up a superlative performance. Nwamuo notes further that audiences beat the drums which spur performers to a frenzy (Inaugural Lecture, 15). William Byrnes adds that no matter how lofty the aesthetic aims of an organization, especially arts outfits, without the regular support of an audience, patrons or members, enough money will not come in to keep the enterprise alive (255). Audiences have existed in the theatre over centuries and have continued to exert influence in different spheres, especially the performance. Dennis Sporregivesusan insight into this by pointing out that: The audience of the 19th century played a significant part in determining what took the stage. Royal patronage was gone and box office receipts were needed to pay the bills,... The Industrial Revolution had created larger urban populations and expanded public education to a degree.... To appeal to this diverse audience, theatre managers had to program for the popular as well as the sophisticated taste if they wanted to make money (409). (shrink)

It is the editorial for the first issue of the second volume of the journal Theology and Philosophy of Education. The journal’s logo is described and interpreted here in the context of the journal’s aim. All the texts of the offered issue are briefly introduced here.

The giant strides to be taken in becoming an academic do not just entail acquiring knowledge through formal education but demand further steps to master, philosophize and profess knowledge. Apart from the credentials to show that quality conditions were fulfilled in a higher education, volumes of well researched publications in peer review academic journals are vital. In Nigeria, when this form of learning came through colonial education women were not as privileged as men to acquire it immediately. (...) So, men become educated first, hence were the first set of academics. Subsequently, women joined this league of educated men in the academic world. The utilization of this knowledge by both men and women in academic community encroached on culture, its administration and expression. In this instance, issues in various endeavours, including academics are expressed through culture of criticism and criticism of culture. This study examines women’s academic world and their efforts in criticizing Nigerian culture with a focus on Mabel Evwierhoma’s involvement using theatre scholarship. The theory of Cultural Studies as it relates to cultural criticism specifically feminist criticism will be adopted to explore cultural feminist thoughts of Nigerian women in the academics with Evwierhoma’s input as a focus. The study finds that since the inception of feminism in Nigeria, women have deployed its scholarship, to criticise culture. Women in the theatre have used every available tool including creative writing, critical writing, research, pedagogy and philosophy to highlight cultural values that favour women. Evwierhoma has made a robust impact in this regard. (shrink)

This paper sets out to identify the qualities of a cartoonist as an artist in the business of political education. The paper observes that the true meaning of any man’s action could be understood when conscious efforts are made by the message recipients to read beyond the lines. However, the encoder requires certain skills, especially as an artist, to pass his message across to his audience.

Traditional theatre refers to the art forms which have their origins in the people’s culture and express their belief system, worldwide view, wishes and aspirations. It serves several functions within the society. Its educational value is embedded in its nature as a repository of the mores and traditions of people. Certain modes within its confines are used to explain life, the reason for events, the people’s origin and history, as well as other philosophies of life. Traditional theatre imparts (...) positive values through the exploration of crime and punishment using satires and straightforward criticism of deviant behaviours. Even when such presentations are couched in symbolic terms and the characters basically animals, the human idiosyncrasies under attack do not remain unidentifiable. The social function remains in its ability to exercise some level of control on social behaviours. No member of the community wants to lend himself to be ridiculed or lampooned. As such, they consciously curtail or exercise restraints in their actions, even when they are done in secret. Once a recalcitrant behaviour is made known; the individual involved is publicly disgraced or might even be ostracized. The entertainment value of traditional theatre is predicated on its ability to hold attention, please the senses and suspend all worries of life, even beyond the period of presentation. More so, because it often employs dance and music and the audience plays a second role as participants. The potency of traditional African and Nigerian theatre as tourist attractions lie within their entertainment value. They include festivals, music, dances rituals etc. Traditional festivals are of concern to this work. (shrink)

1950s witnessed a drastic change in the history of British drama. The publication of John Osborne’s masterpiece, Look Back in Anger in 1956 radicalised the British theatre. The play was a blow against establishment. Osborne portrayed Jimmy Porter, the anti-hero of the play. He is frustrated and malcontent. He attacks the establishment in every sense. Following the success of this play, a generation of writers emerged who are labelled as “angry young men”, though they were not a unified group. (...) This media-created uncommon group included John Osborne, Kinsgsley Amis, John Wain, Collin Wilson, Allan Sillitoe, John Arden, Arnold Wesker and Harold Pinter. Shelagh Delaney, after publication of her successful and rebelling play, A Taste of Honey (1956) had been included in this group but it may not be appropriate to stick the journalistic label “angry young men” to her because she differs from most of them and the label itself obviously implies its patriarchal nature. This “new wave” of British young playwrights had tried to radicalise not only themes but also structures and styles of their plays. Hostile to anything that was “high-brow”, these British playwrights were revolutionary in dealing with working class characters and themes. They rejected the style and subject of educated upper middle class. Expressing the discontent and frustration of the newly educated lower class, they were explicitly and intensely against establishment. Their plays were termed as “Kitchen-Sink” Drama. It was a term that gained popularity in Britain in the middle and late 1950s. The term refers to pays which were set in ordinary domestic settings. They depict lower strata of British society and their struggle to survive in post-war period. According to Collin’s Dictionary, it is a term which refers to a type of drama of the 1950s depicting sordid aspects of domestic reality. (shrink)

