scholarly journals Philophobia: From Post-Critical to Neo-Critical Pedagogy Through Art Critique (and a Pinch of Hate)

2020 ◽  
Vol 3 (9) ◽  
Author(s):  
Itay Snir
Keyword(s):  
Critical Pedagogy ◽  
Art Criticism ◽  
Modern Concept ◽  
Educational Discourse ◽  
Complex Concept ◽  
The World ◽  
Privileged Status ◽  
Absolute Good ◽  
German Historian ◽  
The Way

While post-critical pedagogy urges us to educate out of and toward love for the world, in this article I argue against the privileged status of love in educational discourse. I hold that renewing the world is impossible without critique, indeed without a pinch of hatred. I suggest, therefore, moving from post to neo-critique, to renewing the world by renewing critique. I start with discussing some good reasons for hating the world, and then turn to the concept of critique, which post-critical pedagogy is by no means the first to attack. A look at the thorough analysis of the modern concept of critique offered by German historian Reinhart Koselleck uncovers the deep contradictions inherent to its totalizing, rationalistic presuppositions that see nothing but absolute good and absolute evil. Koselleck’s comments on premodern critique point the way to a more complex concept of critique, which transcends such binary divisions. In the last section of this article, I take some steps in this direction, fleshing out the concept of neo-critical pedagogy by thinking of art criticism.

If Art is Knowledge, Then …

1979 ◽  
Vol 23 (3) ◽  
pp. 284-294
Author(s):  
John H. Chambers
Keyword(s):  
Visual Art ◽  
Art Criticism ◽  
Verbal Communication ◽  
The World ◽  
Thing In Itself ◽  
The Way

It is argued that visual art makes statements analogous to the statements of science, morals, etc. Such art statements are provided by entities like Guernica, The Fighting Temeraire, and pictures on the walls of the local gallery, and concern themselves with things-in-themselves. The whole point of art criticism is to make clearer this thing-in-itself. In the way that other sorts of statement shape the world, so art statements shape the world. We do not know the world and then superimpose art statements upon it; we know the world through the art statements. This thesis has curriculum implications. It indicates the need for art encounters and techniques of various sorts, since the knowledge of art statements can only be apprehended through engaging in art and from intense verbal communication with teachers about art and its qualities.

scholarly journals My Path towards Teaching with an Attitude… A Testimony on Becoming a Critical Pedagogue (Note 1)

2019 ◽  
Vol 7 (1) ◽  
pp. 106
Author(s):  
Adriana Castañeda Londoño
Keyword(s):  
Critical Pedagogy ◽  
Student Teacher ◽  
English Language ◽  
Language Teaching ◽  
English Language Teaching ◽  
Human Being ◽  
The World ◽  
Chicana Studies ◽  
The Way

<p><em>This paper sets out to recount my journey in order to become a critical pedagogue in the field of English language teaching. I talk about core experiences as a student, teacher, and human being. I rely in tenets of critical pedagogy, Chicana studies and decolonial thought in order to find a voice of my own in the academic arena. I contend that writing our own testimonies towards transformation brings out little but significant changes in the way we exist in the world as teachers. Readers will encounter a reflection of my approach towards pedagogy and knowledge enriched with students’ own ideas and outcomes. </em></p>

Modernist Film Criticism

2018 ◽  
Author(s):  
Gloria Galindo
Keyword(s):  
Art Criticism ◽  
Film Theory ◽  
The Other ◽  
Film Criticism ◽  
The World ◽  
Clement Greenberg ◽  
Art Activities ◽  
Modernist Discourse ◽  
Synthetic Form ◽  
The Way

Criticism is one of the fundamental concepts in Modernism and is defined by "the intensification, almost exacerbation, of [a] self-critical tendency" that began with Kant, "the first to criticize the means itself of criticism" (Clement Greenberg). Modernism makes use of a multiplicity of approaches and techniques in order to reflect on the means of representation by focusing on its methods. That is, instead of trying to describe, thoughts, feelings, relationships, or the world in a realist way, the modernist artist and critic focuses on the way representation articulates experience, turning, at the same time, art into a reflection of itself. In this sense, modernist discourse operates as a statement, ‘by the specific practices of art criticism, by the art activities implicated in the critic/author’s formulations and by the institutions which disseminate and disperse the formulations as events’ (Marcus 2007). Earlier film theory "was unformed and impressionistic," and its major concern was, as Robert Stam points out, to define whether or not cinema was an art that was linked or opposed to the other arts. An early theorist, Riccioto Canudo, in his manifesto "The Birth of the Sixth Art" (1911), understood cinema as the conjunction of "the three spatial arts (architecture, sculpture, and painting), and the three temporal arts (poetry, music and dance), transforming them into a synthetic form called ‘Plastic Art in Motion" (Abel 1988: 58–66 quoted in Stam 2000: 28).

