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Scolpire il Mosè nascosto dentro il marmo
In ogni alunno è nascosto un Mosè nel marmo del suo background. L'Evidence Based Education è lo scalpello che può farlo emergere, perchè la valutazione è un'arte e ha bisogno di tecnica per essere personalizzata.
Gossips, Gorgons and Crones
Gossips, Gorgons & Crones is the first comprehensive analysis of nuclear-age culture and the accompanying return of female Powers. Based in feminist, pre-patriarchal, and Native American philosophies, this book provides a biting critique of patriarchal practices, myths, and values, including family values.
Guida Monaci
None
Derrida and the Future of the Liberal Arts
Derrida and the Future of the Liberal Arts highlights the Derridean assertion that the university must exist 'without condition' - as a bastion of intellectual freedom and oppositional activity whose job it is to question mainstream society. Derrida argued that only if the life of the mind is kept free from excessive corporate influence and political control can we be certain that the basic tenets of democracy are being respected within the very societies that claim to defend democratic principles. This collection contains eleven essays drawn from international scholars working in both the humanities and social sciences, and makes a well-grounded and comprehensive case for the importance of Derridean thought within the liberal arts today. Written by specialists in the fields of philosophy, literature, history, sociology, geography, political science, animal studies, and gender studies, each essay traces deconstruction's contribution to their discipline, explaining how it helps keep alive the 'unconditional', contrapuntal mission of the university. The book offers a forceful and persuasive corrective to the current assault on the liberal arts.
Art as Spectacle
Why do images of entertainers abound in European literature and art since Romanticism? From Baudelaire to Picasso, from Daumier to Fellini, mimes, clowns, aerialists, and jesters recur in major works by continental artists. In Art as Spectacle, Naomi Ritter investigates this phenomenon and offers explanations that transcend the array of works discussed. Her analysis implies much about the triangle of creator, work, and audience that inevitably controls art. Although a broadly comparative study underlies Art as Spectacle, the book focuses mainly on examples from Germany and France. Three areas of argument-identification, primitivism, and transcendence-account for the performer's ubiquity in t...