Wittgenstein’s comment that what can be shown cannot be said has a special resonance with visual representations of power in both Heavy Metal and Fundamentalist Christian communities. Performances at metal shows, and performances of ‘religious theatre’, share an emphasis on violence and destruction. For example, groups like GWAR and Cannibal Corpse feature violent scenes in stage shows and album covers, scenes that depict gory results of unrestrained sexuality that are strikingly like Halloween ‘Hell House’ show presented by neo-Conservative, Fundamentalist (...) Christian churches in the southeastern United States’ ‘Bible Belt’. One group may claim to celebrate violence, the other sees violence as a tool to both encourage ‘moral’ behaviour, and to show that the Christian church is able to ‘speak the language’ of young people who are fans of metal, gore, and horror. Explicit violence, in each case, signifies power relationships that are in transformation. Historically, medieval morality plays and morality cycles had been used as a pedagogical tool. In the modern-day context of fundamentalist religious education, these Hell House performances seek to exclude outsiders and solidify teen membership in the Christian community. Hell House performances are marketed to the young church members, and are seen as a way to reinvigorate conservative Fundamentalist Christianity. Women and girls routinely take part in, and often organize Hell House events. In the context of heavy metal, violent performances do not seek to exclude, but provide an outlet for a variety of socially unacceptable or unpopular feelings. In each context there is an apparent, if not actual, empowering of women who are willing to play particular kinds of roles. The use of violence and gore has a value beyond merely shocking the audience, it is arguably a way that some women find their voice, both for fundamentalist Christians and fundamentalist gore metal fans. (shrink)

Bad philosophy is responsible for the climate and nature crises, and other global problems too that threaten our future. That sounds mad, but it is true. A philosophy of science, or of theatre or life is a view about what are, or ought to be, the aims and methods of science, theatre or life. It is in this entirely legitimate sense of “philosophy” that bad philosophy is responsible for the crises we face. First, and in a blatantly obvious (...) way, those institutions, organizations, corporations, businesses, endeavours, and activities of humanity that cause the crises and global problems we face, do so because of the aims they pursue (profit perhaps, or power, or heat and light for homes), and the methods adopted in pursuit of those aims – the philosophy in other words, built into the institution, organization, business, human activities, or whatever it may be. It is the philosophy of these institutions, organizations and activities that we need to change to put a stop to, or at least lessen the severity of, the crises we face, the global problems that confront us, above all the climate and nature crises. One institution has an especially crucial role in this respect: our universities. They are dominated in a multitude of ways by a particularly disastrous philosophy, a philosophy of inquiry which may be called knowledge-inquiry. This holds that the basic aim of the university is to acquire and apply knowledge. First, knowledge is to be acquired; once acquired, it can be applied to help solve social problems. But this philosophy of knowledge-inquiry is an intellectual disaster. As a result, universities are, in devastating and almost entirely unrecognized ways, humanitarian disasters too. Judged from the standpoint of helping to promote human welfare, the university shaped by the philosophy of knowledge-inquiry violates THREE of the four most elementary rules of rational problem solving conceivable in a wholesale, structural fashion, and it is this gross, wholesale, structural irrationality of the university, unnoticed by all but a few scientists and scholars, that is in part responsible for the creation of our grave global problems, and our current incapacity to learn how to solve them. The pursuit of knowledge, conducted in universities, within the framework of knowledge-inquiry over the decades and centuries, has produced much of great benefit to humanity. It has made the modern world possible. It has led to modern power production, modern industry and armaments, modern agriculture, modern hygiene and medicine, modern travel and communications, and the internet. But these very successes have also created many of our most serious current global problems: the climate crisis; the destruction of natural habitats, the catastrophic loss of wild life, and impending mass extinction of species (the nature crisis); the lethal character of modern war; the impact on the natural world of the rapid growth of the human population; the menace posed by nuclear weapons; pollution of earth, sea and air; threats to democracy caused in part by the internet and social media. All these grave global problems have been made possible by modern science and technology, pursued largely in universities within the framework of knowledge-inquiry. Nevertheless, it is not science and technology as such that are the problem, but science pursued in a way that is dissociated from a more fundamental task of the university to help humanity resolve conflicts and problems of living in increasingly cooperatively rational ways, so that progress may be made to a better world. Science and technology, pursued within the framework of knowledge-inquiry, create for some of us the power to act, but not the power to act wisely – not the power to learn how to resolve conflicts and problems of living in increasingly cooperatively rational ways. For that, we need our institutions of learning, above all our universities, to take as their primary task to help humanity learn how to do it. In order to do that, the philosophy of inquiry put into practice by universities needs to be dramatically transformed. We urgently need to bring about a revolution in the overall aims and methods of academic inquiry – a revolution in the philosophy of the university, all around the world, wherever possible, so that the basic aim becomes to seek and promote wisdom, construed to be the capacity, active endeavour, and perhaps desire, to realize what is of value in life, for oneself and others, wisdom in this sense including knowledge, understanding and technological know-how, but much else besides, methods being dramatically modified too so as to help achieve the new academic aim. The basic task of the university would be, not to solve problems of knowledge, but rather to help people in the social world beyond the university to resolve conflicts and problems of living so that what is of value in life may be realized by everyone, insofar as that is possible. The pursuit of knowledge would be vital, but not intellectually fundamental. The intellectual and institutional revolution we so urgently need in our universities would affect every discipline and aspect of the university; it would dramatically affect both research and education, and the whole way the university is related to the rest of the social world. The revolution, from knowledge-inquiry to wisdom-inquiry would dramatically enhance the intellectual integrity and rationality of natural science, social inquiry, the humanities and technology, the character of these disciplines and the relationships they have with one another. University education throughout the university would be dramatically improved. And academic inquiry as a whole would do what, on the whole, it fails to do at present: it would help humanity resolve conflicts and problems of living in increasingly cooperatively rational and, as a result, increasingly successful ways, progress at last being made to a genuinely good, civilized world – a world in which there is peace, justice, liberal democracy, individual freedom, education, reasonable equality, sustainable prosperity and worthwhile opportunities in life, all of these for everyone, insofar as this is possible. Why, it may be asked, has academic philosophy not noticed that we urgently need to transform the current bad philosophy of inquiry of knowledge-inquiry into the far more intellectually rigorous and humanly valuable philosophy of wisdom-inquiry, so that we can begin to do what so far we have failed to do so lamentably: learn how to avoid impending disasters, and even make progress to a better world, something that seems at present almost unthinkable given the horrors of war, poverty, political enslavement of the 20th century, and the horrors of this century so far too? The answer is that academic philosophy is in a particularly pitiful state, as philosophers themselves, are just beginning to realize and lament. That is why academic philosophers are blind to the intellectual and humanitarian disaster of the bad philosophy that dominates universities today, and inconceivable to them to them that they might have, as a disciplinary task, to ensure academic inquiry implements a good philosophy of inquiry, and advocate and argue for change if it does not. Once upon a time, in Europe at least, philosophy was an intellectual power in the world. In the 17th century it created modern science which massively increased and improved our knowledge and understanding of the world, which in turn led to the Enlightenment, the industrial revolution, and the modern world. Philosophy was once so intellectually powerful and influential that it changed the course of history. But philosophy also made in the past three disastrous intellectual blunders: the post-Cartesian blunder, the post-Newtonian blunder, and the Enlightenment blunder. Never acknowledged and corrected by subsequent philosophy right down to the present, these unrecognized intellectual blunders rendered academic philosophy the esoteric, pathetic, and powerless discipline it is today, so that throughout the last century and, so far, throughout this one, academic philosophy has remained blind to the intellectual disaster of knowledge-inquiry, and thus failed entirely to take up its proper disciplinary task of warning fellow academics of the structural irrationality of the philosophy that prevails in the university, and of proposing what steps need to be taken to put things right. Instead of performing such an urgently needed philosophical task, so-called analytic philosophy was reduced to analysing the meaning of words. Since then, there has been hardly any discernible improvement, even if analysis of concepts no longer dominates the scene. Bad academic philosophy is indeed responsible for intellectual and humanitarian failures of the university. What the three past intellectual blunders of philosophy are, why their persistence so dramatically reduces academic philosophy to a triviality, and why, furthermore, this results in the failure of scientists and scholars to see what is so blatantly bad about the philosophy prevailing in universities around the world – the failure to see what so urgently needs to be done to put right what has been wrong for so long: all this is made clear in this book. A new kind of philosophy emerges during the course of the argument, critical fundamentalism, which has as its task to keep alive imaginative and critical – that is rational – thinking about our fundamental problem: How can our human world, the world we experience and live in – the world of living things, people, consciousness, free will, meaning and value – how can all of this exist and best flourish embedded as it is in the physical universe? That problem encompasses all others of life, science and thought. Critical fundamentalism tries to improve answers to aspects of this problem; but it also seeks to encourage everyone to think about the problem, from time to time, and think about how it interacts, in both directions, with more urgent particular and specialized problems of life and thought. Critical fundamentalism sets out to help improve bad philosophy wherever it is to be found: in social, political, commercial, legal, financial, and international life; and especially in academia, in institutions of learning, so that they become devoted to enhancing the capacity of people to learn how to achieve what is of genuine value in this brief life of a few decades if we are fortunate. Critical fundamentalism does everything it can to bring about the revolution in our universities we so urgently need. If taken up by mainstream philosophy, it might really have an impact, and begin to transform universities for the better, in both intellectual and humanitarian terms, and thus, enable humanity to learn how, after the grim failures and horrors of the last century and this one, to make progress to a better world. -/- . (shrink)