The Promise and Challenges of Global Labor History

2012 ◽  
Vol 82 ◽  
pp. 57-76 ◽  
Author(s):  
Marcel van der Linden
Keyword(s):  
Labor History ◽  
Friedrich Schiller ◽  
Inaugural Address ◽  
Working Classes ◽  
Nation States ◽  
The World ◽  
Global Connections ◽  
The University ◽  
German Historian ◽  
The Way

The idea that the histories of different regions in the world are interconnected is not particularly novel; it already existed several centuries ago. Thus, for example, when the German historian and playwright Friedrich Schiller was granted a chair at the University of Jena in 1789, he declared in his inaugural address that “the most remote regions of the world contribute to our luxury.” After all, he continued, “The clothes we wear, the spices in our food, and the price for which we buy them, many of our strongest medicines, and also many new tools of our destruction—do they not presuppose a Columbus who discovered America, a Vasco da Gama who circumnavigated the tip of Africa”?2Nevertheless it took quite some time before professional historians began to consider these global connections seriously in their research. Colonial and “imperial” historians led the way. They were joined by economic historians. Labor historians became interested in intercontinental perspectives only more recently; until the 1970s, they typically locked themselves into the framework of individual nation-states. Even great innovators in the discipline, such as E. P. Thompson, thought mostly in terms of “national” working classes.

Becoming Politicized

2017 ◽  
Vol 225 (4) ◽  
pp. 324-335 ◽  
Author(s):  
Dimitrios Barkas ◽  
Xenia Chryssochoou
Keyword(s):  
Collective Identity ◽  
Political Socialization ◽  
Greek Society ◽  
Economic Vulnerability ◽  
The World ◽  
The Future ◽  
Identity Model ◽  
Beliefs About The Future ◽  
Of Greece ◽  
The Way

Abstract. This research took place just after the end of the protests following the killing of a 16-year-old boy by a policeman in Greece in December 2008. Participants (N = 224) were 16-year-olds in different schools in Attiki. Informed by the Politicized Collective Identity Model ( Simon & Klandermans, 2001 ), a questionnaire measuring grievances, adversarial attributions, emotions, vulnerability, identifications with students and activists, and questions about justice and Greek society in the future, as well as about youngsters’ participation in different actions, was completed. Four profiles of the participants emerged from a cluster analysis using representations of the conflict, emotions, and identifications with activists and students. These profiles differed on beliefs about the future of Greece, participants’ economic vulnerability, and forms of participation. Importantly, the clusters corresponded to students from schools of different socioeconomic areas. The results indicate that the way young people interpret the events and the context, their levels of identification, and the way they represent society are important factors of their political socialization that impacts on their forms of participation. Political socialization seems to be related to youngsters’ position in society which probably constitutes an important anchoring point of their interpretation of the world.

Restrained Airs: The Diegetic Surface and Nondiegetic Depth of British Film Music

2019 ◽  
Vol 16 (4) ◽  
pp. 429-443
Author(s):  
Paul Mazey
Keyword(s):  
Film Music ◽  
The World ◽  
British Cinema ◽  
Film Making ◽  
The Way

This article considers how pre-existing music has been employed in British cinema, paying particular attention to the diegetic/nondiegetic boundary and notions of restraint. It explores the significance of the distinction between diegetic music, which exists in the world of the narrative, and nondiegetic music, which does not. It analyses the use of pre-existing operatic music in two British films of the same era and genre: Kind Hearts and Coronets (1949) and The Importance of Being Earnest (1952), and demonstrates how seemingly subtle variations in the way music is used in these films produce markedly different effects. Specifically, it investigates the meaning of the music in its original context and finds that only when this bears a narrative relevance to the film does it cross from the diegetic to the nondiegetic plane. This reveals that whereas music restricted to the diegetic plane may express the outward projection of the characters' emotions, music also heard on the nondiegetic track may reveal a deeper truth about their feelings. In this way, the meaning of the music varies depending upon how it is used. While these two films may differ in whether or not their pre-existing music occupies a nondiegetic or diegetic position in relation to the narrative, both are characteristic of this era of British film-making in using music in an understated manner which expresses a sense of emotional restraint and which marks the films with a particularly British inflection.

