EDUCATIONAL THEORY最新文献

In this article Antti Moilanen assesses criticisms of Wolfgang Klafki's model of exemplary teaching made by Meinert Meyer and Hilbert Meyer and by Chi-Hua Chu. “Exemplary teaching” is a style of discovery-based teaching in which students study concrete examples of general principles in such a way that they acquire transferable knowledge and skills. Put differently, the aim of exemplary teaching is to foster categorical Bildung. Klafki's model of exemplary teaching is based on Martin Wagenschein's didactics and his own theory of the categorical Bildung. Here, Moilanen explicates and analyzes Klafki's theory of categorical Bildung, Wagenschein's concepts related to exemplary teaching, Klafki's conception of the conditions and principles of exemplary teaching, and criticisms of Klafki's didactics set out by Meyer and Meyer and by Chu. He then examines whether Meyer and Meyer as well as Chu have adequately understood Klafki's model of exemplary teaching and whether their criticisms are justified, concluding that their criticisms do not credibly question the validity of exemplary teaching.

Fostering transformative experiences is a central goal of education. In this article, Marieke Schaper examines the relationship between doubt and transformation in education, specifically problematizing the idea that doubt can serve as a catalyst for transformative experiences in the classroom. Schaper's thesis is that doubt is not valuable by itself; it must encompass certain characteristics if it is to support meaningful transformation while avoiding the risks of transformative education. In making this argument, Schaper proposes the concept of aspirational doubt as an educationally valuable subcategory of doubt. She begins by engaging with the vast philosophical and psychological literature on doubt and, based on this analysis, identifies five main conceptions of doubt that wield influence. Next, she points to the ethical risks of using doubt as an educational catalyst, particularly for transformative purposes, but instead of rejecting the role of doubt in transformative education, she explores the potential of aspirational doubt to circumvent these risks. She concludes with a discussion of the practical implications for fostering aspirational doubt in the classroom.

While some researchers argue that theories and abstract knowledge are unreliable bases for teachers' work, a wide range of research stresses the need to overcome the gap between theory and practice, or abstract academic knowledge and experience-based knowledge. Here, Silvia Edling maintains that it is relevant to ask why the relationship is necessary in the first place and in so doing revive the notions of teacher seeing in education. The purpose of this article is to contribute knowledge about the role of teacher vision by turning to how two different theoretical researchers, John Dewey and Hans-Georg Gadamer, approach the notion of vision and its related concepts in relation to science. Aided by a hermeneutic conversation, the article provides a roadmap of similarities and differences between Dewey and Gadamer that can facilitate more nuanced reflections and deliberations among teachers and educational researchers on the meaning and usefulness of stimulating a broad and deep repertoire for teacher's professional vision.

This article explores the work of Rethinking Schools (RS). RS is at one and the same time a grassroots movement of teacher-activists, a quarterly journal, and a publishing house. For almost four decades the movement has sought to enact Freirean-inspired curricular/pedagogical initiatives within US public schooling. What makes the work of RS significant is the way it connects critical pedagogy to specific examples of concrete practice. It thus provides an invaluable corrective to the abstruseness and high levels of theoretical abstraction one finds in critical pedagogy as an academic field. Of particular interest is the explicitly utopian dimension to the work of the movement. Underpinning all the curriculum materials, resources, lesson plans, reading lists, and pedagogical strategies is a desire to provide children and young people with an opportunity to flex their utopian imaginations. Drawing on Freirean theory to reflect on the practice of the movement, Webb highlights the ways in which RS finds utopian possibility blooming in that most unpromising of grounds — public schooling. While the context for utopian praxis feels unpropitious to say the least, Rethinking Schools offers a corrective to doom-laden assessments of the scope for radical pedagogical initiatives within public schooling, not only in the US but more widely.

In this article Sophie Haroutunian-Gordon and Megan Jane Laverty discuss Jean-Luc Nancy's conception of listening as presented in his seminal work, À l'écoute. The authors argue that Nancy uses the term “listening” to refer to the experience of coming to an idea of sound(s) initially encountered as puzzling. They illustrate Nancy's conception with teaching/learning situations involving a pianist and teacher, Deborah Sobol, and two aspiring players, Sophie Haroutunian-Gordon and Rosalie Romano. The article has four parts. In part 1, the authors ask: Do we see Deborah trying to make meaning of Sophie's performance on October 2, 1998? In part 2, they ask: Do we see Sophie trying to make meaning of Deborah's words and demonstrations on the same occasion? In parts 3 and 4, they explore Sophie's and Rosalie's listening when they are coached by Deborah on January 15, 1999. In so doing, Haroutunian-Gordon and Laverty illustrate Nancy's conception of listening and demonstrate its usefulness for theorizing about and studying actual situations.