This paper was made as part of a wider research I made about rituals and their meaning and roles they are playing in the religious system of thinking. The way they are thought, displayed, precisely followed as instructed and believed, makes them a powerful social act that has been always provided by any religion, and also a tool for religion to make the human society what it is today. After I speak about what is a ritual and its religious content (...) in general, I am enumerating roles and functions of play and theatre in particular have, both for profane and religious purpose. Do we still use play/games as adults because they are rewarding, they give us pleasure? They are used as means of relaxation, or for continuing the age of childhood; or it is in our nature to play games in everything we do? In this paper I have emphasized play as adaptive potentiation or adaptive variability useful both in therapy, as in religious ceremony. The relation and comparison of rituals with play is due to the fact that playing is the most engaging behavior performed by man and animals, and it can be found as foundation of almost any ritualist activity. (shrink)

In this essay, I argue that Søren Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between“performative writing strategies” and “categories of performativity.” As a second step, I will focus on Repetition: A Venture in Experimenting Psychology, by Constantin Constantius, one of the best examples of Kierkegaard’s innovative way of (...) doing philosophy. This strange and elusive book introduces the difficult and counter-intuitive notion of repetition. Repetition is a category of performativity that aims to activate the subjectivity of the reader. This performative effect is achieved by confronting the reader with an “unresolved”existential problem that is not yet drawn into clarity but is staged in all its confusions and contradictions. Kierkegaard’s pseudonym Constantius relies here on a performative writing strategy that is animated by a dialectic of advance and withdrawal. In the last and third step, I will analyze Constantius’s own reflection on the performative dimension of his text. Constantius has left several clues behind, each of which suggests that he deliberately developed a performative writing strategy. (shrink)

