title: Atlas of Islamic History [Book Review]

authors: Drury, Abdullah

subjects: 1469-9311

abstract: This article reviews the book 'Atlas of Islamic History', by Peter Sluggett and Andrew Currie.

text: Atlas of Islamic History [Book Review] This article reviews the book 'Atlas of Islamic History', by Peter Sluggett and Andrew Currie.

year: 2015-06-22

title: Making manifest: Viewing Wittgenstein's philosophy through Derek Jarman's lens

authors: Bowell, Tracy

abstract: In this paper I consider the use of Derek Jarman's film, Wittgenstein  as a resource for those writing, thinking about and teaching Wittgenstein's philosophy. I explain how the deeply Wittgensteinian character of Jarman's film is powerful in making manifest central Wittgensteinian themes. I begin by considering the role of biography in philosophical scholarship, arguing that it has a particularly important role in the case of Wittgenstein. In the second section of the paper I describe the form and content of the film and something of the process of its production. The third section of the paper discusses the strategy I employ when using the film in class. In the fourth section I develop the claim that the film is a Wittgensteinian one, discussing the ways in which it makes Wittgensteinian themes visible, showing them rather than saying them. By manifesting Wittgenstein's crucial distinction between saying (telling) and showing (manifestation), the film guides its audience into a way of seeing and thinking that is essential to understanding Wittgenstein's later approach to questions about language and its relationship to reality. In so doing, the film functions as a valuable text for scholars and teachers of Wittgenstein's philosophy.

text: Making manifest: Viewing Wittgenstein's philosophy through Derek Jarman's lens In this paper I consider the use of Derek Jarman's film, Wittgenstein  as a resource for those writing, thinking about and teaching Wittgenstein's philosophy. I explain how the deeply Wittgensteinian character of Jarman's film is powerful in making manifest central Wittgensteinian themes. I begin by considering the role of biography in philosophical scholarship, arguing that it has a particularly important role in the case of Wittgenstein. In the second section of the paper I describe the form and content of the film and something of the process of its production. The third section of the paper discusses the strategy I employ when using the film in class. In the fourth section I develop the claim that the film is a Wittgensteinian one, discussing the ways in which it makes Wittgensteinian themes visible, showing them rather than saying them. By manifesting Wittgenstein's crucial distinction between saying (telling) and showing (manifestation), the film guides its audience into a way of seeing and thinking that is essential to understanding Wittgenstein's later approach to questions about language and its relationship to reality. In so doing, the film functions as a valuable text for scholars and teachers of Wittgenstein's philosophy.

year: 2001-06-01

title: Putting Sylvia in her place: Ashton-Warner as New Zealand educational theorist

authors: Middleton, Sue

subjects: Sylvia Ashton-Warner

abstract: Sylvia Ashton-Warner, a New Zealand teacher, won international acclaim in the 1950s-1950s with her novels, autobiographies, and accounts of her educational theory. Blurring genres between fiction and autobiography, much of her writing was centred on the ‘creative teaching scheme’ she developed in Maori Schools. At the heart of the scheme was the idea that literacy was best achieved when children captioned their experiences of fear and sex, the two great (Freudian) drives. In Sylvia’s infant room, these erupted to the surface by means of captions (a child’s ‘key vocabulary’). I introduce Lefebvre’s idea of ‘rhythm analysis’, applying it first to the teaching scheme, then to the ‘system’ in which Ashton-Warner taught. With reference to extracts from Ashton-Warner’s Creative Teaching Scheme and Myself, I connect the rhythms of her life with her ‘theory.’ I identify Sylvia’s own ‘key words’ (violence and war; ghosts; sex and the kiss) and their rhythmic engagements and collisions with educational ‘authorities.’

text: Putting Sylvia in her place: Ashton-Warner as New Zealand educational theorist Sylvia Ashton-Warner, a New Zealand teacher, won international acclaim in the 1950s-1950s with her novels, autobiographies, and accounts of her educational theory. Blurring genres between fiction and autobiography, much of her writing was centred on the ‘creative teaching scheme’ she developed in Maori Schools. At the heart of the scheme was the idea that literacy was best achieved when children captioned their experiences of fear and sex, the two great (Freudian) drives. In Sylvia’s infant room, these erupted to the surface by means of captions (a child’s ‘key vocabulary’). I introduce Lefebvre’s idea of ‘rhythm analysis’, applying it first to the teaching scheme, then to the ‘system’ in which Ashton-Warner taught. With reference to extracts from Ashton-Warner’s Creative Teaching Scheme and Myself, I connect the rhythms of her life with her ‘theory.’ I identify Sylvia’s own ‘key words’ (violence and war; ghosts; sex and the kiss) and their rhythmic engagements and collisions with educational ‘authorities.’

year: 2009