Profilometry. Using Corneo-scleral topography for scleral lens fitting

The Eye ◽  
2019 ◽  
Vol 21 (128) ◽  
pp. 19-22
Author(s):  
Gregory DeNaeyer
Keyword(s):  
Ocular Surface ◽  
World Wide ◽  
Contact Lenses ◽  
The Past ◽  
The World ◽  
The Future ◽  
The Way

The world-wide use of scleral contact lenses has dramatically increased over the past 10 year and has changed the way that we manage patients with corneal irregularity. Successfully fitting them can be challenging especially for eyes that have significant asymmetries of the cornea or sclera. The future of scleral lens fitting is utilizing corneo-scleral topography to accurately measure the anterior ocular surface and then using software to design lenses that identically match the scleral surface and evenly vault the cornea. This process allows the practitioner to efficiently fit a customized scleral lens that successfully provides the patient with comfortable wear and improved vision.

Los criterios de textualidad en la hermenéutica de Paul Ricoeur. Un análisis crítico

2008 ◽  
Vol 14 ◽  
Author(s):  
Adrián Bertorello
Keyword(s):  
Structural Analysis ◽  
Reading Strategies ◽  
Paul Ricoeur ◽  
Material Base ◽  
The World ◽  
Paul Ricœur ◽  
Text Writing ◽  
The Way

RESUMENEl trabajo examina críticamente la afirmación central de la hermenéutica de Paul Ricoeur, a saber, que el soporte material de la escritura es el rasgo determinante para que una secuencia discursiva sea considerada como un texto. La escritura cancela las condiciones fácticas de la enunciación y crea, de este modo, un ámbito de sentido estable en el que se puede validar una concepción de la subjetividad que está implicada en las dos estrategias de lecturas (el análisis estructural y la apropiación), esto es, un sujeto pasivo que se constituye por la idealidad del significado. Asimismo, el trabajo intentará precisar una serie de ambigüedades en el uso que Ricoeur hace del «ser en el mundo» para sostener la referencialidad del discurso.PALABRAS CLAVETEXTO, ESCRITURA, REFERENCIA, SUBJETIVIDAD, MUNDOABSTRACTThis paper critically examines the main assertion of Paul Ricoeur´s hermeneutics, i.e., that the material base of writing is the determining feature to consider a discursive sequence as a text. Writing cancels the factual conditions of enunciation and creates, in this way, a background of stable meaning where it is possible to validate a conception of subjectivity implicated in the two reading strategies (the structural analysis and the appropriation), i.e., a passive subject constituted by the ideality of meaning. Likewise, this paper aims to clarify some ambiguities in the way Ricoeur uses the «beings in the world» to support the discourse referentiality.KEY WORDSTEXT, WRITING, REFERENCE, SUBJECTIVITY, WORLD

The Role of Music and Allied Arts in Public Writings on Cultural Diversity: “People of Sri Lanka”

2020 ◽  
Vol 6 ◽  
pp. 93-100
Author(s):  
Gisa Jähnichen
Keyword(s):  
Sri Lanka ◽  
Cultural Diversity ◽  
South Asia ◽  
Case Studies ◽  
Sri Lankan ◽  
Culturally Different ◽  
The World ◽  
Official Languages ◽  
The Way

The Sri Lankan Ministry of National Coexistence, Dialogue, and Official Languages published the work “People of Sri Lanka” in 2017. In this comprehensive publication, 21 invited Sri Lankan scholars introduced 19 different people’s groups to public readers in English, mainly targeted at a growing number of foreign visitors in need of understanding the cultural diversity Sri Lanka has to offer. This paper will observe the presentation of these different groups of people, the role music and allied arts play in this context. Considering the non-scholarly design of the publication, a discussion of the role of music and allied arts has to be supplemented through additional analyses based on sources mentioned by the 21 participating scholars and their fragmented application of available knowledge. In result, this paper might help improve the way facts about groups of people, the way of grouping people, and the way of presenting these groupings are displayed to the world beyond South Asia. This fieldwork and literature guided investigation should also lead to suggestions for ethical principles in teaching and presenting of culturally different music practices within Sri Lanka, thus adding an example for other case studies.

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