I consider James Hamilton’s discussion of what I term the complete autonomy thesis, according to which no theatrical performance is a performance of some other work. While agreeing with Hamilton that theatrical performances are often artworks in their own right and that theatrical performance is not a derivative or subsidiary art form, I argue that the complete autonomy thesis overshoots the evidence. Some theatrical performances are autonomous, but many belong to an established tradition of close adherence to the texts of (...) dramatic literature. In such cases, we should say both that the performance itself is an artwork and that it is a performance of some literary work. I suggest that this way of understanding things promotes appreciation of both performances themselves and the dramatic works of literature that are employed in their creation. (shrink)

In the performing arts, including music, theater, dance and so on, theoretical issues both about artworks and about performances of them must be dealt with, so that their theoretical analysis is inherently more complex and troublesome than that of nonperforming arts such as painting or film, in which primarily only artworks need to be discussed. Thus it is especially desirable in the case of the performing arts to look for defensible broad theoretical simplifications or generalizations that could serve to unify (...) and potentially comprehensively explain these difficult cases. (shrink)

The theater principle personifies the universe and all natural as a live performance theater run by an unknown showrunner and indifferent audience members. The principle references evolution as a means of comparison and goes in depth describing exactly how natural occurrences bring out the reality of this principle. And the fortunate circumstances of being a conscious being.

The present research (total N = 2,057) tested whether people’s folk conception of consciousness aligns with the notion of a “Cartesian Theater” (Dennett, 1991). More precisely, we tested the hypotheses that people believe that consciousness happens in a single, confined area (vs. multiple dispersed areas) in the human brain, and that it (partly) happens after the brain finished analyzing all available information. Further, we investigated how these beliefs arerelated to participants’ neuroscientific knowledge as well as their reliance on intuition, and (...) which rationale they use to explain their responses. Using a computer-administered drawing task, we found that participants located consciousness, but not unrelated neurological processes (Studies 1a & 1b) or unconscious thinking (Study 2) in a single, confined area in the prefrontal cortex, and that they considered most of the brain not involved in consciousness. Participants mostly relied on their intuitions when responding, and they were not affected by prior knowledge about the brain. Additionally, they considered the conscious experience of sensory stimuli to happen in a spatially more confined area than the corresponding computational analysis of these stimuli (Study 3). Furthermore, participants’ explicit beliefs about spatial and temporal localization of consciousness (i.e., consciousness happening after the computational analysis of sensory information is completed) are independent, yet positively correlated beliefs (Study 4). Using a more elaborate measure for temporal localization of conscious experience, our final study confirmed that people believe consciousness to partly happen even after information processing is done (Study 5). (shrink)

This paper investigates the recurrent music ban on musical video broadcasting and the issues of quality of musical contents that have warranted such a phenomenon by the National Broadcasting Commission in Nigeria. The major contention was the justification or otherwise of the ban. The paper employed observational and analytical methodologies to examine the causes of the bans on musical videos in Nigeria by NBC, the reactions of the affected artistes and their fans and the negative effects of erotic lyrics, nudity (...) and suggestive dance steps by minors, ladydancers and the musicians on the youths and other categories of musical video audiences. The paper submits that the NBC’s gestures are commendable and should be sustained while quality assurance efforts should be intensified through promotion of quality musical videos produced more for the purpose of entertainment than education or information. The paper also calls for collaborative efforts among all stakeholders in the music industry to achieve quality in the musical videos produced for general public consumption. This paper encourages musicians to invite creativity into the musical industry in Nigeria by coming out with songs and performances that reflect the cultural values of the country rather than mere entertainment songs and acts that have a greater tendency to corrupt younger minds. (shrink)

Vehicle externalists hold that the physical substrate of mental states can sometimes extend beyond the brain into the body and environment. In a particular variation on vehicle externalism, Susan Hurley (1998) and Alva Noë (2004) have argued that perceptual states, states with phenomenal qualities, are among the mental states that can sometimes spread beyond the brain. Their vehicle externalism about perceptual states will be the main topic of this article. In particular, I will address three strong objections to their vehicle (...) externalism, objections by Ned Block (2005), Jesse Prinz (2006), and Fred Adams & Ken Aizawa (2008). Though in some ways these objections appear disparate, I will argue that all of them depend on a crucial presupposition, one which Hurley, Noë, and their sympathizers should reject. This presupposition is that perceptual character is fixed by an instantaneous snapshot of neural states, a view that Hurley dubbed ‘temporal atomism.’ To put the presupposition in more familiar terms, all three objections are implicitly committed to something like Dennett’s Cartesian Theater (1991). -/- In the first part of the article, I will discuss Hurley and Noë’s views, and include reasons why their views entail the rejection of the Cartesian Theater. In the next part of the article I will introduce the three objections and show how they presuppose something like a Cartesian Theater. I will also show that, if the Cartesian Theater is rejected, the objections all vanish. In the final part of the article I address the charge that Noë and Hurley confuse causation with constitution. This charge reveals a lack of appreciation for the way in which dynamical explanation motivates Hurley’s externalism. (shrink)

This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version of his claim (...) about cinema and modernism, where film at least provides us a symbol of relief from concerns about medium specificity. In the second part of the essay I argue that something close to Cavell's and Fried's thoughts (about using the figure of theater to remind us of cinema's specificity, but also of cinema in its character as a symbol of relief from medium-specific concerns) takes on a certain urgency in questions about what cinema is in the digital age, manifested in representations of theater in the digitally photographed "Shakespeariadas" series by the contemporary Argentine filmmaker Matías Piñeiro. (shrink)