This essay by René Arcilla examines Jean-Luc Nancy's understanding of the “spirit of 1968.” It argues that Nancy's concept can guide a humanist approach to educating citizens for participation in democratic self-government, one that responds to the political challenges facing us today. In particular, it develops a critique of factionalizing identity politics and seeks to renew what it means to address, and be addressed by, “we the people.” The essay proposes an idea of what democracy seeks to affirm: our social being.

Sometimes we hear music (when we play it or hear it, whether live or recorded) and that experience is felt as a singular event. In those moments we find ourselves in an existential situation that, because it is singular (rare, unique, unintended), reveals the formative power of an aesthetic experience of listening to music, what we might call learning how to be poetic. Here, Eduardo Duarte Bono explores how engaging with Jean-Luc Nancy can enable us to deepen our appreciation for music's aesthetic education. Specifically, Nancy's category of “resonant subjectivity” describes the existential place where this education is occurring during those singular experiences with music, what Nancy describes as “‘to be all ears’ [être à l'écoute], to be listening.” As a way of amplifying Nancy's writing on listening to music, Duarte Bono takes up three distinct cases in this paper: the percussionist Evelyn Glennie, Pablo Picasso's sculpture Guitar, and Ralph Ellison's musings on living with music as a writer.

The articles in this symposium make two important contributions: they introduce and explain the powerful but opaque philosophy of Jean-Luc Nancy; and they show how his philosophy illuminates central issues in education. Their accounts also diverge in interesting ways, raising provocative questions for the philosophy of education.

The contributors describe how being with captures Nancy's core ontological claim. The basic level of human being is in relation to others. As David Hansen articulates, we exist only “in common,” through activities with others.¹ This does not mean that we are subsumed into a group, however. We are simultaneously singular-plural. “Being with” captures individual distinctiveness as well as connectedness, without reducing one to the other.

The contributors argue that for Nancy the paradigmatic human activity is not individual cognition about the world, but is instead listening. As Eduardo Duarte Bono says, we must replace “the [Cartesian] philosophical subject” with “the listening subject,” and we must replace the predominant visual metaphor with a musical one.² Instead of standing apart from the world and observing it, we “resonate” with something in the world and are taken out of ourselves by it. As Sophie Haroutunian-Gordon and Megan Laverty say, “the listener's search for meaning … is a search guided by felt resonance rather than intellectual cognizing, at least initially.”³ The traditional philosophical focus on internal self-reflection, according to Nancy, impedes genuine listening and distorts our relations with others and the world.

Nancy does not eliminate the subject, but he focuses on resonant subjectivity. Our basic mode of experiencing the world involves resonating with aspects of it. Duarte Bono explores this musical metaphor, describing how listening to music involves a “letting go” of oneself and an openness to experience. Together with Haroutunian-Gordon and Laverty, Duarte Bono shows how music evokes meaning, how it can be transformative even though it does not contain analytic messages. Hansen describes this as a “pre-cognitive” responsiveness to the world.

Touch is another important metaphor for Nancy. Unlike vision, touch involves contact with others and a distinctive immediacy. It is a second-person experience, in contact with something next to me. This contrasts with the third-person experience of analytic abstraction associated with vision and the Cartesian subject. René Arcilla explains how this emphasis on resonance and touch demands a different attitude toward experience — an “opening” or an “expansion of being.” According to Arcilla, Nancy calls for “bearing witness and lyrically summoning other witnesses.” We should not strive for “conclusive epiphany,” but for “perpetual intimation.”⁴

This is a process-based philosophy, emphasizing becoming. Haroutunian-Gordon and Laverty descri

In this article Chris Higgins considers two works by Jean-Luc Nancy — “On Being Singular Plural” and “Why Are There Several Arts and Not Just One?” — in light of the formative task to do justice to the diverse dimensions of oneself given the offerings and demands of the world, a task made difficult by our finitude and the existence of incommensurable goods. While Nancy helps us appreciate the value pluralism animating the (liberal) arts, Higgins argues, Nancy himself shies away from the full implications of his relational ontology. Rather than follow individual arts and artworks into the local habitations they open — accepting the anguish of the arbitrary as the price of our finite but fulsome excursions into the reticulated real — Nancy retreats to the level of a global account (if a lyrical one) of the local.