Don’t educate me—move me!’ Why we need art and artists (especially films and filmmakers) to love education into existence
Dados Bibliográficos
| ID | 11952031 |
|---|---|
| Autores | Katja Frimberger (0000-0002-2542-4040, Faculty of Humanities and Social Sciences, Strathclyde Institute of Education, University of Strathclyde Glasgow , Room 636, Curran Building, 141 St James Road, G40LT Glasgow , United Kingdom, autor correspondente) |
| Ano | 2024 |
| Volume | 59 |
| Fascículo | 3-4 |
| Páginas | 586-608 |
| Data de publicação | 2024-07-12 |
| Open Access | Sim |
| Tipo | ARTICLE |
| Periódico | Journal of Philosophy of Education (JOURNAL) |
| Identificadores do periódico | ISSN: 0309-8249 • E-ISSN: 1467-9752 |
| Editora | Oxford University Press (OUP) (PUBLISHER) |
| DOI | 10.1093/jopedu/qhae051 |
| OpenAlex | W4401797409 |
| Idioma | EN |
| Referências citadas | 5 |
This paper explores the anthropological and ontological conditions of our ‘educational movement’ in aesthetic experience and illustrates these through a range of examples from popular cinema/film (the Empire Strikes Back; Memento; David Lynch’s musings). For the anthropological framing of education, I enlist the help of German philosopher Hans-Georg Gadamer and his notion of ‘formation’ as it unfolds in the aesthetic appearance of the cultural world—with film’s moving images’ coming-into-form-and-meaning as my key example. For Gadamer, the artwork’s formative potential is bound up in its capacity to move our senses and intellect into an encounter with what is other to our subjectivity. Drawn into a mode of paying attention to what appears (e.g. in film’s moving images), we are called to lose ourselves and be present in a new way to familiar world objects and relations. The second part of the paper imagines the ontological conditions that make possible our formative movement in the cultural world: the mode of the beautiful. Why do certain artworks shine forth and summon us to be present to them? To pursue this question, I turn to French Catholic philosopher Jacques Maritain’s notion of Beauty and craftsmanship. He turns us (like Gadamer) to a neo-Platonic notion of Beauty rooted in St Thomas Aquinas’ notion of the mystery of B/being (i.e. God). In Maritain’s reading, our hermeneutic aesthetic experience—and with that our movement into self-formation—is held in existence through the artist’s participation in the mode of the beautiful and their loss of self in the labour of love of craftsmanship
Aesthetics · Art · Filmmaking · Pedagogy · Sociology · Visual arts · Art, Politics, and Modernism · Cinema and Media Studies · Cultural Industries and Urban Development · Psychology
| Altamente citado | Não |
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