Für Simone de Beauvoir ist der Existentialismus die einzige Philosophie, die der Aufgabe gewachsen ist, eine ethische Verhaltensweise, die sich auch unmittelbar in die Praxis umsetzen lässt, zu entwerfen. Die Werke, in denen Beauvoir eine existentialistische Ethik formuliert und deren Umsetzbarkeit veranschaulicht, sind allen voran ihr Essay Für eine Moral der Doppelsinnigkeit und ihr Theaterstück Die unnützen Mäuler. Mit der dramaturgischen Darstellung einer Grenzsituation ist es der Philosophin und Schriftstellerin gelungen, eine Synthese von Werten umrisshaft zu erläutern, aus denen sich (...) praktische Handlungshinweise, ohne die Notwendigkeit eines universellen Wertesystems vorzusehen, ableiten lassen. Einer kurzen Einführung, die auf die Umstände bzw. auf die historischen Hintergründe, die Simone de Beauvoir Beauvoir dazu bewogen haben, als engagierte Intellektuelle dezidiert zu sozialen und politischen Fragen Stellung zu beziehen, wird eine prägnante Analyse von Beauvoirs Ethikentwurf folgen. Da vorliegender Beitrag für die Aktualität von Beauvoirs Die unnützen Mäuler plädiert, werden parallele Verhaltensmuster der Vergangenheit und der Gegenwart ans Licht geführt werden, um praktische Möglichkeiten aufzuzeigen, wie es heute gelingen kann, sich für eine ethisch vertretbare Lebensweise zu entscheiden. Wohlgemerkt handelt es sich dabei – ganz in Beauvoirs Sinne – um einen Versuch bzw. um einen Entwurf. (shrink)

According to a traditional Cartesian epistemology of perception, perception does not provide one with direct knowledge of the external world. Instead, your immediate perceptual evidence is limited to facts about your own visual experience, from which conclusions about the external world must be inferred. Cartesianism faces well-known skeptical challenges. But this chapter argues that any anti-Cartesian view strong enough to avoid these challenges must license a way of updating one’s beliefs in response to anticipated experiences that seems diachronically irrational. To (...) avoid this result, the anti-Cartesian must either license an unacceptable epistemic chauvinism, or else claim that merely reflecting on one’s experiences defeats perceptual justification. This leaves us with a puzzle: Although Cartesianism faces problems, avoiding them brings a new set of problems. (shrink)

Architectural space has some triggers for unique experiences and one of them is its atmosphere. The atmosphere has an unstable structure so that it is difficult to define clearly. We are capable of immediate appreciation, such as being inside or outside. Thus, the threshold between bodily experiences and mental emergence becomes a blurred one, like a haze. It is sensed in bodily presence by human beings. The boundaries, such as subject and object, are transgressed through the atmosphere. The subject appears (...) as a body and its movement in this discussion. Recognition of the existence of the body in space plays a significant role throughout the architectural design process. Theatrical dance or dance theatre (Tanztheater) practices provide new horizons for understanding the presence of the body in the space. Pina Bausch, as a choreographer, is one of the pioneers of this genre. The aim of the study is to point out the relations of body, space and atmosphere in Pina movie (2011). This study identifies choreographies with different aspects as follows: (1) In the atmospheric aspect; subject, object and their role in the atmosphere of choreographies by Pina Bausch were observed. (2) In the fictional space aspect; various spaces were examined in the sense of body-object-atmosphere interaction. (3) In the bodily aspect; space which is produced by the body and vice versa in dance theatre was investigated in the volumetric reflections of the body. This research contributes to bridging performative arts and architecture as understanding the space. It can be a guide for an architectural design studio to understand the role of the body through dance theatre. (shrink)

School boosters are tax-exempt organizations that engage in fundraising efforts to provide public schools with supplementary resources. This paper argues that prevailing forms of school boosting are defeasibly unjust. Section 1 shows that inequalities in public education funding in the United States violate John Rawls’s two principles of domestic justice. Section 2 argues that prevailing forms of school boosting exacerbate and plausibly perpetuate these injustices. Section 3 then contends that boosting thereby defeasibly violates Rawlsian principles of nonideal theory for (...) rectifying injustice. Thus, boosting should be presumptively either made illegal or substantially reformed. Finally, Section 4 responds to potential objections. (shrink)

The vision and yearning of any Theater Administrator involves basically the tripartite objective of guaranteeing satisfaction, having a full house and maximizing profits. But due to the nature of theater as predominantly a collaborative art and the variances in temperament, aspiration and vocation of the various artistic endeavors, conflict often arise which militates against the attainment of the above objective by the theatre administrator. This work examines some conflict in the play production (the theater production) and prescribes certain measures, (...) which the theater administrator can adopt in order to surmount them. (shrink)

To succeed, every organization including theatre necessarily requires human and material resources. The material resources cannot on their own function. It is the human capital within the organization that utilizes and drives the materials in a certain direction in order to achieve predetermined objectives. This places the human capital in a pivotal role and justifies the attention often paid to personnel matters in organizations. Personnel themselves have to be managed. One potent avenue for adequately managing human resources towards the (...) realization of predetermined goals and objectives is good and effective communication. This paper examines the options open to the Theatre Administrator (the head of theatre organizations)) in order to foster coherence and adequately harmonize theatre personnel towards achieving the goals of guaranteeing satisfaction, having a full house and maximizing profits. (shrink)

I argue that, although education should have positive effects on students’ epistemic character, it is often actually damaging, having bad effects. Rather than cultivating virtues of the mind, certain forms of education lead to the development of the vices of the mind - it is therefore epistemically corrupting. After sketching an account of that concept, I offer three illustrative case studies.

Since the middle of the 20“ century, various governments, organizations and stakeholders have suggested ways of realizing a desirable change, which is an index of development. The quest for this pursuit had led to the evolution of concepts and theories examples of which are; modernization, dependency, sustainable, participatory, and post development among others. The reality of this pursuit still proves to be unresolved for many developing nations as a result of the constraints of some of these theories especially those that (...) conceive development according to the standard of the developed western states of the world. The way in which governments and development planners set out objectives of development without finding out the people’s needs from them or involving them is however bewildering. Development planners assume to know the needs of nations and individuals. Inadvertently, this approach to development does not bring about sustainability in the life of the project, nor does it have a lasting effect The lacunae as argued in this paper have to do with the issue of people’s participation and adequate strategies to incorporate them. It thus suggests that the use of popular arts is effective in addressing issues of development. The genre of this popular art in question is referred to as Theatre for Development (TFD). (shrink)

In this paper, we draw attention to several important tensions between Kant’s account of moral education and his commitment to transcendental idealism. Our main claim is that, in locating freedom outside of space and time, transcendental idealism makes it difficult for Kant to both provide an explanation of how moral education occurs, but also to confirm that his own account actually works. Having laid out these problems, we then offer a response on Kant’s behalf. We argue that, while (...) it might look like Kant has to abandon his commitment to either moral education or transcendental idealism, there is a way in which he can maintain both. (shrink)

It is observed that most development modalities employed over the years for achieving community development in Africa have not leaved up to expectation in terms of involving the majority of people in the quest for national transformation and development; rather, these modalities tend to complicate the very problems they are set out to solve. The situation is mostly like this because the adopted development strategies have not taken adequate cognizance the essence of effective communication methods and the importance of people’s (...) perspectives and peculiarities in these processes. Mostly, the so-called outsiders and experts in development matters who are physically and socially separated from the people think for them and about their development. This situation is inimical to genuine and sustainable development. It is important therefore to note that development can only be meaningful and sustainable when it is people generated; involving people’s real needs and their participation in the process of achieving them. It is at this point therefore that community theatre can come handy as it has the potentials to bring people together to discuss issues that disempowered them and participatorily proffer solutions to the negatives. Community theatre can be explored to work with rural and urban people; mostly the rural dwellers who are mostly disempowered. In view of this therefore, this paper posits that community theatre is a method of participatory communication towards achieving social change. (shrink)

This paper confronts Zagzebski’s exemplarism with the intertwined debates over the conditions of exemplarity and the unity-disunity of the virtues, to show the advantages of a pluralistic exemplar-based approach to moral education (PEBAME). PEBAME is based on a prima facie disunitarist perspective in moral theory, which amounts to admitting both exemplarity in all respects and single-virtue exemplarity. First, we account for the advantages of PEBAME, and we show how two figures in recent Italian history (Giorgio Perlasca and Gino Bartali) (...) satisfy Blum’s definitions of ‘moral hero’ and ‘moral saint’ (1988). Then, we offer a comparative analysis of the effectiveness of heroes and saints with respect to character education, according to four criteria derived from PEBAME: admirability, virtuousness, transparency, and imitability. Finally, we conclude that both unitarist and disunitarist exemplars are fundamental to character education; this is because of the hero's superiority to the saint with respect to imitability, a fundamental feature of the exemplar for character education. (shrink)

All humans share a universal, evolutionarily ancient approximate number system (ANS) that estimates and combines the numbers of objects in sets with ratio-limited precision. Interindividual variability in the acuity of the ANS correlates with mathematical achievement, but the causes of this correlation have never been established. We acquired psychophysical measures of ANS acuity in child and adult members of an indigene group in the Amazon, the Mundurucú, who have a very restricted numerical lexicon and highly variable access to mathematics (...) class='Hi'>education. By comparing Mundurucú subjects with and without access to schooling, we found that education significantly enhances the acuity with which sets of concrete objects are estimated. These results indicate that culture and education have an important effect on basic number perception. We hypothesize that symbolic and nonsymbolic numerical thinking mutually enhance one another over the course of mathematics instruction. (shrink)

Entrepreneurship education with a focus on sustainable development primarily teaches students to develop a profit‐driven mentality. As sustainable development is a value‐oriented and normative concept, the role of individual ethical norms and val‐ ues in entrepreneurial processes has been receiving increased attention. Therefore, this study addresses the role of moral competence in the process of idea generation for sustainable development. A mixed method design was developed in which would‐ be entrepreneurs were subjected to a questionnaire (n = 398) and (...) to real‐life deci‐ sion‐making processes in a case assignment (n = 96). The results provide stepping stones for implementing (moral) competencies in entrepreneurship education as a possible avenue to move away from a sole focus on a profit‐driven mentality. (shrink)

Mentalities like scientism and relativism idealise or belittle science respectively, and thus hurt science education and our literacy. However, it seems very hard to avoid the former mentality without sliding to the latter, and vise versa. I will suggest that part of what makes balancing between the two so difficult, is a representational account of meaning that science educators, like most of us really, usually endorse. Scientism then, arises from the assumption that ​there is such a thing called science​. (...) Relativism, on the other hand, assumes that ​there is no such thing called science,t​hereisnorealmeaningattachedtotheterm​.Wittgenstein'sremarksonrule-following then, could help us escape this twofold danger. Addressing scientism, Wittgensteinian writings remind us that, in order to understand the sciences, we do not need to point to some mental referendum of what science is. We rather need to grasp a matrix of overlapping, often implicit, always evolving rules that govern scientific practices. Addressing relativism, Wittgenstein's comments help us realise that there are always certain criteria about what kinds of things we call by a name; there are rules governing scientific practices, rules that even though they may be context dependent or evolving, are always in play. (shrink)

Education – typically and rightly held to be an incontrovertible good – has for some time now been dominated by mass formal schooling systems. These systems routinely harm and oppress many students. I argue that they do so impermissibly, and I call this stance “educational pacifism”. I propose that Maria Montessori’s views on mass formal schooling systems broadly align with educational pacifism and that, therefore, she can be considered an educational pacifist. Finally, I claim that contemporary Montessorians ought to (...) be educational pacifists, firstly because educational pacifism makes a compelling moral argument and secondly because Montessori herself agrees with it. (shrink)

In the predominant pedagogical frameworks of our days, rationalist, voluntarist or sentimentalist reductionisms are seen, from which it is about educating people regardless of their Origin and the singular and unrepeatable originality with which they have been given to existence. Faced with this anthropocentric confinement, Sensitive Education arises so that every person, regardless of their culture and creed, remains sensitive to their Origin and captures their own originality, which in the end is what they must accept and try to (...) manifest with education. When educational systems are not sensitive to the original, they develop falsehood. With the aim of consolidating the validity of the pedagogical-anthropological foundation of Sensitive Education, this study seeks to show how Edith Stein’s argument explains Sensitive Education, although Stein, after her conversion, uses explicitly Christian terminology. Stein’s direct terms serve to describe Education Sensitive to the Holy Spirit, but for those who do not start from a Christian worldview, Education Sensitive to Origin can be a more non-denominational way of approaching the Original. To achieve this objective, an analytical-synthetic methodology has been followed in which essential features of Sensitive Education are proposed and in a hermeneutic manner, arguments are extracted from the writings of Edith Stein that offer support for these essential features. In conclusion, it is sufficiently shown that Edith Stein’s thought provides a pedagogical foundation to Sensitive Education. (shrink)

The authors draw on literary theory, anthropology and sociology in order to construct alternative ways of reading and writing educational research, and come to terms with postmodernism and deconstruction.

I seek to answer the question of whether publicly funded higher education ought to aim intrinsically to promote certain kinds of ‘‘blue-sky’’ knowledge, knowledge that is unlikely to result in ‘‘tangible’’ or ‘‘concrete’’ social benefits such as health, wealth and liberty. I approach this question in light of an African moral theory, which contrasts with dominant Western philosophies and has not yet been applied to pedagogical issues. According to this communitarian theory, grounded on salient sub-Saharan beliefs and practices, actions (...) are right insofar as they respect relationships in which people both share a way of life, or identify with one another, and care for others’ quality of life, or are in solidarity with each other. I argue that while considerations of identity and solidarity each provide some reason for a state university to pursue blue-sky knowledge as a final end, they do not provide conclusive reason for it to do so. I abstain from drawing any further conclusion about whether this provides reason to reject the Afro-communitarian moral theory or the intuition that blue-sky knowledge is a proper final end of public higher education. I do point out, however, that the dominant Western moral theories on the face of it do no better than the African one at accounting for this intuition. (shrink)

There is a loud and persistent drum beat of support for schools, for citizenship, for diversity and inclusion, and increasingly for labor market readiness with very little critical attention to the assumptions underlying these agendas, let alone to their many internal contradictions. Accordingly, in this book I examine the philosophical, motivational, and practical challenges of education theory, policy, and practice in the twenty-first century. As I proceed, I do not neglect the historical, comparative international context so essential to better (...) understanding where we are, as well as what is attainable in terms of educational justice. I argue that we must constructively critique some of our most cherished beliefs about education if we are to save the hope of real justice from the rhetoric of imagined justice. (shrink)

This article seeks to contribute to the debate on how political representation can promote democracy by analysing the Chamber in the Square, which is a component of legislative theatre. A set of techniques devised to democratise representative governments, legislative theatre was created by Augusto Boal when he was elected a political representative in 1993. After briefly reviewing Nadia Urbinati’s understanding of democratic representation as a diarchy of will and judgement, I partially endorse Hélène Landemore’s criticism and contend that (...) if representation is to be democratic, citizens’ exchange of opinions in the public sphere should be invested with the power not only to judge, but also to decide political affairs. By opening up a space where the represented can judge, decide, and contest the general terms of the bills representatives present in the assembly, the Chamber in the Square harnesses political representation to democracy. (shrink)

Using William Shakespeare’s Hamlet and the play-within-the play, The Murder of Gonzago, as a case study, this essay argues that theatrical utterances constitute a special case of language usage not previously elucidated: the utterance of a statement with propositional content in theatre functions as an event. In short, the propositional content of a particular p (e.g. p1, p2, p3 …), whether or not it is true, is only understood—and understood to be true—if p1 is uttered in a particular time, (...) place, and situation (i.e. during a theatrical event); otherwise, the propositional content in those theatrical utterances can either be false or contingently true. (shrink)

I offer an account of the virtue of intellectual humility, construed as a pair of dispositions enabling proper management of one's intellectual confidence. I then show its integral role in a range of familiar educational practices and concerns, and finally describe how certain entrenched educational attitudes and conceptions marginalise or militate against the cultivation and exercise of this virtue.

Virtue epistemology is among the dominant influences in mainstream epistemology today. An important commitment of one strand of virtue epistemology – responsibilist virtue epistemology (e.g., Montmarquet 1993; Zagzebski 1996; Battaly 2006; Baehr 2011) – is that it must provide regulative normative guidance for good thinking. Recently, a number of virtue epistemologists (most notably Baehr, 2013) have held that virtue epistemology not only can provide regulative normative guidance, but moreover that we should reconceive the primary epistemic aim of all education (...) as the inculcation of the intellectual virtues. Baehr’s picture contrasts with another well-known position – that the primary aim of education is the promotion of critical thinking (Scheffler 1989; Siegel 1988; 1997; 2017). In this paper – that we hold makes a contribution to both philosophy of education and epistemology and, a fortiori, epistemology of education – we challenge this picture. We outline three criteria that any putative aim of education must meet and hold that it is the aim of critical thinking, rather than the aim of instilling intellectual virtue, that best meets these criteria. On this basis, we propose a new challenge for intellectual virtue epistemology, next to the well-known empirically-driven ‘situationist challenge’. What we call the ‘pedagogical challenge’ maintains that the intellectual virtues approach does not have available a suitably effective pedagogy to qualify the acquisition of intellectual virtue as the primary aim of education. This is because the pedagogic model of the intellectual virtues approach (borrowed largely from exemplarist thinking) is not properly action-guiding. Instead, we hold that, without much further development in virtue-based theory, logic and critical thinking must still play the primary role in the epistemology of education. (shrink)

In this paper we examine the role the Dutch gymnasium continues to play in the institutional maintenance of educational inequality. To that end we examine the relational and spatial features of state-sponsored elite education in the Dutch system: the unique identity the gymnasium seeks to cultivate; its value to its consumers; its geographic significance; and its market position amidst a growing array of other selective forms of schooling. We argue that there is a strong correlation between a higher social (...) class background and the concern to transmit one’s cultural habitus. We further speculate on the moral implications of state-sponsored elite education, both as it concerns the specific role of the gymnasium in the reproduction of social inequality as well as the curious tendency among its supporters to rationalise the necessity of its existence. (shrink)

In this essay, Johannes Giesinger comments on the current philosophical debate on educational justice. He observes that while authors like Elizabeth Anderson and Debra Satz develop a so-called adequacy view of educational justice, Harry Brighouse and Adam Swift defend an egalitarian principle. Giesinger focuses his analysis on the main objection that is formulated, from an egalitarian perspective, against the adequacy view: that it neglects the problem of securing fair opportunities in the competition for social rewards. Giesinger meets this objection by (...) expressing two basic theses: First, he argues that Brighouse and Swift themselves fail to give an adequate account of fair competition; and, second, he shows that the adequacy view provides the theoretical resources to face this problem. (shrink)

Entrepreneurship education with a focus on sustainable development primarily teaches students to develop a profit-driven mentality. As sustainable development is a value-oriented and normative concept, the role of individual ethical norms and values in entrepreneurial processes has been receiving increased attention. Therefore, this study addresses the role of moral competence in the process of idea generation for sustainable development. A mixed method design was developed in which would-be entrepreneurs were subjected to a questionnaire (n = 398) and to real-life (...) decision-making processes in a case assignment (n = 96). The results provide stepping stones for implementing (moral) competencies in entrepreneurship education as a possible avenue to move away from a sole focus on a profit-driven mentality. (shrink)

The paper inculcates the path of modern education by implementing cum ensuing the form and content of moral education from the stances of prescriptivist R. M Hare and existentialist Sartre. In the first part of the paper, Hare’s tune for language-centric moral concepts and its prescriptive plus universalistic application for society enhance an outlook for moral education where learners should be taught to apply morality from a prescriptive sense, not by memorizing it in a descriptive manner. Besides, (...) Sartre’s existentialist appeal delineates moral education as a free choice of a learner where any institutional hegemony becomes trivial. The second part of the paper focuses on the content of moral education. What sort of moral laws make the content of moral education justifiable? Here Russell’s approach takes a pertinent role. We should secure modern education from the social and state’s anarchism. A way out that I depict in the last section of the paper stresses on moral education that evades itself from the repression of the pedagogue or rigid principles. Modern education should quest for why and liberal neutrality not by following the rigid rules obediently. Moral education teaches children about their own rights and the rights of the other in a beneficial manner. (shrink)

The study aims to clarify some actual contents that we think should be noted in the study of Dewey‟s educational philosophy. The study begins with Dewey‟s criticism of traditional education, which served as the basis for his progressive educational views. The article then analyzes the learnercentric educational process and teacher‟s qualities from a progressive viewpoint. Progressive education‟s ultimate aim is to achieve democracy in education. That, in our opinion, is the prominent reason that the influence of Dewey‟s (...) educational philosophy continues to have a bearing on the education systems of the United States, many European countries, and Asia. The article concludes with John Dewey‟s contributions to educational development to demonstrate that his progressive educational views still have directional value and provide meaningful guidance for educational innovation in many countries. (shrink)

Mythopoetry, the imagistic voice of the muses which manifests in myth and natural poetry, has been invoked as an impression of ideal curriculum with which to cherish intimate, vital experience (and to oppose its exile from educational life). In this statement, I intend to see through the pleasant surface of the label, mythopoetry, to see what image may lie just out of sight, beyond the "inspired writing" that mythopoetry implies. Beyond words themselves, meaning is found in sound and in expressive (...) representation. “Music, when soft voices die, / Vibrates in the memory” (Shelley). (shrink)